It’s been just two and a half weeks weeks since popular soap operas One Life to Live and All My Children were reborn as online-only shows — but production company Prospect Park has already decided to cut back on the number of new episodes released online each week. The change in schedule, the company claims, is due to the fact that viewers are “binge-watching” instead of watching one episode a day, and this makes it too hard for them to keep up.

Starting on April 29, Prospect Park — which licensed the soaps from ABC — ran new, 30-minute episodes of each show every Monday through Thursday, followed by a recap on Friday. The shows are available on Hulu and Hulu Plus, or can be downloaded from iTunes. They’ve received “millions” of views, Prospect Park cofounders Rich Frank and Jeff Kwatinetz wrote in a letter to fans (PDF) this week, and have “consistently been in the top ten shows viewed on Hulu.”

But most viewers aren’t watching these shows the way they traditionally watched soap operas on TV. Instead, as with other TV shows online, “our shows are primarily consumed on different days than when they originally air,” Frank and Kwatinetz wrote:

“Primarily, fans have been binge viewing or watching on demand, and as a result, we feel we have been expecting our audience to dedicate what has turned out to be an excessive amount of time to viewing these shows. (As an example, for the substantial audience only watching on the weekends, we are currently asking them to watch five hours of programming to keep pace with our release schedule).”

In addition, viewers aren’t adhering to traditional soap-watching habits. When the shows were on ABC, “viewers watched only 2-3 episodes on average a week and picked up with whichever day’s episode it was.” By contrast, online viewers “seem to primarily start with the first episode and then continue forward episode by episode…yet starting from the beginning with the amount of episodes we are releasing is asking too much for viewers who need to catch up.”

Prospect Park is also concerned by the fact that, when the shows aired on ABC, viewers often watched both — but online things are different:

“The majority of our viewers are watching one show or the other, not both, and they aren’t viewing the shows when they did before. Part of the reason for choosing between the shows may be that the largest viewing takes place either between 12 PM and 1 PM (when people generally can only fit one episode during lunch time) or between 5 PM and 7 PM (when the vast majority of competing shows are a half hour long). We are finding that asking most people to regularly watch more than a half hour per day online seems to be too much.”

Overall, Frank and Kwatinetz conclude that “When it comes to online viewing, most of us are just trying to find time to watch series comprised of 13 to 22 episodes a season — so asking viewers to assign time for over 100 episodes per show is a daunting task.”

So starting Monday, May 20, the schedules will change. Each soap will now air just two new episodes a week: New episodes of All My Children will air online on Mondays and Wednesdays, and new episodes of One Life to Live will air on Tuesdays and Thursdays, with a recap episode on Friday. “Because Hulu agrees with our findings,” the founders wrote, “for the meantime they will keep all of our episodes on Hulu.com for free to give viewers the opportunity to find us and catch up.”

Frank and Kwatinetz acknowledge that “our most dedicated viewers will be upset,” but “we need to devise a model that works for all viewers and follows how they want, and are actually watching, online” in order to ensure that the shows “not meet the fate they experienced previously.” The

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The charts show how iTunes content revenue has been steadily growing upward and to the right. But they also show that Apple saw an increase in iTunes net sales by $300 million just from the holiday quarter (when Apple always sees its biggest concentrated pop in downloads) to the March quarter, making $2.4 billion in sales. This is also up from $1.9 billion during the same quarter a year ago.

Relatively, this is still very tiny compared to the $23 billion in net sales Apple derived from its most essential business, the iPhone. And to the $8.7 billion from the iPad last quarter. But iTunes alone is close to half of Mac net sales, which were $5.4 billion.

The reason for the increase is mostly due to Apple’s steady expansion of the iTunes Store to new countries around the world in recent quarters. iTunes Music sells in 119 countries, videos in 109 countries, while the App Store and iBookstore are both in 155 countries.

According to Asymco’s calculations, this wider availability in the store has driven up the amount the average user is paying Apple for content:

In March Apple reported that they have 500 million iTunes [users] so one way to think about the iTunes business is to say that  iTunes users purchase content and services at the rate of about $40 per year.

This is really interesting in the context of the long-rumored Apple video subscription deal and the still-being-hashed-out “iRadio” service for subscription music content. Imagine if just in just some of those countries Apple introduced a $10 per month streaming solution. So instead of $40 per year from a user, Apple started getting more like $120 per year. And that would be just music. If there was a separate video package some day that figure would get even larger. Plus, that doesn’t include money spent on and within both Apple’s own iOS and Mac apps and third-party apps.

iTunes has always been more of a bonus source of revenue than a meaningful contributor to Apple’s bottom line — the songs were originally there to sell iPods, in the way mobile apps are there to sell iOS devices. But software and services — from iCloud and Maps to Siri — have begun to play a more prominent role at Apple, and in its customers’ experiences. A subscription service of digital content, if deployed and priced correctly, could actually turn into a meaningful new source of revenue for Apple.

