| When everyone has become accustomed to Tencent music and entertainment group's software (QQ music, cool music, cool dog music), NetEase cloud music and shrimp music three-legged situation, the departure of Domi music has shown a bleak atmosphere.  Recently, Lao Huang received an email from Sonos, a smart speaker brand, to me. I can see the following paragraph: 'Due to market factors, Domi Music plans to terminate multi-meter related business operations. The server will be removed from service on February 28, 2018, and will stop the music service indefinitely. At the same time, it will cause you to stop using the multi-meter music on the Sonos platform.' Maybe after 95 and 00, they are already familiar with the “three pillars” situation of the music platform market. At the moment of not reading the news, they may not know much about the multi-meter music, but behind this utterly exiting software, they have also been saddled with the 'listing of the music platform'. One share, in 2013 it was claimed to have 150 million users, and in 2015 the amount of users even exceeded 400 million glory. This music platform debuted from the days of Saipan, once had its glory moment. However, the time came in July 2017. There were only 4 million users of Domi Music, and many of the music in the music library had been dropped due to copyright reasons. The song list that played an important role in retaining the user in the music platform was also already available. After stopping on February 10th, the official stopped and the official gateway stopped. It was even more dismal to save the appearance of Domi Music's inability to recover. In the situation where the three parties continued to burn money and continued to wrestle, Domi was quietly and heroically. In response to the closure, there may still be voices left, and it is rumored to be a sentence spoken by Domi's internal executives that 'copyright can no longer be bought'. The battle of the giants: And Qi is still pretending to be a gesture?In the final moments of the last moment, Domi really was so poor? Looking through the development history of multiple meters, we can see that in 2011, Domi Music won A-round music of A1M of 19 million yuan, only one year later, Completed the round B financing of Huayi Brothers’ US$3 million investment. In 2014-2016, Domi Music completed another round of rounds C, D and D+ rounds of financing. The amount of three rounds of financing exceeds 300 million yuan, and the investors have invested in previous rounds. A8 Music and Huayi Brothers also added Jinchang Investment, Panshi Capital, and Ray Media. With only a few years of capital integration, Domi Music still has the capital to operate its own brand. However, compared with the funds that the three parties use only for copyright purchases, the operating capital of Domi Music appears to be smaller. According to sources, the cost of QQ Music's acquisition of 23 exclusive copyrights was as much as a billion dollars, and Netease Cloud Music also treated music copyright purchases in billions of dollars. By comparison, financing was only in the single digit of 100 million yuan. The Domi music, in the absence of any sign of cooperation or even acquisition, has been greatly disadvantaged in the music copyright of the music platform. From the comparison between the Domi Music Capital and the funds used by the tripartite platform for the purchase of copyright, we can also see that the development of China’s digital music production value is also making rapid progress. According to the “2018 China Digital Music Consumption Research Report” released by Aimeo Group, 2016 China’s digital music production value was 52.93 billion yuan, and this figure is expected to reach 58.06 billion yuan in 2017. At the same time, we can find in the report that 'purchase membership', 'purchase music flow package' and 'buy digital album or single' are The main type of online accountability is more inclined to spend on small and medium credit, especially in the small amount of 10-100 yuan accounted for far more than other types of payment. Although 10-100 yuan belongs to the small spending segment, but the amount of users of music software that is currently measured in hundreds of millions, even if paying users account for only one-tenth, this is also a big number. On the one hand is the consumer Having the ability to spend and willingness to spend, on the other hand, is the 'most stringent copyright decree', copyright has begun to be divided up by a platform with strong financial strength. Music software has been attracting audiences by relying solely on higher-quality and full-category music from the very beginning. , Gradually turned into a model driven by policy, began to harvest user profitability. Consumer wishes: How can music software play?From the free wilderness era to the paid painting nation, and to the continuous competition between Mars and each other, under the guidance of official forces, the first half of the competition between the domestic music platforms can be considered to have ended. This looks like calm. The end of the game, which flows underneath, is the vortex formed by more undercurrents. The three forces will inevitably rely on the whirlpools in their hands to create a greater momentum in the second half of the competition. However, the competition between platforms, apart from the core competition in music copyright, can make both platform users and consumers truly feel the experience. There does not seem to be any big waves. This and the major platforms are poised to gain momentum. There is a clear difference in the intention to flex its muscles in the second half. In fact, in addition to the user mobility caused by copyright, no matter which brand, it is actually necessary to take into account the demands of consumers on the music platform in the future, even now. Some platforms have already made their own characteristics in terms of content, UGC and even UI design. They have their own group of core audiences. Therefore, the author can not help but think with these music platforms, where will the next growth point be? Maybe also in the “2018 China Digital Music Consumption Research Report” where Ai Media gathers, we can find out the answer. The report pointed out that 'watching live concerts/livehouse', 'attending music festivals' and 'buying professional audio/headphones/microphones, etc.' have accounted for 59.4% of the total amount of consumers who spent 500 yuan or more, respectively. 40.5 % and 41.8%. Maybe equipment sales and offline operations, will be a new growth point for the music platform after the current live broadcast. Recognized by consumers in the paid music model, consumers have begun to gain access to high-rate lossless music under the support of large-capacity smart devices. To reproduce the good sense of quality resources, hardware is a necessary support. The popularity of intelligence can also help music software develop in depth at the user level. So we can see that cool and cool dogs have launched their own audio hardware product line, trying to form their own ecosystem. In order to develop the ecosystem, in addition to the music platform's own development of the hardware product line, cooperation with other audio manufacturers is also necessary. In recent years, many consumers are pursuing better performance or adapting to usage scenarios. Consider purchasing another player, smart speaker and other hardware. Sonos mentioned above is a representative brand. The music platform actively feeds back to the hardware manufacturer and adapts the hardware specifically. It is also a practice to broaden the use of stickiness by consumers. Let users create stickiness on different platforms and achieve better sound quality performance on conditional hardware platforms. I believe it is a consumer favorite. In addition, a series of landings on the music platform online is also meaningful for the music platform. This is not simply an advertisement. This problem may be even more separated from Hong Kong. The right to say. Maybe many of my friends will still remember the UGC content sharing project that NetEase Cloud Music previously did on the Hangzhou Metro, but similar to the gameplay of this project, it was already unfolding in Hong Kong a few years ago through I Know This Song. The music content is indeed the best stepping stone for the counterattacks of the music platform. However, it is still not enough to rely on a single doorknob. Write to the end...Therefore, music platform brands such as KKBOX, which are active in the Hong Kong market, will be happy to take the bridge between the stars and the listeners. These brand names and even leading concerts abound in the Hong Kong area. Users can also rely on Membership in these software gives priority to enjoying interactions with stars. A simple bridge action will allow all three parties to benefit from the project. In contrast, in the mainland market, although organized by the music platform, platter concerts in the name of the “Anniversary of the Year” do exist, but these concerts lacked sufficient communication power both in terms of content and channels of transmission. As for the title concert It is even more rare for trilateral forces to organize interactive activities under the line. The online platform is a time-saving and energy-saving place that allows stars and fans to get in touch with each other. However, the power under the line cannot be ignored. Obviously, the three parties are now Have not found the potential in this area. In accordance with the degree of developed market network in the Mainland and the leading capability of operation, it is not a difficult task to make a music platform when the funds are allowed. Not to mention that the music platform shuffled through the copyright war has competed in the first half, and the situation has already been established. In the second half of the game, the development direction of the music platform should focus more on the audience, involve the audience and record companies, and form an organic interaction. This is not only meaningful to the development of the music platform, but also to the development of the recording industry in the long run. The foundation stone. |
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