Alejandro Suárez Sánchez-Ocaña. TIME-sector employer since 1998, the Group CEO and Publispain Network blogs Entertainment Networks SL President Inversora Foley, Director and Founding Partner of Yes.fm, consultant and investor in several companies for innovation, new technologies and the Internet.
The CD is dead. Long live the digital music!
I have always been passionate about music. In fact the only times I've 2 employee, though very young, has been linked in this sector.
For 17 years attracted by the music world record and I went to DJ contest of what was then a classic Top 40 97.2 FM Radio Spain, was the family Fontán season as owner of the medium, and FM directed by Raul Marchant and Gregory Ramon and so I started working in radio for many years in musical compaginándolo then another topic related to music, the direction of Public Relations in the evenings in some clubs in Madrid as Joy Eslava, Riviera or disappeared recently Empire (Yes, we all have a past 
).
Let it was a time when it went quite well and work was fun. I met dozens of artists, creates a strong friendship with one of them and even some unspeakable spree of youth, many anecdotes and lots of fun, in conclusion, it was a game.
In those years there was only a great alternative music radio general formula for the Top 40 and we were with the Top40. The group Prisa virtually controlled the music business and us with little means at that time they did damage in Madrid. It was the era of good speakers from 97.2 FM another generation than mine as Luis Vaquero, Julio Manuel Sunday, Rosa Quintana, Jaime Moreno, Monica Chaparro and many others, I remember that I was the youngest of the group and no one can say no I learned quickly and took some of my opportunities . In 1998, radio was more a hobby than a job, is something that engages you, I always liked to communicate and have a direct relationship with the music. Finally, I was somewhat traumatic, I decided to leave it on 2000, perhaps a little earlier, not being able to spend 4 horitas day I called and reconcile with my Internet businesses.
That is a parenthesis that is closed in 2007 with my joining the team Yes.fm, my close personal circle from another perspective, which together music, radio, communication, Internet and technology elements that have been I always have company.
The age of 90 lived very intensely on the music world, was a second youth as a creative level that had been 80 in Spain, which unfortunately I missed (I was born in 73). From that perspective I have been watching developments in the sector from the sidelines: the glorious 80, the happy 90 and the debacle of 2000 onwards.
In 90 there were many proposals, new groups, dozens of seals in Spain have been disappearing for one or other reasons: Sapphire, Dro, Fonomusic, Hispavox, Twins, Salamandra stamps ... those who have come in 80 and 90 artists Trap, Hombres G, modesty, Los Secretos, Mecano .... epoch creative and today there are no longer purchased and that eventually added to a catalog of Major (EMI, Sony-BMG, Warner and Universal).
Not many years after the arrival of the Internet showed the confusion in the world record. Chaos, not even being able to understand it, many executives of large companies, if the Internet was an ally or an enemy. The music business as conceived faded, I have felt the archaic model of distribution, promotion, and stock market, and even questioned the very medium that had not then even a very long life, the CD.
The CD is one of the keys, we live in the demise of vinyl (on the radio I just started working with vinyl, CDs and later ended up with digital music) industry as we had no problems assimilating and promoting the first change . With the CD has not been the same; afraid andalusia intangible, are afraid to stand 100% digital and are afraid of piracy.
There are some myths about the CD, is the main idea of the price artificially inflated by the record. Curiously, although an exact idea is not widespread. Kiko Fuentes, former country manager for Warner Music, and currently Director of Content Yes.fm I explained that in 10 years CDs have not risen nearly absorbing price inflation Parallel also has increased much content (packaging, bonus tracks, DVDs) that was obtained for the same price, and reminds me that the real value chain includes a CD of audio and video recording, royalties, copyrights (SGAE) , manufacturing, logistics, including storage, transportation and obsolescence, Marketing costs (very big) and outside the company. Come on, that the difference between the PVP (which also includes distributor's margin and VAT) and what it costs to copy a house is not in CDR net margin for the record as it seems / wants people to believe.
Therefore we can say that the problem has not been inflating the price of the CD, but cling to hardware, while doing less and less profitable for all of the above. Instead of an orderly migration to the new model has been hosting the aristocrats ruined, full of arrogance but with holes in the socks.
It is true that P2P has given to the lace industry, but it is also true that the same industry, to combat piracy committed foolish moves that have destroyed itself by creating a huge gap-user industry, which almost as irreconcilable enemies.
