The economy took its toll on digital audio in 2009, with CD sales continuing to decline (even as vinyl makes a resurgence), digital start-ups going bankrupt or disappearing after takeovers, and labels expressing dissatisfaction with would-be digital saviors like MySpace Music. Even so, there was actually quite a lot to cheer this year. The following five products aren't necessarily the best, but to me, they did the most to move the state of digital audio forward in 2009.
Outside the tech press, the Zune HD didn't get the love it deserved in 2009.
(Credit: Microsoft)Windows 7. Microsoft appears to have recovered from Vista with a new OS that runs efficiently, looks good, and satisfies users. Released on October 22, the latest version of Windows also includes some important new features for digital audio lovers. I was pleasantly surprised by Microsoft's decision to support for Advanced Audio Coding (AAC), which is the default format used by Apple's iTunes. With this simple move (along with native H.264 video support), Microsoft has finally acknowledged that Windows Media isn't taking over the world any time soon, and will hopefully move to the much more sensible strategy of making Windows a sort of "Swiss Army knife" of digital media. In addition, the new Remote Media Streaming feature lets you access the media library on your hard drive from any PC over the Internet, reducing the need for third-party solutions like JukeFly or online music lockers like Lala. Plus, for professional audio recording, Windows 7 is much more stable than Vista was at launch. Love it or hate it, Windows is still the OS used on more than 95 percent of computers worldwide, and Windows 7 is probably going to be around for a long time--like XP was--so these advances, however overdue, are major news.
Spotify and Rhapsody on iPhone. Music fans have been waiting for the celestial jukebox--the ability to listen to millions of songs on demand from anywhere--for years. In 2009, the music industry finally started coming around to the idea that on-demand access to millions of songs could be the digital business model that saves it. Nowhere was this clearer than in Apple's decision to approve iPhone apps from Spotify in August and Rhapsody in September. These two subscription services--Rhapsody in the U.S., Spotify in Europe--give iPhone users access to millions of songs, on demand, for a few bucks a month. Single-song downloads have been great for Apple, helping iTunes become the top music retailer in the U.S. starting in 2008, but the company may be coming around to the idea that subscriptions--or at least on-demand streaming--represents the future, as evidenced by its acquisition of Lala earlier this month. When Apple finally takes the plunge, Rhapsody and Spotify subscribers can be smug, knowing that they've been able to stream songs to their iPhones since 2009.
Sonos S5. I've been singing the praises of Sonos's multiroom home-audio system for a couple years now. There's no other equivalent system that offers such easy set-up, solid sound, reliable streaming (thanks to its dedicated wireless network), and slick user interface--including an iPhone controller. The only drawback has been its relatively high price of entry, especially compared with cheaper competitors like Logitech. The release of the Sonos S5 this November (read the CNET review) is a major step forward in affordability, giving you single $399 device--receiver, amplifier, and speaker, all in one--that lets you get started down the Sonos path. You'll still need a $99 bridge if you have a wireless home network and want your S5 to be in a different room than your router, but the S5 is Sonos's most affordable product to date, and a move in the right direction for multiroom digital audio.
iConcertCal for iPhone. For live music fans, nothing's more frustrating than missing a show because you happened to miss the listing in your weekly paper. This year saw the release of several iPhone and iPod Touch apps for finding and tracking local gigs, but my favorite remains iConcertCal, released in July for $2.99. (It was briefly removed from the iTunes Store earlier this month to fix a bug, but it's back now and working fine.) Unlike other gig-finding apps, iConcertCal doesn't require you to enter a list of artists you want to track--instead, it grabs all the artists whose music you have on your iPhone. If you want an even bigger selection, you can download the free iConcertCal desktop add-in for iTunes (useful in its own right), link it to your iPhone with a user name and password combination, and the iPhone app will then track every single artist you list in iTunes. You can also use it to see all local shows happening in the next couple of days.
