mobile music
DESCRIPTION
Mobile music. 20.04.2004 Sandro Grech Helsinki University of Technology T-109.551: Research Seminar on Telecommunications Business II. Overview. Music industry overview Mobile music, state of the art A service architecture for Mobile Music downloads OTA Analysis - PowerPoint PPT PresentationTRANSCRIPT
Mobile music
20.04.2004
Sandro Grech <[email protected]>
Helsinki University of TechnologyT-109.551: Research Seminar on Telecommunications Business
II
Overview
• Music industry overview
• Mobile music, state of the art
• A service architecture for Mobile Music downloads OTA– Analysis
• Conclusions
Taxonomy of mobile music
Audio/ video clips streaming
Ringtones
download
Music downloa
d
Playback from physical media
Digital media
playbackFM radio reception
Music playback over
portable devices
Multimedia mobile terminal mobile music capabilities
Super-distribution
Music content delivered
through mobile networks
Mobile music
Music industry in a nutshell
• Mature oligopoly (“big five” record labels)• In 1947 six labels controlled 90% of the music industry• In 1999 five of their successors still controlled 84% of the
industry• Market size: 40 billion euros annually• Music = information
– Intangible, inexhaustible– public good = non-rival, non-excludable– Experience good– Repetitive good
• Declining sales attributed to online piracy
Music industry in a nutshell
• Continuous wave of innovations:
1870’s
1880’s
1890’s
1900’s
1950’s
1960’s
1970’s
1980’s
1990’s
2000’s
…
1877 – First music recording (Thomas Edison)
First record catalogues
First mass production of records (12´´)
1951 – First tape recorder
1963 – Introduction of audiocasette (Philips)
Sony releases the Sony Walkman
CD format introduced (overtook LP sales in 1988)1987 – mp3 digital compression (Fraunhofer Institut)
1997 – First mp3 player
p2p file sharing
RetailerDistr
ibutor,
wholesale dealer
Recording studio,
CD manufacturer
Record labelComposer,
performer
Value chain and cost structure
Development Production Marketing Distribution Retail Consumer
Roy
alti
es a
nd
adva
nces
(16
%)
Man
ufac
turi
ng (
7%)
Mar
keti
ng (
16%
)
Ove
rhea
d (2
0%)
Lab
el’s
pro
fit (
3%)
Dis
trib
utio
n (1
0%)
Ret
aile
r m
arku
p (2
8%)
Mobile music, state of the art
• Monophonic ringtones
• Polyphonic ringtones
• 2002 global ring tone sales of $1.5 billion
• 3rd party content providers take up vast part of the revenue– Operators missed a sizeable revenue
opportunity (keeping only SMS revenue)
Mobile music download OTA
• Mobile music downloads have the potential to succeed if:
– the service is capable of meeting consumer requirements that cannot be met by download services in the fixed Internet, or
– the mobile download service is more convenient to use than its fixed Internet equivalent.
A service architecture for Mobile Music downloads OTA
Radio broadcast
Synchronized GPRS portal (including “reverse channel”)
Synchronized portal
Mobile Terminal- FM broadcast reception- application client- 2.5/3G data- DRM client- media player Mobile Operator
- 2.5/3G infrastructure- billing platform- DRM platform
Radio station- GPRS content synchronized with radio broadcast
Content aggregation- hosting of encoded audio content
Reco
rd L
ab
els
Music download
Business model
Synchronized portal
Consumer
Mobile Operator
Radio station
Content aggregation
Reco
rd
Lab
els
1. Pays bill to mobile operator,
including music download fees
(content + bearer charges)
3b. Royalties
3a. comm
ission
$ (bearer charges + commission)
$ (content fees - operator commission- radio station commission- record label royalties)
$ Royalties
2. Content fees - commission
$ “Marketing Commission”
• M
obile
pho
ne ve
ndor
s
• Con
sumer
elec
troni
cs
manuf
actu
rers
• Netw
ork o
pera
tors
• M
VNOs
• Netw
ork v
endo
rs
• Dev
ice ve
ndor
s
• So
ftwar
e
vend
ors/i
nteg
rato
rs
• Com
pose
r, pe
rform
er•
Recor
ding
labe
ls
• M
usic
publ
isher
s•
Radio
& T
V bro
adca
sters
• M
usic
porta
ls
• Rin
gton
e pro
vider
sDevelopment
Mobile platform/ application provider
Network operators
Service provider/ portal
Consumer Device manufacturer
Sig
ns, r
ecor
ds, m
arke
ts
and
dist
ribu
tes
mus
ic.
