TuneCorner

My experience with Jango Airplay by Taylor Simons

Taylor Simons is the director of Customer Support and Solutions.

I first tried out Jango Airplay back in April when I first heard about the service. I used my colleague’s group OMG!Michelle to create a free account since I am not in a band myself. The upload process was super easy and I didn’t have to make any changes or conversions to the MP3 I uploaded. I first purchased 1,000 guaranteed plays and found it pretty thrilling to watch the play count rise over the first few days.

The songs I uploaded were quickly being played side by side with songs from OutKast, Beyonce, Kid Sister, Usher, Snoop Dogg and tons of other legendary artists. I then started to receive comments on my band page like, “Do you have a my space??? I wanna collab on a track wit you if possible. I like your style :] hit me up!!!” from a user in Lompoc, CA. And “Stupid Song….” From Ralnesha in Roanoke, VA.

Hey, it's all feedback, I just may not be booking a gig for OMG!Michelle in Roanoke anytime soon!

I bought another 1,000 the second my first thousand ran dry. So with a total of 2,000 purchased plays, to date I have received 40 comments and acquired 46 fans with an extra 297 free plays coming from general rotation. What I found really cool was that the fans were coming from OMG!Michelle’s hometown, NYC, Cali, Europe, South Africa and more!

What’s even better is that Jango gives me a way to e-mail each fan directly from my Jango Airplay account. Jango also does a great job of providing you with reports by gender/age and which other artists your fans listen to. (See below).

All of this is really helpful because you can request that your song be played on stations that those relevant artists are played on as well. You can also target fans by geography, which may be a great tool for getting some extra promotion around your tour dates.

In addition, Jango provides you with an artist page that allows you to upload pictures and a bio and permits listeners to leave you comments. There are many other cool features with Jango such as targeting fans by gender, age and more. Take advantage of our great relationship with Jango by purchasing guaranteed airplay at heavily discounted rates.

My one complaint about Jango Airplay is that I personally find it to be a bit addictive and they have yet to include a “Got an Airplay addiction? Call this toll free number” on their site; so purchase plays at your own risk…

Jeff Price's Article in the Huffington Post

Here is the full text of TuneCore President Jeff Price's article that appeared in the first week of January, 2009's Huffington Post. Read it and reap. --Peter

From MTV to YouTube: When the Net Pays Everyone But the Musician

In 1996, taped to the wall of my now defunct record label spinART Records’ 800 square-foot, four-ikea-desk-loaded-with-unsold-CD-and-vinyl office was a $1 check from MTV. I fought hard for that stupid check. MTV wanted to use a song called “Supermerica” by a band called Poole that I released. Usually TV shows pay good money for the use of a song, but not MTV-- they required labels to allow them to use the music for free in their TV shows when you submitted a music video to be considered for programming on their network. I still don’t know why they even bothered saying they would pay a dollar. It really pissed me off. I had fronted money and worked my heart out along with the band to promote, market, manufacture and release their album and along comes a multi-national billion dollar media corporation and demands to be able to use the music for a stinking dollar. I refused to do it. The music had value to me, it was the thing we sold and the thing the band made the majority of their money off of. I could not just give it up for free. But, Harry (lead singer of Poole) convinced me to let MTV have it in anticipation of the promotional value they might get out of it. The show aired, the song appeared in the background for about 30 seconds, the show ended, MTV made money from the advertisers and the song was not mentioned anywhere. This was the way it worked. The labels fed MTV free music and videos and in return hoped to get their videos aired which in turn would drive huge music sales. And MTV made a fortune off the advertising.

And this is more or less why Warner Music recently demanded that all its videos and music be removed from YouTube. Warner previously granted YouTube the legal rights to use its content and YouTube generated a lot of money from it via advertising. Now Warner wants to be paid more by YouTube. If the Google-owned YouTube does not comply, it opens itself up to potentially tens of millions of dollars in copyright infringement fines. Universal did this same thing successfully some time ago.

When media giants fight over music, you know it has to be valuable. Looking, listening and occasionally buying a “good” song drives revenue, tremendous web traffic and generates big advertising dollars. I can kind of understand Warner’s point, but as music sales drop and the multi-national, billion dollar media giants wrestle, lobby congress and sue each other for new income streams the musician seems to be getting lost in the shuffle, and that’s a huge mistake. Creating a new revenue sharing model that focuses on allowing artists to generate enough money to continue creating music would be a win for everyone. After all, it is the music that is fueling the entire machine.

