为什么音乐行业需要区块链技术？

唱片公司和他们的艺人以及演出经纪人是这个行业的缔造者。他们决定谁得到资金。可以把唱片公司看做是风险投资者(VC)，只不过他们的投资比一般的风投风险要高。艺人成功的机率微乎其微。正因为如此，唱片公司在与艺人签署的合同中会加入对公司极为有利的条款。比较典型的操作是协议中对唱片公司有利的条款占比能达到70-80%。

Records companies and their artists, as well as their performance agents, are the founders of the industry. They decide who gets the money. Records companies can be regarded as venture investors (VCs), although their investment is higher than the usual investment risk. Artists have little chance of success.

交易一般都设置预付款，根据艺人未来的投资价值，预付款从5万美元到数百万美元不等。问题是，作为一个艺人，你从自己创造的收入中获得20%——在你的收入抵扣完预付款之前，你一分钱也看不到。

Transactions typically set advances ranging from $50,000 to millions of dollars, depending on the future investment value of the artist. The problem is that, as an artist, you get 20% of the income you generate – and you don't see a penny until your income offsets the advance.

如果你想成功，除了为公司支付费用外，你还需要更多的人加入进来帮助你。你需要一个经理，一个公关团队，一个经纪人，一个领队——我可以一直说下去。有些费用是由唱片公司支付的，但通常情况下经理会从艺人的收入中抽提成。另外公司还会再给经理分成。

If you want to succeed, you need more people to help you, in addition to paying for the company. You need a manager, a public relations team, a broker, a leader -- I can keep talking about it. Some of the fees are paid by record companies, but usually the managers are drawn from the artist's income. And the companies will split them.

“唱片公司对于艺人而言有利有弊。这取决于你签署的协议类型，如果协议不当，你会比较容易迷失，失去创作力或者背上债务。如果你不与顶级艺人竞争，你会很容易被“搁置”，成为团队的非优先选择。但是对于Kid Buu来说，这种事情不存在的! ” - Kid Buu，嘻哈歌手。

"Recording companies have both advantages and disadvantages for artists. It depends on the type of agreement you sign, and if the deal is not right, you're more likely to get lost, lose creativity, or lose debt. If you don't compete with top artists, you're easy to “set aside” and become a non-privileged option for the team. But for Kid Buu, it doesn't exist!” - Kid Buu, hip-hop singer.

Kid Buu是特立独行的典型代表，他正在为自己铺路，也是因去中心化而受益的艺人。在与唱片公司谈合作前，他就凭借自己的形象和音乐吸引了一大批听众。他能给听众们带来东西，因此他受到的待遇就比较好。凭借他庞大的粉丝群，他完全能够负担自己的事业，而且如果募集资金的过程是去中心化的话，那么他就只用支付一小笔版税。如果风险分散到他的歌迷身上，而不是仅仅依靠唱片公司，那么整个体系就会更加平衡。

Kid Buu, who is a typical representative of a unique profession, is paving the way for himself and an artist who benefits from decentralisation. Before working with a record company, he attracts a large audience with his own image and music. He can bring something to the audience, so he is treated better. With his huge fan base, he can fully afford his career, and if the fund-raising process is centralized, he will pay only a small copy of the royalties. If the risk spreads to his fans, rather than relying solely on record companies, the system will be more balanced.

我不是说唱片公司是敌人。在很多情况下，唱片公司帮助崭露头角的艺人获得动力，在他们的职业生涯中创造巨大的成功。唯一的问题是，这只是一小部分与唱片公司签约的艺人的情况。大部分的艺人都被“搁置”了，也就是说他们所在的项目被置于次要位置，这样的话唱片公司就可以专注于公司认为的更有前景、更有投资价值的艺人。

I am not saying that record companies are enemies. In many cases, record companies help emerging artists gain momentum and create great success in their careers. The only problem is that this is only a small number of artists who have signed up with record companies. Most artists are “set aside” – that is to say, their projects are relegated to secondary positions – so that record companies can focus on what they see as more promising and more investmentable artists.

