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Ringtones: Past, Present and Future (Volume 2 – Market Analysis)
Generator Research Limited, April 2005, Pages: 114
1 CONSUMER PROPOSITION
1.1 UNDERLYING VALUE
1.1.1 Differences between ringtones and songs
1.1.2 Personalisation
1.2 PRICING
1.2.1 Trend 1: Erosion of the premium for mobile-based song downloads
1.2.2 Trend 2: Increase in the mean pricing of online-based song downloads
1.2.3 Trend 3: Convergence of realtone and online music prices
2 RINGTONE MARKETING
2.1 MARKET SEGMENTATION
2.1.1 Same-category segmentation
2.1.2 Same-brand segmentation
2.1.3 Generalisation to Realtones
2.2 MUSIC MARKETING
2.2.1 Buy-in from label marketing and promotion (M&P)
Mindset
Lack of infrastructure
Unfamiliarity with format
2.2.2 Shift from mobile-focussed to music-focussed marketing
2.3 RINGTONE MARKETING IN THE FUTURE
2.3.1 Role of record labels
2.3.2 Competitive advantage
Economies of scale
Economies of scope
Control of product
3 INDUSTRY STRUCTURE AND VALUE CHAIN
3.1 CONVERGENCE
3.1.1 Devices
3.1.2 Channels
3.1.3 Markets
3.2 RECORD LABELS
3.2.1 Definitely not business as usual…
3.2.2 And then a pleasant surprise: realtones
Content ownership
Preferential access to prime retail channels
Leverage of existing assets
Marketing
3.2.3 Actions being taken by labels to assert themselves in the value chain
Tactic 1: release large volumes of catalogue for use as realtones
Tactic 2: enter polyphonic ringtone market
Tactic 3: target covertone suppliers to minimise revenue leakage
Tactic 4: direct licensing to retailers
Tactic 5: force licensee-retailers to stop selling covertones
Tactic 6: audits
Tactic 7: target artist contracts to reduce revenue leakage
Tactic 8: Introduce fixed PPD-based wholesale pricing
Tactic 9: offer combined licenses to selected licensee-retailers
3.3 MUSIC PUBLISHERS
3.3.1 Publishing royalty rates
3.3.2 Unauthorised combined licenses
3.4 MOBILE CONTENT COMPANIES
3.4.1 Trend 1: Market consolidation
3.4.2 Trend 2: Market fragmentation
3.4.3 Mobile content aggregators
3.4.4 Mobile solutions providers (MSPs)
3.4.5 Mobile content brands
Is a mobile content brand mainly about retailing or content?
Analysis: royalty-free content
3.5 MOBILE OPERATORS
3.5.1 Off-carrier distribution
Cost
Portal placement
Portal search
Direct relationships between music sites and fans
3.5.2 Avoidance of carrier payment mechanisms
Example: Apple’s iTunes Music Store
Carrier blockage
The mobile content distribution oligopoly: real or imagined, fair or unfair?
4 COVERTONES
4.1 CONFLICTING INTERESTS
4.1.1 Interest group 1: mobile content companies
4.1.2 Interest group 2: record labels
4.2 USE OF COVERS IN THE MUSIC INDUSTRY
4.2.1 Original recordings
Re-mixes and sampling
Other industries
4.2.2 New recordings
4.3 COVER VERSION RINGTONES (COVERTONES)
4.3.1 Production process
4.3.2 Quality and economic viability
4.4 LEGAL POSITION: COVERTONES
4.4.1 Copyright
4.4.2 Passing-off
4.5 ANALYSIS
5 CREATE-YOUR-OWN RINGTONES
5.1 UNAUTHORISED SERVICES
5.1.1 Service operation
5.1.2 Example services
5.1.3 Threats
Mobile operator lock-out
DRM
Unique content
Authorised services
Price erosion
MGM-Grokster – U..S. Supreme Court Hearing
5.2 SELF-CREATION
5.3 AUTHORISED SERVICES
5.4 ANALYSIS
5.4.1 Market size
5.4.2 Off-carrier distribution
Cost
Market reach
6 FROM REALTONES TO DIGITAL SONGS?
6.1 EZ CHAKU-UTA FULL
6.1.1 History
6.1.2 Service Description
6.1.3 Consumer response
6.1.4 Key success factors
6.2 MOBILE INTERNET: DOCOMO I-MODE AND VODAFONE LIVE!
6.2.1 Product quality
Vision
Engineering-led
Market-focussed
6.2.2 Market timing
6.2.3 Summary
6.3 IMPLICATIONS FOR MOBILE OPERATORS OUTSIDE JAPAN
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