Category Archives: Apple

Apple’s Playbook

One of the most interesting slides at yesterday’s Apple event was one that Tim Cook used in the context of introducing the new Apple TV:Apple PlaybookWhat I found striking about this slide was that it was a great summation of Apple’s playbook for its tightly integrated approach to hardware and software:

  • Powerful Hardware
  • Modern OS
  • New User Experience
  • Developer Tools
  • App Store.

This playbook was first introduced with the iPhone, although arguably it wasn’t fully fleshed out until 2008, when the developer tools and App Store elements arrived. This approach was then applied again both to the iPod Touch when that launched, and when the iPad launched in early 2010, using the same “modern OS” – now called iOS. Later in 2010, Apple began applying some of these elements back to the Mac (announcing these changes at an event called “Back to the Mac”), starting with the Mac App Store, and continuing since then with a variety of elements borrowed from iOS.

With this as background, it’s no surprise that Apple felt bound to include an App Store in the first version of the Apple Watch, but out of an abundance of caution and a sense of urgency, it was a diluted version of the App Store concept. Only with the launch of WatchOS 2 this month will Apple fully embrace its own playbook for devices when it comes to the Apple Watch. And as of yesterday, we now know that Apple is applying this same playbook to the Apple TV too, something that’s seemed inevitable for quite some time now.

With the release of WatchOS and the announcement of the new Apple TV, Apple now has the same strategy for hardware and operating systems for every element of its portfolio for the first time. The question now becomes which new categories Apple might apply this strategy to in future, and one obvious possibility is cars. Look at that list of bullet points that make up the Apple playbook – is there any element of this that doesn’t apply to cars?

The other thing that’s interesting about all this is that this strategy puts developers at the heart of Apple’s formula for success. Three of the bullet points are about what Apple brings to the table for end users – the hardware, the software, and the user experience these two elements tightly integrated create. The fourth and fifth bullet points are about what Apple provides for developers – the tools to create the apps, and the channel to get these apps in front of customers and make money from them. I think this is a reflection of a genuine understanding on Apple’s part that its devices would be far less meaningful without these third party apps.

Given what’s happening now with Apple Watch and Apple TV, I’m expecting to see a ton of innovation from developers in creating new experiences that are hard to imagine today. We’re about to see the same sort of flourishing of new apps and business models around these devices that we’ve already seen around the iPhone and iPad. And that in turn will reinforce the value of these devices for end users, while creating significant new revenue opportunities for developers.

Apple September 2015 event quick take

Note: I’m cross-posting this piece from the Jackdaw Research website, where it went out earlier today as a media comment on Apple’s event. I should have more in-depth analysis on the event here and on Techpinions in the next few days. My preview piece from Tuesday is here.

Apple’s September event always sets the tone for its entire year – new iPhones are announced, and the iPhone makes up the majority of Apple’s revenue and profits, and the performance of the iPhone business largely determines overall growth rates, at least for now. But today’s event, like last year’s, added another new product category that should drive significant new revenue for Apple and for developers, and arguably the new Apple TV was one of the biggest and most important things announced today.

iPhone

The new iPhones have enough new features to make them an interesting upgrade for those who always have to have the latest device from Apple, with 3D Touch the biggest new feature. The name of Force Touch badly needed to change, since it always sounded a little like a form of assault. I’m no convinced 3D Touch is the right name, but it conveys the concept reasonably well, in that the functionality is about a more layered interaction. 3D Touch itself should make navigation and interaction much quicker and easier, but it will mean something of a learning curve for users, because there won’t be any visual cues indicating what a 3D Touch might do, a problem the Apple Watch suffers from as well. For anyone with a two-year old iPhone, which includes the vast majority of iPhone users who will upgrade in the next year, this will be a significant upgrade. For all the concerns about a down year for iPhones, I believe Apple will have another year of year on year growth, though likely significantly slower year on year than in the iPhone 6 cycle.

I’ve been saying since early last year that Apple should launch its own device installment plan for iPhones, and now it’s launching one, with the iPhone Upgrade Program. This is a huge opportunity for Apple to take control of the customer relationship away from the carriers, and that in turn is a big risk factor for carriers, which will now cede some of that relationship to Apple. Arguably, only Apple has the infrastructure in place to offer this kind of plan to customers, so this will also be a further differentiator against competitors.

Apple TV

The Apple TV has been described as a hobby at Apple for too long, and today the transition to a product worthy to sit alongside Apple’s other products begins. The new SDK will create a huge new opportunity for both existing and new developers, both in gaming and content, and in the process it’ll make the device more compelling for end users too. But what will really change the Apple TV is the launch of the Apple TV service a few months from now, because only then will the Apple TV be capable of becoming the only device you need to plug into your TV. In the meantime, Apple is going to bring casual gaming and a much broader range of apps to the platform, and especially for cord cutters, the Apple TV might well become the only device they need.

One interesting wrinkle is that Apple is giving developers less than two months to create apps for the Apple TV, which is by far the shortest time it’s ever given developers for a completely new SDK. The iPad, which leveraged what had been known as iPhone OS, gave developers 66 days, while the original iPhone gave them 127 days and the Apple Watch debuted 157 days after the SDK was released. That doesn’t give developers a lot of time, but it likely reflects the shared elements in tvOS compared with iOS on iPhones and iPads.

Apple Watch

Though a minor announcement at the event this week, Apple Watch OS 2 is going to be enormously important for the Apple Watch and for Apple. An Apple Watch running OS 2 is best thought of as the version of the Watch Apple would have wanted to launch right off the bat, if it could have. The first version of the Watch software was good, but the reality is that the apps are sorely lacking, in large part because of the heavy dependence on the iPhone for functionality. With Watch OS 2, that all changes, and apps should be snappier, more functional, and far more varied in their capabilities. I believe this new phase of its history will change the Watch as much as iPhone OS 2 changed the iPhone, and make it a much more compelling device, while creating big new opportunities for developers. The new watch and band options should also help diversify the appeal of the Apple Watch in both the premium and low-end segments, with both the Hermes watches and the new colors for the Sport option. This, coupled with the holiday season, should make for a really big calendar Q4 for Watch sales.

iPad

The iPad Pro has obvious similarities to Microsoft’s Surface, with its detachable keyboard and stylus. But the big difference is that the iPad is designed first and foremost as a standalone tablet, and the keyboard and stylus are optional extras. The Surface has always felt compromised as a pure tablet, because everything is geared around the use as a quasi-laptop. The Smart Keyboard and Pencil will add a lot of value for certain kinds of users, but the iPad Pro could easily be a replacement for a family PC for gaming or TV viewing. But with the keyboard, multi-tasking, and new apps and functionality from Microsoft and Adobe among others, it could also become a fairly compelling option in the enterprise. At a minimum of $1000 including the Keyboard and Pencil, the iPad won’t be all that price competitive against a basic PC, but with the new internals, it’s actually quite a powerful computer in its own right.

