Unsought Input

A couple of weeks ago the esteemed Mr. Wallz mentioned that Radiohead was giving their next album away for free - sort of. The deal is that you can pay any amount you want for the MP3 version, from $0 on up. They are not going through iTunes or Amazon or anyone else and are selling direct from the album’s website.

I went, I bought, I listened. The verdict? Good album, incredibly terrible website. Seriously, the site looks and acts like something that crawled from the depths of 1998, escaping some doomed graphic artist’s college portfolio and wreaking havok on unsuspecting downloaders everywhere.

Here’s a screenshot of the registration screen. Too many fields, and too many required fields. Do they really need my mobile phone number?

Yes, the entire web site looks like that. It’s like someone asked their 4-year old to draw a rainbow in Microsoft Paint and then saved and re-saved it as a jpeg 100 times.

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My wife surprised me with an iPhone. Huge surprise. I like my Treo 650, except for one major flaw - it periodically freezes up and requires a reset. This was frustrating for me, but even more frustrating for her - if she called and I didn’t answer, she had no way to know if I would get the message in a little while or hours and hours later, when I finally realized my phone was dead.

So she surprises me with an iPhone. I check to make sure I have the latest version of iTunes and plug it in. Then, nothing. Well, not exactly nothing. Windows tries to “add new hardware” but it can’t find the drivers for the iPhone. I try manually looking for them under iTunes’ folder, but no *.inf files are to be found.

Apple is well known for their focus on eas of use, so why am I having problems? My iPhone will work quite happily with my PC, once I pay Microsoft $100 or so.

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Earlier we wrote about why people will pay for free music. Apple’s Steve Jobs wrote that he would happily remove all the DRM locks from iTunes if the record companies would let him.

Now one company is. EMI and Apple reached a deal to allow totally restriction-free songs for sale. The kicker is that the songs will cost 30 cents more that the locked-down DRM versions.

At ZDNet, they think the success of this move rests on three factors: will this bring in more customers, will the new customers stop file trading, and is the extra $0.30 per track worth it to the record companies?

I think the first question is a good one but the last two miss the point completely. The problem here is the way the issue is framed: the record companies have long been more concerned with stopping file trading and suing “pirates” than actually making money.

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Steve Jobs is right again. In a post on the Apple web site he reacts to calls for Apple to open their Fairplay DRM system to licensing with an interesting (and insightful) proposal:

“The third alternative is to abolish DRMs entirely. Imagine a world where every online store sells DRM-free music encoded in open licensable formats. In such a world, any player can play music purchased from any store, and any store can sell music which is playable on all players. This is clearly the best alternative for consumers, and Apple would embrace it in a heartbeat.”

This has gotten a lot of coverage today, from Business Week to the New York Times. Jobs’ post was prompted by a number of European countries examining (and in some cases declaring illegal) the digital rights management (DRM) system that Apple uses with the iTunes music store and the iPod. The system is there to make sure that if you cough up $.99 for a song, you don’t spread it around the internet for free. These countries say the effect is to lock customers in to iPods and iTunes so they can’t buy another player without forfeiting their music.

Jobs’ response? He never wanted to have a DRM system in the first place. He would gladly dump the whole thing, and let you buy music anywhere you wanted and use any player you wanted - but it’s not up to Apple. Although you might buy your Ben Folds from iTunes, Apple doesn’t have any of the rights to that music - the vast majority of the time, the rights are owned by a major record label, with just four labels dominating the market. They require DRM.

That said, why wouldn’t Apple like the idea of DRM? A naive observer (or record company executive) would say it’s good for Apple, too, since it means iPod buyers will use the iTunes store and vice-versa, and it forces people to buy songs instead of pirating them. This is why Steve Jobs has been so successful. He thinks more people will pay for free music than music tied up in the rules and inconvenience of DRM. And he’s right.

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Apple gets a lot of credit for putting effort into the user experience. Many attribute the success of the original Mac, iPods, the iTunes Music Store, iBooks, and their other products to ease of use.

But building a brand based on user experience can be much harder than, say, a brand based on low prices (like Dell) or ubiquity (like Microsoft). Because it doesn’t take too much to go from “it just works” to “it doesn’t work,” which has been my experience with iTunes 7. The worst problem: it freezes up whenever I don’t have an internet connection.

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