We’re aware of the fact that we’re a small company compared to some of our competitors, but our cost to bands is also smaller than most of them. All of our major competitors make a charge for either uploading or hosting your tracks, subscription fees, renewal fees, charges for ISRC codes, different charges based on how many outlets you want your music to appear in, the ways they find of hiding new charges are as innovative as they are various.
We don’t charge you anything until you start making money. Uploading is free, hosting is free, picking different stores is free, in fact everything is free until you sell your first track, at which point we’ll take 10% of the revenue that comes back. You get to keep 90% of everything we make by working together. Ours isn’t the lowest percentage rate in the market: CDbaby offer 91% to their clients, but their upfront charges mean that not only do you have to get your credit card out of your wallet and pay them before you can hope to see any return from selling your music, but you’re also worse off with them than us until you sell more than ten thousand units. The same is true of Tunecore and Musicadium, and the Orchard never get close, as they take 30% of sales revenue for themselves AND charge you $90 up front.
Here’s a little table showing what you’d pay up front to distribute 2 albums over two years through some of the big distro sites (Musicadium deal in AUD, which I’ve converted at today’s rate of 1.549 to the USD).
And here’s another detailing the income you’d get from various levels of sales, again based on distributing 2 albums over 2 years to all the stores RouteNote deals with, with an average per track income of $0.65, which is what you get back from iTunes.
As you get up to the 5k mark, Tunecore begin to pull ahead, it’s all pretty even around 10,000 and there are undeniable differences in the revenue earned when you get up towards to 30k sales mark, but we’re cheaper all the way up there, and the money will only ever flow one way – to you – if you deal with us.
So why are we better than our competitors? For artists starting out on their own, who want to be in control of their own destinies until they can prove the worth of their music, who don’t want to spend up-front money, and who aren’t realistically looking for sales of thirty thousand records in the first year or two, we are cheaper, quicker and much more interested in the success of our artists, because we’re smaller and our own success is that much more closely linked to that of our musical partners (read some of our testimonials!).
We had a response from Musicadium about this post – querying the way we’d worked out the fees mentioned. Here’s how it works out, based on the figures here in their agreement:
2 x upload fee to more than 3 stores = 2 x $99 = $198
2 x barcode (UPC) generation = 2 x $39 = $78
2 x annual renewal fee = 2 x $20 = $40
198 + 78 + 40 = 316
$316AUD / 1.549 = $204.00USD
Although the exchange rate has probably changed by now…
Here at RouteNote we were lucky enough to get some great press over the weekend from Digital Noise. Digital Noise is a digital music news site from CNet (owners of Download.com, TV.com and more).
CD Baby and Tunecore already offer digital distribution through iTunes and other stores, but both of them charge you money whether you make a sale or not. In contrast, U.K.-based RouteNote charges you nothing until you make a sale, at which point they take a 10 percent cut of whatever the store pays out.
Specifics: CDBaby charges you a one-time set-up fee of $35 (which covers setting up a store for physical CDs as well), then takes 9 percent of digital download revenues. TuneCore, which does digital distribution only (no CDs) charges you $20 a year for each album they stock, but takes no cut. So on a straight numbers basis, RouteNote’s a better deal than CD Baby for digital-only distribution, and a better deal than TuneCore if you expect to sell low volumes of downloads. Of course, there are a lot of other factors to consider, like customer service and speed of submission to iTunes and the other stores, but RouteNote looks like it’s worth checking out.
You can check out the full article here.
A lot of people get in touch with us to ask how many digital stores we distribute music to, and what proportion of the digital music market they represent. We also hear comments on the relatively small number of people we deal with in comparison to the huge lists of partners at some of our competitors, e.g. CDbaby, Emubands, IODA…(without mentioning the duplication in the last two).
The simple truth is that while a long list of digital music stores might look good, beyond the top 3 or 4 retailers it makes very little difference to overall sales how many your music’s in. It’s fairly common knowledge that iTunes is the biggest player in the market, but the scale of their dominance is pretty staggering. Neilsen (the ratings and market reporting firm) reports total US music sales of 1,513 million units in 2008, with 1070 million of those sales being digital downloads. That’s a billion digital music downloads across the entire US.
