The giant French music and electronics retailer fnac this week
launched
fnacmusic, a music download site, with music distribution handled by MPO Online
using distribution and DRM software from the Dutch vendor DMDSecure, and
Microsoft Windows Media Audo format and DRM. The most interesting aspect
about this otherwise me-too service, which charges EUR 0.99 per track and EUR
9.99 per album, is that it raises the bar on consumer friendliness by allowing
users to burn each downloaded track up to 7 times and transfer it to other
devices up to 5 times.
This reminds us of the war between Microsoft and Adobe over eBook
"activations" a year or two ago. When those two vendors first came out
with their eBook technologies, they set a fixed number of times that the eBook
could be "activated" for use on a device. Microsoft initially set the
number to 2 -- the rationale being one desktop computer and one laptop or Pocket
PC device, or one main copy and one backup in case of a disk crash. After
a consumer outcry, it raised the number to 4. Both vendors eventually
toyed with raising the limits to 8 or 10. But by that point, book
publishers started to raise the alarm.
Educational publishers in particular expressed deep concern that students in
a class that required a certain eBook would use the "activations" so that other
students would not have to pay -- so that if an eBook allowed 10 activations,
then a class of 20 students could deliver sales of as little as 2 units to the
publisher. It is thus unsurprising that the current outcome of these
discussions is neither widely known nor very clear.
Yet there is a big difference between a service like fnac's and the above
eBook skirmishes: fnac has licensed a large body of material from major
recording companies specifically for this type of use, and -- as we never
tire of pointing out -- it was able to easily configure Microsoft Windows DRM to
provide their less-restrictive copying features. It is true that DRM
technology requires that hard numerical limits be set on various ways of copying
material, as opposed to allowing judgments to be made based on the type or
character of the copies. But beyond that, we feel especially confident
that the market in Europe will decide questions of how many copies to allow
users to make. To most Europeans, the term "fair use" refers unambiguously to consumer expectations and is not, as in the US, also a legal term of art.