The union of music and advertising goes back decades, but it seemed to reach a new level with the launch of MTV. MTV broadcast free “TV shows” from the labels in the form of music videos. These videos brought viewers allowing MTV to charge money to advertise on its network. In return for the free videos, the labels and artists received promotion. Artists became more famous which in turn allowed labels to make more money from music sales (there were other income streams as well like money from gigs, but the labels only participated in revenue that came from the sale or license of the music). This symbiotic relationship worked very well as long as all involved made their fair share of money.

However, after over two decades of a steady annual increase in music sales generating enough revenue to feed the record industry, music sales plummeted. At about the same time, advertising revenue from music went through the roof. Internet companies made money off music via venture capital investments, going public and getting acquired for a billion dollars. And this is the crux of the problem, music is being used for profit but not everyone is getting a piece of the pie.

Music sales plummeted with broadband proliferation and the mass adoption of the Internet, MP3s, compression technology, peer to peer file sharing, instant messaging of files, email attachments, torrents and other on-line distribution vehicles. The labels found themselves wondering why they should continue to provide their music and videos for free if the channels/sites they gave them to were reaping a disproportionate financial benefit. Labels would not have given MTV free music videos in the 80’s if MTV made money off the videos but the labels did not. (Imagine ABC getting the TV show “Lost” for free, then broadcasting it and keeping all the advertising revenue.)

Move ahead in time to the launch of the original peer-to-peer music file sharing software Napster allowing anyone to get any song at any time for free. Tens of millions of users provided Napster a huge “viewing audience” that it could reach via its “channel.” Unlike MTV, most labels and artists did not give Napster permission to use their music. The one area where value could have been created – music sales from discovery – was made irrelevant by allowing users to get the songs for free. To add insult to injury, despite Napster raising almost 100 million dollars and then being bought for 8 million the artists and labels were not paid anything (some would even suggest they lost money due to pirating).

The money that labels did make came from suing Napster and getting paid settlements for copyright infringement; the artists got nothing.

Over time social networking sites began to pop up and MTV moved on to showing its own TV shows (why not, they now had their own built in audience). Bands began to use these sites to get heard, discovered and to collect fans. Music lovers flocked to the sites, web traffic went up and the social networking sites began to charge advertisers for banner ads based on the “eyeballs” they were getting (for a website, any friend of the band is a friend of theirs). Once again it was the bands’ and labels’ content driving the audience, and once again someone else was making money off the music without an equitable inclusion of the labels and bands in the equation.

Which brings us back to Warner demanding that YouTube take down its content until it receives what it perceives to be its fair share of revenue. Following Google’s one billion dollar acquisition, YouTube is not yet profitable and suggests it cannot give up even more of its advertising revenue. Labels contend that this is really not their problem and need to be paid more for the use of their “products.” Unfortunately, advertisers are not paying the same sort of rates for online exposure as for TV and radio airtime, and there is not enough money to go around. And the artists, the ones who create and make the music that fuels it all, have yet to be directly included in the conversation.

As the “golden era” of MTV morphs into the world of MySpace and YouTube, a new model of advertising around music – ads appearing on artist’s WebPages or popping up on a streaming internet radio player– is not creating enough money to share. And no one is seriously discussing sharing it with the artists anyway. How then in this shifting landscape can they survive?

One possible piece of the puzzle may be the democratization of corporate sponsorship; instead of companies deciding which bands they choose to endorse or random ads appearing when music is played, let bands decide which corporations they want to work with. Bands can then tells their fans to click a link to land at a sponsor’s webpage where the fan gets a “free” song. The advertiser gets the web traffic and the artist gets their proportionate share of the advertising money for each free download. Going a step further, the artist has the ability to collect information about the fan (i.e. email address, age, zip code) thereby providing the opportunity for a targeted ad buy , i.e. 18 – 25 year old woman in the 02134 zip code. Or, taken another step further, as opposed to a random ad appearing on a streaming Internet radio player as a Pixies’ song is played, assume an ad appears for a product that the Pixies selected, i.e. The Pixies use Gibson Guitars or they love the movie Fight Club. Targeted demographic marketing allows advertising fees to go way up.