1) Movements defensive agglutinate stamps. Many companies are launched to buy tiny ones. "That market has less and thus did not lose my share." Always loses out to the user, creativity and new artists to give anyone a chance, when he had proposed earlier if they had the opportunity to succeed.
2) The cowardice of not taking risks. The risk of being anchored to a traditional high-cost support of stockaje, creation, distribution and storage as the CD, a traditional and unchanging. Best draw for the umpteenth time a "greatest hits" from an artist to put a new proposal that is not sold and generates losses for companies with the high cost of recording / marketing physics.
3) The high demand for some stars. Artists like Madonna, not only do not understand, but they like the market is not the same. Large companies like Warner come to let go of their flagships, such as Madonna, as their financial claims down while away from the boat is sinking and up being maintained by inasumibles industry.
4) The DRM possibly stupidity latest, the doors to try to field the user. The consumption of music must link up with other proposals, prices and other alternatives. I think Luis Alonso-Lasheras, who heads popmadrid and the issue closely because it's also working on the initiative of Telefónica Pixbox we could expand a little on this subject.
5) VAT. Absurdly VAT in Spain of a CD is not the 16% to 4% should have to be a cultural product. At the end user pays the duck with that extra 12% paid for a CD.
6) The Chase. The attempt to identify to sue users who share files online from Promusicae is to try and put in prison those who have to make your customers do not seem the most intelligent.
Kiko Fuentes possibly can in a more effective way that I extend this information and give us his unique vision and more data. I think it will be especially useful for all of us his vision of the future of the music industry, of which I spoke at length on several occasions and that he would appreciate it could share with everyone.
And then, separately and apart from these sectoral issues, whether it is true that it is piracy. It is true that music has become a total free via P2P networks and software such as Emule, Kazaa, Ares, and in its day Napster and WinMX. The industry does not understand that the goal can not be close, but those networks adapt pricing, structure and strategy in this new competitive situation in which even the P2P networks can become a channel for marketing and distribution.
I bought a few discs in my life. First, on the radio for many years kindly departments to promote the record companies were sending me everything, and so comes to accumulate more than 5 or 6,000 albums on vinyl and CD. Just storage is a problem, and I do not remember when was the last time you put out a CD of the box ... Then later with the arrival of the internet to which we are going to deceive the 800-odd songs on my iPod that I have not really bought on iTunes. I do not want to do advocacy of piracy is more am nobody to give lessons in morality, something that is socially and I was there one that has used for years and had not many alternatives and if there was the obvious and pull down the road in the middle.
On piracy no doubt, the objective is to see that the industry has become the first harakiri and what remained was what led the free-total, I do not think it is fair to blame the ills of piracy only in the music industry.
Suffice to mention that Promusicae stopped publishing data on the disks sold in the country because it was not good for the public sector that were dropped from 50,000 to 40,000 disk of gold, and 100,000 to 80,000 platinum disc. A few dates showed a confidential report leaked to Internet sales, which was the best-selling disc of a week in Spain, a country with 45,000,000 inhabitants, had sold "a whopping" 4,500 copies. Hallucinating. The conclusion: In Spain consumed music (and lots!) But "does not buy CDs or Tato.
• This filter is also emerging as some unfortunate things discs show a much higher certifications that have actually sold. That is to promote, and deliver some of the paripé gold or platinum albums, we take the hair:
or David Bisbal - Premonition: 5 platinum (292,903 copies)
or Amy Winehouse - Back to black: 2 platinum (124,587 copies)
or El Canto del Loco - People: 2 platinum (135,203 copies)
or Juanes - Life is a while: 2 platinum (139,894 copies)
or Estopa - Allenrok: 2 platinum (107,273 copies)
or Monica Naranjo - Tarantula: 1 platinum (53,662 copies)
or Merche - Cal and sand: 1 platinum (59,695 copies)
and Sergio Dalma - A good time: 1 platinum (58,259 copies)
or The Ear of Van Gogh - LOVG Big Hits: 1 gold album (9,327 copies)
(Again, the record of 40,000 copies are Gold, Platinum 80000, ie this is a joke, a joke)
Other data curious to measure the health of the patient are examples of Madonna and Cold Play, numbers 1 entry into direct sales in Spain and do not reach the 30,000 copies sold 2 months later.
It comes on the list drawn up Promusicae only selling 200 copies a week in a country like Spain, is simply pathetic. You can gather with friends and go on the list of sales to get some laughs.
