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Getting Your Music Out There, a Look at TuneCore and Founder Jeff Price
With the interviews I’ve conducted so far, I found a common thread that I’d like to address. The rules for getting exposure as an artist have changed dramatically over the last decade or so. Each of the artists I spoke to stressed the importance of “being heard”, and getting your music out to the masses one way or another. The internet has certainly been a powerful new force in that arena, and has become the obvious first step beyond the record companies, as well as searching out distribution companies on your own. But with the new rules, where do you start? I recommend taking a look at the way Jeff Price, founder of a company called TuneCore, is changing the face of online music from the musician’s point of view! I find his approach enlightening, and most definitely “musician friendly”.
Jake Kot, Editor
Meet TuneCore Founder, Jeff Price
Jeff Price wanted to change the world — in particular the outdated business model of the music industry. The New York-based music industry veteran, who’s spent the better part of two decades giving voice to hundreds of eclectic artists (Pixies, Apples In Stereo, Richard Thompson, Ron Sexsmith, Clem Snide, Nellie McKay etc) via his SpinART label, is now taking the indie aesthetic to a whole new realm with the revolutionary delivery and distribution company TuneCore.
Price began honing the TuneCore concept during his four-year stint at eMusic, where he worked as Snr. VP of Content Acquisition, Interim GM of their New York office and Snr. Director of Business Development. In 1997, via his relationship with eMusic, spinART became the first record label in the history of the music industry to put its entire available catalog on-line to purchase as MP3s. As he watched online music sales grow exponentially, he grew increasingly disenchanted with the business practices of aggregators who, he felt, took far more than a pound of flesh for their role in getting music onto consumers’ computers.
“It made no sense to me on a moral or philosophical level,” he says. “Labels and artists were being told they’d have to give up the exclusive digital rights to their masters for a three to five year term, and each time something sold, they’d would have to pay between 15 and 30-percent of the income as a fee to the aggregator. On the one hand aggregators – and now physical distributors moving into the digital realm – want to control the masters like a label, but unlike a label they do not provide advances, A&R support or help, connection to studios to lower recording rates, provide tour support, front the money, and provide the staff, to manufacture CDs, make posters, buttons or stickers, put together street teams, embark on new media marketing campaigns, design, pay for and place specific print or banner adds, send out mailings to press radio or retail stores, hire independent promoters, publicists and countless other label services. On the other hand, like a traditional music distributor, aggregators also want to take a % of the money generated from the sale of the music. Unlike a physical distributor who earns this % via their services, aggregators do not have: a physical warehouse staffed with 40 people picking, packing and shipping orders. a staff to refurbish returned CDs to make them re-sellable, a 30 person sales force that go to actual physical retail stores around the country and speak to the buyers in those stores in an attempt to get shelf space for the new release, provide access to specific cooperative marketing programs in retail stores to increase profile and sales, price protection where the artist/label does not need to worry about collecting money from the retail accounts in order to get paid, insurance covering the physical inventory in their warehouse and countless other services. I was incensed by it.”
For more information, click here to visit Tunecore
Instead of just getting mad, however, Price decided to change the model of the music industry through TuneCore. He’s fond of comparing his business model to Federal Express — a paradigm of physical delivery services — in that TuneCore is predicated on a simple flat-fee transaction, rather than a Byzantine set of financial agreements that takes a disproportionate amount of rights and revenues for access. A band wishing to market its work through the service need only pay a small up-front charge – usually a one time fee under 30 dollars, — and then begin the process of selling.
“We treat it as a service sector model,” says Price. “I think of it as analogous to Fed Ex. You walk into Fed Ex, say ‘deliver this to I-Tunes,’ and they say ‘okay, that’ll be 25 dollars’ and that’s the end of it. The reason is twofold. From a business perspective, I am providing a needed service in a very cost effective way. It also gives me an edge within the market to take on people who are very well funded.”
Word of mouth has earned the company a litany of raves from satisfied customers — a group as varied as Frank Black of The Pixies, Izzy Stradlin of Guns N’ Roses, Joe Ely, Roger O’Donnell of The Cure, Ziggy Marley, Frank Zappa’s estate, the Bottle Rockets, Secondhand Serenade, and Tapes and Tapes, the last of which have regularly spread the TuneCore gospel in interview after interview. Price says that the service’s appeal stems in part from its wallet-friendliness, but also touts its inherent user-friendliness as a major plus.
“There’s a major difference in the way you’re paid with TuneCore,” he says. “Everyone else pays you in royalty cycles, usually quarterly, so they can hold on to your money and earn interest on it. We’ve created a model where people have 24 hour, seven day a week access to their money, so they can take it out whenever they want. In addition, the TuneCore system allows you to use it to administer your finances as well. Use it to pay who you want, whatever you want as often as you want.
