What hasn't been demonstrated is that new artists can establish their careers in a world of freely downloadable content. It's OK for Radiohead and George Michael to try download-only experiments because a) they can afford to release an album that makes no income, and b) they're not trying to establish a career.
This isn't to say the DRM helps at all, but there must be some way to protect the artist. I have not seen anyone propose a workable business model other than "funded by advertising".
Further to Layne's comment about knowing your audience, consider the usage frequency. For example, a user who comes in four times a year to add a new account to the system has a very different set of needs to the person who adds new accounts all day every day. The features which aid the infrequent user are likely to drive the frequent user crazy, just as the brevity and data-entry focus for the frequent user is likely to leave the infrequent user baffled.
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What hasn't been demonstrated is that new artists can establish their careers in a world of freely downloadable content. It's OK for Radiohead and George Michael to try download-only experiments because a) they can afford to release an album that makes no income, and b) they're not trying to establish a career. This isn't to say the DRM helps at all, but there must be some way to protect the artist. I have not seen anyone propose a workable business model other than "funded by advertising".
Further to Layne's comment about knowing your audience, consider the usage frequency. For example, a user who comes in four times a year to add a new account to the system has a very different set of needs to the person who adds new accounts all day every day. The features which aid the infrequent user are likely to drive the frequent user crazy, just as the brevity and data-entry focus for the frequent user is likely to leave the infrequent user baffled.