| E-commerce |
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| Digital content |
| Retail goods and services |
| Online shopping |
| Mobile commerce |
| Customer service |
| E-procurement |
| Purchase-to-pay |
| Super-apps |
Digital distribution, also referred to ascontent delivery,online distribution, orelectronic software distribution, among others, is the delivery or distribution of information or materials through digital platforms.[1] The distribution ofdigital media content may be of digitized versions of analog materials, as well as other materials offered in a purely digital format, such asaudio,video,e-books,video games, and othersoftware.[2]
The term is generally used to describe distribution over an online delivery medium, such as theInternet, thus bypassing physical distribution methods, such aspaper,optical discs, andVHS videocassettes. The term online distribution is typically applied to freestanding products, with downloadable add-ons for other products are more commonly described asdownloadable content. Content distributed online may be streamed or downloaded, and often consists ofbooks,films andtelevision programs,music, software, and video games. Streaming involves downloading and using content at a user's request, or "on-demand", rather than allowing a user to store it permanently. In contrast, fully downloading content to ahard drive or other forms of storage media may allow offline access in the future.
Specialist networks known ascontent delivery networks help distribute content over the Internet by ensuring both high availability and high performance.[3] Alternative technologies for content delivery includepeer-to-peer file sharing technologies. Alternatively,content delivery platforms create and syndicate content remotely, acting like hostedcontent management systems.
Unrelated to the above, the term "digital distribution" is also used infilm distribution to describe the distribution of content through physical digital media, in opposition to distribution by analog media such asphotographic film andmagnetic tape (see:digital cinema).
The rise of online distribution has provided controversy for the traditional business models and resulted in challenges as well as new opportunities for traditional retailers and publishers. Online distribution affects all of the traditional media markets, including music, press, and broadcasting. In Britain, theiPlayer, a software application for streaming television and radio, accounts for 5% of all bandwidth used in theUnited Kingdom.[4]
The move towards online distribution led to a dip in sales in the 2000s;CD sales were nearly cut in half around this time.[5] One such example of online distribution taking its toll on a retailer is the Canadian music chainSam the Record Man; the company blamed online distribution for having to close a number of its traditional retail venues in 2007–08.[6] One main reason that sales took such a big hit was that unlicensed downloads of music were very accessible.[citation needed] With copyright infringement affecting sales, the music industry realized it needed to change its business model to keep up with the rapidly changing technology.[7] The step that was taken to move the music industry into the online space has been successful for several reasons. The development of lossy audio compression file formats such asMP3 could take 30 MB for a typical 3-minute song and bring it down to 3 MB without any serious loss of quality.[8] LosslessFLAC files can be up to six times larger than an MP3 while,[9] in comparison, the same song might require 30–40 megabytes of storage on a CD.[7] The smaller file size yields much greater Internet transfer speeds.
The transition into the online space has boosted sales, and profit for some artists.[10][citation needed] It has also allowed for potentially lower expenses such as lower coordination costs, lower distribution costs, as well as the possibility for redistributed total profits.[7] These lower costs have aided new artists in breaking onto the scene and gaining recognition.[citation needed] In the past, some emerging artists have struggled to find a way to market themselves and compete in the various distribution channels.[citation needed] The Internet may give artists more control over their music in terms of ownership, rights, creative process, pricing, and more. In addition to providing global users with easier access to content, online stores allow users to choose the songs they wish instead of having to purchase an entire album from which there may only be one or two titles that the buyer enjoys.
The number of downloaded single tracks rose from 160 million in 2004 to 795 million in 2006, which accounted for a revenue boost from US$397 million to US$2 billion.[7] Downloading peaked in the US in 2012, after which it started falling due to the rise ofmusic streaming services. In 2017, physical formats overtook downloading again for the first time in six years,[11] but despite thevinyl revival and CDs holding its own, the physical formats account for only 11% revenue as of 2023, while streaming services are dominant with 84% of the US industry.[12]
With the advancement of network bandwidth capabilities, online distribution became prominent in the 21st century, with prominent platforms such asAmazon Video, andNetflix'sstreaming service starting in 2007.[13]
Many traditional network television shows, movies and other video content is now available online, either from the content owner directly or from third-party services.YouTube,Netflix,Hulu,Vudu,Amazon Prime Video,DirecTV,SlingTV and other Internet-based video services allow content owners to let users access their content on computers, smartphones, tablets or by using appliances such as video game consoles, set-top boxes orSmart TVs.[14]
Many film distributors also include aDigital Copy, also called Digital HD, withBlu-ray disc,Ultra HD Blu-ray,3D Blu-ray or aDVD.
