The tenth anniversary of the iPod debut means you’ll find plenty of commentaries on Apple’s iPod and how it has changed music. It’s an issue that’s been talked to death enough, continuously, in the past ten years that I’m literally uncertain there’s more I can say about it. Here’s one good, compact commentary from Daring Fireball, inspired by Macworld’s sharp review from the 2001 debut of the hardware.

Instead, let’s consider what hasn’t happened: Apple hasn’t discontinued the standalone iPod, as distinct from the iPad and iPhone and other general devices. For music lovers, that’s a big deal. The sad news is, the category itself has all but entirely imploded.

The last ten years has been in almost every category a kind of battle between dedicated devices and convergence devices. Anecdotally and statistically, you’ve seen people abandon dedicated video cameras, still cameras, audio recording gadgets, and audio players for something like their iPhone. Little wonder: unless you have enormous pockets, if the integrated device does the job – and its battery doesn’t give out – it means something that’s always at the ready.

Apple’s legacy in music players is curious: they both defined the category, and wiped out all the competition. And that’s true even before Apple changed the category again with the iPhone. That’s not the normal pattern: typically, in electronics or any other tech, the pioneer defines a space in which other competitors come and play. Not so with the iPod: a combination of shifting consumer trends, the profound success of the iTunes “ecosystem,” and the general ineptness of competitors to make quality, differentiated alternatives has led to the iPod standing more or less alone. The iTunes issue shouldn’t be overlooked: recall that when the iPod launched, record labels were still concerned about copy protection. The result was an iTunes-iPod relationship that ultimately kept consumers from working out the complexities of moving their music library to another, rival player. (The fact that most of the rival players weren’t any good didn’t help, so we can’t ever really know how much of a factor this was.)

Two things have happened this fall. Microsoft did discontinue the Zune, in what seems the final death knell for any major dedicated music player that isn’t made by Apple:
Microsoft confirms Zune HD is dead

But, secondly, even as various analysts predicted Apple would kill the dedicated iPod players or even the iPhone-with-no-phone iPod touch, Apple didn’t discontinue anything.

My favorite player remains Apple’s iPod Classic. It’s beautifully designed, holds an absurd amount of music no phone can match (160 GB), and has a simple, clean interface for getting to your music. It’s sad to me only that it’s the only choice, particularly because the one thing rivals did have going for them was easier, more open sync rather than iTunes-only solutions. In fact, even the original iPod had as a major selling point the ability to work as a dedicated hard drive. As a purchaser of the first iPod, one of my favorite features was the ability to easily tote around a big file or two atop the music library.

Oh, yeah, and it’ll still run when your phone battery is dying, and it costs just US$249 – no phone contract required. Ahem.

http://www.apple.com/ipodclassic/

Phones as playback devices are pretty great. But remember that the original dream of the iPod was something different: it was the ability to put your whole music library on one device and take it anywhere. My main question is how that legacy will pan out. Dedicated music devices give you distraction-free access to nothing but music, and ongoing storage innovations mean that something that’s just a music device may long exceed what the convergence devices can do, surviving for the reason SLR cameras do.

Apple’s iPod series will last so long as people keep buying them; Apple seems in no hurry to walk away from extra revenue. (It’s part of the reason why they’ve got all that cash, folks.) But I wonder in the long term what will happen to the category. To me, the major gaping hole is something a lot of us wanted even when we saw the first iPod: a dedicated, pro-quality music player, a kind of audiophile iPod. It doesn’t need any fancy features or silly gold-plated jacks, just something dedicated to playing music and nothing else. I wonder if we’ll ever see that, or if it’ll be another casualty of the explosion in consumer gadgets. In the meantime, long live the iPod Classic.

And for the record, if you do have an original iPod from ten years ago, you can still make it sing: install Linux and it’ll even run Pd.

Whether or not the ability to use TuneCore as a way to get an iTunes Ping page piqued your interest, if you’re generally interested in selling your music online, here’s some more interesting news. SoundCloud has teamed up with TuneCore to allow you to sell singles and albums in a variety of online stores, including Nokia phones, Amazon MP3, Zune, Emusic, and of course iTunes.

TuneCore’s approach is pretty simple: accounts are free, and you play a flat fee ($9.99 per single, $49.99 per album) to distribute music online in all the stores. You keep all of the royalties; once TuneCore gets their flat fee, they’re out of the picture fee-wise.

Another interesting angle to me of all of this is what it may mean for Creative Commons-licensed music. There’s nothing stopping you from self-releasing an entire album under a permissive CC license, sharing it with communities of samplers and remixers on Creative Commons, but also generating revenue by selling it online.

