iPhone Ecosystem Drives Itself

Some new analysis by Chitika Research suggests a reason why the Apple ecosystem is so powerful: it has a base of customers that are highly motivated to buy other Apple products they don't yet own. Or at least one would infer from an analysis of search terms entered by iPhone, BlackBerry, Palm, Android, and iPad users.


The reason that Apple is so tough to compete with is that it has a fanatically loyal fan base, builds lots of producs on a single OS, is a single provider of hardware with a standard approach with products across a broad range of prices, from cheap iPods without screens up to Mac Pros that will break your budget.

Then it has the  iTunes and the App store that are becoming a hub for everything digital, including e-books and apps.

Search Study: iPhone Users Want New, Palm Users Want Out – Chitika Research

Android Music versus iTunes: Table Stakes

There's lots of activity in the mobile music space at the moment. Spotify is preparing to launch in the United States and Nokia is rolling out multiple new "Comes With Music territories. But Google is lijely the most significant of the new entrants.

Not that music stores per se are that big a deal on the revenue front. Of course the music download store has never been the end game. The margins are so small that the a la carte download store only has any value as a means to an end, a way to add a sticky application and increase device value, for example, as well as to provide an e-commerce platform, to a lesser extent.

Android Music versus iTunes: When Open Isn’t Quite As Open As It Might Appear | Forrester Blogs:

What Does iTunes and App Store Behavior Indicate?

About 75 percent of iTunes digital music buyers are 25 or older, says Forester Research analyst Mark Mulligan. I admit I haven't been paying any attention to the demographics of iTunes downloaders, so that comes as a surprise to me.

Apple iPhone app "for fee" downloads, on the other hand, seem to be growing at a faster rate than iTunes songs did. I haven't seen age demographics on iPhone downloads, but it stands to reason that users 25 and older are the dominant iPhone demographic. In 2008 and 2009 it appears that about 30 percent of iPhone buyers were younger than 25.

What might all that mean? Mulligan argues that music products are not as interesting to buyers as applications are. He also argues that music is not as important to buyers under 25 as it seems to be among users older than 25.

The implication there is that iTunes and music downloads have not quite caught on with younger users as one might casually assume is the case. One might note that music purchases might be more common among users with higher disposable income, which would skew to older demographics.

One might argue that music is just as important to younger users as older users, but that sideloading or illegal downloads are the dominant acquisition method.

Mulligan's observation is that the music industry still has not found a way to increase the attractiveness of its product among the upcoming generations of consumers.

I'm not entirely convinced that conclusion is completely warranted. It might be the case that downloads are driven by users 25 and older, just as music downloads seem to be.

On the other hand, one has to note that gaming applications are arguably more popular with iPod "touch" users, use of which definitely skews to the teen market segment. I'm not sure how downloading of paid apps stacks up in that demographic.

One might argue that what iTunes and the App Store have shown is a clear value for users as a means of content and application distribution channel, irrespective of age. So far, "free" apps seem to constitute 85 to 90 percent of all downloads from the App Store.

App Stores are "iTunes on Steroids"

New data from Flurry suggests that most iPhone and Android applications are disposable or perishable. Most people stop using them within a month and attrition continues to the point that withint two months, less than 15 percent of users still are using the downloaded apps.

That suggests a bias towards perishable content and entertainment or games. Few people watch "news" programming or read news articles more than once, for example.

Flurry tracks over 20,000 live applications and over two billion user sessions each month, and so far show either that "content is king" or that applications are becoming the dominant delivery mechanism for content, entertainment and tools on smartphones.

The most frequently-used downloaded apps are games, entertainment, social networking, news and other "lifestyle" apps.

Retention curves (the percentage of people using an app at varying times after download) for iPhone and Android applications were nearly identical. After just a month, 60 percent of people have stopped using the typical downloaded app.

That suggests a high degree of sampling. Users seem to be downloading and using many apps, but generally are not finding them sticky enough to continue using after two to three months.

That usage profile has not proven to be the case for some other foundational apps such as text messaging, social networking or email.

