How to Release Your First Cassette Tape (Without a Label)
So you want to put your music on cassette. Good. Welcome to the mildly inconvenient, very satisfying part of DIY music.
Here’s a straightforward guide to releasing your first tape without a label holding your hand (or taking your money).
Step 1: Decide What’s Actually Going on the Tape
Don’t start with the merch fantasy. Start with the music.
Ask yourself:
Is this an EP, an album, a beat tape, a live set, or a mixtape?
Does it actually play well front to back?
Would someone reasonably want to listen to this on a physical format?
For tapes, length matters. Common choices:
~20–25 minutes per side (for a 50 min tape)
~15 minutes per side (for a 30 min tape)
You don’t have to fill the tape completely, but if you’re only putting 8 minutes on each side, maybe reconsider the format or price.
Step 2: Choose a Tape Length and Format
Keep it simple for your first run:
Color: one shell color. Don’t overcomplicate it.
Length: pick something that fits your project with a little breathing room.
Type: standard ferric (Type I) is fine. You’re not mastering Steely Dan.
If your release is ~30 minutes total, a 30-minute or 46-minute tape is solid. You can leave a small gap of silence at the end of each side; no one will cry.
Also decide:
Both sides unique? (A/B different content)
Same program both sides? (good for shorter releases, less flipping)
Step 3: Plan the Sequence with Side A / Side B in Mind
This is where tapes get fun.
Think in two halves:
Side A – the entry point, usually the more immediate, hooky, or accessible stuff
Side B – deeper cuts, weirder experiments, slow burners, alternate versions
Don’t just copy your Spotify track order. Try:
starting Side B with something strong or unexpected
grouping tracks by mood or texture
using short interludes to glue things together
Remember: flipping the tape is a moment. Use it.
Step 4: Get Your Masters Ready for Tape
You don’t need to drastically change your mixes, but tapes do respond better to some things than others.
Basic sanity checks:
Don’t crush your mix to death with limiting
Avoid super harsh highs if possible
Leave a bit of headroom (your duplicator or deck will appreciate it)
You can:
bounce a Side A master and a Side B master as continuous audio files
or send individual tracks with clear timing/spacing instructions
If you’re dubbing at home, you’ll probably just run from your DAW/interface straight into the deck and hit record like it’s 1993.
Step 5: Decide: DIY Dubbing vs Pro Duplication
Option A: DIY at Home
Pros:
cheapest upfront if you already have a decent deck
very hands-on and personal
you control everything
Cons:
time-consuming
quality depends on your gear and patience
matching levels between tapes can be annoying
Good for: runs of 10–25 tapes, or intentionally rough, ultra-DIY projects.
Option B: Professional Duplicator
Pros:
consistent quality
much faster
they often handle printing, shell labeling, and J-cards
Cons:
larger upfront cost
more logistics (artwork templates, file prep, shipping)
minimum order quantities
Good for: 25+ tapes, releases you want to sell more widely, anything you want to look “finished.”
Step 6: Design the J-Card and Shell
Visuals matter. This is what people are actually holding.
Bare minimum:
front cover
spine with artist + title
back panel with track list, credits, maybe a URL
Nice-to-have:
inside art (lyrics, notes, weird collage, photos, thanks)
contact info / social handles
catalog number if you want to pretend you’re a label (you kind of are)
Keep the design legible. Tiny glitch fonts might look cool on screen and totally unreadable when printed 2 inches tall.
If you’re working with a duplicator, use their templates. If you’re DIY printing, test print before you commit to 40 slightly too-dark, impossible-to-fold J-cards.
Step 7: Figure Out Quantity and Budget
Be honest about your reach. You probably don’t need 200 tapes on the first go.
Questions to answer:
How many shows will you realistically play soon?
Do you have people online who actually buy things?
Are you okay sitting on leftover stock for a while?
Common starting ranges:
10–20 tapes: super limited, friends/heads only
25–50 tapes: solid small run for an underground release
75–100 tapes: for established local scene presence or multiple shows/tours
Price out:
blank or duplicated tapes
printing (J-cards, labels, stickers)
shipping materials if you’re mailing orders
any extras (download cards, inserts, etc.)
Then figure out a per-tape cost and a realistic retail price.
Step 8: Price Your Tape Without Undercutting Yourself
You’re not a major label. Don’t act like one.
Factor in:
your costs (materials, duplication, printing)
your time (design, assembly, packing orders)
platform fees (Bandcamp, etc.)
Don’t be afraid of:
$8–$12 for a nicely done tape
more if it’s special packaging or very limited
Underground listeners generally understand that tapes are handmade objects, not mass-produced trinkets. If they don’t, they’re not your crowd anyway.
Step 9: Decide How You’re Releasing It
Some options:
Bandcamp + Tape – classic combo: digital + physical together
Show-Only Tape – only sold at gigs, maybe no digital at all
Tape First, Digital Later – early access for the heads
Digital First, Tape as a Special Edition – for projects that already exist online
Think about timing:
Announce the tape when you have them in hand if you want to avoid delays.
Or do a short pre-order window if you’re trying to fund the duplication.
Step 10: Make the Release Feel Like Something
Even if you’re small, treat your tape like a real event.
Ideas:
post a short video of the tapes being dubbed or assembled
share a photo dump of the art, shells, and inserts
write a short note about why this project ended up on tape
trade tapes with other local artists or mail a few to people you respect
You’re not trying to “scale” a brand. You’re trying to build a small, real network of people who care.
Releasing your first cassette doesn’t require permission, a label, or a big audience. It just requires:
a finished project
some planning
willingness to deal with a bit of analog hassle
In return, you get something digital releases never really give you: a physical object that proves this music happened, in this moment, with these people.
That’s worth way more than another lost upload in a bottomless feed.
