Apple Music Revolution
January 2001 – Apple launches iTunes; a digital jukebox.
October 2001 – Apple launch their first generation iPod. Launch came in the mist of a poor financial climate and just a month after the 9/11 tragedies.
The launch of iTunes and the iPod was a fine example of vertical integration for Apple.
This easily used MP3 player rapidly became a fashion symbol with the white head phones becoming a symbol for status.
At the time, the key problem for the record industry was selling their product online. The problem for apple was getting the big five to agree to sell their songs on iTunes.
April 28th 2003 – Apple launches iTunes store online after receiving approval from major five record labels. Five days after the launch of the iTunes store Apple sell over one million songs.
Vertical Integration – Apple able to offer jukebox and online store.
December 2004 – Apple sell 200 million songs to date.
October 2005 – Apple adds support for video to the iPod. An example of convergence.
January 2009 – Apple go DRM free, In an effort to tempt consumers away from illegal file sharing websites by providing a better service.Apple virtually secure the future of the music industry by digitalising it.
TuneCore – This provides everyone with the chance to get their music onto iTunes for a one-off price. Meaning focus is no longer with record label it’s with distributor.
Sunday, 29 March 2009
Tuesday, 17 March 2009
Music Players: The Evolution
Music Players: The Evolution
The Phonograph
In production from 1870-1980, music industry moving much slower than it is today. Longest production line for any music player. Created a culture of private music listening experience, revolution spawned an industry designed to cater for the market.
The Cassette
First produced in 1963, led to advent of portable music listening. Allowed transference of content by users, effectively the first form of file sharing. Frowned upon by music industry because could record own music and record music from artist’s gigs. Created underground revolution producing radical political movements. The cassette met its decline in the early 1990’s when it was surpassed by the compact disc.
The Compact Disc
Stores digital data; has been on the market since as early as 1982. Developed by both Sony and Phillips. Sony developed vertical integration by releasing the first compact disc single by Billy Joel in timing with the release of the first CD player. CDs further developed to be capable of storing data.
Key reason for music industry development is portability.
Transistor Radio
First portable music player, advantage was that you could listen to music anywhere. This also gave an advantage to record labels by making it easier to market their product.
The Boombox
First produced 1970’s, tied in with the music culture of hip-hop. Rose to success when break-dancing became fashionable on street corners, boombox was part of the music revolution.
The Walkman
Portable cassette player, produced by Sony, the advantage of this product that it was easily marketable.
The Discman
The Discman was a portable way of listening to CDs once again developed by Sony; it quickly killed the cassette and Walkman player.
MP3 Player
First model held only 10 tracks (32MB) three years later saw the launch of the Apple iPod, became a fashion accessory aswell as a music player and revolutionised the industry. Music was a perfect synthersists for Apple. Shaun Fanning launched Napster, The prick ruined music.
The Phonograph
In production from 1870-1980, music industry moving much slower than it is today. Longest production line for any music player. Created a culture of private music listening experience, revolution spawned an industry designed to cater for the market.
The Cassette
First produced in 1963, led to advent of portable music listening. Allowed transference of content by users, effectively the first form of file sharing. Frowned upon by music industry because could record own music and record music from artist’s gigs. Created underground revolution producing radical political movements. The cassette met its decline in the early 1990’s when it was surpassed by the compact disc.
The Compact Disc
Stores digital data; has been on the market since as early as 1982. Developed by both Sony and Phillips. Sony developed vertical integration by releasing the first compact disc single by Billy Joel in timing with the release of the first CD player. CDs further developed to be capable of storing data.
Key reason for music industry development is portability.
Transistor Radio
First portable music player, advantage was that you could listen to music anywhere. This also gave an advantage to record labels by making it easier to market their product.
The Boombox
First produced 1970’s, tied in with the music culture of hip-hop. Rose to success when break-dancing became fashionable on street corners, boombox was part of the music revolution.
The Walkman
Portable cassette player, produced by Sony, the advantage of this product that it was easily marketable.
The Discman
The Discman was a portable way of listening to CDs once again developed by Sony; it quickly killed the cassette and Walkman player.
MP3 Player
First model held only 10 tracks (32MB) three years later saw the launch of the Apple iPod, became a fashion accessory aswell as a music player and revolutionised the industry. Music was a perfect synthersists for Apple. Shaun Fanning launched Napster, The prick ruined music.
