In 2000 the digital music was the next big thing in how consumers listen to music. The technological shift in music changed how the relationship is between the artists, recording companies, promoters and music stores on how they operate today. In the late ass’s and early sass’s Peer-to-peer (POP) networks allowed free exchange of music files with companies Like Anapest and Aziza was a big step that allowed consumers to store large libraries of music.

With the cost of hard drive space going down; It allowed for pocket-sized computers to store more information in a smaller space that open the door for apple to step in with the unveiling of the pod and tunes. These systems made it possible for storage and playback that gave consumers the option of downloading physical recordings such as Cad’s to their computers hard drive and then to their pod’s and could take their music anywhere. Makers of other MPEG players were having a hard time keeping up with the pod. In 2003 tunes offered legal downloads that competitors started to follow even.

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In the first decade of the 21 SST century consumers began to use computers and computer networks as the primary means to record, distribute, store and play music. This technological shift caused widespread economic changes and fundamentally changed the relationships between artists, record companies, promoters, retail music stores, the technology industry and the consumer. The rise of digital music consumption options contributed to a few fundamental changes in consumption. First the decline of album sales. With the A la carte sales models increasing in popularity, consumers no longer download entire albums but rather choose single songs.

The initial stage (from approximately 1998 to 2001) of the digital music revolution was the emergence of peer-to-peer (POP) networks that allowed the free exchange of music files (such as Aziza and Anapest). By 2001, the cost of hard drive space had dropped to a level that allowed pocket-sized computers to store large libraries of music. The Pod and tunes system for music storage and playback became Immensely popular, and many consumers began to transfer their physical cording media (such as CDC) onto computer hard drives.

The Tunes music store offered legal downloads beginning in 2003, and competitors soon followed, offering a variety of online music services, such as internet radio. Digital music distribution was aided by the widespread acceptance of broadband in the middle of the decade. [l] At the same time, recording software (such as Avoids Protocols) began to be used almost exclusively to make records, rendering expensive multiracial tape machines (such as the 1967 Studier) almost obsolete. The chief economic impact of these changes was a aromatic decline in revenues from recorded music.