Talk has been swirling for months prior to this past Saturday’s release of the Apple iPad as to whether the touch-screen tablet could be or definitely won’t be the savior of print media. (If it’s the former, paid newspaper apps clearly aren’t the way to go.)

But there’s been surprisingly little talk about what this revolutionary(?) device could mean for another struggling industry: music.

With so many labels and artists faltering because of the free exchange of their product, the arrival of a new device for conveying and possibly capitalizing on that flow of content should be a call to arms for the industry. Shouldn’t it?

Instead, it seems that the music industry is either behind the curve or waiting to see how this iPad craze shakes out. (So far, some 300,000 people are shaking it out.)

Back in January, we suggested that the iPad could enhance the music-consumption experience for end users and also empower self-managing musicians.

So far, the marketplace isn’t there yet. But there are a few early adopters.

1. Music Makers

Epicenter highlights the free Rj Voyager iPad app. Made especially for the electronic group Kids on DSP (which, by the way, seems like an obscure choice), the Rj Voyager allows users to manipulate the group’s songs through the iPad’s touch interface.

Here’s a demo (imagine your finger where the cursor is):

Wired credits the app to Michael Breidenbruecker, formerly of Last.fm and now with reality app design firm RjDj.

In addition to everything else it is, the iPad could be the quintessential active (as opposed to passive) music playback device. The tilt sensor has clear potential for adding filter sweeps and other effects. The ambient-light sensor could put on ambient music when your lights turn low. And of course the multitouch screen has massive potential for virtual synthesizers and touch interfaces yet to be conceived.

We put the question to Breidenbruecker: Will the iPad’s larger screen help people interact with music, rather than just listening passively?

“Absolutely,” he agreed. “I think the genre will see a big move forward on the iPad. I don’t think everyone is interested in fiddling around with music like musicians are doing. Instead, we will see totally new formats and also music-related games gaining traction … we want to offer a solid technology platform for this.”

Now that’s more like it!

I have no doubt that in the very near future, people — especially kids — will be making music on the iPad and devices like it.

Just as ProTools made the PC a home-recording juggernaut, the iPad will pave the way for a whole wave of tablet musical engineers.

Already on the way: Midipad, a Multi-touch iPad midi controller. (That’s the image at the top of this entry.)

Because even more compelling than people composing music on an iPad is the possibility of hyper-intuitive, touch-screen apps that facilitate home recording. Want to move a track? Just touch it and drag it. Think about it.

2. Music Players

Not great news here. Though, naturally, the iPad will carry iTunes, CNET reports that the device won’t be able to stream music until “at least the third quarter.” CNET writes:

It will be a disappointment for iTunes fans who have been speculating as to when Apple might use music site Lala–which Apple acquired in December–for its streaming expertise to launch a cloud-based music service.

Meanwhile, CBS, of all companies, is the first major conglomerate to launch an iPad app. Called, dinosaurically, “Radio.com,” the app provides streaming music (much of it from Yahoo), news and sports content.

Not exactly an auspicious start for iPad music consumers, but as streaming functionality is added and more and more people get their hands on these little machines, the music industry will be forced to adapt.

Or it can settle for what it already does best: Dying.

The Shins are the latest high-profile act to abandon the record label that helped them rise to prominence.  Observers speculate that the band will release future albums without a label.  Is this a wise move for The Shins?  Probably- they’re now firmly established and boast a loyal international fan base.  But is going it alone a good move for artists not at the level of The Shins or Nine Inch Nails?   It can be done successfully- but only for hard-working, savvy artists conversant with the ins-and-outs of marketing, promotion and manufacturing.

Locker Partner has a good friend in Omaha.  No, it’s not Warren Buffett.  (Personal aside to the Oracle of Omaha- we were insulted by your first offer.  Try again.)  Our pal Jimmy has created RockDex, a invaluable system that ranks artists’ internet buzz.  Jimmy’s proprietary process evaluates the level of excitement on blogs, MySpace, Twitter and other social networking sites.  Best of all, he suggest constructive ways to improve rankings. Before you check it out, be warned- it’s addictive.

AC/DC chose Wal-Mart. Guns N’ Roses opted for Best Buy.

The two bands are just the latest examples of acts opting to allow their new release to be sold exclusively by one retailer.

The controversial option isn’t confined to superstar acts.

Developing and niche-oriented artists might also consider offering exclusives. Online retailers ranging from Amazon to specialists like Insound and Miles of Music are receptive to the concept. And both AIMS (Alliance of Independent Media Stores) and CIMS (Coalition of Independent Music Stores) offer similar alternatives at brick-and-mortar retail outlets.

The potential advantages of retail exclusivity include receiving a retailer’s focus and the possibility of commanding advance payment and a one-way sale.

In addition to artificially limiting distribution, incurring the ire of other retail outlets is a disadvantage of the concept. Acts also risk annoying or inconveniencing fans.

Still, exclusivity need not be an all-or-nothing proposition. The middle ground includes offering exclusive bonus tracks, autographs or vinyl format to some retailers.

Should you consider exclusivity?

Locker Partner has the answer.