The SoundCloud angle here isn’t complicated; it’s just some nice integration of the two accounts to save you some time. Given the rabid following SoundCloud has started to generate, though, that’s significant. “Fatigue” is really the largest problem facing social music, as a huge array of competitors try to get the attention of artists – most of them, quite frankly, fairly useless. TuneCore is very much in the non-useless category from where I sit, and getting them and SoundCloud in front of artists could be really valuable (indeed, maybe far more valuable than iTunes Ping).

Here’s the full explanation from the SoundCloud blog:
SoundCloud + TuneCore: Getting your music sold just got easier

If you’re curious who’s using TuneCore, this compilation could give you some idea. In a promotion, Yamaha (yes, the music gear and instrument makers) have worked with Amazon MP3 and TuneCore to put out a free album of TuneCore artists:
26 Free Songs. 26 TuneCore Artists.

Updated – I should note, I do hope this is the first step. The killer feature here would be “buy” links right on SoundCloud, but that doesn’t appear to be implemented yet. Edit: David from SoundCloud observes in comments that you can manually insert buy links, which gives you the freedom to choose whatever store you like. Whether automating that makes sense is another question, but you definitely have options.

And as noted by Steve of sighup in comments, part of the reason you don’t hear more about TuneCore from folks in this community is because, while it covers big-bucket distributors well, it doesn’t cover the kind of niches a lot of readers here want covered. And, indeed, focused retailers – whether direct sales or places like Beatport, Other, 7Digital, and Bleep – often generate more sales within a lot of genres, based on conversations I’ve had with artists. I’ll talk to TuneCore about what their plans may be there. On the other hand, what it illustrates is that there isn’t any one solution that works for everyone – cool as TuneCore is, part of what makes those smaller stores work is the relationships they build directly with labels and artists. And they may not be open to working with a TuneCore. The landscape is complex, but if you’re willing to invest some time, that can allow you to best fit something to your audience. More discussion in comments…

Anyway, enough shilling for TuneCore – let’s hear what you think. Are you currently using TuneCore, or an alternative outlet? What’s your experience been? Or are you leaving this to your label?

Just two weeks after Amazon launched their own DRM-free music store, Microsoft is jumping on the bandwagon. DRM won’t be gone completely from the Zune store, but there will be hundreds of thousands of DRM-free tracks going live, apparently in November with the release of a new store and new players. That’s a major departure, given that Microsoft built its Zune and PlaysForSure platforms around DRM, and introduced significant new DRM features in Vista. Normally, I don’t like to quote press releases, but I’ll give my friends at the Digital Freedom Campaign a chance for some deserved gloating:

“The industry standard has shifted in the past six months and the tide has turned in favor of consumers,” Maura Corbett, a spokesperson for the Digital Freedom Campaign said. “The number of digital music retailers offering DRM-free music will soon out number those that do not, and consumers will soon live in a world where they can listen to legally purchased music when, how, and where they want. We congratulate Microsoft for joining the growing number of retailers and labels that have realized the best way to increase the sales of digital music, is to listen to their customers.”

Actually, I’ll argue one point. The number of digital music retailers offering DRM-free music already outnumbers those that don’t. There’s iTunes (via Universal and iTunes Plus), eMusic, Wal-Mart (though with IE Windows-only downloads, for no very good reason), Amazon (which even has a Mac downloader and automatic iTunes integration), and handfuls of downloads on all the major music websites and services.

And then there are the “indie”/niche music stores: Other Music, Beatport, Dance Tracks Digital, Bleep, yoosic, finetunes, 3 beat digital, Thrill music, etc., etc. (See a whole bunch of other examples in Where Do You Get Your DRM-Free Music?)

Also this week: Radiohead dumped their label, announced they’d self-release as a DRM-free download, and let people pay what they want. I’ve been meaning to write that up — thanks for everyone who wrote in — but am sort of rendered speechless by the sensation of the online music world finally turning into what it should have been at the beginning. Clearly, Radiohead’s path works for them and may not work for everyone — if anything, this emphasizes the real significance of labels for promotion, and not so much for the broken distribution model that ultimately punished so many artists in the past. But the trend is early toward heterogeneous music sources, and choices for artists to do what makes sense for them.

Ultimately, this trend should be fantastic for diversity of music and stores alike. Just because big stores like iTunes and the Zune store are going DRM-free doesn’t necessarily mean they’ll crush smaller stores. On the contrary, the pressure is now on labels to embrace digital distribution and DRM-free downloads, which could be a real boon to smaller stores building their catalogs.

Meanwhile, video DRM is very much alive, unfortunately; TV, for instance, seems to actually be trending toward more DRM. But that’s another story, and maybe music will eventually lead video in the same direction once the video business model is more secure. (Why is it we can’t watch streaming TV with ads, for instance?)

But, years after the Napster legal implosion, it seems online music is finally coming around to access and choice, with a business model to support it.

