This is my dumping ground for quotes and other stuff relating to the wonderful world of digital & communications.
The digital download hit middle age in 2013. Although retirement may be far in the future, the download is getting pushed aside as consumers opt to experience music in other ways.
Digital purchases are down almost across the board this year. Track sales are down 4.4% through Nov. 24, according to Nielsen SoundScan. Track-equivalent albums, where 10 tracks equal one album, are down 2.1%. Total digital purchases — tracks and digital albums — are down 4%
One million songs were downloaded in the store’s first week, 25 million by the end of 2003, and one billion by February of 2006. iPod sales responded in kind, jumping from under one million in 2003 to over four million in 2004 to a staggering 22.5 million in 2005. By the time iPod sales reached their peak at nearly 55 million in 2008, the iTunes Store had supplanted Best Buy as the number one music retailer in the US. Less than two years later, in February of 2010, iTunes became the number one music retailer on the planet
Shazam claims to have generated $300m sales of digital goods for the music industry in its history – it says that between 8% and 10% of its music tags lead to purchases
Shazam has hit its latest big milestone – 250m users of its mobile app – while expanding its social TV features in the US to allow all shows to be tagged
Gatwick Express commissioned Radio 1 DJ Benga, indie band The Milk and film composer/cellist Philip Sheppard to create three 30 minute Express Tracks, synched exactly to the view from London Victoria to Gatwick Airport
like others on the Nexus Q project, Jones is smitten with the idea that we’ve entered a “third wave” of consumer electronics. Wave one was described by simple hardware (think analog record player). Wave two added a software brain to the package (think iPod). And now the third wave integrates the cloud
The queue is a transient song list, and not an actual playlist. When you add a song to the queue, the Nexus Q owner can listen to the track for 24 hours, even after you’ve left. It’s a kick-ass feature that reinforces the hardware as a sharing platform, but no actual files are added to the device (nor could they be, what with the lack of local storage). By the same token, Nexus Q isn’t a gateway to all your friends’ music collections or private playlists — you can only see the songs that have been added to the queue, not everything a visitor has stored in the cloud.
The 20th century did a number on music technology. Radio made music transmittable. Cars made music mobile. Speakers made music big, and silicon chips made music small. But headphones might represent the most important inflection point in music history.
If music evolved as a social glue for the species — as a way to make groups and keep them together — headphones allow music to be enjoyed friendlessly — as a way to savor our privacy
The British music industry generates £3.8 bn per year and is the second largest exporter of music in the world with a 12% share of global sales of recorded music … The music industry is made up of thousands of small businesses - 92% of the UK music businesses employ fewer than 10 people.
If the app has a single feature that makes it worth downloading, it’s probably the playlist builder. As you come across audio clips and shows you want to hear, whether it be via search or by browsing, you can add queue them to play one after another. This ends up working like a sort of personalized radio station, not of songs, but of NPR’s best in-depth music coverage
Total digital music income – earnings from online downloads, subscriptions, ad-supported services and mobile – now accounts for more than a third (35.4%) of UK recorded music turnover, up from 27.4% in 2010
while digital music sales still make up a minority of the music industry’s revenue worldwide, they are increasingly important: They now account for 32 percent of sales, up from 29 percent last year