Sunday, 15 March 2009
Fierce Panda Introduction
Fierce Panda Records are a London-based record label formed in the early nineties with their first release in February 1994. Early artists signed to this independent label included Supergrass, The Bluetones, Ash and Baby Bird. The record label was a pioneer in the ‘Brit-Pop’ revolution with bands such as ‘Oasis’ releasing records off the independent label. Fierce Panda formed a sub-label in 1997. The first was Rabid Badger Records, this label focused on the genres of ‘Dance’ and ‘Drum and Bass’. The label then formed another sub-label of Livid Meerkat which focused on ‘Post Rock’ releases. Fierce Panda rose to success with a number of compilation albums and EP’s culminating in their decision to cease production of one-off singles, concentrating instead on album production and long term projects. 2008 saw Fierce Panda set up its management stable which currently includes The Molotov’s, Ruling Class and The Maccabees. Fierce Panda have set out a very clear message of intent to resist conforming to become a mainstream record label.
What kinds of music do Fierce Panda produce?
When Fierce Panda first formed the label produced records falling into the genres of ‘Indie’, ‘Rock’ and ‘New Wave’ although the majority of the labels releases fit into these common genre types there has also been a flourish of different genre releases from bands such as ‘Shitdisco’ and ‘iLike Trains’. Fierce Panda have always prided themselves on resisting from the mainstream genres of Pop etc and have remained focussed on providing interesting music for a selective market. They’re compilation releases proved to be a very successful way of producing their music. The two sub-labels of Fierce Panda have provided them the opportunity to produce music in the genres of ‘Dance’ and ‘Post Rock’.
Who is the audience for Fierce Panda Records?
By staying true to their cause and delivering a consistently high standard of releases Fierce Panda Records have been able to maintain a loyal fan base consisting of the early nineties ‘Brit-Pop’ market and carrying through to the ‘New Wave’ sounds of today. Fierce Panda Records have been successful in recognising the importance of their fans and appear to be in touch with the majority of their market. Thanks to Fierce Pandas defiance in mainstreaming they have been able to tap into a multi-generic audience and have managed to market themselves effectively.
What is the relationship between Fierce Panda Records and the mainstream music industry?
Fierce Panda Records have appeared to have a love-hate relationship with the mainstream music industry. The label has made it clear that they do not wish to become a mainstream label but have to appreciate that side of the music industry as it provides a basis for the independent labels to work from. With the record label being part of the ‘Brit-Pop’ revolution; Fierce Panda has contributed to mainstream music but stayed true to their intentions of providing unique and exciting releases. By respecting the mainstream industry yet staying focused on their grounded intentions, Fierce Panda Records have been able to achieve success in a now mainstream dominated industry.
Marketing
Fierce Panda Records have always achieved success in promoting their records and artists over the last decade or so, by using unique publication techniques the record label have been able to provide cost effective ways of getting their market aware of their latest releases. As Fierce Panda are only an independent label, marketing budgets have never been high but this does not make it impossible to raise publicity as using creative ideas can provide interesting and thought provoking marketing. One unique idea from the label has been the famous ‘Panda Parties’ in which a series of up and coming bands from the label perform sets as part of a weekend of publicity nights. These parties provide the label with a chance to introduce and promote their newly signed bands and raise awareness around the fresh talent.
Distribution
Fierce Panda have always been diverse in their distributing of records from early 7”s to recent online downloads. In the early nineties, aswell as one off single releases; Fierce Panda also produced number of compilation records as a way of demonstrating what the record label is all about whilst gaining revenue on these multi-artist releases. The first fully distributed EP was ‘Shagging in the Streets’ featuring six tracks from the genre of ‘New Wave’ such a nice market first release was a brave move from the record label but proved to be a wise one with the compilation selling out on its first day of release. Nowadays although still staying true to their physical release policy, Fierce Panda Records have had to adjust to the online age by making their latest releases available for download and by doing so unlocking into a broader and more diverse market.
Production
As the success of Fierce Panda Records has excelled so has production budgets, with the label now focussing on album releases and long term projects rather than their early one of single releases. This natural progression gives the record label more leeway to experiment with production; this is shown by critically acclaimed and interesting releases from bands such as ‘The Maccabees’ and ‘Polyphonic Spree’. Although with advances in self-production music software, meaning that no musical talent is necessarily needed, Fierce Panda Records have remained solid to their beliefs of instrumental excellence in each and every release of the label.
