The Outlook

Facebook and Spotify Get in Bed

My best friend Tim has an encyclopaedic knowledge of music. Growing up, Tim was a constant source of compilations, taped from vinyl, introducing me to most of the music that defined my teenage years. Much of it still ranks at the very top of my favourite music list today. As we got older, Tim graduated from tape to MiniDisc, and from MiniDisc to memory stick, allowing his musical tastes to influence an entire peer group through 'Birthday Specials', 'German Progrock Samplers' and 'Psychedelic Essentials'.

Now I reckon most of us have a Tim in our peer group, or perhaps you recognise yourself as the Tim of your group, so it's no surprise that the significance of last month's Spotify announcement of greater Facebook integration is not lost on Tim. Put simply, this integration reduces the process of making a compilation for a friend down to one step only: the preparation of the playlist. By sharing just that information via Facebook, other registered Spotify users can instantly stream music from the cloud. Now Tim can push out his latest compilation to all his friends simultaneously, and without doing anything that could be deemed to infringe copyright.

But Tim can go one step further and broadcast his playlists via his own radio station. Playdio - a combination of playlist and radio - allows him to add his own spoken links within his playlist, so he can for example explain why Kraftwerk really are the greatest band of all time, and share via Spotify and Facebook. Welcome to Radio Tim

Dark Skies for Quality

Low Bitrates - Quality in the Cloud?

Whilst these are promising and exciting developments, there are significant problems that are yet to be addressed by the music industry.

Firstly, quality. So far, streaming services are limited to compressed, lossy MP3. By now even Tim has figured out that his friends are happier when he gives them full quality compilations so he may hold off on Spotify and Playdio for the moment.

Linn's own download site LinnRecords.com shows that when you offer people a choice of quality - MP3, CD and Studio Master in our case - over 80% choose the best quality available. So what's stopping mainstream cloud services going CD quality or higher? The standard argument they give against doing this is the cost of infrastructure for higher quality. Let's come back to this in a moment.

No Silver Lining for Artists

Information is Beautiful - How Much do Music Artists Earn Online

Second problem - how do artists make enough money to survive in the "music-in-the-cloud" view of the world? This graphic illustration of the problem is both amusing and startling. As the terrifyingly large pink circles show, no-one has yet come up with a sustainable business model that doesn't involve selling physical media. Putting it mildly, streaming royalties from Spotify, iTunes and their like aren't exactly a source of riches for artists. Tim may be oblivious to this problem today, but he will care deeply when sources of new music dry up. Spotify is part owned by the major record labels, creating a real danger that indie labels will be shut out in the event that significant revenues are generated.

What's the Forecast?

Is music moving to the cloud? With the recent launch of Spotify in the Netherlands and the US launch planned for later this year, something has to change in order for cloud services to become more than just cool technology for wannabe Tims, and cheap or free music for the rest of us. In my opinion the obvious solution is to raise both quality and prices to pay for the increased infrastructure, leaving enough money for artists to survive and continue to create new music

bbc-logo.jpg

In the UK we have the unique situation of a compulsory license fee for every household in order to fund our public service broadcaster, the BBC.

 

How on earth then have we arrived at a situation where the BBC is using our money to lock down the way we access the very content we have paid for via its online iPlayer platform? For those who are unfamiliar with the BBC's policy, through the use of content protection it is purposely making it impossible to consume BBC online content legally through third party applications and products.

bbc-iplayer-logo.jpg

 

It argues this to guarantee quality delivery, the very argument Apple uses to shut-out a host of  third party iPhone applications that happen to compete with Apple's own applications:

 

"Since launch in 2007, BBC iPlayer has always used content protection in order to provide UK audiences with the most compelling content," it said in a statement.

 

Linn Radio.gif

Maybe it has, but the approach it is taking with iPlayer is unprecedented in the Corporation's history. To illustrate by analogy, Linn this month launches Radio DS in beta, making internet radio as easy to use as FM / AM, granting all Linn DS owners one-touch-of-a-button access to their favourite internet radio stations at the highest quality, including BBC stations; who would sensibly argue that content protection of internet radio stations, preventing innovation, high quality and simplification, would be somehow serving the British public?!?

