Pocas industrias han
experimentado una evolución y un cambio tan extremos en los últimos años como
la industria de la producción y distribución musical. El negocio de la música
ha sido analizado desde infinidad de puntos de vista y ha ocupado un lugar
primordial en los libros de estrategia empresarial: se han estudiado todas y
cada una de sus reacciones debido a que cualquier innovación tecnológica ha
incidido sobre su funcionamiento.
En 1999 la aparición de
Napster provocó uno de los fenómenos más llamativos de la cultura digital que
aún hoy hace temblar a la industria musical; se trataba de un sencillo programa
de intercambio entre discos duros en el que se dio una relación usuario-usuario
—conocida como peer to peer o P2P— que incentivó el intercambio de archivos
MP3. El exitoso Napster fue calificado de piratería digital, pero las redes P2P
siguieron su imparable camino de popularidad, llegando a contar en 2002 con 90
millones de usuarios: el soporte perdió su valor emocional y los consumidores
dejaron de establecer lazos afectivos con la música.
Curiosamente la primera
empresa que logró establecer un consenso entre los agentes de la industria nada
tenía que ver con el mercado de la música: fue Apple, en abril de 2003, la que
mediante el lanzamiento del reproductor iTunes consiguió moldear lo que se
convertiría en el nuevo negocio en formato digital. Sólo durante la primera
semana iTunes vendió un millón de canciones, y su popularidad es tal que en la
actualidad el 60% de las ventas totales de música digital son originarias de
esta plataforma.
Siguiendo este modelo
de descarga ‘a la carta’, otras empresas consiguieron acceder al mercado
digital a través de la tecnología streaming. La aplicación sueca Spotify es el
principal referente en esta nueva oleada de servicios que, alejándose del
concepto de propiedad que propone iTunes, ofrecen a los usuarios la
disponibilidad de acceder a un catálogo de música formado por millones de
canciones, en cualquier momento y a través de casi cualquier dispositivo.
Spotify cuenta con seis millones de suscriptores de pago y compite con otras
compañías como la norteamericana Rdio (fundada por los creadores de Skype) o la
francesa Deezer.
Gracias a la aparición
de la tienda iTunes y a los servicios de suscripción en streaming la industria
global ha ido en aumento hasta lograr en 2012 un ligero incremento del 0,3% en
sus ingresos tras varios años de agonía; todo parece indicar que, por fin, la
industria musical avanza por el mismo camino que los consumidores. Para
conseguir mayores fuentes de ingresos el negocio se ha diversificado en
diferentes áreas:
Descargas: crecimiento
en la oferta de canciones, álbumes digitales e introducción del precio
variable.
Incremento de los
servicios de streaming financiados por publicidad.
Alianzas con los
proveedores de servicios y operadores de móviles.
Suscripciones a
servicios de música asociados a dispositivos.
Apoyo a los artistas en
la venta directa, merchandising y entradas a conciertos.
Rentabilización de los
videos musicales en internet.
A pesar de ello,
existen importantes barreras al crecimiento como la piratería digital o la
resistencia del consumidor a realizar pagos por internet. El artista se
enfrenta a un mundo nuevo en el que su beneficio ya no está ligado a la
realización de una copia, sino que debe lograrse por distintas vías: descargas,
servicios en streaming, conciertos o festivales, mecenas basados en intereses
publicitarios, servicios adicionales a sus fans o cualquier otro modelo que la
industria sea capaz de inventar; el camino no resulta fácil, pero en ningún
momento de nuestra historia los artistas han tenido tantas herramientas en sus
manos para darse a conocer.
El futuro de la
industria discográfica estará ligado a la habilidad de los directivos de las
compañías para lograr una posición de sostenibilidad competitiva en el nuevo entorno
tecnológico; nos encontramos ante el mejor canal de distribución jamás diseñado
por la mano del hombre, y la clave está en ser capaz de generar valor a través
de un modelo de negocio creativo que logre hacer rentable el mercado a medio y
largo plazo.
Few industries have experienced such extreme evolution and change in recent years as the industry of music production and distribution. The music business has been analyzed from many points of view and has held a prominent place in the books of business strategy: have studied each and every one of their reactions because any technological innovation has had an impact on its operation.
In 1999 the appearance of Napster caused one of the most striking phenomena of digital culture that still shakes the music industry; It was a simple exchange program between hard disks on which a relationship was given user-user, known as peer to peer or P2P- that encouraged the sharing of MP3 files. Successful Napster was rated digital piracy, but P2P networks continued their unstoppable way of popularity, getting to count in 2002 with 90 million users: the support lost its emotional value and consumers stopped bond with music.
