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Home > Consumer Products > Consumer Products & Retail > Entertainment
Digital Music Meets Mobile Music
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1 INTRODUCTION
2 THE MUSIC BUSINESS: PHYSICAL FORMAT
2.1 Introduction
Record Labels: Late Starters, Quick Learners
Mobile Operators: Early Success, Now Doing Their Own Thing
2.2 Industry Operation
2.2.1 Writers: Songwriters and Composers
2.2.2 Performers: Artist, Acts and Talent
2.2.3 Agents and Professionals
2.2.4 Music Publishers
2.2.5 Record Labels
Talent Prospecting
Recording Contracts
Writing and Recording Songs
Manufacturing and Distribution
Tour Support
Marketing
Website
Clubs
New Media Channels
Media Relations
Television and Radio
Agencies
Advertisements
Formatting
Artist Image
Direct Mail
Store Events and Promos
Music Video
Retail Placement
Strategic Aspects of the Marketing Process
Investment Function
2.2.6 Manufacturers
2.2.7 Distributors
2.2.8 Retailers: Record Stores
2.3 Music Copyright
2.3.1 Creation of Musical Rights
2.3.2 Mechanical Rights
2.3.3 Sound Recording Rights
Soundalike Ringtones
2.3.4 Examples of Usage Rights: Mechanical and Sound Recording Rights
2.3.5 Additional Licenses: Performance Elements
2.3.6 Summary: License Rates for Various Music Formats
2.4 The European Music Market
2.4.1 Size of European Major Recorded Music Markets
Illegitimate Downloads
The Good News
2.4.2 Unit Sales: Total Songs
2.4.3 Structure of European Retail Market
2.4.4 Repertoire Mix: The Importance of Local Content
2.4.5 Music Videos
2.4.6 Consumer Demographics
3 DIGITAL MUSIC: OVERVIEW
3.1 Value Propostion: Digital Music
3.1.1 Comparison with the CD
3.1.2 Lack of Tangibility
3.2 Is Digital Music Simply Another dot.com Fiasco?
3.2.1 Strong, Proven Customer Proposition
3.2.2 Tangible Distribution Advantages
3.2.3 Large Market
3.3 Format Replacement: The Compact Disc
3.3.1 Successful Formats Offer Clear Consumer Benefits
Reduced Sound Quality
3.3.2 New Formats Are About Value, Not Price
3.3.3 Digital Music is Unique: Demand-Led Market
3.3.4 Summary
3.4 The Value of Music
3.4.1 Value Prespective 1: Absolute Value of Recorded Music
The Sony-BMG Case
Generator’s Analysis
3.4.2 Value Perspective 2: Underlying Need for Musical Entertainment Limits Demand
3.4.3 Value Perspective 3: Content Drives Demand, Not Price
3.4.4 Value Perspective 4: Price is a Secondary Consideration for Most Consumers
3.4.5 Value Perspective 5: High Margins Do Not Mean Prices Are Too High
3.5 Pricing: Digital Music
3.5.1 Long-Run Album Pricing
The Cost of CDs
3.6 Pricing: Benchmarking Digital Song Pricing
3.6.1 Per-Song Prices: Compact Disc Albums
3.6.2 Per Song Prices: Compact Disc Singles
3.6.3 Complicating Factors
Relative Worth: Hit Songs and Fillers
Differences Between Genres
The Effect of Digitisation on Product Formatting
Extra Value Offered by Digital Music
Price Plays: Bundling and Promotions
Commoditisation
3.7 Music Subscription Services
3.7.1 Consumer Benefits
3.7.2 Future Potential
3.7.3 Premium Pricing
3.8 The Role of the Player
3.8.1 Example: The iPod
3.8.2 Discussion
Corporate Priority
iTunes: A Simple Loss Leader?
