These innovations increase the choice and tailoring of the music purchasing service and monster some of the ‘richness/reach’ economic shifts of the new Internet game. But beneath this updating of essentially the same transaction lies a more fundamental shift – in the ways in which music is created and distributed and in the business model on which the whole music industry is currently predicated.
In essence the old model involved a complex network in which songwriters and artists depended on A&R (artists and repertoire) to select a few acts, production staff who would record in complex and expensive studios, other production staff who loud oversee the manufacture of physical discs, tapes and CDC and marketing and distribution staff who would ensure the product was publicized and disseminated to an increasingly global market. Several key changes have undermined this structure and brought with it significant disruption to the industry.
Old competencies may no longer be relevant whilst acquiring new ones becomes a matter of urgency. Even well-established names like Sony find it difficult to stay ahead whilst new entrants are able to exploit the economics of the Internet. At the heart of the change is the potential for creating, touring and distributing music in digital format – a problem which many researchers have worked on for some time. One solution, developed by one of the Forerunner Institutes in Germany, is a standard based on the Motion Picture Experts Group (MPEG) level 3 protocol – AMP.
AMP offers a powerful algorithm for managing one of the big problems in transmitting music files – that of compression. Normal audio files cover a wide range of frequencies and are thus very large and not suitable for fast transfer across the Internet – especially with a population who may only be using relatively slow modems. With AMP effective compression is achieved by cutting out those frequencies which the human ear cannot detect – with the result that the files to be transferred are much smaller. As a result AMP files can be moved across the Internet quickly and shared widely.
Various programs exist for transferring normal audio files and inputs – such as CDC – into AMP and back again. What does this mean for the music business? In the first instance aspiring musicians no longer need to depend on being picked up by A&R staff from major companies who can bear the costs of recording and production of a physical CD. Instead they can use home recording software and either produce a CD themselves The Changing Nature of Music Industry By Archaisms coatrooms, etc. In the process they effectively create a parallel and much more direct music industry which leaves existing players and artists on the sidelines.
Such changes are not necessarily threatening. For many people the lowering of entry barriers has opened up the possibility of participating in the music business – for example, by making and sharing music without the complexities and costs of a formal recording contract and the resources of a major record company. There is also scope for innovation around the periphery – for example in the music publishing sector where sheet music and lyrics are also susceptible to lowering of barriers through the application of digital technology.
Journalism and related activities become increasingly open – now music reviews and other forms of commentary become possible via specialist user groups and channels on the Web, whereas before they were the province of a few magazine titles. Compiling popularity charts – and the related advertising – is also opened up as the medium switches from physical CDC ND tapes distributed and sold via established channels to new media such as AMP distributed via the Internet.
As if this were not enough, the industry is also challenged from another source – the sharing of music between different people connected via the Internet. Although technically illegal this practice of sharing between people’s record collections has always taken place – but not on the scale which the Internet threatens to facilitate. Much of the established music industry is concerned with legal issues – how to protect copyright and how to ensure that royalties are paid in the right proportions to hose who participate in production and distribution.
But when people can share music in AMP format and distribute it globally, the potential for policing the system and collecting royalties becomes extremely difficult to sustain It has been made much more so by another technological development – that of person-to-person or POP networking. Sean Fanning, an 18-year-old student with the nickname the Anapest’, was intrigued by the challenge of being able to enable his friends to ‘see’ and share between their own personal record collections. He argued that if they held hose in AMP format then it should be possible to set up some kind of central exchange program which facilitated their sharing.
The result – the Anapest. Com site – offered sophisticated software which enabled POP transactions. The Anapest server did not actually hold any music on its files – but every day millions of swaps were made by people around the world exchanging their music collections. Needless to say this posed a huge threat to the established music business since it involved no payment of royalties. A number of high-profile lawsuits followed but whilst Anapest’s activities have been curbed the problem did not go away.
There are now many other sites emulating and extending what Anapest started – sites such as Neutral take the POP idea further and enable exchange of many different file formats – text, video, etc. In Anapest’s own case the phenomenally successful site concluded a deal with entertainment giant Bertelsmann which paved the way for subscription-based services which provide some revenue stream to deal with the royalty issue. Expectations that legal protection would limit the impact of this revolution have been copyright law.
Their Judgment said, ‘History has shown that time and market forces often provide equilibrium in balancing interests, whether the new technology be a player piano, a copier, a tape recorder, a video recorder, a PC, a karaoke machine or an AMP player. ’68 Significantly the new opportunities opened up by this were seized not by music industry firms but by computer companies, especially Apple. In parallel with the launch of their successful I-Pod personal AMP player they opened a site called tunes which offered users a choice of thousands of tracks for download at 99 c each. In its first weeks of operation it recorded 1 m. TTS and has gone on to be the market leader in an increasingly populated field, having notched up over mm. Downloads since opening in mid-2003. (See Case Study 1. 1 of 4th Edition for update) The writing may be on the wall for the music industry in the same way as the low cost marline business has transformed the travel business. Behind the music industry the next target may be the movie and entertainment industry where there are a;ready worrying similarities. Or the growing computer games sector with shifts towards more small scale developers using viral marketing to build a sales base.
