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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Jeff Price wanted to change the world — in particular the outdated business model of the music industry.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.”
Spector, a leading authority in bass guitar design, unveils new additions to its product line: Euro CST, Euro LX and Euro LX Bolt On basses.
Euro CST:
The Euro CST introduces all-new tonewoods, electronics, and finish combinations never seen in the Euro Series, drawing inspiration from Spector’s Woodstock, NY-based Custom Shop. Each Euro CST instrument is meticulously crafted using premium materials, featuring a striking, highly figured Poplar Burl top, a resonant European Ash body, and a 3-piece North American Maple neck paired with an Ebony fingerboard adorned with laminated Abalone Crown inlays.
Euro CST basses are equipped with a lightweight aluminum bridge for precise and reliable intonation. Premium active EMG X Series pickups deliver the exceptional clarity, attack, and silent operation that defines the Spector sound. These basses also feature the all-new Spector Legacy preamp. Developed in collaboration with Darkglass Electronics, this preamp captures the classic “Spector growl,” heard on countless iconic recordings, with added versatility.
Euro CST basses are available in 4- and 5-string models in four distinct high gloss finishes: Natural, Natural Black Burst, Natural Red Burst, and Natural Violet Burst.
Euro LX and Euro LX Bolt-On:
The Euro LX offers all the features that have made the Spector name famous around the globe. Inspired by the iconic NS-2, Euro LX basses feature a fully carved and contoured body, high-grade tonewoods, and professional-grade electronics and hardware. For the first time ever, players can now choose between neck-thru and bolt-on construction in the Euro LX range.
Each Euro LX bass, regardless of construction, is crafted using premium materials, including a European Alder body, figured European Maple top, and a 3-piece North American Maple neck combined with a Rosewood fingerboard for strength, stability, and sustain. Euro LX basses are then outfitted with a lightweight, aluminum bridge for spot-on, reliable intonation. Premium active pickups from EMG provide the exceptional clarity, attack, and silent operation that Spector is known for. Like the Euro CST basses, these instruments also feature the all-new Spector Legacy preamp.
The newly revised Euro LX range is available in four distinct, hand-rubbed stains, including Transparent Black, Natural Sunburst, Haunted Moss, and Nightshade. Each of these colors features a durable and comfortable matte finish.
John Stippell, Director, Korg Bass Division, remarks, “I’m thrilled to announce the latest additions to the renowned Euro Range. The CST Series, our new premium offering, features new and unique wood combinations and unprecedented features. The beloved LX Series is now better than ever with the introduction of Bolt-On models, vibrant new color options, and the all-new Spector Legacy Preamp, delivering the classic Spector tone with unmatched precision.”
For more information, visit spectorbass.com.
Meet Garry Beers, Luthier and owner of GGB Basses…
Bass Musician Magazine: How did you get your start in music?
Garry Beers: I played acoustic guitar as a kid with my mates at school. We decided that one of us should play bass, so we had a contest where the one who knew the least guitar chords would buy a bass – so I lost the contest, bought my first bass, and became the only bass player in the neighborhood. Soon after, I met Andrew Farriss, who had heard that I had a bass, and a few days later, I was jamming with Andrew and Jon Farriss.
Are you still an active player?
Yes, I am still actively writing music and playing bass sessions. I also have an LA-based original band called Ashenmoon.
How did you get started as a Luthier? When did you build your first bass?
I did woodwork in High School and always enjoyed making all sorts of things out of wood.
After finishing high school, I took a course in electronics for a year or so and learned enough to understand basic circuits in guitars, amplifiers, and effects. The best way to learn is to deconstruct and study, so my dad’s garage was littered with old junked radios and any instrument parts I could find.
My first guitars were more like Frankenstein-type creations made out of parts I found here and there. I didn’t really try to build a bass from scratch until I perfected my Quad pickup design and got my patent.
How do you select the woods you choose to build with?
I only use woods that were used at Fender in the 50s, which are my favorite basses and guitars of all time. All my GGB basses are modeled in some way from my INXS bass- a 1958 Fender Precision bass I bought in 1985 in Chicago. I call her “Old Faithful,” and she has an Alder wood body with a maple neck. All of my GGB basses are select Alder wood bodies that I have had extra dried, so they match the resonance of “Old Faithful,” as she has had 66 years to lose all her moisture and become more resonant and alive-sounding. I use plain old Maple necks that I carefully select, and again, I dry the necks to make them sing a little more.