Previously:
Free: Find DRM-Free Music, Make Glitchy Sounds, Built in Max
As Other Music, Others Embrace Downloads, is Big, DRM-Laden Online Music Out? (Okay, answer = yes.)
Where Do You Get Your DRM-Free Music?

CDM got some early exclusives on the future of Microsoft’s media plan and PlaysForSure, including an explanation of why Zune isn’t part of the PlaysForSure program, thanks to Dave McLauchlan of the Windows Media Group:

Microsoft Not Turning Back on PlaysForSure with Zune Player
MTP, Portable Player Standard? Microsoft’s McLauchlan Sets Us Straight

At the time, Microsoft wouldn’t say anything publicly about its upcoming player. Now, it has made its Zune announcement official. Translating the marketing-speak is too painful for me today, so you can read the press release after the jump, but here are the interesting points:

1. Wireless sharing: As widely predicted, the Zune will feature wi-fi music sharing, via Zune-to-Zune connections. Microsoft also promises a “platform” for sharing music and video. Sounds interesting; as long as this eventually involves the ability to freely stream VJ sets and sound files in any format I want anywhere I want, I’ll be really happy. (Okay, that could be wishful thinking …)
2. Share recordings: The portable music consumer product makers generally don’t seem to understand that lots of people make their own recordings. So it’s comforting to see among the sharing features that you’ll be able to share “homemade recordings.” (Homemade, I think, is in contrast to the DRMed music purchased for the Zune, which will have plenty of sharing restrictions — but all the more reason to stock up on your own stuff and non-DRMed music and share that instead.)
3. Surprise! Hip music! Microsoft apparently wants to build its street cred by pre-loading indie music on the device. The device will feature music from “DTS, EMI Music’s Astralwerks Records and Virgin Records, Ninja Tune, Playlouderecordings, Quango Music Group, Sub Pop Records, and V2/Artemis Records.” Sup Pop? Ninja Tune? Quango? Wow, we might actually get some music we like. And meanwhile Apple is shilling with John Legend. Am I in bizarro world?

Zune’s focus seems to be music discovery and sharing. Whether Microsoft actually pulls that off or it’s just marketing hype, it’s nice to see them trying, at least — even if they aren’t giving Last.fm a run for its money any time soon.

Anyway, that’s how I put it. Here’s how Microsoft puts it, in marketing speak:

Microsoft’s Zune Delivers Connected Music and Entertainment Experience

Built-in wireless technology lets consumers share experiences device to device.

REDMOND, Wash. � Sept. 14, 2006 � Marking the next big milestone for its Connected Entertainment vision, Microsoft Corp. today unveiled details of the first products to be released under its Zune™ brand. Designed around the principles of sharing, discovery and community, Zune will create new ways for consumers to connect and share entertainment experiences. The Zune experience centers around connection � connection to your library, connection to friends, connection to community and connection to other devices.

â€Å“The digital music entertainment revolution is just beginning,â€Â? said J Allard, vice president, design and development, at Microsoft, who is leading the charge for building the family of Zune products. â€Å“With Zune, we are not simply delivering a portable device, we are introducing a new platform that helps bring artists closer to their audiences and helps people find new music and develop new social connections.â€Â?

The Zune Experience

Available this holiday season in the United States, Zune includes a 30GB digital media player, the Zune Marketplace music service and a foundation for an online community that will enable music fans to discover new music. The Zune device features wireless technology, a built-in FM tuner and a bright, 3-inch screen that allows users to not only show off music, pictures and video, but also to customize the experience with personal pictures or themes to truly make the device their own. Zune comes in three colors: black, brown and white.

Every Zune device creates an opportunity for connection. Wireless Zune-to-Zune sharing lets consumers spontaneously share full-length sample tracks of select songs, homemade recordings, playlists or pictures with friends between Zune devices. Listen to the full track of any song you receive up to three times over three days. If you like a song you hear and want to buy it, you can flag it right on your device and easily purchase it from the Zune Marketplace.

Zune makes it easy to find music you love â€â€? whether it’s songs in your existing library or new music from the Zune Marketplace. Easily import your existing music, pictures and videos in many popular formats and browse millions of songs on Zune Marketplace, where you can choose to purchase tracks individually or to buy a Zune Pass subscription to download as many songs as you want for a flat fee.

To get started with great music and videos out of the box, every Zune device is preloaded with content from record labels such as DTS, EMI Music’s Astralwerks Records and Virgin Records, Ninja Tune, Playlouderecordings, Quango Music Group, Sub Pop Records, and V2/Artemis Records.

