Yeah. And it's the same fucking guy. I didn't think it was possible. I guess I could have just called it "Jeffrey Abbot Day" and left it at that. Will someone _please_ teach this guy about quantization? If ever there was a need for it, it's here...
The world's whitest "solo," played on the world's second whitest instrument. I hear polyrhythms are the next big thing.
1. Apple doesn't charge different rates in different countries because they feel like it. Each nationality has different statuatory royalty rates for both mechanical and artist royalties, and the recording industry groups in each nationality negotiate a standard rate with Apple that is largely based upon those rates.
2. This: "Allofmp3.com has already proven that people will pay for unprotected downloads, as long as they're easy to obtain and affordable." This is, in fact, the same thing that has been proven by the guys that sell knockoff Movados out of briefcases in NYC. I hate to put it in these terms, but if you buy music from allofMP3.com, you are literally supporting the coke habit of some Russian mobster's mistress, and nothing more. allofMP3.com is a criminal enterprise, run by the mafia. Speaking as someone who is well represented on that site, I'd like to say the following: I have no problems with someone getting my music from Limewire. In fact, I encourage it. However, I have a _HUGE_ problem with some Russian gangster paying for his blue light special with my hard work.
3. "The third critical advantage of Allofmp3.com is that they are truly international." Actually, they're not international at all. They are, in fact, not even national. Unless you'd say that a chop shop is international because they take apart Mercedes _and_ Cadillacs. AllofMP3.com is a criminal enterprise, and as such, isn't beholden to any standards whatsoever, except those set by the criminals themselves.
In short, stick to vintage video games, a subject with which you have at least a passing understanding.
EDIT: James has put up a mea culpa of sorts, stating that his intention wasn't to hold up a crime syndicate as a model of modern business procedure. Fair enough. However, I think that it's worth mentioning something about one specific point he makes: technically speaking, when you purchase a CD, the only thing you own is the plastic, not the music on it. It's a common misunderstanding, and basically pointless to rebut, but it's like any EULA: caveat emptor.
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I wouldn't normally put something like this up, because there's a fine line between cool and commercial pap trying to be cool, and this is firmly implanted in the latter camp. However, there is a brief shot of our favorite keytarist, which is always worth seeing. I think I might make today "Official Analog Industries Keytar Respect Day" seeing how I feel after I actually wake up. (Thanks to Jaysen for the linkage.)
The main benefit is thus: when you submit to iTunes through CD Baby, your album can't be browsed to via the genre browsing in that store. But with Tunecore, it can be. For a relatively well-known artist (e.g. Sister Machine Gun) that's not such a big deal, but for an unknown, it basically makes the difference between selling a record and not selling a record.
The other deciding factor is that it can take up to three months for a CD Baby digital submission to get in to iTunes, while Tunecore submissions take a week or two. It's basically impossible to get a CD Baby-submitted iTunes release to line up with its hard-copy counterpart, but that's not such a trick with Tunecore.
So, we're gonna give it a shot. I'll report back when we know if it makes a difference or not, but I'd be interested to hear if anyone else has Tunecore experiences they'd like to share.