 

Similarly, I can't see Samsung, LG or Sony cooperating if the BBC manufactured the Freeview digital television modules themselves and attempted to force those manufacturers to buy only from the BBC.

 

Yet it seems that given half a chance, the BBC, via the iPlayer, can't wait to choose on behalf of the British public the washing machine as well as the washing powder, paid for with our own money!

 

This is a dangerous development. The BBC is, wholly inappropriately, taking a similar approach to shareholder-funded Apple. Prefer to use Windows Media Player? Too bad. Prefer to use the XBox? You can't. You must use the iPlayer, and only the iPlayer.


Even if the BBC were not licensee-fee funded, it is buying into a world-view where every corporation takes it upon itself to lock-down the customer experience and lock-out third parties. Taken to its logical conclusion, open standards are dead, interoperability is dead, freedom for third-party innovation is dead and consumer choice collapses to corporate sole-providers - the self-professed authorities.


And what is the customer experience the BBC has chosen on our behalf?; the Home Computer - hardly the ideal way to experience television, or one of their anointed iPlayer providers - Sky, Virgin, or one of the mobile devices they've managed to release an application for. 

iplayer-screen-grab.jpg


Think of the amount of engineering resource the BBC is consuming in order to chase these various rabbits, as it attempts to make iPlayer a global standard. Who asked them for such a thing? It makes it impossible for anyone other than the BBC to decide how we, the licensee-fee payers, wish to access the BBC's online content. Short-sighted, authoritarian and unacceptable. 


If instead the corporation simply publishes an open interface to its funded content, the interested third parties will allocate the engineering resource - surely this would be a scaleable model in line with the BBC's public service remit leading to innovation, high quality and consumer choice?

 

If you've been following Linn closely over the last couple of years, I doubt you'll have failed to notice our emphasis on Open. We do this in the knowledge that Open is best for the customer and at Linn we believe, as my father Ivor is fond of saying: What's best for the customer is best for the company. LP12_angle_with_record_shadow_med_res.jpgBack in 1972, he created Linn around the Sondek LP12 turntable with

(1) an Open design ethos: Modular, expandable, upgradeable. Open to future improvement. Recognition that customers might wish to use non-Linn components. Compatible with any hi-fi system.
(2) an Open manufacturing ethos: Anyone could learn how to build the LP12 from start to finish and develop expertise, as opposed to the more common production line tending to use humans like robots on only one part of the process.Help_choose_best_hifi.jpg
(3) an Open sales ethos: The TuneDem empowered customers to decide for themselves, and choose the hi-fi that was best for them, even if it wasn't Linn.

Why did Ivor take this Open approach? Why not deliver fully-loaded one-piece turntables off a production line through the mass market, using clever marketing to persuade people of its acoustic benefits?  Clearly he was convinced of the merits of his design breakthrough, yet at the same time he knew that it wasn't perfect, and so he gave the LP12 the ability to be improved in the future. He created a company filled with people who would be interested in making and improving the LP12 which still stands almost 40 years later. And because he was not afraid to have people compare his turntable against anyone else's, he ensured that those who bought his product did so of their own volition. Ivor showed that Open is a corporate attitude first and foremost, which pervades every activity of an Open company.

___

international_ces_2010-1.jpgAs CES 2010 comes to a close in Las Vegas, beware of those companies who claim to be Open because they adhere to an open standard. The adoption of open standards or technologies is only part of the story, and on its own does not imply an Open company, nor one with the long term interests of its customers at heart. 

Many companies adopt open standards as a way to attract customers into other types of lock-in. For example, almost all automotive companies implement open standards within the vehicle, but increasingly some are attempting to introduce parts only compatible with their own diagnostic tools. In what was previously a very open market, those companies are deliberately trying to reduce the amount of open-ness in the engine and striving for sole supplier status. Sole suppliers are bad for both manufacturers and customers alike because they reduce choice and tend to limit value creation in the long run.

