TuneCore Presents: Austin, TX — Nov. 1, 2016

On Tuesday, November 1, 2016, you’re invited to join us for TuneCore Presents – a two-part event going down at Emo’s in Austin, TX.

TuneCore is partnering with Austin Music Foundation to offer educational presentations and discussions, covering digital distribution, music publishing administration, and making money from your music on YouTube. Additionally, attendees will be treated to musical performances from TuneCore Artists Keeper and Migrant Kids.

This event is FREE and begins at 6:45pm at Emo’s.


The event is open to everyone who’s interested in learning more about how they can better monetize their music and take their careers to the next level.

Want to learn more about selling your music online, collecting songwriter royalties from all over the world, and earning dough every time your song gets played across YouTube? TuneCore Presents is the perfect opportunity to do so!

Make sure to swing by to get to know members of the TuneCore team, including the following speakers:

Scott Ackerman – CEO of TuneCore

Gillian Morris – VP, Music Publishing Administration at TuneCore

Camille Moussard – Director, Video at TuneCore



TuneCore Launches in France

Independent French artists now have access to best-in-class global digital distribution and music publishing opportunities

Paris, France – 13 October, 2016 – TuneCore, the leading digital music distribution and publishing administration service provider, today announced the launch of TuneCore France today at the MaMA Event in Paris. Tunecore.fr is the third European market in TuneCore’s continued international expansion, joining TuneCore Germany and UK.

Tunecore.fr allows France-based artists to collect and keep 100 percent of their revenue from streaming services & digital download stores, and covers the songwriter royalties & sync licensing opportunities, all in their local currency. In addition, Tunecore.fr will be available in French and feature local content that caters to the French independent artist community.

With the new expansion, TuneCore France artists can opt-in to include their music in storefronts within TuneCore’s extensive network of digital partners across the globe, including French market leader, Deezer, iTunes, Spotify, Apple Music, Google Play, Napster and Amazon Music while retaining 100 percent of their sales revenue and rights for a low annual flat fee. With over 150 partners worldwide, TuneCore provides independent artists with the opportunity to sell and share their music in important and growing global markets, such as Australia, India, Latin America, Africa, and Russia, as well as the United States and Europe. Since the company’s inception in 2006, TuneCore artists have earned more than 650,000,000 € collectively.

As in other countries, TuneCore France customers will be able to take advantage of local artist services. In an effort to cater its offerings in France to the needs of local independent artists, TuneCore has expanded its artist services through exclusive partnerships in the French market including, ConfliktArts, which allows artists to manufacture CDs, Vinyls and Merchandising, and KissKissBankBank, the leading French crowdfunding company. Other local partnerships include Audiofanzine, Woodbrass, and imusic-school, Vinyl It. TuneCore’s robust portfolio of artist services like YouTube Sound Recording Revenues, LANDR, TuneCore Fan Reviews, and Radio Airplay, as well as TuneCore’s world-class customer service will also be available to all customers. Additionally, French artists will have access to on-the-ground support and industry knowledge of music industry veteran Mathieu Rousselot, who will serve as the TuneCore Brand Manager for France.

“With our expanding international customer base coupled with the constantly evolving music industry, our goal is to continue to support our artists at the local level by giving them the resources and tools they need to be successful,” said Scott Ackerman, CEO at TuneCore. “France has a vibrant independent music community and our expansion into the French market is a natural fit in furthering our mission to bring more music to more people worldwide while continuing to establish TuneCore as a leader in the international digital music distribution market.”

New TuneCore French customers signing up for an account will pay 9,99 € to upload a single for distribution. Artists distributing an album will pay 29,99 € in the first year and 49,99 € each year thereafter. Artists may also pay a onetime fee of 9,00 € for YouTube Sound Recording Revenue collection service (YTSR) and 69,99 € for access to TuneCore Publishing Administration, which provides worldwide registration and royalty collection and placement opportunities in film, TV commercials, video games, and more. TuneCore artists always retain complete creative control and ownership of their music.

Through TuneCore’s strategic partnership with Believe Digital, TuneCore Artists have added visibility to Believe Recordings, Naïve or Musicast. The French Believe Digital office has 200 employees on the ground in Paris, covering label and international campaign management, trade and online digital marketing services, video management and distribution, synchronization and neighboring rights, physical distribution and more.

With the launch of TuneCore France, existing Zimbalam customers will have the opportunity to distribute new music through the TuneCore platform, as well as take advantage of TuneCore’s wide array of artist services.