Bundling
3.9 Evolution to Digital Movies
3.9.1 Players: Personal Media Centers
3.9.2 The Personal Movie Market
3.9.3 Comparison Between Portable Movie and Music Markets
Personal Market
Home Market
4 THE MUSIC BUSINESS: DIGITAL FORMAT
4.1 Consumer Experience
4.1.1 Discovering Music
Infomediaries: MP3 Blogs, Chatrooms, Messageboards
Equal Stakeholders
Trusted: Impartial
Quality
Intermediaries
Into Music
Artistlaunch
Vitaminic Buongiorno
Interent Undeground Music Association - IUMA
Peoplesound
Vitaminic
Soundclick.com
Textone
Magnatune
4.1.2 Obtaining and Consuming Music
4.2 Music Production
4.2.1 Tilly and The Wall
4.2.2 Impact on Established Record Labels
4.2.3 Impact on Wannabe Acts
4.2.4 Talent Supply
4.3 Industry Structure and Operation
4.3.1 Artists
4.3.2 Record Labels
4.3.3 New Entrants
Capital Providers
Artist Marketing Services
4.3.4 Virgin Music
4.3.5 General Retailers: Wal-Mart Music Downloads
4.3.6 Consumer Brands: Coca Cola
4.3.7 Event Organisers
4.3.8 Summary
5 THE RINGTONE MARKET
5.1 Erosion of The Ringtone Premium
5.1.1 Alternative 1: Use a Digital Song Purchased From an Online Store
Situation 1: Customer goes looking for a specific ringtone
Situation 2: Customer wants to use already-purchased digital songs as ringtones
Situation 3: Customer uses mobile to access an online digital music store directly
Situation 4: Operators’ bespoke digital music stores
5.1.2 Alternative 2: Visit Online Store to Buy a Ringtone
Possible Service Implementation
Pricing
5.2 Pricing
5.3 Changes in the Ringtone Value Chain
6 DIGITAL MUSIC SERVICES: ONLINE
6.1 Apple Computer
6.1.1 iTunes
Sync With the iPod
Importing Windows WMA Song Files
Party Shuffle
CD Jewel Case Inserts
6.1.2 iTunes Music Store (iTMS)
User Experience
Key Features
Music Videos
Movie Trailers
Audiobooks
Radio Stations
Value-Added Information and Features
iMix
Usage Restrictions
Catalog
Payment
New Updates: Direct Marketing
Additional Features of the Music Store
6.1.3 Accessories
6.1.4 Peripherals
6.1.5 iPod
Hard Disc Drive Storage Technology
Future Evolution: Enabling Technology
Possible Product Line Extensions
Personal Stereo Products
Home Entertainment Products
iMac G5: Analysis and Implications (Update 2 September 2004)
6.1.6 Summary
6.2 Microsoft
6.2.1 Platform Licensing or Retail Services?
6.2.2 Windows Media DRM10 (WM DRM10)
Outline Technical Description - WM DRM10
System Operation and Terminology
Key Licensing Features: WM DRM10
Protected Live Streaming
Superdistribution
Time-based Playback
Play Counter
Portable Device Transfer
Copy Limits
CD Burning
Different Licenses for the Same File
Discussion: Comparison With Mobile-Focussed DRM Solutions
6.2.3 Digital Music Jukebox: Windows Media Player 9
6.2.4 Digital Music Jukebox: Windows Media Player 10 - Beta (WMP10b)
Device Synchronisation
Digital Media Mall
Analysis - Microsoft Digital Media Mall (DMM)
