January 10, 2015 editorial: comments

Will We Soon Be Renting Our Music Software?

A number of years ago, I heard several tech futurists predict that software ownership would eventually be replaced by a rental model. What's more, they said, software applications wouldn’t be stored locally on computers at all, people would access them online through browsers. Although we're not at that point yet, the advent of “the cloud” has massively altered the way software is distributed, and more changes are already occurring.

Buying software used to entail getting a physical, boxed product containing a disk (or disks) with the application on it, but today, most purchases are delivered via download. And now we’re moving to the next phase, software offered by subscription. Such giants as Adobe and Microsoft have changed over to the subscription model, and we’re inching closer to it in the music software realm, as well.

Here are some examples: Software developer, Audionamix — the maker of ADX TRAX and ADX TRACKS PRO applications for separating the vocal and instrument portions of a stereo mix — now offers customers the choice of a traditional software purchase or a monthly subscription.

Avid, the maker of Pro Tools, recently announced its “support plan” for Pro Tools 11. For $199 annually, in addition to the cost of the software itself, users will get extra benefits such as regular feature upgrades, access to more instruments and processor plug-ins, and unlimited support. Those who don’t join the plan won’t have access to, or will have to pay a la carte for these features and benefits. While this isn’t technically a subscription model, it’s close.

Waves has had the “Waves Update Plan” in place for a while now. It entails paying an annual fee, based on how many plug-ins you own, and in return you receive the latest versions of Waves’ software, and you get extra plug-ins along the way.

I should note that the Avid and Waves support plans aren’t technically subscriptions. In a pure subscription model, your monthly payments renew your license, and if you stopped paying, your access to the software would be turned off.

Right now we’re just seeing nibbles around the edges of the music software world, but if the software industry as a whole moves full bore into the subscription model, there’s little doubt that it will be adopted by many of the developers in the music space. 

Change is always difficult, and I must admit that I initially didn’t like the idea of renting my software. Although I still have some trepidations, my current experience with a software subscription has softened my view somewhat. I needed Adobe Photoshop for some of my work, and in order to get a current version, I had no choice but to use Adobe’s subscription plan. Fortunately, the company offers a separate Photoshop/Lightroom subscription for $9.99 a month, so I’m not plunking down $49.95 monthly for the entire Creative Cloud Suite just to get one application. So far, I haven’t noticed much difference in the user experience, and the latest upgrades can be quickly accessed and installed through an icon on my menu bar.

So get ready, we’re likely to see more of this model creeping into the music software field in the near future, whether we like it or not.

Would you object if you had to get your music software via subscription? Let’s discuss it. 

Have a great week.

Mike Levine

U.S. Editor, Audiofanzine