Category Archives: Music Publishing

TuneCore Artists Earn over $134 Million in 2014 from 7.5 Billion in Downloads and Streams

TuneCore Growth Fueled by Creative Expansion, New Artist Services and Innovation

New York, NY – January 27, 2015 – 2014 was a landmark year for TuneCore. Building upon its outstanding growth, the company today announced over $134 million dollars in 2014 artist earnings, up 11% from 2013 and totaling $504 million since 2006. Additionally, artist downloads and streams were up 120% year over year, with more than 7.5 billion in 2014, and more than 12.4 billion since 2006.

 Key Growth & Expansion

With more than 150 store partners available across the world, TuneCore added new ways for artists to share their music in key emerging markets including with Claromusica in South America & Latin America, KKBox in Asia and Spinlet in Africa. TuneCore provides artists with partners covering over 200 countries and territories.

TuneCore’s Music Publishing Administration also continues to grow and now actively manages over 275,000 compositions, collecting songwriters’ royalties in over 60 countries, and negotiating Film and TV music licensing agreements.

In 2014, TuneCore broadened opportunities for and connections with the artist community. Music industry veteran Joe Cuello joined the TuneCore executive team to spearhead the music publishing administration business as well as new brand partnerships and special events that will provide growth opportunities for musicians and songwriters. TuneCore also opened a Nashville office in support of that vibrant songwriter and performer community. The Nashville efforts are being led by music industry veteran Shelby Kennedy, Vice President of Entertainment Relations. 

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Artist Highlights

The heart of TuneCore is the independent artist, and 2014 marked another remarkable year for the TuneCore Artist community. The artists continue to be heard across the world in all creative mediums – from the big screen, with music featured on the Academy Award Nominated Birdman soundtrack, to the small screen, as the original score of one of the most talked-about podcasts, Serial.  Additionally, twenty-three TuneCore Artists were selected for teams on the hit show, The Voice with 2 winners in seasons 6 & 7.

In 2014 TuneCore Artists graced the stages of local venues and nationally acclaimed festivals with a high percentage of the performers having distributed their music with TuneCore:

  • 30% of artists performing at SXSW
  • 40% of artists performing at CMJ
  • And 50% of artists performing at the A3C Hip-Hop Festival

Expanding Artist Services

Recognizing that independent artists are looking for new ways to hone their craft, create music and share it with more people around the world, in 2014 TuneCore launched Artist Services, a suite of tools and services that enable artists to promote their work and connect with fans while remaining independent. TuneCore has built-out this suite of tools to include new products such as YouTube Sound Recording Collection Service, enabling artists to collect additional YouTube revenues, TuneCore Track Smarts, providing artists with fan reviews and actionable song element analysis, and TuneCore MerchLink, giving artists access to attractive, affordable fan merchandise.

In 2014, TuneCore also undertook a significant initiative to better understand musicians’ thoughts and expectations for the future of the music industry. An online survey of TuneCore Artists revealed that independent artists are optimistic about their future and encouraged by innovations in the industry, including the growth of distribution platforms like iTunes, Spotify and YouTube and the availability of social networks like Facebook and Twitter to facilitate deeper connections with fans around the world. The TuneCore Survey also confirmed that artists strongly believe that streaming makes it easier for new fans to find their music and anticipate streaming will be a driver of the business’ future.

Innovation

Echoing the sentiments expressed in the 2014 TuneCore Artist Survey, TuneCore continues to look for innovative partnerships and new services to add value for musicians. Realizing the importance of connecting artists with fans, TuneCore acquired DropKloud. The DropKloud app, launching in Spring 2015, offers digital enhancement to street team promotion, allowing artists to drop digital content – exclusive access to a song, an invite to a pop-up showcase or behind the scenes photos – into ‘Klouds’ available to fans in specific physical locations. DropKloud co-founders joined TuneCore’s team and will head a new TuneCore Innovation Lab in Boston, which will support TuneCore’s commitment to product development and expanded services for artists.

Looking to 2015

In 2015, TuneCore has exciting plans to build on the successes of this past year, leveraging the new Innovation Lab to provide artists with added services to help amplify their craft, and expanding artist revenue opportunities through strategic partnerships and special artist-centric events. The year has kicked off with a strong start with the announcement of TuneCore’s newest Artist Service, the LANDR Instant Mastering tool which provides all artists with quick, affordable access to mastering. TuneCore will continue to strengthen its core offerings, always with an eye towards new store partners to increase artists’ opportunities to have their music heard by audiences across the globe.