In some ways, app stores are becoming publishers of content in the same way newspapers, cable TV or the Web have been; "iTunes on steroids." That doesn't mean there is no room for other apps that prove more foundational. It just means we haven't created them, yet.

$1 TV Episodes for iPad?

Apple could begin selling U.S. television shows for $1, half of its charge on its iTunes digital media store, on the iPad, the Financial Times reports. If Apple does so, it would mean at least some U.S. content owners have decided to take the gamble of offsetting lower retail price points with higher sales.

As powerful as "free" might be for many products, $1 likewise has proven to be an enormously
successful price point for mobile application store downloads, for example. Also, Redbox DVD
rentals are priced at $1, and that price point has been gaining traction.

Apple has been selling TV episodes for about $2 each on its iTunes store, while high-definition fare that displays well on a TV set sells for $3 an episode.

Video entertainment has been a big part of thinking about what new market the iPad might be able to create, between the smartphone and the notebook or netbook PC.

Apple also has been in discussions with content owners about a “best of TV” subscription service, perhaps offered at about $30 a month, that hopefully would create a new niche in the market as well, more than one-off downloads and streaming but less than the full channel line-up that customers can buy from cable, satellite or telco providers.

The trick, of course, is to create a new niche that does not automaticaly cannibalize the value of other existing channels. That is likely one reason why Apple has not tried to create a subscription TV service for its Apple TV device.

Consumers Sending "Price" Signals to Apple?

Economists are fairly unanimous about one element of human behavior. When prices of any product are raised, demand tends to drop. The salient exception is "luxury" goods, where higher prices sometimes stimulate demand. But early evidence suggests that consumers believe 99 cents is the "right" price for a single song.

Last week was the first week of iTunes’s new, steeper pricing on some tracks, and consumers voted with their wallets, according to Billboard. Sales figures from iTunes show that tracks that now sell for $1.29, up from $0.99, sold 12.5 percent fewer units than during the previous week, while tracks whose prices were unchanged sold 10 percent more than the week before.

Overall revenue was up three percent during the week, so it might not be possible to blame the "economy" for the changes. It appears that unit sales for the top-100 songs were up for the week.

http://www.paidcontent.org/entry/419-is-the-price-right-itunes-price-hikes-impact-first-weeks-sales/

Apple Seeks "Free Access to iTunes"

Apple is in discussions with leading music companies about giving customers free access to its entire iTunes music library in exchange for premium pricing of its iPod and iPhone devices, reports Andrew Edgecliffe-Johnson of the Financial Times.

The “all you can eat” model, a replica of Nokia’s “comes with music” deal with Universal Music last December. Nokia reportedly will offer $80 or so to music industry partners, in exchange for the use of music assets.

Apple is said to have offered $20 per device, and also is said to be examining a subscription plan for iPhone users, as that device obviously comes with a billing arrangement.

The subscription model might allow users to keep up to 40 or 50 tracks a year, even if they later cancelled a subscription or changed devices.

As the old adage goes: "With all this ---- lying around, there has to be a horse here somewhere." In other words, there are new business models to be discovered that provide direct benefits to content owners, device manufacturers and access providers.

Over the long term, the only way viable business models will be constructed that support the building of fiber-to-home and mobile broadband networks, is when all the key value chain members also participate in the revenue chain. An uneasy relationship it will remain. But the relationships and models have to be created.

Otherwise, we won't get ubiquitous and capacious broadband upon which services and applications can be run.

Apple, Netflix ramp up Online Video Efforts

There are many reasons lots of people ought to be paying attention to streaming and downloaded video. Lots of people work for companies making a living delivering video products and everybody watches video in its various forms. Lots of companies are making expensive bets about what people want to watch, how and where they want to watch, what features are required and how much they will watch. The two mid-January developments in the area of particular note are the Netflix "unlimited online viewing" offer and Apple's launch of a video download service.

Up to this point Netflix has allowed its subscribers to watch online movies on a limited basis, corresponding to their monthly plans. Basically, hours of online viewing roughly correlated to the monthly subscription price. The big change is that Netflix now allows users on unlimited rental plans starting at $8.99 a month to stream as many movies and TV episodes as they want on their PCs, choosing from a library of over 6,000 familiar movies and TV episodes.