The key for the iPad is that Apple is now engaged in what you might call salami tactics here; in other words, Apple is seeking to add to the iPad opportunity incrementally with a number of smaller moves, and I see the iPad Pro in this context, along with Apple’s partnerships with IBM and Cisco. The iPad Pro by itself won’t dramatically change iPad sales, but should provide a good boost for sales, especially in conjunction with the advancements in multitasking and split-screen functionality in iOS 9. I’m still skeptical that iPad sales will start growing again over the longer term, but I think they might stabilize, and that will happen in large part due to increasing education and enterprise sales rather than renewed growth in the consumer market.

Apple September 2015 event preview

Related topic pages: Apple, and more narrowly the Apple and TV topic page.

I’m writing up a short Apple event preview here. Please note that this isn’t a list of predictions – that’s always seemed foolish to me so close in to an event, since so much is known already, and any real out-on-a-limb projections are easily proven wrong the following day. Rather, this is an analysis of the importance and impact of the things that are likely to be announced. I’ll follow up with a comment for press in the hour or so after the event – if you’re not yet on my media distribution list but would like to be, you can sign up here.

We also did something of a preview of the event on the Beyond Devices Podcast this past week, focusing especially on the Apple TV – I’m embedding the SoundCloud player below, and you can also find the episode on iTunes and Overcast, as usual.

New iPhones

One of the key mistakes a lot of people in the press and other commentators are making with regard to the new iPhones is having a single-year upgrade mentality. And because they make this mistake, many people are predicting a first down year for iPhone sales, but this view is misguided. As long as you look at each new iPhone in comparison solely to the iPhone that came the year before, you’re going to totally miss the point, which is that the vast majority of iPhone buyers are on a two-year upgrade cycle, and therefore the important comparison this year is to the 5S (and 5C) and not to the iPhone 6 and 6 Plus. I put together the table below a while back for a client, and I think it’s very relevant here – the key thing to look at is the final column, because this is the set of new features an owner of a two-year-old device will see when purchasing the new device. As you can see, even if you ignore Force Touch, which is highly likely but as yet unannounced, there’s plenty to recommend the new devices over the 5S, and if you bought a 5C two years ago, you need to add in several more features that weren’t in that device but were in the 5S, notably Touch ID.

iPhone 2 year upgrade cycles

Beyond the two-year upgrade cycle, everything else points to another big year for iPhone sales:

  • Switching from Android should continue at the same pace, especially since all the year’s major new Android devices are now out, so there’s no sense holding off on buying a new phone.
  • Upgrades from iPhones should be big again – the 5S cycle was bigger than the 5 cycle, which drove last year’s upgrades, so the starting point is much larger, and Tim Cook has made much on earnings calls of how little of Apple’s iPhone base has upgraded to the new phones yet.
  • The iPhone 6 Plus from last year will likely drop in price by $100, meaning that you can now get an extremely capable phablet for the same price as this year’s brand new phone (and the same price the Samsung Galaxy S6 and other leading Android devices launched at).
  • Installment plans and especially leasing options (many of which are iPhone-centric) from the US carriers are driving more frequent upgrades and purchases of higher-priced devices, which should further help iPhone sales. Sprint and T-Mobile in particular are driving iPhone sales hard at the moment, and I’d expect to see some bigger promotions from Verizon and AT&T around the new iPhone launch too.

Will the year-on-year growth rate be as high as this past year? No. But will it veer into negative territory? Absolutely not. Apple should sell more iPhones this year than they did last year, as they have every year in the past. Even those users that sometimes or always upgrade every year should see plenty to like in the new phones too, with Force Touch and other new features making the new phones a nice step up over last year’s ones.

Apple TV

I’ve written a lot about the Apple TV and Apple’s TV strategy in general over the past two years, so much so that last week I put together a new topic page on this site to summarize it all. That writing kicked off with a piece from January last year on how Apple could turn the Apple TV into more than a hobby, and I stand by what I said then, which is that the real transformation can’t happen until Apple launches a TV service (note that this was well before reports that Apple was working on such a thing surfaced). I still believe that’s the case, but I also believe that the announcements that will be made tomorrow will be extremely important for the Apple TV. Adding an open SDK and App Store will create significant new opportunities for third parties and for Apple around both gaming and content, something I wrote about on Techpinions last week. The potential for gaming in particular depends a great deal on the details of execution, most importantly the ease of porting apps from other flavors of iOS, and the controllers. But I think the new Apple TV will be huge. The biggest questions in my mind are how soon it will launch and therefore how much time developers will have to begin creating apps for it. Since it’s very likely to launch before Christmas (and probably in November), it’s likely to have the shortest announce-to-launch cycle of any entirely new Apple SDK, and that’s going to make this launch very interesting to watch.

Apple Watch

Though a minor announcement at the even this week, Apple Watch OS 2 is going to be enormously important for the Apple Watch and for Apple. I think an Apple Watch running OS 2 is best thought of as the version of the Watch Apple would have wanted to launch right off the bat, if it could have. The first version of the Watch software was good, but the reality is that the apps are sorely lacking, in large part because of the heavy dependence on the iPhone for functionality. With Watch OS 2, that all changes, and apps should be snappier, more functional, and far more varied in their capabilities. I believe this new phase of its history will change the Watch as much as iPhone OS 2 changed the iPhone, and make it a much more compelling device, while creating big new opportunities for developers. This, coupled with the holiday season, should make for a really big calendar Q4 for Watch sales. I’ve written about all this in more detail here.

iPad

It’s still unclear whether we’ll see new iPads at this September event, or whether they’ll be announced in October, but either way what I say here holds. The key for the iPad is that Apple is now engaged in what you might call salami tactics here (that’s a term that was coined back in the 1940s but which I first came across in this scene from the British comedy Yes, Prime Minister). That is, there are no huge boosts for iPad sales available to Apple, but rather a series of small steps it can take one by one, each of which will help iPad sales incrementally with the IBM and Cisco deals good additional examples. I first wrote about this idea here. I definitely see the iPad Pro (or whatever the larger iPad ends up being called) in this context – it won’t dramatically change iPad sales, but should add a little to the effort, especially in conjunction with the advancements in multitasking and split-screen functionality in iOS 9 (and potentially iOS 9.1), and the possibility of a stylus and Force Touch. I wrote a piece a while back about how iPad sales might eventually tick upwards due to upgrade cycles, but we’re coming to the end of the period when I thought that might happen, and I’m now skeptical that it will. Rather, I think they might stabilize, and that will happen in large part due to increasing education and enterprise sales rather than renewed growth in the consumer market.

