Computer Support Blog

In the quest to make digital music a viable business endeavor instead of just a cool idea, there have been many businesses and websites that have already come and gone.  While digital music pirating has been a huge issue for most of the services that have failed, rapidly changing hardware has been a serious issue as well.  One quarter, the dominant digital music device is an MP3 player, the next it is a smartphone!  Failure to adapt the digital music service to the new technologies has sunk some of the digital music services distributing digital music files over the Internet.  Spotify is deeply invested in making sure that does not happen.  For that, they have Oskar Stal!

Oskar Stal is the Chief Technology Officer of digital music distributor Spotify.  As Spotify developed as a website, but prepared to take its service international, the company sought a CTO who had extensive experience with mobile operating systems.  Without a CTO who knew the ins and outs of various mobile platforms, Spotify could not take their business to the next level.  Having been employed at mBlox, a company deeply invested in mobile transactions and the technical interactions between mobile platforms, Oskar Stal rose to the top of Spotify’s list of desirable candidates for the position.

Oskar Stal’s resume is more extensive than simply working for mBlox, though spending eight years as the Director of Development in the technical department at that company was the weightiest factor in Spotify hiring him.  Fortunately for Spotify, Stal was exceptionally interested in the position; he was already impressed by how much Spotify had accomplished without someone as experienced at the top of their development branch!

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The music industry, which has spent the decade since they effectively sued Napster out of business, has watched their market shrink for years.  The business leaders within the music industry blamed digital downloads of music, specifically pirated downloads, for the steady decline in revenues.  But 2011 showed some interesting trends in the music industry which suggests that the executives may have simply been grossly impatient with their emerging market.

In 2011, for the first time ever, digital music sales grossed more money for the music industry than physical media (compact discs) did.  While the music industry claimed that digital music would outstrip physical media sales back when Napster was in operation, the decade between its demise and the reaching of this milestone suggests that the music industry did not know how to effectively exploit the new medium and sales path.  After all, if pirating music had been the sole problem with the music industry making money off digital downloads, as soon as Napster was shuttered and iTunes started selling digital downloads, the music industry would have met their goal of selling more digital downloads than physical discs.

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Learning a new musical instrument is never easy.  But, following the demise of Guitar Hero, there is – as one might suspect – an app for that!  Now, those who want to learn to play the guitar need only a guitar, an iPad, and Wild Chords to get started on a road to musical proficiency!

Wild Chords is an application, currently exclusively available for the Apple iPad, that helps teach you how to play the guitar.  In order to use Wild Chords, all you need is a guitar and an iPad; you do not need speakers or an amplifier if you are using an electric guitar.  In fact, if you are using an electric guitar, you have to unplug it from other equipment – like an amp – because the distortion from other equipment affects the program.  Even if you have never picked up a guitar before, Ovelin – the app’s publisher – is confident that Wild Chords can teach you.

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Cords are so passé.  Come to think of it, so is risking your high-priced electronic devices with damage and theft.  Despite what companies like Apple might want you to think, spending a couple hundred dollars on an iPhone 4S is a hefty investment for most Americans!  So, when the screen gets scratched or the whole smartphone is stolen, it is a significant financial setback.  From an unlikely place, though, comes a sensible solution.  That place is Tenqa and the solution is their new REMXD Wireless Bluetooth Headphones.

Tenqa’s REMXD Wireless Bluetooth Headphones are, as the name suggests, headphones that connect to any Bluetooth-enabled device.  If your Smartphone, tablet computer, or MP3 player is Bluetooth-enabled, you may connect it to the REMXD Headphones and enjoy all of your music when not in contact with your device.  With a range of thirty three feet, Tenqa’s REMXD Wireless Bluetooth Headphones allows you to listen to your music while working out, gardening or doing other activities while the device that holds all your music remains safe!

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The Internet is a remarkably shifty place.  Like the most clique-oriented teenagers, the Internet is home to overnight successes and equally fast crashes in popularity.  The Internet is, in many ways, the ultimate medium for those who have short attention spans.  Perhaps that is why there have been remarkably few Internet music phenomena.  The latest celebrity in music to have gotten her start from exposure on the Internet is also, arguably, the one who has gained the most from her time as an Internet phenomenon.  That person is Rebecca Black.