Many others use open standards where convenient - where they can be leveraged - and then  layer unnecessary proprietary technology on top in order to lock customers into their platform. Apple, for example, has Wi-Fi in their iPod Touch / iPhone, which allows customers to access the entirely proprietary Apple App Store. For those not familiar, the Apple App Store hosts applications only for the iPod Touch / iPhone; applications are vetted via an opaque process by Apple staff before being admitted; the delivery mechanism is via an Apple iTunes account only; applications can only be created using Apple's development system. The reason for it all, of course, is to justify and allow Apple to take a third of all the revenue from application sales.

___

The most crucial aspect of an Open corporate ethos is a commitment to looking after the long term interest of customers. 

A closed solution does what the manufacturer defined and what they decided when they designed their solution, but it is impossible for the customer to stray outwith the bounds of that definition, impossible to extend or to personalise the solution beyond the confines of the manufacturer's design horizon. 

How_good_a_sound_do_you_want.jpgThe manufacturer-defined, closed solution can be alluring at the point it is purchased, because it can appear to meet the criteria today. However, the limitations will become apparent the very first time that the customer wants to add a feature or use the system in a way that the manufacturer did not foresee or permit. These companies hope you will replace the product or solution before that happens.

In total contrast, Linn, as an Open company, tries to take the longest term view of customer satisfaction at every stage. Choices are made at the design stage to allow for the unanticipated, the unintended - even the unwanted - uses of our products. By owning and controlling the key processes that affect the quality of our products rather than buying-in, Linn is able to continuously improve its products, improve its cost-versus-performance value and offer long service life. Linn allows its customers to extend the solution indefinitely as requirements change and new ones appear over the years.

___

Discover_New_Music.jpgThis month we launch our Studio Master music package offer with the purchase of any Linn DS. Because of our Open ethos, we can work with the manufacturers of different storage solutions for each Linn DS, rather than force our customers into a one-size-fits-all package.

Our Open approach to our music label, Linn Records, means we offer Studio Master quality music, DRM-free, and indeed were the first to do so. We chose to offer music in FLAC because it is completely Open. After a fierce debate, the eventual basis of our momentous decision to allow customers to use Linn digital downloads as they saw fit, even though some argued it would lead to lost sales through piracy, was that it was undoubtedly best for customers, and in the long run would therefore be best for Linn.

Because we are Open, we host Studio Masters from a variety of independent music labels on our site and, with a transparent and simple non-exclusive contract, ensure we are easy to do business with and offer a fair deal to artists.

___
google-nexus-one.jpg
Finally, as 2010 unfolds, I will be keeping a close watch on Google's Android mobile platform. It will be in direct competition with Apple's iPod Touch / iPhone and it may be more Open on many levels.

Indications are that Google will let the public decide (through some sort of a rating procedure) which applications are best for Android. Apple on the other hand is telling the public which applications the public wants. Indeed they have rejected quality applications on a number of occasions simply because they compete with Apple's interests and the interest of their chosen network operators, including music player applications, alternative developer frameworks and VOIP applications. We wouldn't tolerate this in government - why do we tolerate it in companies!?!

Whereas Apple have signed operator-specific contracts around the iPhone (it was O2-only in the UK until recently), Google's Nexus phone will be offered through all carriers. In addition, customers will be able to choose from a wide variety of Android-based phones. If Google takes the Open approach, Android stands a real chance of becoming the pervasive open standard in the mobile market.

Linn ends its CD players

25 Votes
Gilad_Announces_CD_Players_EOL.jpgA journalist I spoke to the other day said to me: "Your father, he's rather opinionated, isn't he?"

"Oh, how so?" I replied.

Journalist: "In the 1980's he said that CD would never catch on."

Me: "Well, he was right! It just took 20 years for his prediction to come true!"

---

Who - apart from Ivor - would have thought back then that vinyl would out-live CD? Yet who today would dispute that this is likely to be the case?

