A newspaper made for this one night — the room, the date, the set, the writing — a different edition for every stop. Every spread opens into a wall poster with real text on the back. Techno leaves almost nothing physical behind: no lyric sheet, no liner notes, no object. That is exactly the gap newsprint fills — the room, the date and the record of it, at poster scale. Run capped and numbered; when it sells out it is gone forever — scarcity is real and dated, so it carries a higher price point than a poster.
This should be an UPPERGROUND object, not tour merch — and that is the whole argument. Most of these rooms are promoter-run: Amnesia, [UNVRS], a Gärten night in a royal château. On those nights the merch table is not yours, which is precisely why the paper should carry your imprint rather than a tour logo. It is the one piece of the night that belongs to the label, sells through your channel, and outlives the set.
These are rooms of 1,200 to 10,000 — far bigger than the clubs where a 10% attach rate is normal. We have set the default at 3% of the room, the same rate we model for large-format techno, because 10% of [UNVRS] is a thousand papers on a night you are a guest. Drag it up if you think we are being timid; every figure follows.
Wide Open pays for everything — design, print, shipping. Costs recoup off the top, then the net splits 60/40 in the artist's favor. You write no checks and carry zero risk. ~$11,300 limited edition + ~$16,000 open edition — both are modelled below and every date is tickable.
You cover production at cost — ~$9,370 upfront across both products (print ~$5,400 + our design & production fee: $500 per stop on the limited, $1,000 flat on the open edition) — and keep everything else. It beats Structure 1 from the baseline up — push price or the % of the room and the whole upside is yours. Baseline is all six dates at 3% of the room, $30 a copy limited — 831 copies — plus a 1,385-copy open edition at $25. Drop a date and both figures move.
Every number is a lever — drag them and the whole run recalculates. Tick and untick dates to build any subset of the run. Capacities are published room sizes where we could verify them and marked estimates where we could not — true them and everything moves. Six standalone dates: four you headline, two you share.
Click any row to include or drop that date. Build the whole run, one city, or anything between — every figure above follows.
Tick a row to include it — true any capacity and every figure above follows. Festival dates are deliberately not modelled here: the crowd is passing through and the merch table is not yours, so Lovefest, Grape, Brunch Electronik, Le Touquet, EDC Colombia, AMF at the Johan Cruijff ArenA, Ultra Mexico, Dreamstate and Tomorrowland Thailand are all left off. They are the right stage for a paper only if the promoter buys the edition — a separate conversation we are happy to have. Fontainebleau and Bali capacities are our estimates; the rest are published or venue-verified.
Methodology per our standard model: hall fee on venue sales · 5% shrinkage & CC on venue gross · print costed on volume tiers · excludes sales tax.
One design for the whole run, printed once and sold at every stop. Not numbered, not dated to a night — it closes when the run closes and is never reprinted. One print run means the volume tier drops, so it costs less per copy and carries a lower ticket than the limited. On a run this size it is also the piece that survives the night the limited sells out in twenty minutes.
Same date list as Product A — tick rows in the table above and this recalculates too. Copies are spread across the selected stops in proportion to the room.
The open edition is the volume play: it prints cheaper, prices lower and travels the whole run. The limited is the scarcity play. Most runs carry both — the limited sells out early at the table, the open keeps selling after it is gone.
The artist newspaper has half a century of collector history — priced like art, not merch.