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Author Topic: Music's lost decade: Sales cut in half  (Read 595 times)
rcjordan
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« on: February 02, 2010, 11:38:06 AM »

Total revenue from U.S. music sales and licensing plunged to $6.3 billion in 2009, according to Forrester Research. In 1999, that revenue figure topped $14.6 billion.

Forrester forecasts music industry revenues will continue to decline until it reaches about $5.5 billion a year by 2014

http://money.cnn.com/2010/02/02/news/companies/napster_music_industry/
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perkiset
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« Reply #1 on: February 02, 2010, 03:12:31 PM »

If they'd just give it all away they'd do better.



(Sorry ITTO, just too easy)
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rcjordan
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« Reply #2 on: February 02, 2010, 03:30:41 PM »

I don't get involved in music enough to know what the problem might be other than the general consumer media malaise that I've been carping about since my days at Wmw.  (I did buy $4 worth of mp3's last year at lala.com. Think that'll save the industry?)
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isthisthingon
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« Reply #3 on: February 02, 2010, 04:38:18 PM »

ROFLMAO

Great article rc!  And I truly laughed out loud many times.  Not because I disagreed with anything at all about it.  But because of the wonderful news it truly is.  For those who barely dipped below the headline, the impression is clear:

Quote
Total revenue from U.S. music sales and licensing plunged to $6.3 billion in 2009, according to Forrester Research. In 1999, that revenue figure topped $14.6 billion.

Shocked  Yet if you continue reading the article, you get a different picture:

Quote
Although the Recording Industry Association of America will report its official figures in the early spring, the trend has been very clear: RIAA has reported declining revenue in nine of the past 10 years, with album sales falling an average of 8% each year. Last decade was the first ever in which sales were lower going out than coming in.

"There have been a lot of changes over the past 10 years," said Joshua Friedlander, vice president of research at RIAA. "The industry is adapting to consumer's demands of how they listen to music, when and where, and we've had some growing pains in terms of monetizing those changes."

Can I get a boo hoo?  Grin  This has absolutely nothing to do with how much money artists make because of their art, or indirectly as a result of their art.  This is strictly the RIAA whining, and bleeding... and whining Cry 

Ever hear of that obscure, completely unknown artist named Lady Gaga? http://www.techdirt.com/articles/20100201/0223487985.shtml

The RIAA is an antiquated pile of irrelevance.   Starve the beast and free the artists, ASAP Idea...
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rcjordan
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« Reply #4 on: February 02, 2010, 06:58:35 PM »

Soundbite update, hhh: The RIAA is a steaming pile of irrelevance.

When talking long-term trends, they really should factor in population growth.  I haven't bothered to look for stats, but I'm guessing their total potential market has grown by 25% over that decade.

I went searching...

"In 2007, the amount of music purchased by US consumers increased by six percent. This was due to a surge in legally downloaded music sales. Downloadable music accounted for ten percent of total music obtained in the US. Due to the larger amount of legal downloads from customers between the ages of 35 and 50, the total number of
music consumers actually increased by 5 million. This has promoted growth in the downloadable music industry.

However, the increase in sales could not compensate for the large decline in CD purchases. The net result was a ten percent decline in total music spending ($44 to $38 per capita among Internet users). Estimates show that over one million US consumers exited the CD market in 2007, with the majority of those consumers being teenagers. That year, 48 percent of teenagers did not purchase CDs, compared to 38 percent in 2006 (The NPD Group, 'Consumers Acquired', 2009)"

"downloadable music became popular around the year 2000. Yet, recording companies did not begin to accept the idea of promoting and selling DRM-free downloadable music until 2008. In a reactive strategy, companies are forced to change their strategy only after intense external pressure compels them to act"

PDF: http://bora.nhh.no/bitstream/2330/2313/1/Bellamy%202009.pdf

(Reactive strategy; see "steaming pile of irrelevance" above)

<added>
It appears that the ability to unbundle individual tracks from the album is the main culprit.
« Last Edit: February 02, 2010, 07:03:04 PM by rcjordan » Logged
isthisthingon
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« Reply #5 on: February 02, 2010, 07:51:57 PM »

I liked the following sections.  Nice thesis.

