iTunes Match was Steve Jobs' "One More Thing at WWDC this year. It allows users to get the same backup and "download anywhere" benefits from legitimate iTunes purchases as well as any other music they might have, regardless of where it was acquired. Or, as All Things Digital's Peter Kafka put it: Big music might have agreed to Apple's pirate amnesty scheme, but little music may not fall in line quite so quietly. Rob Sevier, owner of Chicago-based Numero Group -- a tiny record label that specializes in old Soul music -- thinks iTunes Match is a raw deal. In a chat with Ars Technica's Chris Foresman, Sevier explained the effect of piracy on a small record label like Numero. This is nothing new. Six years ago, the Supreme Court ruled that Grokster and StreamCast "induced users to violate copyrights and chose not to take the simple steps available to prevent it." The Economist, writing about the case in 2005, noted "the challenge for content providers is to use new technology to create value for customers, and to make those who use content illegally feel bad about it." If, as Sevier claims, Match is bad for the artist and the record company, then it must be good for the consumer. Sevier, for one, thinks so: But clearly some of the big record execs like it too. Labels hope iTunes Match will supply them with three important things: Some amount of revenue for pirated music is better than nothing; labels will get more feedback about the types of music that consumers are listening to; and, they hope, iTunes Match will get customers into the habit of paying for music again -- at least in a subscription form. Article Link: Little and Big Music Disagree On 'iTunes Match'