TuneCore is launching this model in January 2009 (full disclosure, I am CEO). This connection allowing artists and corporations to work with one another directly may prove to be one of the better ways to generate revenue in the new model. New companies such as TuneCore can then become facilitators providing the tools and information to the artists to collect fans, create music and provide access to opportunities such as corporate sponsorships. I by no means believe this is the magic bullet to the problem, but I do think it has the potential to be part of the solution. In 1981, video killed the radio star, here’s to hoping the Internet does not inadvertently kill the musician.

Guest Contributor Maya Halfon

Maya Halfon is a music supervisor at Michael Welsh Productions. She began at the fully independent electronic label, Quango, doing marketing and then pitching music in house to film, TV and advertising, as well as handling in house licensing before becoming a music supervisor; now she specializes in music for advertising. In addition to music selection, MWP also administers music, image, or film rights clearances, as well as producer deals or any other right that can come up when music and brands intersect. Michael Welsh, CEO of the company, has a background as a composer for film, television and advertising and worked as a music supervisor at the major studios. Michael Welsh Productions handled all music supervision and rights clearances for Gap brands international television campaigns including “Jump, Jive and Wail,” “West Side Story,” “Madonna and Missy,” and “Audrey’s Back.” Current MWP clients include Macy’s, Chico’s, Nike, Nokia, HSN and Chivas Regal. TuneCore is very pleased to have Maya Halfon contribute just one story of her life in this industry. --Peter

We Got You Covered

Coming from the other side of the desk, I find one of the best things about being a music supervisor is that I’m now in a position to help independent and even unsigned artists get their music exposed, and get them paid for it. Coming from the indie world, I also know that there is far too much to do and too few people to do it, or simply how easy it is to get swept away by the creative side of music, letting the logistic and legal side slip through the cracks. Usually, the first thing to go is the clearing of mechanical rights on covers, interpolations found in covers, or samples in songs. Often, songs have multiple writers and thus multiple publishers; to make matters even more complicated, some of them will be represented by Harry Fox (www.harryfoxagency.com) and some of them won’t, which means that a bit of extra legwork is needed, as well as reaching out to individual publishers. Many times you’ll have to go to the publishers individually--it varies on a case by case basis.

And there are problems that can arise even in seemingly straightforward covers: songs can contain interpolations (essentially, incorporations) of other songs, which musicians may not even be aware of (for example, one of the more popular versions of “Sing, Sing, Sing,” which we mention below, contained an interpolation of a song entitled “Christopher Columbus” by Leon Brown Barry and Andy Razaf).

Perhaps even more confusing (and most avoided) is the clearing of samples. There are several myths about samples, all of which are untrue, that tend to circulate in musician’s circles: that a sample less than a certain amount of time doesn’t have to be cleared, or if it’s less than a certain amount of bars, the artist is excused from clearance. None of this is true. A sample is a sample, and in addition to publishing rights, master rights need to be cleared with the appropriate label.

Though it is required by law to get mechanical licenses and the applicable master license cleared, the purpose of this article is to encourage you to clear these rights so as to avoid missing potential opportunities, rather than as a scare tactic outlining the legal ramifications (which are minimal). A few months ago, however we came across a very near miss that should act as a wake-up call to independent artists and what they put on their CDs.

One of our clients, Macy’s, is a big fan of using updated covers of well known songs that reflect their brand's image, and most recently, all of the spots were awarded to covers by unsigned independent artists. For their Veteran’s Day campaign, they asked for a cover of the Louis Prima original “Sing, Sing, Sing.” After listening to hundreds of versions, we sent Macy’s roughly twenty versions. The one they ultimately chose was a fun, modern reworking by a great unsigned band who we’ll call the “Cat’s Meow” (to protect the guilty party).

We went about requesting quotes, starting with the master--that was no problem, the band owns the recording. Then we went to the publishers...

“The who?” they publisher asked me quizzically when I followed up on their quote. “We don’t have any record of this master in our system.” As it turned out, the Cat’s Meow hadn’t gotten a mechanical license. Not only did the publisher not have any record of the master, but they refused to quote a master use fee until the mechanical rights had been cleared.

And I don’t blame the Cat’s Meow for neglecting this. Harry Fox is not an easy website to navigate, especially if you don’t have music industry experience. The lack of a mechanical license caused a hold up in the project that endangered Macy’s using the track.