Music Search
Music Search: The Bigger Picture
Reduced Entry Barriers
6.3 Sony
6.3.1 Online Store: Sony Connect
6.3.2 Jukebox: SonicStage
6.3.3 Usage Restrictions
6.3.4 Devices
MiniDisc (MD) Products
High Capacity MiniDisc (Hi-MD) Products
FLASH Products
HDD Products
Portable Media Players
Digital Music Players
6.3.5 Supplementary Services
Music Radio Services
Movie Downloads
6.3.6 Mobile Phones
6.3.7 Discussion : Why MiniDisc?
The History of the MiniDisc
Deciding on a Device Strategy for the Connect Music Store
6.4 Hewlett Packard
6.4.1 iPod
6.4.2 iTunes
6.4.3 Device Portfolio
6.5 Napster
6.5.1 Business Analysis
6.5.2 Marketing
6.5.3 Service Outline
Usage Restrictions
General Comments
6.6 Loudeye
6.6.1 The Digital Music Platform Business
6.6.2 Mobile Music Platform: Nokia Deal
Marketing Strategy
Technical Solution
6.6.3 Other European Digital Music Platform Providers
6.7 Real Networks
6.7.1 Rational for Inclusion
6.7.2 Current Business Focus
6.7.3 Importance of Subscription Services
6.7.4 Review of Music Services
Subscription Music Service: RealRhapsody
Subscription-based Streaming Music Radio Service: RadioPass
Analysis: Extension to Mobile
Subscription-based Streaming Music Video Services
Digital Downloads: RealPlayer Music Store
6.7.5 RealPlayer 10 (RP10)
6.7.6 Harmony
History and Rationale for Harmony
Analysis
Legal Challenge
Licensing of Harmony
Backwards Compatibility
A Zero Sum Game: Apple’s Loss = Real Networks Gain
Outline Operation
Significance for the Mobile Operators and Third Party Service Providers
6.7.7 Helix DRM
6.7.8 Mobile Offering: Helix Mobile Platform
Platform Description
Helix Mobile Producer
Helix Universal Server - Mobile
Helix Universal Gateway - Mobile
RealPlayer Mobile
Current Position in the Mobile Media Market
6.8 MusicMatch
6.8.1 Digital Music Jukebox - MusicMatch Jukebox
Device Compatibility
Portable Devices: Song Transfer and Synchronisation
6.8.2 Online Digital Music Store - MusicMatch Downloads
6.8.3 Internet Radio - MusicMatch MX
Genre Radio Stations
Artist OnDemand Radio
6.8.4 Marketing
Shipping Player with PCs and Smartphones
Purchasing Music
7 MARKETING: PROMOTION AND BRANDING
7.1 The Role of Branding in Digital Music
7.1.1 Apple iPod
7.1.2 iPod: Brand Leverage by Others
7.2 Promotion
7.3 Competitive Analysis
7.3.1 Brand Extension: Strategies Used in Other Industries
Alcoholic Beverages
Soft Drinks
Software
7.3.2 Brand Extension: Four Strategies Being Used in the Mobile Industry
7.3.3 Virgin Group
7.3.4 Nokia
7.3.5 Mobile Network Operators
Mobile Operator Brand Development
McDonald’s
Branding a MNO-Provided Digital Music Service: The Options
Summary
8 DIGITAL MUSIC SERVICES: MOBILE OPERATORS
8.1 MMO2: O2 Music
8.1.1 Technology
8.1.2 Service Outline
8.1.3 Service Test Methodology
8.1.4 Browsing
8.1.5 Song Downloads
8.1.6 Audio Compression
8.1.7 Music Management
8.1.8 Usage Restrictions
8.1.9 Pricing
8.1.10 Error Messages
8.2 Chaoticom
8.2.1 Orange (UK) Implementation
Service Outline
Player Download Process
Browsing Performance
Catalogue Depth
Previewing and Downloading Songs
Usage Restrictions
Pricing
8.2.2 Service Description - Eurotel Czech Republic
Pricing
Application Download
8.3 AT&T Wireless
9 MOBILE PREMIUM
9.1 Argument 1: The Intrinsic Mobile Premium
9.1.1 The Human Communication Process
Voice Calling
Text Messaging
Mobile Premium: Test Criteria
9.1.2 The Music Purchase Process
Customer Awareness
Initial Awareness
Developing Interest
Purchase
Effecting The Purchase