The Online Age
The online age has revolutionised the music industry as a whole aswell as independent records labels. Fierce Panda Records would be foolish to not capitalise on the infinite opportunities that the internet provides when distributing and marketing music. By dedicating time to digitalising the former releases of labels back catalogue, Fierce Panda have been able to make almost every release now available for download. An adaption to the online age has also been made clear when it comes to receiving demos from unsigned bands. Physical copies of demos are no longer accepted by the record label, as only tracks on a digital format will be considered for review. This is a clear statement of intent and acceptance of the digital age, I believe this is a wise one as it gives the label a chance to access audiences that would previously be unobtainable.
Fierce Panda Records are a London-based record label formed in the early nineties with their first release in February 1994. Early artists signed to this independent label included Supergrass, The Bluetones, Ash and Baby Bird. The record label was a pioneer in the ‘Brit-Pop’ revolution with bands such as ‘Oasis’ releasing records off the independent label. Fierce Panda formed a sub-label in 1997. The first was Rabid Badger Records, this label focused on the genres of ‘Dance’ and ‘Drum and Bass’. The label then formed another sub-label of Livid Meerkat which focused on ‘Post Rock’ releases. Fierce Panda rose to success with a number of compilation albums and EP’s culminating in their decision to cease production of one-off singles, concentrating instead on album production and long term projects. 2008 saw Fierce Panda set up its management stable which currently includes The Molotov’s, Ruling Class and The Maccabees. Fierce Panda have set out a very clear message of intent to resist conforming to become a mainstream record label.
What kinds of music do Fierce Panda produce?
When Fierce Panda first formed the label produced records falling into the genres of ‘Indie’, ‘Rock’ and ‘New Wave’ although the majority of the labels releases fit into these common genre types there has also been a flourish of different genre releases from bands such as ‘Shitdisco’ and ‘iLike Trains’. Fierce Panda have always prided themselves on resisting from the mainstream genres of Pop etc and have remained focussed on providing interesting music for a selective market. They’re compilation releases proved to be a very successful way of producing their music. The two sub-labels of Fierce Panda have provided them the opportunity to produce music in the genres of ‘Dance’ and ‘Post Rock’.
Who is the audience for Fierce Panda Records?
By staying true to their cause and delivering a consistently high standard of releases Fierce Panda Records have been able to maintain a loyal fan base consisting of the early nineties ‘Brit-Pop’ market and carrying through to the ‘New Wave’ sounds of today. Fierce Panda Records have been successful in recognising the importance of their fans and appear to be in touch with the majority of their market. Thanks to Fierce Pandas defiance in mainstreaming they have been able to tap into a multi-generic audience and have managed to market themselves effectively.
What is the relationship between Fierce Panda Records and the mainstream music industry?
Fierce Panda Records have appeared to have a love-hate relationship with the mainstream music industry. The label has made it clear that they do not wish to become a mainstream label but have to appreciate that side of the music industry as it provides a basis for the independent labels to work from. With the record label being part of the ‘Brit-Pop’ revolution; Fierce Panda has contributed to mainstream music but stayed true to their intentions of providing unique and exciting releases. By respecting the mainstream industry yet staying focused on their grounded intentions, Fierce Panda Records have been able to achieve success in a now mainstream dominated industry.
Marketing
Fierce Panda Records have always achieved success in promoting their records and artists over the last decade or so, by using unique publication techniques the record label have been able to provide cost effective ways of getting their market aware of their latest releases. As Fierce Panda are only an independent label, marketing budgets have never been high but this does not make it impossible to raise publicity as using creative ideas can provide interesting and thought provoking marketing. One unique idea from the label has been the famous ‘Panda Parties’ in which a series of up and coming bands from the label perform sets as part of a weekend of publicity nights. These parties provide the label with a chance to introduce and promote their newly signed bands and raise awareness around the fresh talent.
Distribution
Fierce Panda have always been diverse in their distributing of records from early 7”s to recent online downloads. In the early nineties, aswell as one off single releases; Fierce Panda also produced number of compilation records as a way of demonstrating what the record label is all about whilst gaining revenue on these multi-artist releases. The first fully distributed EP was ‘Shagging in the Streets’ featuring six tracks from the genre of ‘New Wave’ such a nice market first release was a brave move from the record label but proved to be a wise one with the compilation selling out on its first day of release. Nowadays although still staying true to their physical release policy, Fierce Panda Records have had to adjust to the online age by making their latest releases available for download and by doing so unlocking into a broader and more diverse market.
