Presentation on theme: "1 Wanted: A Survival Plan for the Music Industry - Napster and the Consequences Andreas Becker Managing Consultant, Media, Publishing & Entertainment Management."— Presentation transcript:
1 Wanted: A Survival Plan for the Music Industry - Napster and the Consequences Andreas Becker Managing Consultant, Media, Publishing & Entertainment Management & IT Consultancy Diebold, Germany OReilly p2p Conference San Francisco 15th February 2001
2 About Diebold Diebold fingerprint. Establishment of the Diebold Group: employees Revenues 1999: 96 Million DM 2000: 110 Million DM Offices in Germany Frankfurt-Eschborn (Headquarters), Berlin, Munich, Stuttgart, Saarbrücken Offices worldwide Amsterdam, Budapest, Zurich, Vienna, Madrid, Singapore
3 About the Business Unit Media, Publishing & Entertainment The following industries are at the center of the Business Unit Media, Publishing & Entertainment. MPE Publishing Publishers: newspapers, periodicals, books Corporate Publishers News agencies Publishing suppliers Media Film producers Broadcasters Internet (media) start-ups Media suppliers Entertainment Portals Games producers Music labels Entertainment suppliers
4 As an introduction... "The great cultural war has broken out at last. Long awaited by some and a nasty surprise to others, the conflict between the industrial age and the virtual age is now being fought in earnest, thanks to that modestly conceived but paradigm- shifting thing called Napster. John Perry Barlow, Musician & Journalist, October 2000
5 1. The current Internet strategies of the Big Five 2. The p2p pioneers 3. The Internet challenge for the music industry 4. Refocusing strategy and business models 6. Does a p2p business model for the media industry exist? 5. Examples of new business models
6 1. The current Internet strategies of the Big Five
7 Sales (billion $) USA J F D GB Rest of World $ 38.5 $ 38.6 $ 40.0 $ 41.5 $ 38.5 Total Market size (billion $) 71% 74% 69% 72% 74% Share of the five largest na- tions (total %) Source:Phonographische Wirtschaft, Year book The current Internet strategies of the Big Five (1) The world music market has been fairly constant for the last five years. Five countries account for about 75% of all revenues. The Big Five control about 70% of the total market.
8 1. The current Internet strategies of the Big Five (2) By the end of 2000, all five major labels want to be represented on the Internet with download offerings. Business model Sale of online music through dealers Sale of online music Sale of online music through dealers Sale of online music / subscription Sale of downloads since # 5 11/2000 # 2 07/2000 # 1 05/2000 # 3 08/2000 # 4 10 / 2000 OfferingStart with 100 songs; expand to 1,000 singles / albums 200 singles / 100 albums 175 songs60 songsStart with 100 songs; expand to 300 songs Price per title no information $ 2.49no information0.29 DM (1x) 2.99 – 4.99 (unrestricted)
9 1. The current Internet strategies of the Big Five (3) An industry that goes to war with its customers is not an industry that will ultimately prevail. David Boies, Napster Chief Legal Counsel, October 2000
10 2. The p2p pioneers
11 2. The p2p pioneers (1) An overview of some key dates for the most important online competitors. A The Freenet Project Business Model Platform with free and chargeable offerings None apparent and not intended Trying for subscription fees None apparent and not intended Online launch # 1 11/1997 # 3 03/2000 # 4 04/2000 # 2 08/1999 # 5 08/2000 Strategy / Principle Products and services relating to music in general Platform for end cust- omers, artists and retailers Remote search on chain letter principle Not really open to attack Remote P2P file-sharing for all kinds of information Not open to attack Central server, on which songs are registered Remote downloads Plugin for the AOL Instant Messenger File-sharing among buddies, who decide who has or has not access
12 2. The p2p pioneers (2) A recently published survey by Spin magazine shows that, in practice, many Napster users are downloading whole albums. Despite this, many users also claimed that using Napster prompts them to buy new CDs. Spin.com, 6 September 2000, online survey among 480 Napster users How many individual songs do you download from Napster onto your computer each week? 28.2 How many complete albums do you download from Napster onto your computer each week? 1.7 How many CDs have you bought because you heard the music on Napster? 7.2
13 2. The p2p pioneers (3) Are services such as Napster really stealing profits? So far, it has been impossible to give a clear answer to this question, but it does appear that the formula download song = lost sales is erroneous, as the following research suggests. Yankelovich Partners, March 2000, online survey with just under Internet users (Profile: aged between 13 and 39; 10 hours or more per week spent listening to music via traditional and online media; expenditure on music in the last six months > 25$) Has online listening to a song persuaded you to buy the song or album in a shop? yes: 59% no: 41% Do you believe that as a result of downloading music you would buy more, the same amount, or less on CDs in shops? more: 31% the same: 57% less: 12%
