We thought it would be pretty interesting to run some queries that identified the genres of releases being distributed by TuneCore Artists and then bought globally in the digital music services. We’ve put together a few graphs below to show you what we found…
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In February, 2012 of this year we posted a blog article about the new money being generated for artists from Apple’s iTunes Match.
In its first three months of existence, it generated over $10,000 for TuneCore Artists, new money created from an innovative new service (you can learn more about iTunes Match here).
Now that a few more months have passed, and Apple has expanded iTunes Match into other countries outside of the U.S., we thought it would be cool to provide an update.
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This is insane.
Before TuneCore launched its songwriter publishing administration service, over 99% of the world’s songwriters had no way to get all the royalties they earned from the use of their songs.
It sounds bizarre, absurd and impossible. After all, what sort of screwed up industry creates a structure that generates musicians hundreds of millions of dollars in royalties, but denies them a way to collect them?
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So there I was on the subway reading the NY Times, and once again in the Monday Business Section in the “Most Popular” Column was the list of best selling artists/releases, and once again there was a TuneCore Artist nestled between the other major label artists.
This was not supposed to happen (so says the traditional music industry). And it caused me to pause, reflect, and look back on the last year. I realized I missed the forest for the trees, and it’s a hell of a forest.
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TuneCore Founder/CEO Jeff Price speaks with the the Academy Award-winning composer, Nine Inch Nails Founder and frontman, and TuneCore Artist about his composition process, scoring films and more.
Jeff Price: You’ve made this transition, right, I mean to me you’ve always created these tapestries of sound, and come up with ways to create music out of things that I didn’t quite think would make music. And when you were doing that, did you ever think about your music being used to score literally a film, or score images? Or was it something that was always completely separate for you.
Trent Reznor: You know, I’d been interested in the idea of scoring a film, but I’d never really set aside time or made a real effort to try to get work that way. What’s happened in the last few years is a direct result of David Fincher asking me if I’d do it. And it was flattering, because I’m a big fan of David as a filmmaker, and also as a person. It was an easy way to kind of dip my toe into it, and see, and he was very supportive and nurturing, because I didn’t have any idea if I could actually do that or not.
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By Jeff Price
In the last newsletter I posted an article about how back-end distributors use a copyright “slight of hand” to actually take a higher % of an artists money then they state. One comment on the TuneCore blog made by someone named Matt stated: “It would be good to have some pie charts showing the different scenarios regarding music copyright and royalties U.S. / non U.S. etc…”
Good idea, Matt. So here you are, a whole bunch of flow charts that show how money is paid out.
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– a Six Part Series by Jeff Price Part IV: The Growth Phase is Over? Improved Label Margins Read Past Chapters Part I: Music Purchases and Net Revenue For Artists Are Up, Gross Revenue for Labels is Down Part II: The Impact of DMCA Streams and Why They Should Be Considered Part III: How a […]
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