Frank Zappas Business-Modell für Hometaping Music, 1983

Frank Zappa hat in seinem Buch „The Real Frank Zappa Book“ 1983 ein Business-Modell für das damals von der Musik-Indutrie als „killing Music“ verschrieene Hometaping aufgeschrieben. Man ersetze Vinyl mit CDs und Hometaping mit Internet, voila: Die Kulturflatrate. Hätte man nur früher auf den Herrn Zappa gehört, die Musik-Industrie hätte sich eine Menge Ärger erspart.

MUSIC CONSUMERS LIKE TO CONSUME MUSIC . . . NOT PIECES OF VINYL WRAPPED IN PIECES OF CARDBOARD.

It is our proposal to take advantage of the POSITIVE ASPECTS of a NEGATIVE TREND afflicting the record industry today: HOME TAPING via cassette of material released on vinyl.

First of all, we must realize that the taping of albums is not motivated by 'stinginess' alone . . . if a consumer makes a home tape from a disc, that copy will probably sound better than a commercially manufactured high-speed dupe cassette, legitimately released by the company.

People today enjoy music more than ever before, and, they like to take it with them wherever they go. THEY CAN HEAR THE DIFFERENCE BETWEEN GOOD AUDIO AND BAD AUDIO . . . THEY CARE ABOUT THAT DIFFERENCE, AND THEY ARE WILLING TO GO TO SOME TROUBLE AND EXPENSE TO HAVE HIGH QUALITY 'PORTABLE AUDIO' TO USE AS 'WALLPAPER FOR THEIR LIFESTYLE'.

------------------------------------------------------------------------
THE ANSWERS TO PERPLEXING QUESTIONS
------------------------------------------------------------------------

presenting: "Q.C.I."

We propose to acquire the rights to digitally duplicate and store THE BEST of every record company's difficult-to-move Quality Catalog Items [Q.C.I.], store them in a central processing location, and have them accessible by phone or cable TV, directly patchable into the user's home taping appliances, with the option of direct digital-to-digital transfer to F-1 (SONY consumer level digital tape encoder), Beta Hi-Fi, or ordinary analog cassette (requiring the installation of a rentable D-A converter in the phone itself . . . the main chip is about $12).

All accounting for royalty payments, billing to the customer, etc. would be automatic, built into the initial software for the system.

The consumer has the option of subscribing to one or more Interest Categories, charged at a monthly rate, without regard for the quantity of music he or she decides to tape.

Providing material in such quantity at a reduced cost could actually diminish the desire to duplicate and store it, since it would be available any time day or night.

Monthly listings could be provided by catalog, reducing the on-line storage requirements of the computer. The entire service would be accessed by phone, even if the local reception is via TV cable.

The advantage of the TV cable is: on those channels where nothing ever seems to happen (there's about 70 of them in L.A.), a visualization of the original cover art, including song lyrics, technical data, etc., could be displayed while the transmission is in progress, giving the project an electronic whiff of the original point-of-purchase merchandising built into the album when it was 'an album', since there are many consumers who like to fondle & fetish the packaging while the music is being played. In this situation, Fondlement & Fetishism Potential [F.F.P.] is supplied, without the cost of shipping tons of cardboard around.

We require a LARGE quantity of money and the services of a team of mega-hackers to write the software for this system. Most of the hardware devices are, even as you read this, available as off-the-shelf items, just waiting to be plugged into each other so they can put an end to "THE RECORD BUSINESS" as we now know it.

Frank Zappa's Amazing Vision (via Techdirt)

Und da will ich das grade posten, da meint Johnny so zu mir: Hatten wir vor zwei Monaten auf Spreeblick. Hmpf, egal, trotzdem toll.