I think now with new music on demmand under Fremiumm models (with the possibility of free subscription) and Last.fm as Deezer, or the Yes.fm Spain gradually consumption will change. First to a free consumer more responsible and possibly in time to create a percentage of consumption and toward subscription models that will be very important for industry.
It is an evolution and is a matter of time, as mentioned by Chris Anderson, editor of Wired.com is time Freemium idealize the concept of a mixture of Free and Premium. Perfumes samples are 0.1% of its product sell 99.9%. Internet is the opposite pattern. Das free 99% of your product as a premium to charge 1%
One person who has written about music on demmand in Spain and possibly has done so with more discretion, because they like music and user of these services is long Antonio Ortiz in Error500, I would love if we could add The view that you deserve these services.
I also think we're going to see new types of companies, the e-record, virtual companies, specializing in Internet startups web2.0 and distribution of digital content, in which the promotion of digital media artists using online tools for Web 2.0 and media such as MySpace, Facebook, YouTube etc, can create a consumer promotion and sale of a product which is recorded as it is and as such should be consumed, 100% digital.
I firmly believe in the music, and even, though sometimes I find it a bit, I think even the intelligence of the great managers in an industry that is likely to begin to turn the steering wheel and point-to-blind if that new business models away models archaic and meaningless as the CD that has fulfilled its role and disappear without any way to have the charm of the vinyl, which still is alive as an object of collection.
The CD is dead, the new digital music consumption has arrived and is here to stay.
Tags: 2FM, 97, Antonio Ortiz, deezer, discography, Dro, emule, error500, Fonomusic, Gregory Ramon, Hispavox, Jaime Moreno, Julio Manuel Domingo, kazaa, Kiko Fuentes, last.fm, Luis Vaquero, Monica Chaparro, music, Piracy, popmadrid, radio, Raul Marchant, Rosa Quintana, Salamandra, Top40, Twins, Yes.fm, Sapphire
43 Comments on "The CD is dead. Long live the digital music! "
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The problem is that digital products have reduced costs, and if the marginal cost decreases in a highly competitive price will fall, too. Digitization can only lead to lower prices, it is obvious that resist.
What's more, if the marginal cost tends to zero and fierce price competition is also likely to zero. This is even worse, competition from free product will happen bill.
And then there is a return to single and surely the death of the LP, people involved in picking a song here another way. The LP is a combination of convenience, but what makes sense in digital form?. Finally a single might end up being a jingle to promote the actual product, live. The only thing that can not be canning and is unrepeatable.
I do not know if the subscription will be sustainable, what is their real value?. Something like "first on Fox?.
Go piece article Alejandro, of course, pick up the gauntlet but who has the keys you need: the economic plan that allows the freemium without stifling the platform, the percentage of users who just paying for value-added services ... I have this morning breakfasted with the new Lala is worth a look
I guess you all know, starting with the "total commitment" from all the major record labels. It's funny to see that despite the problem still pegándose head against the wall for not wanting to go through the hoop, but the poor will have to finish moving and since then as well continue to say the gap between the user and the industry will be still more and bigger. And that they are losing out, consumers will continue to listen to God through music is the artist who is, let the real artists.
Totally agree. The paradigm shift is necessary. But beyond the form of distribution, is the artist who else should realize their potential.
Best regards,
Alejandro
Alvaro @ [doocomo.com] |, the subscription is to avoid the constraints of the music industry. There are various scales to allow the user is not free. Kiko sure we explain the better.
@ Antonio Ortiz, I will look for new Lala Antonio, I have not seen yet. Thank you
[...] Read The CD is dead, long live the digital music blog Alejandro Suarez is clear that there are areas in which to adapt to the times of [...]
Alexander the Great analysis. My doubt is the following, do not you think that the user is already accustomed to paying 0, it is difficult to pay, albeit very little (either by purchase or on demand?.
I know people who do not even know who is buying CDs and continue to P2P, they seem cheap to buy a song to € 0.99, but all those who use P2P networks or pay raise or a euro buying or listening to music .
Maybe that's why the record companies just do not believe in a user-oriented model used to have everything for free.
@ Jorge Arevalo, yeah, I think it was a lost generation. Ie I think there is a generational break from 30 to 20 in which there is a whole generation that does not understand that music can have a price-free generation is total loss.
