—:—:—until this record is gone
A new record every day, made of independent artists you have not heard of yet. At midnight it goes to the archive and a different set of artists takes its place.
10 tracks44:56 running time7 countries
Each ring is a track · tap one to play it
Everyone here is on the same record right now. The artists read this, and it stays with the record after midnight.
Pinning to — — your note marks the exact moment.
Awesome!
Every record that has left the front page. Each one keeps its running order, its sleeve notes and its room.
Ten tracks a day, ten artists who have never met, in a running order somebody sat down and got right. Your track is on the front page for twenty-four hours. The room closes at midnight; your page does not.
Five steps, about ten minutes. While we are invited only a placement costs nothing, and we would tell you long before that changed.
Not a playlist slot. A place in a running order of ten, between two other people, chosen so it lands.
Everyone subscribed gets the day’s record in their inbox on the morning it airs — every artist, every track, in the running order. The whole list, not a slice of it, and you are in it because you are on the record, not because of how well you did.
Up to three photographs, your words, the lyrics if you want them, and every link you have — unshortened and untracked.
Notes pinned to the exact second, from people who had never heard of you that morning. You keep them after the room closes.
Nothing is deleted at midnight. The record leaves the front page and the room closes — the music, the sleeve notes and your page stay up.
A non-exclusive licence for one record. Copyright, masters, publishing and distribution stay yours. Release the same track anywhere else the same day without telling us; withdraw it with seven days’ notice and it comes down.
Nothing from your streams, your sales or your publishing. No sync, no sub-licensing, and nothing trained on it.
No advertising, ever. Your links point away from us, and we do not sell what we know about the people who listened.
Almost every place that will take music from an artist nobody has heard of wants something for it. A cut, an exclusive, a rights window, your email address to sell on, or just your track parked in a playlist of ten thousand where no one will ever reach the end of it. We wanted to find out what is left if a place takes none of that.
The Flip publishes one record a day. Ten tracks, ten artists who have never met, in an order somebody sat down and got right. It is on the front page for twenty-four hours and then it is not. The ending is the point: a record that expires is a record people listen to all the way through, on the day, while it is still there.
Nothing is deleted at midnight. The record leaves the front page, the room closes, and your page, your words and the notes strangers pinned to your track stay up.
We are not a label, and we are not trying to become one.
You grant a non-exclusive licence to include one recording on one record, and to keep that record in the archive. That is the entire grant. Your copyright in the recording, your copyright in the words, your masters, your publishing and your distribution are untouched and stay yours.
You can release the same track anywhere else on the same day and you do not have to tell us. You can withdraw it with seven days’ notice and we take it down. There is no box in our form that signs any of this away, because we never built one.
If we ever want to do something with your recording that is not put it on one record and leave it in the archive, we will email and ask, and no is a complete answer that costs you nothing.
While The Flip is invited only, a placement costs nothing. There is no charge on any of the first records, and nobody will be asked for one without being told first. What follows is how it will work when it opens.
We do not make money from your music. No advertising, no cut of your streams or sales, no sub-licensing, no data sold to anyone.
What we charge for is a placement: a position in a running order, held for a specific date. It pays for hosting, for levelling every track to a common loudness, and for the people who listen to every submission and sequence the records. It does not buy a better position, a kinder listen, or anything a free placement would not get.
We would rather say this plainly than bury it. Yes, you pay to be on a record. No, we are not taking a piece of your music. Those are different things, and the difference is the whole business. If we decline your track, you are refunded in full the same day.
And if the fee is the reason. If the placement fee is what is stopping you from sending us this, write to hello@theflip.me and say so. We will put you on a record when we have a position for it. We will not ask you to prove anything, we will not ask what you earn, and it will not be a worse position or a slower listen than anybody else’s. Listeners pay for those positions, and some months there are more of them than others — that is the only reason we would ever say not yet.
If you look after an artist: there is nothing here that should trouble an existing deal. The licence is non-exclusive, it covers one record, it can be withdrawn in seven days, and it does not touch a distribution agreement or a publishing split. If you would rather we heard it from you than from them, write to hello@theflip.me and we will deal with you instead.
If you want to work with us: we are interested in anything that helps ten strangers a day get heard, and not interested in anything that requires us to take a piece of an artist to do it. Same address.
While placements are free there is nothing to refund. This is what will happen once they are paid.
We do not decline for taste in a way that costs you money. If a track is good and simply does not belong on the date you booked, we offer you another date or your money back, whichever you prefer.
This is a plain-language summary of how we behave, written so it can actually be read. It is not the contract. The Terms are the binding version, and where the two ever disagree, the Terms win.
Rights & takedownsTermsPrivacytheflip.me
One record a day, ten musicians who have never met, and a front that somebody drew rather than a machine generated. Yours goes out with it, in the archive and in the morning email, with your name beside theirs.
Three steps, about five minutes. Nothing is charged and nothing is paid — see the money, which says so at more length and says what we have not worked out.
Not a thumbnail in a feed. The first thing on the page, the square in the archive, and the image at the top of the email that goes out that morning.
Ten artists are named on a record. You are the eleventh, in the same type as the rest of them, not in small print at the bottom — and linked to your own page rather than credited into thin air.
Every address you give us, unshortened and untracked, pointing away from us. We do not put a redirect in the middle to count who clicked.
Nothing is deleted at midnight. The record leaves the front page and the room closes; the picture stays on it, in the archive, with your name on it.
The sentence you write for anyone who cannot see the picture is printed as you wrote it. Nobody else describes your work for you.