The happy ending to this story is that the Cat’s Meow did indeed get their song into a Macy’s commercial. But the advertising world (and film and TV for that matter), is incredibly fast paced. Had the deadline been any earlier, the spot could easily have been awarded to someone else with their paperwork in order, which doubtlessly happens all the time.

So a word of warning: unsexy as it may be, paperwork is completely necessary in the music industry, despite seeming counterintuitive to anyone remotely artistic. In addition to missing potential opportunities (and the fact that it’s the law), there are several other reasons why getting your paperwork in place will work to your advantage:

• Some music-selling platforms are getting pressure from publishers to have mechanical licenses in place. As the music industry wanes, publishers will eventually require it to be a condition of these platforms to show evidence of licenses.
• Everyone wants the most exposure for their work. Be aware that the more exposure you get the more open you are to being caught by the publishers.

If it all seems daunting to you (which it can), be aware that you can always hire a clearance company like ourselves to assure that you have all licenses completed and your paperwork in order so that when an opportunity does arise, you are ready. The process can take up to four weeks, so it’s always a good idea to sort out mechanical rights long before you release your record or start pitching your music.

For more information, please feel free to contact me at info@michaelwelshprods.com or (626) 796- 7821. I’d love to hear from you.

Thank you...and Coming Up in 2009!

A THANK YOU

On January 25th, 2006, almost three years ago, TuneCore went live. Gary, Peter and I had a mission to change the music industry by allowing any artist to have worldwide distribution, receive all the money from the sale of their music while keeping all their rights. As we begin 2009, we want to give you a sincere and heartfelt thank you. Without you we could not have changed the world for the better.

SEE WHAT YOU DID!

In the last two years, TuneCore customers earned over 30 million dollars. In just one day, you release and distribute more music via TuneCore than any major record label does over the course of a year. In just three days more music is released and distributed than all of the major record labels combined over a year. YOU are now the music industry.

COMING UP IN 2009

With the new-year upon us, our focus is to provide even more information, access and distribution points while building and providing more tools and services that can be of use.

First up is the opportunity to get an endorsement deal from Ernie Ball, one the pre-eminent guitar and bass string manufacturing companies on the planet. Available for the first time ever in the music industry via TuneCore, any artists can obtain a top level Ernie Ball endorsement based strictly on how many songs are sold. Sell 50,000 songs and get discounted Ernie Ball guitar or bass strings; sell 100,000 songs and get FREE Ernie Ball guitar or bass strings, up to 18 packs a month. Just walk into any Guitar Center store to get them. Before the end of January, the first group of eligible artists will be notified.

Also before the end of January, expect the following to be live at TuneCore:

The first version of your own streaming player that has direct links to buy your music on iTunes. It can be placed on any webpage that accepts cut and paste HTML.

The opportunity to give away a song for free and be paid for each download by a sponsor.

In the next few months you can also expect a number of other new high-end features and services including a site re-design, music discovery tools, new digital stores, some very cool physical distribution opportunities and a few other surprises.

As always let us know what you want and what you are thinking in our forum.

Here’s to a great 2009! We can say we knew you when...

TuneCore Announces New Sales Awards

I began working at TuneCore a little over a year ago because I was inspired by the idea that with all the seemingly negative changes in the music industry, there were actually more opportunities than ever for artists to pave their own way.  Earlier this week, we unveiled new sales certification awards to recognize that with a new way of selling music, there must also be new milestones to measure sales by.  It is for this reason that we have announced our brand new TuneCore Sales Certification Awards.

In addition to looking extremely cool, the most exciting thing about our first 26 awards is that they are going to both established stars (Jay-Z, Ziggy Marley, Jason Mraz, Public Enemy) and DIY up-and-comers (Meiko, Sky Eats Airplane, Eric Hutchinson and Clear Voyage just to name a few).

 

Below are some artist renderings of these new plaques: 

 

White: 100,000 songs sold certification     

 

 

250,000 songs sold certification

 

 

500,000 songs sold certification 

 

Each sales certification award will be approximately 16" x 19 1/2" and made out of single molded piece of cast resin. The album cover will be raised and inset above the resin under framed glass.  Text will be etched on the glass to create an even deeper dimensionality.