Summary

Apple’s September event always sets the tone for its entire year – new iPhones are announced, and the iPhone makes up the majority of Apple’s revenue and profits, and the performance of the iPhone business largely determines overall growth rates, at least for now. So the new iPhones themselves are enormously important. But I’m actually far more interested in and excited by the Apple TV and Apple Watch OS 2, because they relate to unknowns in Apple’s business. iPhone upgrade and sales patterns are fairly predictable, but the Apple Watch is so early in its life, and the Apple TV is about to embark on such a significant transformation, that these moves are arguably more important in terms of their potential to move the needle on Apple’s future growth in unpredictable ways. On a personal level, too, I’m looking forward to a new iPhone, but I’m more excited by a new Apple TV, and by the new things my Apple Watch will do when running OS 2 and the new apps developers will create.

The future of Apple Watch will be more like the iPod’s than the iPhone’s

Note: this is the second post from Aaron Miller, who is now authoring occasional posts on Beyond Devices under the Studying Apple banner. Aaron is on Twitter at @aaronmiller


When Apple announced its earnings this week, they were as reticent as they promised to be about the number of Apple Watches sold. Still, some details did leak out giving us a sense of Watch’s first quarter. (Be sure to read Jan’s post where he estimated sales based on what we know.) Here they are, summarized:

  • The Other category, where they include Apple Watch revenue, grew sequentially by nearly $1 billion.
  • Apple Watch customer satisfaction is higher than for the iPhone and iPad.
  • Apple sold more Watches in its first quarter than in the first quarter of iPhone or iPad sales.

The last detail is probably the most interesting one. Comparing the Apple Watch to the iPhone implies a story about a massive future product, if not necessarily about a current one.

But the Apple Watch is hugely different from the iPhone. In fact, it’s much more like the iPod, a product now relegated to Apple’s history despite the recent updates. With iPhone at the top of everyone’s mind, we’re too quick to forget the iPod story and how similar it might be to the one playing out with the Apple Watch.

An Ecosystem Product

First, and most importantly, the Apple Watch is an ecosystem product. Right now, the Watch only works as an extension of the iPhone. Its upper boundary is the total number of iPhones in the world.

This makes the Watch much more like the iPod than the iPhone. From the time the iPod first launched, it was a product tied to a computer, first to Macs then eventually to Windows computers as well. 1 (Remember the Digital Hub strategy?) Just as the iPod existed to enhance the Personal Computer + iTunes ecosystem, the Watch exists to enhance the iPhone ecosystem. The iPhone, even if tied to iTunes early on, was never merely an ecosystem enhancement—nor designed to be one, like the iPod or Apple Watch have been.

Naturally, we expect the Watch’s reliance on iPhones to change over time. LTE and GPS seem like inevitable Apple Watch additions, for example, as does a Watch-native App Store. With true third-party apps coming soon, reliance on the iPhone will diminish even more. But there’s one limitation that may always tie Apple Watches to iPhones: the screen. Absent new technology to overcome how limiting such a small screen can be, the Watch will continue to be a capable iPhone enhancement more than a standalone product. The iPod’s limitations—most prominently, no native way to get music on it—similarly tied it to computers.

An Unsubsidized Product

The iPhone spent its first year not subsidized in the traditional way by AT&T, reflecting Apple’s intent to turn the mobile market on its head. Clearly this stood in the way of sales, because Apple changed tack just a year later with the iPhone 3G and created a much lower entry price for customers.

There are no carriers to subsidize Apple Watch purchases, and it’s hard to imagine such a subsidy ever materializing. (Perhaps we’ll all have wrist-phones someday, but taking calls on an Apple Watch is a current feature and people aren’t going nuts about it.) Without a subsidy, Apple’s profit margin has to come directly from customer’s wallets instead of indirectly through carriers.

The iPod hoed that row, and did just fine. It did sell less total units than the iPhone and had a slower upgrade cycle, but it was a record-breaking product nevertheless.

A Category-Defining Product

It amazes me how easily people forget what MP3 players looked like before the iPod. They were clunky and difficult to use. They were full of deal-killing trade-offs between physical size, capacity, battery life, and user interfaces. Some of the products were especially weird as companies tried to find niches. The iPod eliminated the majority of those trade-offs for a higher, but manageable, price.

To be clear, the Apple Watch category is not just smartwatches. The correct category is wearables, and wearables right now, at the birth of the Apple Watch, are very similar to the early MP3-player market. Some are huge and multi-functional. Some are svelte and limited. Some are banking on unique features trying to find a niche.

Because of the Android ecosystem, the Apple Watch may never wholly dominate the market like the iPod did, but it will define the category. Of course, most of Apple’s products shape their categories. But the iPod defined the category. It organized and crystalized the MP3 market. Back then, people weren’t sure what to make of MP3 players and their future. The same is true of wearables, especially smartwatches, today.

What the Future of Apple Watch May Hold

If the Apple Watch story does end up similar to the iPod story, we may see the following things play out:

  • The Watch will grow the iPhone ecosystem by driving switchers. The famous iPod halo effect gave people a reason to consider a Mac where they never had before. (This was helped in no small part by Apple Stores, where people would go in to buy an iPod and walk out with a new computer.) This effect is not trivial. PC sales as a multiple of Mac sales have been in steady decline since the iPod. It might be a coincidence that Apple reported the highest ever level of Android switchers this quarter, but expect to see even more.
  • The Watch will define and dominate the wearables category. If the Watch moves like the iPod did, you’ll see niche players like FitBit disappear. You’ll see some large competitors play copycat on features and design, but they won’t reach comparable market- or profit-share. Eventually, all wearables will be measured by the Apple Watch, just as all competing music players were measured by the iPod.
  • The Watch will get differentiated in more than just size and build materials. At its peak, the iPod branched into everything from the Shuffle to the Classic to the Nano in order to fit multiple budgets and preferences. It’s reasonable to see Apple doing something similar with the Watch. If I were to guess, I think the fitness tracking will be a core feature across all Apple wearables. (Imagine in three years the inexpensive Apple Fit, where Apple reinvokes the old FitBit-style devices killed off by the Watch. People will laugh at it. When they do, remember the iPod Shuffle.) Being an ecosystem product that can rely on iPhones, the Watch gives Apple the flexibility for slimmer features to get lower price points.
  • The Watch will see slower customer upgrade cycles. In this regard, the Watch will be like everything Apple sells except for the iPhone. 2 iPods continued working for many years beyond their purchase date. (My son is using a sixth-gen Nano that’s now over five years old.) As a result, iPod sales flattened before the iPhone entered on the scene, mostly because Apple had saturated the market and upgrades weren’t moving quickly. Just like with the iPod, expect Watch buyers to be much slower upgrading than they are with their iPhones.
  • The Apple Watch could eventually work with Android phones. I’m not at all confident on last this point because the history lines up much less reliably. Mac market share at the launch of the iPod was a small fraction compared to iPhone market share today. Apple had to get the iPod out to Windows to have any kind of customer base for it. Obviously, there’s no comparison between the 25 million Mac users in 2002 and the nearly 500 million iPhone users today.  Ultimately, this decision will depend on whether Apple feels the Watch serves better as an exclusive feature of the iPhone ecosystem or that it needs to sell to a larger market, followed by a halo effect to drive switchers after they’ve bought an Apple Watch. 3

Certainly, the Apple Watch won’t follow the iPod in every detail. But if the Watch does approximate the iPod’s history, Apple should be incredibly happy. It will be a historic product, and people will forget what life was like before it launched.