Zune HD. At last! The latest version of Microsoft's portable music player, released in October, has everything its predecessors lacked. Classy industrial design. Touch screen. Gorgeous on-screen interface that makes it easy to find favorite songs or music you've recently added and scrolls through images of artists as you play their songs. Well-designed PC client software that does everything you've come to expect from iTunes and looks way better doing it. It's not perfect--the browser and lack of app store are kind of weak, and I'm still bothered by what sounds like a bass roll-off and lack of oomph in the midrange--but the Zune HD has so many features that iPods still lack, like wireless sync, a built-in subscription music service (with 10 permanent monthly downloads to boot), and the ability to add songs to a currently playing playlist, that it makes my iPods seem a bit out of date. Unfortunately for Microsoft, the Zune brand is still tarnished by its initial weak launch, and outside the tech press, the Zune HD didn't get the love it deserved. Perhaps when (if?) Microsoft moves these features into the next version of Windows Mobile, we'll finally see Microsoft considered as a viable competitor to Apple's mobile music juggernaut.
Tomorrow, I'll follow up with the five least welcome digital music products in 2009.
Tuesday's post on using Craigslist to buy secondhand concert tickets drew a response from a company called FanSnap, which uses live feeds to aggregate ticket listings from online marketplaces and broker sites (such as StubHub and TicketNetwork) and eBay auctions.
FanSnap would argue Craigslist is fine for price-sensitive fans who don't need to go to a particular show and who are willing to meet and negotiate with other individuals, pay cash where necessary, and run the risk of buying a fake ticket. (Although the only time I've ever seen a fake concert ticket was in 1989 on the streets of Manhattan, when I bought a very realistic counterfeit to a Jane's Addiction show at the Ritz.)
Fans who want a slightly more convenient buying experience might go with eBay, where they can use PayPal and rely on seller ratings, while fans who absolutely need a guaranteed ticket can go with a marketplace like StubHub, which offers a toll-free customer service line, money-back guarantee, and other benefits. FanSnap operates on an affiliate-oriented revenue model, so it gets a commission from sites on which sales are made.
FanSnap shows you where tickets are located in a seating chart of the venue.
I ran a search on FanSnap for Pixies tickets, and it found more than 70 listings for the sold-out show this Friday, compared with about 30 listings on Craigslist. (The Craigslist screenshot in Tuesday's post showed only listings that had been added on that day.) Prices were similar to Craigslist--lower in a few cases--and the site has some great design touches, like a seating chart of the venue that maps tickets to particular locations. Craigslist, of course, is purposely and resolutely lo-fi. I still think there's something refreshing about dealing with a real fan, face to face, but I can see reasons why others wouldn't want to.
Correction at 8:00 a.m. PDT, Nov. 12: This post mischaracterized how FanSnap aggregates ticket listings. The site uses live feeds from its sources, which allows ticket listings to be updated immediately as prices change.
Ticket scalping has been a hot topic in the music industry for years, causing a lot of uproar and complaints among music fans.
The sad fact of the matter is that lots of parties in the music industry try to sell secondhand tickets for a markup. Ticketmaster owns a premium resale service called TicketsNow. It also owns a resale exchange, TicketExchange, which lets any individual (including scalpers) buy or sell a ticket. Even artists and managers frequently take their allotments and sell them on broker sites for a markup, as The Wall Street Journal has reported.
Worst of all is the fan club scam, where fans pay for the right to get in line for presale tickets--but joining the club doesn't necessarily get you a ticket before the scalpers have snapped them all up, as Keith Urban fans in Nashville recently discovered.
I can't get too angry, though. I haven't bought a ticket from a scalper in years, and I've never gone through a ticket broker. I get good seats well after they go on sale and can usually get into sold-out shows. And they almost never cost me more than the original retail price.
It's not magic: it's Craigslist. I wait until a few days before the show, then run a search for the band I want to see. Inevitably, I find a few people who bought a ticket then had an irresolvable conflict. These are normal people--not scalpers, just fans like you and me--and they almost always settle for what they paid, or even less. If I'm not happy with the price, I move on--there always seem to be more sellers, especially the on day of the show.
You can't get tickets to this Friday's Pixies show through the official site for the venue, STG Presents, but there are plenty of tickets at fair prices on Craigslist.