In fact Ivor said two things; firstly, don't throw out your records because you haven't heard what's on them yet (and LP12 upgrades in 2007 and 2009 are the most recent vindications). Secondly, CD would be an interim format, before an eventual 'true' digital format would come along to rival vinyl. With Studio Master downloads and format-independent Linn DS music streamers, Linn believes Ivor's digital prophecy has been fulfilled.

Yet Linn is not claiming the end of the CD format.

I have a good CD shop at the bottom of my street and still find it an enjoyable way to buy music. I take my new CDs home, rip them to my NAS and use the Direct Play feature in KinskyDesktop to play the music immediately. My guess is CD's will be around for a few years yet.  

So why end CD player manufacture?

Although over the years it did become progressively harder to source CD engines and loaders of the quality required, the real killer was performance. Once we proved out the theory that streaming a CD could and should sound better than playing the same CD, it was only a matter of time before we stopped making CD players. We now have Linn DS players at Klimax, Akurate and Majik level, as well as integrated offerings for various applications, each of which outperforms any CD player and offers more value than its CD-playing counterpart. We have far greater control over the supply-chain, with the benefit of far superior product reliability and longevity.

What about customers who want to buy a CD player? Is Linn turning its back on those people?

We thought long and hard about this. In the end, we decided that we'd rather take the time to explain to existing and potential customers why we believe the time is right to get into music streaming even if it means we risk losing a sale.

Of course we will continue to support our CD players in the market to the very best of our ability. Linn has a consistent track record of maintaining long product service life, and our decision to stop manufacturing new CD players does not jeopardise this.

When you bought a CD player, that's all you got - a CD player. When SACD came along we were told we needed to buy a new player. Same again with DVD, same with Blu-Ray disc.

Music streaming, and Linn DS, offers format- and resolution-independence and, crucially, upgradeability. That's why Ivor calls it the "digital LP12".

I'll be available for an online Q&A on 1st December from 5pm to 7pm GMT.


Otoken_Gilad.JPGAs I mentioned in my earlier entry on introducing Cara to Japan, Linn has been responsible for introducing music streaming into the Japanese audio market and probably because of that I was asked to speak to an invited audience of over 200 press and public at the Ototen show in the Akihabara district of Tokyo recently.

The seminar at Ototen is organised by the publisher Ongen, who owns around ten specialist audio-video titles. They, along with the StereoSound magazine group, dominate the Japanese specialist press. Ongen's audiophile website PhileWeb is the number one online portal and you can see the coverage the event received here.

Otoken_Gilad_Yamanouchi.JPGThe event took place as an-onstage dialogue between me and Yamanouchi, a highly-regarded critic, with discussion ranging from the story of Linn DS so far, to the future for downloaded music quality, to the future of the hi-fi industry, to the future for the music industry.


Yamanouchi-san pronounced this a time of great significance for audiophiles and the hifi industry, that will be looked upon in future as a critical turning point. We could not avoid the bare facts: CD players and printed disc media are on an unstoppable and accelerating demise, to be replaced with music streaming and downloading. The emergence of higher-than-CD quality downloads means, for the arguably the first time since the introduction of mass-market digital music, quality is finally on the rise.

And to drill the point home, following my seminar, was a presentation from a Japanese company called Kripton, who were launching a new download portal called HQM (High Quality Music).

For those interested in the details of my demo at Ototen:

We had a Klimax DS / Klimax Kontrol / Klimax Twin / Akurate 242 set up, allowing me to illustrate the differences between mp3 and Studio Master quality for the audience - the difference sounding surprisingly clear in what was a very large auditorium. I used Claire Martin's "Everything I Got Belongs To You" from her new album A Modern Art that I'm becoming quite a fan of.

I also couldn't resist playing the whole of Alfie Boe "Love Unstuck" from his new album Love Was A Dream. I've never listened to operetta in the past, but I challenge anyone to listen to these traditional love songs from The Merry Widow and others without feeling incredibly uplifted. The quality of the recording, the lightness of the Scottish Opera orchestra, and the emotion in Alfie Boe's voice are all wonderfully joyous.