Interestingly the first company that was able to establish consensus among industry players had nothing to do with the music market: it was Apple, in April 2003, which by launching the iTunes player managed to shape what would become the new business in digital format. Only during the first week it sold a million iTunes songs, and its popularity is such that now 60% of total sales of digital music are native to this platform.
Following this model of download 'à la carte', other companies were able to access the digital market through streaming technology. The Swedish application Spotify is the main reference in this new wave of services away from the concept of ownership which proposes iTunes, offer users the availability of access to a catalog of music composed by millions of songs at any time and through almost any device. Spotify has six million paying subscribers and competes with other companies like Rdio American (founded by the creators of Skype) or French Deezer.
Thanks to the emergence of the iTunes store and subscription services streaming the global industry has been growing to achieve in 2012 a slight increase of 0.3% in revenue after several years of agony; it seems that, finally, the music industry moves forward along the same path as consumers. To achieve higher revenue business has diversified into different areas:
Downloads: growth in the supply of songs, digital albums and introduction of variable pricing.
Increased streaming services funded by advertising.
Partnerships with service providers and mobile operators.
Subscriptions to services associated with music devices.
Support for artists in direct sales, merchandising and concert tickets.
Profitability of music videos on the Internet.
However, there are significant barriers to growth as digital piracy or consumer resistance to making online payments. The artist is facing a new world in which your benefit is no longer linked to the making of a copy, but must be achieved in various ways: downloads, streaming services, concerts or festivals, patron-based advertising interest, additional services their fans or any other model that the industry is able to invent; the road is not easy, but at no time in our history artists have had so many tools in their hands to make themselves known.
The future of the music industry will be linked to the ability of managers of companies to achieve a competitive sustainability in the new technological environment; we face the best distribution channel ever designed by the hand of man, and the key is to be able to generate value through a creative business model that succeeds in making the market in the medium and long term profitable.
Few industries have experienced such extreme evolution and change in recent years as the industry of music production and distribution. The music business has been analyzed from many points of view and has held a prominent place in the books of business strategy: have studied each and every one of their reactions because any technological innovation has had an impact on its operation.
In 1999 the appearance of Napster caused one of the most striking phenomena of digital culture that still shakes the music industry; It was a simple exchange program between hard disks on which a relationship was given user-user, known as peer to peer or P2P- that encouraged the sharing of MP3 files. Successful Napster was rated digital piracy, but P2P networks continued their unstoppable way of popularity, getting to count in 2002 with 90 million users: the support lost its emotional value and consumers stopped bond with music.
Interestingly the first company that was able to establish consensus among industry players had nothing to do with the music market: it was Apple, in April 2003, which by launching the iTunes player managed to shape what would become the new business in digital format. Only during the first week it sold a million iTunes songs, and its popularity is such that now 60% of total sales of digital music are native to this platform.
Following this model of download 'à la carte', other companies were able to access the digital market through streaming technology. The Swedish application Spotify is the main reference in this new wave of services away from the concept of ownership which proposes iTunes, offer users the availability of access to a catalog of music composed by millions of songs at any time and through almost any device. Spotify has six million paying subscribers and competes with other companies like Rdio American (founded by the creators of Skype) or French Deezer.
Thanks to the emergence of the iTunes store and subscription services streaming the global industry has been growing to achieve in 2012 a slight increase of 0.3% in revenue after several years of agony; it seems that, finally, the music industry moves forward along the same path as consumers. To achieve higher revenue business has diversified into different areas:
Downloads: growth in the supply of songs, digital albums and introduction of variable pricing.
Increased streaming services funded by advertising.
Partnerships with service providers and mobile operators.
Subscriptions to services associated with music devices.
Support for artists in direct sales, merchandising and concert tickets.
Profitability of music videos on the Internet.
However, there are significant barriers to growth as digital piracy or consumer resistance to making online payments. The artist is facing a new world in which your benefit is no longer linked to the making of a copy, but must be achieved in various ways: downloads, streaming services, concerts or festivals, patron-based advertising interest, additional services their fans or any other model that the industry is able to invent; the road is not easy, but at no time in our history artists have had so many tools in their hands to make themselves known.
The future of the music industry will be linked to the ability of managers of companies to achieve a competitive sustainability in the new technological environment; we face the best distribution channel ever designed by the hand of man, and the key is to be able to generate value through a creative business model that succeeds in making the market in the medium and long term profitable.
Tomado de: http://queaprendemoshoy.com/el-negocio-de-la-industria-musical/
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