Artist Entry Desk · Farmington, Utah
Set the gain. Ride the fader. Cued
TTopVibes LLC is a computer integrated systems design practice, and our artist entry desk is built for independent recordings that need a clean signal path from demo arrival to release day. We run the desk out of 2306 W Monarch Dr, Farmington - 84025-0019, United States (US), where every submission is logged, reviewed and routed by hand. If you want the full service sheet first, read the desk services here →
Open a submission ticket →The desk run
Six working bays, one continuous signal path
Every record we take on passes through the same rack rows below. Each row belongs to a real working stage with its own owner, its own paperwork and its own handoff rule, so nothing drifts between intake and release week.
Demo Submission Desk
Private links and physical media arrive at one desk, are logged against a ticket, and are screened for completeness before any listening session starts. A demo that reaches us with an unfinished export goes back to the sender rather than sitting in a queue unlabeled.
Playlist Pitch Rounds
Pitch rounds are scheduled in fixed windows so that curators get readable notes instead of a flood of links. We prepare the one sheet, the clean audio file and the timing note, then log the outcome of every round whether the answer is yes or no.
Release Logistics Nights
Two evenings each month the desk stays open late to walk a release through its delivery schedule, territory settings and partner handoffs. The night is deliberately quiet, with one artist group at a time and printed timelines on the table.
Cover Art Reviews
Cover art is checked against platform requirements, print margins and the legibility test at thumbnail size. We return a short written review with marked-up files, and we never redraw the submitted artwork ourselves without a written brief.
Metadata Cleanups
Splits, credits, publisher lines and contributor identifiers are reconciled into one source document that follows the release through every partner. Most delivery rejections we see trace back to a metadata mismatch, which is why this row is never skipped.
Release Week Checklists
The checklist covers the seven days around a go live date, from pre-save confirmation to post release note collection. It is printed, signed off by two staff members and filed with the ticket so the next release starts from a known position.
Why the desk exists
A gain stage, not a feed
Most independent releases fail quietly for boring reasons. A file arrives in the wrong format. A contributor name is misspelled on one delivery and correct on another. A pitch note goes out on a Tuesday when the curator only reads on a Thursday. None of those failures needs a bigger budget to fix. They need a desk that checks the signal at each stage and writes down what it saw.
TTopVibes LLC built a practice around that idea. The company is registered as a computer systems design and related services firm, and the artist entry desk applies the same discipline to creative delivery that we apply to integrated system design: define the input, measure it, hand it off with a record, and keep the chain auditable. The result is not a faster pipeline for its own sake. It is a pipeline where the artist can see where the work is at any hour of the working week.
One ticket, one signal path
When an artist opens a submission ticket, the ticket becomes the spine of the whole engagement. Every later action, from the first playlist pitch round to the final release week checklist, is written against that ticket. Nothing is handled by memory or by a private message thread. If a staff member is out for a week, the next person reads the ticket and continues without asking the artist to repeat themselves.
This matters most around release dates, when a small correction can ripple through several partners at once. Because the ticket holds the source metadata, a corrected contributor line is applied in one place and traced through to each delivery entry. We can show the artist exactly which partner received which version, and when.
Desk principles
- Listen before advising. The first review pass belongs to the recording, not to a marketing plan.
- Write it down or it did not happen. Every decision lands on the ticket with a date and a name.
- Send work back early. A clean rejection on day one beats a silent queue for a month.
- Keep the artist the owner of the master files, cover art and release date.
- Close every round with a written outcome, including the rounds that end in no.
Where we sit
Our working address is 2306 W Monarch Dr, Farmington - 84025-0019, United States (US). The desk is a working studio, not a walk in shopfront, so please open a ticket or send an email before bringing physical media to the door. We are happy to arrange a handover window on a weekday.
Who the desk is for
Independent artists with a finished recording
The entry desk is designed for solo artists, small bands and producer led projects that already have a finished mix in hand. We do not run recording sessions, and we do not hold a roster. Each engagement is built around one body of work, usually a single, an EP or a short album run, and it ends when that work has moved through the bays and out to its release partners.
Because the desk is small, we cap the number of open tickets at any given time. A ticket that cannot be taken on because of the cap receives a written note with the next intake window, and no deposit is retained. We would rather say no clearly than take on work that we cannot carry carefully.
Artists working in genres with heavy sample clearance needs, or in languages outside English and Spanish, should mention that in the ticket so the desk can confirm whether we can support the submission properly before any fee is discussed.
What the desk will not do
Clear limits, stated in advance
We do not guarantee playlist placement, radio airplay, chart position or streaming counts. Pitch rounds are a delivery and follow up service, and the decision always belongs to the curator or partner on the receiving side. Any service that promises a placement figure is not part of our offer.
We also do not buy streams or engagement, and a ticket found to be using purchased engagement as part of its pitch material will be closed. Finally, the desk does not act as a legal advisor, a royalty administrator or a distributor. Where a release needs a distribution account, the artist keeps that account in their own name and we work inside it with their written permission.
Questions about whether a particular release fits the desk are welcome before a ticket is opened. A short email to our contact address is usually enough for us to give a straight answer.
A plain walk through the working week
How a ticket moves across the rack
Intake happens on Monday and Tuesday. A submitted ticket is read by the intake lead, checked for the required files, and either accepted into the queue or returned with a note. Demo Submission Desk work is mostly finished by Wednesday morning, which leaves the rest of the week for the listening pass and the written review.
Pitch material is prepared on Wednesday and Thursday. This is where the Playlist Pitch Rounds schedule is set, and where the one sheet is written from the words supplied by the artist rather than from a template. Curators receive a compact package: a private listening link, a short note on the recording, and a clear statement of the release date and the regions the artist is focusing on.
Friday is review day. Cover Art Reviews and Metadata Cleanups run in alternating slots so that the desk is not trying to do both at once. Artwork that passes review is logged with its file hashes, and metadata that passes cleanup gets a version number. Any ticket that fails a check moves to the next available slot rather than being pushed through to keep a schedule.
Release Logistics Nights fall on the second and fourth Tuesday of the month, with a hard stop at eight in the evening. The Release Week Checklists are then built from the outcome of those nights, and a checklist is only issued once the artwork and metadata rows are both marked complete. The desk publishes no partial checklists, because a half finished checklist is worse than none at all.