Rebecca Black was thirteen years old when she became an Internet phenomenon with her song “Friday.”  ARK Music Factory produced the song “Friday” and its creation was a gift from Black’s mother to Rebecca.  When the video for “Friday” was released on YouTube, it languished for a month before exploding with popularity.  On March 11, 2011, “Friday” started picking up millions of hits and the song and Rebecca Black became trending topics on Twitter.  Despite having a vastly disproportionate number of “dislike” ratings by viewers, “Friday” became a legitimate Internet success when YouTube users downloaded the video over 165 million times. The video earned tens of thousands of dollars in royalties and revenue-sharing from advertising through YouTube.

But how did Rebecca Black become an Internet phenomenon and what did she do with her sudden celebrity?

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According to the IFPI Digital Music Report from 2011, the music industry is a 15.8 billion dollar industry.  In 2010, legal digital music downloads generated $4.6 billion.  That number, which represents 29% of the music industry, has a vast number of analysts reaching very different conclusions.  The report, which notes that the music industry suffered a 31% loss between 2004 and 2010, is enough to give audiophiles pause.

Digital music in the form of digital downloads – audio files traditionally found online – have been on the market for over fifteen years.  However, the music industry started more carefully tracking the market share of digital downloads in 2004, following the collapse of Napster.  The influence of digital music in the marketplace has only increased; since 2004 the value of the digital music market increased 1000%!

Even with the convenient access to music that digital music affords its listeners and the lower production cost digital music offers producers, the music industry has seen widespread revenue losses.  Most in the music industry want to attribute the loss of revenue to pirated digital downloads.  Trends of pirating of digital music vary with every country, but some areas with less stringent intellectual property protections contribute more to the loss of revenue from pirating.  In the UK, 76% of music obtained online in 2010 was obtained illegally.  Industry experts estimate that digital music sales would be 131% greater if all piracy ended.

But the industry analysts may be making too many stretches in blaming digital music piracy for the industry’s woes.  The Digital Music Report attributes the 12% drop in global Top 50 concert revenues to pirating.  That connection may be a false one.  There is no evidence to suggest that those who pirate music either were attending concerts before they became music pirates or are less inclined to attend concerts once they begin pirating.  A much more likely factor contributing to lower concert attendance is the global financial crisis which has left many without the disposable income to spend on attending concerts.

Moreover, the report acknowledges that at 30% of their revenues, the music industry invests more heavily than any other entertainment sector in marketing and A&R (artists and repertoire, which is essentially talent scouting and artist development).  The report and analysts are quick to blame music piracy as the overwhelming cause of 31% drop in the value of the music industry since 2004.  Again, this is a simplistic view.  In that same time frame, pop music has all but died, replaced by rap, hip-hop and R&B on most Top 40 stations.  It is just as likely that the A&R sector of the music industry radically misjudged what music customers would pay for as it is that the piracy of digital music has precipitated the loss of revenues.

New services like Google Music continue to bolster the legal propagation of digital music downloads; there is no corresponding A&R avenue to so vigorously promote new, quality artists.

About RESCUECOM:

RESCUECOM provides computer repair and computer support, 24/7: Meeting every tech support need including data recovery, virus removal, networking, wireless services, and computer support for all brands of hardware and software. For computer support or information on products, services, or computer repair, visit https://www.rescuecom.com or call 1-800-RESCUE-PC.

For More Information, Contact:

David Milman, CEO

315-882-1100

david@rescuecom.com

Google has finally released its latest application, Google Music. The search engine giant officially made the latest Google service available Wednesday. Google Music is a simple concept with big ambitions, namely, to emerge in the online music world as a viable iTunes competitor. The service combines an online locker service with a music marketplace.

Google has gotten three of the big four music labels to sign on, as well as Merlin, a collection of larger independent labels, according to the L.A. Times. The only major music label that hasn’t yet signed on is Warner.

Though in general, the blogosphere received GMusic in a cool—maybe even hostile—way, there were still plenty of blogs and websites who found lots worth admiring in GMusic. Many people have automatically dismissed GMusic as an iTunes alternative that will fail, but we know from recent history (Kindle Fire, Android phones) that not all Apple alternatives fail. Indeed, there’s plenty of room for multiple service providers in the tech world, which is a good thing for innovation, competition and prices.

Rather than merely looking at GMusic and seeing how it fails against iTunes, we need to consider how viable its potential for growth is. Surely, we can’t expect it to take down iTunes a mere few days after its launch.

