Sleep Walking into the Digital Mire!

30/03/2010

In a thought-provoking Guardian article published yesterday, Cory Doctorow, the digital media commentator, grabbed my attention with a dire warning about the Digital Economy Bill, currently working its way through Parliament.

Doctorow writes that the BPI, the record labels’ trade association, is well aware that the Bill serves the interests of conservatives in the music industry – those who want the most inflexible interpretation of what constitutes fair use of copyright material (i.e. you can’t copy music, not even for back-up let alone have several copies of the same piece of music available for use on your PC, iPod, home entertainment centre etc). He accuses the BPI, who have been the most effective lobby of politicians over digital rights, of stifling real debate over the Bill by acquiesing in the government’s determination to get the Bill enacted before the general election which must be held by May.

Cory Doctorow

Cory Doctorow, photo by Joi Ito, Creative Commons Attribution 3.0

The particular danger is in an amendment to the DEB which was inserted during the Bill’s passage through the Lords. The amendment would give copyright holders the ability to seek an injuction forcing an ISP (such as BT, Virgin or Carphone Warehouse) to block access to a website that gave access to material that the copyright holder had previously requested be taken down as infringing copyright. This gives a potentially draconian weapon to copyright holders in any dispute over fair use of copyright material. That such disputes will arise is inevitable, since the government has sought to avoid the political storm that would arise by trying to amend the Copyright, Designs & Patents Act 1988 to permit new forms of fair use of copyright material in a digital age which the Act could not anticipate.

Doctorow’s article is a wake-up call to anyone who wants to see successful, new business models built around digital music. The take-away is that if we don’t start lobbying MPs and Peers now – and get this Bill stopped before the election, we’ll end up with an albatross that will severely inhibit the ability of the UK to compete as a centre for innovative online music businesses.

One of the best ways to get your voice heard is to join Coadec (the Coalition for the Digital Economy) and circulate its open letter to newspapers or the excellent blog post by Jeff Lynn.


Shivz Battles for Teenagers’ Souls

28/03/2010

In a recent survey by the UK communications regulator OFCOM, it seems that a significant proportion of younger teenagers are unwilling, or at least unlikely, to pay for digital music. In the survey of 12-15 year olds, 44% said that free downloading of music, films and games should be legal. In contrast, 38% said it should continue to be illegal and 18% didn’t know or didn’t have a view.

Shivz Dotz

Yet I was at the Music 4.5 conference earlier this month, when Shivz Dotz, the remarkable teenage London rapper, grabbed the attention of the entire audience with an eloquent assertion that it was the buying power of teenagers that got Chipmunk to the No 1 spot in the UK charts.

Now I don’t know where all of this will end, but in an age where teenagers demonstrate considerably more conscience on really pressing global issues (economic inclusion, global waming etc) than older people, maybe it’s not paying for music that they really object to. Maybe it’s the way that the music industry, like so many other old industries, insists on telling people what they can do with the product they sell. Maybe, a bit like the free software movement, the word ‘free’ is about freedom rather than avoiding payment.

Call it romantic if you like, but at Psonar we see ourselves as a true Web 2.0 business and we aim to follow Kevin Rose’s maxim, in 10 Steps from 1 to 1 Million Users, and learn from what our users do, not what we think they’ll do (or ought to do, as the music and film industries seem to believe).

In the end, however, my views are irrelevant, it’s up to Shivz and his generation of artists to exploit technology to drive engagement with their fans on their own terms, but it’d be great if Psonar could help empower them to do it.


There’s No App for That!

19/03/2010

It seems every man and his dog is releasing an app for their music (especially streaming) service these days. Spotify, Mog, Grooveshark and Rhapsody to name but a few have recently each released one.

Nobody can deny that Apple has advanced the mobile web and set high benchmarks in terms of device usability and functionality. The iPhone single-handedly revolutionized how we use mobile devices, and apps have played an enormous part in this (even though the App Store wasn’t a deliberate creation and there was significant resistance to it for some time). Apps aren’t the be-all-and-end-all of functionality on mobiles, however. There are real problems for end-users as well as challenges for innovative early-stage companies.

Apple App Store

The problems for end-users
On the surface, music apps based on streaming are great; you can access your favourite music (sometimes caching it for when you don’t have an internet connection) and play it wherever you are and whenever you want. However there are at least three significant problems with the majority of these apps (and to an extent, the services behind them):

  • it’s not your music; you effectively rent it only while you continue to pay a subscription (a colleague of mine has already blogged about that here)
  • you need an expensive smartphone to use the app
  • any large data transfer (i.e. streaming) on the internet rapidly drains your battery.

No Expensive Smartphone?
Simply put; if you don’t have an expensive smartphone, there’s very little for you. According to Bango, 67% of users who access the mobile web do so using a feature phone, not a smartphone. If the functionality is instead provided by a (mobile) website, it can be gracefully degraded so that even if the end user is stuck with an older Symbian S40-based phone, they can still reap the benefits of the service. Thankfully for Psonar users, our mobile site does this, so feature phone users can still do everything smartphone users can.