Notes:

  1. Only the iPod Touch, which owes its DNA to the iPhone, could eventually operate entirely without a computer. But consumers see it essentially as a less capable iPhone, not a dramatically better iPod. Not coincidentally, it’s been a footnote to the iPhone’s success more than a dramatic culmination to the iPod line.
  2. A recent example: when iPad sales began flattening, some writers declared failure, because they were expecting iPhone-like growth. Smarter analysis recognized that 1) the market for tablets is smaller, and 2) without subsidies, the upgrade cycle is longer.
  3. Obviously, an Android-capable Apple Watch would mean a different Watch than we have now, including a native App Store. Such a feat, though, is not out of the question.

Apple Watch sales

So, after yesterday’s preview post on Apple Watch sales, I thought I’d have a stab at interpreting today’s earnings report and call on this specific point. Yesterday’s post highlighted the challenges and pitfalls inherent in such an exercise, so I’ll walk you through all my assumptions so you can follow along and decide whether or not you agree on the way.

Other Products revenue

As I said yesterday, the starting point for this analysis is revenue from “Other Products”, the Apple segment which includes all hardware products but the big three, along with both Apple’s own and third party accessories. That category has been in decline, but not a very consistent rate of decline. Revenues this quarter were $2.641 billion in this segment, compared to $1.767 billion a year ago (on the restated basis Apple provided in January, which includes Beats headphones). That means growth of $874 year on year, and $952 sequentially. I always find annual growth a more useful measure, so we’ll focus on that. I’m going to assume that Other Products revenue excluding Apple Watch declined by 10%, to around $1.6 billion.

This is based on the recent rate of decline, and you could argue that we might put this number as low as $1.4 billion, but I’m not necessarily ready to go quite that low. Cook confirmed on the earnings call that both iPod and accessories shrank year on year, but didn’t say how much. If we take $1.6 billion as our number, that gives us just over $1 billion in revenue for Apple Watch, which is obviously a lot lower than I talked about yesterday.

Average selling prices and unit sales

The next challenge is to set an average selling price (ASP) to divide this revenue figure by to get a unit shipment number. My assumption for average selling price had been that it was likely somewhere around $500, which is a nice sort of midpoint between the lowest and highest prices for the two mainstream models, the Watch Sport and Watch, implying that the two had sold in roughly equal proportions, and/or that Edition sales helped push ASP up a little if Sport sales outweighed Watch sales.

However, there are a couple of things that suggest we should moderate this: one is some survey data that suggests a heavy skew towards Watch Sport sales, and therefore a lower ASP. But the stronger signal came today from Apple itself. On the earnings call and in conversations with various reporters, Apple’s executives have suggested that sell-through for the first nine weeks for Apple Watch were ahead of the same period for the iPad. That’s a very specific thing to say, and deliberately doesn’t give us a specific number to work with either, since the iPad was on sale for 12 weeks when its first quarter of sales was reported. So we don’t have a 9-week number for iPads. The first reported quarter number was 3.27m iPads shipped (not necessarily sold through), so perhaps we apply a 75% figure to that, which assumes a somewhat straight-line trajectory, which may or may not be realistic. 75% of 3.27m is 2.45m. If we want, we can also make an adjustment for the fact that this is shipments, not sell-through, and perhaps reduce it a tad more. But on this basis Apple might have sold 2.5 million Apple Watches by the end of the quarter.

So let’s take that number and figure out what it implies about average selling prices. $1 billion in revenue divided by 2.5m shipments suggests an ASP of exactly $400, which is quite a bit lower than my original $500 figure. But if sales did indeed skew heavily towards the Watch Sport, and if most buyers didn’t buy extra straps and so on, it’s just about realistic.

Moving to a range

That gives us a very specific set of numbers:

  • $1 billion in revenue
  • 2.5 million shipments
  • $400 ASP.

But that’s a lot of false precision, because it’s based on all kinds of assumptions. The revenue might have been as high as $1.2 billion, for example. ASPs might have been higher – perhaps as much as $450. Applying these numbers gives us more of a range:

  • $1-1.2 billion in revenue
  • 2-3 million shipments
  • $400-450 ASP.

That seems like a reasonable set of numbers to me, and I’m pretty happy with those. I’m curious to see what numbers others come up with.

Looking forward

I ended yesterday’s piece with a bit on looking forward, and I feel really comfortable with the qualitative side of that, even if less comfortable with the quantitative side. Apple execs on the call today certainly hit many of the points I mentioned in that section. But one thing that I found interesting on today’s call was that sales are still ramping at this point, from April to May to June, contrary to my assumption that things might slow down a little in Q3 and then pick up again in Q4. I’m very curious to see how this actually plays out now that the Apple Watch is on sale in all but one of the countries where Apple has stores, and certainly all of its major markets.

Evaluating Apple Watch sales

There’s going to be tons of noise this week about Apple’s earnings, with a particular focus on the sales of the Apple Watch. However, there are two key problems with all of this, and they are:

  • Apple almost certainly won’t give us the number of Watches sold, and estimating that number requires making a series of assumptions, which taken together make the resulting number pretty imprecise
  • Whatever the number various people come up with, we’ll be deluged with articles saying that the Watch has somehow flopped, that sales have fallen short of expectations, and so on, because it’s enormously difficult to know how to evaluate the number.

The rest of this post fleshes out these two points, with a view to providing some context for tomorrow’s earnings call.

The difficulty of estimating Apple Watch sales

As a quick reminder (for a longer primer, listen to this week’s episode of the Beyond Devices podcast), Apple Watch revenues will be reported under the “Other Products” segment, one of Apple’s five product segments, as of earlier this year. And in that Other Products category, you’ll also find revenues from the iPod (until recently broken out separately), third-party accessories, Apple’s own accessories (including Beats headphones), and Apple TV. Last quarter, that was a $1.7 billion revenue bucket, which was down about 10% year on year, but the rate of growth or decline has been fairly unpredictable. So the first thing you have to do if you want to calculate Apple Watch revenues is to make a set of assumptions about the rest of this segment and what results would have looked like without the Apple Watch. Perhaps you decide that revenues would have been around $1.6 billion based on that same 10% year on year decline, though in reality the range is likely anywhere from $1.4 billion to $2 billion based on the trends from the past two years. That, by itself, gives you around 1 million units’ worth of softness in your estimate between the two extremes.

