A
Singapore songwriter, composer and music producer, Billy Koh is one of the most
instrumental and influential figures in the Asian Chinese-Pop (C-pop) music industry.
Founder & former CEO of Ocean Butterflies, Billy transformed Ocean
Butterflies Music into one of the leading independent music powerhouses in Asia
for the last 20 over years.
In his
30-year long music career, Billy has produced more than 200 albums for singers
from Singapore, Malaysia, Thailand, Hong Kong, Taiwan, Mainland China & the
US. He is best known for discovering & producing many successful Asian acts
including Kit Chan in 1994, A-Do in 2002, JJ Lin in 2003 and BY2 in 2008.
In 2014,
he quit as CEO of Ocean Butterflies to pursue his new business, Amusic Rights Management, a rights management business that exploits the “publishing rights
of a musical work and all other rights resulting from the reproduction of it”.
In particular, Amusic focuses on digital marketing of music, using an
investment/ revenue sharing model with artistes that it works with.
We
reached him to find out what exactly Amusic Rights Management is and how it
works differently from a traditional music publisher and record label.
Amusic Rights Management business model. Source: http://amusicrights.com/about/company |
What have music publishers and record labels failed
to do in the current state of the music industry and how does Amusic seek to
improve or work differently?
In digital platforms, music is
uploaded sometimes not by creators but users. Large flows of content are mostly
"self-driven" instead of pre-selected by editors in the old days. It'll be much more effective to administer copyrights
of songs and sound recordings together via metadata encoded as a thumbprint of
the digital tracks. Amusic does exactly that, and this is what I mean by a "rights
management" company, where it invests and markets music as one.
The artists and producers are free
to decide who they want to work with and they are pretty much their own boss. They
don't need to be tied up with the majors, whose once powerful and exclusive
physical distribution networks have now become obsolete. Heavyweight artistes
like Michael Jackson, Madonna, Linkin Park all have their own music companies. The
major labels would only sign distribution deals with them. These majors have hardly
created any music content themselves any more for the last five decades.
As digital platforms matured,
especially in the last five years, music companies who really create, produce
and own music can now go to digital platforms themselves, bypassing the majors.
Moreover, the majors do not own any digital platforms, especially not in China.
Amusic’s
core business is in the digital realm but certainly not the only business. We are also involved in offline activities, such as helping
clients pitch their songs for ads or placements in TV or film too.
Amusic
doesn’t sign any artistes. It only works with the artistes. The artistes will
employ or own his/her management company which decides what he wants for
his/her career. The management company will then work with Amusic Creative Team,
an A&R expert arm of Amusic Rights, to develop the repertoire of the
artists. Amusic Rights is responsible for the quality of the products & taking
care of the investment of the products including marketing it digitally.
The
internet has levelled the playing field for all big and small companies to be
able to gain a foothold in the fragmented music market, because even with
smaller investment budgets, a substantiated level of awareness and interactive
personalization can still be achieved between artistes and fans. So from an
artiste's perspective, instead of working with a major label using cookie
cutter "template strategies", they have the freedom to work with
different partners via a modular business model to customize a plan according
to their needs.
What does it take for an album to be successful,
other than making sure that the product is of high quality?
High
quality can only guarantee a long-lasting listening pleasure if the song even
has a chance to be a hit in the first place. But how can a song be a hit? Well,
that's what A&R for. It's a matter of harnessing and capturing the best of
the humanities, fashion, social, aesthetic, emotion, culture, life-style
etc.
How are listeners consuming music now, particularly
in China? In such a big but fragmented market, how do you ensure that your
songs and artistes are heard?
Listeners in China consume music
mostly through the internet, be it on PC or mobile. Marketing is about
capturing focus within a specific time frame among all the rest of the
competition. Using creative ways to capture attention can be the first step. However,
once the crowd is pulled in, the interest level in the content will decide if
the mass would want to re-generate it and amplify its reach.
In another interview, you mentioned about how the
future of the music industry would and should be looking at how to maximizing
its long tail. How do you think a relatively smaller company like Amusic can
achieve this? Also, what are the advantages of being small?
In the
older days, most people do not have access to the old hits that they wish to
recall as most players for the yesteryear's carriers or physical formats are
not available any more.
Now with
random accessibility provided by the digital era, everything can be made easily
available by uploads generated from the users, not creators. Good music which can
withstand time is in the long tail now. It's always easier to make a one-time
hit than a long lasting hit.
Of course,
there's no guaranteed continuous success, but a good music team that has proven
its acts which can last at least a decade or more must certainly possess some
kind of know-how within. It's a science, not a miracle.
Being small
allows us to be independent, integrated & interactive, especially in the
internet age. This will make every elite work for himself. It's more incentive
driven and it cuts down all the nonsense of unnecessary meetings and reporting
of the majors.
In recent years, many music industry professionals
in China have given up or left, due to paper thin margins and a lack of a
strong and cohesive ecosystem amongst the major players in the industry,
including telcos, internet operators, music labels and the government. How do
you think this is changing or improving? What more can be done?
At the
legislative level, for sure it needs to speed up, especially when China’s
economy is reforming towards growing their own innovation driven industries
rather than staying merely as the "world’s factory". Again, we must
not take any present copyright practices for granted. Let's see it this way,
what exactly are "copyrights"?
Copyrights
do not exist by virtue of God. It's a result of negotiation between creators,
co-workers, platforms, media, traders & end-users. There needs to be a fair
deal so that the business model can be sustained. In the last 20 years, we
witness how the internet has digitised all media industries. Music is no
exception, like it or not. I'm open for new negotiation for a new music business
model as long as creators receive enough to make music a good living. It need
not be the same way as during the old school days but it definitely needs
everyone to sit down in a round table to discuss. Everyone, not just the
westerners.
What do you think would the future of the music
industry in Asia be like, particularly in China?
The
priority now is to build super strong content and make an influential
impact first. We need to create a super strong demand then the money, format and
business model will surface naturally. In China, a new format that you never
could have imagined will emerge.
Stop
predicting and start working, on-the-ground not under-ground.
The
future is a land that we've never been.
This interview was conducted by Emily Haw. Reach out to her on Twitter @emilyhaw
This interview was conducted by Emily Haw. Reach out to her on Twitter @emilyhaw
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