The adoption-based music economy
Digitization has a disruptive effect on a wide range of industries, from music to software to publishing to...you name it. If it can be digitized, it can be disrupted.
It's therefore encouraging to see the music seemingly converging on a cool new-old model: an ASCAP (American Society of Composers, Authors, & Publishers)-like tax from one's Internet service provider that allows unlimited downloading of music.
Gerd Leonhard's recent presentation on the subject is the best I've seen yet, one that I'd recommend you review, even if you never stray from the software world to think about music:
Leonhard argues that digitization has made a control-based music economy impossible, forcing the industry to seek other ways to monetize music--ways that conform to digitization's abundance, rather than to the old idea of scarcity.
In a sign of things to come, the Isle of Man just approved "a single blanket fee (that) will cover unlimited download activity for all 80,000 or so...residents," as Ars Technica reports.
This follows a new trend toward "free" services, in which the music industry hides the cost of the music in the price of a separate service or device. It's oddly similar to trends I'm seeing in software.
This isn't the only model. As the Future of Music blog points out, some musicians, like Corey Smith, are finding that giving away music to drive more concert ticket sales can be a winning recipe. But while $4.2 million last year for Smith is a great return for an individual artist or band, it's not a great way to build an industry. I'd liken it to "lifestyle" software businesses that generate great revenue for their founders but provide little in the way of equity for other participants in the company's success.
So I think the "adoption tax" model is promising. The future is flat-rate: you subscribe, you forget about paying for individual transactions, you enjoy more music than you ever have before.
Matt Asay brings a decade of in-the-trenches open-source business and legal experience to The Open Road, with an emphasis on emerging open-source business strategies and opportunities. Matt is vice president of business development at Alfresco, a company that develops open-source software for content management. He is a member of the CNET Blog Network and is not an employee of CNET. Disclosure. You can follow Matt on Twitter @mjasay. 




At which point was software not digital?
Thanks for thinking about the user... NOT!
Finally, will compulsory license revenues replace declining sales revenue? That is the crux of the dilemma as I see it. If licensing fees, with a practical upper limit, do not replace sales revenues, the majors will fight this and they have the political muscle to kill any schemes. Status quo. If it does replace or exceed, then they don't really need to be in the music business beyond living off their library. Status quo.
What do we, as a society, culture and music lovers, want? Majors to be guaranteed a profit in perpetuity for the library they built between 1940-2000 or an industry that is a somewhat hungry and where the hustlers with ears are rewarded for taking a risk on the new? No compulsory licensing. Reduce the copyright length for recordings. Too much old growth in a forest is unhealthy.
Next, the majors get revenue even...
It's the Ecosystem that can generate 1 Euro or similar per week, once it's actually set-up: handset makers, social networks, advertisers (2.0!!), brands, subsidies, search, sms, affiliate revenues etc. This is crucial: feels like free for the users, little extra costs for the ISPs (and access to a whole new ecosystem!), guaranteed payments for the creators (and lots of new stream above and beyond). Check out http://www.gerdtube.net (Blip.tv) for my videos on this, and www.gerdtube.com for my Youtube stuff. Cheers!!
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