“The system is also incredibly easy to navigate. Everything is laid out in a very simple way, so that it only takes a few minutes for an artist to get his or her music out there,” he adds. “You type in the name of a band, of an album, upload the art and you can upload lossless music files immediately. Someone can put in a CD, upload it, and decide where they’d like to sell it and that’s it.”
Price certainly knows something about trying to get music heard. He founded the New York-based independent record label spinART more than 18 years ago, a span that’s seen the release of nearly 200 albums — including acclaimed releases by artists as varied as The Pixies, Richard Thompson, The Eels, Boo Radleys, The Fastbacks, Echo and the Bunnymen, Apples In Stereo, Clem Snide, Nellie McKay, The Church, The Dears and many more. The label, — the first to make its catalog of releases available as paid MP3 downloads — continues to maintain a rigorous release schedule, both under its own name and in partnership with such grass-roots imprints as Nellie McKay’s Hungry Mouse.
Price’s relationships with SpinART’s artists have been invaluable in TuneCore’s evolution — including Price’s current interest in taking the company beyond being a conduit between artist and consumer in the music-delivery realm. He envisions TuneCore as growing into a one-stop of sorts for artists seeking to take control of their own destinies on a basic business level.
“From day one, I wanted to use technology to take the headaches out of being a musician or label by providing services they want at prices lower than they can get on their own — under a new model,” says Price, who’s gone a long way towards achieving that goal already. “Bands can go to the site to make CDs or T-shirts, which they can do in a number from one to infinity. In the near future, they can have the cost debited from their account if they want. I also realized that with the financial aspect, we have a full automated administrative accounting too through which they can pay their mechanical royalties, buy guitar equipment, and make posters, buttons. I want to take the headache out of their lives without taking anything off the back end.”
Price grants that he’s spoken to many industry veterans who at first could not understand how he can make money by not taking money form the sales of the music. But after a conversation discussing the shift in the model from ownership to service provider, the bells would always go off. The fact that the company has delivered thousands upon thousands of releases via its system in its first year — with hundred of new releases coming under its purview each week — bears that out, as do the sales that’ve been driven through the myriad outlets that TuneCore services.
“Some people have asked me how we expect to make money,” Price says with a laugh. “I point out that Fed Ex has a fleet of airplanes around the planet based on 20 dollars at a time. What’s our overhead? Broadband and server space– that’s it. Our knowledge and connections come free with the service. I think the key to our success, though, is that even though we’re a technology company, we’re wrapped in a music industry shell. Everyone here is involved in music in some very basic way, whether that’s playing in a band, working as a DJ, so there’s a mix of passion and expertise, which I see as a winning combination.”
Positive Grid launches Spark 2, the next evolution of their cutting-edge smart guitar practice amplifiers and Bluetooth® speakers.
Engineered for acoustic, electric guitar, and bass, Spark 2 delivers an immersive practice and playing experience. Enjoy detailed sound and an all-new upgraded speaker design powered by Positive Grid’s exclusive Sonic IQ Computational Audio technology. With an onboard creative looper, optional battery power, and intuitive AI features for tone exploration and practice, Spark 2 is the gateway to a musical experience that goes beyond expectations.
Proprietary Audio and Advanced Technology
Spark 2 represents a leap forward in amplifier design. It integrates a new DSP amp modeling engine with double the processing power, and at 50 Watts, it packs 25% more volume than the original. Positive Grid’s proprietary Sonic IQ Computational Audio delivers incredibly detailed and dynamic sound. New HD amp models, enhanced by multi-band dynamic range compression and virtual bass augmentation, redefine the sonic landscape.
Equipped with two premium FRFR speakers and reflex ports, Spark 2 offers wide stereo imaging and broader frequency response, ensuring refined bass and clear, immersive sound.
Built-In Creative Looper
Spark 2’s built-in Groove Looper features hundreds of hyper-realistic drum tracks. From basic loops to multi-layered soundscapes or the ultimate jam session, this intuitive tool inspires endless creativity. Onboard amp controls provide quick, on-the-go looping functionality.
AI-Powered Tone and Smart Jam
Spark AI revolutionizes tone exploration. Describe any desired tone in the Spark app – from practical to outlandish – and Spark AI will suggest tones to audition or download. The more it’s used, the smarter it gets, delivering the perfect sound.
Additional smart features make it easy to practice, learn new songs and improve playing skills. Smart Jam listens to the user’s playing style and generates accompanying bass and drum parts, while Auto Chords analyzes any song streamed and displays the guitar chords in real time, to make learning and practicing new songs easier than ever.
Enhanced Hardware Design and Portability
Spark 2 allows for storing up to eight customizable presets directly on the amp for quick access to favorite sounds. Perfect the tone with large, visible onboard controls for looper, EQ, gain, reverb, and more.
