DIY Distribution

Digital tools and processes have enabled independent producers and creators to use the Internet as a distribution channel to directly connect with consumers and audiences in the process circumventing some of the cultural industries’ traditional intermediaries.

An image of Radiohead's Official Cover, which contains the words

British band Radiohead’s 2007 experiment with self-distribution raised awareness of the possibilities it holds, and also shook up the music industry. The band claims to have distributed 1.2 million versions of the In Rainbows album in the first day of its online availability, though the band’s label disputes this figure as high. http://en.wikipedia.org/wiki/In_Rainbows

While DIY distribution is not a new trend, it has found new life over the last decade with the combination of digital production technologies and globally distributed networks. These two factors have helped to reduce the complexities and costs associated with distribution and lowered the bar to entry such that creators and independent producers of cultural content have been able to contemplate distributing their own work. The success of this trend challenges the roles of traditional intermediaries such as distributors, publishers and broadcasters, many of whom are increasingly looking at ways to tap DIY Distribution as an adjunct to traditional channels.

Signals:

The book industry has begun to take notice of print-on-demand services such as Lulu.com and Amazon.com’s BookSurge, which allow direct printing and distribution by authors. Lulu.com claims to have published over 1.1 million authors via its service.
While the vast number of smartphone apps are sold through app stores of major platforms, an increasing number are distributing their paid and free apps via the Web, particularly for the more open Android platform. This follows the model set by freeware developers over the past two decades distributing their software and games via the Internet.
David Byrne, Radiohead and an increasing number of major independent artists are using direct distribution channels for music to augment distribution through media companies. Radiohead’s groundbreaking experiment for its In Rainbows album, which allowed purchasers to pay what they wanted for the product raised the profile of direct self-distribution for music.
YouTube, torrents, and other Web-based channels are enabling producers of video content, even in the form of the serial television program, to reach audiences directly without need for broadcasters to carry their content.

Implications:

Development of major platforms for self-distribution, and growing consumer comfort with direct online purchases, may weaken the already fractured landscape of major corporate distribution channels.
Rights distribution structures may be weakened by the pullout of more major content creators, diluting their economies of scale.
Strengthening DIY Distribution may spur further development in formats, standards and platforms for digital media transfer, including not only from the creators’ side of the equation, but also for hardware and software makers that want to include these new formats.

Countertrends:

Major content companies and distributors continue to shop for independent distribution channels to co-opt into their businesses, effectively bringing channels and platforms for DIY Distribution back under their wings when economically possible.

Extrapolations:

Major content distributors could be severely weakened as digital channels proliferate across different media (as is happening now with electronic books) and consumers become more comfortable with searching for, paying and obtaining independently produced content.
New aggregators may emerge, as search engines and content portals and platforms like the newer video-on-demand services are doing now, helping content consumers navigate through thousands of independent sources.
Producers may further develop their own self-organized distribution channels, much as services like Etsy have done today for craft and design, but with a greater degree of decentralization with lightweight cooperation around functions such as payment and fulfillment.