TuneCore France is the sixth international expansion for the Brooklyn, N.Y-based service provider. The company expanded into the Germany market earlier this year, as well as both the UK and Australia markets in 2015, while TuneCore Japan and TuneCore Canada have been providing similar services for local customers since 2012 and 2011, respectively.


For any media enquiries, please contact:

Mathieu Rousselot, TuneCore

+33 (0)1 53 09 34 00



Alisa Finkelstein, MWW PR




About TuneCore

TuneCore is a music distribution and publishing administration service that provides thousands of independent artists with the tools to increase exposure and get their music heard by more people, all while maintaining ownership of their music and 100% of revenues. TuneCore brings more music to more people, while helping musicians and songwriters increase money-earning opportunities and take charge of their own careers. The company has one of the highest artist revenue-generating music catalogues in the world, earning TuneCore Artists 650 million € from over 36.5 billion downloads and streams since inception. TuneCore Music Distribution services help artists, labels and managers sell their music through iTunes, Apple Music, Spotify, Amazon Music, Google Play and other major download and streaming sites while retaining 100 percent of their sales revenue and rights for a low annual flat fee. TuneCore Music Publishing Administration assists songwriters by administering their compositions through licensing, registration, world-wide royalty collections, and placement opportunities in film, TV, commercials, video games and more. The TuneCore Artist Services portal offers a suite of tools and services that enable artists to promote their craft, connect with fans, and get their music heard. TuneCore, part of Believe Digital Services, operates as an independent company and is headquartered in Brooklyn, NY with offices in Burbank, CA, Nashville, TN and Austin, TX, and global expansions in the UK, Australia, Japan, Canada and Germany. For additional information about TuneCore, please visit www.tunecore.com or https://youtu.be/TSjGACrJyiY.

TuneCore Artist Testimonials

“Thanks to TuneCore, I have been able to get my music heard and reach thousands of new fans in France & worldwide, from the US to Japan!”

Cécile Corbel


“I’ve been working with TuneCore since 2009 – they take care of the distribution of my music on all digital stores. They’re really efficient and in a few minutes, my four albums were online everywhere. Thanks TuneCore!”

Dan Luiten


“I’ve been using TuneCore since 2005 to distribute my albums. I always recommend TuneCore to my friends.”

Uniform Motion


“After discovering and using the TuneCore US version for many years, I’m glad to see that TuneCore is launching a French website. TuneCore helped me to distribute my music and I strongly recommend this service to all Indie artists!”



“TuneCore is the most convenient and efficient service to collect revenues, and I was reimbursed the price of my subscription for the first month!”

The Algorithm


“As an independent artist since 2008, TuneCore gave me the opportunity to sell my music worldwide and has contributed significantly to my career development. TuneCore also collects my YouTube revenues. The simple, user-friendly interface to release a new album, as well as to follow sales and collect revenues, makes it the best partner for an independent artist. The TuneCore distribution network is constantly growing. I have used TuneCore for eight years and I highly recommend it to everyone.”

Daniel Masson


“TuneCore enabled us to cover all the digital stores and to aggregate four million streams of three tracks, even before the release of our album. This is why we remain faithful to TuneCore and will continue to work with them for our first album.”

Paerish Band

Indie Rock

“TuneCore is a great digital service for an independent artist who wants to get their music heard worldwide. It also enables an easy and quick monetization of videos. I have been working with TuneCore for many years and I have always been entirely satisfied with their services.”


Hip Hop

“TuneCore enabled me to easily distribute my music on a lot of digital stores. Thanks to TuneCore, I have been ranked #1 in the category ‘French Folk’ Amazon with my album “APartCaToutVaBien” and number #8 of the most downloaded Folk albums.”

Aude Henneville


“TuneCore has been the easiest and efficient way to see my music on all digital stores.”

Matt Marvane

French Pop


About ConfliktArts

Created in 2006, Conflikt Arts is a one stop shop manufacturing company where bands and labels can order everything they need online in minutes from vinyls, to cds pressing and replication, t-shirts, tote bags, posters, flyers… Easy as pie and really affordable: more than 30 000 bands, festivals, concert halls, managers already trust Conflikt Arts!

About KissKissBankBank

KissKissBankBank is the crowdfunding platform dedicated to innovative and creative projects worldwide. It allows creators and innovators to generate funds via public participation in order to finance the projects they believe in. The mission is to promote independent projects by providing the creators of the world with a financial tool.