“老实说，我们一直梦想着成为大唱片公司中的一部分，只是为了看清它到底是什么样子，但对于如今的音乐行业来说，真相是你必须自己去完成构建。你不能指望唱片公司能帮助你发展事业。基本上你做的每件事都不需要公司的帮助，当一个公司想要和你签约的时候，你其实根本就不需要他们!这就是为什么我们能独立这么久。如今，经过6年的血汗和泪水，唱片公司和管理公司等都想参与进来，但我们基本不需要它们。这就像申请信用卡。你需要信用积分才能获得信用卡，但没有信用卡你就没有信用积分。讽刺!”—— OhdemBeatz，制作人

"To be honest, we've always dreamed of being part of a big record company, just to see what it looks like, but the truth is that for the music industry today, you have to do it yourself. You can't expect a record company to help you develop your career. Basically, you don't need company help. You don't need them at all when a company wants to sign a contract with you. That's why we've been independent for so long. Now, after six years of sweat and tears, record companies and management want to be involved, but we don't need them. It's like applying for credit cards. You need credit credits to get credit, but you don't have credit credits without credit cards.

这些轻而易举就能实现的目标从唱片公司和版权发行商转移到区块链，这样艺人和粉丝就可以了解到所有艺人的收入流向哪里。

These easy-to-achievement goals are shifted from record companies and copyright distributors to block chains so that artists and fans can understand where the income goes to all artists.

每个节点上都可以有数据库的完整副本，系统鼓励所有这些节点就其内容建立共识。

Full copies of the database are available at each node, and the system encourages consensus-building on the content of all these nodes.

这样就在艺人、唱片公司和粉丝之间建立了信任机制。如果唱片公司名单上的艺人没有得到应有的经济支持，那将会众所周知。但说实话，在我看来，这种情况发生的可能性几乎为零。所以，我们回到协议条款和“预付款”的问题上来，正是这两个问题让很多艺人签下了糟糕的合同。

But, to be honest, it seems to me that the likelihood of this happening is almost zero. So, we go back to the terms of the agreement and the “advance payment” issues, which have led many artists to sign bad contracts.

预付款的问题在于，它是让人成为金融奴隶的催化剂。

The problem with advance payments is that it is a catalyst for financial slavery.

大多数艺人一般都偿还不了他们的预付款，他们不断地为签约的唱片公司创收以维持他们创作生涯。一旦他们偿还完预付款，根据合同条款，他们就会得到他们自己收入的20-30%的巨额回报。

Most artists are generally unable to repay their advance payments, and they continue to generate income for the contracted record companies to sustain their creative lives. Once they pay the advance, they receive a huge return of 20-30% of their own income, in accordance with the terms of the contract.

区块链可用于将艺人的筹款过程去中心化。就比如说，将原本置于一个主体(例如唱片公司)的风险分摊给到100个利益相关者，同时艺术家可能会得到更多的版税收益。

Block chains can be used to centralize the artist’s fund-raising process. For example, the risk of being placed in a single subject (e.g. a record company) is shared among 100 stakeholders, while artists may receive more royalties.

音乐行业中资本的中心化也意味着唱片公司基本上可以决定什么是“好”音乐。除非艺人是独立创作的(这种情况越来越普遍，但仍很少见)，不然他们肯定就签约了唱片公司。音乐行业的去中心化使歌迷和音乐爱好者能够决定哪些艺人可以获得资金，这样发掘新人的过程就比较民主化。

Unless artists are independent (which is becoming more common, but is still rare), they must have signed a record company. Decentralization of the music industry allows fans and musicians to decide which artists can get the money, so that the process of discovering new people is more democratic.