At that point, you have your Apple Watch revenue number, and you’re ready to move on to the next step, which is figuring out how that revenue number translates to unit shipments. The challenge here, of course, is that this is easily the widest price spread of any Apple product: from $349 all the way up to $17,000 (and that’s just the US dollar pricing).  The assumptions you make about the mix between the various models are going to make a huge difference to the unit shipment number you come up with. In the grand scheme of things, Edition sales are likely to be tiny, but at that price point (around 20 times that of the midpoint of the other models), small differences in your assumptions will make big differences in your outputs. For the sake of illustration, I’ve presented in the table below three possible scenarios, which all give roughly the same total revenue figure of around $4 billion for the quarter:

Three Apple Watch scenarios correctedHowever, what you’ll see is that, depending on how you flex the mix between the three models, you’ll get a very different number of shipments – under these three scenarios, anything from 3.15 million to 7.8 million. And one of the biggest variables is the number of Edition sales you assume, as you can see from the third column. However, as the third scenario shows, if you shift the mix between the other two models radically, you get a similarly significant effect. So much depends on your assumptions. For what it’s worth, none of the three scenarios above represents the mix I’m expecting to see – they’re purely illustrative. I would think we might see around 5 million sales, at around $3-4 billion in revenue, but along with everyone else, I’m guessing now, and I’ll be guessing to an only slightly smaller extent after the results are out.

(Note: an early version of this post had an error in the spreadsheet above, which has now been corrected – the core point remains unchanged).

What constitutes success?

Now that we’ve established the pitfalls associated with estimating actual numbers, we move on to the other big question: how we should evaluate those numbers. This also goes to the heart of the question of why Apple likely won’t give us any numbers, which comes down to two things:

  • Early in a product cycle, the actual numbers are as much a function of supply as of demand, and so they don’t reflect actual demand accurately
  • Apple has barely started to sell the Watch, there are significant updates coming later in the year, and the word-of-mouth marketing which I still expect to be a big component of how sales grow has barely got off the ground, because there simply aren’t that many Watches out there.

You could make a strong argument that, whatever the actual numbers are, the Watch launch has already been a huge success, for two reasons: firstly, demand continues to outstrip supply, which (assuming supply isn’t being artificially constrained to create the illusion of shortages) is always a good sign; secondly, Apple is now catching up to demand across 18 SKUs and many variants behind those, which is logistically an enormous achievement by itself. With previous major product launches, there was essentially one SKU – one iPod, one iPhone – or slight variations by storage capacity. One of the biggest challenges from a supply chain and logistics perspective for the Watch has been the sheer variety of the individual models and the difficulty of predicting which would be most popular.

Another way to look at sales is in the context of past Apple product launches and there, too, the Apple Watch likely comes out ahead. The iPod sold 125,000 in its first quarter, the iPhone sold 270,000, and the iPad sold 3.3 million. Watch sales might be close to the iPad launch, but I suspect they’ll be higher. However, unlike the iPad, which was a standalone device from the beginning, the Watch is a companion device to the iPhone, so its addressable market is arguably narrower. Compare Apple Watch sales to the sales of any other smart watch or even fitness device, though, and they again come out on top. Fitbit sold 3.9 million devices of all kinds in Q1, so Apple Watch might again be close to that this quarter, but probably slightly above it, and Fitbit is by far the market leader in this category, with smartwatches a much smaller category (and a small subset of Fitbit’s device sales).

What next?

Is there any sense in which the Apple Watch can be considered not to have been a success, assuming the numbers come in roughly where I think they will? I think so, but it’s mostly a matter of timing. What I mean by that is that I suspect the Apple Watch will quickly get to the point where it’s Apple’s second-highest selling product, behind the iPhone but ahead of the iPad, probably either in Q4 this year or sometime next year. But for now, it’s quite a bit smaller than Apple’s other products. It doesn’t seem to be hitting the same mainstream consciousness as other recent Apple devices as quickly.

I regularly meet people for whom my Apple Watch is the first one they’ve seen in the wild, as it were. And I continue to believe that word of mouth marketing is the most effective form of marketing for the Apple Watch, as a new product in the market, and as a product that’s distinct even from other entrants in the category. My wife and I both have Watches, and when people spot them, they often ask, “How is it?” or “Do you like it?” And we both respond, “It’s great” or words to that effect, but I continue to struggle to articulate the reason why they’d be great for everyone, or even for most people. My Watch is enormously useful to me because of the notifications especially, though I also enjoy the at-a-glance information on the screen at all times, and the fitness tracking is a nice bonus.

I suspect that what will really start to change this is the emergence of a really strong set of third party apps, and that will have to wait for WatchOS 2 in a few months’ time. Apps were critical to the success of the iPhone and iPad, and I think they’ll be even more critical to the success of the Watch, and I’ve said this from the start. It’s only when you get innovation happening among third party developers about what’s really possible when you have a wrist-worn, always-present supercomputer that you’ll really start to see the potential in this category. And allowing those developers to run their apps on the Watch itself, and to make use of both the hardware and software features that Apple’s own apps already have access to will be a huge step forward.

As such, I’m expecting that Q3 may be a quieter quarter for the Watch, in which Apple may well sell fewer devices than in Q2, but Q4 will be absolutely huge, both because of the impact of WatchOS and native apps, but also because of holiday buying, at a time when many more people will know someone who has a Watch and loves it.

Friction is the Problem with Apple Music, not Complexity

Note from Jan Dawson: I’m honored and grateful to announce that Aaron Miller, my co-host on the Beyond Devices Podcast, will be authoring some posts on the Beyond Devices blog going forward as well. This is the first of what I hope will become a series of posts over time. These posts will have a slightly different tone from the rest of the blog, and will be educational in nature, and frequently tied to research concepts – a concession to Aaron’s day job as a business school professor. To reflect that, these posts will be tagged “Studying Apple“. For more about Aaron, check out the About the Authors page.


Walt Mossberg and others seem to love Apple’s new Music service, but Mossberg’s (and others like David Pogue’s) complaint has been that the applications delivering it are too complex. The criticism applies to both Music on iOS and iTunes on the computer. There is a lot going on in Apple Music; there’s no denying it.

Complexity isn’t the problem, though. Friction is. You might call it a semantic difference, but if you do you’re missing out on an essential aspect of everything human beings make. It’s worth understanding the difference between something that’s complex and something that’s frictional.

