by Elizabeth Adams

New York, NY (October 26, 2008) - As if we needed anything to further amp up those Facebook Music rumors, adding more fuel to the fire comes news that iLike, a major contender for the rumored Facebook Music, has partnered with TuneCore in order to offer monetary compensation to independent artists.

Indie artists that submit their music through TuneCore now have the opportunity to have it played and distributed through iLike, which means exposure on major social networks like Facebook, Bebo and Hi5, and more opportunities for earning royalties.  A major advantage of TuneCore is that the artists retain 100% of the money they earn through the site, which attracts both indie and major label artists alike.

This was the next necessary move to further establish iLike’s lead over other music apps in the race to for inclusion on Facebook Music, should it happen.  Opening up iLike’s accessibility to better-serve indie artists means that the app is now one of very few that can accommodate the needs of the indie and mainstream markets, and will have rates and contracts ready to go for nearly any possible artist situation.  Plus, by partnering with an established distribution service like TuneCore, they’ve eliminated a presumed hurdle Facebook Music would have to deal with.

All in all, if the other apps still want to remain in the race for alleged music partner for the alleged Facebook Music, they are going to have to step their game up seriously.

Another huge development for artists, especially indie artists with a limited production budget, is the launch of IndabaVox, a new service that allows musicians to “call into” recording sessions using VoIP technology.  People can call in using their mobile phones or landlines, enter a PIN, and begin laying down their tracks as part of an already established recording session with another artist.  It’s basically instant gratification when it comes to recording over long distances, which will mean less time to wait to finish production on a song, and more opportunities for collaborations between artists that may have not gotten a chance to work together otherwise.  JamNow has already established a leg-up on a service like IndabaVox with a computer-based link-up and studio, so it will be interesting to see what happens moving forward with both.

In theory, using these new services, an Indie artist can put together a brand new collaboration within a day, and have it uploaded through TuneCore/iLike by the next.  Artists will be able to not only track fan demand, but respond to demand faster and more effectively, which means more money and more satisfied listeners.

New York, NY (August 19, 2008) - KnowTheMusicBiz.com caught up with TuneCore SVP Peter Wells and he offered some advice about making the industry work for you. Read the entire article here:

TIP #3: Define Your Own Success

Before looking into any kind of marketing and promotion, ask yourself:

* Who do you want to hear your music and why?
* How do you want them to listen?
* Do you want them to buy your music, and when, and how?
* Where do money, fame and your own musical career fit in?

Notice the first question-why should you ask why? Your music is good, right, isn’t that reason enough? And why should it matter how they listen? Isn’t it understood you want them to buy your music? What does “buy your music” really mean? These questions all highlight a trap, and if you don’t ask why, right at the beginning, you’re going to fall into it and exhaust yourself pursuing the wrong marketing and promotion.

Everyone markets and promotes for a different reason. A toothpaste manufacturer is wholly interested in making money (or perhaps branding), and selling toothpaste is how they plan to accumulate it. They promote their toothpaste to encourage people to buy it, they market their toothpaste to drive desire, to build demand. Music isn’t always so commercial: in fact, most people feel contemptuous towards music produced solely to sell or brand. Many consider it crass consumerism, or devoid of art. When you bring in beauty and art and even politics (if you don’t think music can have political aims, listen harder), the goals of creation are often very much at odds with making money.

So get a good idea of what you want your music to do. You wouldn’t be reading this article if you didn’t want it to get into at least a few hands, and presumably you’re not averse to making money when they get it. So now you have to ask “who, when and how,” and each of these has a value.