串流媒體需要支付藝人更好地費用,中國有一個可以幫助您的想法

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  • 作者: 音樂地圖
  • 串流媒體需要支付藝人更好地費用,中國有一個可以幫助您的想法

      202103/1610:30

    ◎由於許多藝人都在努力從Spotify,Apple Music和Pandora等串流媒體平台上賺取足夠的收入,中國Tencent Music已經在使用微支付系統,這可以為某些版稅問題提供解決方案。
    ◎Spotify,Apple Music和Pandora等平台上的串流媒體播放,占去年錄製音樂全球總收入88億美元的79.5%。儘管這些平台透過廣告和訂閱產生了巨大的收入,但它們每筆支付的金額微不足道,而其中只有一部分最終進了創作者的口袋。更糟的是,Spotify提出了一項新功能,如果藝人和版權所有者同意降低串流的版權費率,它將使平台的推薦算法中的曲目更加豐富。
    ◎對於大多數藝人來說,串流媒體勉強能賺錢,但至少它促進了受眾的擴展,使音樂人能夠更好地在這條路上謀生。在中國Tencent Music旗下的數個串流媒體平台上,QQ Music, Kugou, Kuwo, 以及卡拉OK應用程式WeSing,粉絲的微支付可以幫助彌補版稅不足的藝人,允許藝人在每次發行新專輯時都進行一些小規模的活動,某種程度上,它給了他們一個數位小費罐。
    ◎西方串流媒體平台竭力爭取利潤,而Tencent Music在2019年的營業利潤為6.64億美元。有趣的是,Tencent Music的收入中只有大約30%來自訂閱,音樂下載和廣告收入;大部分收入來自於聽眾向藝人一次性支付的佣金,即小額支付。這些可以是直接捐款,也可以是虛擬物品的交換。
    ◎憑藉微支付功能,Tencent Music為藝人提供了一個工具包,以培養忠實擁護者並從中獲利。諸如Anchor和Twitch之類的西方平台已經成功地在播客和遊戲中實現了微支付功能,音樂也是如此。只是必須有一個方便的機制。專注於獨立音樂的線上音樂商店Bandcamp,藝人多年來為商品設定了最低購買價格,在冠狀病毒危機期間,主要的串流媒體平台已開始傾向這種模式。例如,Spotify推出了藝人籌款精選,使聽眾可以通過藝人的個人資料進行捐贈。另一方面,在Patreon上,大約有400萬粉絲或贊助者訂閱了他們最喜歡的創作者,以換取諸如獨家歌曲,實體商品或私人課程之類的獎勵。本身沒有小額支付,但該平台正成為粉絲俱樂部的數位化身。從3月中旬到5月下旬,顧客在Patreon上支付給音樂家的價值增加了60%以上,音樂家帳戶的總額增加了200%。

    詳細全文:

    With many artists struggling to earn an adequate income from streaming platforms like Spotify, Apple Music, and Pandora, a micro-payment system already being utilized by China’s Tencent Music could provide the answer to some of these royalty woes.
    Back in July, Spotify CEO Daniel Ek caught flak for saying it’s no longer enough for artists to record “once every three to four years”—that they need to pump out more product if they want to make a living streaming their music on his platform. As the man cutting their modest checks, Ek would know.
    Streaming on platforms like Spotify, Apple Music, and Pandora accounted for 79.5 percent of the $8.8 billion total global revenue for recorded music last year. But this latest stage of technology’s reordering of the music business has left large chunks of the artist community struggling to make meaningful money from their work. While these platforms generate mammoth revenues through advertising and subscriptions, they pay out negligible amounts per steam, and only a portion of this ends up in creators’ pockets. To make it even worse, Spotify has proposed a new feature that will enable artists and rights holders to boost specific tracks in the platform’s recommendation algorithms provided they agree to a lower royalty rate for those streams. It’s a race to a bottom we didn’t know existed.
    The shortcomings of the streaming payment model have long been blunted by a swelling live music industry: Streaming barely paid for most artists, the argument went, but at least it facilitated audience expansion so that musicians could better make a living on the road. The pandemic has killed that argument, at least for now—and now many artists must wonder where their next paycheck will come from. It has underlined a profound need to restructure, so that artists can depend on selling their art as well as their time.
    Some of this will likely depend on the royalties platforms pay to stream artists’ music. But an integral part of any solution may exist within China’s walled-off internet. On several streaming platforms under the umbrella of China’s Tencent Music—QQ Music, Kugou, and Kuwo, as well as WeSing, a karaoke application—micropayments from fans help compensate artists where royalties fall short. This has partially allowed artists to do some smaller-scale hustling every time they release a new album. In part it’s given them a digital tip jar. But it hasn’t been all small change.
    Whereas western streaming platforms wrestle with profitability, Tencent Music’s operating profits in 2019 were $664 million. What’s interesting is that only around 30 percent of Tencent Music’s revenue comes from subscriptions, music downloads, and advertising revenue; the lion’s share comes through a commission on one-off payments given to artists by listeners, called micropayments. These can be straight-up donations, or given in exchange for virtual goods.
    For example, a listener can send a few dollars as a sign of appreciation for a live stream performance. They can also customize their application with an artist skin, and purchase behind-the-scenes content or a pre-release streaming block for a new record. In 2016, pop singer Jay Chou sold limited time early access to his Bedtime Stories LP for $3. The platform can then drive fans to engage and spend through gamification, such as offering buyers raffle tickets to win artist merchandise. With Bedtime Stories, Tencent Music published leaderboards showing how many times fans had purchased the album—and the winner exceeded 400.
    There’s no reason why Tencent Music’s model can’t be applied beyond China. We all inherently crave a deeper emotional bond with our favorite artists, and we will part with money for it. That’s why we splash out on concert tickets. That’s why more than 100,000 people paid at least one dollar to watch Erykah Badu stream from her living room in April. That’s why top creators on WeSing pocket more than $7,000 per month in tips alone.
    In the west, however, the on-demand streaming model has ruptured the audience-artist relationship. There’s no longer a traditional exchange of X record for Y; instead, platforms like Spotify have become gatekeepers, and music has become more like a utility: unlimited supply for a monthly charge. We listen to curated playlists with the creators demoted to the background, their work consumed by a detached and disengaged audience. With its micropayment features, Tencent Music bridges this gap, and provides artists with a toolkit to foster and more importantly monetize deep fan loyalty.
    Skeptics might say that the Tencent model wouldn’t work in the west because there isn’t the same culture of tipping over the internet. In China, online tipping is referred to as “da shang,” and it’s been common practice nearly a decade, normalized for anything from live streams to literary works. But western platforms like Anchor and Twitch have been successful in implementing micropayment features in podcasting and gaming, and the same could be true of music. There just has to be a convenient mechanism.
    Social media platforms like Facebook have capitalized on this dynamic—the desire for an interaction—to amass billions of global users, and billions of dollars, withoutrewarding artists for their efforts for their own contributions to these networks. Not only are the artists not rewarded, but they must invest in advertising to reach the followers they attracted to their page in the first place.
    The toolkit in the west is materializing. Bandcamp, the independent-focused online music store, has offered the “pay what you wish” model for years. Artists set a minimum purchase price for goods, but leave you free to add more. And during the coronavirus crisis, major streaming platforms have started to tip-toe toward this model. Spotify, for one, has launched “Artist Fundraising Pick,” which allows listeners to make donations via artists’ profiles. That it’s enabling a kind of one-off payment over the platform to occur is encouraging, but it’s not enough, because there is neither a direct exchange nor an additional incentive to trigger action. One manager we spoke with said that none of his three artists, one of which generates more than a million streams a month, had received a single donation.
    On Patreon, on the other hand, around 4 million fans, or patrons, subscribe to their favorite creators in return for rewards like exclusive songs, physical merchandise, or private lessons. There are no micropayments per se, but the platform is monetizing the direct artist-audience channel, becoming a digital incarnation of a fan club. Between mid-March and late May, the collective value that patrons paid to musicians on Patreon increased by more than 60 percent, and the total number of musician accounts grew by 200 percent.
    One major barrier for Patreon is that it exists as an isolated ecosystem separate from where you actually go to listen to music. For enough people to pay, it must be convenient; that’s how Spotify monetized music at a time when piracy made it available for free. It’s a lot to expect listeners to jump to another site, but Patreon does provide a foundation that could feasibly be integrated into a major streaming platform.
    None of this is to say it’s as easy as wrapping up Tencent and rolling it out globally. (Nor, again, does this relieve streaming platforms of their responsibility to properly reward artists for their music.) It’s somewhat of a leap to assume a seamless adoption of micropayments in the west, but against a backdrop of our current system’s shortcomings, and as Spotify continues to prioritize podcasting at the expense of musicians whose work it’s long relied upon, they present an alluring revenue source for musicians globally.
    In the meantime, we must support artists in any way we can. We can do this by becoming an active listener rather than merely a passive consumer. Subscribe to their Patreon page, if they have one, and consider buying your favorite releases in physical or downloadable form. When you purchase a record, as opposed to streaming it, a larger amount of money ends up with the artist. Among the online platforms, Bandcamp is the most artist-friendly vendor, thanks to its relatively low 15 percent commission. And if you like an album enough to buy it, why not add a tip?
    Future Tense is a partnership of Slate, New America, and Arizona State University that examines emerging technologies, public policy, and society.

     

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