The band AC/DC have finally released their recordings on iTunes. They initially argued that their albums should not be available as individual songs, but should be listened to as complete pieces of work.
This is a view I can sympathise with – I was never particularly fussed by the Beatles until my Dad played the entirety of Abbey Road, when it suddenly all made sense. There certainly seems to be a subtle art to the ordering of tracks – had What’s the Story? (Morning Glory) opened with Don’t Look Back in Anger and followed it with Champagne Supernova, I suspect neither song would have been quite as popular.
But AC/DC’s change of heart is almost certainly due to commercial pressures. Despite all suggestions to the contrary, the now-DRM-free music of iTunes and Amazon is making huge amounts of money. Manufacturing costs are almost eliminated by the process, and the downloads are both immediate and cheap. The industry initially insisted on DRM (Digital Rights Management) software to ensure only certain devices were capable of playing a song – an effort to prevent piracy that, like many things in technology, was ultimately doomed by how often users were able to work around the restrictions imposed on them.
Head of Valve Software Gabe Newell once commented that piracy isn’t a price issue – it’s a service issue. He theorised that if the service was made as simple as possible with as little restriction as possible, customers were more than happy to pay for content. Whether or not it was free was not nearly as significant as how constrained the user might be, or whether the product was immediately available.
This is, in part, the cause behind Apple’s success with iTunes. Not only have they put a music store on every computer, but also on every iPad, iPhone and iPod. You can be sat on a train and decide to listen to that song you still have “on the brain”, and download it immediately.
And now, you can even download Back in Black.
The same has not yet been true of the film industry. Interestingly, the birth of digital music downloads coincided with the peak of physical formats. At 700Mb each, a CD can easily contain the information needed for an album at a reasonable quality, and double albums are rare enough that there was never a need to produce a new format.
The movie industry does not appear to have quite reached the same limit. Manufacturers constantly strive to improve the image quality, with both HD and BluRay being embraced by filmmakers. Further experiments such as 3D are ongoing, as the industry explores the question of “what’s next?” and how to best tackle piracy. We may not see any significant shift until the industry feels it is running out of options.
I’m intrigued by Mark Kermode’s suggestion that films should simply be released simultaneously in cinemas, on DVD, and in a downloadable format. This again leans towards resolving ease-of-use for the customer. Given how well this has worked out for the music industry, I can’t help but wonder if this might be the solution.