14 3. The Internet challenge for the music industry
15 Create a sense of injustice Intensify existing marketing activity 1 3. The Internet challenges for the music industry (1) In order to charge for online music, the hi-fi industry will need to set itself four challenges. Each will in turn have consequences which need to be taken into account when planning Internet strategies and allocating relevant resources. ChallengeConsequence Eliminate illegal offerings Have ready supply of dedicated resources & 2 Obtain online copyright Negotiations can be difficult and protracted 3 Create a cross-label offeringIncreased demands on co-ordination and agreement 4
16 3. The Internet challenges for the music industry (2) The following theses are used to develop a worst-case-scenario, if the music industry fails to meet the challenges outlined above. Low income target groups (e.g. teenagers) will not be prepared to pay for downloads charged for by record labels on the Internet. 12 Even the high income target groups are only prepared to pay for music over the Internet if it is enhanced by significant benefits. 3 The time-to-market of large record labels will, in the medium term, be substantially longer than that of pure Internet enterprises, whose focus is on online activity alone. 4 In terms of music product enhancement through information and services, record labels and artists are clearly left behind by online providers. 5 The number of known artists circumventing record labels in favor of direct selling will significantly increase in the next years.
17 4. Refocusing strategy and business models
18 4. Refocusing strategy and business models (1) The Internet will have a lasting effect on the existing business models in the media industry. The music industry in particular will be affected by this. As a result it will need to rethink its current internet strategies and the SOPs (service offering portfolio) tied up with these. Traditional media business modelsInternet business models TV, radio Adver- tizing Media convergence Content Adver- tizing Products Services (*)Distribution share purely for example Newspapers, magazines Adver- tizing Content Books, music Content
19 4. Refocusing strategy and business models (2) Successful business models for online music sales will need to be guided by the needs and attitudes of their target groups. With use of the following three criteria, two clearly distinguishable segments begin to emerge. Money resources specifically for music expenditure low – medium high Attitudes to illegal copying or downloads I dont care/ I think its good Im against it Convenience expectation low - medium high Qualitative NOT quantitative representation Qualitative NOT quantitative representation
20 4. Refocusing strategy and business models (3) The previously derived target groups will need to be targeted with different business models. The consequence will be sharply divergent strategies and SOPs. Target groups characteristics ExamplesBusiness model Accepts illegal music Low music budget Low service expectation Against illegal music High music budget Highly developed service expectation Kids Teenagers Classes C2, D, E Freaks Classics enthusiasts Collectors Charges for music not enforceable Primary refinancing possible with advertising Charges for music + service may be enforceable Advertising hardly accepted, if at all
21 4. Refocusing strategy and business models (4) Will the breakdown be as follows? Provisional working hypothesis: The number of non-payers will be substantially larger than the group of users prepared to pay for online music. Music for free Advertizing as source of revenue Target group ATarget group B Music and services for fees Advertizing unnecessary
22 5. Examples of new business models
23 5. Examples of new business models (1) Users will be prepared to pay for free music with their profiles, which in turn will be bought by commercial enterprises and used as enablers in targeted advertising. Users A A B B C C Marketing platform Rock Pop Jazz Classics Indie Folk R&B Soul Blues My Profile Money 3 3 BUY IT ! Advertizing 4 4 ProfilesBusiness Partners Music 2 2
24 Exponential growth of free song offering Number of free songs Questions answered Modular questionnaire My Profile What I buy... What films I go to... Where I go on holiday... Which TV programs I watch... What clothes I wear Examples of new business models (2) The number of songs to be obtained free is dependent on the number of questions answered by the user.
25 Desktop PC Mobile devices MP3 player Notebook Stereo Own-label music content Other-label music content Other external content Songs Albums Merchandising Samples VideosConcert clips Songs Albums Merchandising Samples VideosConcert clips Articles Books Merchandising Peer information other Devotional objects My personal music box My own music My collectors corner My bonus points Freely configurable individ. music archive with various play options Tools for the creation and manipulation of own music Storage and management of music-related information and items Bonus account with special exclusive offers My Music Account 5. Examples of new business models (3) My Music Account allows users to listen to their music any time and on a number of devices.
