It's not clear how the music labels will shake off the current subscription doldrums, but with Apple and streaming subscription growth front and center, you can bet they will do whatever it takes to build subscription sales, their big bet.
While they come from widely different backgrounds, all of these apps seek the same goals: grab an artist's audience, engage them, and monetize that engagement, digitally of course--with advertising, brand sponsors, "in app" purchases, or on rarer occasions, by selling recorded music.
Apple Music could have a future that more closely resembles music services from large tech titans like Amazon, Google, or Microsoft's Xbox Music. All of these have respectable if not game-changing digital music services.
It's not clear where all this plays out, but meeting many across the music industry this past year, I saw a clear picture of an industry trying to reinvent itself. And while labels still have an important role, the new equilibrium brings a healthy competitive balance to the market.
With all of the different ways your compositions can be used in both industry models, there's a good chance your songs are generating money you're not even aware of, which means you're missing out on collecting your money.
Over the last few days I've listened to the "same" radio stations on both iTunes and Spotify. I've streamed music with wired, wireless and 3G connections. I've used headphones and speakers. I've created custom stations. I'm looking at variety, fit, quality, convenience and user experience.
Purists hated the idea of slicing precious analog sound waves into bits, on philosophical if not auditory grounds. Owners of cassettes and vinyl were justifiably bummed to have to buy everything all over again.
While there has been a hazy cloud hanging over artists, managers and labels relating to how digital music and the Internet affect their sales and bottom lines, the opportunity provided by push marketing remains an untapped well for a wide swath of artists.
Would he secretly embrace digital technology while publicly spurning anything short of vinyl records as a bastardization of music? Or, would he publicly welcome the changes and call it evolution for music and artists?
Sampling rate dictates the highest pitch a format can represent, while bit depth concerns number of gradations of loudness. But can humans actually tell the difference? In other words, is there any point to Pono?
Our question: who are these artists giving people permission to download singles and entire albums (comprising 78 percent of downloads according to MusicMetric) for free? We were curious, so we asked. Here's the word from BitTorrent.