The problem is that record companies can no longer cling to sell 3 disks ... have to go for it and to survive, but this generation, possibly the most consumed, is lost
It is also true that the record companies are going the other way around. They are accustomed to a very high percentage in the digital world is unworkable. So it is a change the world.
But as you say, the numbers by more than makeup, no longer to keep the bar afloat.
Hello. The truth is that the future look for the CD hormiga color unless there is a disproportionate increase in demand for coasters, which does not seem likely. There will always be the hardware to some extent (deluxe editions, reissues on vinyl, infant product) but the good times are already very far.
The majors have to move (it already) to "music companies" and not just "record company." This means that they are moving into all aspects of business: management, ticketing, merchandising ... It is obvious that this migration is not easy for these corporations are not known for their agility, but have already begun.
While consolidating the new model, staff will follow the escabechina and gnashing of teeth, but they have no other.
There is something you mention in your article with which I disagree. You say that "artists like Madonna do not understand the market exchange" ... no doubt there are many stars who do not learn anything, but it is not the case with the Ciccone, who has repeatedly proved its clarity of ideas and vision. It was the first to launch a ringtone before the single ( "Hung Up"), controls its own label (Maverick) and just sell their crow's feet at the price of foie Live Nation, Warner found that in the thing did not give more yes. If that is not to understand the market and they told me ... that it took 18 months it appears that without fulfilling their conjugal duties with Guy Ritchie is going to go out and abstinence by a peak in the end, you can not have everything!
K
[...] The CD is dead. Long live the digital music! Www.alejandrosuarez.es/2008/10/el-cd-ha-muerto-viva-la-music Nabuka ... for a few seconds [...]
@ Kiko, Kiko on Madonna, it is possible. But I am concerned. Not that I do not know is that you like and what will you.
To see if one takes big hits to pay for the divorce. Living well is the Monda.
Kiko, very interesting about "music companies" because in that model if there is business. But they have to have more open fronts and less benefits when they were involved in CD is not it?
Congratulations, Alexander, a developer and post actually led me to get to write a post with my thoughts on the matter which was buried a long time.
I enjoyed the way you open up the conversation!
... "Music companies" ... represents a complete culture change. The CD at the time left good margins and sales to cascoporro was a business, "many many", with the debacle of the sector since 2000 has gone through the phase of "pretty much" to the "few few "... the current model must be" very, very few, "as George is to have open many fronts with smaller revenues, exploit the catalog in the model so long tail. What is more painful for them to adapt structures in this new world.
Hello, disagree on the issue of VAT for music, a little, can be considered culture, most of it is just business and I think the 16% tax is correct.
[...] Sanchez-Ocaña Alejandro Suarez has written a very revealing post on the music industry and its business model is [...]
@ alfema are different points of view. But is that culture is tb business from my point of view. That is, a box Barceló is art and is in the Reina Sofia, but above all is a big business behind for example ...
Hello. My name is Tuco Requena. I'm calling musician and journalist by profession.
I live and work in Zaragoza. You can visit my blog: http://www.tucorequena.blogspot.com or my website: http://www.tucorequena.es
I've been reading this interesting post and I would make something that has not been discussed and I think it is working: the artists and self-publishing.
Why do artists have to pay the crisis in the record? Why an unknown artist in the media (95% of the artists or musicians in the country) must pay the "crisis" label by signing contracts for life where assign 50% of your copyright, 20% of your income from concerts and obtaining only 6% royalties on sales of physical and digital?
That is the "new model" of spoken Kiko Fuentes. That is the model by which the companies say: "... we are losing an artist pidámosle all for nothing. If his music hit, well ... if not, we were all just in case. "
This is the reality today on the record why the self-publishing is succeeding by leaps and bounds.
It is the artist that controls enough of his own work that publishers only want to "fatten" catalog, which is the artist promotes his work online at Myspace, Lastfm (free), Facebook, etc. Ilike. It is the artist that his work digitally distributed through companies such as the dome digital, or digital Kindustria central to his works are on Itunes, Emusic, Napster, etc..
Of course, the artist is the one who decides whether his work is free (Emule) or want to get money for it in stores digital. And the artist is the one who decides whether the copyright of his work meant to be exploited (copyright) or open to anyone (copyleft).
For all that you do not need to sign with any label. This does not guarantee you any money for promotion and that the promotion never stipulated in a contract, simply: "Give me everything and then we'll see."
This is the first post I write. Now comes the second to finish my diserción.
Please forgive my Os extension.