Product Delivery
Consumption
9.1.3 Other Factors
9.2 Argument 2: No Need for a Separate Player
9.2.1 The Argument
9.2.2 Analysis
Apples With Apples
Shifting Value Benefits Between Songs and Devices
Device Performance and Service Features
9.3 Summary
10 MOBILE OPERATOR PORTALS: MUSIC CONTENT
10.1 Events
10.1.1 Information
10.1.2 Ticket Purchase
SMS-Based Systems
MMS-Based Systems
10.2 Mobile Shop: CDs
10.2.1 Requirement
10.2.2 Summary
10.3 Video Material
10.3.1 3
Quality
Usage Rights
10.3.2 Orange
10.3.3 Pricing
10.4 Information
10.4.1 Album Reviews
10.4.2 Alerts
Current Activity
Potential Opportunities
10.4.3 News
Music News
Pay-as-you-go News
Text and Picture
MMS-based Slide Show Alerts
10.4.4 Interaction
10.5 Magazines
10.5.1 The Business Case
10.5.2 Customer Proposition
Quality: Rendering
Magazine Reading Process
Leverage of Channel-Specific Attributes
Usage Environment
10.5.3 User Experience
10.5.4 Summary
10.6 Artist Sites
10.6.1 Introduction
10.6.2 Results of Comparative Tests
10.6.3 Mobile Interent: Avril Lavigne Website Functionality
10.6.4 Music: Streaming and Downloads
10.6.5 Music Videos: Streaming and Downloads
10.6.6 Summary
11 RADIO
11.1 Introduction
11.2 Premium Music Radio Services
11.2.1 Key Differences: Commercial Radio Vs. Premium Music Radio Services
11.2.2 Commercial Radio and Premium Music Radio: Competitors?
11.2.3 Sony StreamMan
Outline Service Description
Billing and Pricing
Benchmarking with Online Alternatives
GPRS Usage-based Tarrifing
Mobile Premium
Product Enhancements
Discussion: Possible Future Developments
11.2.4 Other Developments in Premium Radio Services
Premium Radio Services: Transfer to Portable Devices Within the Home
Transfer of Vanilla Radio Stations
Transfer of Personalised Music Radio Stations/Playlists
Additional Evolution Paths
11.3 Digital Radio (DAB)
11.3.1 Introduction
11.3.2 Current Status
Europe
DAB: A Clear Growth Market
DAB: A Clear Early-Stage Market
Leading Receivers: Enabling Future Purchase of Digital Music
Comparison With Other Markets: FM Receivers and Smartphones
International Markets
11.3.3 Outline Description: DAB
Spectrum and Licensing
Available Capacity and Station Choices
Programme Associated Data
11.3.4 Analysis: The Role of Mobile Phones
Selling Digital Music
Premium Services
Using Digital Radio as a Means to Boost Ad Revenues
Other Considerations for DAB Stations
Conclusion
11.4 Enhanced Analogue FM Radio
11.4.1 GWR ‘Hear it Buy it Burn it’
Service Description
11.4.2 Future Developments
Put Affiliated Stations on the Internet
Porting the Service Concept to Mobile Phones
Hear it Buy it Burn it on Mobile Phones: Avoiding GPRS Charges
11.4.3 Nokia: Visual Radio
Outline Description
Usage Scenarios and Cost Implications
Comparative Analysis: DAB and Visual Radio
11.4.4 Sony: Any Music
12 MOBILE INTERNET
12.1 Introduction
12.1.1 Accessing Existing Web Resources
12.1.2 Third Party Services
12.1.3 Not More Hype!
12.2 Enabling Factors
12.2.1 Mobile Phone Operating Systems
Accessing Existing Web Resources
Enabling Technology
Operating Systems Standards
12.2.2 Internet Search Tools
12.2.3 Internet Browsers
12.2.4 Media Players
12.2.5 Mobile Broadband - 3G
12.2.6 Data Tariffing
12.2.7 User Interface: Displays and Data Entry
Display Size
Data Entry
12.2.8 Phone Technology: Memory and Processor Power
12.2.9 Smartphone Penetration
12.3 Market Timing
12.4 Implications for Mobile and Music Industry Executives
13 THE ROLE OF STANDARDS IN DIGITAL MUSIC