An infographic with year-to-date milestones can be found here.

Interview: Manafest Talks Sync Placements & Collecting International Revenue

Canadian-born MC Manafest has enjoyed success in marrying Christian hip hop with varying sub genres of rock music, never failing to provide an energetic, uplifting and enjoyable experience for his listeners. He’s got 7 studio albums under his belt since 2003, his most recent being The Moment, released in August of 2014 & distributed by TuneCore.

Manafest is the perfect example of an artist who has released music during times when the industry suffered, recovered, and continually changed. Regardless of the rate at which the music business changed and the lessons that needed to be learned, Manafest still benefitted from touring and licensing opportunities that allow an artist to pursue their dreams and make a real living. When it comes to keeping track of all the revenue that’s owed to you from different avenues and countries, he made the ultimate decision to sign with TuneCore as his Publishing Administrator.

To give you a better idea of why publishing administration goes beyond just signing up with Performance Rights Organizations, we chatted with Manafest to learn more about his sync placement experiences, collecting publishing royalties worldwide, and advice for artists in an ever-changing industry.

1. What made you curious about TuneCore’s Publishing Administration services initially?

Manafest: I had chatted about it with my manager a bunch of times and was unsure, even though I knew there was money being left on the table. Same thing many years ago when I was scared to sign up my music to sell it digitally for sale.

Then I heard a podcast talking about all the money in other countries that SOCAN/ASCAP can’t collect on my behalf unless I’ve registered those songs in each country. The first check I got, I was very pleased.

2. How were you collecting and managing your songwriter royalties before becoming a TuneCore Music Publishing Administration client?

SOCAN was paying me. And I signed up with SoundExchange so getting checks from them. I did have an admin deal with Sony Music Japan so they took care of me there.

3. Were there any surprising sources of revenue that you discovered upon entering into a publishing deal with TuneCore?

Yeah – some United Kingdom stuff. All the royalties from sales outside of North America. It’s always amazing to see money generated outside of your home country.

4. How has the sync placement of your song “Bounce” in the film F(l)ag Football affected your progress or momentum as a musician?

It builds your sync catalogue so that when your talking with music supervisors you can say you’ve had some placements. I’ve had lots of placements over the years with CSI Miami, NFL, ESPN and other TV shows. So it all helps. I’d love for it to be more consistent. I think the key is to make more “good” music more often, so you can give TuneCore and your other teammates new stuff to pitch.

5. Beyond this sync placement, what has been your most lucrative publishing revenue stream?

The back catalogue of my hit songs “Impossible” “Avalanche” and “Everytime You Run”. I’m so happy I didn’t sign my publishing away as well as my masters. I just did a licensing deal with a label so eventually I get all my [masters] back.

Press L.A Shot

6. You’ve been making music for well over a decade now. Do you see any recent trends or new opportunities for hip hop artists when it comes to licensing? How, if at all, has it changed?

A lot of TV shows and independent films can’t afford an Eminem, a Jay Z or a Macklemore track, so they want something similar sounding — or even just the beat. This is where, if you have a big catalogue, you can pitch one of your songs and get a $2,000-$10,000 placement.

7. What’s an educational tidbit you’d share with independent artists who may be confused by music publishing?

Don’t sign your publishing away to a label. Negotiate.

Keep writing and hire a producer to make your songs great. Good isn’t enough.

Never give up and don’t be afraid to reach out to people. You’d be surprised how many people actually respond.

The Latest News From TuneCore Publishing

More news from our sunny Burbank Music Publishing Administration office! 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

Roy “The Professor” Bittan is the Rock and Roll Hall of Fame inducted keys player in Bruce Springsteen’s legendary E Street Band. A master of piano, organ, accordion and synthesizers, in addition to working with his longtime band, he has served as an Collect All Your Songwriter Royaltiesessential session player for Tracy Chapman, Jon Bon Jovi, Peter Gabriel, Stevie Nicks, and Nelly Furtado, to name a few. TuneCore Music Publishing is honored to represent both the Synchronization and Masters from Mr. Bittan’s new solo album, Out of the Box, released in November 2014. Probably best described by The Boss himself, “Roy’s sound, beginning on “Born to Run,” is still the sound that many people relate to – along with Clarence’s sax — as the signature sound of the E Street Band. An amazing musician.”

