Electronic & EDM, in practice
House, techno, drum and bass, garage, trance and festival EDM share tools and almost nothing else: different tempos, different rooms, different release cultures. Mazufa distributes across them, artists keep ownership of their masters, and access runs by invitation with human review rather than instant sign-up.
Tempos, rooms and regional scenes
House alone splits into deep, tech, melodic, Afro and organic strands with different tempos and different rooms. Techno runs from hypnotic and stripped to the faster, harder end that filled European clubs again in recent years. Drum and bass and its jungle and liquid branches sit at a separate tempo entirely, as do garage, bassline and the UK bass lineage. Trance and festival EDM are built for main stages and radio-length edits. Cities still shape the sound, from Berlin and Amsterdam to Detroit, Chicago, Bristol, London, Johannesburg and Rotterdam, and most producers work under more than one alias.
EPs, remix packs and label calendars
The unit here is the two-to-four-track EP, often with one or two remixes attached, released through a label with its own scheduling and promo cycle. Albums exist mainly for artists with a live show or a listening audience beyond the club. Promos circulate with DJs weeks ahead of release, so dates get locked early and moving them is disruptive. Remix packs give a record a second campaign months later, and edits and dubs keep it alive in sets. Build the schedule around the label and the promo window, subject to current availability and platform rules.
Versions, remixers and aliases
Version naming is metadata, not decoration. Use the bracketed conventions the scene already uses: Extended Mix, Radio Edit, Club Mix, and the remixer's name in the form Track Title followed by that artist's Remix in brackets. A remixer is credited as a remixer, not as a featured artist, and the original writers keep the composition. Vocalists need proper featured-artist credits and a written split rather than a thank-you in the description. Keep each alias as its own artist profile with its own catalogue, and never mix two aliases into one release.
Genre fields and where electronic surfaces
Streaming taxonomies keep a broad dance and electronic parent with sub-genres such as house, techno, drum and bass, trance and dubstep, which is coarser than the scene's own vocabulary. Download and DJ stores use much finer categories and often a separate sub-genre field, so the same record may need different tagging per destination. Key and BPM matter to DJ-facing stores and should be accurate. Editorial and algorithmic surfaces on services such as Spotify, Apple Music and Beatport work differently from each other, and no placement or editorial support can be promised anywhere.
Club masters, bootlegs and licensing
Club masters generally land around minus nine to minus seven LUFS integrated with the kick and sub kept mono below roughly 120 Hz, since a wide bass collapses on a large system. Extended mixes need usable DJ intros and outros, typically sixteen to thirty-two bars. An official remix requires stems and written permission from the rights holders, and the remixer is normally paid a fee or a share agreed in advance. Bootlegs and unofficial edits of other people's records cannot be distributed without those same permissions. Check sample-pack licences allow commercial release before you build a track on them.
Electronic & EDM questions
Can I distribute a bootleg or edit of a track I did not write?
Not without permission from the master owner and the publisher, which is exactly what makes it a bootleg rather than an official remix. Edits that circulate in sets and on DJ pools live in a grey area that stores do not share; delivering one usually ends in a takedown and can put your account at risk. If the record matters to you, ask the label for an official remix and get the permission in writing before you plan a release.
How should I name my mix versions?
Keep the base title clean and put the version in brackets after it: Extended Mix, Radio Edit, Club Mix, Dub, or the remixer's name followed by Remix. Use the same wording across every store and every destination. Do not put the version in the artist field, and do not stack two versions into one track. Consistent naming is what keeps DJ stores, streaming services and your own catalogue pages agreeing about what a record actually is.
How do I credit a remixer and a vocalist on the same release?
They occupy different roles. The remixer goes in the remixer credit and the version name; the vocalist goes in the featured artist field with their store profile linked. On splits, the remixer normally takes a fee or an agreed share of the new recording while the original writers keep the composition, and a vocalist who wrote the topline usually holds a publishing share. Put all of it in writing before delivery rather than after the first royalty statement.
Are the sounds in my sample pack cleared for release?
Usually yes for royalty-free packs, but read the licence rather than assuming. Some packs forbid use in a track sold as a sample library, some restrict vocal loops, and some are resold without the seller having the rights at all. Keep the licence file for every pack you use. An acapella or a loop taken from another artist's record is a different matter entirely and needs clearance from both the master owner and the publisher.
Which genre tag should I pick when stores are coarser than my scene?
Choose the closest parent the store offers, then use whatever finer field exists per destination rather than forcing one label everywhere. DJ-facing stores support detailed sub-genres, so tag those precisely and keep key and BPM accurate. On streaming, put scene detail in the pitch text where a person reads it. Tagging honestly is what you control; placement, editorial support and playlist inclusion cannot be promised by anyone.
I release under three aliases. How should that be set up?
Keep each alias as a separate artist profile with its own catalogue, so listener data and recommendations do not blur together. Deliver each release under one alias only, and use collaboration credits rather than merging names when two of your projects appear together. If you later want the aliases connected publicly, do it through profile links and credits rather than by retagging old releases, which disrupts existing links and listening history.