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Value-Added Chain
The
Big Six, now the Big Five, have strategically
accommodated for these changes, widening and buying more distribution
channels and buying more and more labels. Their response to the
internet revolution remains the next major decision facing these
companies. As we have seen, EMI and Time Warner have responded
by merging in 2000. The major players have realized that this
vertical and horizontal integration brings them more of the profits
in the supply chain. We can see this profitability directly in
the following simplified value added chain. We can see that the
artist makes only a fragment of the cost of a CD. The labels only
start paying the artists their royalty of, say, $2.00 per copy
in what is known as "the post-recoupment phase". For example,
if a company spends $300,000 in total production and marketing
costs and $200,000 of those dollars are recoupable production
and marketing costs, the artist will then need sales of 100,000
units for their royalties to add up and make up for the remaining
cost. By that point, the label has made over $300,000 in actual
profits after paying publisher royalties and manufacturing costs
while the artist is just beginning to make a profit. And this
is just for a low selling album! The record companies are making
the profits, and by owning more parts of the supply chain, they
can make even more profits by narrowing the costs of production.
| |
Pre-Recoupment |
Post-Recoupment |
| Wholesale price |
$10.50 |
$10.50 |
| Less: Manufacturing
costs |
$2.00 |
$2.00 |
| |
Artist and producer
royalties |
$0.00 |
$2.00 |
|
|
Mechanical royalties |
$0.70 |
$0.70 |
|
|
Distributor charges |
$1.50 |
$1.50 |
| |
|
Gross margin |
$6.30 |
$4.30 |
This chart represents the value added chain beginning with the distributor and ignoring the actual price of the CD sold by the retail
location to the customer. This price can vary and we must also consider that distributors can directly reach their customers
through record clubs or the internet. Distributors are often located in the same place as manufacturers, thus decreasing costs even
more between these two places in the supply chain.
Because
the labels are making the profits, they want to sign on as many
artists as possible to increase their chances of finding a billboard
hit, while still making a substantial profit from small successes.
Also, they want to reach out to more and more customers. They
can do this because they are able to provide people with a more
diverse variety of music and because, with such money and power,
they are able to quickly establish distribution networks in new
markets, especially in the international market.
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