Streaming kills battery life
Ever tried streaming music from your favourite streaming service over WiFi? You won’t have much battery left after an hour or so. While battery life is expected to improve, with more than the marginal year-on-year enhancement, because of work at Stanford (on quadrupling battery life compared to a standard lithium-ion cell) and MIT (on rapid recharging), consumer versions of the new batteries won’t be available in the near future.

Challenges for innovative early-stage businesses
The problems (particularly for ambitious but lean-burn companies) are twofold:

  • porting complex apps to multiple platforms can be a significant drain on already-limited resources and one that competes with the core activity of maintaining and deploying new service functionality;
  • apps give an unfair advantage to the gatekeepers of the stores in which these apps reside.

Limited Resources
If you’re a startup such as Psonar with an ambitious vision of building a social music community that not only gives users convenience in managing their music but also powers social interaction around music as well (not to mention direct, digital engagement between artists and fans), you’re always resource constrained. That means that developing an app for iPhone, Android, Symbian, LiMo, BlackBerry and Palm can divert resources away from the core features of the service and diminish or delay the full user experience.

Even picking the most popular platform is dangerous if you’re picking one that isn’t truly open and therefore limits portability.

Instead, Psonar has taken the decision to create both a desktop and mobile website using a common infrastructure. Psonar runs on ASP.NET MVC and uses common Business Logic Layer and Data Access Layer code for both sites, separating the mobile and desktop versions at the controller / view level.

Having an ambitious product strategy to implement with limited resource creates prioritization challenges for early-stage companies, not least where to draw the line between duplicating existing product features across further platforms versus targeting a single core platform. In other words: do you meet the challenge of creating new and exciting functionality at the risk of excluding a large proportion of your target market?

Faster, simpler rich functionality across diverse platforms
Is there a sensible way forward then, for a business that wants to develop a fully functional version of an app for a device with substantially different characteristics to those already supported, such as a new slate/tablet device (e.g. the iPad)?

In contrast to dedicated apps, a ubiquitous browser-based approach makes it easy to achieve this simply and rapidly – by creating new controllers and views where necessary, to cater for the larger screen or other extended capabilities of the device. It’s not necessary to learn a new programming language or paradigm – instead it is all achieved by extending the existing site where necessary.

Other benefits of this approach include:

  • making it easy to push out new functionality more frequently (even several times per week);
  • requiring only a single test environment and set of non-duplicated unit tests for the majority of the infrastructure.

In fact, it makes the business of catering for everything from the smallest, most basic S40-based phone without JavaScript support, right up to the most powerful PC running the latest browser with HTML 5 (and beyond), much more straightforward and therefore permits more resources to be directed toward developing new and innovative functionality.

While it’s obvious that users find apps a convenient and fast way to get the functionality for their smart phone or device that they want, native HTML 5 support must be the best way forward. Recent advances in handheld technology combined with fierce mobile browser competition from the likes of Microsoft, Firefox, Opera, Safari and Chrome mean that mobile browsers have evolved to the point where they’re on the verge of replacing apps. Throw in a little JavaScript and a costly-to-develop app is no longer needed (nor is Flash the answer since some devices will never officially support it). Moreover, with a ubiquitous browser-based solution, there’s also no risk of being shut out of another company’s ecosystem, something Grooveshark know all too well.

Psonar SongShifter – a different kind of application
Back to the ultimate goal of getting music onto your mobile device: what’s the answer today? Since the majority of the population don’t have an all-you-can-eat data tariff or fast mobile access, Psonar allows you to use a PC – any PC (you can download the Psonar SongShifter and run it on any PC, not just the one you have at home) – as a ‘fat pipe’ to transfer music between your mobile or non internet-enabled MP3 player and the cloud. (Mac users: there’s a version on the way; register here and we’ll let you know when it becomes available). Run the SongShifter on your PC with a fast internet connection and you can transfer the music you want (by track, playlist, artist, album or genre) quickly and easily. Better still, if you do happen to be sitting at the PC where your music lives, it sideloads from your collection in seconds and only downloads the tracks that don’t exist locally. And of course you can stream or download those tracks directly from the mobile site if you want, giving you the best of both worlds.

Apps & Applications
It’s clear that users value the convenience (and have confidence in the process) of going to a branded app store to acquire additional functionality for their smartphone when they want it. But in this age of [40,000] apps in the iPhone store, there’s an awful temptation for app store operators to set themselves up as king-makers and only promote those apps where there is a commercial advantage to them in doing so.

While in the long-term there’s little doubt that HTML 5 and related technologies should deliver really rich functionality in the browser and open access to all services and content, there is something tangible about downloading an app. It feels as though you’re getting something worthwhile for your effort.

So, in the spirit of delivering value: let’s motivate the Psonar community to install “Download the Psonar SongShifter” buttons on their websites and social profiles in the same way that the Mozilla community did with Firefox. No fear of corporate control – this would be grassroots driven and we’d be delivering an app that’s really useful in the interim until the nirvana of HTML 5 arrives (one thought – should we make the source open?)

Richard Urwin, CTO

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Bijoumiyo and Psonar Collaborate!