There are going to be three thresholds of songs sold via paid download to be eligible for TuneCore certification and award:

•     White: 100,000 paid download sales
•     Silver: 250,000 paid download sales
•     Black: 500,000 paid download sales

The downloads must come from one album, not from multiple albums. The certification is based on the total number of song sales from that one album. (For example, if an album has 12 songs on it and the album sells 10 times, the number of songs it has sold is 120. The total song sales for that album will be the number of albums sold multiplied by the number of songs on the album PLUS the number of individual songs sold from that same album.) The sales will not be restricted to territory but will take into account paid download sales from around the globe.

You can view the full list of winners here.

Why Sales Awards, Why Now? by TuneCore President Jeff Price.

The world of the music industry is changing and recognition of these changes needs to occur.

As I write this, the RIAA is the one self-appointed entity in the United States that certifies and issues Gold and Platinum records. Currently, to be eligible for the opportunity to have the RIAA issue a Gold/Platinum record, an album, single etc has to have shipped (not sold) 500,000 or 1,000,000 copies. With other options available for global distribution outside of the RIAA members, there are new milestones for success, new ways to sell and buy music and new companies uniquely qualified to verify sales information that the RIAA does not even pick up on. TuneCore is one of these companies.

Three years after our launch, there is more music released via TuneCore in one day then via any major record label over the course of a year. Very soon, more music will have been released via TuneCore than all the major record labels combined. Hundreds of thousands of artists now have their music available around the world to be bought, share and sold. They too deserve to be rewarded and recognized for the achievements.

TuneCore is now certifying and issuing sales awards based on artists reaching new sales goals.

The Straddle

by George Howard

When TuneCore first began, we called George: few people understand the music business as deeply. George Howard is a professor of management at Loyola University, New Orleans. He is the former president of Rykodisc, and founder of Slow River Records. He is the senior editor for Artists House Music, and a board member and advisor for a number of companies including Wolfgang's Vault and Daytrotter. He has written two books on the music business for Berklee Media. Check out his personal blog at www.9giantsteps.com.

Marketing today is a straddle between the online world and the offline world. Only those who do the straddle right will survive. Err too far online, you fail. Too far offline, you fail. What I think justifies this post’s existence is that no one (that I’m aware of) is really (yet) talking about the straddle.

Doesn’t mean people aren’t doing it.

For instance, I’ve written and blogged frequently about how artists like REM are leveraging the tech by using wonderfully articulated social media marketing strategies to allow their constituents to engage in participatory marketing. However, I didn’t emphasize enough in these posts that it was the straddle that really allows REM to leverage the tech. That is, it’s their interplay between their offline world (touring) and their online world that allows them to be successful.

Similarly, another person I’ve written about frequently who is doing the straddle well is Wine Library TV’s Gary Vaynerchuk. Certainly his use of tech is about as good as it gets, but what makes it work is his commitment to offline activities (wine tastings, appearances, etc.). It is wine that he’s talking about, for goodness sakes; you sort of have to have an offline presence.

Another example: I believe that the reason Facebook is just crushing MySpace (random sample of the hundred or so students I teach: Q. How many use Myspace? A: None; Q. How many use Facebook? A: All) is because Facebook helps them do the straddle (sounds like a dance); while MySpace is a closed online only experience.

Think about it: Facebook works because it allows you to enhance and augment your offline experiences. You post photos of things you do with your friends; you write on each others’ walls regarding offline experiences.

MySpace is more of (and I use this word in the loosest possible manner) a portfolio (or, what I really believe it’s become, for bands at least: a demo). MySpace has nothing to do with your offline life; it’s only related to your online life, and, thus, falls short.

Musicians and others too often feel that the new tech allows them to forgo what is really important: building real connections via playing live. I.e. they emphasize the online and forget about the offline. It makes sense. These online tools are so easy, and they give the illusion of progress and (sometimes) accomplishment. However, this indeed is illusory. Without leveraging whatever you, perhaps, built online in order to grow your offline presence (and vice versa), you will fail.

This holds true across the board. Businesses, authors…whomever…must do the straddle. If you’re a real estate agent, why would you not be tweeting up a storm, Facebook-ing up a storm, blogging up a storm, so that when you have an open-house for one of your listings you can connect with your online constituency in an offline manner. If you’re a restaurant who isn’t tweeting out your specials (and I don’t know ONE restaurant who is), and even perhaps creating events/menus for your online peeps so that you can then have the offline experience with them, it seems to me you’re missing something.

How are you doing The Straddle? Let us know in comments.