One of the most common questions we’re asked is: I’m already affiliated with ASCAP (or BMI or SESAC or SOCAN). Do you replace them? Do I need TuneCore Publishing Administration if I’m already affiliated with one of these Performing Rights Organizations?
The short answer to that question is: YES, you need BOTH!
So let’s dig a little deeper and explain why you need both…
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Peter Rogers Joins TuneCore Music Publishing Administration to Drive Synch Licensing Efforts.
TuneCore announced today the hiring of Peter Rogers to head its Music Publishing Administration in-house Creative. TuneCore Publishing Administration registers songwriter compositions with hundreds of global societies and digital stores, and then collects the revenue from the artists’ music downloads and streams in over 60 countries.
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We just added a new store for distribution: WiMP.
In case you’re only familiar with WiMP as a synonym for ‘coward’ or ‘scaredy cat,’ we’re talking about the music service available in Norway, Sweden, Denmark, Germany and Poland.
It’s a music service geared toward helping users discover new music, and it offers downloads (in Norway only) and streams (all territories).
Through local country editorial teams, WiMP provides daily recommendations, playlists and other artist features for their 350,000+ paid subscribers. They also work with local news and music media sources to integrate their content and give artists more opportunities for exposure.
WiMP is available on all popular devices, so you can find new music no matter where you are.
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TuneCore Artists are releasing tons of new music every day. Each week we check out the new TuneCore releases and choose a few at random to feature on the blog.
Is your hit next?
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Attention TuneCore Songwriters & Publishers!
We’d like to take the opportunity to highlight the differences between TuneCore Publishing Administration and a new service called CD Baby Pro. Here’s a chart to break it down for you:
(Click here for a larger view of the chart below)
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By George Howard
Copyright law, which governs much of the music business, attempts to strike a balance between the rights of the creator, and the common good. That is, the law grants copyright holders a set of exclusive rights, but only for a limited time. At the end of that time (currently, seventy years after the death of the last-living author in the US), the work falls out of copyright, and can then be used by anyone; thereby contributing to the common good…
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