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  • Iovine said that when he hears an algorithm choose songs for a Bruce Springsteen channel, for example, he can pretty much guess what’s going to be played. Bob Seger, John Mellencamp, and Tom Petty are always popular choices.

    As he pointed out, most algorithms leave you stuck in an era, and stuck in a particular sound. However, Apple Music, Iovine argues, provides a much richer and broader range of music. He went back to the Springsteen example.

    “What freaked me out is that Apple Music played ‘Paint It Black,’ which I happen to know is one of Springsteen’s favorite Stones songs,” said Iovine.

  • “We’re trying to bring the best of both worlds,” said Cue. “You can’t do everything humanly curated, and you can’t do everything with algorithms. We have what we believe is the best of both.”
  • “As part of this ecosystem, what if there was a station that didn’t have any of those rules and didn’t serve any of those masters,” said Iovine. “What if it just took anything that was exciting, whether it be on Connect or a new record out of Brooklyn or Liverpool.”

  • But things are different this time: Apple Music is entering an already-crowded streaming market at a time when the music industry feels more in flux than ever.
  • Eddy Cue
  • he concedes that the catalog and play-on-demand access is pretty much the same no matter what service you choose.

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  • The "Connect" portion of Apple Music focuses on empowering the artists to reach anyone that's bought their music in the iTunes store and reach people who've had music in their iTunes library – that's a huge number – and to be able to self-publish. You can upload a new single. You can upload a demo. You can upload interesting artifacts from the past; you can attach that to albums in your catalog, creating a live bonus addition of catalog material.
  • When you listen to a radio station here, every song has been chosen by somebody. When your recommendations pop up "For You," that wasn't based on some tag that came into the system; it was based on editors sitting and saying, "We like this subgenre of hip-hop which branches off into these artists which branch off into these artists," and paying attention to the actual behavior in the app.

  • But that was replaced with a sense of, "I now have access to everything." It would be nice if I felt like it was music I was looking for, or getting turned onto, rather than, "It could be auto parts."
  • there is a difference between saying, "Here's a ton of playlists that we've done," and a sense of quality that comes from, say, Amoeba [Records] where I walk in there and look at the staff recommendations. [With Amoeba] I can tell that somebody – a collection of people whose lives revolve around music – spent a lot of time curating that list.
  • When you listen to a radio station here, every song has been chosen by somebody. When your recommendations pop up "For You," that wasn't based on some tag that came into the system; it was based on editors sitting and saying, "We like this subgenre of hip-hop which branches off into these artists which branch off into these artists," and paying attention to the actual behavior in the app. A

  • In today's streaming, all-access world, sometimes it feels nice to know that there are other people out there and feel like you're tuned into something that communally other people are listening to," Reznor says. With Beats 1, he says he's trying to approximate "when radio was good – which maybe it never was – but in my mind, there was a time when it seemed better than it currently is.

  • They treated music in a way that put an emphasis on curation and taste.
  • And now that access is ubiquitous and everybody has access, to me, that puts the burden on the service to make music enticing—different portals and entryways and rabbit holes. And what if that experience could be one that turns more people on to great music? I think that’s exciting.
  • As everyone has the foundation of technology and the library now, I think the experience is what matters. What we tried to do with Apple Music is make the experience around the catalog feel like people that love music have touched it in the various ways it gets presented to you: playlists that noticeably feel better, radio stations that were programmed by people, recommendations that feel less like a computer and more like someone made you a mixtape and you like their taste.

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  • er kündigte soeben an, dass er seine Musik aus den Streamingdiensten entfernen lasse, weil die Soundqualität miserabel - "die schlechteste in der Rundfunkgeschichte" - sei. Vermutlich ist er aber auch stolzer Besitzer einer 20 000 Euro teuren Anlage. Ob er seine Musik auch im Radio verbieten lassen will, wo das Signal noch viel stärker komprimiert wird als bei den Streamingdiensten, ist uns derzeit nicht bekannt.

  • Apple hat das Musik-Streaming verschlafen. Komplett. Mit dem halbherzigen „iTunes Radio“ – einem Dienst, den es in Deutschland sowieso nie gab – versuchte sich Cupertino an einer schalen Kopie von Pandora, das war es dann aber auch schon. Doch der Verkauf von Downloads via iTunes ist längst nicht mehr so profitabel, wie er jahrelang war. Die Welt gehört Spotify. Und Rdio, Deezer und Tidal. Wahrscheinlich auch in dieser Reihenfolge.
  • Streaming von Musik ist mittlerweile ein Convenience-Produkt wie Tiefkühlpizza. Alle Anbieter haben praktisch das gleiche im Programm. Lediglich die Algorithmen und die Server-Struktur bestimmen darüber, ob der Service XY ein Quäntchen besser ist als der andere.
  • Und bei Apple? Das gute alte Radio. Rund um die Uhr, mit Moderatoren, mit Ansprache.

  • überfälliger Paradigmenwechsel in Apples Musikstrategie. Weg von den Downloads im iTunes Store, hin zum Streaming.
  • Einen Service, der zwar nur in den USA operierte, zum Zeitpunkt der Übernahme durch Apple jedoch schon Verträge für zahlreiche Länder in der Tasche hatte: digitales Gold. Denn mit Plattenfirmen, Musikverlagen, Interessensverbänden und Verwertungsgesellschaften Verträge für jedwede digitale Verwertung auszuhandeln ist mühsam, langwierig und frustrierend. Soundcloud läuft aktuell Gefahr, daran zu zerbrechen, YouTube schiebt die Schuld öffentlichkeitswirksam auf die GEMA und Spotify verdient sowieso kein Geld.
  • Apple vergibt mit dieser Ansage eine große Chance, ein Alleinstellungsmerkmal, dass tatsächlich mit dafür verantwortlich sein könnte, dass „Apple Music“ ein Erfolg wird: musikalische Diversität. Dass der Service bei der breiten Masse einschlagen wird, gilt zwar als sicher. Totschlagargument: Apple verzeichnet 800 Millionen iTunes-Konten mit den entsprechenden Kreditkarten-Informationen. Wie viele von diesen Konten tatsächlich genutzt werden und wie viele der Kreditkarten noch nicht abgelaufen sind, wird nicht kommuniziert, spielt auf diesem Niveau aber auch keine Rolle. Apple liegt vorne in Sachen Kundenbindung. Auch, weil iTunes viele Inhalte parat hat, die im Streaming-Dschungel für gewöhnlich auf der Strecke bleiben.

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