EVENT REVIEW: MP3 Summit 2000, San Diego, CA June 22-23,2000
- Joann D. Ball
I want my MP3!
Of course, CEO Michael Robertson wants his MP3.com to be the digital music source of choice. Better yet, he wants MP3.com to be "your music service provider," and that was the theme of the third annual MP3 Summit held June 22-23 on the campus of the University of California, San Diego. Robertson made his case at his alma mater, which is a stone's throw from MP3's headquarters, and before a record crowd of industry movers and shakers, artists and others who are trying to make sense of the ever-changing digital cyberscape.
In his opening keynote address, Robertson was adamant that "a different mindset" is needed to maximize the potential of the digital music industry. His own efforts involve repositioning MP3.com as a music service provider and infrastructure company to counter the perception that it is simply a content provider. And the search for a viable business model was the main topic of interest, with proactive industry professionals all seeking ways to diversify the music industry's revenue stream so it isn't so tied to CD sales and radio airplay. The focus of the first panel of the day, "Pay to Play: Models for Monetizing Music Content from Dollar-a-Download to subscription," advertising-based and subscription models were presented as having the biggest advantage on the open market. The over-riding question, of course, was how to generate revenue and profits when digital music listeners have expressed such an overwhelming demand for free music through Napster and similar file sharing options. Regardless of what the market may decide, there was agreement among attendees that songwriters and artists absolutely deserve to get paid.
At a conference that was decidedly technology focused, the most entertaining of the nearly twenty panels, sessions and presentations of the Summit was about the music and those who make it. "Sound Advice: Online Artist Success Stories and How They Can Work for You" featured the always entertaining rap artist Ice-T among the guest panelists. In his street-wise and expletive infused delivery, he made the whole Internet music situation extremely easy to understand. Even though he compared major labels to the most ruthless gangstas who run thangs and control the turf, Ice-T still gave props to the Internet because it makes it possible for artists to own their own music. And it was his vision of a phat Christmas in the future that captured the digital music industry's ultimate challenge : "The Internet, music, MP3, is not going to move until the hardware catches up. The Christmas of the MP3 car stereo, the Christmas of the MP3 home system, the Christmas when the Rio player is playing six and eight hours... when that shit happens, sites are going to be bombarded because people are going to need content."
Making digital music portable and freeing people from their computers, as Ice-T so eloquently explained is the key to a successful digital music revolution. And to prove that it is a work in progress, many of the exhibitors in the Exhibition Showcase touted innovative products designed to facilitate the process. DigMedia Inc. displayed the portable SoulMate and non-PC based jukebox MusicStore and NetPlayRadio introduced its FMP3 transmitter which makes it possible to broadcast MP3 files from the computer to any FM receiver. In-car audio was represented by competitors Empeg which showcased its "ultimate in-dash mp3" player and PhatNoise which freely demonstrated its car audio system. And such Internet notables as online radio site Live365.com, Scour, CNET.com were side by side with Summit sponsors like MusicMatch and earjam.com. And they were joined in the exhibit hall by emerging sites like kick.com, ListenSmart and MP3.com's new online/brick and mortar music store partner DjangosMusic.com. In a separate space dubbed "the digital living room," companies such as S3, Zapstation, Xystos and MP3.com partner Panja showcased dynamic digital audio systems. All of the flash and gadgetry in both spaces was a natural extension of Robertson's keynote address demonstrations where he used urban and hip-hop music to show how MP3.com music files can be heard throughout one's home courtesy of Panja, as well as through a newly developed Samsung mobile phone and even, should one desire it, through one's regular home telephone.
Outside of the session and exhibit spaces, conversations about the current state and future of the traditional and digital music industry was as abundant as the unlimited supply of complimentary food and drinks provided throughout the two-day event. The vibe was extremely positive, with networking and socializing just as important as hearing the latest about technological, business and creative innovations. Robertson's repositioning of MP3.com as a music service provider was openly critiqued and discussed, and the obvious company shift in focus was not lost on a number of last year's attendees who pondered aloud about the shift away previous years' emphasis on "free music." At MP3 Summit 2000, Robertson proudly claimed that "MP3.com and the entire digital music space is beyond its darkest hour" in direct reference to his company's legal battles and settlement with several major record labels. Given subsequent legal activity and ongoing controversy surrounding Napster, however, the jury is still out. But one thing is for sure... the times they are a-changing. And of course, it is all happening at Internet speed.