Designed for convenience, an optional rechargeable battery provides up to 12 hours of playtime for on-the-go sessions. The new double-thick strap and durable build ensure easy and secure transport. Spark 2 is also Bluetooth® ready, allowing for music streaming and jamming along with favorite tracks anytime, anywhere.
Multiple Outputs and Advanced Features
Spark 2 offers versatile connectivity with a headphone out for private practice, stereo line outs for external audio sources, and a USB-C port which enables it to function as an audio interface. WiFi-enabled, Spark 2 allows convenient over-the-air firmware updates, keeping the amp up to date with the latest features and improvements.
“I’ve used a ton of practice amps while touring the world for over 38 years and it was always just a technical, bland exercise,” says guitar virtuoso, singer-songwriter and producer Nuno Bettencourt. “Spark 2 is like taking Madison Square Garden wherever you go – epic and versatile.”
Color Options
Available in Pearl or Black finish with a dark weave grille and premium finish.
Special Event, Upgrade Pricing & Availability
Join the special live premiere event featuring Nuno Bettencourt and surprise guests on August 1, 2024, at 8:00 am PT/11:00 am ET. Visit positivegrid.com/pages/livestream for more details and to sign up for a reminder.
Regularly USD $299, Spark 2 will be available at special early bird pricing during the pre-order period. Registered Spark 40 owners can also receive exclusive upgrade pricing.
For more information and to sign up for pre-order alerts, visit positivegrid.com/products/spark-2.
A review of the Joyo Gloam – Sub Octave Fuzz Pedal for Bass
Disclaimer: This pedal was kindly provided by Joyo for the purpose of this review. However, this does not influence our opinions or the content of our reviews. We strive to provide honest, unbiased, and accurate assessments to ensure that our readers receive truthful and helpful information.
Introduction: The Joyo Gloam is a sub-octave fuzz pedal specifically designed for bass players, combining modern sub-octave effects with rich fuzz tones. With two independently controlled circuits, the Gloam aims to provide a versatile range of sounds, from deep, aggressive fuzz to Moog-like synth effects. This review will explore the Gloam’s specifications, controls, and overall performance, highlighting both its strengths and areas for improvement.
Specifications:
- Dimensions: 130 * 110 * 50 mm
- Weight: 403g
- Working Voltage: DC 9V
- Controls: The Joyo Gloam features a comprehensive control set designed to provide bassists with a wide range of tonal options:
- Dry Tone: Adjusts the tone of the clean signal.
- Dry Volume: Controls the volume of the clean signal.
- Sub Octave Volume: Adjusts the volume of the sub octave signal.
- Gain: Controls the amount of gain in the fuzz circuit.
- Fuzz: Adjusts the intensity of the fuzz effect.
- Bass: Controls the bass frequencies in the fuzz circuit.
- Treble: Adjusts the treble frequencies in the fuzz circuit.
- Fuzz Mode Switch: Switches between two different fuzz modes.
- Dry Tone Frequency Switch: Selects between two different frequency points for the dry tone.
Performance: The Joyo Gloam excels in its dual-circuit design, offering both a sub octave and a fuzz channel that can be controlled individually. However, it’s important to note that the octaver cannot be used without the fuzz circuit activated; the only way to solo the octaver is by turning down the fuzz while both channels are engaged.
Fuzz Circuit: The fuzz circuit includes standard controls such as gain, volume, bass, and treble, along with a fuzz mode switch that toggles between two distinct fuzz modes. While one of the fuzz modes is highly usable and delivers a rich, aggressive tone, the other mode falls short and is less practical for most applications.
Octaver Circuit: The octaver circuit features controls for sub octave volume, clean volume, and clean tone, along with a dry tone frequency switch that provides two different frequency options. This allows for significant tonal versatility, enabling bassists to fine-tune their sound to match their preferences. Despite its limitation of being tied to the fuzz circuit, the octaver produces a deep, balanced sound that stands out.
Combined Effect: When used together, the fuzz and octaver circuits create a wide range of sounds, from classic, aggressive fuzz to synth-like tones reminiscent of a Moog synthesizer. This combination makes the Gloam a powerful tool for bassists seeking to experiment with their sound and achieve unique, textured tones.
Pros:
- Versatile Controls: Extensive control options for both fuzz and octaver circuits.
- Rich Tones: Delivers deep, aggressive fuzz and balanced octaver sounds.
- Sturdy Construction: Durable build quality ensures reliability.
- Wide Range of Sounds: Capable of producing everything from classic fuzz to synth-like effects.
Cons:
- Unusable Fuzz Mode: One of the fuzz modes is less practical.
- Dependent Octaver: Octaver cannot be used independently of the fuzz circuit.
