SUPERFANS

PREMIUM PLANS (write to us for the following):
It's for businesses/brands/entities. If you're an individual instead, please write to us and tell us what we can do for you. We'd be happy to explore in lieu with our internal documents/policies on this. Let's chat. Drop us a mail to, go to Contact.

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OUR PATRONS (updated monthly, with consent):

1. Rahul Rao: 1 plan each for Tanha, Sau Baar and Tere Muqable
2. Kausthub Sekhar: 1 plan for Tanha

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WHAT YOUR FANDOM/PATRONAGE CAN DO:

This cap and value could be modified in the future as we grow and gain more patrons.
 

A. NOT EVERYTHING, BUT SOMETHING!

To begin with, Srijit Bhowmick has set a low-target of INR 20,000 per quarter/single. It involves the following costs partially covered for every single (listed on the basis of priority):
 

• studio-related production processes (recording, mixing, mastering) 

• fees of session musicians (and/or of co-production, if applicable)

• music artwork (cover art of a song involving photos/designs/illustrations)

• music distribution & licensing and jam-room rehearsal expenses 

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OVERHEADS: It is still loss-making due to many other overheads: travel-expenses per single (30 days per song for various production activities), concessions on real rates & missed income opportunities of the crew (throughout the supply line) to work with Srijit Bhowmick because of their love for his/good original music.

It also doesn't cover the rent, bills, personal expenses, payments and/or the taxes of Srijit Bhowmick, taken care of through other business engagements/means outside of his independent original singer-songwriter music. This revenue just about allows Srijit Bhowmick to, at the bare minimum, pay them their discounted/concessional fees, get them onboard and put the product (his music and maybe, some related content/activities) out.

MULTIPLE ROLES:

It also involves Srijit Bhowmick working on multiple roles & responsibilities (to cut down the losses and squeeze more out of the limited funds), for music production and all other music-related activities, as usual.

Like for Lifafon Mein's music video (out now), Srijit Bhowmick is the producer, scriptwriter, actor, director, did the storyboarding, did the editing to an extent, gotten friends/acquaintances onboard to act and done pretty much everything by himself while hiring a videographer to help shoot & edit (esp, color grading).

Other than singing the songs he writes the song (composes the tune, writes the lyrics, builds the rhythmic backbone), plays the guitars, arranges and produces his music, edits, engineers, scouts & hires talents, is an art director for all his releases so far whether for conceptual photoshoots or sketches shared with the illustrator(s), tries his best to do the PR, built this website, books gigs, tours, talks to countless people, everything possibly imaginable. With subscription plans, it'll involve even more roles and responsibilities (which often comes with the baggage of developing newer skills to do tasks that otherwise costs capital)such as maintaining records, communication with contributors (mails, texts, calls), writing Press Release and Music Pitches and much more.

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B. SELF-PRODUCED: THE SONG AND A MUSIC VIDEO!

A bare-minimum target of INR 40,000 per quarter/single raised from subscription payments. With this, Srijit Bhowmick can partially cover the production expenses of one song, as stated above (at the top) and additionally, may also deliver:

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• a indie self-produced music videos of decent quality & storyline 
   

C. SOME MORE VISUAL CONTENT & A TOUR!

With INR 60,000 per quarter/single raised from subscription payments, every song may additionally get some of the following, if not all:
 

• Marketing assets like: a better music video or some more audio-visual content and/or  putting together a small multi-city tour 

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D. CHANCES FOR SOME GOOD CONVERSIONS AND GROWTH:

With INR 1 Lakh per quarter/single (let's be real, this is a little too ambitious at this stage), every song can additionally get:
 

• Better or more marketing assets like: a KICKASS music video, some more audio-visual content, putting together a small multi-city tour, small ads and/or influencer marketing
   

NOTE: All this and even more is what a music label/entity does (alongside organizational expertise, legal expertise, network and so forth that money simply can't buy - like an investment firm, VC, independent investors and others in the startup world) that allows artists to push their music out there. Thus, allowing an artist brand to get actual conversions (metrics, bookings and other inquiries and more payments for his goods, experiences and services, so on) via recurring live shows, content, ads, marketing and other activities. This, in turn, pushes the demand and allows him to stay in the news, ride the wave/carry the momentum, keep churning out new music and new audio-visual content that engages and excites the older fans while enticing and attracting the newer/yet-to-be fans. It leads to that pivotal ripple effect on an upward spiral creating recurring growth. It can break-even or be profit-making via all that and more (such as publishing and other ways of exploiting a song's potential for returns) such that there's that growth which music companies such as labels and management aspire for or actualize, that allows for profits and self-sustainability in 1-3 years (as they additionally have a huge network for better exploitation of releases at the highest echelons of the industry, years of experience, an organizational structure and team, and better familiarity with music business work).