Now, subscribers on unlimited plans can stream as many movies and TV episodes as they want from the smaller instant watching library, unconstrained by any hourly limits. The move widely is viewed as a preemptive response to Apple's launching of its own video download service, using a rental model rather than "download to own" approach. Up to this point Apple has seen modest success with an approach based on Apple TV hardware and content from two studios, Disney and Paramount.

All major Hollywood studios have agreed to make their content available as part of the new Apple service. They include Paramount, Universal, Walt Disney, Warner Bros, Sony Pictures, Metro-Goldwyn-Mayer, Lionsgate, New Line and News Corp's Fox.

Using Apple's iTunes online store, US consumers will be able to hire new-release movies at $3.99 for 30 days. Older titles are priced at $2.99 for the same duration.

These movies can be viewed on iPhones, iPods and television. One can debate the impact of Apple's more-aggressive move into online downloads and streaming. In fact, one can argue that the streaming business is a different segment from the "download to own" market or the "rent by downloading" segment.

One also can debate who wins and loses in the video rental business: Netflix, Blockbuster, Amazon.com, Joost, iTunes or others. Even the impact on Netflix is debatable. If consumer use of the streaming feature increases, Netflix will pay more money in licensing fees to the studios who own the content. It also will incur more bandwidth charges. On the other hand, Netflix might spend less money on postal charges, shipping and handling of physical DVDs.

Probably more important is the strategic impact: Netflix's ability to retain existing market share as new competitors enter the market.

The other issue is which market is affected. To some extent the "view on PC" segment is where Apple, Netflix and others compete head to head. There are other segments, such as the "watch on my iPod" market, where Netflix and others delivering to the PC do not play.


Also, one might debate whether a subscription service is different from a pay-per-view model. Heavier users arguably will prefer a subscription model. Lighter users might well prefer the "pay as you go" model. Also, there is little question but that mobile, iPod, PC and TV viewing segments will emerge as full-fledged markets at some point, irrespective of the payment model.

Business motivations also are different. Apple sells content at prices as low as possible so it can create a market for its devices. Its market is rNetazors (devices) not razor blades (recurring revenue). Netflix has the opposite business model: it only cares about devices as platforms to sell content on a recurring basis.

To some extent, then, Netflix and iTunes ultimately compete with telco, wireless and cable on-demand programming offerings, in addition to competing with each other to some extent. Netflix and iTunes now are in the video on demand business, not the "DVD rental" business.

Telcos and cable companies investing heavily in broadband access networks play in the linear TV space as well as the on-demand video space. They compete directly with each other and satellite providers. But over time each of the three main linear programming providers also competes in the on-demand entertainment market, especially as such viewing can be supported on TV screens at some point.

Music Industry "Goes Open" to Make More Money

One of the odd justapositions out there right now is the recent move by music companies to drop encryption measures (digital rights management) online music sales through Amazon.com as a way of increasing sales. Given the general vested interest in protecting content from copying, this is a bit strange.

Why would music labels voluntarily drop DRM measures that make it harder for users to port their music around? In this case, a move that essentially is more open is a competitive measure. Apple, which uses a DRM format to restrict downloaded music to playback on its own devices, essentially has gotten too much market power in the music business, the studios think.

And in this case, one way to wrest back more control is to stimulate sales of unprotected music through rival retailers such as Amazon.com.

Amazon MP3, the DRM-free music store of Amazon.com, now sells DRM-free MP3s from the four major music labels - EMI, Universal, Warner Music, and Sony BMG - and 33,000 independent labels.

Apple iTunes has more than two-thirds market share of paid online music donwloads.

The top 100 songs at Amazon MP3 come at a price of $0.89 each and most other tracks are offered at a range of $0.89-$0.99, underpricing iTunes titles which are sold for 99 cents a song.