If current trends continue, with software and content sales going up and laptop and desktop sales dropping off, it’s not impossible that Apple’s content business could someday soon outpace the Mac segment as its third-largest business.

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The partnership, which comes a year after a similar deal between Flipboard and the New York Times, will grant full access to FT subscribers while casual visitors will be able to read a smattering of FT blog posts and cultural stories.

Rob Grimshaw, managing director of the FT.com, said by phone that the deal will involve the FT and Flipboard sharing advertising revenue, but would not disclose what the exact revenue split is. In the past, the ad splits have been a source of contention for some publishers, including Condé Nast, which pulled back its advertisements from titles like New Yorker and Wired. (A Flipboard spokesperson said the company has an “excellent relationship” with Conde and is partnering on ads for six other titles).

Grimshaw also said that the FT is exploring selling subscriptions through Flipboard, and would be willing to share some of the proceeds with the platform. This is significant because the FT made waves by leaving iTunes in part due to the 30 percent commission (or “vig,” as the Brits call it) that Apple takes from every publisher.

So why is the FT willing to partner up with Flipboard so soon after leaving Apple? Grimshaw says the difference lies in how the two platforms treat customer relationships.

“The issue is not so much a percentage, it’s the relationship between publisher and audience. Paying a 30 percent finder’s fee is okay. Paying 30 percent in perpetuity and not knowing who the customer is not okay.”

The Flipboard partnership also reflects the fact that the FT and other publishers are keen to get their stories in as many places as possible at a time when readers are consuming more and more content on mobile. As for the future role of Flipboard, which some describe as a “giant iceberg” in the way of publishers, Grimshaw had this to say:

“I think the really interesting aspect to the platform is the way they’re giving readers the ability to create a bespoke user experience. I personally think this is going to be a strong strand in publishing and consumption of news in the digital space.”

Correction: This article was updated at 2:40pm to state that Conde Nast titles had pulled ads from certain titles; Conde did not, as previously stated, break off the relationship.

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Production company Prospect Park, which licensed the shows from ABC, will run new, 30-minute episodes of each show Monday through Thursday. (Previously, each episode was an hour long and a new one ran each weekday.) On Fridays, there will be a recap of the week. Episodes are available for free streaming on Hulu and Hulu Plus, or can be downloaded from iTunes for $0.99 apiece or $9.99 per month (20 episodes). The free version of Hulu will only make the most recent episodes available, while Hulu Plus will have all of them.

The New York Times calculated that, because production costs are lower (due in part to having shorter and fewer episodes) and because ads on Hulu can be targeted, Prospect Park needs 500,000 streaming viewers to break even on the soaps. By contrast, the shows attracted three million viewers on TV. In addition, Variety noted that Prospect Park has the rights to sell the the shows to U.S. cable and broadcast networks starting in September (where, in an interesting twist, they’d be available a week after they air online) and is also distributing them to international television networks.

Even so, some longtime fans of the shows who are not accustomed to online viewing may be confused about how to find new episodes online. (That theory is borne out by many of the user comments on this paidContent post from January.) “We would hope that all [fans of the shows] would call their friends to make sure they watch them,” Prospect Park cofounder Rich Frank told Soap Opera Digest recently. “The way to ensure that this is going to work, because we’re really totally advertiser-supported, [is] that we’ve got to get the eyeballs to be watching this. They’ve done it before; it’s just a matter of rallying the troops and getting them to watch.”

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Ten years later, paying for music — whether through downloads or subscription access — is by now a long-established practice. It’s sort of hard to believe it’s been a decade since iTunes launched, but it’s true: Sunday is the 10th birthday of Apple’s download service that seismically restructured the music industry and how we think of buying and owning music. iTunes’ effect on digital entertainment is a well-worn story, of course. But the occasion of iTunes’ 10-year anniversary is a good one to recall how far it’s come — and how the competition for digital music is fiercer than ever.

Here’s a look at iTunes through the years and how it stacks up today to its chief rivals in music: Google,, Amazon and Spotify.

iTunes is about much more than music today: It’s about mobile apps, movies, TV shows, ebooks, podcasts and even education. And over the years, Apple’s added more cloud services for customers to access their entertainment remotely. It’s not uncommon to hear people complain that the desktop version of the software is unwieldy (though I’ve found it to be fine for my needs).  iTunes is a huge download and has many moving parts because so many services are tacked onto it. The common refrain is for Apple to unbundle the desktop software, separating the App Store app from Music and Videos apps, like the way it’s handled within iOS. That, of course, would be a major philosophical change and one that Apple would not confront lightly.

