tunecore

Teri On The Creative Process and The New Album

Le Butcherettes On Their Creative Approach To Songwriting And The Meaning Behind Their New Album


Le Butcherettes know how to put on a live show. The “garage-punk trio” (which originally began in 2008 as a duo), fronted by Teri Gender Bender, has come from Mexico to Los Angeles, bringing with them an almost theatrical energy and obvious passion for their music. Read on to learn about the band’s unique songwriting process and how their new album Sin Sin Sin represents both musical and spiritual growth. 

Without using the words “alternative,” “pop,” “rock,” or “hip-hop,” describe your sound.

I describe this sound to be simple but powerful. I really don’t know how to answer this question without looking like a goof. I usually describe it as “butcher rock” because I butcher and cut the hell out of the songs and then every song ends up having a different sound to it.  When Omar and I worked on the album I would say he added wonders of elegance to it. He gave my chaos a lot of polishing and has allowed me to live in my own songs when they are played live. Lars Stalfors and Isaiah Abolin really did a great job on the engineering. Life changes and the next sound might be different.

What or whom do you go to for musical inspiration?
During the recording of the LP I was listening to a lot of Spice Girls, David Bowie and Beck. I love Bowie’s music so much. After we would finish recording for the day I’d drive back to my Mother’s home (in GDL) and just put Bowie on full blast. Beck makes me feel so alive and sexy. Spice Girls are just for fun to bring back the old days when I would use a hairbrush for a microphone. Nowadays Gabe and Jon have been feeding me tons of cool old school rock I’ve never heard of: Betty Davis, Diamanda Galas, Marnie Stern, etc…

Keep reading

vimeo

TuneCore Founder/CEO Jeff Price discusses the brand new, revolutionary TuneCore Songwriter Service.

How Does Spotify Pay Artists? An Answer That Makes Sense!

How much does Spotify pay artists? It’s the biggest mystery in music. One independent artist claims to have received a measly $0.004 per stream. There was a rumor that Lady Gaga only earned $162 from a million streams. Even indie band Grizzly Bear chimed in to express their displeasure with the alleged slave wages of Spotify declaring that they only received $0.001 per stream. Some have even taken to restricting their music from the service altogether. Is it really that bad? are the payments that low?

In an interview with Hypebot D.A. Wallach, lead vocalist & songwriter in Chester French who works with Spotify as their “Artist in Residence.”, had this to say:

…We make money in two ways. We make money through advertising to free users, who have access to Spotify only on computer. The service is interrupted by ads, and the functionality is a lot like YouTube. There is no mobile option for free ad-supported users, either. Second, we generate revenue from selling subscriptions. In the U.S., a subscription is $120 a year. In the U.K. it is ₤120 a year, and in the E.U, it is €120 a year.

We aggregate all of this revenue from these two streams, and distribute back 70% in royalties based on a pro rata share in accordance with the popularity of a piece of music. For example, if one of your songs has been streamed 1% of the total number of streams in a month, you will get 1% of the 70% of royalties we pay out to rights holders.

According to D.A Wallach in order for anyone to calculate what artists earn from Spotify, in say a month, a few numbers are needed.

  1. Spotify’s revenue for the month

  2. Amount of dollars Spotify pays out to rights holders

  3. Combined number of streams

  4. Their number of streams

  5. Percentage of overall streams a song accounts for

Being that Spotify is a private company, we don’t have access to their revenue figures so here’s my hypothetical scenario based on real numbers that Spotify has released to the public. According to PrivCo, in 2011 Spotify generated 244 million dollars in revenue. In 2011 Spotify released U.S figures that showed there were over 13 billion songs streamed on Spotify in that year. 13 billion songs streamed doesn’t tell us how many times those 13 billion songs were streamed respectively but we’ll use that number being that that’s all we have.

$244, 000, 000/ 12 = $20,333,333 per month (Revenue for the month)

70% of 20,333,333 = $14,233,333.1 (Amount of dollars Spotify pays out to rights holders) 

13,000,000,000/ 12 = 1,083,333,333.333333 per month (combined number of monthly streams)

20 streams X 100/ 1,083,333,333.333333 = 0.00000184615%  (artist’s percentage of monthly streams)

0.00000184615%  X 14,233,333.1 = 0.26276867902 (artist’s royalties)

0.26276867902/ 20 = $0.01313843395 (artist’s per stream royalties)

So, if an artist on Spotify received 20 streams out of 13 billion and Spotify grossed 244 million dollars, that artist would have earned a little over a penny per stream. It’s pretty safe to assume that the 13 billion songs streamed were listened to more than once and the higher the amount of total streams, the lower the amount of per stream payout for each artist. At the same time, the higher the amount of revenue generated by Spotify, the higher the amount of per stream payout per artist. In addition, Spotify doesn’t accept music submissions directly from artists. As a result artists must submit through digital distribution companies like ONErpm, CdBaby and Tunecore.

