Category Archives: Music Publishing


TuneCore Sub-Publishing Agreements Announced

Publishing administration deals with Basement Brazil Editoria Musical and D-Version Music Publishing get songwriters paid when compositions are performed, downloaded, streamed and sold in high-growth regions.

New York, NYOctober 30, 2014 – With increasing revenue opportunity of digital music distribution in international markets, TuneCore Music Publishing Administration today announced two new sub-publishing agreements that bring revenue-collection opportunities in Brazil and Greece. The deals with independent publishers Basement Brazil Editoria Musical, Ltda. and D-Version Music Publishing, Ltd. will enable songwriters who use TuneCore Music Publishing Administration to receive royalty payments when their compositions are performed, downloaded, streamed and sold.

The agreements with Basement and D-Version give TuneCore the ability to register songwriters’ compositions with the local societies responsible for local royalty collection. Once a composition is registered, the royalties collected by the society on behalf of the songwriter will be collected and redistributed by TuneCore. Without a publishing administrator, these earned royalties would be virtually impossible for independent songwriters to collect from the local society.

International markets are growing revenue drivers for independent artists, and Brazil and Greece both hold particularly high growth potential. Brazil continues to be a fast-growing music market, as indicated by TuneCore Artist revenues increasing 147% in 2013 vs. 2012.

“As two fiercely-independent companies dedicated to supporting independent artists and songwriters, TuneCore and Basement are a natural fit,” stated John Telfer, Co-Owner, Basement. “We are honored to have been chosen by TuneCore to be their sub-publisher in Brazil and to play an important role in their ongoing mission to help get music out and monetized around the world.”

Greece, which is newly experiencing the digital music revolution, is also poised for marked gains. According to the International Federation of the Phonographic Industry (IFPI), digital music revenues in Greece were 28% of the country’s total music revenues in 2013 and are projected to grow at a rate outpacing that in the US.

“All of us at D-Version are very excited to work with a game-changing company like TuneCore,” commented Denise Andrikopoulou, Owner of D-Version. “As the world of music publishing in the digital distribution era continues its evolution, it’s partnerships like ours that will ensure songwriters from around the world are able to get their hands on their hard-earned royalties.”

“Digital distribution has made the music industry truly global, yet the model of royalty collection and payment remains localized,” stated Jamie Purpora, President of TuneCore Music Publishing Administration. “At TuneCore, we’re focused on ensuring artists and songwriters can take advantage of the worldwide opportunity. It’s partners like Basement and D-Version that help us to make that a reality.”


10 Reasons To Choose TuneCore Music Publishing Administration

[Editors Note: This is a re-posted blog from 2/10/14, originally written by Jacqueline Rosokoff. We've made some minor updates, but other than that, enjoy and be sure to visit our Publishing Administration page for more info!]
You put a lot of work into writing songs.  And because these compositions form the foundation of your career, you want to make sure they’re being treated properly.  A Publishing Administrator will represent your compositions and make sure you get all of the royalties owed to you from the use of your music around the world.  By getting a publishing deal with TuneCore, you’ll get a top notch team on your side, fighting on your behalf and giving you opportunities to maximize your songwriter royalty collection.

Here’s how we’ll do it…

1. We collect all of your songwriter royalties from all over the world.

When your compositions are downloaded, streamed and used in other ways around the world, you generate worldwide royalties.  And just because your song was streamed by a fan in Estonia doesn’t mean you shouldn’t receive each penny you’re owed.  We’ll register your compositions with the societies and digital stores in over 60 countries and collect royalties for all revenue types relating to your compositions.

2. It’s easy as pie.

Royalty collection shouldn’t cause headaches.  It’s an easy online sign-up process to get started working with TuneCore for publishing.  We’ve also built the system so you can add as many compositions as you’d like, as often as you’d like, through your account. Plus, you can check on the registration status of your compositions and submit multiple new splits at the same time, once again, all through your TuneCore account.

3. A low price and fair terms.

Songwriters deserve a fair deal when it comes to music publishing, no question about that.  With our publishing service, songwriters pay a one-time setup fee of only $75. You can add compositions at any point, at no extra cost.  Also important to note, we charge a low commission of only 10% of the royalties we collect for you (or 20% of secured licensing placements pitched by our Creative team).

Plus, you don’t have to worry about getting stuck in a multi-year agreement.  We know things change, and we’ve built our agreement to be year-to-year.