Although I've been at Linn for over 6 years, this was my first ever business trip to Manhattan... and I was nervous as hell! I find the place intimidating to visit even as a tourist, so the idea of presenting Linn DS to a room full of high-powered, straight-tawking New Yorkers filled me with fear.

Here's a sample of what my "normal" hi-fi audience in Manhattan looked like:

Owner of private equity investment company
Portuguese first secretary to UN
Entertainment lawyer to the stars
Owner of chain of diamond jewelry retailers
Deputy state governor (retired)
Hedge fund manager

and

Craig Kallman, head of Atlantic Records, the most profitable record label in the world, which sold more records than anyone in the U.S. in 2008. Craig's a Linn customer, and he popped in to say "hi". Elliot Fishkin, owner of Innovative for over 35 years, has a personal friendship with Craig Kallman through supplying him with hi-fi equipment over the years. 

[ Hats off to owner Elliot and his manager Scott Haggart (from Scotland, who drinks Scotch!), for the wonderful environment they've created below street level on E58th Street; a truly innovative use of space in an over-crowded, expensive city. ]

Craig has one of the largest private record collections in the world > 300,000 vinyl (!) and a passion for great sound. He owns Linn, SME and Wilson: you can read this excellent interview he did with Stereophile for more info.

Here is a young, visionary leader of a record label, taking the fight to the Majors, unafraid of the digital future, embracing change and delivering success to his artists.

If proof were needed of Craig's commitment to high quality audio reproduction, he has bought a full floor of his apartment building in New York's upper east side which he's in the process of converting into top-spec listening rooms for Atlantic recording artists. He wants his artists to hear their music at its best. Expect to hear more about this come the new year.

Back to the evening itself. Sticking to my main presentation theme of the last few months, I talked about the improvements we're making to the recording process at Linn, and to demonstrate I played a sample of the latest studio masters from the Scottish Chamber Orchestra and Claire Martin. To my surprise, I was asked to make a straight Majik CD vs Majik DS comparison, which told me it was DS Day One for most people there. Having been expecting a confrontational audience, I was pleasantly surprised that everyone heard and agreed the improvement of the DS over the CD player.

As is often the case at Linn DS musical evenings, the conversation turned to the music industry itself, and whether Linn and other specialists were alone in fighting for the higher quality of digital music. Luckily, I could point to Mr Kallman as evidence of a mass-market future for high quality downloads.



ronniescotts.jpgclairemartin.jpg
If you love live music, you have to visit Ronnie Scott's Jazz Club in London before you die.

I had the pleasure and privilege to watch Claire Martin perform her new album, A Modern Art, at Ronnie Scott's this week. It was absolutely bucketing down with rain in London, but Ronnie's was packed. It's such an intimate venue - low ceiling, seats crammed together - that there is an easy rapport between the artist and the audience, and also seemingly a rapport within the audience.

Claire played this intimate atmosphere to its full potential. This was a masterclass in holding an audience in the palm of your hand. She oozes class. Her voice is a finely-honed musical instrument and seeing her live makes you realise how much thought and effort goes into her every expression.

We've worked with Claire for 17 years so far; she's one of the jewels in the crown of Linn Records and she just keeps getting better. 

And did I mention that I got a kiss on the cheek from her afterwards? OK I admit it, I'm in love.


Mark Moraghan.jpg
The official launch of Mark Moraghan's jazz swing project, Moonlight's Back In Style, took place at London's Leicester Square Theatre this week, and I managed to take this blurry, unlicensed photo with my mobile phone.

Mark's the blur a third of the way in from the left. As you can (kind of) see, he was backed by a full swing band with an impressive brass section giving off a really big sound and creating a party atmosphere.

The combination of Mark's characterful voice and intelligent songwriting by Nicky Campbell shows that crooning can be modern, stylish and witty, and the genre has more to give an audience than simply more rehashes of the old standards. Mark and the band performed the full album of original songs, and some well-chosen covers were a bonus, particularly "I've Got You Under My Skin". 

Although Mark is primarily known for his acting talents in the UK (Brookside, Holby City), singing is now his focus, and if I had a voice like him, it would be mine too! 