Tell us about your pickups.
I started working on my Quad coil design back in Australia in the ‘90s and then put it to bed, so to speak, until I found an old pickup winding machine at a swap meet here in LA. I taught myself enough about pickup winding to build my first prototype design and worked towards my patented Quad coil design by trial and error. Nordstrand Audio builds the pickups for me here in SOCAL.
What is the reaction of players who pick up your basses?
I build the basses to feel like an old friend. They look and feel vintage, and when you plug them in, you discover the array of vintage sounds available to you from just one pickup. Most of the players I have contact with are established professional players, and they all love the basses. Freddie Washington and Nick Seymour from Crowded House are a couple of players with GGB Basses in their hands.
What are a few things that you are proud of in your instruments and would consider unique?
I would say I am most proud of the patented Quad pickup design. I own the patent from 4 through to 10-string. So far, I have only built 4 and 5-string pickups, but the design is a winner. Split Humbucker / Reverse Split Humbucker / Full Humbucker / Single coil Neck / Single coil bridge. All these sounds come from one passive pickup. I am very proud that my perseverance and desire to have this pickup have made it a reality. Being able to have these sounds in one bass enables the player to have one bass in the studio and on the stage. The only place you can have the GGB Quad pickup is in one of my GGB Basses.
Which one of the basses that you build is your favorite one?
I offer three body shapes and about ten different color options – all based on the ‘50s and early ‘60s custom guitar and car paint styles. I have always been a lover of P basses, but my favorite bass I build is now my XS-1 model- which is a custom Jazz bass body style. It is pretty sexy and is a light, well-balanced, and great-feeling body shape. The other body styles are the XS-2, which is a custom Jazzmaster body and has been the most popular so far- and the XS-3, which is the standard P bass body style. I also offer an XS-58, which is a replica of my “Old Faithful” ‘58 P bass. They are currently available to order now and should be available soon.
Can you give us a word of advice to young Luthiers who are just starting out?
I don’t really consider myself a Luthier in the traditional sense. I just love to build things and tinker. I was always looking to improve things, whether it was a guitar, an amp, a pedal board, or a car. So my advice is to always be curious and learn the basics of what you want to build, and the rest should follow once you decide what you want to say as a designer/builder. People are lucky these days that you can learn pretty much anything from talented people on the internet, but nothing replaces working with and learning from real people in real situations. Seek out like-minded builders and start a discussion.
What advice would you give a young musician trying to find his perfect bass?
Have a good hard think about what you want to say as a player. What is your style, both musically and as a player? There are so many instruments available. Do the research, play the instruments that fit your criteria, and make a decision. But make sure you try a GGB Bass! With all the sound choices my basses offer, with a simple turn of a knob, you may find it easier to find “your” sound.
What is the biggest success for you and for your company?
Well, the company is brand new, and at this point, it is just me, so getting this far in the manufacturing process and now having these amazing basses in my hands is a great achievement, but now comes all the business stuff!!
What are your future plans?
It’s a work in progress. Right now, it’s all about getting the word out and getting the basses into the hands of interested players. I believe in the basses – and the Quad pickup, so hopefully, GGB Basses can become a go-to bass for demanding studio and live players who want sound choices in a gorgeous vintage-style instrument.
Visit online at www.ggbbasses.com
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 Monomyth bass preamp pedal is designed to offer bassists a comprehensive range of tonal options, combining modern features with practical functionality. With independent channels for EQ and overdrive, as well as useful additions like a cab sim and DI output, the Monomyth aims to be a versatile tool for both live performances and studio sessions. This review will delve into the pedal’s specifications, controls, and overall performance to determine if it lives up to its promise of delivering quality and flexibility at an affordable price.
Specifications:
– Dimensions: 130 * 110 * 50 mm
– Weight: 442g
– Working Voltage: DC 9V
Controls:
The Joyo Monomyth is equipped with a comprehensive set of controls designed to provide maximum tonal flexibility:
– Voice: Adjusts the character of the overdrive, from distortion to fuzz.
– Blend: Balances the dry and effected signals, crucial for maintaining low-end presence.
– Level: Sets the overall output volume.
– Drive: Controls the amount of gain in the overdrive channel.
– Treble Boost: Enhances high and mid frequencies for clarity in complex passages.