User Interface Friction

These three points explain something called User Interface Friction (UIF):

  1. Attention is a scarce resource. Mental effort falls under a concept known as executive function. Simplified, executive function describes the many ways we focus our attention on things. We have a limited store of attention. We can only pay attention to a few things at a time. We can also use up our attention, our ability to focus. Time and rest restore it.
  2. Friction is wasted energy (and wasted attention). Although physical friction has its uses, in most situations friction is wasted energy. It’s a great analogy for users’ attention and software. All of your attention spent on an app should help toward your goal. Wasted attention is User Interface Friction. As excellently described in this article from Coding Horror, low UIF is a goal but some UIF is inevitable.
  3. UIF is affected by both users and the interface. Just like physical friction is a measure of how two surfaces interact, UIF is a measure of how users and interfaces interact. And as app interfaces can be metaphorically “smooth” or “bumpy”, users can also be smooth (expert) or bumpy (novice). Expert users can handle bumpier interfaces, because they’ve learned how to use them.

Obviously, software designers should try to minimize UIF as much as possible. Low friction makes an app more useful and more enjoyable, even if it’s something boring like a banking app. Software designers can even measure cognitive load while users interact with the app, and pinpoint where attention is overspent. (Here’s a 2006 article [PDF] describing ways to measure cognitive load for testing website usability. The Sternberg Memory Test is especially easy to use.) The idea is that if users have to overspend attention to accomplish something, then the interface needs improvement.

I’m not a user interface expert, so I can’t go very deep into the principles of good UI design that have developed over the years. (This Quora discussion is a good place to start.) But I know when I’m experiencing friction. A lot of the time it’s from bad design, but not always.

Some apps are necessarily “bumpy” because of how much they do. Final Cut Pro, for example, is a massively complex video editing application. It does things editors could only dream about a few decades ago. Because of this complexity, Final Cut Pro relies on expert users to reduce UIF. (This is part of the reason Final Cut X, a huge interface revamp, was so controversial.) To be sure, Apple shouldn’t waste editors attention, but it has the benefit of editors knowing how Final Cut Pro works.

Any app, no matter how bad, can be learned with time. That means we can become experts in poorly designed interfaces if we just stick with them. Lazy or poor app designers demand more expertise from users than necessary. Users generally abandon an app if the expertise cost is too high for them.

Apple Music and Friction

Generally, Apple users are not computing experts. That’s not an insult. It’s just the reality of having hundreds of millions of users. Apple’s success fundamentally comes from its ability to make low friction interfaces for very useful products.

Like any company, Apple runs into problems when its novice users are presented with complex products. This encounter puts Apple’s design chops to the test. But some things are just too complex to simplify for novices, and Apple requires users to develop some expertise.

There’s a lot of depth and complexity to Apple Music. Consider all that it does:

  1. Integrates a streaming music library with your owned music library.
  2. Helps you purchase music to make it part of your owned library.
  3. Provides extensive music recommendations—through curated playlists and suggested artists—based on your (complex) tastes.
  4. Brings new music to your attention, organized by multiple criteria.
  5. Plays multiple radio stations.
  6. Gives you a way to organize streaming and owned music in playlists.
  7. Allows you to search for music by multiple criteria.
  8. Gives you control over the play order of the music you’re listening to.
  9. Connects artists and fans, giving artists a way to share their work and lives through multiple media.

This list gets dramatically longer in the case of iTunes on the computer, because it includes movies, TV shows, podcasts, iTunes U, audiobooks, iOS apps, even more radio, and ringtones, along with all the different aspects of organizing, using, and purchasing those things. And let’s not forget all the device syncing, with multiple generations of iPods, iPhones, iPads, and even legacy MP3 players.

How do you keep all of that simple? I’m not convinced you can. Siri commands help some, but don’t get you all the way there. In the end, even the venerable Apple can only get the interface to a certain level of smoothness.

That doesn’t mean we should excuse Apple for bad UI design. iTunes 12 was a big change that introduced a lot of friction. (The money quote for our purposes: “But for now, iTunes 12’s most basic operation—finding and playing media—requires a lot more thought than it should” [emphasis added].)

So what has Apple decided to do with its Music apps? It apparently expects us to develop some expertise. Walt Mossberg and everyone else complaining about the friction in Apple Music also seem to love the value it provides. Apple designers, intentionally or not, are banking on our willingness to stick with it and get better at it.

That doesn’t mean we can’t complain about the friction, though. For me, the worst offender is the mysterious ellipsis button. (Who knows what combination of commands it reveals every time I tap on it? It’s like the UI equivalent of a slot machine.) Over time, we can all hope that Apple reduces the friction for its fundamentally complex Music service. In the end, making complex things frictionless is how Apple pays the bills.

Apple’s evolving PR strategy

This week on the Beyond Devices podcast (embedded below), we talked among other things about Apple’s evolving PR strategy, using the lens of the Apple Music launch as a way to illustrate how things have changed. I thought I’d do a quick write-up of that segment here too.

The old model

Under Steve Jobs and PR chief Katie Cotton (who retired from Apple last year), Apple’s PR strategy focused on two key components: tightly stage-managed events and announcements, and occasional “leaks” to favored publications, almost always off the record and quoted as being from unnamed sources. Executives did very few on the record interviews, and the media generally were given relatively little access to Apple behind the scenes for on the record stories.

The new model

With Steve Jobs’ passing and Katie Cotton’s retirement, we’re now in the Tim Cook / Steve Dowling era (Dowling was finally announced as the permanent head of PR after an interim period with no formal head of the department), and things are starting to change. The company seems looser and more open, with more access to executives, more communication on the record through other publications, and also more openness to new channels like Twitter.

Apple Music launch as the lens

I think Apple Music is a great lens for looking at all this, because it’s a good example of how some of these new approaches are coming into play. The launch is perhaps best thought of in phases (most of them likely planned, one certainly not):

  • WWDC keynote – the formal announcement
  • WWDC interviews – a range of interviews with publications at or right after WWDC
  • Taylor Swift – the blog post from Swift and the rapid response from Apple, which included more interviews
  • Blog posts and tweets from Apple personnel
  • The New York Times profile on Zane Lowe the week before launch
  • Reviews and interviews released the day of the launch
  • Post-launch activities.

WWDC

The WWDC keynote has been done to death elsewhere, so I won’t focus on that – it felt rushed and a bit unpolished, especially at the end, when the topic was Apple Music. But Apple provided access to Eddy Cue and Jimmy Iovine right after the keynote to a half-dozen publications, and these interviews focused on Apple Music, allowing Apple to provide more messaging and positioning around Apple Music and Beats 1 in particular. There were few new details here, except perhaps for some information about sponsorships on Beats 1, but there was a clear set of messages from the execs: Apple Music was about providing a service, not a utility, Beats 1 was about a human-driven experience in contrast to the algorithmic approaches of others, and wouldn’t be driven by market research but by gut feel, and Apple Music wasn’t about stealing subscribers from competitors but about growing paid streaming. Those messages didn’t necessarily come through as strongly in the keynote, but they came through very clearly in these interviews, about half of which were with music rather than tech publications (more on this later).

