Reboot 2003

Chapter 114 021: Demand Scenario

Xu Lingling sang 'Little Star', and Chen Qin was playing the piano tinkly. While playing, the melody of that song appeared in his mind. After preparing for so long, he already knew what he should copy...

Chen Qin knew what he was going to do from the very beginning, he wanted to write online songs.

What are Internet songs?For the general public, this concept is not very clear, but for industry insiders, or for industry insiders in this era...

It's either crudely made or online songs. After all, there are also a lot of bad songs in the traditional record industry; it's not just online songs that are popular words. After all, there are also many online songs that don't have any pure online terms at all.

People in this era usually refer to songs with a large proportion of network factors in the release process as network songs.For ordinary people, no matter where they start and where they sell their money, their own payment methods will not change, so they are relatively insensitive to these differences.

But for people in the industry, the distribution method determines many things-it not only determines the profit model of the work, but also seems to have changed the rules of the industry and even the content standards to a certain extent.

If we say that Daolang's "The First Snow in 2002" was attacked by a group of senior music industry seniors, and there is a big gap between saliva songs like "Mouse Loves Rice" and the first-class level of today's Chinese music scene...Of course, its melody does have some remarkable parts, and it is not bad to say it is bad; but obviously something is working in the dark, making it achieve greater or even greater commercial success than many traditional music that seems to be better than it.

And this is what Chen Qin focuses on. Since he is looking for answers in the commercial field, he should naturally start his analysis from the commercial field. The pigs on the cusp can take off, and the current Chinese music scene seems to be at a similar stage. Now, copying "Ordinary Road", which became popular more than ten years later, may not be able to beat this year's "Qilixiang" and "Jiangnan", especially when the commercial resources and reputation are at a disadvantage.

However, if an online song like "Mouse Loves Rice" can stand out in this environment, there must be some commercial principles to explore.

Looking at it now, the reason for the success of "Mouse Loves Rice" is not difficult to understand. The decent quality is of course an important factor. Other than that, it is the repetition of popular words. After all, the popular word "I love you is like a mouse loves rice" was not invented by Mr. Yang Chengang.

In the future, "Can't Hurt", "What's the Bull" and the Da Zhangwei series are the successors of this road. Even the Spring Festival Gala is keen to regurgitate a few hot words every year to cheer everyone up. Although everyone doesn't like this set, some people really listen to these songs.

Of course, the problem of this road is also very simple.

First of all, the hot words themselves are time-sensitive. The hot words themselves need to be released at the right time, too early or too late. The bigger problem is how to write them in the song, it is like joking with people;

And after making a joke once, even if the trick is changed the second time, the surprise will be much less for the person being tricked, and may even gradually accumulate boredom.

So since "Mouse Loves Rice", there has never been a song of the same type that has achieved similar commercial success, which seems to be enough to prove that this road is no longer feasible.

And the second type... is probably the tricky visual system.

After all, whether in China or abroad in the future, this will be the most important genre of online songs. "What-does-the-fox-say" and "Jiangnan style" are the masters of the online video era, and China's imitation products in the same period are the one who crows like a chicken and "Little Apple".

However, this genre itself is popular on video websites as an important promotion channel along with their magical PV; the reason why they can’t choose this is because the video era has not yet arrived, and their own cultural competitiveness is not strong in terms of songs.

As for the third and most important point, that is the birth of new demands.

Due to the limitation of the record sales model, some user needs could not be met before. Lu Rong said that users' preferences for online songs are biased. In fact, there is a more accurate and more commercial term for this, which is called demand scenario.

Consumers have different needs in different scenarios... For example, when shopping in a shopping mall, they suddenly want to charge their mobile phones, so they will use a shared power bank at the entrance of the mall, but once they are in other scenarios that will not return after a long time, or when they are simply at home, this demand does not exist.

The network is obviously a key position that makes the demand different.For example, shoppers on the Internet are often more sensitive to prices, users who watch movies and TV online are more inclined to watch all they can watch in one sitting, and users who order food online need delivery speed even more, and the food must be delivered before it gets cold...

The same goes for online music.

It is obviously a bit general to summarize the difference simply by "grassroots culture", but online music does have some different rules from traditional records, which is obviously related to the promotion and sales attributes of the online platform.

First of all... Netizens are chasing interesting things, and such things are inherently more advantageous in spreading.

Perhaps it is only as good as "Mouse Loves Rice", which can make people smile.

Or maybe "The First Snow in 2002", with some regional cultural elements.

These elements seem to be useless in the traditional record industry, but in the online music industry of 'listen before someone buys', their importance has gradually been revealed.

