@BCM101_DrMoore #BCM101TUT10 Final Blog

(Shin 2008)

All the insiders rumour over the decline in sales.
All the buzz is happening in the new digital market place.
FBI warning printed on the flipside.
Under penalty of law piracy will be prosecuted.
In MRR (Maximum Rock And Roll) someone asks the question,
“With the instant availability of information
and content so easily obtainable
is the culture now a product that’s disposable?”
All the punks still singing the same song.
Is there anyone thinking what I am?
Is there any other alternative?

Are you restless like me?

-Against Me!, Up the Cuts (2007)

Are old media technologies as obsolete as first thought?

It is true, Dr Frankenstein did it! The Gramophone record went on to suffer a slow death at the hands of the compact disc, a newer, smaller and digital sibling. This same fate would later befall the compact disc in its battle with the mp3, yet with new technologies getting more compact and interactive, Dr Frankenstein saw a practical use for the older and larger analogue monster that is the vinyl record. With the resurrection complete, the monster then began to take its place back on the store shelves and in the United States alone “sales grew 15 percent year-over-year in 2007 and 89 percent in 2008” (New York Post, 2009). So why in a world of iPods, ones & zeros and file sharing did this obsolete technology make a comeback Lazarus would be proud of and will there be any Frankenstein like sequels?

Sterne states that there are two types of types of obsolescence, stylistic and technological, the first of which is defined through technological progression and evolution leaving older technologies behind. The second is “the idea that objects go out of fashion and need to be replaced”(Sterne, 2007 pp20). Sterne neglects the notion that in contemporary society, fashion is a cyclical entity and later admits that “some old technologies do make a comeback from the trash heap...Old records, for instance have surfaced from their status as once dead commodities” (Sterne, 2007 pp26). This challenges the basis behind stylistic obsolescence and offers more questions to why other technologies are yet to be revived.

Now that the stylistic obsolescence of vinyl records is called into debate, then is there any doubt that the vinyl record is technologically obsolete when compared to its digital counterparts? Biddinger et al believe that it is inferior and state; “the strong and immediate comparisons between the two technologies were vital contributors to the sounding of vinyl’s death knell” (2008, 186). This is in direct contrast with audiophiles, who are by definition “a hi-fi enthusiast” (Soanes et al, 2005). In a series of Perlman interviews with audiophiles the consensus was that “The CD medium measures better than the LP in such engineering terms as signal-to-noise ratio and frequency response, but golden-earists have insisted that the LP nevertheless sounds better. Digital provides only an approximation: that is, it is considered to be inherently inaccurate (Perlman, 2004 pp793-794). This has allowed vinyl records to remain popular amongst that particular group in society, but does not wholly explain the answer to the question of why the format has had a recent upsurge in popularity.

In this digital age the major record labels are struggling to find ways to sell music and whilst bands like Radiohead look to challenge the distribution model this “may be closing the door for future artists to receive similar heights of commercial success by making use of a model that embraces free downloading” (Morrow, 2009 pp165). Tom Majerczak owns and runs Hobbledehoy Records, a Melbourne based independent record label specialising in international and domestic alternative bands. Despite these concerns, Hobbledehoy employs another method that combines elements of new and old media technology on a smaller scale. Tom Majerczak notes that consumers see more value in the physical product as:

“Often these items hold some sort of significance to the owner too, so they're not only concerned with the product itself, but the memories, emotions, etc attached to it. Vinyl being an especially well-presented and large-sized format, I think this is only exacerbated, much like a hard-cover book relative to a pamphlet”(2009).

Accordingly Hobbledehoy Records place an emphasis on the physical product, but back this up with a form of digital insurance. Every vinyl record sold through Hobbledehoy is accompanied with a digital download certificate as Tom Majerczak states “A notable amount of people purchasing vinyl records don't own a turntable, and for the many that do the digital serves as a convenience” (2009). This approach points towards the idea of fan culture and collectors being the ones responsible for vinyl record’s comeback.