Some of these distributors charge up to 15% of sales, from what I’ve seen, and have arranged their own rates with Spotify so what an artist can earn through them varies. For instance, from music I’ve released through CDBaby on average I see $0.004 per stream after their 15% deduction. With music I’ve released through a relatively new company called ONErpm, I receive $0.007 per stream after their 15% deduction. Artists signed to a label may have arrangements that are far less favorable. Aside from the digital distribution and label fees that are deducted from your per stream payout, a 10.2% publishing fee is deducted as well. What happens to that money? Well, I’ll save that for another post.

Source: Music Think Tank (by SF) 

This new iPhone app, reviewed by the folks at Tunecore, makes it real easy to capture that fleeting idea for a tune. You can go from idea to completed song, add and edit chords, record a track, and send it to any email address you like. And at only $0.99, you’d better stop reading this and download it quickly, before you lose another idea.

Kendall Schmidt - TuneCore

Artist, singer and trending Internet star Kendall Schmidt is choosing TuneCore.com music publishing to release his new band Heffron Drive’s debut album and first single “Parallel”. Now available on iTunes, the album was played live at multiple showcases this month during the SXSW music festival in Austin, TX.

Why did you decide to partner with TuneCore.com?

It makes sense. If I sign a deal with a record label, I owe somebody a whole bunch of money and then I’m at the label’s mercy since they own my masters. That really doesn’t make any sense because I wrote the songs—I should be able to own them. I dealt with labels the last four or five years, and it was full of amazing experiences, but also full of lessons.

It seems like the values of TuneCore really align with many of my own. Artists should focus on the music and not on all the complexities of the business—that totally takes away from the music.

Also, I can make decisions a lot quicker than I can when signed to a label. With a label, there are a lot of cooks in the kitchen and a lot of people are making all kinds of decisions about what they think is right. Sure, some of these people may have a lot of experience, but that’s not true with everyone. With TuneCore, decisions can be made faster and you don’t fall behind. If the fans want something specific, you can actually give it to them without having to ask for somebody’s permission.

Click Here to Visit TuneCore: http://socopm.us/QnyAE8

This post was created in partnership with eAccountable. All opinions are my own.

Artists Outraged as Tunecore Quietly Raises its Renewal Fees by 150%

This is one of those things you only notice when you notice. For example, when your annual renewals are due within 30 days. And in the past few weeks, Tunecore has more than doubled its album distribution renewal fees, from $19.98 to $49.99.

Actually, that’s a 150% increase, and $30 means something to most artists.  We talked to a Tunecore customer service rep about the shift, who confirmed that the price hike actually happened April 6th.  But of course, Tunecore wasn’t about to trumpet the change.  Singles and ringtone distribution renewal charges remain the same - at $9.99 per year.

We had little trouble locating pissed-off artists. “This is a highly alarming event and many artists consider it blatant fraud,” one artist wrote on the Velvet Rope forum. “The sign-up deal was $19.98 per year to renew an album. I want you to know I will immediately be contacting the Better Business Bureau, the Consumer Protection Agency and RipOff Report.”

Tunecore does reserve the right to change rates, and the company has been notifying artists - but typically within 30 days of renewal.  That technically allows time to shop around, though shifting contents to another service can be a huge hassle.  And, there are serious penalties for non-renewal.  ”You must renew by the date above to keep your music live on the online stores you selected,” the Tunecore letter states.  ”If you do not renew, your release will be taken down from the online stores after the renewal date.  You will lose all your reviews, comments, future sales and your TuneCore Media Player. “

There are extras that come with the elevated price.  The rep told Digital Music News that the increased rate also allows bands to select an unlimited number of stores, and trending reports are free.  And, he offered a tip - if you want to add another store after initial sign-up, you can call Tunecore and they will waive the $1.98 add-on fee. Thanks, guys.

ONErpm.com will be offering 50% off premium distribution services to 25+ stores due to the Tunecore disaster.  Visit www.onerpm.com and sign up now!

Article originally appeared on Digital Music News (http://www.digitalmusicnews.com/).

Single on itunes called “turn me down” #itunes #recording #music #videographer #mmg #rocnation #vocalist #independentartist #musicproducers #djs #producers #tunecore #instrumental #rapartists #hiphop #rappers #singers #dancers #unsignedartist #dreamchaser #lyricist #poetry #rhymes #writer #songwriter #studio #session #musician #microphone

Tunecore singles update!

Just a quick progress update about my songs that were digitally distributed through Tunecore in January. I’ve just checked Spotify and both are now present and able to be purchased or streamed for free! I’m stoked. Next month I get to find out if I’ve sold any tracks and if I’m the next big thing or still just physically a bit too big from too many pizzas.

