Even the most well meaning startups focusing on music discovery often neglect a growing industry concern–paying artists. It’s a nagging problem that doesn’t seem to have a good solution. That’s where Soundsupply comes in. The company markets itself as another service to help you discover your next favorite band, but they’re really after a much bigger goal: Changing the music buying process as we know it, and paying artists in the process.
The model is similar to the curated subscription services that have been popping up for everything from cosmetics to coffee. Every month, Soundsupply gathers 10 handpicked digital music albums on a theme and sells the bundle for $15 for a limited time–just 10 days. An obvious deal for consumers, this model of selling music has also been more profitable for bands than any streaming service, in extreme cases by more than 400%. Last november, cofounder Tim Mortensen told me that one of the bigger bands featured in a drop (the company’s name for their bundles) made $1,200 on 10 days of sales on Soundsupply. In the 3-month timespan before and after the drop, the same band made just $2.95 from Spotify royalties.
Although they won’t go into the specifics of dividing up payments, both Tim and his cofounder and brother, Eric Mortensen, said that each artist is averaging a little over $1,000 per 10-days drop. Another number that the brothers are proud of: Artists are paid that money about 48 hours after the drop ends, a quicker turnaround than almost any other service.
Soundsupply started in early 2012 as a side project of the Mortensen brothers, which is also how they settled on the limited sale period:
“I wish I had a scientific answer that talked about media cycles or pay periods, but the 10-day timespan was originally chosen because of how we had to run Soundsupply given the schedules of our day jobs. You can only ‘go to the bathroom’ so many times to respond to emails and fix website issues before your boss gets suspicious (or worried about your health),” says Tim Mortensen. “The one thing we’ve learned is that no matter how many days the drop runs, there are always people who miss it and email asking if they can still get in on a drop that has ended. We hate breaking hearts, but everything has to end sometime, right?”
In early 2013, the two took on funding from Lightbank, which was an early investor in Groupon, and turned the project into a full-time business. The pair have since partnered with multiple music labels as well as the Vans Warped Tour, providing a themed drop featuring artists on the tour. That drop sold so well that it prompted the pair to explore other similar partnerships, including an upcoming bundle for a charity curated by one of the Mortensens’ favorite artists.
The consensus among the labels who have signed on so far is that Soundsupply drops are good for business. Chris Hansen, who runs No Sleep Records, says that a drop “creates awareness for the artists, the albums, and the labels.” Matt Lunsford, owner of Polyvinyl Records, concurs.
“We primarily view the drops as a way to increase music discovery for the artists on our roster,” says Lunsford. “Because Soundsupply’s users are engaged and paying for music, it seems more likely that they will discover a new band through the service than if they were given a free download or stream.”
It’s tempting to view services like Spotify, Rdio, and Pandora as brand-new digital distribution mechanisms, but in many ways they’re working within the constraints created decades ago by the radio industry to move money around. According to these labels, Soundsupply represents a truly new take on leveraging digital media that they’ve never seen before. Selling bits in bulk makes money, paying for music creates a connection, and direct-to-artists/indie label sales means sharing the profits fairly.
[Image: Flickr user Melissa J. Muller]