싱글 발매 준비: 일정표와 체크리스트

What you need to know

Source scope: Pitching music to Spotify playlist editors; Getting music on Release Radar. Platform-, provider-, and territory-specific statements below are scoped to these 2026-07-11 checks and the complete bibliography.

A release plan is a dependency map, not a countdown copied from another artist. Start with the outcome and the people responsible for it. Then work backward through audio, rights, metadata, distribution, profile, pitching, content, events, commerce, quality assurance, launch-day decisions, and follow-through. A useful plan tells the team what must be true before the next task can start, who can approve a change, and where the current rule came from.

The timeline in this guide is a planning frame. Confirm actual delivery, edit, and pitch deadlines with your distributor and each platform; they may change and may differ by territory. Build margin around the rules you verify instead of treating a week label as a promise from a store.

This guide is for an independent artist, band, or manager releasing one new recording. It assumes you control or have permission to use the master, artwork, lyrics, name, and promotional assets. It does not replace advice from a lawyer, accountant, rights organization, distributor, or platform. If ownership, splits, samples, contracts, or territorial rights are unclear, stop that dependency and get qualified help before delivery.

Step 1: define the release outcome and decision path

Write one sentence describing what this release should accomplish. “Release the song” is an output, not an outcome. A clearer outcome might be to reintroduce the artist before a show, give existing listeners a reason to join a direct channel, test a new arrangement with the current audience, or create a credible starting point for booking conversations. The outcome shapes the assets and measures you need.

Choose a target date only after listing the dependencies. Record the territory, release type, version name, budget boundary, and team capacity. A global digital release, a Japan-focused campaign, a live version, and a release tied to a venue date can share tasks while still requiring different provider rules and approvals.

Assign four kinds of responsibility:

• Owner: completes the task and reports its state.
• Approver: accepts the final output or requests a change.
• Consulted person: supplies specialist input, such as rights or venue information.
• Incident owner: makes the time-sensitive call if a link, asset, ticket, or scheduled action fails.

If one person holds every role, write that down anyway. The value is the decision path, not the size of the team. Set a budget ceiling and an approval rule before spend begins. Select a small measurement set connected to the outcome: completed profile updates, working links, direct fan contacts with consent, event responses, ticket status, or content interactions. Streams and follower counts can be context, but they do not describe every useful relationship.

Step 2: finish audio, rights, credits, and identifiers

Treat the final master as an upstream dependency. Confirm the exact file, version title, clean or explicit status, and playback checks on more than one system. Keep a stable checksum or an unambiguous filename so nobody uploads an earlier bounce by mistake. If instrumental, radio, spatial, karaoke, or alternate masters exist, decide whether they belong in this release rather than attaching them automatically.

Create a contributor record from source documents, not memory. Include the performers, writers, producers, engineers, featured artists, and any other credit your distributor requests. Confirm spelling, capitalization, stage names, roles, and the distinction between the composition and sound recording. Record split or permission status privately. Do not publish contract details in a campaign document.

Review samples, interpolations, cover-song handling, artwork licenses, fonts, logos, photography permissions, and likeness approvals. Requirements depend on territory and use. This guide cannot decide clearance. It can make the unresolved question visible and block delivery until the right person resolves it.

Prepare lyrics from the final recording, including language and explicit-content status where requested. Confirm identifiers with the distributor or relevant issuing body. Never invent an ISRC, UPC, or rights-owner value. Preserve identifiers for an existing recording when the applicable provider workflow calls for it; verify that workflow with the provider rather than relying on a generic rule.

Step 3: lock metadata and artwork

Build a single approved metadata sheet. It should contain the primary artist name, featured artists, release and track titles, version information, language, genre choices, release date and time where configurable, credits, copyright lines, identifiers, and territory choices. Record which fields are provider-facing and which are public-facing. Use the spelling already associated with the artist profile unless an intentional identity change is being managed.

Check artwork against the selected distributor’s current specifications. Beyond dimensions and file format, inspect small-screen legibility, rights, credits, explicit imagery, text, logos, and whether the image still represents the music after final changes. Keep a press-quality image set separate from store cover art; recipients may need landscape, portrait, and square assets with photographer credits.

