The record industry: Skinny camels are bigger than horses?

Record industry: The skinny camel is bigger than the horse?
Internet platforms are willing to pay for copyrights, which is a good thing for record companies. However, from the past to squeeze the industry's enemies into today's business partners, the record companies are still wary: "We really care about how the record companies and musicians can benefit from different types of sales channels," Sony Music chief financial officer Kevin Kellech said.
The Japanese music industry is still the world of physical records, as far as current data are available. While physical record revenues fell by 6% in 2014, they still accounted for 85% of total industry revenues, while streaming media accounted for only 2.4% of total revenues.
and even in Europe and America, where streaming media represents digital music revenues that are increasingly tied to record revenues, singers choose to say "no" to streaming media and digital music. Last year, Taylor Swift issued a new album, "1989", refusing to be online at the streaming media platform Spotify. This action is not only for overseas, in the global music Chinese official online, can also see the domestic platform for all the next song "Free music services, only to retain members of the paid service." I do not know whether this action works, or small days of strong market appeal, "1989" became the only 2014 in the United States to achieve platinum record level sales record.
playing more than 150,000, earning only 10 dollars
one sees Taylor's move as "famous, willful," and Taylor's brand CEO, Scott Porkheda, is unable to sit back and say what happened--that Taylor Swift received less than 500,000 dollars from Spotify over the past year. The answer to the
seemingly explosive amount of playback and the wide spread of the surface is surprising. Even so, independent musicians don't have to say. Some analysts point out that, because the current streaming media royalty model to the popular musicians tilt, "once a pop musician over the threshold of certainty, his royalties will be more than his fans to pay the subscription fees." "Then only listen to the subscription fee of independent music users, can not reasonably flow to this part of the music people." In extreme cases, assuming that a user listens to only one song from an independent musician, he pays a 10 dollar subscription fee, and ultimately only 0.007 dollars belongs to the creator.
The share of revenue from video sites is also troubling. An indie musician who gets 150,000 on YouTube says he eventually profited only 10 dollars from it. The
is the same at home. Songko, managing director of Evergrande Music Company, has pointed out that the unreasonable income ratio leads to the lack of power of the music industry in the internet, "music from the physical channel to the Internet this decade, the development rate far behind the film, television and other entertainment industry, because the content side can not get 40% of the revenue. "
Similarly Senqui also has each big network platform, at present most music service is free, therefore" hit the money "buys the copyright music website, only can to the advertisement" reach for the money ". This modelThe type of the user for the "content" to pay the cost, but also make the habit of paying users have been slow to develop.
Explore the revenue model at the heart of music products
Still, a large number of musicians are willing to upload songs to the web. The biggest dividend on the internet compared to earnings is the spread of the internet, which is more about the cumulative popularity of the web and the songs it has sung than the current symbolic online music royalties. On the other side, the internet is willing to advance revenue, the music market demand can not be underestimated.
Just, the music industry development of the Internet only this royalties?
At the moment, there is already a vision that skips the song itself. On-site online ticketing, peripheral product sales, and even public-funded projects can become a possible development model. With the rise of the concept of the public, many domestic websites also to music projects for the public. Record, MV shooting, music book publishing can become a project, however, it is noteworthy that most of the items are records, performance tickets disguised as sales platform. "It's like our other Taobao store," says one online musician. Products of all sorts, but the sale of products can not be separated from the record and performance of two traditional roads. From the record to the Internet to complete the carrier's transcoding, the corresponding pattern also needs the activation of innovative thinking.
True development is not about who destroys who, but about the production of content and respect for music. It's like no matter how the carrier changes, the demand for music is always the same.