There was recently a blog posting by an NPR intern stating that she does not buy music.
“What I want is one massive Spotify-like catalog of music that will sync to my phone and various home entertainment devices. With this new universal database, everyone would have convenient access to everything that has ever been recorded, and performance royalties would be distributed based on play counts (hopefully with more money going back to the artist than the present model). All I require is the ability to listen to what I want, when I want and how I want it. Is that too much to ask?”
Now that CD sales have gone the way of Zima, the entire old school industry sits and wrings it hands around how/if it will make money in the new digital industry.
In the meantime, with the removal of the old industry middlemen, the new industry—the artist as record label/songwriter/publisher and performer—is making more money now than at any point in history.
But is the more money being made enough to sustain the world of artists?
We thought it would be pretty interesting to run some queries that identified the genres of releases being distributed by TuneCore Artists and then bought globally in the digital music services. We’ve put together a few graphs below to show you what we found…
In February, 2012 of this year we posted a blog article about the new money being generated for artists from Apple’s iTunes Match.
In its first three months of existence, it generated over $10,000 for TuneCore Artists, new money created from an innovative new service (you can learn more about iTunes Match here).
Now that a few more months have passed, and Apple has expanded iTunes Match into other countries outside of the U.S., we thought it would be cool to provide an update.
This is insane.
Before TuneCore launched its songwriter publishing administration service, over 99% of the world’s songwriters had no way to get all the royalties they earned from the use of their songs.
It sounds bizarre, absurd and impossible. After all, what sort of screwed up industry creates a structure that generates musicians hundreds of millions of dollars in royalties, but denies them a way to collect them?
There are a multitude of reasons to love Canada, but there are eleven in particular that musicians should take note of, and they all come from the Canadian performing rights organization, (PRO) SOCAN.
Although not perfect, SOCAN is a shining example of how a performing rights organization should work for songwriters. The rest of the world should sit up, take notice and follow its lead.