Fehler

Irrtum n. Mistake, Error Mangel n. Fault, Defect

Interview by Chris Killeen, University of Ulster

Where do you think electronically distributed music will be in relation to physically distributed music in five years time?

If electronically distributed music can address issues of fair consumer rights, realistic (i.e. less expensive) pricing, and quality then I imagine the majority of music we listen to in five years will be electronically distributed. I've no doubt that physically packaged music will still be available, however, it might have to embrace different models to be commercially viable, for example, addressing the collectors' market.

The physicality of music packaging - the ability to handle a package, read sleevenotes and lyrics, and look at artwork - is something that hasn't yet been adequately addressed by the larger music companies. iTunes offer lyrics and PDFs for certain releases, but the process of getting these is far too convoluted (and at times ineffectual) to be a realistic alternative to printed artwork.


In your opinion, will the consumer be satisfied with screen based artwork if distribution shifts to an electronic delivery?

Not unless the issues raised above are addressed.

I recently pre-ordered a copy of Madonna's 'Confessions on a Dance Floor' to try out the whole iTunes Music Store (iTMS) 'experience'. It wasn't great.

I pre-ordered the album so I could get a copy of 'Hung Up' which came with a free video. The free video never arrived, the pre-order for the album wasn't processed because of a mistake in iTunes's system, and when I got an invoice from iTunes it was addressed to someone else.

Of greater concern was the fact that when I tried to transfer the single to my iPod it told me it "wasn't compatible". It's unusual for an Apple product not to work with another Apple service. I thought I might be in the minority, but when I did a recent survey of final year Interactive Multimedia Design (IMD) students (about 100 - very geeky, lots own iPods), around 10% had problems with their iPods and iTunes.

I ended up buying the CD in Virgin. It was the same price as at iTMS and it came with no copy protection, fully printed artwork, and I can lend it to my friends whilst still listening to it on my PowerBook.

A more critical problem with screen-based artwork is that software is relentlessly upgraded and, consequently, older versions of document formats - PDF, Word, etc. - are eventually outdated and no longer supported.

I worry that when I go to read my Madonna sleeve notes, that (never) came with the download, in five years time I'll get a message along the lines of: "Sorry, this PDF is no longer supported." I doubt I'll have the same problems of accessing the printed artwork (unless I'm blind and my 'reader apparatus' - in this case my body - no longer works).


What do you see as the benefits/limitations of both physically and electronically distributed music?

This question is largely answered above, but in a nutshell:

Electronically distributed music has the potential to offer a richer environment (Video, Flash, PDF, HTML, etc.) for the consumer. However, if it embraces this richer, software-based model it suffers from the problems outlined above: that software rapidly becomes obsolete and that older document/video formats are no longer supported.

Physically distributed music offers a number of things that electronically distributed music cannot offer. Recently I purchased Richard Chartier's 4CD 'Edition'. I have the four recordings that comprise 'Edition', but the packaging was exquisite and very physical - I had to interact with it (unfolding it, etc.) in a way I can't with electronically distributed music. It also was limited to an edition of 100 signed copies.

I think I received number 2/100. I was very happy with the whole experience of interacting with the physical packaging: unfolding it, playing it, etc.. I'm also convinced that, in years to come, Chartier will be embraced as a musician who's works pushed into new territories.

I don't think I'll ever sell the 4CD set, but the signed copy, number 2/100 is something that's as yet not being explored by electronically distributed music. It's too emotionally unattached for me. I like the fact that Richard sat and signed those 100 copies and that I have one of only one hundred copies in the world.

I wouldn't feel that way about my cold digital 'copy' of Madonna's 'Hung Up' - had I got it.


Is a physical representation essential in a band's identity? If so, how important is it?

A band's identity is critical. However, a band's brand needn't be physically reproduced to be effective. It can be 'spread' just as easily virally via an electronic medium.

In fact several very successful bands are exploring new forms of 'identity', take a look at the phenomenon of Hawthorn Heights use of MySpace for an example of this.

In their early days they used their music - freely available in MP3 format - as a loss leader to help build and establish their brand. They used the loyalty this built with fans to encourage sales of additional physical media: T Shirts, badges, etc.

There are ways in which the music a band creates could be used to leverage sales of physical representations of that band's identity that aren't necessarily CDs. However, I don't think the CEOs of the big record labels have considered this or thought through the potential revenue streams here.


Will designers have to change the way they work and think, when looking at music packaging from now on?

Yes, I think so. That said, designers are - by and large - creatives who usually embrace the challenges any new format suggests. I think the the more critical question is: Will the large record labels' CEOs have to change the way they work and think, when looking at music packaging from now on?

If designers can get the budget holders to realise that there is benefit to embracing 'packaging' (in all its forms) then we might make some progress. I see nothing but opportunities when freed from the prosaic constraints of packaging CDs (protecting the media, etc.).

If I were asked by a large record label how I might package a band's brand - through posters, pin badges, bumper stickers, printable downloadables - I think I'd have a field day.

The problem is that the stakeholders - the suits - are more interested in short term profit than long term brand loyalty. Make friends with the fans, the consumers, the people who really love music, and you'll easily make money in the long run.


Will this give designers greater opportunity to be innovative in their approach?

Absolutely. See above.

There are so many possibilities to be innovative, so many ways to engage with fans and consumers. Now designers are freed from the constraints of packaging objects - CDs, LPs, etc. - they can have a field day in their approach to 'packaging' in the widest possible sense of the word.


Given the role that music packaging has played in creating strong band identities in the past, how do you think designers and record labels will approach promoting a band in the near future?

I hope the designer will step back and look at the bigger picture. If designers embrace the opportunities now at their disposal and consider new ways to develop the relationship between the artist/band and consumer and they're given a realistic budget to do this, I can't see anything but a positive outcome.

But then, re-reading the above, I'm an optimist...