– Gain Boost: Adds extra gain, particularly effective at low gain settings to enhance the low e.
– EQ Function Controls: Features a 6-band graphic EQ plus a master control for precise nal shaping.
– Ground Lift Switch: Helps eliminate ground loop noise.
– Cab Sim Switch: Activates a simulated 8×10″ cab sound.
– LED Light Control: Customizes the pedal’s ambient lighting.
Performance:
The Joyo Monomyth shines in its dual-channel design, offering both a transparent EQ channel and a versatile overdrive channel. The 6-band EQ allows for detailed tonal adjustments, preserving the natural character of your bass while providing ample flexibility. The voice control mimics the functionality of the Darkglass Alpha Omega, shifting from distortion to fuzz, with a sweet spot around the middle for balanced tones.
The blend control is essential for retaining the low end when using distortion, ensuring your bass remains powerful and clear. The treble and gain boosts, available on the overdrive channel, further enhance the pedal’s versatility, making it suitable for everything from subtle drive to full-blown fuzz.
Outputs are plentiful, with a DI and XLR out for direct recording or ampless setups, and a headphone out for convenient practice sessions. The cab sim switch adds a realistic 8×10″ cab sound, enhancing the Monomyth’s utility in live and studio environments.
Pros:
– Versatile Control Set: Offers a wide range of tones, from clean to fuzz.
– Blend Control: Maintains low-end presence.
– Robust Outputs: DI, XLR, and headphone outs make it adaptable for various setups.
– Affordable: Provides high-end functionality at a budget-friendly price.
– Sturdy Construction: Durable build quality ensures reliability.
Cons:
– Plastic Knobs: May feel less premium compared to metal controls.
– Boosts Limited to Overdrive Channel: Treble and gain boosts do not affect the EQ channel.
– Cab Sim only on the XLR out: how cool would it be to also have it on the headphone out?
Conclusion:
In conclusion, the Joyo Monomyth stands out as a versatile and powerful bass preamp pedal, offering a range of features that cater to both traditional and modern bassists. Its dual-channel design, comprehensive control set, and robust output options make it a valuable tool for achieving a wide spectrum of tones, from clean and warm to heavily distorted. For bassists seeking flexibility, reliability, and excellent value, the Joyo Monomyth is a top contender.
For more information, visit online at joyoaudio.com/product/267.html
Check out our top 10 favorite basses on Instagram this week…
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Future Impact V4 Guitar & Bass Synth Now Available in the U.S….
The Future Impact V4 is an incredibly versatile pedal with an exceptionally wide range of sounds. In addition to producing synthesizer sounds such as basses, leads and pads, it can function as an octaver, chorus, flanger, phaser, distortion, envelope filter, traditional wah-wah, tremolo, reverb, etc., and even has a built-in tuner. It can also drive external synthesizer gear via the optional CV/Gate. As such, it can potentially replace an entire pedalboard of dedicated single-effect pedals.
The very powerful signal processor of the Future Impact V4 is able to replicate the various oscillator, filter, amplifier and envelope generator blocks found in classic synthesizers. In addition, it contains signal processing blocks more traditionally used for processing the sound of an instrument such as a harmonizer block and audio effects such as chorus, distortion and EQ. These architectures complement each other in a very flexible way.
Check out this short video with new sounds:
The Future Impact V4 has a completely new hardware platform with numerous enhancements, some of which are:
– 32-bit ultra-low-noise analog-to-digital and digital-to-analog converters
– New app-based software architecture
– Vastly advanced pitch tracking based on 30+ years of experience
– Hard Sync between oscillators to open new sonic worlds
– On-pedal edits that can be saved into program memories
– Total compatibility with all previous Deep Impact and Future Impact patches
Setting the standard for the bass guitar synth pedals since 2015, together with an enthusiastic community and long line of great artists, the Future Impact V4 is the guitar synth platform for the next decade.
For more information, visit online at pandamidi.com/bass-guitar-synth
Exclusive U.S. distribution by Tech 21 USA, Inc
Gear News: Future Impact V4 Guitar & Bass Synth Now Available in the U.S.
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July 15 Edition – This Week’s Top 10 Basses on Instagram
Gear News: Future Impact V4 Guitar & Bass Synth Now Available in the U.S.
Gear Review: Joyo Monomyth – A Versatile Modern Bass Preamp
Luthier Spotlight: Garry Beers, GGB Basses
