Whether or not the ability to use TuneCore as a way to get an iTunes Ping page piqued your interest, if you’re generally interested in selling your music online, here’s some more interesting news. SoundCloud has teamed up with TuneCore to allow you to sell singles and albums in a variety of online stores, including Nokia phones, Amazon MP3, Zune, Emusic, and of course iTunes.

TuneCore’s approach is pretty simple: accounts are free, and you play a flat fee ($9.99 per single, $49.99 per album) to distribute music online in all the stores. You keep all of the royalties; once TuneCore gets their flat fee, they’re out of the picture fee-wise.

Another interesting angle to me of all of this is what it may mean for Creative Commons-licensed music. There’s nothing stopping you from self-releasing an entire album under a permissive CC license, sharing it with communities of samplers and remixers on Creative Commons, but also generating revenue by selling it online.

The SoundCloud angle here isn’t complicated; it’s just some nice integration of the two accounts to save you some time. Given the rabid following SoundCloud has started to generate, though, that’s significant. “Fatigue” is really the largest problem facing social music, as a huge array of competitors try to get the attention of artists – most of them, quite frankly, fairly useless. TuneCore is very much in the non-useless category from where I sit, and getting them and SoundCloud in front of artists could be really valuable (indeed, maybe far more valuable than iTunes Ping).

Here’s the full explanation from the SoundCloud blog:
SoundCloud + TuneCore: Getting your music sold just got easier

If you’re curious who’s using TuneCore, this compilation could give you some idea. In a promotion, Yamaha (yes, the music gear and instrument makers) have worked with Amazon MP3 and TuneCore to put out a free album of TuneCore artists:
26 Free Songs. 26 TuneCore Artists.

Updated – I should note, I do hope this is the first step. The killer feature here would be “buy” links right on SoundCloud, but that doesn’t appear to be implemented yet. Edit: David from SoundCloud observes in comments that you can manually insert buy links, which gives you the freedom to choose whatever store you like. Whether automating that makes sense is another question, but you definitely have options.

And as noted by Steve of sighup in comments, part of the reason you don’t hear more about TuneCore from folks in this community is because, while it covers big-bucket distributors well, it doesn’t cover the kind of niches a lot of readers here want covered. And, indeed, focused retailers – whether direct sales or places like Beatport, Other, 7Digital, and Bleep – often generate more sales within a lot of genres, based on conversations I’ve had with artists. I’ll talk to TuneCore about what their plans may be there. On the other hand, what it illustrates is that there isn’t any one solution that works for everyone – cool as TuneCore is, part of what makes those smaller stores work is the relationships they build directly with labels and artists. And they may not be open to working with a TuneCore. The landscape is complex, but if you’re willing to invest some time, that can allow you to best fit something to your audience. More discussion in comments…

Anyway, enough shilling for TuneCore – let’s hear what you think. Are you currently using TuneCore, or an alternative outlet? What’s your experience been? Or are you leaving this to your label?

Mint.com, the online financial management tool, has put its numbers together with market researchers NPD Group to analyze music spending. The results: when it comes to consuming recorded music, digital music continues to rise. At the same time, so does Apple’s grip on the music consumption market, a combination that includes proprietary control of a music store, a music player, and the leading mobile device.

The NPD data should look familiar. Digital music is growing, and clearly it’s at the root of the record industry’s loss of revenue as consumers shift from physical to digital media. Also, Apple’s iTunes remains the lion’s share of the market – enough so that they effectively control distribution, pricing, and consumption patterns, the very definition of monopoly by most measures. (That’s even before you get to Apple’s effective monopoly over the computer player and mobile device, though my suspicion is that an all-out attack on the portable device could start to chisel away at all three.)

Even in the NPD data, though, there’s an interesting indicator: note that the “Other” category is roughly the same size as Apple’s main competitors. That suggests that there’s a plurality minority. And oddly enough, it’s right in the middle of this mysterious “Other” category that a lot of unknown music artists make their dollars, selling direct to listeners or going through niche sites. Artists I’ve talked to in the electronic genre have almost universally said they make nothing on Apple, while they do very well on a site like electronic-specific Beatport. And unlike physical media, it’s not a big deal for someone who loves electronic music to drop their favorite tunes manually from the Beatport store into iTunes and an iPhone.

Dig into the Mint.com numbers, and you see just how different stores can be. Per-transaction spending differs by an enormous margin. Brick-and-mortar retailers sell a lot more per transaction. True, this could include accessories like headphones at stores like Sam Goody, but it’s also interesting to note the gap between stores like eMusic, Rhapsody, and CD Baby, and the smaller per-transaction buy at iTunes.

While Apple buyers aren’t spending as much per visit, they’re visiting more often, and Apple’s move to variable has made a big difference. Buyers have gone from purchasing an average of 2-2.5 transactions to well over 3, coinciding with the introduction of variable pricing.

If you’re not a fan of monopolies, there’s just not much to be done to spin this data. As digital consumption has grown by an order of magnitude, nothing has happened – thus far – to change Apple’s dominant share of the market. And as you can see in pricing statistics, within the Apple ecosystem, Apple has been enormously effective in controlling the pricing of the product and spending habits of the consumers.

On the other hand, looking at the inverse situation, a lot of the most interesting activity is happening outside either the former brick-and-mortar or new digital iTunes economies. We don’t have data on a lot of these niche stores (Dancetracks, Beatport, Bleep, and so on), which grow in number and variety. We don’t have data on direct-to-consumer sales by artists. And we don’t have much data on legal free music consumption, music released as Creative Commons or pay-what-you-will. Just criticizing Apple for their popularity could miss out on what’s happening in these alternative channels.

Many of these channels have no obligation to share their statistics, but to any who are interested, I’d love to talk to you. (And I think CD Baby winds up being the most interesting stat here.)

This is also an excellent illustration of what online analytics can do with financial data. It certainly won’t ease anyone who prefers that this data remain private, but fans of analytics might also see potential for collective learning experiences from shared data. Data like this had long been privileged only to banks and credit cards; a service like Mint allows users to share such data with one another.

So, how are you spending on music?

And would you find it useful – or disturbing – to have that kind of data shared anonymously with other consumers?