Some companies, such as Bookmasters Distribution, which invested US$4.5 million in upgrading its equipment and operating systems, have had to direct capital toward keeping up with the changes in technology.[citation needed] The phenomenon of books going digital has given users the ability to access their books on handheld digital book readers. One benefit ofelectronic book readers is that they allow users to access additional content via hypertext links. These electronic book readers also give users portability for their books since a reader can hold multiple books depending on the size of itshard drive.[15] Companies that are able to adapt and make changes to capitalize on the digital media market have seen sales surge. Vice President ofPerseus Books Group stated that since shifting to electronic books (e-books), it saw sales rise by 68%[citation needed].Independent Publishers Group experienced a sales boost of 23% in the first quarter of 2012 alone.[16]
Tor Books, a major publisher of science fiction and fantasy books, started to selle-booksDRM-free by July 2012.[17] One year later the publisher stated that they will keep this model as removing DRM was not hurting their digital distribution ebook business.[18] Smaller e-book publishers such asO'Reilly Media,Carina Press[19] andBaen Books had already forgone DRM previously.
Online distribution is changing the structure of thevideo game industry.[citation needed]Gabe Newell, creator of the digital distribution serviceSteam, formulated the advantages over physicalretail distribution as such:
The worst days [for game development] were the cartridge days for the NES. It was a huge risk – you had all this money tied up in silicon in a warehouse somewhere, and so you'd be conservative in the decisions you felt you could make, very conservative in the IPs you signed, your art direction would not change, and so on. Now it's the opposite extreme: we can put something up on Steam, deliver it to people all around the world, make changes. We can take more interesting risks.[...] Retail doesn't know how to deal with those games. On Steam [a digital distributor] there's no shelf-space restriction.
Since the 2000s, there has been an increasing number of smaller and niche titles available and commercially successful, e.g.remakes of classic games.[21][22] The new possibility of the digital distribution stimulated also the creation of game titles of very small video game producers likeIndependent game developer[23][24] andModders (e.g.Garry's Mod[25]), which were before not commercially feasible.
The years after 2004 saw the rise of many digital distribution services on the PC, such asAmazon Services,Desura,GameStop,Games for Windows – Live,Impulse,Steam,Origin,Battle.net,Direct2Drive,GOG.com,Epic Games Store andGamersGate. The offered properties differ significantly: while most of these digital distributors do not allow reselling of bought games,Green Man Gaming allows this. Another example isgog.com which has a strictnon-DRM policy[26] while most other services allow various (strict or less strict) forms of DRM.
Digital distribution is also more eco-friendly than physical. Optical discs are made ofpolycarbonate plastic andaluminum. The creation of 30 of them requires the use of 300 cubic feet ofnatural gas, two cups of oil and 24 gallons of water.[citation needed] The protective cases for an optical disc is made frompolyvinyl chloride (PVC), a knowncarcinogen.[27]
A general issue is the large number of incompatible data formats in which content is delivered, possibly restricting the devices that may be used, or making data conversion necessary.Streaming services can have several drawbacks: requiring a constant Internet connection to use content; the restriction of some content to never be stored locally; the restriction of content from being transferred tophysical media; and the enabling of greater censorship at the discretion of owners of content, infrastructure,[28] and consumer devices.
Decades after the launch of theWorld Wide Web, in 2019 businesses were still adapting to the evolving world of distributing content digitally—even regarding the definition and understanding of basic terminology.[29]
Early this week, Tor Books, a subsidiary of Tom Doherty Associates and the world's leading publisher of science fiction, gave an update on how its decision to do away with Digital Rights Management (DRM) schemes has impacted the company. Long story short: it hasn't, really.
The worst days [for game development] were the cartridge days for the NES. It was a huge risk – you had all this money tied up in silicon in a warehouse somewhere, and so you'd be conservative in the decisions you felt you could make, very conservative in the IPs you signed, your art direction would not change, and so on. Now it's the opposite extreme: we can put something up on Steam, deliver it to people all around the world, make changes. We can take more interesting risks. [...] Retail doesn't know how to deal with those games. On Steam [a digital distributor] there's no shelf-space restriction. It's great because they're a bunch of old, orphaned games.
[...] [Good Old Games] focuses on bringing old, time-tested games into the downloadable era with low prices and no DRM.