But more than the software itself, it’s music that likely is going to determine what happens to iTunes.

While Apple still has the advantage in overall song titles, as the graph above shows, its competitors have been innovating on ways to offer their comparatively smaller catalog of songs. The pay-for-high-quality download service was innovative a decade ago, but now Apple is the one that will be forced to make some changes in order to keep its lead: subscription music services and web-based streaming are the future, and Apple knows it. And that’s why the company is looking to offer a streaming, web-based music service – dubbed by the press “iRadio.”

As a recent NPD study showed, ownership of music is still important to people. But streaming music discovery services encourage people to find and buy more music, and Apple needs to be a part of that.

iTunes is an important piece of tech history. But as attitudes about music ownership change, iTunes’ next 10 years will likely be more challenging than its last.

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The outage began just after 4 a.m. PT on Tuesday. Apple is only saying that “some users” were affected, but it’s not clear how many people that actually means. I live in the northeast and I didn’t experience a total outage of services, but downloading apps from the iTunes Store this morning took about four minutes longer than usual — which is to say, they usually take about 15 seconds to download. 9to5Mac gathered tweets from users in various countries who seem to have experienced some problems.

This particular outage is the second multi-hour problem Apple’s online services have experienced in the last two weeks. Earlier this month iMessage, a far more regularly used and popular service than GameCenter, suffered a five-hour outage.

Update: Apple’s system status dashboard shows that as of 10:28 a.m. PT all services are back online.

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A few years into Steve Jobs’s second stint as Apple’s CEO, the company hadn’t yet reinvented itself as one of the world’s most-important technology companies, but it was a big-enough distribution channel for the two-year-old Gracenote. At that point, Gracenote had built a respectable business collecting and providing metadata for the compact discs that people were ripping onto their computers, and it relied on software partners to get in front of the music consumers doing the uploading. One of those partners was a popular Mac jukebox application called SoundJam MP.

Ty Roberts Source: Gracenote

So, Gracenote Co-founder and CTO Ty Roberts told me during a recent interview, his company heeded Apple’s warning and bought more servers. At some point around that time (details on the date of the acquisition are sketchy), Apple bought SoundJam MP. Then, at MacWorld in January 2001, Apple released the first version of iTunes (based on the SoundJam technology) and grew Gracenote’s footprint by putting it on more machines. In October 2001, Apple released the iPod and changed Gracenote’s life forever.

The holiday season — particularly Christmas morning — provides a clear example of how stark the change was. “We used to call it iPod day,” Roberts explained, because the company’s servers would go crazy as people opened up their new iPods and immediately began ripping CDs onto their computers. The company’s chief scientist would stay up 20 hours a day for 5 days straight to make sure the database didn’t crash under the load.

From that point on, Roberts explained, a graph showing the rate at which people were uploading music to Gracenote would go from a steady incline into a vertical line. At one point the company was getting metadata from — by Roberts’s estimate — literally every CD being ripped onto personal computers. There was so much database traffic — both writing and reading — because Apple didn’t release the first version of the iTunes Store until April 2003; if users wanted to use their iPods, they had to upload music first.

Scaling like the big boys

Today, of course, Gracenote (which Sony acquired for $260 million in 2008) is pretty much ubiquitous, at least when it comes to metadata. It has metadata for about 130 million songs — and growing — from all over the world and provides metadata to everything from iTunes to Path to your car’s entertainment console. Even if they’re not available for sale as MP3, if someone somewhere at some point ripped a CD and entered its information, Gracenote has data on those artists and songs.

Its database now gets 15 billion queries a month, or 500 million a day (“We’re probably bigger than Bing,” Roberts joked), and the company’s infrastructure has scaled a few times to meet this demand. What began as a small web database running on a few servers grew into an Oracle environment that provided better performance. And when Oracle became cost-prohibitive because of Gracenote’s expanding scale, it shifted again into a highly optimized system that spans thousands of cores in four global data centers.

Now, GM and VP of Automatic Content Recognition Michael Jeffrey noted, almost everything from the chip level up is optimized specifically for Gracenote.

There’s no “world music” when you’re in the “world”

And this setup lets Gracenote do a lot more than just recognize music listeners’ files and give them the album art. For one, Roberts explained, it lets Gracenote be a global company. “We want to have all the music in the world,” Roberts said, “… because our customers ship their products globally.” In fact, part of the reason it’s now part of Sony is that Sony was distributing Gracenote so widely as part of the music player in its Vaio line of laptops.

In order to ensure that everyone has a natural experience wherever they’re accessing Gracenote, part of the job of the company’s 100-person editorial team is to categorize music hierarchically by locality. So, when a user in Japan uploads a CD and Gracenote returns the metadata, it’s categorized as “rock and roll,” for example, rather than a catch-all category like “world music” that a U.S. user might see.