Conclusion: In conclusion, the Joyo Gloam sub-octave fuzz pedal offers a versatile and powerful option for bassists looking to expand their tonal palette. Despite some flaws, the Gloam delivers impressive sounds and flexibility. Its combination of rich fuzz and deep octaver tones, coupled with a sturdy construction, makes it a valuable addition to any bassist’s pedalboard. For those seeking a modern bass distortion with the added depth of sub-octave effects, the Joyo Gloam is a compelling choice for a very compelling price.
Visit online at joyoaudio.com/product/281.html
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Behind the Strings – Jim’s Corner…
D’Addario & Co. proudly announces the launch of “Jim’s Corner,” a captivating new YouTube series telling the 400-year-old story of the D’Addario family creating the world’s largest music accessories company. This series features Jim D’Addario, Founder and Director of Innovation at D’Addario and Co., sharing his family’s remarkable journey from 17th century Italy to a 21st century global enterprise.
In the first four episodes now available, Jim D’Addario takes viewers back to the beginning, making strings from animal guts and knotting ukulele wire as a family around the television. Countless generations carried the passion forward until the 1970s when the company made it official and never looked back. Jim recounts the creation of strings that inspired legendary riffs, including one by The Who, the launch of Darco strings, the merger with Martin Guitars and the company’s humble beginnings with his wife, Janet and brother, John. Jim D’Addario’s firsthand accounts provide an intimate and personal perspective on the milestones and challenges that shaped D’Addario into the revered brand it is today.
Episode Highlights:
- Episode 1: The Early Days in Italy and the Move to America
- Episode 2: Inspiring Iconic Riffs and Legendary Partnerships
- Episode 3: Launching Darco Strings and Merging with Martin Guitars
- Episode 4: Building the D’Addario and Co. Legacy
Watch & Subscribe Now:
Join us in celebrating this incredible legacy by watching the first four episodes of “Jim’s Corner” on YouTube. New episodes will drop every month so please subscribe to our channel to ensure you don’t miss any future episodes and exclusive content from D’Addario & Co.: www.youtube.com/@daddarioandco
Gear News
Gear News: Aguilar Amplification Unveils Limited Edition NYC Gold Skyline Tone Hammer Preamp
Aguilar Amplification announces the release of the Limited Edition NYC Gold Skyline Tone Hammer Preamp pedal. Hand serialized 1-100, this exclusive edition celebrates Aguilar’s deep roots in New York City with a tribute to its iconic landmarks and vibrant spirit.
Born in the heart of NYC and raised on the road, the Tone Hammer Preamp DI has been an indispensable tool for bassists seeking inspiring tone and versatility. The new Limited Edition Gold NYC builds on this legacy with striking custom graphics encapsulating the essence of New York City. Featuring iconic landmarks from the Statue of Liberty to the Empire State Building, this pedal is not just a tool, but a piece of art embodying the soul of the city. Each unit features a sharp platinum silkscreen over a stunning matte gold sparkle finish, that is as visually captivating as it is sonically powerful.
The Tone Hammer is an essential preamp/direct box for every bassist’s toolbox. The Tone Hammer features fully sweepable midrange frequencies in addition to bass and treble controls. With the Tone Hammer’s pristine D.I. players are set for either studio or stage. To give this tone shaping unit the ultimate flexibility we introduce our proprietary Adaptive Gain Shaping circuitry (AGS). AGS allows the player to kick in an additional gain structure and EQ with the “stomp” of a button. You can go from modern slap sounds to vintage or overdriven. 18-volt operation gives the Tone Hammer plenty of headroom to reproduce the most dynamic playing styles. Separate gain and master controls allow players to dial in just the right gain structure for any instrument.
Aguilar Amplification’s Jordan Cortese adds, “With only 100 hand-numbered units available, this third iteration of our NYC edition Tone Hammer is a collector’s dream. “It’s a homage to our city’s monumental influence on music and culture and celebrates the craftsmanship and the story of Aguilar”.
Street price: $299.99 For more information, please visit www.aguilaramp.com
Gear News: Future Impact V4 Guitar & Bass Synth Now Available in the U.S.
Interview With Barker Bass’s Inventor and Writer Lee Barker
Working-Class Zeros: Episode #4 – Boutique and Vintage Basses, Dress Code for Summer Gigs
Gear News: Ibanez & Graph Tech Launch Multi-Scale Bass with Cutting-Edge Tuning
Album: John Entwistle, Rarities Oxhumed – Volume Two
July 22 Edition – This Week’s Top 10 Basses on Instagram
Gear News: Positive Grid Launches Spark 2
Gear Review: Exploring the Joyo Gloam – Sub Octave Fuzz Pedal for Bass
Alberto Rigoni On Unexpected Lullabies
