串流媒體仍少付50%

  • 流覽次數:: 55
  • 分類: 產業區
  • 分享次數:
  • 作者: 音樂地圖
  • 串流媒體仍少付50%

      202012/2207:59

    ◎儘管串流媒體長期以來一直是音樂消費的主要形式,但數字顯示,音樂經濟仍無法與大約1999年相比。根據RIAA的數據顯示,唱片業收入仍比1999年的業務高峰時下降超過50%以上。
    ◎串流的根本問題是收入不會隨著消費而增長,收入僅隨著訂閱或廣告收入一起增長。收入上限確定後,從(Taylor Swift)到獨立樂團,收入將除以特定期內的總播放次數分配,因此當大咖藝人發行作品時,例如(Taylor Swift),每個人能分到的作品金額都將減少,這是因為(Taylor Swift)產生如此多的播放串流,以至於市場的餅被切的更小。當然,(Taylor Swift)可獲得最多收入。
    ◎換句話說,市場大餅不會隨著消費而增長,只會切成小塊。越多人分,每個人獲得的就越少,這不是超級巨星藝人的錯,而是商業模型設計中的根本缺陷。串流為所有藝人產生更多收入的唯一方法,是建立為串流媒體產生更多收入的解決方案,最簡單的解決方案,是依實際的每個串流計算,以增加收入。

    詳細全文:

    While the streaming has been the dominant form of music consumption for quite some time now, the numbers show a music economy that still can’t compare to the financials of a circa 1999 music business.
    There’s absolutely nothing wrong with music streaming, except the economics. In the chart above from the RIAA it’s painfully clear the record industry is still down by over 50% of the revenues achieved at the peak of the business in 1999. So despite what people might like to say about the value of streaming, the actual facts beg to differ.
    We recognize that at it’s worse the industry was down by almost two thirds of the peak, and gains are being made. However, it’s important to have clear perspective in these conversations if we are to address some of the challenges with the current economic model.
    The fundamental problem with streaming is that revenue does not grow with consumption. Revenue only grows with subscriptions or advertising revenue. Once that revenue is capped, everyone from Taylor Swift to indie garage bands are splitting that same revenue which is divided by the total number of plays for that specific revenue period. This also means hit records don’t add overall revenue for anyone, they just get a larger piece of the revenue that is available.
    When a major artist has a release (like Taylor Swift for example) everyone’s streams are worth less. This is because Taylor generates so many plays/streams that the pie is now cut into much smaller slices. Of course, Taylor gets the majority of those slices so she gets the most money from the pool of revenue that is available.
    In other words, the pie doesn’t grow with consumption, it can only be cut into smaller pieces. The more overall plays there are, the smaller the slices get for everyone. This isn’t the fault of the superstar artist, but rather it’s a fundamental flaw in the design of the business model.
    The only way for streams to generate more revenue for all artists is to create solutions that generate more revenue for the streamers as well. The easiest and most common sense solution is an actual per stream rate which would allow consumption to drive revenue. It’s hard to believe such a win/win would be controversial, but here we are.

     

    Hypebot
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