Of course, the industry people tell me:
"Okay, you manage your music, but without a strong campaign off-line so that there will be people you know. For that is the money of the record. " And I answered "not true".
I do not look for money in digital distribution, looking for viral movement: the people I know. The money, gentlemen, you win at concerts if people like my music.
For a sample button:
I drive. I use a widget similar to this American company: http://www.noisetrade.com
This widget tells you: what you want to pay for my music and if you want free music to my first sent five e-mails you. Plus you'll have a database for cities with emails all the people who download your music, something cool to mount a concert.
Besides the methodology in Emule and I distributed a bargain price to stores digital lacupuladigital.com type Itunes, Emusic. etc.
In addition it into Lastfm (it's free. Why I can not put in Tuco Requena Yesfm?), Ilike, Imeem and all social networks where I am.
I do a press campaign with shipments off-line media and I assure you that everything does not cost me over $ 10,000 in total.
Why do I need a whole album that I suck without offering anything in return?
You know? Here in Zaragoza, there are musicians from Hip-Hop, you certainly will not play (Rapsusklei, Haze ...) that do not go into radio, television or newspapers that fill a room and 1,000 people at 15 euros and all the entry they know their songs ... because the Internet and make it hang in viral movement.
Make no mistake ... the future is self-publishing artists. Companies will have to become service companies and artists: do you promote a digital X money, you do a press campaign money for X, you toured X amount of money ... and compete by offering good, cheap and reliable services . If you do not do this, will die over time, as they are happening at present. Where you start to do now, be well positioned for the future.
This "new model" of spoken Kiko Fuentes, is the "flight forward" that will separate them permanently from the artists, the true champions of the music because they are the creators and performers, and because they may not be the pagans of the crisis .
And if not ... the time.
A hug to everyone.
Requena @ tuco
"In addition it into Lastfm (it's free. Why I can not put in Tuco Requena Yesfm?), Ilike, Imeem and all social networks where I am."
Because Lastfm takes 3 years running, and that functionality or 6 months ... and takes 1 Yes.fm month.
You say yes (with the advent of the internet to which we are going to deceive the 800-odd songs on my iPod that I have not really bought on iTunes.)
To see if you're going to do a tour of the dipper that serve only to that ...
XCierto happy birthday
For me, Alejandro has been tremendously enlightening, clear and strong and gave me a lot.
I see that many of the things he believed were untrue, and that the data are strong.
I would love if you could write another, not the state of the record industry as your the flames, but the future, not just virtual music now
Great post, Alexander, in all senses
By (i) lusiones, the DRM is the formula that has found the music industry taking off the bandage from the eyes slowly. First, the Internet is the devil. Then the Internet without DRM is the devil. And finally (I have no doubt) is a new Internet channel.
Claiming that the alternative to free and unrestricted as payment limitations and is absurd. I am convinced that an alternative payment and without limitations (emule a fee, with the consent of the owners of content and content quality assurance and speed) will triumph.
I believe that if a reasonable amount, and can be equated to buy a few CDs a year, you know that you can access all the music you want and whenever a significant% will be willing to pay.
Yes.fm a one-vip + Pixbox without DRM, all for an affordable price, it would be a gun, something perhaps 5-10 million users in Spain. And if we talk about € 10 a month for all that, would be 50 million euros per month. There are months I do not win ...
Congratulations!
Hello Alejandro.
In Lastfm, which has been operational since July 2008 is the program offered royalties to artists by listening reproduced. True, they can raise musicians unknown is laughable and is intended to appease the big labels.
I refer to the "Music Manager", where any artist or musician can upload their music Lastfm. I carry my music making it almost a year and a half. And I know that the "Music Manager" takes more time working.
Cuando me refiero a que en Yes.fm no puedo hacerlo es, sencillamente, que me gustaría poder colgar mi música (de la que soy 100% poseedor) para que la gente la escuche (si le gusta, claro).
Creo que, hoy en día, deberían ser los usuarios, clientes, consumidores, fans o navegantes (llámalo X) los que deberían elegir qué escuchar. Ellos deberían ser el único filtro para esa elección y no las multinacionales o las radiofórmulas o los managers o los medios de comunicación. Esto sería verdaderamente democrático y creo que Internet puede serlo.