It's a bit unusual to find any industry's leaders pushing a trend towards openness, rather than upstarts. But that's what happens when an upstart becomes too successful in a new line of business. If "open" sells better than "closed," they'll try it, despite an obvious interest in copyright protection that might be furthered by DRM measures.

Of course, the problem with DRM is that it angers legitimate customers as much as it deters piracy. It is a blunt instrument.

Last Music Domino Falls: Sony Drops DRM

Sony BMG has been the last of the major music labels to insist on the use of Digital Rights Management for sales of its music in digital form. Apparently even Sony now has thrown in the towel, according to Business Week.

Sony is expected to start offering some portions of its catalog in a no-DRM format sometime in the first quarter, probably using Amazon.com's download store. Oddly enough, though music labels earlier insisted on DRM as a way of deterring piracy, DRM arguably accounts for Apple iTune's dominance of the download business, as DRM means songs can be downloaded only to specific devices.

Presumably, the announcement will helpl boost sales of downloaded music, as this projection by Enders Analysis suggests.

Backdoor Sony music MP3s

Sony's music download service uses the Windows Media Audio (WMA) format, not MP3. So it is interesting to find this bit of advice on the download site about how to take the copy-protected Sony music and transfer it to an iPod, an operation that is the equivalent, after a bit of work on the users' part, to supporting an MP3 format free of digital rights management.

"Attention iPod users:

Our download service provides files in the WMA music format or the WMV video format, which is not supported by Apple Macintosh computers. To use your music with an iPod, simply follow the steps below:

1. Save each downloaded song to your PC
2. Burn a music CD (in CDA file format)
3. Import the music from the CD into iTunes
4. Update your iPod"

If this forecast by Strategy Analytics is correct, most of the action in the music download business, exclusive of phone-specific ringtones, will not be generated by mobile service providers.

iTunes Dominates Downloads

Much as Google dominates search and search revenue, Apple's iTunes dominates legal music downloading. Aside from ringtones, it isn't so clear to me how well mobile service providers will do with their own music-selling efforts. Every little bit helps, I suppose. But music doesn not look anything like a "killer app" for mobile service providers.

Wal-Mart Closes Video Download Service

Wal-Mart shuttered its video download service Dec. 21. Videos purchased and downloaded as part of the service still are playable, so long as the original PC the movies were downloaded to remains operational. Due to licensing restrictions, those videos cannot be copied or transfered to a different computer.

That's an obvious measure to protect copyrights, but points to one objection some users may have to buying downloads. Some of us go through a PC a year, so "buying" really means viewing until the hard drive or PC dies.

Having learned the hard way this will happen, some of us now store iTunes collections on external hard drives, so we can lose the CPUs without having to reload all the music again.

Amazon to Sell Some Warner Music Without Encryption

Warner Music is making its entire back catalog, free of copying restrictions, available for purchase through the Amazon MP3 store. New releases won't be part of the deal.

Amazon therefore will be able to sell 2.9 million songs in encryption-free MP3 format. Music copyright holders obviously don't like the MP3 format. As a user, I wouldn't buy any music that isn't in MP3 format. Let them flail around some more. No MP3, no sale. That simple.

Many music industry executives probably still are kicking themselves for not "getting" digital distribution, then not "getting" iTunes.

Apple Fox Deal: Blockbuster and Netflix Impact

Apple has a deal with News Corp's Fox for a movie rental downloads. So far, the viddeo download business has been called a "hobby" by Apple CEO Steve Jobs.

Disney has had its catalog available on iTunes to allow for purchases, and other studios have partial movie and partial video content catalogs already available. It isn't clear how much impact the new "rental" capability will have. Apple probably doesn't expect much revenue lift for the moment.

Blockbuster and Netflix, of course, will be watching closely, as both of those firms want to dominate the video download business.

If Apple succeeds, it will illustrate one interesting thing about "disruptive" innovation. Normally, one expects more innovation from smaller companies. But sometimes it takes a big, influential company to really shake things up.

Google and Apple are those sorts of companies.

