The New Music Industry
The New Music Industry
Jon Collins, May 2004
The new music industry’s will look something like the following:
Banks need to get involved in the financing of albums. There is no reason why they don’t do this already, apart from understanding of the risk this is an actuarial issue, not a financing 80. Issey. If money is no longer made from the sales of recorded music, what does that leave. There are concert tickets, at concerts are traditionally very hard to make money out of. Many bands go on tour at a loss knowing that they will recoup the money through additional sales of records. Secondly there is merchandise while this seemingly has nothing to do with the music of the value of merchandising should not be underestimated. We already have all he any schemes, they are called the radio. Commercial radio is supported by advertising maybe this is the way that Web radio will go as well.
While music may appear to step to have a number of problems, the same is not so true of film and there is one simple reason for this: the quality of film is not yet anywhere near the maximum quality that can be attained. The number of bits required to display is thus far exceeding processing power or screen capabilities all and let and therefore is outside the domain of the destructive power of the download.
There are publishing opportunities for music in film, there are also the royalties to be generated from other people are forming your sons of that
There will always be a music industry, that’s the power of the music industry to provide an excessive hold over both the artists and the buying public is hopefully over all that
Perhaps we should consider that there is a place for mass-market music. We truly do it gets what we deserve, or at least ask for, when we buy music that has taken little effort to construct. This is, however, no bad thing in the same way that we enjoy chocolate and the benefits of a nice walk the, there is no reason to suggest that things have to be complicated in order to be worth having. However, just as with a nice walk, there is equally no reason to suggest why people should have to pay through the no. This is an imaginary creation of the music industry.
The music distribution industry also provides a very valuable service. However, in the Internet age, it could be argued that there are better ways of shifting data and copying it onto millions of small shiny desks and tracking them around the world.
George Michael has said that he will no longer record music for money everything that he records, he will be giving a wafer free on the Internet.
The music industry provides three sets of services. The first is recording services this is a very useful function. The second is financing service and the third is distribution services. There are also the parts of the industry that supports the preparation and presentation of live music, however these are usually seen as a separate entity, linking more into casinos and leisure activities and music recording.
The goal after music industry is to control its channel so it organises its three parts, financing, recording and distribution, in a way that will maximise its profits. This is a totally normal thing from business to want to do, however we have to ask ourselves the question how much arts is suffering as a result. If, for example, the fine art and industry was organised in the same way, then we would have nothing but Athena posters.
What’s the music industry needs, is a total reorganisation. First, it should no longer have any role to play in the financing of music. It is this particular fact that set asset it is this particular fact that is causing the majority of the problems that the music industry faces today. Because the music industry is the main investor in music, it is therefore to see the largest possible return on its investment. It is organised in such a way to maximise this return to the detriment of its other facilities, such as recording, artist management, and distribution.
Another role that the music industry plays is artist management.
artist management should involve the management acting in the best interests of the artists. Unfortunately, when the management is acting on behalf of the labels, they are unlikely to provide the best service to the artist. It is up to the artist to find a manager who will act in the artist’s interests.
Within distribution, there is also promotion. For music to be promoted globally it needs a global organisation to do so. This is where a big player such as BMI can come in.
At the downside of the music industry are price inflation, artist exploitation, Channel monopoly was not but let’s not throw the baby out with the bathwater, it should be possible to create an industry which serves the needs of the artists and the public, delivers excellent product, and value to shareholders in the meantime. And the
Many artists are just as hearts on the issues of copyright protection as the record labels and understandably so much of their revenue is derived from royalties from the recordings they have already made up that therefore what are they would find it hard to agree to giving up those royalties of as stupidly better world.
World, I had missed my flight. Fortunately they have been able to rebooked me on a flight in five hours time, so that should give me plenty of time to get to the airport. Instead I chose to stop at the services and by a large latter-day exactly what I did before latter-day I do not live because it has to be one of those things that no person should be without a rainy period of time it all sounds decidedly pretentious but it is nectar and its services the humanity should be not underestimated.
Whatever technologies exist, it is clear that working on an audio, only solution is not necessarily going to lead to protecting the assets that needs to be protected. As long as digital audio exists it will always be possible that converted into a datastream which can then be shared freely. Perhaps an alternative, is to work on ensuring that the audio data is only one part of what is being delivered. There are several alternatives to achieving this. The first, is incorporating other multimedia facilities, which may be accessible online all example by a DVD.
A second alternative may be learned from the world of Tudor. This is to make files are being a part of the industry itself is that a subscription service to a music industry board will costing, say, £25 a year, would be very attractive to a large number of the population. It is a case of getting the price points right and asking the question, would more people would more subscribers take up the offer of a subscription, and the amounts of people buying CDs. If this were the case, then it would enable in a similar way to the licensee, the music industry to continue to function and to promote artists in which ever way it saw fit.
It would also free it from the shackles of the CD formats, the days of copying data onto a desk in order to listen to it given the advances in technology such as/and there broadband, these days should forever be in us.
A subscription model would also enable far greater control over the customers, because it would enable the industry to see what people were trying to download when Ulster therefore additional, added value services, could be provided in order to meet the needs directly rather than trying to second-guess and control the market. As a simple example, consider a new artists, say friends Ferdinand, who is achieving a lot of interest. It would be possible to offer additional downloads to hold subscribers, or example it yet let’s an otherwise inaccessible special interest in information, it is then up two the consumer to decide whether or not to take them up on that offer or whether to access the information in a less organised manner. What we are talking about here is the nature of humanity to go to the easiest most cost-effective solution. When they have a choice between attempting to find the same information elsewhere cheaper all just finding it very quickly there and then, then the chances are they will go to the easiest option even if it costs them a little more. The second human characteristics that displays on, is the desire to have something for oneself therefore if there was exclusive merchandise and other exclusive nondata related mechanisms are example concert tickets then it would be possible to gain a large a subscription audience. We therefore end up with a two tier system in which the music of an artist is available globally for a given for a single price, or even for it all three, and then be additional benefits are available at additional cuts the question is not whether or not it is ripping people are the whether or not people are prepared to pay Ulster in addition, artists can set up, in the should be strongly encouraged to set up, their own relationships with such portals, such that they may also read the same benefits at very little cost to themselves. What we are aiming for here, is a win win model. In which all sides have much to gain.
The success of the portals, follows a similar profile to that of mobile phone companies. In mobile phone companies their problems are twofold. The first, is too expensive the number and quality of the subscribers. The second, is to expand the number and profits of the services that are provided. The parallels screen the easy industry and the mobile telephony industry, indeed the telephony telecommunications industry in general, ruck most fascinating. And should be exploited as much as possible.
Tools word counts
There were attempts when male & Wanna linked up for example, the sea music as nothing more than content creation. This was an experiment that didn’t fully work, and the industry would do well to learn the lessons that AOL and Sony have had to learn. One of the reasons for this is that content and arts are very different models. It arts is seen as nothing more than content, then it will inevitably be reduced as the lowest common do nominator. It content is seen as arts, and it will always be too costly. Therefore the two need to be kept separate.