4. Your compositions, your rights.

You wrote the music, so there’s no reason why you shouldn’t have all of your rights.  If you’re a TuneCore Music Publishing customer, you’ll maintain 100% ownerships of your copyrights.

5. We’ve got proof you’re owed songwriter royalties.

If you work with TuneCore for both publishing and distribution, you’ve got a big advantage: a built-in audit trail.  Because we can see exactly how many times your music was downloaded and streamed, and exactly where these uses occurred, our Publishing Administration team knows exactly how much you’re owed, and they can prove it to the entities around the world who have your songwriter royalties.  There’s no fooling us.

6. Maximize your earnings from your music.

One more reason to partner with TuneCore for both distribution and publishing: all of your distribution sales revenue and publishing royalty information will go into one place, your TuneCore account, making it easier to manage your business.  And don’t forget, when you distribute your music so fans can download and stream it around the world, you’re generating more publishing royalties, which means you’re maximizing your earning potential.

7. Be part of the Sync & Master Licensing Database.

Synchronization Licensing can be an incredibly lucrative revenue stream for a songwriter.  Because of this, we want to give all TuneCore songwriters the opportunity to have their compositions considered for use in film, TV, commercials and more.  We’ve created the Sync & Master Licensing Database, available exclusively to Music Supervisors so they can search for music for their projects.  Our in-house licensing and creative team also actively pitches compositions to industry tastemakers to get your music more exposure.  If a Music Supervisor wants to use your music, our Creative team will negotiate all rights and fees on your behalf to make sure your composition is licensed legally, and at the most favorable terms.  We’ve got your back.

8. Make money from your music on YouTube.

You earn money every time people use your composition in their YouTube videos and people watch videos of your music on your own YouTube channel. And if you’re a TuneCore Music Publishing customer, we’ll get you the royalties your composition generates. That’s because a YouTube video is a synchronization use, and that’s covered in a TuneCore publishing deal.

9. We work with Performing Rights Organizations, no conflict here.

Songwriters often ask us if being affiliated with a Performing Rights Organization (PRO) causes a conflict with our publishing service.  The answer? Nope! It’s important to have both a PRO and a Publishing Administrator working on your behalf.  We work together with SESAC, ASCAP, BMI, etc. to get you all of the songwriter royalties you’re owed.

10. We’ve got experience on our side.

You want a publishing administration you can trust.  One that knows how the industry works, and how to make sure you get all that you’re owed.  Our team has over 100 years of combined experience representing and servicing songwriters’ compositions worldwide.  If you work with us, you can be sure we’re doing all we can to fight on your behalf.

Lots of information to digest?  We agree.  When you’re ready, take a look at our site to learn more about how we support songwriters, and reach out to us for more info.

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Holiday Merch Buying Tips

[Editors Note: By Bob Jacobson, President & CEO of Mixonic, Inc. - an online company that makes it easy for artists and brands to manufacture custom digital media and branded promotional products. TuneCore MerchLink is powered by Mixonic.]

It’s getting cooler outside, leaves are changing colors and the smell of turkey is almost in the air. It’s merch buying season – when your fans want to buy your band gear for themselves and as holiday gifts for friends and family. It’s also the time to stock up for selling at next year’s gigs. As you get ready to design and order your merch, here are a few pointers.