Moonlight's Back In Style is available on Linn Records at Studio Master quality.
Gilad inside Wine.JPG
Here I am at Aux Fins Gourmets, a wine merchant in Bodenheim, Germany, specialising in French wines.

This was Day One of the Klangstudio Sommerfest 2009, celebrating 30 years of the Linn retailer Klangstudio Pohl, run to an exceptional standard by Rainer and Margret Pohl.

You can see me standing in front of a Linn Klimax System, and Thomas Saheicha, Linn's European Sales Manager, to the left of the picture demonstrating Klimax DS with and without the new Dynamik Power Supply. 

The setting was unusual for a hi-fi demonstration, the Klimax System in amongst magnificent Bordeaux wine, and this created a magical atmosphere, helped by a never-ending supply of wine for the 80 to 100 guests to enjoy. Fine wine and fine music go together perfectly.

Because the audience comprised many non-audiophiles, I decided on a different approach to the traditional Linn TuneDem. To start with, I told the story of my recent visit to a recording session of the Scottish Chamber Orchestra to learn how Linn's investment in new recording equipment and techniques was improving the quality of our recorded music. And I explained how with Linn DS it is possible for our customers to enjoy unfettered access to higher quality source material, which in turn stimulates those on the recording side to up their game. Then I played the entire Studio Master of the Emperor Concerto, from Beethoven's Piano Concertos 3, 4 & 5 by the SCO with Artur Pizzaro on piano, the first of Linn's recordings made with our new recording system. Many people closed their eyes, imagining themselves at the recording session (at least I think that's what they were doing, though some may have over-indulged on the fine wine).

I used the same recording to compare the Klimax DS with and without Dynamik. Because many people present had never made such a comparison before, I found myself asking the question: "Which is the better Artur Pizzaro?" in order to help the audience engage in active listening. By following a short snippet of the main piano melody through the concerto, most people could easily discern the musical improvement yielded by the Dynamik. And it allowed me to focus on music, rather than hi-fi, with an audience of non-hi-fi buffs.

Thomas presents Radikal.JPG
Day Two of the Sommerfest was held at the Klangstudio (sound studio) of Rainer and Margret Pohl.

This picture shows Rainer's surprise at receiving a gift of a Linn Radikal for his LP12, our thanks for 30 years in business.

There was a fantastic turnout of family, friends and great customers to enjoy the live music, jumbo german hotdogs and sunny weather.
Last week Keith Robertson (Linn's software manager) and I went to Tokyo to introduce Cara and Kinsky Desktop.

Japan's an interesting market for DS, because the mass-market streaming devices aren't widely available. So Linn, in addition to the challenge of introducing DS to the Japanese market, is also introducing the idea of music streaming to many for the first time. In the early days of DS, we had this idea that because the Japanese are a technologically advanced society, they would embrace DS more than any other market. In fact, it's been the toughest market for us.

This realisation dawned on me early in 2008, some months after the launch of the Klimax DS, when we hadn't sold a single DS in Japan. So in February 2008, I spent a week in the presidential suite of the Palace Hotel, Tokyo demonstrating the Klimax DS. I must have made 50 presentations that week, mostly to press critics who sat with folded arms proclaiming: "This is not hi-fi!"

But eventually the Klimax DS and the other DS players we introduced started to sell, and gradually we've made progress with press, retailers and customers there.

Thankfully, Linn Japan managed to arrange that Keith and I make two presentations to press, in two groups of about 20 each. 18 months from that initially cold reception, understanding of DS in the Japanese press is now amongst the best in the world. One leading magazine, Hi-Vi,  has a 14-page DS special in its latest edition, with 4 critics presenting their DS (one Klimax, two with Akurate, one Majik) with block diagrams of their full system including video and networking components. 

I think the strongest impact of our presentation came from Keith's Kinsky Desktop demo, where he grabs an album cover and drops it into the PlayNow button and it plays instantly. 

It's my hope that the new simplicity of Cara and Kinsky Desktop opens Linn DS to the less tech-savvy people who want to enjoy the sound but without the hassle.