Hey! I Own That Ringtone!

(for the entirety of this post, see the Evolving Music blog)

Digital Rights Management and the relating issues have been big topics recently in both music news and the world of MixMatchers. As a large portion of our group is involved with creating music, the questions as to who owns it and how it can be controlled are always at the top of the conversational trash heap. It's a sticky situation which I touched on a bit in my previous post "Record Execs: Stupid or Just Plain Greedy?", and constantly up for debate. It's also the subject of quite a bit of mud throwing in the higher levels of the music industry as executives try to pass the buck as to who wants DRM, how they want it and where it came from. Furthermore, some of the bigger companies are starting to roll back their DRM in an effort to make more content cross-compatible with multiple hardware solutions (Apple DRM will only play on iTunes and iPod). Steve Jobs has expressed his opinion, and despite having helped create one of the most profitable and highly controlled DRM markets with iTunes and FairPlay, he advocates an end to DRM for music. I find the amusing point here that Jobs probably said one thing about DRM when he was trying to get label executives to let him sell music on iTunes, but has a much more pro-consumer point of view in his open letter.

Unlike a large majority of my peers, I don't have a problem paying for my music. In my mind, the .99 cents we pay per track now is a much better deal than the 16-18 we used to pay for CDs. Think about it...on an 18 dollar CD, there might be 12 tracks. Of those, you might only like two. But you don't know that until you buy the entire thing. Now, you just buy those two tracks, $1.98, and you're on your way. Furthermore, when you really think about it...if you pay 1 dollar for a song and listen to it 4 times (which you know you'll do if you're buying it), that's .25 cents per listen, right around juke box prices (for those that remember those). Keep listening and the math'll eventually drop you to fractions of a penny per listen. Not a bad deal in my mind. I've noticed that the price and ability to preview tracks before buying them has made me a much more intelligent buyer, and I almost never look through my library and think, "I shouldn't have bought that." I can't say the same for some of the CDs in my collection.

Still, so many of this Generation Y grew up with the full force of Napster, LimeWire and others running the show, and still can't get used to the idea that maybe musicians deserve to have their music bought. While I won't name any names here, one of the worst culprits of this idea of stolen music is not only a great friend of mine, but also a musician and aspiring attorney. You would think that if ever there was to be someone who would respect the legal rights and compensation of musicians it would be a fellow musician with a legal background, but not the case. Regardless of how much I pay for my music, he has no problem taking it from me for free, and in the end, I believe he feels an inward sense of smug satisfaction that he's getting away with something, all the while failing to see where that would leave him if his musical career ever got off the ground.

Where the DRM conversation get really interesting is when you match it with the topic of ringtones. Now that phones are mp3 players too, and Apple's iPhone is running the game in terms of what a hybrid hardware solution has the potential to be, the ringtones of beeps and blips from our Nokia phones has been replaced with full 2-30 second clips of songs. Just when everyone thought the copyrights were locked up for music, you have to now examine them in the context of clips for ringers.
(article continues here)