  • Tee Time. T-shirts are still the best-selling band merch, as they are affordable, practical, available in many style choices and a great canvas for your artwork. Classic fabric colors still rule – black, white and grey tees remain really popular for bands, with natural earth tones and muted colored heathers gaining popularity in the past few years. Short sleeve crew neck shirts are the primary cut for guys, but if you want something just for ladies, tanks and v-necks top the list. For the budget constrained, 100% cotton or 50/50 cotton/poly blends in well known, household brands (Hanes, Gildan and Anvil) are the economical favorites. If you can afford more stylish fabrics and brands, tri-blends from Bella+Canvas and Next Level are really popular – and for good reason, as they offer great touch, great fit and great looks. Your fans will love the style and you’ll be able to charge more for these shirts. Whatever your shirt choice, strongly consider using a graphic designer to ensure great artwork on your retail shirts. Even if your fans love you, they’ll be more inclined to buy (and wear) your tees if the design rocks.
  • Warm Up Gear. Consider cold weather merch, particularly if you’re touring and selling in the Northeast or Midwest during the winter months. Hoodies are highly practical, fashionable and a premium item for your biggest fans who are willing to open their wallets. In fact, maybe everyone at your gig will buy a hoodie on those cold winter nights. Hoodies come in a number of weights, some great for wearing throughout the year, even in warmer climates. Another option is to stock up on beanies. They’ll look great embroidered with your band name or logo design. Beanies are a useful, high quality merch item most fans can afford. If you’re playing in outdoor venues, beanies are a great merch table item.
  • Christmas in July? Err, maybe not. Let’s face it…Santa Claus on your tee shirts likely won’t be your fan’s fashion pick in the middle of summer. Consider designs that will make your fans want to put on your gear all year round. Don’t risk your merch making its way to the bottom of their dresser drawer. Unless you’ve got a large fan base and budget for many SKUs, avoid seasonal designs on tees.
  • Order Early (by mid November)! Avoid out of stock items and weather related shipping delays, plus leave yourself cushion for artwork issues so that you have as much time to sell your branded gear as possible. If you’re planning to sell for the holidays, you’ll want your inventory in hand right after Thanksgiving. That means ordering in the first half of November. Remember, it will usually take 2-3 weeks for your custom merch items to arrive.
  • Holiday Mix. It’s your music, your art, your style, your message. But, it’s your fans who’ll be wearing the hoodies, tee shirts, hats, beanies and other items you want to sell, so make sure you’ve got flavors to support different sizes and tastes. You’ll want sizes from small to extra large. If you’ll be selling a lot, make sure to order some XXL sizes for your biggest fans. And, consider different color fabrics – don’t assume just because you like black tees that everyone else does.
  • Amp Up Your Selling. Your merch won’t sell on its own, even to fans who love you. You need to let your customers know you’ve got merch. Tweet them and send them messages and pictures through Snapchat, Facebook, Instagram and your website. For selling at venues, make sure to conveniently place your merch table and take time to display your merch with flair so your fans see it and want to buy it.

Your fans want to show their love for your music and band. If you design great gear that’s stylish and practical with the right mix of colors and products, merch is a great and fun way to make money for your band.


The Latest News from TuneCore Music Publishing

We’re more than halfway through October already, and we’ve got plenty to report from out Music Publishing Administration office in Burbank, CA! Take a look at who has joined our songwriter community and which compositions have recently been licensed in film, commercials and TV shows.

Songwriter Highlights
TuneCore Music Publishing is honored to administer select compositions from the catalog of legendary jazz saxophonist, Billy Harper. A staple to New York’s jazz community since the mid-sixties, Mr. Harper has collaborated with jazz giants like Gil Evans, Max Roach, Thad Jones, Mel Lewis, Lee Morgan and Art Blakey.

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The Billy Harper Quartet has been awarded with multiple grants from the National Endowment of the Arts as well as the International Critics Award for Tenor Saxophone. The 1976 album, Black Saint, also received notoriety when named “Jazz Record of the Year” by the Modern Jazz League of Tokyo.

Daniel Rosenfeld, more popularly known as C418, is an independent electro-ambient producer for music in the mobile video game Minecraft. C418’s music ranges from 40-second loops and jukebox tunes, to full arrangements. TuneCore Music Publishing is proud to administer and distribute several volumes of the Minecraft soundtrack, in addition to his individual albums featuring scores in the same genre.
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Sync & Creative
In addition to our Sync & Master Licensing Database, our creative staff continuously works to place TuneCore administered copyrights across all multi-media. Recent pitches include music in advertising for Virgin Mobile, hit HBO series Girls, new NBC dramedy The Mysteries of Laura starring Debra Messing and promotional media for UFC.

Recent Licenses & Placements
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kickback & team shot

The Kickback Visit TuneCore Brooklyn Office

It’s always a blast having a TuneCore band or artist come in to visit our offices! The artist gets to ask questions, answer questions, and meet some of the folks working everyday to make sure their music is distributed with ease. Likewise, the TuneCore team gets to ask questions, learn more about our artists and get a pleasant reminder of why they do what they do everyday!


While Chicago’s The Kickback are in town for a few shows during CMJ, they graced the TuneCore Brooklyn office with their presence to play a few songs and hang out with the team. Billy, Eamonn, Jonny, and Ryan play thoughtful indie rock tunes and have been distributing with TuneCore since 2011. The band tours regularly throughout the year, and go above and beyond to provide their fans with extra content in their Disastour podcast – a fun, (and funny), inside look on the band’s experiences on the road.

We were able to chat with The Kickback about their “American Splendor” Tour, what it means to be independent, and, of course, Batman!

