Go Digital or Go Home

Sorry it has been so long since my last blog, graduate school has quite the knack for getting in the way of life outside the classroom. In my last post, I discussed a few of the issues and opportunities that have rolled in on the coattails of a seemingly daunting digital music age. Today, I would like to elaborate a little more upon this fundamental paradigm shift within the music industry and, ultimately, suggest a few strategies for turning this "virtual threat" into a "virtual opportunity." 

Regardless of whether or not the music and recording industry chooses the "fight or flight" approach to digital distribution, the trend is obviously here to stay. With this in mind, it seems as if the choice is an obvious one. In the beginning of the digital transition, the recording industry was extremely apprehensive and, often times, close-minded to the new technological advances. In the recording industry's defense, however, the transfer from retail to digital was quite an intimidating transition at the time, and it seemed as if it would eliminate a large majority of their diminishing profit margin. 

Over the years, the recording industry began to realize that digital music distribution was something that they simply could not ignore. The dreaded iTunes, iPod and iPhone were here to stay, no offense Apple. After much reflection and restructuring, the music industry now understands and values the vast opportunity that lies amid the land of social media, infinite domain names and virtual music libraries. 

However, with much opportunity comes much challenge. Although the chance for virtual exposure and unprecedented sales has rapidly increased, the availability and accessibility of music has also increased with digital distribution. This means that recording labels are able to offer music dating back as far as they can remember, as well as the albums that were made since the integration of the iPod and the cellphone. Some early adopting recording labels and artists have transitioned to strictly digital distribution, meaning a physical copy (CD) of their music simply does not exist in any retail store.

Digital music distribution has also brought about a unique purchasing alternative for the music consumer that allows them to purchase individual songs from an album without purchasing the entire 10 to 12 song album. For consumers, it allows them to purchase the songs that they really want without being tied down to the entire album. For recording label executives, however, it means that consumers are able to spend anywhere from $1 to $5 getting what they really want, and the standard $9 to $15 album is virtually out the cyber window. 

What does this mean for the recording industry? No more filler songs on albums. Every single song cut has to stand on its own two feet, because that is exactly how it will be evaluated by the listener, all "on its own." Select loyal music consumers will still purchase the entire album, if it's a good one, but the majority will evaluate each song individually to determine if it is worthy of the 99-cent price of admission. 

Personally, I believe that this concept of song individualism is a healthy change for the music industry. Now, maybe we can get our hands, or shall we say our mouse pads, on some albums that are consistently good from cover to cover. 

The digital music transition that the recording industry could not foreshadow so many years ago has now turned into a land mine of opportunity, revenue and infinite success. Despite our love loss over the tangible record, we understand that digital is, indeed, an opportunity for success and not a threat to the recording industry's legacy and legitimacy.