Over and out.

Lt Meat

Why everyone but the Artist and the Music fan is doomed

Every business built on gatekeepers eventually fails.  At some point some technology comes around, making the entire old school industry obsolete.

It’s a shortsighted model based on greed, ego and false perception of invulnerability.

Take the old school music industry: it was a ticking time bomb of self-destruction waiting to go off.  It began with the birth of recorded music. The “artist gatekeepers” with the infrastructure and access to place music on retail shelves decided they would not just charge a fee for the service, but would also require a transference of copyright from the creator to the gatekeeper.

For the “consumer gatekeepers,” they could have chosen to allow more music to be exposed, but they went down the same path as the artist gatekeepers.

It did not need to be this way; the artists could have been allowed to keep their copyrights, and music fans could have had access to discover more music.  Try as these two sets of gatekeepers might, their control would be broken. Their over-the-top, greedy mistakes were always on a path of tearing themselves down; it was not a matter of if, it was a matter of when.

Along the way there were lies, theft, piles of money traded, and unnecessary filtering, but the artist and music fan would win.  It’s evolution.

The fall came hard and fast.  It used to be that as a musician, you had to go to the “artist gatekeeper,” the label, and be one of the anointed few that got the privilege of transferring ownership of what you created to the label so your CDs could end up on store shelves.

In order to get heard, and then hopefully have your music cause a reaction, you had to be one of the even luckier few chosen by the “consumer gatekeepers” to have your music played on commercial radio or MTV, or get written about in Rolling Stone.

Did they think, even a moment, that this control would ever be taken from them?

When eMusic, the first on-line digital store, launched in 1998, the boulder began to careen down the mountain.  Within ten years, the entire 80-year-old traditional gatekeeper model had been destroyed.

No longer did you need an A&R person deciding an artist was of “commercial value” to be let into the system.

No longer did you have a retail store buyer subjectively deciding which CDs had enough value to be placed on their shelves.

No longer did MTV have a lock on deciding which music videos got seen.

No longer did commercial radio limit what we all heard to the 15 to 20 songs that they decided to play.

No longer was the general population limited to reading what the editors of Rolling StoneThe New York TimesSpin and others decided to write about.

In the digital world, all artists can be on infinite digital shelves with infinite inventory waiting to be discovered, heard, shared and bought.  The general population of the world can decide what does and does not have value, and can share thoughts and preferences in scales never before thought imaginable, networking to one another globally, via social outlets like Twitter, FaceBook, MySpace, and YouTube.

Digital radio stations now have millions of songs available to be programmed based on the listener’s preferences, likes and dislikes.

This entire old school system was based not on serving the artist, but on gatekeepers exploiting artists to let them in.  And when you are a gatekeeper, when you think you are the only one with the keys to the kingdom (and only you will ever have them), you do stupid things, immoral things, and create a business where you’re simply a necessary evil.

This mentality extended beyond labels, distributors, retailers, radio stations, MTV and print magazines.  It reached into every nook and cranny of the old industry, into entities like ASCAP: the gatekeepers for songwriters to get their money.

Just as it was in the old school industry, there was a time when these gatekeepers reigned supreme in what they did; they, and only they, had systems to track and collect money owed to songwriters for public performances. But then hubris crept in leading to their taking their songwriter members’ money to not only do the job they were hired to do, but also to pay the heads of these organizations exorbitant six and seven figure salaries, spend their members’ money on fleets of cars, expensive dinners, first class airplane tickets, luxury hotels, over the top decadent office space in the most expensive cities in the world (as well as many other travel and expense perks).

They were gatekeepers blocking songwriters from getting their money.  Just like the major labels, they were the only ones with the infrastructure to provide the service; if you wanted your songwriter money, you had to go to them.  They made their priority maintaining control, not serving.  Had they kept this focus, they would now not be in trouble, they would have adapted.

The digital age has made the digital part of what ASCAP and others do a thing of the past.  These organizations are not needed to track sales in iTunes or video streams in YouTube, and yet they are fighting and litigating to try to keep songwriters’ money going to themselves to stick in their pockets.  They do not really give a damn that 98% of the world’s songwriters don’t get their cut of the money owed to them. There are other entities out in the world now, like TuneCore, that can get songwriters more money, more quickly, with transparency and an audit trail, and yet they fight against this efficiency.

It’s foolish, dumb and wrong.

As a member of ASCAP, we called and asked them for a list of entities that ASCAP licenses to, as well as the rates we should expect to get paid.

They called us up with two lawyers on the phone­–lawyers that ASCAP is able to pay from the money it collects from songwriters – and said they could not tell us the rates or whom they were in deals with as it would “violate anti-trust laws”.  What I can’t understand is how they can state this while simultaneously issuing a press release about how they entered into a licensing agreement with Netflix.