When the compact disc was first introduced record companies looked to phase out the vinyl record as the margins were higher from cd sales (Burkart et al, 2003 p340). Special edition compact discs were released and although Marshall states; “The digital-quality sound was obviously enticing but the industry felt that those customers most interested in sound quality would already have substantial vinyl collections and would be reluctant to replace them. The addition of bonus tracks to the CDs was one way of enticing these consumers” (Marshall, 2004 pp176).

It is a somewhat ironic twist that this same technique is being used by vinyl records over the compact disc. Having been a fan of the band Against Me! for some time I was quite excited to hear they were releasing their alternative takes of songs from their album “As The Eternal Cowboy”. However there was a catch, the songs would be released as 7 inch vinyl singles and with no way to play these back, what reason was there for me to buy it? Limited numbers, coloured vinyl and unique artwork appealed to the collecting side of me and I would later be receiving a series of records that I could not play, but valued more than my compact discs.

According to Bennett the intertwining of fan and collecting culture has “been effectively trained in the age of consumerism, their lifestyles and identities based around a series of consumption practices of which music fandom is a key element” (2006 pp221). Accordingly this element of band/brand loyalty has been a key factor in the resurrection of previously obsolete technology.

The reestablishment of value in the physical side of music has been paramount to the sales growth of vinyl records, but is not something that can necessarily be replicated across other forms of old media. The significance of vinyl records in popular culture has made them fashionable again, but it seems unlikely that people are going to be willing to purchase a fifteen year old analogue mobile phone and use it with the same intentions. Yet, elements of this same culture means many people would rather frame an oil painting than have a Photoshop slideshow decorate their walls, despite advantages on both sides of the battle between pixels and paintbrushes. So whilst technological obsolescence may be seen as a nail in the coffin for many technologies, the stylistic obsolescence theory could be the lightning bolt that revives it.

As digital content becomes more involved in everyday life the technological advances are seemingly leaving further technologies obsolete in their wake. This digitisation is paradoxically assisting particular old technologies in being roused from their slumber. The fact that digital items are easily duplicated without loss and their lack of physical value has pushed music fans to seek greater value for money. As this new digital content has left the compact disc in a similar technological position to vinyl records, then music collectors will look invest in the one with the greater physical value, an area where vinyl’s bigger is better philosophy trumps the compact disc. Tom Majerczak from Hobbledehoy Records sums it up when he says “releasing vinyl is very much a labour of love for Hobbledehoy, especially in the Australian market where vinyl sales are a tiny drop in the ocean (2009). But it is that very reason that challenges the notion of obsolescence and adds to the rising value in some old media technologies.

References:

Against Me, (2007) Up the Cuts. Sire, Fargo Records. CD, 3min.

Bennett, A 2006, ‘Punk’s Not Dead: The Continuing Significance of Punk Rock for an Older Generation of Fans’, Sociology, Apr 2006, vol.40, pp219-235.

Biddinger, M & Yochim, EC 2008, ‘It kind of gives you that vintage feel': vinyl records and the trope of death’, Media, Culture & Society, Mar 2008, vol.30, , pp183-195

Burkart, P & McCourt, T, 2003, ‘‘When Creators, Corporations and Consumers Collide: Napster and the Development of On-line Music Distribution’, Media, Culture & Society, May 2003, vol.25: pp333-350.

CronkiteNewsWatch 2009, ‘Vinyl records are making a comeback’, accessed 15/06/2009, http://www.youtube.com/watch?v=e6dgETtT06o

Forwardbound 2006, ‘How Vinyl Records Are Made PART 1 OF 2’, accessed 15/06/2009,
http://www.youtube.com/watch?v=xUGRRUecBik

Forwardbound 2006, ‘How Vinyl Records Are Made PART 2 OF 2’, accessed 15/06/2009,
http://www.youtube.com/watch?v=IReDh9ec_rk

Majerczak, T 2009, interview, 11 June 2009.