Use a change log once the package is approved. A late correction can touch delivery, profiles, pre-release links, pitch copy, scheduled posts, ticket pages, and press messages. The approver should see the affected surfaces before accepting the change.

Step 4: choose a distributor and verify current rules

Select a distributor based on the needs of this release: supported territories and stores, account access, credits and metadata handling, delivery and change procedures, payout and reporting arrangements, support, and any release-date controls you require. Compare current official documentation and the agreement attached to your account. A distributor article describing its own delivery estimate is not a universal store deadline.

Before submitting, capture the official page and access date for:

1. delivery guidance for the intended stores and territories;
2. future release-date behavior;
3. edit, takedown, replacement, and resubmission rules;
4. identifier and version handling;
5. lyrics, credits, and artwork requirements;
6. support or escalation routes.

Recheck the live source at the point of delivery. DistroKid, TuneCore, CD Baby, and other distributors describe their own workflows, and those workflows can change. The platform may also apply a separate eligibility or pitching rule. If sources disagree, follow the rules for the account and destination you are actually using and ask the provider for clarification.

How far in advance should you plan?

Work backward from dependencies and verified provider rules, then add time for review and correction. The phase labels below help sequence work; they are not store commitments. A team with a finished master and simple campaign may need a different frame from a team clearing artwork, coordinating a venue, or preparing territory variants.

Confirm actual delivery, edit, and pitch deadlines with your distributor and platform; they may change and may differ by territory. Put each verified rule next to the task it controls. Label it platform-specific, distributor-specific, or territory-specific, including the source and access date.

Where an editorial pitch is available, confirm eligibility and required timing in the platform’s current artist documentation. A submission is an opportunity to supply accurate context, not a placement promise. Finish the music and metadata first, write a concise truthful pitch, identify the relevant audience and context, and retain a copy of what was submitted.

Step 5: prepare the artist profile and living EPK

Your public profile should give a listener, booker, journalist, venue, or collaborator a current source of truth. Update the concise bio, genres and context, music and video links, press-quality images with credits, events, contact route, and the most relevant verified highlights. Remove expired dates, broken embeds, and claims you cannot support.

Test the profile signed out, on mobile, and on a slower connection. Confirm that music and video providers render, images are usable with permission, links land on the intended locale or territory where relevant, and the contact route reaches an owner. If a recipient needs a stage plot, technical rider, private link, one-sheet, or downloadable assets, provide them through an appropriate recipient-specific method. Do not assume the public profile includes every supplemental tool.

Create one short release description and one longer context note, then adapt them to the recipient rather than copying a biography everywhere. Keep the core facts aligned across the distributor, profile, pitch, press message, event, and social content.

Step 6: build the content, social, and fan plan

Plan content by purpose, not by filling every channel. A release sequence can introduce the context, reveal part of the work, invite an action, support launch-day discovery, explain a detail after release, and reconnect the song to an event or fan conversation. Decide what each item helps the audience understand or do.

For every item, record the format, asset, caption owner, channel, publish window, approval state, link, accessibility needs, and response owner. Verify which channels can be scheduled or acted on by the tools you use. Keep an approval point before any public action, especially when an AI system drafts or prepares it.

A direct-fan action should be voluntary and clear. Ask for an email, membership, event response, or fan task only with an understandable benefit and appropriate consent. If you run a bounty or affiliate campaign, name the reward category, qualifying action, campaign owner, budget or inventory boundary, disclosure requirement, and validation method. Bounty rewards, affiliate earnings, loyalty points, and BANDS are different records; do not describe them as one interchangeable balance or imply earnings.

Build response capacity into the plan. Someone should answer genuine questions, acknowledge useful fan contributions, correct broken information, and escalate rights, safety, payment, or venue issues. Promotion is a conversation and an operating process, not only a schedule.

