So, MusicDNA has arrived and it’s designed to make people start paying for digital file formats.
The record industry has realised that people aren’t that inclined to pay for a computer file that they can easily (if illegally) get for free if they can use a computer. As much as they have tried, the quality, ease of portability/transfer and quickness of transfer of the humble MP3 file was always going to mean that trying to monetise it was going to be tricky, or at least monetise it enough to sustain an industry.
MusicDNA is being promoted as a kind of a “super MP3”. The idea is that extra stuff comes along with the song, like the lyrics, the video, artwork and blog posts and extra stuff will be added later – so the idea is you kind of “sign up” to the band. And pirated copies of the file won’t update.
This is a noble effort to get people to start spending on music again and recognises that you need to offer a lot more than the music file these days. Will it work? I think probably not. The thing is that at the end of the day most people just fundamentally want the song – apart from proper fans of an artist, most people hear a tune, like the tune and want to get a way of hearing it as and when they want. As readers of this blog will know, I’m very much an advocate of the whole music experience (or what it once was).
People have always liked music. From the first time that man could bang out rhythms people have liked music. In the last hundred years or so we’ve had the privilege of being able to own recorded versions of music, from wax cylinder, through shellac, to vinyl, tape, CD and now digital file. Cassette tape was the first time when people could realistically copy “records” in the 1970’s. You did have bootleg vinyl, but it was so prohibitively costly that only live gigs and rare mixes/versions were illicitly pressed up. I remember working on record stalls in the late 80’s and bootleg LPs were a good £12 upwards (some of the Beatles bootlegs were £25-£30 and this was 1988). The real issues for the record companies and music industry as a whole was the advent of the CD – “perfect” digital sound – no hiss, crackle or pop (unless it was on the master tape). This meant that people could copy CDs onto cassette tape and it was as good as the cassette tape you bought in the shop – the beginning of the end. When recordable CD became affordable around 1997, things got really bad for the recording industry. Not only could perfect copies be reproduced with no loss of sound quality, but they could be made very quickly indeed. Around the same time, MP3 emerged. Double whammy time.
Realistically the record industry must have realised it was the end of the gravy train then. So the persecution of internet pirates began. But if a kid has a few quid pocket money and has the choice of ripping off a few music tracks or buy the digital files – identical files – what is he going to do? Say to his mates that he can’t afford to pop down the pub on Saturday because he’s given EMI a few quid for exactly the same files he could go to a torrent site to get illegally? What do you reckon? Do you think music fans in the 60’s, 70’s, 80’s and 90’s really bought music to keep the bands in their limos and private jets? Or because that vinyl/tape/CD were the only way they could get hold of the music?
Put it this way, it beer flowed through taps for free, straight into the home, would you go to the pub to pay for the stuff?
So, music will survive. It was around for years before “the buying years” and will be around for years more. And people will always want new music and associated artwork, videos and image of their favourite stars. It will be different – because the digital world has made getting music (and the videos, lyrics, artwork etc) too easy. There really is no going back.