Production
As the success of Fierce Panda Records has excelled so has production budgets, with the label now focussing on album releases and long term projects rather than their early one of single releases. This natural progression gives the record label more leeway to experiment with production; this is shown by critically acclaimed and interesting releases from bands such as ‘The Maccabees’ and ‘Polyphonic Spree’. Although with advances in self-production music software, meaning that no musical talent is necessarily needed, Fierce Panda Records have remained solid to their beliefs of instrumental excellence in each and every release of the label.
The Online Age
The online age has revolutionised the music industry as a whole aswell as independent records labels. Fierce Panda Records would be foolish to not capitalise on the infinite opportunities that the internet provides when distributing and marketing music. By dedicating time to digitalising the former releases of labels back catalogue, Fierce Panda have been able to make almost every release now available for download. An adaption to the online age has also been made clear when it comes to receiving demos from unsigned bands. Physical copies of demos are no longer accepted by the record label, as only tracks on a digital format will be considered for review. This is a clear statement of intent and acceptance of the digital age, I believe this is a wise one as it gives the label a chance to access audiences that would previously be unobtainable.
Tuesday, 3 March 2009
Sony Music Corporation
Which labels do Sony own?
Columbia Records
Epic Records
Federation Records
Gun Records
Kinetic Records
Jive Records
La Face Records
Pinnacle Records
Battery Records
Plus many more
How are Sony vertically integrated?
Sony as a corporation is vertically integrated by providing several aspects of the entertainment industry and combining them using several medians of the media. Sony provides personal music players for which only Sony format tracks can be played, this provides the company with the power to determine which tracks their consumers listen to. Using this as a starting point Sony are able to create an entire business complex around the base of an MP3 player.
How do Sony profit from media convergence?
Sony profit from media convergence by combining several medians of media to market their products and advertise the corporation effectively. By using many different medians of advertisement Sony are able to target a larger audience than they would just specifying to one. This makes it near impossible for the consumer to escape the many ways the corporation markets itself. For example, products such as 'Guitar Hero' have exclusive tracks from bands such as 'Oasis' who are represented by Columbia Records (distributed by Sony).
Columbia Records
Epic Records
Federation Records
Gun Records
Kinetic Records
Jive Records
La Face Records
Pinnacle Records
Battery Records
Plus many more
How are Sony vertically integrated?
Sony as a corporation is vertically integrated by providing several aspects of the entertainment industry and combining them using several medians of the media. Sony provides personal music players for which only Sony format tracks can be played, this provides the company with the power to determine which tracks their consumers listen to. Using this as a starting point Sony are able to create an entire business complex around the base of an MP3 player.
How do Sony profit from media convergence?
Sony profit from media convergence by combining several medians of media to market their products and advertise the corporation effectively. By using many different medians of advertisement Sony are able to target a larger audience than they would just specifying to one. This makes it near impossible for the consumer to escape the many ways the corporation markets itself. For example, products such as 'Guitar Hero' have exclusive tracks from bands such as 'Oasis' who are represented by Columbia Records (distributed by Sony).
Music Industry-Overview
Production
- Advances in technology
- No reliance on record company
- Music expertise not needed
- Loop based software, evident in manufactured pop artists.
- Cost no longer an issue, prosumer software.
Distribution
- Internet is primary median, use of Web 2.0
- Distribution can be free and also largely illegal
- Illegal filesharing sites such as 'Limewire'
- Making physical formats obsolete
- Difficult to track and monitor.
- Industry forced to think of new ways of marketting
in keeping with interactive nature of distribution.
Consumption
- Follows trend of using new media technologies, eg. YouTube
- Linked to image through visual media
- Saturated and diluted experience of accessing music
- Has music been devalued?
Brief Industry Time Line
1980- Compact Discs first introduced
1988- CD's suppass vinyl in sales
1997- MP3 firsts introduced
1999- Naptser launches first peer-to-peer software, massive legal battles
2000- Broadband first launches in U.K
2001- Apple iPod first launches
2005- Cheap and accessable music. 3.5M units sold by apple a month
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