El problema (para mí y muchos melómanos) vendría si en sitios como Yes.fm sólo pudiera escuchar lo que me ofrecen las multinacionales y sellos independientes consolidados (Subterfuge, Blanco y Negro etc.) con los que se han firmado acuerdos. Este repertorio puedo escucharlo en radios convencionales (incluido Radio 3) y en otros innumerables sitios web. Pero ¿y los artistas nuevos? esos miles que piden una oportunidad de poderlos escuchar y no pueden porque el grifo de las discográficas ya se cerró.
Te invito a que conozcas iniciativas como esta:
http://www.autoeditor.org
Mira, en Aragonmusical.com, página web de grupos aragoneses hay más de 500 grupos con ficha sin contrato discográfico, muchos muy malos, de acuerdo, pero otros muchos muuuy interesantes.
En Lastfm puedo hacerme promoción. En Yesfm o Rockola todavía no. Ojalá pueda en el futuro y de forma gratuita.
Gracias y un saludo.
[...] he participado en una interesantísima conversación a raiz de un post de Alejandro Suárez y otro de Rafael Campoamor acerca del fin del CD y el futuro que le espera a la música en el [...]
Me pregunto donde meterías todos estos “pensamientos” antes de tener blog…
Te honra mucho este post, como tantos otros a decir verdad.
De lo que no hay duda es que nos encontramos en un periodo de transición en el que tanto los consumidores como los proveedores de música se encuentran un tanto confusos y en el que cada uno tira por donde cree más oportuno (unos hacia la música gratis y otros hacia ordeñar la vaca al máximo).
Pienso que iniciativas como yes.fm vip son el futuro, la distribución digital de la música representa un ahorro de costes considerable respecto al formato físico, así que no es posible que nos sigan “clavando” lo mismo por el algo que no ha costado lo mismo producir… y con esto me refiero a iniciativas como iTunes o 7digital, que a pesar de funcionar, aquí en España tienen un volumen de ventas muy marginal.
En España, la gente dispuesta a comprar música bajo un modelo de precio tradicional (a 15€ el disco), prefiere pagar por tener algo que pueda tocar (si es grande mejor), así que el canal digital lo suelen despreciar, e iniciativas como música en tarjetas microsd pienso que tampoco funcionarán.
La única manera de atrapar a la gran masa de consumidores emuleros, es disponer del mismo catálogo que ellos, pero además ofrecer una inmediatez y accesibilidad total a la música que jamás podrá ofrecer un p2p… y todo esto a un precio muy competitivo, que esté muy cerca de la gratuidad (por lo menos al principio).
Quien haga esto de forma sencilla y efectiva, acabará por llevarse el gato al agua… aunque tendrá que pasar tiempo hasta conseguirlo.
Nos esperan tiempos de cambio en el sector, aunque no me atrevería a cuantificarlos en años
Genial articulo Alejandro… aparte de tu pasado en Top 40..yo fui oyente!!!
Me parece espectacular el dato de los discos de platino…
Hay mucho que hacer en este sector…un cambio cultural, de mentalidad, de negocio…y Yes.fm es una gran solucion..por cierto!
http://www.EnriqueBurgos.com
Si, y no solo por hablar de españa en casi todas partes del mundo , en latinoamerica la gente casi no compra CDs todo lo escuchan via internet o lo bajan o simplemente lo compran. la gente pasa una gran parte de su tiempo en internet y porque no escuchar su musica mientras conversa o socializa en el msn o redes sociales.
por ello yo estoy empezando con http://www.genioo.com
genioo.com es un portal buscador con cerca de 15 millones de canciones , y es totalmente legal (= , ningun mp3 se encuentra hosteado en genioo.com , ademas cuenta con 1 millon de letras de canciones ;).
Saludos Alejandro.
@Enrique Burgos, jeje me alegra saber que fuiste oyente… FUe una época muy entretenida!
@Manuel , el blog esta siendo una terapia… asi no machaco a mi familia contandoles estas peliculas que les suenan a chino
Fijate que yo Manuel, a los consumidores emuleros los doy un poco por pérdidos. Creo que es una generación que ya no valora la música igual. EL objetivo es para mi, más bien, evitar que las generaciones por debajo crezcan asi, y que haya siempre algo de lógica: si te gusta el artista, apoyalo de alguna manera… porque sino, no va a estar ahi siempre por amor al arte.-..