Masrhall, L 2004, ‘The Effects of Piracy Upon the Music Industry: a Case Study of Bootlegging’, Media, Culture & Society, Mar 2004, vol.26, pp163-181

Morrow, G 2009, ‘Radiohead's Managerial Creativity’, Convergence, May 2009, vol.15: pp 161-176.

New York Post 2009, BEST BUY TURNING THE TABLES WITH VINYL, accessed 14/6/2009, http://www.nypost.com/seven/04272009/business/best_buy_turning_the_tables_with_vinyl_166384.htm

Perlman, M 2004, ‘Golden Ears and Meter Readers: The Contest for Epistemic Authority in Audiophilia’, Social Studies of Science, Oct 2004, vol.34, pp 783-807.

Shin, J, 2008 Sound Wave: The Vinyl Strikes Back, 26lives.xlarge1, JPEG, accessed 14/6/2009 http://cache.gawker.com/assets/images/gizmodo/2008/10/26lives.xlarge1.jpg

Soanes, C & Stevenson, A  2005, ‘audiophile noun’, The Oxford Dictionary of English (revised edition). Oxford University Press, 2005. Oxford Reference Online. Oxford University Press.  Wollongong University.  Accessed 15/6/2009  http://www.oxfordreference.com/views/ENTRY.html?subview=Main&entry=t140.e4536

Sterne, J 2007, ‘Residual Media, Out with the Trash: On the future of New Media’, Residual Media, Charles Acland Minneapolis, U Minnesota Press, pp 16-31

Appendix;

Interview with Tom Majerczak of Hobbledehoy Records.

What value does vinyl retain over its digital counterpart and why do people continue to purchase it over cheaper formats?
Because digital elements can be readily duplicated without cost, rarely are they associated with value by a consumer. Physical product on the other hand, is far more difficult to duplicate. Often these items hold some sort of significance to the owner too, so they're not only concerned with the product itself, but the memories, emotions, etc attached to it. Vinyl being an especially well-presented and large-sized format, I think this is only exacerbated, much like a hard-cover book relative to a pamphlet.

Are the costs of producing vinyl to CD validated by its sales comparisons?

For Hobbledehoy, and what I've heard from many other labels, it's not even close. The cost of vinyl production for an Australian label is usually anywhere from 3 to 5 times that of a CD. Sales comparisons are tricky for a label like Hobbledehoy because a few of our releases are vinyl only. However, Touch & Go records recently reported it's vinyl sales make up around 8% of per units sold - I believe we're somewhere around there. Releasing vinyl is very much a labour of love for Hobbledehoy, especially in the Australian market where vinyl sales are a tiny drop in the ocean.

Why include a digital download with each album?

A notable amount of people purchasing vinyl records don't own a turntable, and for the many that do the digital serves as a convenience.

Do you feel the physical mediums (vinyl, CDs etc) will be phased out by digital music, if so, when?

I highly doubt it. CDs still make up 80% of all music purchases in the USA (I'm not sure about Australia...) despite all the doom and gloom about "the record industry being dead". Even if / when CD's are no longer the norm and the majority of people use digital, there will still be a (be it a very small) group after physical product.

How have online sources such as ebay, myspace, facebook and your own website been beneficial to the distribution of your artist’s music?

The online environment has been fantastic for Hobbledehoy, in particular our domain. Social networking such as Facebook and Myspace are good for pointing people to your domain, but ultimately you want to direct everyone away from the advertising and strict content to your home, your website. People are familiar with most of these social networking sites, so the idea of jumping into a bands Myspace to have a listen seems and is easy. People are more inclined to do it. In that sense, a wide online presence is excellent.  

Can you see record stores declining, being replaced by record label's e-stores like your own?

This is already happening, but I really hope it doesn't get to the point where record stores don't exist at all. There are still a select few independents here in Australia that are doing quite well, these guys are diversifying a bit with large merchandise sections and other areas too though.

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