版税分配

Royal Tax Allocation

目前的版税分配形式完全是一团糟。目前有几家公司从事数字发行和版权发行业务，但很多专业制作的歌曲都需要付费。

The current distribution of royalties is a complete mess. Several companies are currently engaged in digital distribution and copyright distribution, but many professional songs are subject to fees.

例如，我们可以看看德雷克的歌曲《Glow》的演职员表。

For example, we can look at Drake's playlist for the song "Glow."

首次发行出版商信息：桑德拉·盖尔/百代流行音乐出版公司，梅弗摩西公司/版权服务商科博 (美国作曲家，作家与出版商协会）， 百代四月音乐公司 (美国作曲家，作家与出版商协会），市中心数据管理平台 (百代布莱克伍德音乐公司)， 索尼/亚特兰大歌曲有限责任公司(百代布莱克伍德音乐公司)， 华纳音乐集团 (美国作曲家，作家与出版商协会)

For the first time, publisher information was released: Sandra Gaer/Badé Pop Music Publisher, Mévesmos/Cobo, Copyright Servicer (American composers, Association of Writers and Publishers), April April Music, 100 Generations (American composers, Association of Writers and Publishers), Central Data Management Platform (Badley Blackwood Music Company), Sony/Atlan Big Songs Limited (Badee Blackwood Music Company), Warner Music Group (United States composers, Association of Writers and Publishers)

创作者：格雷厄姆·韦斯特，谢比卜·金， 优素福，枫弥·桑迪弗，戈尔茨坦，菲利普·贝利，莫里斯·怀特，奥布里·格雷厄姆，卡洛· 蒙特尼， 马吉德·马卡迪，加布里埃尔·加尔松·蒙塔诺, 安东尼·杰弗里斯， 艾塞· 朱伯，肯扎·萨米尔, 诺亚·希尔本·乔丹，杨先生。

Author: Graham West, Shabib King, Yusuf, Maple Myi Sandiff, Goldstein, Philip Bailey, Maurice White, Aubrey Graham, Carlo Monteny, Maged Makadi, Gabriel Garsson Montano, Anthony Geoffreys, Isaac Juber, Kenza Samir, Noah Hilpen Jordan, Mr. Yang.

素材收集：包含由百代四月音乐公司(美国作曲家，作家与出版商协会）出版、由菲利普·贝利和莫里斯·怀特写的《奉献》样带，使用经许可、保留所有权利。包含由索尼音乐娱乐公司提供的《大地之风与火》。包含加布里埃尔·加里森-蒙塔诺表演的“6 8”部分节选，由超有型公司提供，使用经许可。包含来自环球唱片公司德雷克表演的《丛林》部分节选。

Collection of material: Comprises a sample of "Contributions" published by the April 100 Generation Music Company (American composers, Association of Writers and Publishers) and written by Philip Bailey and Maurice White, using licensed and retention-of-title profits. Contains "The Wind and Fire of the Earth" by Sony Music and Recreation Company. Part of "68" excerpts of Gabriel Garrison-Montano's performances, supplied by supermodels, are licensed.

制作者：由诺亚·谢比卜为梅弗摩西公司和坎耶·维斯特制作，周边由诺亚·戈尔茨坦制作。

Producer: by Noa Shebib for Mevesmos and Kanye West, and surrounded by Noa Goldstein.

录制者：由诺埃尔·地籍，诺亚·谢比卜和 哈雷·阿瑟罗为埃夫顿音乐公司和诺亚·戈尔茨坦在加拿大多伦多巴黎海特公园的索塔工作室和无名工作室录制。

Recorders: Recorded by Noel Cadastral, Noa Shebib and Harley Asserro for the Erfton Music Company and Noah Goldstein's Sota studio and anonymous studio at Heitt Park, Paris, Toronto, Canada.

后期制作：由诺埃尔·坎贝尔为位于多伦多的索塔工作室和306工作室的埃夫顿音乐公司/ T.O.音乐集团调音。

Later production: Noel Campbell for the Sota studio in Toronto and for the Effton Music Corporation/T.O. Music Group.