  1. What does being an independent band mean to you?

Typically, it means a 162-thread email chain where the band debates the merits of a t-shirt or poster design. Those are the spoils of independence.

Having the “freedom” to do what we want, I think, is a gift that we don’t really appreciate because we didn’t come up in the ’90s where if you had a haircut and a novelty song about vegetables, you might catch some of that sweet major label runoff. The price you paid for that money seemed to be almost immediate dismissal or–more likely–the loss of any decision-making concerning your art and a slot on the fair circuit.  I started playing music when all of that was already in an urn on the mantle, so “independent” just feels like the way it is for most bands.

Offer me a moderately priced Ford Impala to sell out all of my ideals and then we’ll make this interesting.

  1. Congrats on recently kickin’-off the tour that will last until December!  How do you plan on keeping the momentum going each night?

There are the assumed realities and then the down-the-road aspirations that fight for competition when preparing for time on tour.

My hope, like most rational performers, would be to hole-up watching the ’89 Batman right up until game time while advocates and well-wishers rock the van back and forth chanting the band’s name. At that point, dressed like Batman, I would crowd surf into the club and up to the stage, high-fiving the other guys as they also crowd surfed from their various pre-show stations and stools. That would, I think, be enough to keep the blood pumping most nights.

Barring that, the more likely scenario involves doing your best not to strangle the people you’ve been stuck in the van with for a month, doing what you can to deter your own contributions to that situation, and fully committing to seppuku (harakiri) if you ever, ever walk offstage feeling like you phoned it in.

  1. It’s great that the band has used a different medium by creating a podcast! How has that affected the relationship between you all and the fans?

The podcast is sort of for a very small segment of our fans that are either incredibly bored at work or are interested to better understand the dynamics of how making a band work works.

We run into bands on the road who listen and we automatically have a shorthand to commiserate about that booker in Philly who screws bands on a regular basis (I bet you think this song is about you) or finding out that another band also saw those super racist bumper stickers at that gas station by Talladega Speedway.

It gives a small audience a better idea of what it’s like to be a grown adult trying to live like Peter Pan, but, you know, responsibly-ish.


  1. Do you use trend reports available for you in your TuneCore account?  If yes, how do you use them? What other artist services have you used through TuneCore?

Tunecore has been great to us.

While performing at SXSW, NXNE, and CMJ, Tunecore always reaches out to help promote the shows. Our “Please Hurt” single wound up on iTunes’ ‘New & Noteworthy,’ and we had worked with Tunecore to submit it for consideration. It’s always a gamble, but Tunecore really seems to go to bat for their artists.

  1. What tips would you give to other indie artists looking to grow their careers?

If your end goal is to hand off the work you do as an artist and self-promoter to someone else, you have a Judas Priest-sized-thing coming your way.

Nobody cares about you like you. You’re practically in love with yourself. I mean, look at you. Nobody is going to work harder for you than a) you or b) that girl at work who has started cutting her hair like you and dressing like you and I think we both know how this ends so you probably shouldn’t entrust her with your music career.

  1. What’s something your fans can look forward to after the tour? 

2) Season 3 of Twin Peaks in 2016
3) Ben Affleck will do a great job as Batman even though I think the movie is doomed
4) Our debut album…probably.
5) Nurture that nagging feel that this is all a joke and contemplating a move to/away from advertising.

kickback i am tunecore

Check out more pictures of The Kickback visiting TuneCore here.
At CMJ this year? Be sure to catch The Kickback at The Bowery Electric on 10/22 & at The Cake Shop on 10/23!

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New Music Tuesday: Oct. 21, 2014

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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We Only Have Forever
Justin Garner
R&B/Hip Hop

1262503 copy
Father You Are All We Need
Citizens & Saints
Christian/Gospel, Pop

1267247 copy
M4ster of Death!
Dance, Electronic

1260597 copy
Detener El Tiempo
Latin, Pop

1249846 copy
Pour Another Round
Twang and Round
Country, Hip Hop/Rap

1250013 copy
Welcome Home
Antonio Neal
Christian/Gospel, R&B/Soul

1247336 copy
I Believe
Crystal Yates
Country, Singer/Songwriter

1258057 copy
Katy Perry
Monday’s Mona Lisa
Pop, Rock

1256909 copy

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Come Correct
Devi Genuone
Pop, Electronic

1267820 copy
Digits (feat. Acstyle)
Hip Hop/Rap