The Big App Transition
http://www.financialpost.com/m/story.html?id=3338766&p=5
You don’t have to jump through the hoops to sell your idea to a cable executive or make it appetizing for a sponsor” – Josh Shore. “Flakey or not, Mr. Shore, a Vancouver-based producer, has raised significant financing from the New York-based FOSS Fund.” http://www.illuminated.com/
Some, like Tom Jenkins, founder of OpenText Corp. and the Canada 3.0 conference, favours the next wave of digital designers.
“The creative people are digital natives; they don’t think of themselves as tech-savvy, they are just [tech] literate,” says Mr. Jenkins. “They have our IT department built into their brain.”
The smart producers know what they aren’t good at,” says Nic Sulsky.
Philip Leigh: Inside Digital Media, Posted by Phil Leigh on June 17, 2010
Rochester, New York telephone subscribers reacted to the following message from the Bell System 124 years ago in 1886. “Unlimited telephone use leads to unnecessary occupation of our wires and to much borrowing of telephones by parties who are not subscribers. This encumbers the system with unnecessary and illegitimate calls resulting in greatly impaired service.”
When Bell switched Rochester to metered rates, nearly everybody in the city quit subscribing.
http://www.billboard.biz/bbbiz/content_display/industry/e3i7278144fcfbad6f73672263fc7a7657b
“the key to the digital music future is a service that can do the best job of not only delivering the music that users want to hear, but to introduce users to new music that they don’t know they like yet, and monetize the entire process. To do that, services need to know what kind of music you like in order to recommend other things you may also like.”
“Facebook’s Open Graph has the opportunity to provide this level of insight.”
“The music industry knows all too well what happens when a partner has too much power. Look at iTunes.”
Streaming services such as Spotify who are trying to determine where they can make the most money from their service are seeing a higher demand for “multi-platform” access, which includes smartphones, for which they can charge a paid “premium” rate, as opposed to the free access “freemium” rate.
“Take multi-platform access, such as how Spotify makes users who want mobile access via their smartphone apps pay. Kumaran said users paying for multi-platform access use the service on average three times more than as those who don’t.”
@Web 2.0 Expo: Web Community Discusses Freemium Model
http://www.billboard.biz/bbbiz/content_display/industry/e3ia9f1b586d315106411f76cc7380b4e67
Two reports recently provide a relatively clear picture of how much (not much) artists can earn from on-line streaming revenue as compared to physical unit or download sales. Note the income level that they have determined to be the base-line wage for an artist, base on minumum wage rates: in the US, $1,160 a month (in Canada, this would vary between $1,400 – $1,840/mth, depending on province. Wow. Woo-hoo.
Information is Beautiful reports in “How Much Do Music Artists Earn Online?” that depending on which streaming service you go with, you will need to have sales of anywhere between .8 to 4.5 million plays per month.
http://www.informationisbeautiful.net/2010/how-much-do-music-artists-earn-online/
And a “deeper” look by the Rambler, shows that the artist makes more in royalty sales froms streaming , and the opinon of Rambler is that this will “get better” in time, as streaming becomes more popular.
http://johnsonsrambler.wordpress.com/2010/04/13/a-deeper-look-at-how-much-musicians-make-online/
What small or independent artist is going to achieve anywhere near these numbers??
Detailed breakdown:
http://spreadsheets.google.com/ccc?key=0Aqe2P9sYhZ2ndE9iZHhWc0pMcDlCdmxNdmFRQXRPY3c&hl=en_GB
The MUSIC and New Digital Media REPORT 