OSM Asugan: 用模式创新拥抱变化
在日前举行的MUSIC MATTERS 2018大会期间，爱听卓乐与马来西亚最大的版权服务机构之一OSM的总经理Dr. Asugan Pechi Muthu深入探讨了双方在东南亚市场的业务合作，并就音乐行业的变化和机遇、营销推广和内容货币化的模式创新等话题展开了富有启发性的探讨。
关于 One Stop Music (OSM)Berhad：
I am Asugan from One Stop Music (OSM)Berhad, Malaysia who heads the entire business operations of the company as itsGeneral Manager.
OSM which was founded in 2005 is a truly one stop rightsclearing centre and also known as 4th music major in Malaysia with about 250members who mainly are independent music record labels and publishing companies.
OSM is company limited by guarantee owned byits members and functioning as not-for-profit entity, supervised by amember-elected board representing the independent label community, ensuringthat members receive the benefit of OSM’s activities at the lowest cost. Ourmembers representing music content from Malaysia, Indonesia, Taiwan and India.
OSM acts to ensure its members haveeffective access to new and emerging revenue streams and that their rights areappropriately valued and protected. OSM has licensed the world’s leadingdigital music services including YouTube, Spotify, Apple Music, iTunes, Joox,Deezer, KKBOX, Akazoo, Dailymotion, Tencent’s Ultimate Music and etc. We are100% with our members regarding deal terms.
For year 2017, OSM commands about 22% from overall digital music market share in Malaysia.
我是来自马来西亚One Stop Music (OSM) Berhad 的Asugan，作为总经理，我负责公司的整体运营。
OSM创立于2005年，是一个名副其实的一站式音乐版权清理中心，也是马来西亚第四大唱片机构。我们拥有250家会员单位，他们主要由独立音乐唱片公司及发行机构构成。
OSM实行公司制度化的管理但却是一个非营利的机构，会员单位通过投票选出董事会，成为独立唱片机构们的权益代表，并确保会员们以最低的成本获得OSM的服务。我们的会员单位代理的音乐内容版权覆盖马来西亚、印尼、台湾、印度等国家和地区。
OSM努力确保会员单位的版权得到正当的使用和保护，并从迅速发展的流媒体行业中获得分成。OSM向世界最领先的数字音乐服务机构进行音乐授权，包括YouTube, Spotify, Apple Music, iTunes, Joox, Deezer, KKBOX, Akazoo,Dailymotion, Tencent’s Ultimate Music等等。OSM恪守与会员单位的交易条款。
2017年，OSM在马来西亚数字音乐市场的份额达到22%。
Ausugan圆桌分享内容的文字记录
(注：中文部分由本文作者根据发言内容翻译，未经发言者确认，仅供参考）：
Q=爱听卓乐国际业务总经理张伟新（WintonChong）
A=One Stop Music (OSM)总经理Dr.Asugan Pechi Muthu
Q: Canyou share with us the major changes in the music industry from the perspectiveof a music content provider? And how do you embrace / support these changes?
能否请你分享一下，从一个音乐内容提供商的角度看，近年来音乐行业主要经历了哪些主要的变化？
A: Those days physical CDs dominate the music market but not anymore. Now music are available digitally. This isobviously something good and everyone need to adapt to be the trend changes.With advancement of technologies in term of high speed Internet, high techsmartphones, connected devices and others; music has become easily accessible,comes interactively and stylish with digital music apps that offer high qualitymusic entertainment to its user anytime, anywhere and on any devices. Withcurrent available technologies and facilities, music distribution digitally hasbecome easier to music content providers and lowered number of manpower resourcesneeded as compared to earlier days. I am very excited with the prospect ofthese current emerging digital music market. However the revenue model hasdrastically impacted compared to physical era. From Albums and now we mostlyproducing singles and revenue earned from streaming subscription orad-supported model is relatively very much smaller sum. We all have to acceptthe changes on trends and technology by embrace new changes. We could maximiseexploitation of our contents and revenue by collaborating with more players aswell as with those players with new business models. Most importantly,emphasize more on effective strategized marketing for better content exposureto consumers.