13.1 Industry Needs: Supply-side Drivers
13.2 Consumer Needs: Demand-side Drivers
13.3 Self Interest of Industry Players
13.3.1 Company Interests Vs. Consumer Interests
Toner Cartridges
Printer Driver Software
Console Games
13.3.2 Implications for Digital Music
Rival Platforms
Platform Convergence
13.4 Regulatory Intervention
13.4.1 EC Copyright Directive
No Big Issues
Copyright Control Technology Circumvention
13.4.2 Collective Licensing of Rights Relating to Digital Media
13.5 Summary
13.5.1 Wider Digital Music Market
13.5.2 Mobile Channel
13.6 Emergence of a Digital Music ‘Standard’?
13.6.1 The DRM Quagmire
13.6.2 Rival Technolgy Platforms
13.6.3 Real Networks
13.6.4 Apple Computer
13.6.5 Sony Corporation
13.6.6 Microsoft
13.7 Consumer View: Meaning of Digital Music Standards
13.7.1 Music Accessibility
Focus on a Niche
Provide Music Search Features
13.7.2 Format Compatibility
13.7.3 Device Interchangability
14 THE WILD CARD: COLLECTIVE LICENSING
14.1 Introduction
14.2 Arguments For and Against
14.3 Implementation Issues
14.3.1 Infrastructure
14.3.2 Copyright and Related Laws
14.3.3 Collecting Societies
14.3.4 Critical Mass
14.3.5 Tax Laws
14.4 Market Developments
14.4.1 Brazil
14.4.2 Europe
14.5 Making it Happen: Action Plan
15 MARKET FORECAST: DIGITAL MUSIC
15.1 Current Status
15.1.1 The U.S.
15.1.2 Europe
15.2 Overall Market Size
15.2.1 Industry Maturity
Format Replacement
Interesting Music
Improved Format
Digital Music
Criteria
Piracy and Illegitimate Downloads
Competition From Other Forms of Entertainment
Economic Fundamentals
15.2.2 Demand: The Desire to Listen to Music
15.2.3 Supply: Availability of Interesting Music
More Acts and More Songs: Effect of Digitisation and the Internet
Tools to Help Creative Process: Creative Commons
Music Search
Adoption by Intermediaries
Music Industry MO
Sampling
Product Formatting
15.2.4 Leakage
15.2.5 Pricing
15.2.6 Structural Changes in The Music Industry
15.2.7 Summary
15.3 Historic Adoption: Previous Recorded Music Formats
15.4 Future Adoption: Digital Music
15.4.1 Consumer Proposition
15.4.2 Consumer Behaviour
15.4.3 Fundamental Factors
15.4.4 Legacy factors
Content
Artist Marketing
Manufacturing
Distribution and Retail
Cross Industry Support
Standards: Device and Format Plug and Play
Industry MO
15.4.5 Format-Specific Factors
Fixed Broadband Penetration
Realtones
Various Mobile Options
15.5 Digital Music Forecast
15.6 Channel Mix
15.6.1 Today: Physical Format Retail Channels
15.6.2 Future: Digital Music Retail Channels
Music Retailing Moves into the Home
Convergence
Device Interaction
Channel Separation
Channel Separation: Sales and Product Delivery
15.6.3 Forecast: Channel Mix
16 MARKET FORECAST: 3G (WCDMA)
16.1 Status of Current 3G Deployments
16.2 3G Rollout Scenarios
16.2.1 Scenario 1: Consumer Pull
16.2.2 Scenario 2: Operator Push
16.3 Detailed Analysis - Scenario 1: Consumer Pull
16.3.1 Key Success Factors Affecting 3G Rollouts
16.3.2 Supply Side Factors
Service Coverage
Handset Maturity
16.3.3 Demand Side Factors
Customer Proposition
End User Pricing
16.3.4 Summary
16.4 Detailed Analysis - Scenario 2: Operator Push
16.5 Conclusion
17 APPENDIX
17.1 Download Speed: 2.5G - GPRS
17.1.1 Coding Scheme
17.1.2 Handset Class (GPRS Class)
17.1.3 Timeslot Allocation (Multislot Class)
17.1.4 Traffic Load Requirement
17.1.5 Summary - What it Means
17.2 Network Capacity
17.2.1 Offered Load
17.2.2 Available Network Capacity
17.2.3 Conclusion
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