What is the Future of the Digital Music Industry in Indonesia

Guest Post - 19 December 2011

This time the Guest Post was written by Ario Tamat and will present some of his opinions and analysis on the future of the digital music industry in Indonesia, this article can also be additional information on articles with the same theme that appear. previously on DailySocial. Ario Graduated from working in the digital music industry in Indonesia in 2003-2010, and is currently working in the film and TV industry in Vietnam. He can be found on Twitter at @barijoe or his blog at http://barijoe.wordpress.com

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After reading Aulia's article, I feel that I need to add to the article with additional facts and information as well as my own opinion on a topic that is often discussed but is seen as slow-moving, namely about the music industry towards digital media in Indonesia.

I have written extensively about where should this music industry go - digital or otherwise, as well as other posts about some questions about the RBT controversy, so I won't touch on those themes.

Let's look at some of the points contained in Aulia's article:

Most music labels work directly with telco to provide music content, and some content providers aggregate from smaller music labels, or develop their own artist lists to better exploit the potential of RBT's business.
The RBT service itself uses premium SMS because it is the simplest way. But the system itself is different from premium SMS services in general because usually premium SMS services have server on the content provider side and proceed through the billing system on the telco side for payment processing, while the RBT system is installed on the telco.
Effect long tail a large amount of content or a music library for an RBT system doesn't really work, because there's no efficient music system to find those collections. In the end, music labels and or content providers still rely on advertising above-the-line on radio, TV and print media to promote the music, and thus put more emphasis on selling hit songs. So again, RBT sales still rely on airplay, with TV media being the most influential (thus supporting the spread of music on television such as the show Strikes and Inbox).
Music labels that are currently still more accepting of DRM or protection fillet, because it is basically easier to control. The Indonesian market - and Indonesian consumers - have never experienced a condition where they can only play songs purchased from iTunes on their iPods. Consumers here are more accustomed to illegal music, fillet music is not protected. So if one fillet music released on a paid service, unprotected, most likely fillet it will be distributed to illegal networks in the blink of an eye, so the loss from sales is exponential. This will continue until the music industry finds an attractive way to influence music consumers over legal music services without any restrictions.
Telkomsel recently launched SkyHit Music which is a service all-you-can-eat for music at a price of IDR 1000/week, (which I think also includes policy fair use) DRM-free. Another music subscription service is the music service from Bakrie Telecom, which also charges IDR 1000/week, but is tied to a phone (basically DRM too), and it starts with HP Esia Musicbox, then offered for other Esia phones.
To date, Spotify has not confirmed how and when it will enter the Asian market, and Deezer will have the same problem as Spotify if they enter Indonesia.

One of the main issues for me in the so-called digital music industry in Indonesia is the perception that now that RBT sales have collapsed, RBT is considered an unwanted product and there needs to be a 'next big thing' that is the hope and dream of the new income. I don't think that's the way.

Since 2009, local companies have been trying to provide services download decent music/streaming services, which are available in the market, just name a few names like: When again, Kongkoow (by IndosatM2), Souniq Music, Streams and other legal music services, albeit with limited success stories, even for the most demanding services hyping, Langit Musik (though I hope the current incarnation will be much better).

The problem is, many 'shops' already exist, but not many people know about them, or are not interested in paying for music. As with emerging trends in the tech industry, the answer is not about shifting to more profitable revenue streams, but more about creating an interconnected ecosystem of small components that will create a great all-in-one experience and enable multiple revenue models.

The market has been fragmented by musical tastes as well as Bankruptcy has a number of negative consequences that should be carefully considered before making a decision and should be consulted with an independent trusted adviser. Filing for bankruptcy costs £XNUMX of which includes the adjudicator’s fee. that may be available to allocate in music purchases, so different levels and services should be created for this segment, instead of trying to create formats, platform or all-encompassing media and hope everyone will pay for it. With a better design experience and better targeting of consumers, search results and music sales can be optimized.

So, the future of digital music not only through social media and not only through music apps developed for iOS or Android. There is no single "final solution" that will work for artists and labels, but different combinations of content, promotion, search results and music sales for every artist, even for every song.

Developments in the internet industry (online and mobile devices) will guarantee the wide range of opportunities that will be available to the music industry - even including 'traditional' forms of music such as CDs, or promotion through the media in an online manner. above-the-line - this condition only requires people who can use it properly.

Tags: musik SMS telkomsel digital music spotify rbt Deezer music sky mobilemusic

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