Can Subscriptions Actually Be Done Right? (A Roundtable Discussion)
00:00 - Intro & Welcome
6:40 - Why did the sudden Waves subscription model generate so much negativity?
14:07 - How did Adobe get away with a subscription model and Waves couldn't?
16:35 - What can subscriptions do that make us feel better about it?
26:37 - East West Composer Cloud - are their model and pricing a more attractive option?
32:00 - Getting trapped in subscriptions - for example, Splice
35:14 - Do subscriptions help fight software piracy?
41:25 - The Kilohearts subscription as a better model
46:06 - How do members feel about the 52 Cues subscription?
01:52 - Let's Talk About Subscriptions
57:40 - Outro & How You Can Support 52 Cues!
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Episode Summary
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The world of music production subscriptions can often feel like a labyrinth of controversies, pricing strategies, and policy changes. But with our panel of experts – Greg, Chico Republic, Chris, Nigel, Michael, Rolf, and George – we aim to demystify this often contentious topic.
Subscriptions and Software as a Service (SaaS) have stirred up the industry, particularly in light of the controversial backlash Waves faced. Waves seemed to have struck a nerve in the music community. Why? It comes down to the concept of ownership. The way we purchase software is fundamentally different from how we acquire physical goods. The comparison of Adobe's model with Waves' sheds light on the attractive elements of subscription services, despite their seemingly controversial nature.
Moreover, when companies alter their policies, it naturally leads to scrutiny of their subscription models. Case in point: Museo, Native Instruments, East West, and Reason Plus. We examined these companies, considering the value for users and ideal price points. These analyses bring us to the crux of the issue – trust. As music producers, we need to have faith in the companies whose products we rely on.
Another aspect we touched upon is the issue of pirated versions of music software. This led us to discuss alternative models like Splice's rent-to-own and Spitfire's key system. By considering these alternatives, we hope to encourage a move away from piracy, promoting a more ethical approach to software use in the music industry.
Finally, we underscored the importance of community and feedback in music production. In an industry often marked by isolation, having a supportive network can be invaluable. Moreover, the value of qualified feedback cannot be underestimated. By offering different perspectives and constructive criticism, we can all elevate our craft.
In conclusion, music production subscriptions may seem like a minefield of controversies and debates. However, through open discussions and shared experiences, we can navigate this complex terrain together. So, let's continue to discover, debate, and discuss. The world of music production subscriptions awaits!