#TCVideoFridays – March 29th 2013

It’s the last #TCVideoFridays post in March!  Enjoy these music videos from TuneCore Artists as you get ready for the weekend…

Redneck Social Club, “Dirt Road Nasty”

The Bayonets, “Sucker for Love”

The Blackwater Fever, “Don’t F**k With Joe”

aprilemade, “Johnny”

Spoil Engine, “A World On the Outside”

Nate Currin, “Goodnight California”

Golden State, “Bombs”

The StandStills, “Black Betty”

Korby Lenker, “My Little Life”

Ari Herstand, Julia Price, Jake Newton, Yael Meyer, Sonia Rao, “Ho Hey (Cover)”

Do you have a video of a song you distributed through TuneCore? Tag us on Twitter (@TuneCore) and use the hashtag #TCVideoFridays with a link to your video.


Sources & Territories Currently Covered by TuneCore Music Publishing Administration

By TuneCore Music Publishing Administration

I’d like to focus on the sources TuneCore Music Publishing Administration collects from on behalf of you, the songwriter and publisher of your compositions. Your compositions are a separate copyright from the master recording, and in most cases, the royalties from your compositions must be collected independently from any royalties you receive for the distribution of your recordings.

Having a Publishing Administrator allows you to receive all of your royalties as a songwriter and publisher from all applicable sources. While the list below doesn’t include every possible source, we felt it important to provide you with the sources that are most common. Remember, any synchronization licenses (for film, TV and commercial uses) would be additional sources not covered on this list—these are fees that we negotiate and license on your behalf as your Publishing Administrator.

We’ve also put together a list of the territories covered by our Music Publishing Administration service so that you can understand the vast number of countries we are collecting royalties from.

When you look at the lists below, it’s important to keep in mind that both lists will grow as we move forward, and as the landscape of managing your rights as songwriters and publishers continues to evolve.

(Click here to download the lists below as a PDF)

The Many Sources We Collect From:

Digital Downloads and Streaming Record Labels Radio and TV
iTunes (ex U.S. and Mexico) * Sony Music Radio- Mainstream
Spotify EMI Music Radio- College
Pandora Warner Music Radio- Internet
Amazon downloads * Universal Music TV- Local
Amazon Cloud streaming Island/Def Jam Records TV- Cable
Cricket (Muve Music) Aftermath TV- Network
Google Play Epic Records
Youtube Motown
Rhapsody Atlantic
Kazaa Electra Records
Omnifone Curb
X-Box Music (formally Zune) Disney
Nokia Mascot
Napster Concord
Pressplay SLG
Rogers Sugarhill
TDC Play Eone Music/Koch Records
Live365 Vagrant records
Grooveshark Welk
WIMP Music Concord Records
Beatport Nettwerk
Bell Mobility Subpop
eMusic Megaforce
BT-Vision Warp
Hutchison 3G Epitaph
Myspace Music Matador
Tunewiki Rykodisc
Slacker Fueled by Ramen
Touchtunes Stones Throw
Medianet Domino
Hip Digital AND MANY MORE…

* iTunes U.S. and Mexico / Amazon U.S.- Mechanical download royalty only collectable from record labels.  If the songwriter distributed the recording, there is no mechanical royalty to be collected.

Territories Currently Covered by TuneCore Publishing Administration:

U.S.A France Netherlands
Mexico Slovenia Japan
United Kingdom Macedonia Hong Kong
Ireland Luxembourg South Korea
Canada French Polynesia Malaysia
Australia New Caledonia Phillipines
New Zealand Andorra Singapore
Fiji Monaco Taiwan
Papua New Guinea Lebanon Thailand
Austria Djibouti Vietnam
Germany Chad Macau
Switzerland Gabon Indonesia
Belgium Gambia Slovakia
Denmark Spain Croatia
Sweden Portugal Serbia & Montenegro
Norway Italy Bosnia & Herzigovina
Finland Republic of San Marino Albania
Iceland Czech Republic Kosovo
Estonia Poland Bulgaria
Latvia Hungary And more to come…
Lithuania Romania

Not already a TuneCore Publishing Administration customer? Learn more here about how we can collect the songwriter and publisher royalties you’re owed.

Jim Carrey’s “Cold Dead Hand” Out Now Through TuneCore

Sunday marked the release of Jim Carrey’s music video spoof targeting gun enthusiasts.  In the Funny or Die video for “Cold Dead Hand,” Carrey openly expresses his frustration toward the gun problem by portraying the late NRA President Charlton Heston, along with actors who represent peace promoters. The title for the track comes from Heston’s quote that gun control advocates would need to pry his guns “from my cold, dead hands.”

Watch the full video below of Carrey and alternative rock band the Eels as they play “Lonesome Earl And The Clutterbusters,”

“Cold Dead Hand” is available for download on iTunes, distributed by TuneCore.



New Music Tuesday: March 26, 2013

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?

Cold Dead Hand
Jim Carrey
The Depths
The Blackwater Fever
Sucker Punch – EP
Dodge & Fuski
All We Are – EP

#TCVideoFridays – March 22nd 2013

We made it to #TCVideoFridays!  Start the weekend off right with these videos from TuneCore Artists…

Naia Kete, “Crazy Glue”

Pamela Rodriguez, “Ligera Love”

Residual Kid, “Friend”

Biting Elbows, “Bad M**********r”

Parkington Sisters, “Deerheart”

N8N, “Bring It On”

Adi Roar, “All In”

Jung People, “Coloureaters”

Barei, “Another’s Life”

Kongos, “Come With Me Now”

Do you have a video of a song you distributed through TuneCore? Tag us on Twitter (@TuneCore) and use the hashtag #TCVideoFridays with a link to your video.