Further, how can the people that hired them not get told what rates have been negotiated on their behalf?  How would anyone know if they were doing their job?

It’s frustrating, but I keep this in mind, the end is inevitable; technology has rendered these entities moot, a thing of the past.  The only thing keeping them propped up is that there are artists who do not understand how much money they are owed and where it is.  As this information gets out, these organizations will  use songwriters’ money in an attempt to sue, legislate and litigate, to stop these same songwriters from getting more of what they earned.

There should be no gatekeepers for musicians, or for anything.  It all comes down to serving the musician. This is as it should be. Then entities like TuneCore must create products or services that are of true value to artists or get the hell out of the way.

Limitless release.

Hello my lovelies.

So, I know you’re all wondering about the pre-order and release of Limitless.

Well, guess what.

SO AM I!!

Here’s the deal: It was SUPPOSED to be available for pre-order yesterday, January 29. That’s what TuneCore said. [TuneCore is the site I I used to put Limitless on all the digital stores— iTunes, Google Play, Amazon, etc.] 

However, when you guys go to iTunes and search for Limitless, it doesn’t come up. 

I emailed them yesterday and got a response this morning. They said that yes, it should be up, but sometimes, iTunes picks a random percentage of releases to go through an internal store review process… And apparently, Limitless was a part of that percentage.

This basically means that pre-order probably isn’t going to happen, even though my confirmation from TuneCore said that pre-order would be available on the 29th. I don’t even know if it’ll come out on February 5th. It could come out on the 7th, at the latest. [They said 16 business days from the day the song is received, so the 7th would be the 16th day.] 

Both TuneCore and iTunes won’t give me a date of release, OR even let me know if the song will be available in time for pre-order. 

It’s all out of my hands and I am so incredibly frustrated. 

On the bright side, I know Limitless is for sure coming out— It just may be a couple days late. Please bear with me. As soon as iTunes or TuneCore gives me any information [IF THEY EVER DO], I’ll let you guys know. 

Thank you for being patient, and also for trying to make me feel better on Twitter. You guys are the best ever and I love you and I can’t wait for you to hear the song when it eventually comes out. 

xx

ash

  • blog post request: an analysis of different online music services, copyright policies, where the money goes (if there is any), US presence vs elsewhere..

Oh god I think this might be a bottomless pit. So far my reaction has been: I think it’s great that people are finding ways to access music on the internet and share that interaction with others, however that’s been possible since at least 2000. What is different about the new services is not that they are offering online music listening/sharing platforms, but are instead offering up their huge databases of highly organized information to marketers and advertisers. A playlist says a lot about you to not only your peers, but also to companies looking to market products and services to you. In general I think this is a really dangerous type of online machine to belong to (cough, facebook) because these companies are valued at many many many millions of dollars just because they have allowed us to upload our tracks and fill in our personal information, which we, individually, can’t even get pennies for. If someone is looking to listen to music online, they can just look for a song on youtube (for the time being anyway) and then copy the file from their temporary internet directory so they can have a copy on their computer.

As an artist, I don’t get anything from these services because no one is searching for my music— I have to work to ask people to listen to my music myself, and I prefer to ask them to listen to it on my own website (http://www.4gre.org/), where if people so chose, they could purchase copies for themselves and I would receive a much fairer percentage of the sale. This website put it fairly well. 


Customer service, The new album, limited edition 5″, and giggety-giggety

In trying to get “HAPPY good” listed as such on iTunes…

Good - @TuneCore always delivers your artist and album information exactly as you entered it in your TuneCore account. Each store auto-formats their content and will automatically place two albums together if their system believes they belong to the same artist. In the event this happens, let us know and we can get it resolved but we unfortunately can’t guarantee it won’t happen.

Please let us know it you have any further questions. We’re here to help!

Bad - ( @cdbaby ) While we in some cases can allow creative casing for artist names, we cannot, for purely stylistic purposes allow creative casing in album titles, even with it displayed that way on your Bandcamp page. Sorry about that.

Which way would you go?

The new HAPPY good album …overjoyed, enraptured, entranced is available to listen to/buy at https://happygood.bandcamp.com/  We hope you enjoy it!

We have a new 5″ “vinyl” single available of Electric Cigarette on our homepage http://happygoodband.com/store 

HAPPY good has begun rehearsal for some regional gigs to support the album release. Details will be posted as they become available here https://www.songkick.com/artists/7085174-happy-good

follow us on twitter here @happygoodband 

In August of 2010, musician Frank Bell and producer Deej Hofer were introduced through a mutual friend and decided to see what music they could create together.  Their collaboration immediately proved successful, as the tracks for Frank’s latest album, “Everything Falls Into Place” did just as the title suggests.  Read on to learn about their studio dynamic and how the album came together. (via @tunecore)