坎耶·韦斯特别特感谢走出我们的梦想II有限责任公司。

Kanye Wes was particularly grateful for getting out of our dream II limited liability company.

这都还不是我见过的最长的演职员表，如果你有时间，可以谷歌搜索一下坎耶·韦斯特的歌曲《Fade》。

It's not even the longest list I've ever seen. If you have time, you can Google for Kanye West's song, "Fade."

通过这个事情想说明的是须要向名单上的大部分人支付版税费用——我听说过(而且亲身经历过)很多制作人或歌曲作者根本拿不到版税。想想这样的例子，一个艺人在出名前，就已经默默的耕耘了很多年。在这种情况下，艺人可能已经独立发行了数百首歌曲。

The point to make is to pay the royalties to most of the people on the list — and I've heard (and I've seen them personally) that many producers or songwriters don't get the royalties at all. Think of such an example, an artist has been working silently for many years before becoming famous. In this case, artists may have published hundreds of songs independently.

当艺人“成功”时，所有与他合作的制作人和唱片都应该获得版税收入。然而，当唱片公司介入时，那些为艺人的出道做出过贡献的创作人却被完全遗忘，这样的情况并不少见。他们并没有得到版税和认可，有些甚至都不会出现在演职员的名单上。追踪版税分配的过程完全不透明，上传歌曲的人基本上控制着谁能在它产生收入时获得报酬。

When an artist is “successful”, all the producers and records he works with should receive royalties. However, when a record company intervenes, the creators who have contributed to the artist’s career are completely forgotten, as is often the case. They do not receive royalties or recognition, and some of them do not even appear on the list of actors. The process of tracking royalties distribution is completely opaque, and those who upload songs basically control who gets paid when it generates income.

区块链可用于各种场景，例如追踪所有权或文档出处、数字资产、实体资产或投票权。

Block chains can be used in a variety of contexts, such as tracking ownership or file origins, digital assets, physical assets or voting rights.

区块链可用来创建一个完全透明、不可更改的系统——所以如果有人没有得到报酬，他们就会知道，并能够解决这个问题。

Block chains can be used to create a fully transparent and unalterable system — so if people are not paid, they will know and can solve the problem.

如果艺人能够为他们启动的每个项目以及版税份额发行代币，版税收入就可以自动分配给每一个为专辑做出贡献的人。另外，这也将我们刚才谈到的资金问题去中心化了。

If artists are able to issue tokens for each of the projects they start and their royalties share, the royalties will automatically be distributed to everyone who contributes to the album. And it's also centralizing what we're talking about.

一个艺人可以发行100个代币，每个代币相当于专辑版税的1%。这些代币可以分发给每一个为这首歌做出贡献的人，一部分可以留给艺人作为他们的利润分成，剩下的可以卖给歌迷，以筹集制作这张专辑的资金。

An artist can issue 100 tokens, each equivalent to 1% of the royalties of the album. These tokens can be distributed to every person who contributes to this song, some of which can be left to artists as a share of their profits, and the rest can be sold to fans to raise money for the production of this album.

我不认为区块链会搅乱音乐行业，相反，我认为它必须去搅乱音乐行业。

I don't think the block chain would mess with the music industry, but instead, I think it would have to mess with the music industry.

------

风险警示：蓝狐笔记所有文章都不构成投资推荐，投资有风险，投资应该考虑个人风险承受能力，建议对项目进行深入考察，慎重做好自己的投资决策。

Risk Alert: All Blue Fox notes do not constitute investment recommendations, they are risky, they should take into account individual risk tolerance, and it is recommended that projects be thoroughly examined and their investment decisions carefully taken.

（作者：蓝狐笔记，内容来自链得得内容开放平台“得得号”；本文仅代表作者观点，不代表链得得官方立场）

(author: Blue Fox Note, from the Open-Tracking Platform; this paper represents only the author's views and not the official position of the chain)

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