Digitalising music: Changing the way it’s distributed and the resulting implications: The way we listen to music, and the effects on the recorded-music industry
Executive Summary
The aim of this paper is to analyse how the introduction of digital recorded music has revolutionised the music industry.
The business dynamics in the music industry is rapidly evolving, with new developments in technology that change the very way we ‘consume’ our music. And this change has had a domino effect, culminating in piracy that has greatly changed the landscape of this industry.
This paper will look at music industry before digital recorded music became available, the market today and also future considerations. The effects, both positive and negative, caused by this change will be addressed, and what the future will hold for this dynamic industry will be discussed.
Background/Introduction
We now possess the ability to preview MP3s before purchasing, to buy music online, and to store hundreds and thousands of songs in a pocket-sized device.
This increase in accessibility has the industry at a tipping point, with attempts to stem the rampant piracy failing. The scales have now tipped in favour of the consumer. The progress of technology here has given consumers many varied ways to purchase music. Now, they are no longer held ransom by record labels, which once dictated how high the consumer must pay to get their music fix. And now the tables have turned, with consumers being able to purchase only the song that they wanted to, instead of having to paying for the whole album just to listen to that one song, and at a lower price than before. A CD album that once cost $19.90 can be now purchased for just $11.99 on iTunes, a leading digital music provider.
Historical Perspective
A long, long time ago, the music industry only consisted of live shows and publicity was through word-of-mouth. It was difficult to reach the masses, until technology came along and revolutionised the whole industry.
The gramophone was ground-breaking as it allowed listeners to enjoy music in the comfort of their own home. Radio soon came into the picture too. But now, record vinyl and jukeboxes that were once commonplace in the 1950s have become a novelty, having been made history by cassette tapes and Sony’s Walkman, which were later succeeded by CDs. Those too didn’t last long when digital music and Apple’s iPods came on the market.
Much progress has been made in the recorded-music industry, in terms of its form and the music quality. From only being able to listen to two songs on a single vinyl, we now have a library of hundreds of thousands of songs right at our fingertips. And just recently, we now have access to our whole music library, anytime, anywhere with music in the ‘clouds’.
But the key turning point that has shaped the industry into what it is today is the introduction of the compressed music file, MP3. This file format made it easy for users to store and share thousands of files on their computers. But the music industry did not know what it was in for with this innovation, especially when Napster hit the Internet. Founded in 1999, Napster was originally Peer-to-Peer file sharing Internet service that allowed music fans to trade MP3s for free. And while there were already existing ways to share music, Napster was most popular as it had a user-friendly interface, and easily connected different users and their MP3 resources together, creating a centralised library of sorts. Napster was eventually shutdown after successful legal action by various recording companies under the Recording Industry Association of America (RIAA) for copyright infringement. But the traditional business models previously adopted by recording companies could not continue further, as Napster had spawned many copycats, including Gnutella, LimeWire and Kazaa, all which operated on the same model using Peer-to-Peer file sharing. Despite attempts to shut down these sites, new ones always sprang up and workarounds were created. Consumers were no longer used to paying such high prices for their music, and the stranglehold that recording firms had on the music industry became a thing of the past.
Current Situation (Why has it become so?)
The change in the way music is distributed and shared has increased the accessibility and availability of music drastically. This change has allowed us to be able to listen to and have a better and broader appreciation of music from different eras. Previously, people could only share music by passing around a physical medium. But now, one can easily share or preview music with a click of a button. But a drawback is that this results in a lot of ‘rehashing’ and recycling, with musicians being inspired by music from the past. Critics have bemoaned the lack of ‘fresh’ and new music.
In addition, this increased accessibility has made the market much more competitive, making it cheaper for audiophiles to enjoy their music. In the United States, songs can be purchased affordably for just 99 cents on iTunes. Moreover, one has the option of buying a single song that you want, unlike previously where you had to purchase the entire album, even if you only wanted that one song. This essentially makes music ‘cheaper’.