Quote
5.4.1 Cost Leadership and Differentiation

The cost leadership strategy explains when successful competition is achieved
through low costs and prices. This strategy is usually used in firms that have highvolume,
homogeneous goods, which are mass-marketed to consumers. Consumers
perceive value to be based on lower prices for the same product. The uniform pricing
strategy is a good example of when “one-size-fits-all” music pricing can be used as a
strategic advantage. Customers value the low cost of the good, as well as the
reliability of static or decreasing prices.
The differentiation strategy focuses on marketing products that are considered unique
and valuable. Firms target specific customers that are willing to pay a premium price
for these goods. The price can be based on the product itself, the way that it is
distributed, or the way it is marketed (Porter, 1998, p. 14). The challenge of marketing
a differentiated good is identifying unique attributes, such as quality, sophistication,
prestige or luxury. Tiered pricing is an example of when less emphasis is placed on
the cost of the good, while more is placed on its value. If the value of the good is
identified and emphasized, the consumer will be more willing to pay higher prices.


6 Conclusions

Over the last forty years, music format preferences have changed from cassette tapes,
to compact discs, to downloadable music. Music downloading is a recent
phenomenon, joining the worlds of artistic development and technological innovation.
Due to the changing consumer demand towards downloadable music, it has become
increasingly difficult for companies to profit from selling physical music formats.
Finding ways to improving strategic business models is a very important for music
development and distribution companies.


6.1 Main Findings Summarized

The research question of this thesis asked how the changing demand for
downloadable music influenced the strategic business models of firms. In order to
answer this question, one had to begin by identifying the companies that currently
supplied the demand for music. Recording companies, music retailers and companies
that sell portable music players have the greatest influence on the music market. Their
supply chains showed how dependant the companies are on one another to create and
deliver music to consumers.
To gain deeper insight into the music market, the thesis then analysed the external
environment of recording companies and music retailers. By evaluating
microenvironment factors, it was found that recording companies and music retailers
had opposing results when assessing market entry barriers, supplier bargaining power,
and buyer bargaining power. However, these companies faced similar
macroenvironment factors, such as copyright law, digital protection software, profit
from legal music downloading, and competing entertainment outlets.
After completing the analysis, the thesis highlighted four different strategies used to
increase companies’ competitive advantage: alliances and networks, product
diversification, product and service distribution, and profit maximisation.


6.2 Questions for the Future

Now that one is aware of the numerous strategies music development and distribution
companies use to maintain market share, what does the future hold for the music
industry? Will companies’ strategies successfully convince customers to buy their
products and services? Will recording companies ever regain their status as an
essential element in music production, or will their services become obsolete? Will
new online music retailers maintain consumer interests in the long-term? Or is paying
for downloadable music merely a passing trend when so many free options are
available to consumers?
(Idea... - ITTO) Only time will tell which strategies and companies will
succeed.
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nop_90
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« Reply #6 on: February 02, 2010, 08:26:18 PM »

Fuking load of shit article.

"nop_90 research revealed that buggy whip production in the USA from 1910 to 2010 decreased by 182031232%"

Highlights of article.
in 1910 2.121 million buggy whips where purchased.
by 2010 this has dropped to only 12102 buggy whips where purchased.

To make matters worse most of these buggy whips in 2010 where purchased by perks who does not even use them in the transportation industry.

Without buggy whips the transportation industry will grind to a halt.
nop_90 research recomends that strict gov't regulations are passed to prevent people from operating vehicles without buggy whips. nop_90 warns that unless immediate action is taken, all of USA's roads will get into a total gridlock, that transportation industry will totally shut down. The sun will implode and the poor children and pregnant women will all die.

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isthisthingon
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« Reply #7 on: February 03, 2010, 09:57:47 AM »

Quote
Fuking load of shit article. ... The sun will implode and the poor children and pregnant women will all die.

I think it's time to adjust the meds nop   
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