TuneCore Music Publishing is proud to administer the current works of Bruce Falson. Known as Blood Raw, Falson is a Dirty South rapper, formerly signed to Def Jam Records Atlanta-based imprint CTE (Corporate Thugz Entertainment). Under the direction of Young Jeezy, the MC enjoyed early successes in his career, including Collect All Your Songwriter Royaltiespeaking at No. 5 on Billboard’s Rap & Hip-Hop charts. His prolific catalog from 2010’s The Real American Gangsta to this year’s Shoe Box Money, remain true to the hard edges of street lyricism and phrasing. These compositions are licensable exclusively through TuneCore.

Danny Michel made the pilgrimage from his home in Ontario, Canada to Belize, Central America in order capture his very unique Afro-Latin style of songwriting. Working with The Garifuna Collective, native to Belize, they created catchy up tempo tunes with Collect All Your Songwriter Royaltiespop-island flavors. Compositions like This Feeling,” which features a happy mix of accordion, light horns, and organic percussion, have earned Michel three Juno Award nominations. Previously signed to MapleMusic Recordings/Universal Music Canada, in 2008 Michel bought back his catalog. Epitomizing the true spirit of musical independence, Tunecore is thrilled to work as his publishing administration partner.

Sync & Creative

In addition to our Sync & Master Licensing Database, our creative staff continuously works to place TuneCore administered copyrights for our clients across all multi-media. Recent pitches include music for the new CBS hit drama Madam Secretary, Ride Along 2 starring Kevin Hart, Ice Cube and Olivia Munn, and promotional content for ESPN.

Recent Licenses & Placements

awkward

Awkward
“Body Speak”
Writer: Matt Pahler
Artist: Leo Islo

fallon

The Tonight Show
with Jimmy Fallon 

“Ugly” 
Writer: Deandre Way
Artist: Soulja Boy

originals

The Originals 
“Twinkle Twinkle Little Star”
Arranged by: Brian Crain
Artist: Brian Crain

In the News

We stay current on industry news to make sure we’re the first to know how new legislation and deals will affect our writers. Here are links to recent articles you need to know about:
How To Read Your Publishing Statement (TuneCore)
BMI Advises Pandora (Billboard)
NMPA CEO David Israelite on CNBC (CNBC)

We Find Your YouTube Composition Royalties. You Get the Money.

[Editors Note: This article is written by the TuneCore Music Publishing office.]

As the world of digital content grows, the agreements between the societies and digital service providers around the globe also adapt. Sometimes faster than a drumbeat.

That’s why artists, who want to collect all their potential songwriting royalties from YouTube, need someone on their team who can stay on top of all the changes and get them the most money possible. That someone is the team at TuneCore Music Publishing Administration.

We know you have questions, and we’ve got some basic answers that can help you understand how you can make more money from your compositions on YouTube.

When my compositions are in YouTube videos do they generate money?

Yes. Your compositions generate money on YouTube when your music is used in other people’s videos and on your own YouTube videos.

What types of royalties do my compositions generate on a YouTube video?

There are two types of royalties:
1.) A mechanical royalty (a.k.a synchronization royalty in some territories). Every time a song you’ve written is manufactured to be sold in a CD, downloaded on a digital music store, or streamed through services like Spotify and Rdio, you are owed a mechanical royalty. In the case of YouTube this can also be considered a synchronization royalty because the music is synchronized to a moving picture (video).

2.) A performance royalty. A performance royalty is owed to songwriters and/or publishers of a song whenever that composition is “broadcast” or performed “in public.”

An additional royalty for the sound recording is also generated, and this is a separate revenue stream from the composition royalty. (For more information on collecting sound recording revenue, click here.)

What happens to the royalties my compositions generate on YouTube?

In the U.S.:
If other people use your compositions on their videos on YouTube, YouTube will pay this money to the copyright owner (you) but only if you are represented by a publishing administrator.

  1. An administrator must register your compositions with YouTube in order for you to receive this money.
  2. One exception to this is for videos on your own YouTube channel. If you claim the compositions on your own channel, then you would receive the mechanical (synchronization) royalty directly from YouTube. Note that the performance uses for your self-owned videos would still go to the local collection agency (or Performing Rights Organization in the US like ASCAP, BMI or SESAC).
  3. In general, if your compositions are not claimed, you do not receive the money.
  4. YouTube does not pay retroactively, so you must claim your compositions as soon as possible.

Outside of the US:
ALL of these royalties are automatically paid to the various collection societies around the world, just like any other streaming service (i.e. Spotify). In most cases, without a publishing administrator you will not be able to receive this money.