However, this increased accessibility has affected traditional brick and mortar shops. People no longer or rarely purchase music in physical stores, preferring to take advantage of the convenience and additional service that online music stores offer, and this impact on conventional shops (e.g. HMV) can be seen; many shops are closing down. With the arrival of the MP3 and the subsequent ascent of digital music, the traditional brick-and-mortar record stores are finding it increasingly difficult to be able to compete with download services such as iTunes and Amazon.
Also, the increased accessibility has allowed musicians to bypass the traditional methods of distribution through record labels, and instead market their songs directly to listeners. Radiohead decided to side step the record label and sold their new album online instead, and allowed listeners to set their own price and pay only what they think is reasonable for the album.
Likewise, the Internet has also made it easier for budding musicians to get a following and to extend their reach. The most common platform would be YouTube, a video-sharing website which has contributed to the burgeoning number of amateur musicians and spawned its fair share of hits and misses. Some musicians’ careers were built through YouTube, and it is the number one platform for aspiring hopefuls to gain an audience. YouTube accessibility means anyone with an Internet connection can post a video that a worldwide audience could watch, and all for free.
Nonetheless, when online music sales should rise with increased accessibility, in light of piracy and the incarnations of Napster, global album sales have actually plummeted. This could wreak havoc on creativity as it could act as a disincentive to musicians. Prince has allegedly said to refuse to make a new album till piracy has been contained.
What the market has done, in response to this problem, is to innovate. They have started to offer music subscription services via mobile and the Internet to boost flagging sales resulting from piracy. But the question still remains as to whether there can be any money made online for the music industry.
Another emerging trend is the service of offering music on the cloud. This gives you the ability to access your music anywhere, from any device.
However, an obstacle preventing this innovation from taking off is that not all record labels are on board, as these services are not considered profitable, or profitable enough. Spotify, a popular cloud subscription service in Europe is not available in some countries due to this very reason.
Moreover, critics have argued that these services encourages piracy as it makes ownership of pirated tracks more attractive by providing access through the cloud, further hindering the success of cloud-based music services.
Future Considerations
In view of the rising piracy problem, the RIAA and record labels are lobbying for stricter copyright laws to be enforced to stop illegal music file sharing. But in order to do so would mean implications on consumers’ privacy, as their Internet activity would have to be monitored.
The role of the recording companies is now constantly evolving. Now that recording companies can no longer purely rely on album sales, they will have to change their tactics, moving from merely being wholesalers of music, to getting more involved in fan merchandise and planning elaborate live concerts to attract fans. They now have to analyse fan behaviour and capitalise on it and act quickly, just as the Korean music-recording firms have done so. It would be ideal for their western counterparts to learn from the tactics applied by these Korean companies that have had much success so far in this digital world.
Conclusions
Digital music has definitely changed the playing field in the industry, altering the relationships between record labels and consumers, labels and musicians, and musicians and consumers. Everything has become more ‘direct’, with musicians being able to connect directly to listeners, and listeners no longer needing a middleman to access music
However, the problem with the current music developments (music buffets, cheap subscriptions plans) may result in consumers becoming ‘spoilt’ with choices, and they may feel that they are entitled to free music. Contrasting the current situation with the past, where we treasured our CDs and made careful purchases, the difference is stark. Would the current music subscriptions services that are being offered fail to satisfy consumers in the future? The music industry landscape is rapidly evolving, and records labels can no longer depend on CD and MP3 sales. The future for them would be to constantly innovate and come up with new exciting ways to deliver music to satisfy consumers whilst improving their profits. Perhaps in the future, free music would be a legal option. And while that may be a long while before we do reach that situation, we can always look to ‘free-mium’ music services to satiate our never-ending wants.
References
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- (2011, June 9), Digitally remastered. The Economist. Retrieved from http://www.economist.com/node/18805473
- Brooker, C. (2011, June 6), If the internet gave free back rubs, people would complain when it stopped because its thumbs were sore, The Guardian. Retrieved from http://www.guardian.co.uk/commentisfree/2011/jun/06/spotify-problem-getting-people-to-pay