Hol
ds li
cens
ing
righ
ts to
pe
rfor
man
ces
and
reco
rdin
gs.
Music production/ publishing
Music acquisition/ aggregation
• W
ireles
s por
tals
• Rec
ord
compa
nies
• Rin
gton
e pro
vider
s
• M
usic
MVNOs
• Bro
adca
sters
Supply chain
Acq
uire
s an
d ag
greg
ates
m
usic
rig
hts
for
repr
oduc
tion
on
vari
ous
chan
nels
.
Dev
elop
s ap
plic
atio
ns f
or
mob
ile
plat
form
. Inc
lude
s D
RM
, bil
ling
, MM
S,
etc…
Pro
vide
s de
live
ry, a
cces
s an
d ne
twor
k se
rvic
es. M
ay
offe
r bi
llin
g or
hos
ting
.
Cre
ates
the
inte
rfac
e,
bund
les
and
mar
kets
m
obil
e se
rvic
e. I
nclu
des
cont
ent a
nd s
ubsc
ript
ion
man
agem
ent.
Pro
duce
s ac
cess
dev
ices
ca
pabl
e of
sto
ring
, and
re
play
ing
mus
ic.
Cre
atio
n of
mus
ic p
iece
s
Implications• Music development
– Reducing the control of music sellers?
• Music production and publishing– New source of revenue– Require DRM protection
• Music acquisition and aggregation– Intermediary (e.g. aggregators from fixed Internet) or
carried out by other players in the supply chain
• Mobile platform and application providers– Nokia “Visual Radio”– Ericsson “M-USE”
Implications
• Network operators– Unlike other wireless content and applications,
operators have little or no ownership and control over mobile music offerings
– operators have to position themselves as value-added partners to record companies and labels, with the core role of mobilizing the provision of mobile music.
– Consumer willingness to pay (~ 1€/song)
– Small margins, high volumes
Implications
• Service provider/portal– Possibly a new type of MVNOs?
– Radio stations, music televisions…
• Device manufacturers– Battery life
– DRM fora
– Open platforms
– Possible expansion towards other consumer electronics (e.g. car stereos)
Implications
• Consumer– ubiquity, immediacy, flexibility, convenience
and personalization – unbundling– Better selection?
Mobile music evolution roadmap
OTA Monophonic Ringtones OTA Polyphonic Ringtones
Integrated FM Radio Receiver
SMS, CSD GPRS(30-40kbps)*
EGPRS(100-160kbps)
WCDMA(64-384kbps)
IEEE 802.11(limited by transport)
HSDPA(2xWCDMA)
Interactive FM Radio
Radio reception with synchronized GPRS content.
- ringtone downloads
- interactive polls
- “click to buy”
- interactive marketing
- etc
Radio reception only Radio reception with capability to download selected
tracks over wireless network.
Mob
ile m
usi
c se
rvic
es
Beare
rte
chnolo
gie
sM
obile
musi
c ca
pabili
ties
Streaming audio
2.5 - 4min down to 1 mindown to30 sec
* typical (non-peak) data rates Estimated download time for a 3MB audio file
Conclusions
• Digital music distribution has profound implications on the music industry
• Fixed Internet has showed that consumers are willing to pay for music downloads
• Several variants of mobile music downloads may exist. Time will show which will be the most successful
• Role of incumbents (e.g. broadcasters)
Conclusions
• Enabling technologies already in place or already under development
• Business cases, particularly for mobile operators will be based on thin margins
• Complementary rather than full replacement
Discussion….
Questions?