  1. This happens for both the mechanical (sometimes defined as synchronization) and performance royalties.
  2. These societies pay this money to the copyright holders of the compositions.
  3. You must be registered by an administrator in their territory to receive your money.
  4. There are reciprocal agreements in place for the performance royalty between ASCAP, BMI & SESAC etc.. However, this does not include the mechanical (synchronization) royalty.

Can I collect these royalties without a publishing administrator?

Without a publishing administrator, you would only see the resulting performance money generated by 3rd party videos IF your compositions are identified by the societies. You have a better chance of receiving this money in full by having a publishing administrator like TuneCore register your compositions with YouTube and the collection societies worldwide (including BMI, ASCAP & SESAC etc.).

How does TuneCore find my composition royalties on YouTube so I can get paid?

The simplest way to explain this is in the chain that is created when a video includes a song and that song is identified.

  1. TuneCore registers the composition directly with YouTube.
  2. The composition is matched to any sound recordings previously identified on YouTube containing that composition. This process happens after a sound recording ID request has been made by an entity like the service TuneCore uses to collect sound recording revenue, or by a record label.
  3. TuneCore collects the composition royalties from YouTube.
  4. TuneCore puts the money directly in an artist’s TuneCore account via their quarterly publishing statement.

How much can I get paid?

Different types of ads generate different levels of money. A pop-up ad would generate differently than a banner ad or a commercial leading up to the video being streamed. It also depends on the viewer territory, the ad’s format, the device of the user and the user experience.

As the world of digital content grows and the agreements between the societies and digital service providers change, often rapidly, we are here for you.

With the TuneCore Music Publishing Administration team and its 100+ years of combined experience in your corner, your chances of collecting the optimum amount of money that your compositions generate on YouTube are very upbeat.

#TCVideoFriday: Dec. 5, 2014

Another Friday, another random sampling of some of our awesome TuneCore Artists’ videos! Take a break from your afternoon and enjoy…


Malachi Rivers, “Love Is All”


Vérité, “Weekend”


Bugs and Rats, “I Felt a Funeral In My Brain”


Kerrie Roberts, “Come Back To Life”


Lizzie & John Brenkus, “Christmas Is My Favorite Time of Year”


Hollohan, “Helping Each Other Die”


Tripet, “Aaz Ma Le”


Liquid360, “Fluid State of Mind (Majik Boys Radio Mix)”


Kid Runner, “Move”


Stellar Young, “Nomad”

The Latest News From TuneCore Publishing

After a busy month of A3C and CMJ, November creeped right up on us! But as always, we’ve got awesome stuff to report from our 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

hudson-1With a stylistic tip of the cap to Americana trail blazers Jack White, The Black Crowes and ZZ Top, TuneCore Music Publishing writer David Hudson leads his group HUDSON on a neo-classic rock bender on their latest effort, Into the Unknown. Creating music they hope reaches the depths of your soul, their altruistic mantra is paying dividends with their single “Weightless” gaining traction at radio and a recent feature on The Collective on NuvoTv Powered by Vevo.

page

TuneCore Music Publishing is proud to administer select compositions from the highly regardedsongwriter, Gregory Page. Page is an English born Irish/Armenian musician who creates oddly compelling songs that are full of cinematic melodies. Perhaps best written by the composer himself, “The tightrope my music teeters upon is the struggle between tradition & progress, history & fantasy. I am the songbird & the worm.” Fellow troubadour and Page’s most recent producer Jason Mraz calmly states, “He’s the real deal, a rare gift.”

Screen Shot 2014-11-13 at 11.10.48 AMTwin brothers Niels and Torsten Kinsella, along with producer Thomas Kinsella and drummer Lloyd Hanney, make up the creative brain trust behind one of the world’s most intense, musically and visually inventive post-rock bands, God is an Astronaut. TuneCore Music Publishing proudly  administers the full catalog from the Glen of the Downs, Ireland instrumental rockers, including their 2005 breakthrough All is Violent, All is Bright and latest release, Origins.

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 for Sony Playstation’s MLB 15: The Show, Warner Bros. Pictures’ Entourage, an upcoming unscripted series on ABC Family, Vans branded content projects and trailers for the Netflix documentary My Own Man.

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In The News
We stay current on industry news to make sure we’re the first to know how new legislation and deals will affect our writers. Here are links to recent articles you need to know about: