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The current media landscape is being completely reshaped by the relatively recent arrival of digital media and illegal torrents. The media industry constantly lays the blame for their diminishing profits at the hands of pirates, and insists that its the ease of access to free media that is causing the problem. In order to slow or stop their losses, theyre pushing for heavy punishments on copyright infringements and actively pursuing individual offenders with penalties and fines that can be several thousand times more expensive than the original product. Media industry critics have pointed out that, in reality, the problem Figure 1: Picture taken from might lie with the industrys refusal to adapt to a tlc.howstuffworks.com changing market. The current revival of vinyl, and the independent label industry that supports it, is one of the first quantifiable indicators that its critics might be right, and the media industry is losing touch with its customers. This increase in sales of a physical format is inexplicable under the media industries logic, yet its happening none-the-less.
out almost all their weekly stock orders. Records might not have been turning into a thriving market, but it had proven its ability to be sustainable even in the face of ever-evolving technology.
The 2000s and Today: Carving a Growing Niche in the Changing World of Media
During the mid 2000s, the co-dependent relationship between DJs and vinyl records began to erode. Advances in digital technology made it easier and less costly for DJs to perform thanks to improvements in digital audio files. Instead of digging through endless crates of records looking for gems, DJs could now hop online and use Google to find and download songs in seconds. Songs began to come out on MP3 weeks before they came out on vinyl, if they came out at all. Vinyl DJs were now running behind the pack, and they were suffering for it. However, interest in vinyl has not died. Sales numbers are the best theyve been since Nielsen SoundScan began tracking them in 1991. Manufacturer shipments in North America rose by 36 per cent from 2006 to 2007 alone. By 2010, sales had reached 2.8 million units, which represented a 14 per cent increase over 2009. Vinyl has once again become a serious option for artists to consider. For example, of the 14,000 units of Panda Bears Tomboy album sold in its first week, 37% (the majority share) of those sales were made in vinyl; and when Dom launched their debut album in April of 2010, they did so strictly in vinyl and waited until February 2011 to offer a CD version. The rejection of infinitely simpler MP3 files in favour of this physical format runs counter to the direction that major record companies are headed, and it means they need to adjust if they wish to rectify their dwindling profits.
Works Cited Back to Black. Economist 20 August 2011: 56-56. Academic Search Complete. Web. 20 Sept. 2011 Dunlevy, TCha. DJ Digital. The Gazette 18 Nov. 2006. ProQuest. Web. 20 Sept. 2011 Greenburg, Zack OMalley. The Record Album Re-Turns. Forbes 18 July 2011: 62-64. Academic Search Complete. Web. 20 Sept 2011. Kratina, Al. Facing the music. The Gazette 21 May 2011. ProQuest. Web. 20 Sept. 2011 Lepage, Mark. Is it Final for Vinyl?. The Gazette 8 Dec. 1990. ProQuest. Web. 20 Sept. 2011 Passey, Brian. Vinyl records spin back into vogue. USA Today 25 February 2011. Academic Search Complete. Web. 20 Sept. 2011 Perusse, Bernard. Life on the flip side. The Gazette 12 Oct. 1999. ProQuest. Web. 20 Sept. 2011 Rabinovitch, Simona. Notes from the underground. The Gazette 12 Oct. 1998. ProQuest. Web. 20 Sept. 2011 RIAA 2009 Year-End Shipment Statistics. 76.74.24.142/A200B8A7-6BBF-EF15-2028 582014919F78.pdf. Web. 20 Sept 2011. Sanderson, David. Advances in digital technology are starting a vinyl record revival. The Gazette 28 July 2008. ProQuest. Web. 20 Sept. 2011