The threshold for musicians is getting lower and lower, and copyright income is increasingly polarized. How can
52% of musicians make money without music income?
After investigating 104 musicians from more than 40 cities, Zhang Fengyan, a professor at the School of Music and Recording Arts, Communication University of China, recently released the "2020 Chinese Musicians Report" (hereinafter referred to as the "Report").
It revealed that in the past year, the income of Chinese musicians from digital music platforms or short video live broadcast platforms has been on the rise, but the current music income of musicians is still at a low level.
In fact, this situation has always existed: on the one hand, the threshold for musicians is getting lower and lower, and on the other hand, the income of music copyright is becoming more and more polarized, which makes musicians' music income low and income differences between individuals increase.
The industry believes that if the use of music copyright can be regulated and royalties can be greatly increased, this situation may be changed.
The premise is that the work is good enough, the musicians are good enough, and the music platform is supported.
Low music income
Well-known musicians earn no more than 100,000 yuan per year
The British novelist Maugham’s "The Moon and Sixpence" explores the contradiction and interaction between life and art. Although there are more fabricated content, in fact, for musicians, they are looking for poetry and distance at the same time. , "Penny" is also essential.
A reporter from the Beijing Youth Daily found in an investigation that many music platforms have programs that help musicians earn money from music, such as Tencent Music’s "The Force Project", NetEase Cloud Music’s "Rock Project", and the upcoming closure. Xiami's "Light-seeking Project".
Tencent Music Entertainment Group’s third-quarter 2020 financial report shows that its online music payment rate has increased from 3.8% in 2018 to 8%.
"Report" revealed that in 2020, more than 70% of musicians will receive income from digital music platforms such as QQ Music and NetEase Cloud Music.
However, it is difficult to feed a large number of musicians only by user fees, and the income of musicians is still not optimistic.
According to the "Report", 52% of musicians have no music income, 24% of musicians’ music income accounts for less than 5% of total income, and 7% of musicians’ music income accounts for 6%-20% of total income, only 7 % Of musicians account for 100% of their music income.
The low income of musicians has actually been going on for several years.
Li Guangping, a well-known musician who has composed classic songs such as "Are you okay in a foreign country" and "Damp Heart", has earned no more than 100,000 yuan a year from songwriting and royalties for the past ten years, and he has worked hard in the music industry. Decades.
It is not difficult to guess the income status of other obscure practitioners.
In an interview, Li Guangping said that people who make a living on music are basically music teachers, and that no more than 10% of music creators and singers can make money from music, and most of them will support themselves in a second job.
"I am also very confused. The income of musicians is so low. Why do we still have so many songs online every day? Where does the production cost come from? Why do so many people want to enter this industry?"
Polarization of copyright revenue
Some people earn 5 million a year, some people may only have a few cents
In an interview with Beijing Youth Daily, the senior music agent Liang Yi introduced that the income of professional musicians can be roughly divided into the following parts: copyright, production, ost (original soundtrack), performance, etc.
Liang Yi said that there are currently two modes of copyright cooperation between musicians and platforms: one is to share according to clicks; the other is to buy out production fees by the platform.
Click to divide into areas.
In recent years, a major feature of digital music is that the titles of popular titles (such as works by Jay Chou, Mayday, etc.) are of high copyright value, while works on the waist and tail (newcomers or unknown musicians) are not cared about.
The survey shows that 90% of the songs belong to "morgue songs" (no one after the song was published, no click rate, no data), no click data, no share, only about 10% of the songs will have income.
One of the more successful cases of copyright sharing in recent years is that after the singer Gao Jin's "We Are Different" became popular on short video and live broadcast platforms, he received a share of up to five or six million in a year, but this is a case in point.
More musicians who create "morgue songs" may earn only a few hundred yuan a year, or even a few yuan or a few cents.
Xiaofei, a senior music planner and general manager of Beijing Yuyue Cultural Records, said that in the past two days, I saw some musicians who were already very active in NetEase, earning only 1.7 yuan last year.
As for choosing the platform buyout model, the cost of a song generally ranges from 20,000 to 50,000.
If the song becomes popular in the future, the money-sharing matter will have nothing to do with the musicians.
If the platform talks to the record company about packaging, the record company then settles with the individual, which is another matter.