Step 7: connect a release show when it serves the outcome

A release event is optional. If it advances the release outcome, align the artist, manager, promoter, and venue on the event record, onsale window, capacity or inventory, ticket tiers, fees and refund terms, settlement responsibility, accessibility, door operations, support, and escalation. These conditions vary by venue, provider, and territory; use the applicable agreement and current ticketing terms.

Decide how the song appears in the show and how the show continues the relationship. Prepare the event page, truthful ticket descriptions, QR destination, merchandise or offer, content capture permissions, and a follow-up route. Test the QR at the intended print size and lighting conditions. Make sure it points to a durable page owned by the campaign, not a temporary preview.

For a Japanese live-house context, confirm local booking, ticket reservation, quota, door, drink, settlement, and rights-handling practices directly with the venue and relevant organizations. Do not translate a US venue assumption into a Japanese rule. The Japan live-house promotion guide treats that operating context separately.

Step 8: run quality assurance before activation

Use a second person or a deliberate second pass. Test the exact public paths, not internal previews. Review:

• audio version, title, artist mapping, credits, lyrics, identifiers, artwork, and explicit status;
• distributor submission state and the currently verified change path;
• artist profile, embeds, share image, social and streaming links, and contact route;
• pre-release or release links where supported, including signed-out and mobile behavior;
• event date, time zone, venue, ticket tiers, inventory, fees, terms, QR, merch, and support;
• scheduled content, captions, alt text, links, approval state, and channel permissions;
• contributor, press, partner, and fan communications;
• owners, backups, monitoring window, incident channel, and stop conditions.

Read every date with its time zone. Verify permissions from the account that will execute the action. Confirm mobile layouts and asset crops. Open links outside the team’s logged-in sessions. If a ticket, commerce, or scheduled action cannot be tested safely in production, document the closest valid test and the launch-day verification step.

Hold a short go/no-go review. “Go” means critical dependencies are confirmed and the incident owner accepts the remaining known risks. “No-go” means a rights, master, identity, delivery, payment, safety, or essential-link problem is unresolved. A date should not silently overrule a blocking issue.

Step 9: use a release-day runbook

Write the runbook before launch. It should name the monitoring window, owner, backup, communication channel, expected public state, checks, approval points, and escalation route. Keep it short enough to use under pressure.

At launch, verify the intended recording and artist mapping in each priority destination, the public profile, the canonical release link, events and tickets, scheduled content, QR destinations, and support route. Record observed state rather than assuming every provider updates at the same moment. If one destination is delayed, communicate only what is confirmed; do not declare a platform-wide incident from a single account view.

Publish prepared communications only after their dependencies are true. An AI agent may prepare a draft or tool action, but the named person reviews audience, account, copy, link, timing, and cost before approval. Pause scheduled actions if the destination is wrong or a rights, safety, brand, or payment issue appears.

Respond to listeners and partners with useful context. Capture recurring questions for the profile or follow-up content. Preserve screenshots or logs needed for a provider support case without exposing customer or account secrets.

Step 10: continue at T+1, T+7, and T+30

At T+1, confirm that the priority links still work, resolve launch incidents, thank contributors, respond to fans, and publish only the follow-up items whose context is now true. Update the public profile if the release state or event information changed.

At T+7, look at the measures chosen in Step 1. Compare channels and actions without pretending correlation proves cause. Which message brought meaningful replies? Which profile path worked? Which event or fan action created an ongoing relationship? Which asset or approval became a bottleneck? Continue the material that helps the audience and stop low-value repetition.

At T+30, hold a retrospective. Record what to preserve, change, test, or retire for the next release. Reconcile campaign budgets and provider records, close or extend fan campaigns intentionally, update catalogue and EPK material, archive superseded assets, and assign the next review. The release becomes useful operational knowledge only when the team writes down what it learned.

Common mistakes

Treating one provider’s estimate as universal. Put the provider and access date beside every timing rule. Recheck before submission.

Changing an upstream asset without tracing its effects. Use the change log to find metadata, links, pitches, posts, events, and press material that depend on it.

Missing or inconsistent credits. Build the contributor record early and approve the exact public spelling.

Launching without a current profile or contact route. Give people a credible place to understand the artist and take a next step.