18/03/2010

This fantastic five-piece funk/soul/rock, jam band have taken giants strides since first appearing on the streets of their home town Cambridge late summer 2006, armed with little more than their instruments, a handful of batteries and a megaphone.

Bijoumiyo

They have independently been on a European tour, nominated for a prestigious Indy Music Award for best soul/funk act, headlined the Living Rooms Stage at the Secret Garden Festival three-years running, played live at the 2009 Formula 1 Grand Prix, invited to record in Prince Sheikh Abdulla Al-Khalifa’s million dollar studio in Bahrain and the list goes on. These guys are true entertainers!

They are currently recording an exciting new EP which is planned for release this summer on psonar so be the first to hear it and register now!

Other Bijoumiyo music can now be found right here on psonar, so search for it and enjoy!

The word Bijoumiyo (so many people ask..!) is partly derived from the French word ‘bijou’ meaning ‘jewel’. Their collective interpretation of the name roughly equates to ‘Shining Jewel’!!

They have recently released a free download single “Bijou Anthem” accompanied by an electric music video – check it out!

You can also listen to snippets of Bijoumiyo’s tracks using Psonar’s discovery (you’ll be asked to login or sign up if you haven’t done so already.)

For more info on Bijoumiyo visit www.bijoumiyo.com.

Why Collaborate with Psonar?

Psonar believes in supporting emerging artists to grow using innovation using a combining of old school A&R and new A&R approaches (as outlined in Midem 2010)

Collaborating with Psonar offers the following benefits:-

1. Instant access into a music community of fans from all over the UK

2. Discoverability and engagement of new fans from different locations – important for new growth and revenue

3. Access to our Artists Tools and Services platform which empower you the artist to drive your own success and revenue through new approaches via our easy to use technology platform.

4. Being part of our “psonar presents…” music night, where we promote emerging artists playing live to our psonar community. We help artists to connect to fans from new localities and grow.

5. We also have ambitions to showcase our best artists on a Psonar Presents…” stage at one of the big festivals like Glastonbury or The Big Chill etc..

At Psonar we want to become the central hub for artists and fans to form a music community, where consumers get to enjoy the very latest in emerging music and our artists are empowered to drive both their commercial and music success!


Floyd Don’t Get It?

16/03/2010

Last week Pink Floyd won their court case against EMI, preventing the label selling individual Floyd tracks through digital download stores. The band established that their agreement with EMI required the label to “preserve the artistic integrity of the albums” and not sell individual track. EMI’s defence, that the agreement preceded digital download as a new distribution channel and that it should fall outside the agreement, was rejected.

Pink Floyd Wins Case V EMI

Apparently Pink Floyd really do feel that each of their albums is an integral whole and their work is diminished by letting fans listen to individual tracks without the ones that precede or follow them. One wonders whether they would, if they could, try to enforce a ban on shuffle function on iPods and other players.

All of which misses the point – only the individual track lives as an entity in the digital world. The album has no meaning other than as an abstract association – like a playlist, only one created by the artist or label.

In January the BPI reported that sales of singles in the UK during 2009 exceeded 152 million, beating 2008′s record of 115 million. In contrast just 16 million albums were sold – a decline of 3.5% on 2008.

It’s a pity that Pink Floyd have taken a stand that ignores the inevitable and seeks to preserve something that cannot be preserved, no matter whether they like it or not. It makes life more difficult for their struggling label and it discourages legitimate acquisition of their music.

As for me, I nearly always buy the album but then I’m almost as old as Dave Gilmour.


Auntie’s Listening?

11/03/2010

Having ranted last week about the threat to 6 Music, I thought I ought to find something good to say about the BBC. Actually it wasn’t all that hard and I was torn between recommending Jen Long’s excellent series of blog posts on the key players in the music industry (agents, managers, press and publishers) and the BBC Introducing Upload page for new music:

BBC Introducing Upload Page

I think it’s great that the BBC is prepared to solicit new music and give it a chance to be heard on local or national radio. One question – can anyone tell me about their experience of being picked and actually getting airtime?


Save 6 Music

03/03/2010

The BBC announced this week that it’s planning to close 6 Music as part of its shake-up of services. It’s concerned to divert more money to programme-making and do less in the digital space – both digital radio (it’s planning to close the BBC Asian Network) and a large chunk of its web presence.

I can’t help feeling that these are the wrong priorities. The music industry is going through one of the toughest times it’s faced in years, with the labels cutting their artists rosters – especially among newer, emerging performers. These are precisely the kind of artists that benefit from exposure on 6 Music. Don’t get me wrong, I think that Radio 1 does a great job of promoting new music – but 6 Music has greater opportunity to give listeners exposure to those musical genres that are out of the mainstream and which need airtime to reach a larger audience. Is this worth sacrificing for yet another costume drama populated with the great and good of British acting or even the dreary ‘Waking the Dead’ which bears no comparison to great US TV police drama such as ‘The Wire’?

In the end, people who love music need to fight to keep 6 Music and its exploration of the eclectic and excellent in contemporary music, wherever that’s to be found: blog, tweet and join the Facebook Group – Save 6 Music.


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