With drag-and-drop simplicity, LANDR instantly masters demos, tracks and live recordings and lets artists share them privately and securely with band members, A&R or clients. Artists and partners that use LANDR include Warner, Atlantic Records, SoundCloud, Native Instruments, Nas, Lady Gaga, Richie Hawtin, Bob Weir and many more.

About Woodbrass

“Music for everyone!“ is the Woodbrass motto. Making music accessible to the greatest number of people by offering the best possible price-performance-ratio. On Woodbrass.com, choose your musical instrument or equipment among 400 000 items at the best price!

About imusic-school

imusic-school is the leading platform for online music lessons in France. Considered an international reference since 2007, it develops and provides a wide range of streamed music lessons by well-known artists and specialists. www.imusic-school.com

About Vinyl It

Vinylit.co is an online platform dedicated to personalized vinyl. Send your tracks or pick among thousands of tracks, choose your sleeve and personalize your vinyl sticker. Vinyl It will manufacture your disc and sent it to you under 15 days.

TuneCore Sync Placements Q3 in 2016

We’re extremely proud to be able to help our TuneCore Artists get their music out to the world in the form of synchronization licensing. From TV shows and movies to video games and advertisements, sync placements are one of the most sought-after successes among independent artists.

In an effort to celebrate and showcase these licenses, we’re continuing to share highlights from each quarter here on the TuneCore Blog! If you’ve been interested in TuneCore’s Music Publishing Administration, peruse through these placements to see just some of what our publishing team has been up to:


The Girl on the Train (trailer)
Song Title: “Classical Piano Music For Baby Sleep”
Writer: Jeffrey Deary
Artist: Einstein Baby Lullaby Academy


Atlanta (promos)
Song Title: No Hook
Writer: Otis Williams
Artist: OJ Da Juiceman


So You Think You Can Dance, Season 13
Song Title: TRNDSTTR (Lucian Remix) (ft. M. Maggie)
Writer: Mary Miller
Artist: Black Coast


Vice Principals
Song Title: Sunset Blood
Writer: Georgios Smaragdis
Artist: Starcadian


Forza Horizon 3 (video game)
Song Title: The Wild Life
Writer: Carlos Sosa
Artist: Outasight


Legends Rising (series title track)
Song Title: Chinatown
Writer: Georgios Smaragdis
Artist: Starcadian

"Beats For Sale." Now What? – A Look At Some of the Legal Issues

[Editors Note: This is a guest blog written by Justin M. Jacobson, Esq. Justin is an entertainment and media attorney in New York City. He also runs Label 55 and teaches music business at the Institute of Audio Research.]

The rapid rise of the internet and the ease of world-wide instant peer-to-peer communications have provided many upcoming artists with new opportunities to monetize their unreleased, original works. The use of social media and the internet has made it possible for aspiring music producers, vocalists and musicians to instantly spread their music and attempt to make their own mark on the music industry. This pursuit has led to a large number of artists, in particular many music producers, advertising and promoting their “beats for sale.”

This is to earn an immediate profit on their unreleased musical works. While this may seem to be a straight-forward transaction, where a musician pays a specified fee to purchase a “beat” or instrumental from a producer; there are many legal issues that arise. These issues must be taken into account to ensure this transaction is done properly and that all parties involved are properly compensated at that instant as well as in the future.

There are several considerations a purchaser must take into account when purchasing an instrumental track or “beat” from another. The first consideration is whether the instrumental track is being leased or sold. Also, whether the license (right to use the track) is an exclusive or non-exclusive “deal.” Typically, when a creator “leases” a beat to another, this arrangement provides the leasor (party leasing the instrumental) with the right to utilize the instrumental and to reproduce, sell or otherwise utilize the finished works containing the beat for a specified period of time.

However, this transaction does not generally give the leasor the exclusive and indefinite right to utilize the beat. The creator is usually still able to re-sell the same instrumental to others. The leasor may also have to enter into an additional lease with the creator after the expiration of a specific time frame if they wish to continue utilizing and exploiting the recording that contains this leased beat.

When negotiating an appropriate license fee for this particular option, is important to discuss and agree on how the leasor plans to utilize the beat. This includes how many copies of the finished work and in what mediums (i.e. CDs, downloads, streaming) it will be used. Also relevant is the territory or area the finished work can be sold in (i.e., North America, Europe, “the universe”) and whether it can only be used for a particular use (i.e. for demo use only, for iTunes sale only, free on a mixtape, or Sending Song in an Email).