Over-automating public actions. Automate preparation and repetition where useful, while keeping human approval for audience, account, copy, rights, timing, and spend.

Stopping on release day. Reserve capacity for response, follow-up, measurement, and the next decision.

Printable owner/date checklist

Print this section or copy it into the team’s operating document. Every item has an owner and due-date field; add a source or evidence link wherever a provider rule controls it.

Strategy

• Outcome and audience defined — Owner: __ Due: __
• Target date, territory, budget boundary, and measures approved — Owner: __ Due: __
• Task owners, approvers, backups, and incident owner named — Owner: __ Due: __

Audio and rights

• Final master and version confirmed on multiple playback systems — Owner: __ Due: __
• Contributors, credits, permissions, splits, lyrics, and explicit status reviewed — Owner: __ Due: __
• Samples, covers, artwork, fonts, photography, and likeness questions resolved or escalated — Owner: __ Due: __

Metadata and artwork

• Titles, versions, artist names, genres, credits, copyright lines, and identifiers approved — Owner: __ Due: __
• Artwork meets the selected provider’s current requirements and rights are recorded — Owner: __ Due: __
• Press images and credits prepared in useful crops — Owner: __ Due: __

Distribution

• Provider account, territories, destinations, and release controls selected — Owner: __ Due: __
• Current delivery, edit, takedown, identifier, and support rules captured from official sources — Owner: __ Due: __
• Submission checked and state recorded — Owner: __ Due: __

Profile and living EPK

• Bio, imagery, credits, genres, music/video, events, links, and contact route current — Owner: __ Due: __
• Signed-out, mobile, embed, share-image, and contact tests passed — Owner: __ Due: __
• Recipient-specific private assets supplied through an appropriate route — Owner: __ Due: __

Press and pitching

• Recipient list, angle, accurate facts, and assets approved — Owner: __ Due: __
• Current platform or distributor eligibility and timing verified — Owner: __ Due: __
• Pitch, outreach, and follow-up owners assigned without outcome promises — Owner: __ Due: __

Content, social, and fans

• Purpose, channel, asset, copy, accessibility, timing, link, and approval set for each item — Owner: __ Due: __
• Fan action, consent, reward category, campaign boundary, and validation are clear — Owner: __ Due: __
• Response and escalation capacity assigned — Owner: __ Due: __

Event and commerce

• Venue roles, event data, ticket inventory/tiers, fees, terms, and support confirmed — Owner: __ Due: __
• QR destination, merch, inventory, payment, and mobile behavior tested — Owner: __ Due: __
• Day-of and follow-up responsibilities accepted — Owner: __ Due: __

Quality assurance

• Mobile/desktop, links, spelling, dates, time zones, permissions, and scheduled actions checked — Owner: __ Due: __
• Go/no-go review completed and known risks accepted — Owner: __ Due: __
• Launch runbook, backup, monitoring, stop conditions, and escalation ready — Owner: __ Due: __

Launch and post-release

• T-0 public-state checks and communications completed — Owner: __ Due: __
• T+1 incident resolution and fan/partner response completed — Owner: __ Due: __
• T+7 measure review and content decision completed — Owner: __ Due: __
• T+30 retrospective, reconciliation, profile update, and next review assigned — Owner: __ Due: __

How Bandruption can help

Bandruption can support the operational parts of this plan without replacing the decision owner. First, create or update the artist profile as the living EPK. In the agent command center, ask for a release plan scoped to the correct artist entity. Review the proposed plan, then approve verified actions individually—for example an event or venue record, ticket tiers, merch, a fan bounty or affiliate campaign, and a supported social action. Check the stated BANDS cost or other terms before approving an action; the product always shows the current price, so never rely on a number copied into a guide.

Use the resulting event, commerce, social, and fan activity to inform the T+7 and T+30 review. The human owner remains responsible for rights, audience, account, copy, timing, brand, safety, and spend. If command-center access or a named action cannot be reverified, omit that step and use the artist profile workflow instead.

The practical next step is to finish the strategy section of the checklist, then review the current Music Pro workflow only if you want one place to coordinate the approved tasks.