A non-exclusive licence for one record's front and the archive. Sell it as a print, licence it to somebody else tomorrow, put it in your portfolio — none of that needs asking us. Withdraw it with seven days’ notice and it comes down.
Nothing from anything else you do with it, ever. No sub-licensing, no merchandise, no stock library, no reselling it to a brand — and nothing of yours goes into training a model, which is the promise this whole page is built around.
No advertising, ever. Your links point away from us, and we do not sell what we know about the people who looked.
A record used to have a front, and somebody drew it. It was the first thing you saw, it was the reason you picked the thing up, and the person who made it was named on the back. Almost none of that survived the move to a screen. What a record has now is a thumbnail — and increasingly a thumbnail generated in four seconds by a machine trained on people who were never asked and are not being paid.
We are not going to do that. Nothing on this site is generated and nothing here ever will be. When nobody has drawn a cover, the record draws its own out of the lengths of its ten tracks — a different pattern every day, made from the music that is actually on it. That is not a placeholder and it is not pretending to be a picture. It is the honest answer to having no picture.
A record with somebody’s work on the front is a different object, and that is what this page is for. Ten musicians are named on every record. The person who drew the thing everybody looked at first should be the eleventh.
You grant a non-exclusive licence to put one picture on the front of one record, to keep it there in the archive, and to show it in the email that goes out the morning that record airs. That is the entire grant. The copyright is yours and stays yours.
Sell it as a print. Put it in your portfolio. Licence it to somebody else tomorrow, for anything, without telling us. Use it as the cover of your own record. None of that needs our permission, because none of it is ours.
You can withdraw it with seven days’ notice and we take it down. What we cannot do is un-send an email or un-publish a day that has already happened — a record that has aired went out to everybody subscribed, with the front of it at the top, and that letter is in their inbox. Everything on the site comes down.
If we ever want to do something with your picture that is not put it on one record and leave it in the archive, we will email and ask, and no is a complete answer that costs you nothing. That includes anything printed, anything sold, and anything to do with training a model.
Right now a sleeve costs nothing and earns nothing, and we would rather say that plainly than dress it up. Nobody has paid us for one and we have not paid anybody for one.
We do not think that is the right permanent answer. A record’s front is not a favour, and a site that is built on not taking a piece of what artists make cannot turn around and expect illustrators to work for the exposure. What we have not settled is which way the money should go, or how much, or whether it is a fee, a licence or a commission. Every version we have argued through has something wrong with it, and we would rather leave it open than announce a number we would take back in a month.
So here is what we will commit to instead. Nobody will be charged anything, and nobody will be paid anything, without being told first. If it changes, we will write to everybody who has sent us a sleeve before it changes, not after — including anyone whose work we have already used. A picture you sent under these terms stays under these terms.
And everything on the other side of this page is already settled: no advertising, no cut of anything else you do, no sub-licensing, nothing sold on, nothing trained on. Those do not depend on the money question, and they are not going to move whichever way it lands.
A phone photograph of something you painted is a picture. So is a scan, a screenshot of your own work, and something drawn on the back of an envelope. None of that is what the bar is about.
You do not book a date, and that is the one place this page is different from the one for musicians. A track is sent for a particular day, because a record is ten tracks in an order somebody sat down and got right and the order is the work. A cover is not chosen against a date — it is chosen against a record, once that record exists, out of everything we have.
So a sleeve sits on the desk until a record turns up that it belongs on. That might be a fortnight and it might be six months, and it is not a queue: we are not working through you in order and there is no position to lose by waiting. When somebody is putting a record together they look at all of it at once.
A person looks at every one that arrives, and you hear back either way. If it is used, we write and tell you which record and which day, before it goes out. If we cannot use it we say so rather than leaving you wondering, and we delete the file — we are not keeping a stranger’s work on a server after saying no to it.
We do not decline for taste in a way that costs you anything, because there is nothing here to cost. A picture we do not use is a picture that did not land on a record, and you are free to do anything you like with it — you always were.
This is a plain-language summary of how we behave, written so it can actually be read. It is not the contract. The Terms are the binding version, and where the two ever disagree, the Terms win.
Rights & takedownsTermsPrivacyDrawn by peopletheflip.me
A record is on the front page for twenty-four hours and then it is not. Nothing is deleted — it moves to the archive — but if you were not here that day you will not know it happened. There are two ways to be told.
One email when the record flips at midnight UTC — every artist, every track, in the running order. It goes to the whole list, not a part of it.
One a day and nothing else. We do not sell the list, rent it, or put tracking pixels in the mail. Leaving takes one click, in every email.
A record should not be missing somebody because of what a position costs. When the fee is the reason, we cover it, and nobody is asked to prove anything.
Not an artist — a position. Your money keeps a place open for somebody the fee would otherwise have stopped. It goes into the same account as the hosting, the levelling and the people who listen, and the given positions come out of it; we will not claim it became one particular place on one particular record, because accounts do not work that way. Every month we publish how many were given and what they cost.
We choose who gets them, from the submissions we would otherwise have turned away. A position bought toward a particular artist would be a favour, and a record made of favours is not worth listening to.
The cost of one placement, credited to your name on the records it helps pay for.
Somewhere to keep the notes you pinned and to change what we send you. There is no profile, no followers, no feed, and nobody can see what you listened to.
There is no password. You give us an address, we send a link, and following it signs you in — so there is nothing to register and nothing to forget. If you have never been here before, the same link makes the account.