Conversely, a creator can instead assign all of the creator’s rights in the work to the purchaser by selling the instrumental and the creator’s exclusive rights associated with the track. Generally, the cost to lease a beat is less than the cost to purchase the beat, as the creator is able to monetize the same work several times when they lease the beat rather than sell it. The fee for the beat can range from $5 to $10 all the way up to several thousand dollars, depending on the reputation of the producer and the type of usages the purchaser envisions.

Whether you are purchasing or leasing a beat, it is essential that any purchased instrumental does not contain any unauthorized “samples” (a copied portion from another’s song) in them. If the track does contain a “sample,” an artist should require that the seller of the instrumental provide some type of “sample clearance” or other clearly defined authorization permitting the use of this “sample.”

If the seller cannot provide proper authorization, it is highly advisable to avoid this instrumental as it could set-up the purchaser for potential copyright infringement liability down the road. Even if there is not a clear and distinct unauthorized sample in a “beat for sale,” it is prudent to ensure that the seller fully indemnifies the purchaser for the creation, including having the seller warrant they own all the rights for the work and that there are no samples or other unauthorized material used in the creation of the work.

If these infringing materials do exist, the agreement must ensure that seller must indemnify or reimburse the purchaser if an infringement is later found contrary to any of the creator’s warranties.

Additionally, is it imperative that the parties agree on whether the original producer is entitled to a traditional music publishing interest in a finished track or not. If so, an agreement on what percentage they would be entitled to should be entered into prior to finalizing any transaction. It is also important to determine whether and what royalty rate, typically a specified percentage, the seller is entitled to. This rate can be based on per a copy rate or a flat fee buy-out that does not include any additional royalties for the recording sold.

Furthermore, it is imperative to outline which party has the right to issue third-party licenses for the finished recording and for what avenues of exploitation (i.e., right to sell in digital and physical forms, license, broadcast, synchronize with visual images in any media, license to motion pictures, television, video games, translations, “covers” or other derivative works) if at all, are permitted. It is also essential to determine who has the right or the obligation to register the work with the appropriate organizations.

Finally, a determination of appropriate credit and right of publicity should be made. The right of publicity permits the purchaser to utilize the professional name, photograph, likeness, and other biographical material in connection with material and is extremely important if the instrumental is created by a well-known or ‘buzzing’ producer. In exclusive deals, a copyright should be filed; more on that next time.

This article is not intended as legal advice, as an attorney specializing in the field should be consulted.

August Songwriter News

By Stefanie Flamm

From Rio to the US Presidential election, it’s been a busy summer for everyone, including songwriters around the world:

  • Rio turns out to be as much a competition for artists looking to get sync placement as it is for the Olympic athletes.
  • Donald Trump stirs even more controversy by using “We Are the Champions” at the Republican National Convention, against the wishes of Queen.
  • Apple makes a motion to set a standard streaming rate, a move that would revolutionize royalty payments for songwriters.

Advertiser’s $1.2 billion budget for the Rio Olympics turns sync placement into a competition of its own.

It should come as no surprise that the Olympics is one of the most widely-popular televised sporting events around, particularly for US viewers. Even for a disappointingly low year, a whopping average of 27.5 million viewers watched Rio Olympic coverage via NBCUniversal over the 15 days of competition. And with that high number of average viewers, comes a high demand for prime advertising placement.

With the Olympic viewership paling only in comparison to the Superbowl, companies were chomping at the bit for an opportunity to intersperse the high-profile swim and women’s gymnastics competitions, among many others. Particularly at the opening ceremonies, with an outrageous rate of one commercial every eight minutes, there was a lot of competition amongst companies and ad agencies alike to help their product stand out from the crowd. This is where a skilled Music Supervisor comes into play.

Between the more US-friendly time zone and the hype surrounding high-profile athletes like Simone Biles, NBCUniversal had planned for a higher viewership than they received for the 2012 Summer Olympics in London. As a result, companies were flocking to advertising agencies as early as a year before the competition began. “I’ve been doing this for 20 years — it’s the first time we’ve had to dig deep so early,” commented Grey Group Director or Music Joshua Rabinowitz.