Google Music offers two main services, as well as a variety of smaller features here and there. The first is a cloud storage system for music. Google’s service allows users to store up to 20,000 songs for free. On the other hand, Apple’s iTunes cloud charges users $25 a year for a very similar service. With the cloud storage, of course, comes the ability to stream content from one’s cloud library to any device that has the free Google Music app, which is currently available for Android, or just access the service using a regular web browser. Compared to iTunes, this is really a breakthrough—no limit on number of devices that can link to the cloud (ten for iTunes users) and no need to have iTunes installed on each of them.

GMusic comes with an easy-to-use music manager that users can download for free from the online service. Once downloaded the music manager lets users upload their music to the cloud, where they can organize it. Some users complain that the uploading process takes too long, but given the fact that the service is free and that the uploading is a onetime thing, that shouldn’t really matter.

The other big service is GMusic’s marketplace. With big names like Universal and EMI, Google is offering users over 13 million songs, some of which are free.

So, even though at first, the service doesn’t seem all that amazing, a closer look reveals that it’s actually very appealing. It’s free music backup, free cloud access and storage, and occasionally free music. The interface is simple and attractive; the available collection is on the rise. What’s not to like?

About RESCUECOM:

RESCUECOM provides computer repair and computer support, 24/7: Meeting every tech support need including data recovery, virus removal, networking, wireless services, and computer support for all brands of hardware and software. For computer support or information on products, services, or computer repair, visit https://www.rescuecom.com or call 1-800-RESCUE-PC.

For More Information, Contact:

David Milman, CEO

315-882-1100

david@rescuecom.com

The next time you find yourself thirsty for something to go along with your Pandora (or Jango) station, turn to Drinkify for a suggestion. Drinkify is a playful website that offers drink suggestions to match the type of music you are listening to! Drinkify’s attractive interface is elegant and simple. There are no buttons and fancy options, just a simple text-box that follows the words “I’m listening to.” Once you enter your music, you click on “What should I drink?” The black and green website doesn’t offer an option to log in, nor does it need to. The website is more like a playful smartphone app, serving an occasional entertainment purpose. It does let you tweet your suggested results, though.

Drinkify, barely two weeks old, is the nascent creation of Hannah Donovan, Lindsay Eyink, and Matthew Ogle. The three came up with the idea, designed it, programmed the interface, and presented it in 24 hours at the “Music Hack Day Boston 2011” event between November 5 and 6.

According to the event’s website, the goal of the 24-hour project is to cram together creative and innovative people to “explore and build the next generation of music applications.” Rest assured, the term “hacking” doesn’t have the same negative Internet security connotation that we’re used to hearing. In this context, it merely means being creative with computer programming.

Drinkify combines information from the Echo Nest Project with data from Last.fm to create the appearance and content of its suggestions. For example, if you’re listening to Adele, Drinkify retrieves data about Adele’s music, such as tempo, genre, speed, and other factors that describe the artist you select, and matches it with an image of an Adele album (21, for example). Echo Nest provides the backbone of the project with its powerful platform—The Musical Brain. Echo Nest essentially gathers information about music in a variety of complex ways and offers the resultant database to music-related app developers like the group behind Drinkify.

When it comes to matching drinks with the raw data from Echo Nest, Drinkify relies on a custom developed database (presumably by the creators), which might explain some of the quirky results that come up sometimes. Mozart, as well as quite a lot of classical music, requires red wine, according to Drinkify. Adele, gets the “Adele,” which is 2 oz. Vodka, 2 oz. coconut milk, and 1 oz. honey while Chris Daughtry gets “The Daughtry,” a draft beer.

It’s not clear if the creators will put more work into the website, but if they do decide to invest more time into it, we can be sure to expect some kind of ad support down the road. On the other hand, it’s hard to imagine that Drinkify would ever survive as a subscription-based service. Though the website is creative and entertaining, it’s one of those resources whose novelty is connected to the fact that it is free.

Next time you’re jamming to some tunes and decide you need a drink, ask Drinkify and let it Drinkify your music into a drink! You might want to pass on the Mariah Carrie (vodka, egg, Hennessy).

About RESCUECOM:

RESCUECOM provides computer repair and computer support, 24/7: Meeting every tech support need including data recovery, virus removal, networking, wireless services, and computer support for all brands of hardware and software. For computer support or information on products, services, or computer repair, visit https://www.rescuecom.com or call 1-800-RESCUE-PC.

For More Information, Contact:

David Milman, CEO

315-882-1100

david@rescuecom.com