Music producer Zhang Yadong once questioned such a cooperation model: copyright fees have risen one after another, and most musicians have not been able to get the benefits. Many musicians and record companies have signed a "one-shot deal", and the income after the music is released is almost equal. Musicians have nothing to do.
As a result, many musicians skipped the record company and directly signed with the copyright owner, but the permanent buyout of newcomers continues, and the living conditions of old musicians have not changed.
Lack of channels for newcomers
Hot searches come fast and go fast
If the number of hits on the song is small, it is naturally impossible for the singer to perform.
Liang Yi pointed out that many commercial performances in second- and third-tier cities are willing to invite veteran singers with classic masterpieces or singers who sing the so-called "slobber song". It is difficult for most independent musicians to make money from commercial performances, and some can only rely on them. music Festival.
In addition, the number of registered musicians on digital music platforms continues to grow, and the number of musicians in NetEase Cloud Music alone has reached 200,000.
In the past, newcomers could build their popularity through program promotion, signing on arrival, and song clubs. Nowadays newcomers have no programs to be on, and there are very few signings and song clubs. They can only rely on the Internet, but the Internet has too much information every day. It's easy to be overwhelmed.
"In fact, the rules of the game for copyright income have not changed, but the communication channels have changed. The core problem is that the entire industry has no promotion channels. Now most of them are buying hot searches and investing in Weibo kol (weibo large, celebrity, big V accounts). But hot searches come and go quickly, and the information basically does not extend to the attention to the work and the retention of new listeners. Independent musicians have no money, let alone buy them, and no one hears them." Liang Yi said.
As a result, a vicious circle is formed: it is difficult for newcomers' songs to penetrate into second- and third-tier cities and be known to the public. There is no broadcast volume on the music platform, and naturally no copyright income.
Xiaofei also believes that there is indeed an imbalance between Chinese music copyright and market value.
Looking at all the works that everyone is familiar with in recent years, you will find that they are all made by a group of people, so the songs are the same.
In his view, behind music is a complete set of creative industry chain, from the birth of song and music sample tapes to the finished products being heard by the public. "We need to allow people with musical talents to be good at supplementing market needs with their own abilities. Not everyone is keen to release a song or the last variety show. If music incubation starts from the fundamentals, we will see countless diverse musicians, and naturally good works will appear." Xiaofei said.
Change the status quo method
Regulating copyright + good music income can increase
Can the low income of musicians be changed?
Liang Yi believes that whether musicians have music income is actually the same as celebrities' success. It is impossible for all artists to earn both fame and fortune, and it is impossible for all musicians to make money and make money from music.
"After all, this is market competition. Someone will always be eliminated. For musicians, they have to insist, maybe one day suddenly a song becomes popular and start to make money; or they give up, but while he gives up, there will be many more New people come in.” Liang Yi believes that if musicians can endure loneliness on the one hand, and on the other hand, when the public's copyright awareness becomes stronger and the habit of paying for songs is truly cultivated, music income is expected to increase.
Musician Li Guangping also admitted that it will be a long process to change the low income of musicians.
If the music copyrights of major websites, TV stations, radio and other media can be used in a standardized manner, and the royalties will be greatly increased, music creators will have hope; at the same time, a way to realize the downloaded songs in a timely manner can be developed to enable the singing and production of lyrics A model where all units can make money.
"For example, after a song is online, it's like an article on the WeChat official account. After you download it or give it a reward, the money can be given to the musician."
In addition to the Gao Jin mentioned in the previous article, there are actually many musicians in China who earn considerable income from music: guitarist Li Yanliang almost undertook the guitar performance of many big-name concerts last year, and music producer Long Long served as the Shenzhen TV era show. Music directors and producers of music scenes, Huachenyu concerts, etc., I believe they will get considerable benefits.
"As long as the platform does not focus entirely on the works of a certain well-known artist, but on creative musical works and the creative chain behind it, the musicians will definitely make more money. Universal Youth Hostel Digital Album The sales volume exceeded 8 million yuan a week after going online. Why can they still be like this if they haven't been in a variety show or any so-called hot search? Because Chinese listeners have individuality, respect the power of knowledge, and are willing to pay for culture." Xiaofei Say.
Text/Reporter Shou Penghuan Coordinator/Liu Jianghua