In 2008, across all territories, iTunes sold more than Two Billion tracks.
| Apple iTunes Store Music Sales |
| Date |
Tracks Sold (Millions) |
| 01/08/2004 |
100 |
| 16/12/2004 |
200 |
| 02/03/2005 |
300 |
| 10/05/2005 |
400 |
| 18/07/2005 |
500 |
| 10/01/2006 |
850 |
| 23/02/2006 |
1,000 |
| 12/09/2006 |
1,500 |
| 10/01/2007 |
2,000 |
| 09/04/2007 |
2,500 |
| 31/07/2007 |
3,000 |
| 15/01/2008 |
4,000 |
| 19/06/2008 |
5,000 |
| 06/01/2009 |
6,000 |
Excuse the horrid old excel graph, I’m still running Office ‘03…
It’s difficult to get a believable estimate for the size of the global digital music market, but given that the USA is the biggest single economy by a long way (the whole of the EU only just beats it in the CIA factbook at $14.98 trillion to $14.58 trillion), you begin to get a picture of how much of a monopoly iTunes has. Their competitors are of a different order: Amazon weighed in at 27 million digital tracks sold in the first six months of 2008, and the CEO of eMusic (David Pakman) estimated that Amazon have got about 4%-5% of the US music market, which going from Neilsen’s estimates puts them at about 48,150,000 tracks annually. Pakman also claims an approx. 10%-15% market share for eMusic, with 7 million downloads sold monthly (7*12 = 84).
By browsing eMusic’s sales milestone press releases, you can plot a rough course for their sales:
| eMusic Digital Music Sales |
| Date |
Tracks Sold (Millions) |
| 01/09/2004 |
0 |
| 01/12/2004 |
3 |
| 01/12/2006 |
100 |
| 25/09/2007 |
160 |
| 14/04/2008 |
200 |
| 20/11/2008 |
250 |
I’ll spare you another ugly graph. eMusic has sold 250 million tracks since it’s relaunch in 2004, and Amazon’s only been going for about a year now, 300 million tracks let’s say, which pales beside iTunes’ 6 billion total sales.
One can argue with the estimates, but the main thrust of my argument is hopefully becoming clear. A conservative 15% market share between Amazon and eMusic, along with iTunes’ >80% doesn’t leave more than 5% for any other players in the USA: with just those three selling your music for you online, you’ve got 95% of the market covered. It’s not that the remaining 5% isn’t worth catering to, but the law of diminishing returns kicks in, and customers in the last few percentiles get harder and harder to chase down, especially given the plethora of blossoming and failing little music shops that appear and dissappear. We concentrate our efforts on the vendors that matter.
P.S.
The controversial bulk of music discovery and consumption in the electronic wilderness, outside the paid-for enclosure, is happening on torrent sites like the embattled Pirate Bay, and the more respectable Limewire and Mininova, and promoting RouteNote artists on these channels is something we’re looking into. Ubiquitous innovator Trent Reznor or NIN positively encourages people to download his music from P2P networks, in order to drive sales of his ‘premium’ paid for content.
Have you ever wondered how much iTunes account for digital sales online? One of our competitors CD Baby has published their 2008 results which shows that iTunes currently accounts for over 82% of their total digital revenues. This makes me wonder why artists are really keen to get their music in as many places as possible, instead of just focusing on the top retail points and building a base around them and their users.
Derek Sivers earned $22 million from the sale of CD Baby, according to an interview surfacing Thursday. Sivers sold the company to Disc Makers in early August of this year after breaking ground in the do-it-yourself, or DIY, artist space in the late 90s. “I knew that was about the right price,” Sivers disclosed to Venture Voice. “We actually didn’t bicker or negotiate over the price one bit, I just set a price and they said okay.”
According to Sivers, CD Baby pulled revenues of roughly $100 million at the beginning of this year, a fourfold increase over a three-year period. The company employed 85 people at that point, though Sivers rarely visited the office. “I really started letting go in 2002,” Sivers shared.
A lot of people are talking about a good winfall for Sivers, but Im really too sure what numbers they are looking at. CdBaby published a report stating their sales from January to July 07, which made up of $21m in revenues, thus by the end of the year Im sure they would have around $50m in revenues. From what I have seen of web based enterprise acquisitions lately, they are normally around 5x revenues, thus placing Cd Baby around the $250m mark. Therefore selling at $22m is just a crazy cheap price and not a winfall!
Other sites who have shared their opinions include, Paidcontent.org, TheDeal.com, Silicon Alley Insider, and Digital Music News.
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