Sync royalties for Olympic commercials were reaching upwards of $250,000 for the Rio games, not to mention the added benefit of an audience of 27.5 million people who could download or stream the song after hearing it.

Some agencies decided to stick with tried-and-true classics, like Cyndi Lauper’s “Time After Time” or the Gershwin classic “Rhapsody in Blue,” and some chose to highlight newer artists, like Boys Noize’s “Rock the Bells.” A personal favorite advertisement for Nike included music from the 2003 song “Drums Are My Beat” by Sandy Nelson.

But not every song used for ad sync placement at the Olympics was a catchy or recognizable tune. Writers Andrew Simple and Michael Logan curated a sync-worthy song that snagged them a spot in a commercial for Folgers that left me quietly weeping at my desk. A colleague of Simple’s noted, “I knew it could be the soundtrack for a spot that taps into a close relationship,” and the song was pitched for sync placement before even being released.  

Simone Biles, Michael Phelps, and a handful of songwriters were able to take home the gold at this year’s Olympic games.

Repeated unauthorized use of their song “We Are the Champions” on the Donald Trump campaign leaves Queen seeking legal action.

Whether you’re voting for him in November or you’re adamantly protesting against him, everyone can pretty much agree that Donald Trump isn’t playing by the rules of a typical US Presidential campaign. He brought this attitude to the world of publishing recently after his second unauthorized use of Queen’s “We Are the Champions” at the Republican National Convention in Cleveland.

The issue first came up in June of this year, after the last Super Tuesday of the year when Donald Trump celebrated his victory over the last remaining primaries. Trump’s campaign blasted “We Are the Champions” to commemorate their victory, only it didn’t occur to anyone on Trump’s staff to acquire permissions from Queen first.

Queen’s guitarist Brian May immediately expressed his upset over this, taking to his personal website for a reaction statement. “…permission to use the track was neither sought nor given… Regardless of our views on Mr Trump’s platform, it has always been against our policy to allow Queen music to be used as a political campaigning tool.”

Unfortunately, Trump’s team did not see this statement as an unofficial cease-and-desist, as they played the song again this July at the RNC. After Melania Trump’s semi-plagiarized speech, the RNC was a one-two punch of intellectual property theft. Queen took to Twitter shortly after the broadcast to follow-up that Trump’s campaign had, again, failed to request permission to use the song.

This month, Queen’s publishing company Sony/ATV Music Publishing announced a formal statement regarding the Trump campaign’s use of “We Are the Champions:”

Sony/ATV Music Publishing has never been asked by Mr. Trump, the Trump campaign or the Trump Organization for permission to use “We are the Champions” by Queen. On behalf of the band, we are frustrated by the repeated unauthorized use of the song after a previous request to desist, which has obviously been ignored by Mr. Trump and his campaign.

Queen does not want its music associated with any mainstream or political debate in any country. Nor does Queen want “We are the Champions” to be used as an endorsement of Mr. Trump and the political views of the Republican Party. We trust, hope and expect that Mr. Trump and his campaign will respect these wishes moving forward.”

Apple’s proposition to set a concrete, per-stream royalty rate could revolutionize songwriters’ relationship with streaming.

The battle between songwriters and streaming services has been around since the latter’s inception, and it doesn’t look like it’ll be easing up anytime soon. In the wake of the United States Department of Justice ruling for 100 percent licensing, songwriters and publishers alike are not satisfied with the DoJ’s perceived favoritism of streaming services. However, Apple has put an initiative into place that might change streaming payouts in favor of the songwriter.

In a proposal made by Apple, in conjunction with the Copyright Royalty Board, streaming services should pay 9.1 cents in songwriting royalties for every 100 times a song is played. While that only results in a payout of $0.0091 per stream, having a standard rate of streaming could mean more transparency between streaming services and songwriters.

“An interactive stream has an inherent value,” Apple wrote in their proposal, “regardless of the business model a service provider chooses.”

The need for the DoJ, streaming services, and songwriters to come together is ever-present in the increasingly streaming-friendly world. The general consensus seems to be at “freemium” streaming services like Spotify need to change their subscription models in favor of making more money for the songwriters. While this Apple proposition isn’t exactly giving songwriters what they’re asking for (and doesn’t necessarily favor its competitors’ pricing models), it’s a direct attempt to eradicate freemium streaming, and it looks like it may be a step in the right direction towards more harmony between artists and the streaming services that pay them.

For more information on TuneCore Publishing Administration, click here.