实体CD统治市场的日子一去不返了，现在已经是数字音乐的时代。这是一个好的事情，大家都应该拥抱这个变化。随着网速的提高、手机及各种设备的智能化、各种音乐客户端随时随地通过各种终端为用户提供优质的音乐娱乐服务，音乐变得触手可及。得益于技术和设施的发展，音乐内容提供商进行数字音乐内容的分发工作也而变得更加便捷，需要的人手更少。数字音乐市场的蓬勃发展让我感到非常兴奋。然而，与过去实体唱片年代相比，数字音乐的盈利模式面对的冲击非常显著。过去是靠卖唱片，现在的收入主要来自于数字单曲售卖、付费用户的会员费、以及广告，收入规模与过去无法相比。没有人能够改变趋势，我们唯有顺势而为，积极拥抱变化。我们不断拓展合作的范围，与拥有创新模式的伙伴携手，对内容资源进行充分的开发利用。
Q: WithChanges, comes along opportunities. What are some of these opportunities thatyou see as a music content provider?
机会会伴随变化而来。从一个音乐内容提供商的角度，你觉得机遇来自哪些方面？
A: Music connects with everyone these daysin various forms. Beside smartphones nowadays more devices are capable toconnect to Internet e.g. Connected Car multimedia player system, smart watches,smart speakers, wearables and others.
音乐通过各种方式连接所有的人。除了智能手机，时下越来越多的电子设备被连接到互联网上，比如汽车里的多媒体播放系统，智能音箱，智能手表等各种智能穿戴设备。。。
Q: Aswe have seen many brands come and go over the years, how do we help build a sustainablebusiness? What do we need to do to turn this around and stay in the game?
这些年来我们见证了很多品牌匆匆而来很快又匆匆而去，从业者如何能够扭转局面、生存下来，如何实现可持续的业务发展？
A: Good question! We have seen high and lowin the industry. In order to sustain our business in any situations, we shoulduse our expertise in content marketing, creating the hits. The success of acontent not only depends on its quality but primarily on the marketingstrategies that being carried out at right time. We must always work closelywith new players in market who might not necessarily be from the musicindustry. It is definitely must be a collaborative effort to create asustaining business.
很好的问题。我们见证了行业里面太多的潮起潮落。面对顺流逆流，要想立于不败之地，需要懂得在内容营销上充分发挥专业能力，不断创造热点。内容的成功，不单靠质量，更重要的是在合适的时间实施正确的营销策略。我们要和市场上的新玩家紧密合作，不管他们是不是来自音乐行业。只有精诚合作才能创造可持续的发展。
Q: Aswe move into the digital space, pls share with us any innovative monetizationmodel to capitalize on this new market moving forward.
在数字音乐新时代，我们可以有什么创新性的音乐内容货币化模式？
A: Well I think that with availabletechnologies, the players may attract consumers to pay for unique exclusivecontents example like getting artist closers to fans via their platform servicesuch as exclusive interaction, exclusive chat-interview sessions, or mobilelive events. Now everyone getting entertainment, news, gaming and etc viamobile. So, why not try out something like exclusive live events withreasonable fee. Besides that we may explore pay-per-use OR pay-what-you-want conceptas well but subject to how its packaged to the end consumers. At present we areused to 2 common models: subscription and ad-supported. Maybe we could try to expanddifferent type of subscription service. Example: vanity/reputation where the featuresallowing consumer to distinguish themselves from other consumer which makesthem feel important. This type of features often used in gaming. These specialfeatured users may be offered additional valued added service as I mentionedearlier like artist interaction or access to special contents.
在现有的技术条件下，我们可以通过专属的内容来吸引用户付费，比如，借助音乐平台的服务，粉丝得以近距离接触艺人并进行专属互动、包括私密对话、独家访谈、移动直播等。现在大家听歌、看剧、读新闻、打游戏基本都是通过移动设备。所以，为什么不试试以合适的价钱，提供专属的现场表演呢？此外，也许我们还可以试试pay-per-use（为每一次使用付费）或者pay-what-you-want（为想要的付费）的概念，关键看你把服务怎么打包提供给最终用户。目前行内通行的是两种收入模式：付费订阅（会员费）和付费推广（广告费）。也许我们可以试试拓展更多不同形式的订阅服务。例如：为粉丝提供限量的专属服务，从而让粉丝获得一种尊崇出众的自我感觉。这种套路在游戏行业屡试不爽。可以向这些特定的用户提供具有特别的附加价值的附加服务，比如：与明星进行互动、优先享用特别的内容等等。