“We want music to feel like a person in your country actually organized it,” Roberts said, “not some dude from California.”

Better music and television through data science

All that data also makes Gracenote a natural fit for recommending new music, although right now the company prefers to let partners handle the algorithms because recommendations tend to be highly product-specific. For example, the iTunes Genius feature is a pretty run-of-the-mill recommendation engine, but, Roberts explained, Apple places a premium on accuracy because its recommendations cost users 99 cents (or more) a shot. With a subscription service like Spotify, though, trying new music is risk-free, so it can play a little faster and looser with its algorithms.

Because Gracenote is present in so many cars — about 35 million — the company has put a lot thought into how to optimally deliver services there, too. Until drivers can bring their interest graphs and music libraries with them to their cars, he explained, any sort of in-car recommendation engine has to be pretty simple and non-distracting — perhaps like thumbs-up or thumbs-down button on the display that will eventually be able to recognize someone’s tastes.

The company has even developed what Roberts calls “machine listening,” which is the ability of an algorithm to recognize the mood, tempo and other audio attributes of music. This is comparable to what Pandora offers, but Gracenote has data on pretty much any song someone could possibly have, which means it can make even your personal music library that much smarter. One idea the company is tinkering is something Roberts describes as “audio coffee.” Depending on any variety of factors — time of day, location, driving conditions or behavior — the stereo system could pick music that either picks up a driver’s pulse or maybe relaxes him.

For Gracenote’s next chapter, the company is banking tablets to deliver a kick like the iPod did last decade. Gracenote is already working with television partners on real-time ad-swapping and intelligent content recommendations, and now it wants to dive deep into the second-screen world. Its new product called Entourage uses a tablet’s internal sensors to hear the television show or music playing in a room and then surface related content, perhaps from the web — like what Entourage user Zeebox provides — or perhaps produced, interactive material like the SyFy channel delivers via its Sync app.

Two ads for two different viewers.

Later this year, GM and VP Jeffrey said, Gracenote will be doing pilots with some large sports broadcasters around a “cheer and jeer” feature that measures how hard people in a room are cheering for or booing their favorite sports teams. If you’re elated, you might see an ad for season tickets. If you’re sad, maybe it’s an an for beer.

Even Roberts is impressed, especially considering that the company’s first use of audio recognition was to make sure users got the right data for their exact version of a song: “I never thought the recognition would break open these kind of new fields.”

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According to figures reported by CNET and confirmed by Spotify, the company now has 24 million active users and 6 million paying subscribers across the world. Spotify is also growing rapidly in the United States, where it arrived in July 0f 2011 and is this week hosting musicians at its “Spotify House” at the SXSW festival in Austin, Texas.

Despite the hype, the underlying economics of Spotify’s business model remain uncertain. The service is beholden to musicians and studios, which request a 70 percent cut, and it must contend with a growing list of competitors that include Pandora, Rdio and SoundCloud. Meanwhile, YouTube is expected to launch a subscription service of its own in coming months and even Apple is expected to get into the streaming game too.

This competition validates the underlying premise of Spotify — that people want access to a giant catalog of music instead of buying it piecemeal through iTunes — but the arrival of deep-pocketed rivals may hurt Spotify’s ability to compete in the longterm.

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Because the App Store is predominantly filled with games, Apple awards a separate category of Editor’s Choice for Game of the Year: for iPhone it’s Rayman Jungle Run, and for iPad, The Room. Runners up in both app and game of the year on iPhone were Propellerhead and Letterpress; on iPad, Waking Mars and Action Movie FX, which snagged another nod.

What is apparent in all the selections is how Apple values excellent design and apps that show off its platform’s strengths. Paper, for instance, was widely regarded  as a beautifully made app the moment it launched. It was particularly well received likely because of how it took advantage of the iPad’s notebook-sized screen, and gesture-based touch interface. Similarly, Action Movie FX takes one of the iPhone’s core features — the camera — and lets users get creative with their video.

In addition to picking their favorites, Apple also released the awards for best-selling and most-downloaded apps of the year.

A glance at the most downloaded lists gives a good sense of what kinds of apps are most used and valued on Apple’s platform. Of the top 20 most downloaded paid iPad apps, 12 were games, six were productivity apps, and two were photo/video apps (Apple’s own iPhoto and iMovie). The top 20 for paid iPhone apps was a bit more diverse: again, it’s mostly games (13), but there were also two utilities, a messaging app (Whatsapp), one photo app (Camera+), a lifestyle app (Pimp Your Screen), a music app (Free Music Download Pro) and a health app (Sleep Cycle).

For the full list of winners, head over to iTunes.

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