@Tuco Requena , Si si… pero date cuenta que iniciativas españolas, como Rockola o Yes.fm están empezando. Nosotros tenemos eso contemplado y ellos estoy seguro que tb lo tendrán…. pero llevamos pocos meses en el mercado y esas mega empresas de las que hablas llevan años y han levantado para desarrollo muchos millones de Euros…
Es un tema de tiempos. Yes.fm es un producto vivo, que tardará años , si AÑOS en estar desarrollado como queremos y con las funcionalidades que queremos darle…
@Luis Alonso-Lasheras , gracias por tu comentario.
Si no somos nosotros, lo conseguirán otros en el futuro, pero a mi si me resulta lógico que la evolución debe ser en esa linea a futuro
@Tuco, lo que Kiko propone es muy similar al star system clásico de Holywood, estrellas asalariadas y estudios que controlan todo, desde las películas que hacen hasta sus apariciones públicas o vidas privadas
A mi personalmente no me parece tan malo. Es como firmar un pacto con el diablo, pero bueno, allá cada cual con su carrera.
Lo que está claro es que si la compañía gasta dinero en la promoción de un artista tampoco es el culmen de la virtud que ese mismo artista una vez lanzado les deje tirados aduciendo diferencias creativas pero en realidad por el vil metal.
¿Quiéres ser un hit de los 40 principales?… bueno, eso tiene un coste. ¿Prefieres ser un grupo indie?… es otra opción.
@Alejandro, me temo que me repiten las clases de teoría económica y el tema de que la gente pague o no pague no depende del valor “otorgado” a las cosas, depende de la oferta y la demanda. Volvemos a Chris Anderson y su artículo sobre la economía de lo gratuito. Si el coste marginal tiende a cero (millones de copias digitales de una misma canción hacen que el coste unitario de producción, promoción, etc… sea infinitesimal) en un entorno competitivo con pocas barreras de entrada como es Internet, el precio tenderá a cero.
En el modelo anterior las compañías discográficas controlaban el espacio de distribución. Por decirlo de algún modo, los CD’s nunca han valido realmente nada, lo que valía dinero era la capacidad de evitar que otros CDs estuviesen en el estante de la tienda.
Personalmente no creo que sea una cuestión de una generación perdida. Probablemente el valor de la canción digitalizada en si ya está perdido para siempre.
Y en cuanto a que los artistas estén ahí o no… es una elección libre. Ellos decidirán si les compensa o no. Si es su carrera o vocación. Lo que está claro es que Internet está haciendo tábula rasa en la competencia por el espectador, el oligopolio llega a su fin, y que a pesar de que la cantidad de productos culturales aumenta, la demanda es finita… ergo, no hay para todos. ¡Como en todos los mercados!.
Pues yo nunca pagaría por un fichero MP3. Si quieren que pague, pago por CDs y vinilos, no por algo virtual que no existe.
@Usuario , cada uno paga por lo que quiere. Pero que no lo toques, o que sea virtual no quiere decir que no exista
Alvaro [doocomo.com], estoy completamente de acuerdo contigo en que la elección está en el artista. El artista es el que decide si firma con la multinacional, la compañía independiente o se lo monta por su cuenta (teniendo en cuenta, claro, que tenga las grandísima suerte, hoy en día, de elegir).
Por supuesto que me parece de una hipocresía brutal que un artista que se ha aupado al podio mediático con muchos millones de promoción detrás luego ande criticando a los que le han ayudado a estar allí.
Hasta aquí, todo bien.
Lo que me fastidia es que sólo existan dos opciones: o tragas con todo o no tienes acceso a que nadie te conozca. Internet, con suerte y tiempo, puede cambiar esta situación haciendo que la democracia, es decir, la propia gente sea la que eliga qué artistas quiere escuchar.
Internet, desde el punto de vista del artista, debería provocar que el embudo estrecho de acceso al público se convierta en una cañería amplia donde el público eliga qué oír.
Ese es mi mensaje.
Saludos.
@Tuco, en mi opinión el problema es la abundancia, algunos dirían exceso de oferta, aunque yo no creo que sea excesiva. Nunca es excesiva.
La tecnología a abierto enormemente el acceso a los medios de producción, un grabador digital cuesta 4 perras, con un ordenador grabas, editas y sacas el master… cuando todo esto suponía millones hace nada. Lógicamente la cantidad de música grabada se ha multiplicado exponencialmente.