Good, Fast, Cheap – Pick Any Two

By Cliff Goldmacher

Making your way through the maze of a musical career is a complicated endeavor to say the least.  It’s especially complicated given that you’ll have to make not only musical decisions, but also critical business decisions along the way.  I heard an expression a few years ago that really stuck with me as it outlines the reality of the choices we have to make time and time again: “good, fast, cheap – pick any two.”

Essentially, what’s being said here is that if you’re willing to invest the money, you can move more quickly towards the end goal of musical success—good and fast but not cheap—but what it also says (that I find more encouraging) is that if you don’t have the money, you can still achieve “good” by slowing down and being resourceful—good and cheap but not fast.  That leaves the one combination that we need to guard against: fast and cheap but not good.

In this article, we’ll look at all three of these scenarios and see how they play out daily in the music industry.

Good & Fast (Not Cheap)

“Good, fast and not cheap” is best illustrated in the approach taken by the big record labels and publishing companies.  When making albums for their artists, labels use the best studios, the most talented session musicians and employ whole marketing and promotion departments to spread the word about their artists.  This has the effect of bringing their music to the eyes and ears of the public in relatively short order, but it comes at a huge price.  A price that the artists, themselves, often spend years paying back before they see any real financial success of their own.

When it comes to the major publishers, they invest significant capital in high-quality demos for their writers, and hire song pluggers whose sole purpose is to get the songs in their catalog recorded. The end result is that these companies get their songs recorded much more often than the independent writers out there trying to go it alone.  But, again, songwriters who are signed to these companies—like the artists above—have to wait until many of these expenses are recouped before they see any income from their songwriting successes.

Good & Cheap (Not Fast)

Fortunately, for the majority of us, there is a more accessible option. While “good, cheap but not fast” requires patience (an asset in very short supply for most of us eager to have musical success), the dividends can be rewarding on both a spiritual and financial level.  Independent artists who finance their projects themselves, call in favors, wait for off-hours in studios or even take the significant time necessary to learn to the art of recording, often end up with beautiful sounding projects at a fraction of the cost of their major label counterparts.

The trade off is the time (lots of it) it takes to put a project like this together, and the additional hours of work (more than you can imagine) required to get the news out about their release.  The rewards are great, however.  Ownership of the master recording and creative freedom are just two of the many rewards waiting for those who are willing to make the effort.  Go to HeatherRigdon.com to hear what some friends and I were able to do on a shoestring budget over a period of about five years.

As songwriters, we face a similar struggle.  Without the budgets for full-band recordings of every song we write, we’re forced to be creative in order to put together a catalog of high-quality demos of our songs that we can then pitch ourselves.  Whether we have to barter for studio time and session musicians, learn to become experienced engineers/producers/session musicians in our own right or simply create great-sounding guitar/vocals or piano/vocals instead of going the full-band route, the goal is the same.

That goal—quality recordings for less money—can lead to a catalog of songs where significant upside awaits.  For example, by acting as your own publisher and owning your own master recordings, you’ll be free to pitch your songs for placement in film and TV and receive double the income when you eventually do have success.

Fast & Cheap (Not Good)

“Fast, cheap and not good” is where things can get a bit ugly.  As long as there have been established methods of how to get ahead in the music business, there have been people willing to cut corners in an attempt to get ahead more quickly.  Buying a bunch of recording equipment before you know how to use it in an attempt to save money on your album generally results in a sub-par recording that will do much more harm than good to your sound and reputation as an artist.

Similarly, choosing the lowest bidder who advertises full-band demos for songwriters often leaves you with a demo that is not only low quality but also instantly brands you as an amateur in the eyes of the industry professionals you play it for…an impression, by the way, that is very difficult to reverse once it’s been made. Also, spending less money on a demo that is unusable is the same thing as throwing that money away.  All this to say, when in doubt, take your time and do things correctly even if it means more time, money or both.

As I’ve said before, as long as you’re not planning on having a career in music for this week only, it pays to take your time.  Fast and cheap is, without a doubt, the combination that has the most potential for disappointment or worse.  And, often, doing things this way actually leads to more money being spent which leads me to another one of my favorite expressions, “Cheap can be expensive.”


I understand that it’s a constant struggle to do what’s best for your music while trying to manage your patience and your budget.  That being said, simply paying attention to what you’re doing and keeping your eye on the big picture will serve you well as you continue to figure it all out.

Good luck!

Cliff Goldmacher is a songwriter, producer, session musician, engineer, author and owner of recording studios in Nashville, TN and Sonoma, CA. Cliff’s site, http://www.EducatedSongwriter.com, is full of resources for the aspiring songwriter including monthly online webinars. Go to:
http://www.EducatedSongwriter.com/video-podcast-series for the latest schedule.

Cliff’s company, http://www.NashvilleStudioLive.com, provides songwriters outside of Nashville with virtual access to Nashville’s best session musicians and singers for their songwriting demos.

You can download a FREE sample of Cliff’s eBook “The Songwriter’s Guide To Recording Professional Demos” by going to http://www.EducatedSongwriter.com/ebook.

Facebook: www.facebook.com/EducatedSongwriter
Twitter: edusongwriter