This month alone, I've scored floor seats to Steely Dan well after they were gone from Ticketmaster's site, and a pit ticket to Friday's Pixies show, which is entirely sold out. I've had such good luck that I'm considering abandoning Ticketmaster and other ticket sellers completely. The seats are better, they're the same price or cheaper, and I'm usually helping a fellow fan out of a jam.
There are ticket brokers and other professionals gumming up the ads on Craigslist, but you can scope them out pretty quickly--they often list ticket prices as $1 (because they're actually selling lots of tickets at different prices) or have some other giveaway like an overly generic headline ("Great seats") or obviously inflated prices. Regular fans tend to list the exact seat number in the ad and a price that's pretty close to what they paid.
There will always be some demand for professional ticket brokers; people who want to impress an important business client with great seats don't want to wait until the last minute and risk striking out. And for some shows, fans would rather sacrifice a body part than sell their tickets--I'm thinking of the early shows on the 2007 reunion tour by The Police, for instance. But for many shows, Craigslist is a far better deal than the professional sites. Which makes me wonder how long they'll last.
Record label EMI this week announced that it will begin selling on-the-spot recordings of concerts.
The name of the initiative, Abbey Road Live, is a bit misleading--it doesn't have anything to do with the Beatles album or the recording studio after which it was named.
Rather, EMI is using its Abbey Road brand to indicate that these aren't low-quality bootlegs but professional multitrack recordings, mixed and mastered on the spot, and sold on CDs, DVDs, or flash drives to fans at the venue. EMI also said on Wednesday that it plans to make the recordings available as streams or downloads, so fans can access them from home.
Instant concert recording isn't new: EMI sub-label Mute Records has had a similar program in place since 2004--according to the press release, 10 percent of fans at a recent Blur concert downloaded the show afterward--and Willie Nelson has been selling flash drives with on-the-spot concert recordings for several years.
But having a large record label like EMI on board legitimizes the practice. It's a no-brainer way for live acts to earn some extra cash--and great for fans as well. I can think of many concerts I've attended, after which I would gladly have paid another $20 for a recording. This should become standard operating practice in the next couple of years.
The free ConcertVault iPhone app gives you streaming access to hundreds of live recordings.
Wolfgang's Vault is an online archive containing hundreds of high-quality concert recordings, mostly from big classic-rock artists like The Who and U2, but with a few newer artists, such as The Walkmen, thrown in as well. (Here's a complete list of performers whose recordings are available on the service.)
Last month, Wolfgang released an updated version of its much-lauded free iPhone application, Concert Vault, which gives you access to these amazing shows directly from your iPhone or iPod Touch.
The update adds a couple minor features, including a list of featured concerts--helpful for keeping track of shows that have been recently added to the vault--and fixes some reported problems with stuttering and stalling.
I've been listening to the Who's 1973 performances of "Quadrophenia" over a 3G connection for the last half hour, and so far, the app--and the band--are both performing flawlessly. This is a worthy update to a must-have download for live music fans.
FanSnap announced Monday a $5.5 million funding round, which it aims to use on completing the build-out of its search engine.
FanSnap, which launched its ticket search engine beta in September, received funding from existing investor General Catalyst Partners, which led the round.
The FanSnap site is designed to allow users to search for tickets based on a number of criteria, from price range to number of tickets sought, as a well as an at-a-glance ticket price range based on the stadium section using a colored map.
The site gleans its data from 56 ticketing providers including StubHub, Ace Ticket, and TicketNetwork.
Music giant Live Nation announced on Thursday that it has partnered with SMG, the operator of 216 stadiums, arenas, convention centers, and concert halls, in an agreement that lasts through 2011.
The announcement is in anticipation of Live Nation's ticketing service, which launches in January and will sell tickets for venues that Live Nation already represents as a promoter as well as third-party partners. Under the terms of the agreement, Live Nation will be the exclusive outlet for SMG's tickets; Live Nation expects the SMG deal to raise its potential ticketing volume by 25 percent.
Live Nation recently ended its ticketing contract with Ticketmaster, owned by InterActiveCorp before CEO Barry Diller spun it off into a separate company. When Live Nation Ticketing launches, the two companies will be direct competitors.
Live Nation has also started offering "360" representation for artists, taking the place of a music label and touring manager, as well as a promoter.
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