Chris Anderson’s Long Tail blog has an interesting exerpt on a “free” music distribution approach:
Today Nine Inch Nails singer Trent Reznor posted on his site the results of his Radiohead-like experiment in giving away/selling the album of his protege, Saul Williams. The deal was that you could get a medium-quality 192k MP3 version of the album (“The Inevitable Rise and Liberation of Niggy Tardust“) for free or pay $5 for a higher-quality version.Reznor says he’s “disheartened” that a bit less than 20% of the 154,449 who have downloaded the album since it was released a few weeks ago paid the $5.
So let’s do the math: 28,322 people times $5 = $141,610
In the same issue of Wired where we interviewed Reznor about this experiment, David Byrne ran the numbers on traditional music publishing. He reports that for a $16 CD, the artists should expect to get $1.60. Reznor notes that Williams’ previous record was released in 2004 and has sold 33,897 copies. So for that previous album, Williams personally made $54,235.
From the perspective of “frictional cost” to get the music wanted, this has some fascinating implications on the internet distribution model and how pricing elasticity impacts artists careers.
At a cost of $0, the album got to 155K people and had 28K people show enough interest to buy (in a few weeks–you would expect this to increase, even through long-tail fashion over time). Previously, the musician had a album audience of 34K (he now has 5X as much product in customer hands).
If you think about the economics, this now gets more interesting. 155K people have access to the product for free, with 28K paying $5, for a total of $140K in artist revenue/ fan payment for 155K people.
Previously, 34K fans had to pay 34K x $16 = $540K + tax to put $50K (10%) in the artist’s pocket.
Internet distribution as an alternative means that more fans get access to an artist’s creation with a significant arbitrage on the 90% frictional cost currently taken by the distribution system. This makes it much easier for an artist to derive a significant portion of their income from a small fan base, changing the type of music they can release. The expanded exposure from the larger fan base and lower overhead costs make for interesting approaches that artists can take to generate income from their music.
I’m excited for the rebirth of the small, quirky artist as the “blockbuster” model is undermined.
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