Taylor Swift

We covered the Taylor Swift incident in last week’s podcast, but the key things here were:

  • Apple responded incredibly quickly – on a Sunday, no less
  • The first official response came via Eddy Cue’s Twitter account, not an Apple press release – the first time Apple has broken news via the medium
  • Eddy Cue also made himself available for several interviews with publications on Sunday and Monday, to explain his / Apple’s reasoning and again provide messaging and positioning around the actions.

This highlights several of the changes we’re seeing in Apple’s PR strategy – rapid response, the use of Twitter as a medium, and the availability of executives for on the record interviews, used to provide more nuanced messaging and positioning around news. All of these are new – recall “antennagate” and the Apple Maps launch and how it took Apple to respond to those issues, for example.

Twitter and blog posts

Those tweets from Eddy Cue, though, haven’t been the only uses of the medium for breaking news about Apple Music. Zane Lowe has used Twitter throughout the buildup to the launch to tease things and break smaller bits of news, including the announcement of his Eminem interview. Pharrell Williams announced the exclusive debut of his song Freedom on Apple Music through Twitter as well.

Perhaps the most surprising thing (though I suspect it wasn’t an intentional thing on behalf of Apple PR) was the blog post written by Apple employee Ian Rogers, which was posted on June 27th, and announced specific times for the release of iOS 8.4 and the launch of Beats 1. Those times were subsequently scrubbed from the post, but  the very fact Rogers felt free to blog about the launch in this way is yet another sign of the increasing openness at Apple.

More broadly, I’ve very much enjoyed the broader use of Twitter by key executives at Apple – not so much for making announcements, but simply for sharing what they’re up to, making themselves visible on this social medium, and in the case of Eddy Cue even responding to some technical questions from other Twitter users this week.

New York Times profile

The New York Times ran a lengthy profile of Beats 1 lead DJ Zane Lowe on January 28th, and it was a good example of the new on the record pieces we’ve seen in recent months, in the same vein as the Stephen Fry and New Yorker profiles on Jony Ive. It was pretty unsanitized, and began with an apparently frustrating experience for Zane Lowe working with the equipment in his new studio (something which was weirdly echoed in the hour of Beats 1 programming before the official launch). But it also broke a lot of details for the first time about the other Beats 1 hosts and DJs, including Pharrell, Drake, Elton John, St Vincent, Josh Homme, Disclosure, and Dr Dre. This use by Apple of a publication like the Times to break this kind of news is again something of a departure – oftentimes these details in the past would have been leaked to such a publication from “sources with knowledge of the situation”, but this is the new, on the record, Apple.

Reviews and interviews around the launch

The last major phase of the Apple Music launch was the launch itself, for which Apple provided devices running previews of Apple Music the day before, and also provided yet more access to executives like Eddy Cue and Jimmy Iovine, and Trent Reznor. The reviews were nothing new (though the last-minute nature suggests a dash to the finish line rather than a new precedent for reviews), but the interviews were, though very much in keeping with the pattern we’ve already seen above. These interviews again hit many of the same points around positioning and messaging, and allowed Apple to put its spin and story around the launch rather than letting others do it for them. Many of the interviews were published in verbatim question-and-answer formats, allowing the executives to speak for themselves.

What next?

Even after the launch, we’ve seen a continuation of some of the same themes – Zane Lowe is still teasing new stuff on Twitter, Billboard did a profile on hip-hop artists and DJ Q-Tip about the show he’ll be doing for Beats 1 (among other things), and there’s a sense that many of the other themes will continue too.

But even beyond the launch of Apple Music, it feels like we’ve seen several elements of Apple’s new PR strategy here which will stick around for the future. The increased use of Twitter, the on-the-record interviews with executives, the communication with non-tech publications (music ones for the Apple Music launch but also fashion and jewelry publications for the Apple Watch), and so on feel like they will likely all be part of Apple’s PR strategy going forward. Tim Cook famously spoke about doubling down on secrecy a while back, so it’s not like Apple is going to suddenly spill the beans about everything as it happens. We’ll still see tightly stage-managed events to announce the big news, but it also feels like Apple is more willing to be open and to truly communicate about what it’s doing, which has to be credited in large part to Tim Cook, who’s made a number of subtle changes at the company since taking over.

Apple Music first day review

Since Apple broke its usual rule of giving reviewers plenty of time to review its new products with the Apple Music launch, giving reviewers just a single day to review the service, I thought I’d break my own rule and do a review of my own based on my first day with the service.

Exactly the app I wanted

First off, the new Music app is just the app I’d wanted and hoped that Apple would eventually launch. I’ve always wanted to just be able to combine the music I already have in iTunes with new music I add from subscription services, but that’s always meant two apps in the past. Now it’s a single app, and Apple made this work just the way it should – “My Music” now means the combination of my library and the stuff I’ve added from the subscription service, seamlessly together in one place. I love this aspect of the service, and it immediately puts it head and shoulders above any other service by itself. The app itself is quick, responsive, not too glitchy (with some exceptions in the iPad version, in my experience today), and I found the layout perfectly logical and easy to follow. I’m increasingly convinced that reviewers calling Apple’s recent products and services “complicated” really mean that they’re very feature rich for v1 products, which I don’t see as a bad thing. By the same token, the iPhone is complicated, but I don’t think anyone calls it that.

As a result of all this, we’ll be discontinuing our other music services more or less immediately, once we’ve recreated a small number of playlists of favorite songs in Apple Music, something I largely completed today, which was very straightforward. I opted for the family plan on Apple Music, which means I’m finally headed for my first experience with Family Sharing. I haven’t heard great things about it from others who’ve worked with it, so I’m approaching this with a bit of trepidation, but hoping it works out OK.

Beats 1 is not for me – at least for now

One of the things I’ve been most interested in ahead of time was Beats 1, and exactly how it would work. We finally have a decent sense of the lineup, and today we got our first taste of Zane Lowe and his unique DJing style. I listened to Beats 1 for the first half hour or so, but found the genre-hopping jarring. Within those first 30 minutes, Zane Lowe played a bewildering mix of old and new material, genres as diverse as metal, rap, and pop, and it just reminded me why I’ve largely stopped listening to the radio in a world with digital music. My tastes in music are at the same time eclectic (I like many genres) and narrow (I tend to like just a few artists within each genre), which makes me a tough customer for this kind of thing (more on this later). I just didn’t like 90% of what I heard on Beats 1, and it gave me a headache. It also felt like Apple was working a bit too hard to promote its exclusives (Pharrell, Taylor Swift, AC/DC etc) and the service itself and Zane Lowe wasn’t free enough to be himself, so I hope that changes as the service goes on.