The second is the changes brought about by changes in monetization channels-in the record industry, users need to like a song enough to be willing to pay, so it needs to have a strong level of emotional expression and narrative.

This is probably the key reason why traditional musicians often criticize Internet singers on the Internet. Of course, there may be some darker factors. However, traditional musicians have climbed up step by step from the record industry. Seeing those thin and dry Internet songs, they probably really want to teach these younger generations how songs can capture audiences more effectively.

So online music must be light enough——

Reaching the resonance of a certain special emotion may be a negative blessing for it. On the one hand, the scene where the user is not necessarily suitable for enjoying deep music, the song must enter the melody as soon as possible to prevent the user from cutting the song; on the other hand, even the climax of the chorus can be played directly.

Of course, although these two points are strict, they are not without competition in the existing pop music industry.

In addition to this, there seems to be a third point.

Some tracks that were previously abandoned due to lack of commercial potential will regain their vitality in the context of the Internet.

For example, square dance, such as KTV, such as scene music authorization...

Considering these needs and constraints, the choice seems to be very small.

Chen Qin had been wondering about this question before, but he suddenly remembered it just now.

Originally, I wanted to do some square dance suites or something.

It just so happens that my job is to be a primary school student, so I just need to write a nursery rhyme!

No one will buy records of nursery rhymes, but there are always people who listen to nursery rhymes, and some people will use nursery rhymes as ring tones, as long as they are interesting.

But you can't write pure nursery rhymes. Teacher Huang became popular because of her beauty. If the nursery rhymes don't have the elements of popular music, no adults who are really willing to pay will be interested.

So its service target must be clear... After all, the consumers of the ring tone are adults, and this nursery rhyme must be a song that pleases adults.

And it can't be too forward-thinking, and it can't have subcultural terms that haven't appeared yet.

At this point, the answer seems to be ready.

"Song of Little Crocodile"!
Kidding.

The song of the little crocodile is Schnapischnapi, a German nursery rhyme. If I remember correctly, it is indeed the first generation of Internet celebrity songs that became popular with ants in this era.

Of course, this is a thing for foreigners after all, and it must be unacceptable to take the Tianchao side.

But at the same time, people in the Celestial Dynasty also had their favorite nursery rhymes.

That is, "Three Auspicious Treasures", which should also become popular soon.

It is a nursery rhyme, but it serves adult audiences, especially parents, who are also one of the main groups of CRBT consumers.

In terms of traditional music, there seems to be no one to compete for this potential market. Chen Qin thinks this idea should be quite suitable for him.

As for the only problem...Although the three treasures of auspiciousness are not yet popular, they should not be far away from appearing. If the original composition has already been written, it will be embarrassing if it collides with the song.

So after determining the track, push the timeline back...

"Where Are We Going, Dad" is a variety show about 10 years later, so it shouldn't be a hit.

In terms of cultural attributes, it is similar to "Three Auspicious Treasures".

Focusing on the parent-child market, it will be less attractive to mother users, but the CRBT itself is a market with more male users, and "Where are we going, Dad" has more popular elements, it will probably be more popular among young people, and it is more suitable for the Internet ecology.

And it does not have the language problem of "Three Auspicious Treasures"... "Three Auspicious Treasures" is not popular enough, the lyrics themselves translated into Chinese are a bit messy, and it even released a version in the national language at the same time.

The audience on the Internet does not reject folk songs, but the most dazzling ethnic style and ethnic elements such as the horse pole have almost reached the peak, and no matter how vigorous they are, they will start to drive people away... The folk songs of the auspicious three treasures are still too strong.

In contrast, "Where Are We Going, Dad" should be more suitable for the taste of the public.

And the person who sings...there just happens to be a ready-made one here.

Xu Lingling also sang Little Star with him. Chen Qin suddenly stopped when he thought of this, and made a strange request to her like a director: "You can sing more casually."

"What random?"

"Just don't distract yourself, just like you usually talk in a joking tone."

Xu Lingling is not very good at joking, Chen Qin said that he didn't say anything.But Chen Qin said: "Imagine it, it's like the feeling of a five or six-year-old child."

"Is it like preschool?"

"Yes, try to pretend to be a child."

Then I played it again, and this time it seemed to have a little more meaning, but it was still not enough.

Chen Qin said bluntly: "Imagine what kind of child is the cutest in front of adults, will you pretend to be cute? Try this feeling."

"All right……"

"Twinkle, twinkle, Jingjing, the sky is full of little orangutans..."

"Right, that is it!"

Chen Qin jumped up happily, pulled over the composition text next to him, and began to write numbered notation in the notebook while pressing the keyboard...

(End of this chapter)