Mac Users do "Think Different"

The NPD Group says consumers who own Apple Mac computers are much more likely than PC users to pay to download music. According to NPD, in the third quarter of 2007 half of all Mac users had paid to download music tracks from sites like iTunes, but just 16 percent of PC owners had done so.

And while Mac users were more likely to pay to download digital music than their PC-using counterparts, they were also more likely to purchase CDs.

“There’s still a cultural divide between Apple consumers and the rest of the computing world, and that’s especially apparent when it comes to the way they interact with music,” says Russ Crupnick, NPD Group VP. “Mac users are not only more active in digital music, they are also more likely to buy CDs, which helps debunk the myth that digital music consumers stop buying music in CD format.”

According to NPD’s consumer panel data, unit-volume sales share for Apple computers increased from nearly six percent in 2006 to almost nine percent between January 2007 and October 2007.

Overall, more than 32 percent of Mac users report purchasing CDs in the third quarter of 2007, compared to just 28 percent of PC users.

In addition to purchasing CDs and downloading music, Mac users are also more likely to listen to music and watch videos on their MP3-players and computers.

While 34 percent of Mac users had uploaded music to their MP3 players, just 16 percent of PC users had done the same. Mac users are also much more likely to listen to music files on their computers (56 percent) than are PC users (31 percent).

More Personalized Digital Media

U.S. consumers across all demographics and geographies appear to be adopting digital behavior that is far more personalized, distributed and niche oriented that executives at Avenue A/Razorfish previously had thought. In fact, a recent survey of 475 consumers found that the majority are personalizing their digital experiences and sampling a wide range of niche content.

Those behaviors span recommendation engines, blogs, customized start pages, video consumption, mobile behavior and use of social media. About 60 percent of respondents have customized their home pages, for example. And 82 percent use bookmarks “all” or “most” of the time.

But there is less use of more participatory features. About 18 percent subscribe to Really Simple Syndication feeds “all” or “most of the time.” About 39 percent read “most popular” or “most emailed” links “all” or “most” of the time.

Only about 12 percent use tag clouds “all” or “most” of the time.

According to the survey, nearly 70 percent of consumers read blogs on a routine
basis, and 41 percent have their own blog, or post frequently to blogs. In fact,
46 percent of consumers who responded to the survey read four or more blogs
on a regular basis. All of that blog activity is significantly cutting into the
reach of traditional media outlets, Avenue A/Razorfish notes.

Some 91 percent of consumers rely on the Web to get current news or information, vastly eclipsing more traditional outlets such as television, Avenue A/Razorfish says.

The growing use of niche content also can be seen in respondent consumption of music and video consumption as well. Some 67 percent of consumers watch videos on YouTube or similar sites on a regular basis and 42 percent purchase music online. Avenue A/Razorfish executives conclude that online video not only is becoming more pervasive but also is affecting offline consumption.

For example, 85 percent of consumers have watched a movie preview online before going to see the film at a theater. Some 58 percent of consumers have used a service to download (iTunes) or order (Netflix/Blockbuster) films online, and 71 percent have watched a TV show online.

Consumers also appear to react positively to recommendation engines and personalized services: 62 percent of respondents have made a purchase based on personalized recommendations (by retailers such as Amazon.com) while 72 percent find such services helpful.

Boomers Buy More than 1/3 of all Music

The trick is to get them to buy digital downloads or music subscriptions as well as CDs, which they buy in great quantities. More than 70 percent of the 76 million baby boomers in the U.S. report buying music in the past year, making it the most important buying segment for CDs and an increasingly important market for digital downloads, according to Russ Crupnick, entertainment industry analyst for The NPD Group.

Baby boomers born between 1941 and 1964 now account for a third of all music sales. About 68 percent buy CDs. About 26 percent purchase both digital music and CDs, while just six percent purchase only digital music downloads.

Nearly 40 percent of boomers report that they regularly visit the music retailers or the music section of retail stores.

NPD believes more attention to the boomer segment could yield $700 million to $1 billion in potential incremental sales of both CDs and digital downloads from baby boomers.

Nothing personal: Just don't put them on iPod billboards!! That would not, as they say, be a pretty picture