For You and personalized curation is better

I found the For You section and the personalized curation much more effective in my case, though I found my initial experience with the interest selection as frustrating as I had on Beats (which largely supplied the experience). The jiggling circles from which you choose first genres and then specific artists are fun visually but somewhat annoying to use in practice – as you choose items, they tend to crowd out other options that appear, and you end up choosing a variety of things that you kind of like because they’re the best options available, but they then make it harder to choose others. I think the best description for the genre I listen to most frequently is probably “singer-songwriter” but it’s not even in that initial list of genres, and many of my favorite artists never came up. As such, what I’ve told Apple Music I like is a weird mix of my second and third favorites rather than a true list of artists I really like.

Having said that, once I put a bit more work into this effort, selecting more of those artists with several taps of the “more artists” button, the recommendations For You provided started to get better. I’ve found several tracks I quite like that way already. As such, I think I’ll like this more personalized form of curation more enjoyable than the  generic stuff in Beats 1.

 

Absence of desktop iTunes was bizarre

The weirdest thing about the launch was the things that went wrong – the total absence of updated versions of iTunes for hours after iOS 8.4 became available being the most obvious thing. This meant that the social sharing elements didn’t work at all on devices other than iPhones, with lots of broken links and error messages. It was a bizarre omission and I can only think Apple did it to avoid overloading its servers or something. But it took the shine of the service for anyone who doesn’t own an iPhone or wasn’t able to update their software today for whatever reason. The other odd thing was the hour of music and other stuff Beats 1 played before its official debut at 9am ET, which included Zane Lowe testing his mic and chatting with people in his studio, which was an awkward reminder of the stuff in the New York Times piece about how his equipment wasn’t working in the studio when the reporters were there. Everything seemed to be working fine when the show finally started, but it was another element that seemed to lack polish.

Connect looks really promising

One element I know there’s been a lot of skepticism about is Connect, which is reminiscent of Ping for many people. However, I think this is one of the areas of greatest promise, and one of several things that has the potential to set the service apart from competitors. The content there today is fairly limited, though it’s an interesting mix of polished video, candid snapshots and half-finished material, and even tweet-like text content. The content has lots of shares and quite a few comments, many of them welcoming both the service and their favorite artists’ engagement with it, which bodes well. But we need to see a lot more content from a lot more artists on a regular basis for this to work, so that’s something we’ll have to keep an eye on. As a social platform, though, it already looks vastly better than Ping.

A good start with some polish needed

Although I felt that the lack of polish and the glaring absence of the new version of iTunes detracted from the launch, the app itself is fantastic, and I’m totally sold on it. It’ll easily replace my existing options and do it much better than they ever could, and that’s really what this needs to be. Apple should easily win converts from Spotify with the service, but the bigger question remains whether it can make new customers for paid music streaming. After three months of using this service for free, I suspect many users will find it tough to give up, and that’s another major element in what I think will ultimately be a successful launch. Of course, that also means we won’t see any real positive sign of Apple Music in Apple’s financials until it reports earnings in January 2016 (since the first trial users won’t convert until the very end of September or early October). Ironically, what we may well see before then is a sharper drop off in the already falling music sales on iTunes, so the first impact may be negative rather than positive, especially as Apple is now paying out royalties during the free trials.

Apple Music’s other financial advantage

This is something I’ve though about quite a bit, and even wrote about briefly as part of a much longer piece ahead of the launch of Apple Music, but I feel like no-one is really talking about. But it’s potentially quite significant for the economics of Apple Music, and especially the per-stream payout rate Apple will end up passing on to labels and artists. Note: it’s already clear that Apple will have a higher per-stream payout simply based on the fact that it’s a paid-only service, whereas Spotify and other large services mix paid and free users. But I’m talking about an additional impact on top of that.

Integration of owned music is the key

The big factor here is Apple’s integration of the music you already own and store in iTunes into the Apple Music experience and into a single app. I think that’s huge for usability, and that was the key point in that earlier piece, but I think it could also be quite significant for the economics of the service. Why is that? Well, with almost any other subscription streaming service, you as the user tend to start from scratch in terms of your existing library. Perhaps you hop back and forth between apps when you play the music you own versus the music you’re streaming, but I’d guess many people just stick to a single app and play all their music from there, even the stuff they may have purchased somewhere along the way, because it’s all available in the streaming service and it’s easier to play it there than switch apps. Services like Spotify will pay out to artists regardless of whether the user already owns the track somewhere else (unless the user has imported their owned music). But when the user’s owned music is also available in the app, Apple won’t have to pay out when the user plays that music.

What’s really hard to know here is the balance between owned versus streamed music the average user plays during the course of a typical month. I know my own usage is heavily skewed towards the music I own and am familiar with, along with a few tracks or albums I don’t own and stream instead. Perhaps others are different, but I’d guess almost all users would spend a significant amount of time playing music they already own. With other services, the provider still has to pay out on this music because it all looks the same, but with Apple Music there will be a clear line between the music the subscriber owns and the music he or she is streaming through the service (even if it’s presented together in the context of the app). If the amount that’s played from the library rather than streamed is significant, this could substantially reduce the number of plays for which payments need to be made.

A higher per-stream rate on Apple Music

At this point, it’s worth thinking about how the economics of streaming music work. Although we often see per-stream rates used in discussions of how much artists get paid through these services, the reality is that there are no set per-stream rates. Rather, these services share some proportion of their overall revenue from subscribers and/or advertisers with those labels and artists whose music their subscribers listen to. The total pot is divided up with labels and artists according to a standard formula, and I’ve pasted the graphic Spotify uses to illustrate this formula below:

Spotify-Royalty-Formula

Once you understand that it’s a matter of dividing up the total pot, it becomes very relevant how many songs are streamed and therefore get to share in that pot. If Apple Music has fewer songs streamed through the service (because a significant proportion are played instead from users’ libraries), that in turn could dramatically increase the per-stream payout for those artists whose music is streamed. That will likely disproportionately benefit new artists and music over older artists and albums, which could be particularly good for those discovered through the service.

Of course, over time, this advantage will be mitigated as the balance between owned and streamed music shifts towards streamed music, as people will likely buy far less music (if any) going forward. But as the first Apple Music subscribers get past their trial periods and Apple starts paying out on its long-term formula, this could result in significantly higher payments per stream than other services. Add this to the existing advantage Apple has over competing services because of the paid-only nature of the service. Over time, that could have a really interesting impact on artists’ willingness to continue to work with other services. If, as an artist, you’re getting paid several times more on Apple Music per stream than on Spotify, Rdio, or Deezer, would you eventually consider pulling at least some of your music from those other services?

Note: I’m making a fundamental assumption here, which is that Apple will only pay out on plays of music the user doesn’t play from his or her own library. That seems a reasonable assumption, but I haven’t confirmed it. I can’t see why Apple would pay out on that music (unless it’s played through iTunes Match, which shares 70% with artists too), but it’s a remote possibility that it will, in which case the argument falls apart.