26 6. Does a p2p business model for the media industry exist?
27 6. Does a p2p business model for the media industry exist? (1) In the area of conflict between artists, online players and music listeners on the Internet, the hi-fi industry is in danger of losing its central mediator role and being bypassed in the future. ArtistsOnline players Mistrust Competition Non- acceptance Music listeners Co-operations Direct sellingAcceptance
28 6. Does a p2p business model for the media industry exist? (2) The music industry is the first victim of p2p - others will follow. Its not just pop music. Every industry that trades in intellectual property - from publishing to needlework patterns - could get Napsterized. Adam Cohen, Journalist, Time, , p. 66
29 6. Does a p2p business model for the media industry exist? (3) But will these models really work? Will users finally be ready to pay for contents or will they happily embrace p2p networks, enabling them to receive access to all kind of copyright-free materials? Will the current Bertelsmann / Napster deal determine tomorrows destiny of todays media giants? As soon as Bertelsmann is trying to charge Napster users, we are going to copy the bloody thing - and call it Obstler (= German for booze). Doc Summer, Computer Hacker, Handelsblatt, , p. 62 Will Napster users be willing to pay? Is a monthly fee of $15 way too high given the fact that the average German spends $30 a year on music? How can a centralized business-model work with a decentralized p2p community? Will the other music labels co-operate with Bertelsmann? How will musicians profit from the revenue generated? Will the music industry fight other online players like they fought Napster?
30 IT specialists predict that within 10-years-time - due to progress in compression technologies - all of mankinds recorded music could fit onto a convenient consumer storage device. 6. Does a p2p business model for the media industry exist? (4) This is the end, my only friend, the end (Jim Morrison) p2p-networks could play a key role in aggregating the necessary contents. Jazz Rock Classical Alternative P P P P P P P P...available on one consumer storage device: All the worlds music Available at Hong Kongs Night Markets: US$ 10 Jazz Rock Classical Alternative All of mankinds recorded music...
31 Demand-side threat elements - long-term reusability - good, connected non-PC devices available - users want to manage library - collectibility - appeal to Net demographic - users already have free access Supply-side threat elements - lots of independent artists - solo production easy - content bundled in clumsy packages - Internet-friendly file size Threat of collapse of control Music Books Movies Games The consequences of Napster & Co. will have a lasting impact on the other media genres on the Internet. This Forrester Research overview still seems to show cautious optimism about the prospects. 6. Does a p2p business model for the media industry exist? (5)
32 At the heart of the controversy is a clash that goes far beyond the music industry. What we're witnessing is the beginning of an epic struggle between two great economic systems. On one side lies the old market-based economy, made up of sellers and buyers. On the other side lies the new network-based economy, made up of servers and clients. In markets, the parties exchange property. In networks, the parties share access to services and experiences. (...)Today, Napster is an oddity. In the future, it will be the norm. Jeremy Rifkin, Los Angeles Times, As a closing...
33 Recent Diebold Publications This presentation is based on the current Diebold Study Wanted: A Survival Plan for the Music Industry - Napster and the Consequences. Watch out for the first world wide p2p-study which will be published by Diebold in May Wanted: A Survival Model for the Music Industry - Napster and the Consequences The p2p Phenomenon: The Next Internet Revolution for the TIME Industries 2001 P-t-P Das Peer-to-Peer-Phänomen: Die nächste Internet-Revolution für die TIME-Industrien Dummy
34 Thank you very much for your attention. Which questions do you have? Andreas Becker Managing Consultant, Media, Publishing & Entertainment Management & IT Consultancy Diebold, Germany OReilly p2p Conference San Francisco 15th February 2001
35 Andreas Becker Managing Consultant Business Unit Media, Publishing & Entertainment Diebold Deutschland GmbH Dessauer Strasse 6 D Munich Germany Tel.:+49 (0) Cellular:+49 (0) Fax:+49 (0) Andreas Becker studied Business Management in London (UK) and Reutlingen (Germany), and then worked for two years as financial controller at the leading German educational publishers in Stuttgart (Germany). Since subsequently completing an MBA course in Edinburgh (UK) he has worked as a consultant for publishers and media firms. The emphasis in his consulting activities has been on topics such as eBusiness, Strategy Development, Business Planning, Controlling and Organization. About Andreas Becker