Zune Accessories

To enhance the Zune experience, three accessory packs help Zune users enjoy their music where they want to, at home or on the road. The packs and the individual accessories, all designed exclusively for Zune, will be available at launch:

o The Zune Car Pack includes everything needed to hit the road with a Zune device, such as the built-in FM tuner with AutoSeek and the Zune Car Charger.
o The Zune Home A/V Pack enhances your experience in the home through five products that integrate Zune with the TV and music speakers: Zune AV Output Cable, Zune Dock, Zune Sync Cable, Zune AC Adapter and the Zune Wireless Remote for Zune Dock.
o Zune Travel Pack is a set of five products designed to keep friends and family entertained on the road: Zune Premium Earphones, Zune Dual Connect Remote, Zune Gear Bag, Zune Sync Cable and the Zune AC Adapter.

Providing consumers with additional options to customize and personalize their Zune experience, Microsoft is also working with leading accessory manufacturers Altec Lansing, Belkin Corp., Digital Lifestyle Outfitters (DLO), Dual Electronics, Griffin Technology, Harman Kardon and JBL, Integrated Mobile Electronics, Jamo International, Klipsch Audio Technologies, Logitech, Monster Cable Products Inc., Speck, Targus Group International Inc. and VAF Research

The Future is Bright

In addition to the features available at launch, built-in wireless technology and powerful software provide a strong foundation to continue to build new shared experiences around music and video. As Zune evolves, the device can be easily updated. The Zune software on your PC will let you know when these updates are available for download.

About Zune

Zune is Microsoft’s music and entertainment platform that provides an end-to-end solution for Connected Entertainment. The Zune experience includes a 30GB digital media player, the Zune Marketplace music service, and a foundation for an online community that will enable music fans to discover new music. Inspired by the vast and varied community of music fans, Zune focuses on helping emerging artists shape the digital canvas. Zune is part of Microsoft’s Entertainment and Devices division and supports the company’s software-based services vision to help drive innovation in the digital entertainment space. More information can be found online at http://www.microsoft.com/presspass/presskits/zune.

There has been absolutely no official correspondence from Microsoft regarding any plan to *not* support Windows Media DRM nor subscription services. The Zune team has specifically not answered any questions related to technologies like subscription and the DRM mechanism behind it.

I think where people are getting confused is that we have confirmed that Zune will not be a member of the PlaysForSure program. PFS is about much more than subscription or DRM although those are two important components. However, a device can meet (or not meet) PlaysForSure certification on the basis of something as simple as the implementation of MSC.

So, not to make ANY claims or “hints” about what features Zune will ship with (the device will ship this year, so more news will be forthcoming) – but it is not necessarily a correct assumption to believe that because the device will not be part of the PlaysForSure program that it won’t use Windows Media DRM nor support subscription. I should also be clear that PlaysForSure isn’t going away. Microsoft remains committed to an ecosystem using Windows Media technology that a large number of partners have committed to. However, there are really two strategies in the market right now – cross-brand ecosystems (PFS) and singular brand ecosystems (Apple). The former is gaining in share and units sold, but the latter has enormous share and won’t give that up easily.

Just as Samsung sells RAM to Apple, but makes PlaysForSure devices too – Microsoft is electing to build an ecosystem around the Zune concept, but remains committed to the PlaysForSure ecosystem which many partners have joined us with.

That should be good news for Windows Media loyalists. If you look long enough at Microsoft’s bizarre Flash teaser for Zune, pictured below, I’m sure you can find many more details, in allegorical form.

Coming Zune: Zune Teaser Site [Official]
Music Site, Regina Spektor, the NYC pianist/singer whose quirky music is featured in the otherwise slightly disturbing Flash trailer

Public relations representatives from Microsoft declined comment on this story, though they did provide the standard line:

Under the Zune brand, Microsoft will build a community for connecting with others to discover new music and entertainment and will deliver a family of hardware and software products�with the first products shipping in this year.

While there are no spokespersons available for interviews, I wanted to ensure that you received the following statement from Chris Stephenson.

â€Å“Today we confirmed a new music and entertainment project called Zune. Under the Zune brand, we will deliver a family of hardware and software products, the first of which will be available this year. We see a great opportunity to bring together technology and community to allow consumers to explore and discover music together.â€Â?

–Chris Stephenson, GM of marketing, Microsoft

You may also want to check out these Zune-related blogs from people at Microsoft working on the project. Zune Insider and Madison and Pine.

So, there you have it: the blogosphere will be the place to watch this story. It’s a real study in contrast, ironically, between the relatively open cultural climate at Microsoft as far as press relations (even if they may just be baiting some stories) and the intensely closed atmosphere at Apple. Though, in fairness, I’m regularly in touch with folks who work for Apple. Which is funny, because I just got a really great tip from an Apple blogger on an awesome new FireWire audio interface he’s working on, and h–

Kidding. I’m kidding. (Sorry, Apple-ites; couldn’t resist.)