¿Es eso malo?, para los exquisitos sí
para el que concibe el arte como una expresión elitista que llega al público filtrada por presuntos gurús del tema, sí. Para mi no, cultura es todo. Desde lo más marginal y extraño, a lo más comercial, de lo más elitista a lo más chabacano. Todo es cultura. Y debe ser elección del consumidor con qué emponzoña su cerebro 
ya sea el chiquichiqui o Bach.
Anderson en su libro ya lo contaba perfectamente, lo que necesitamos son sistemas como yes.fm que sirvan de filtro entre la abundancia disponible y el tiempo limitado del consumidor.
Hits van a existir siempre, y me temo que es bastante habitual que uno piense que su proyecto con la promoción adecuada podría serlo. El problema de los hits es que fracasan en 9 de cada 10 intentos. Hasta ahora a la compañía le compensaban los beneficios de ese 10% exitoso. Y supongo que encontrarán nuevas formas de seguir haciendo rentables estas apuestas.
Los catálogos indies optaron por la long tail, editar mucho, tiradas más cortas y promoción limitada. Y también funcionó. Hay muchos grupos que se ganan bien la vida con ese modelo haciendo mucha carretera.
Pero luego está todo aquello que ni aun así podrá conseguir suficiente audiencia como para ser una actividad profesional, para ganarse la vida: hacemos rap en swahili, electrónica con inspiración celta, etc… me parece muy bien, cada cual escoge lo que quiere hacer, pero seamos serios ni aun pinchándote cada hora en los 40 ibas a vender más de 10 discos.
Si estás al final de la long tail es poco probable que puedas sacar para comer de esto. Pero al menos ahora los 100 o 200 fans que puedas llegar a tener a nivel global tienen la oportunidad de descubrirte
La música ha sido la que primero ha recibido el golpe porque reunía a la vez varias características: pocos Mb para descarga, poco tiempo de dedicación para el consumidor (1 canción = 3 min, 1 peli = 2 horas, 1 novela = 20 horas), relativamente bajos costes de producción.
Pero no te quepa duda de que detrás de la música van los libros, el cine, la TV y todo lo demás.
Y me reafirmo en lo anterior, todo tiende a ser gratis en tanto el coste marginal (el coste de vender 1 unidad más) tiende a cero. Por lo que la idea de ser millonario por royalties al más puro estilo Abba o Beatles me temo que es historia. Y no porque la gente sea malvada y robe los royalties de malnutridas estrellas del pop, si no porque tarde o temprano una estrella será lanzada por una productora gratis y barrerá a las de pago. Simplemente porque los costes marginales son decrecientes.
Y formas de ganar dinero hay muchas, directo (a chupar carretera), merchandising (el cd + dvd en caja metálica con incrustaciones de swaroswki para coleccionistas), o venderse al capital y ser patrocinado por un refresco o un whisky depende si haces pop o rock
La economía actual está basada en la atención y todo aquel que pueda hacer que un grupo de consumidores le preste atención durante 3 minutos, 1 hora o 20 horas puede convertir eso en dinero. La demanda de atención es lo único ilimitado.
Pero los cantantes ya saven que no van a vivir de los cds * en el futuro estos solo viviran de los conciertos , eso esta dicho en todo el mundo.
[...] en tiempos de crisis El cd ha muerto viva la musica digital Ver series online con tv videonet El numero de telefono movil es un dato de caracter personal Con [...]
Lo peor de todo esto son las compañías discográficas, las que apuntan con un dedo al artista de turno y lo publicitan al máximo y hace que los millones de quinceañeras y quinceañeros se lo compren en forma de CDs o lo que sea. El remedio sería que desaparecieran todas las discográficas esas, auténticos cánceres al servicio de (no diré lo que todos pensamos) como la $GAE. Esa sería la solución para todos los artistas de verdad, los que no ponen ellos a golpe de talonario en los primeros puestos de las listas. Ojalá un dia amaneciera y todas hayan quebrado, no me importa tanto que desaparezcan los sellos “humildes” de los que hablas en el post, Alejandro, porque esos siempre podrán renacer (juntándose cuatro o cinco músicos ya pueden formar un sello tranquilamente), el problema son las multinacionales esas que dicen perseguir una falsa cultura y lo único que buscan es el beneficio propio a costa de acabar con los sellos pequeños y de presionar a gobiernos e instituciones para que pongan leyes que bailen a su ritmo.
[...] (dichoso) DRM. Lo comenté en el post que Alejandro Suárez dedicó al tema, a petición suya. Cada día que pasa existiendo [...]