As it’s nothing more than a rant – which translates into fuelling the fire of drama – I should be o.k. to safely ignore it, shouldn’t I? Lefsetz fails to back up his point by dependable data – as does everybody else as far as I know at this point. Until that happens – it’s all but speculation. As in: Drama. Spare me.
After careful consideration I’ve decided to remove all full length tracks, which are embedded in this blog and on Facebook and elsewhere. I have uploaded short preview tracks much like iTunes offers them. They range around 30 seconds each, two tracks are beyond one minute. This should give you an idea of what the rest of the tracks sound like. As I’ve still not entirely given up hopes on making a little extra lunch money on the side I provide my music as for-purchase-download files (no physical CD yet). I am aware that typical Smooth Jazz audiences aren’t too partial to downloading and prefer holding a physical CD in their hands, ideally purchased at a live concert and signed by the artist. Well… I can’t ever get there, if I don’t make at least a little bit of money from downloads. In other words: If you like my music and if you’d like to see me take another level, we’re going to have to meet half-way. 🙂
I might post a download tutorial some time. For now, please find my tracks in the music player in the right column or on the wb music page. Download-links are available directly in the music player and they’re labeled “buy”. Thanks for all your support so far, I appreciate it! And my apologies for any inconveniences while I was in the process of reorganizing the linked music files.
Preliminarily speaking, this is great news for indie artists publishing their music as YouTube videos or otherwise having music available on YouTube. Audiam.com will scan YouTube’s vast catalogue and search it for videos containing your original music, videos or composition and then claim your share of ad revenue on your behalf – which you are entitled to, presuming you control the rights to the composition. At 25% commission for their services, here is another opportunity to shake out a few bucks from the big money making machine in the cloud! And as of yesterday, they are offering their services in the U.S. as well. Spread the word and more importantly: Get your music uploaded to them, so they will know what to be on the lookout for – on your behalf!
My Facebook- und G+ friend Patricia Britton of Utopian Dreams Band shared this cool service URL with us: Audiam.com are collecting your streaming royalties from exposure and play on YouTube and see to it that you’re making the money you are entitled to! The key word here is perfoming rights. For more detailed information on how it all works, please see this: Audiam – how it works.
I received a Tunecore.com notification letting me know that my song “I Count on U” is due for renewal on February 13th. This means that for it to appear on iTunes, Amazon and the likes for another year, I’d have to pay a flat fee of 9.90$. My Tunecore.com balance is 10.38$ right now and this particular song was downloaded 66 times – in four years, mind you. There was a little bit of attention shortly after my collaboration with Brian O’Neal and a little bit of (web) radio promotion as well as modest campaigning on my part – if you can call it that. I might have put a bigger effort in as far as marketing, but I hate to praise myself. And the kind efforts of both fans (mostly on Facebook) and radio hosts kindly supporting me did help to raise a bit of attention, I guess. It’s a competitive field and I can’t claim to have kept at it on a steady basis for a number of reasons, all of which mostly health-related or related to outcomes pertaining to that situation.
However, I don’t think, a bigger effort would have made that much of a difference. I guess, downloading just isn’t the thing for Smooth Jazz or Jazz audiences. From what I see happening on Facebook and such, audiences enjoy to meet their favored artists in person and after seeing their concerts. I realize it is the CD-signing and picture taking part after the concert, which is where most of the sales are likely to be generated today. Since I have never completed and released a CD after my first few online published tracks, let alone toured, I can’t exactly expect for cheques to fly into my account, can I?
Due to a variety of reasons which I have repeatedly alluded to and recently quite openly talk about, touring is not an option for me and any foreseeable future. Without that, there isn’t too big a point in completing and finishing a CD. I need a vision to be motivated. Struggling with technology – and in addition to personal and substantial obstacles to do with aforementioned issues – has become a pest for me and I can’t really say that I enjoy the mere fact of going about writing and recording music at this time in my life – not like I used to enjoy it when I was younger. Quite frankly, it’s an incredible pain in the ass for me to an extent, where my aversion manifests in intense physical discomfort. I haven’t managed to relax myself enough to really get into a more or less ongoing productive flow.
Whatever. No renewals. You still get to listen to the small number of tracks I have out there on wesbound.bandcamp.com or reverbnation.com/wesbound as well as soundcloud.com/wesbound. I take it, streaming works well enough for most people, so there you have them.
How Much Do Music Artists Earn Online?. Wow. If you’re an artist and want to keep the faith – don’t read. If you’re a fan and believe in “exposure” – read. If you’re neither nor – <sarcasm> find a pirate bay and don’t bother.</sarcasm>.
And on a personal note: A one time, modest flat fee per and per song or album and no more fees incurred. Plus: Reaping your international and streaming royalties where they apply and on your behalf. Publish your videos online. All that plus a profound library of essential 101s and other relevant knowledge. I call that a bargain.