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研究生： 安東寧
Antonin Saslawski
論文名稱： 一個串聯創作者，DJ 音樂愛好人，派對策劃， 製作發行公司的音樂圈平台
A music platform to connect artists, labels, DJs, party organizers and listeners
指導教授： 何小台
Ho, Chester
口試委員: 吳文傑
Wu, Jack
陳春龍
Chen, Samuel
學位類別： 碩士
Master
系所名稱： 商學院 - 國際經營管理英語碩士學位學程(IMBA)
International MBA Program College of Commerce(IMBA)
論文出版年： 2019
畢業學年度： 108
語文別： 英文
論文頁數： 55
中文關鍵詞： 音樂平台 、DJ 、派對策劃
外文關鍵詞： music platform, DJ, party organizers
DOI URL： http://doi.org/10.6814/NCCU201901284
相關次數： 點閱：208  下載：0 
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    • Hubtrack was born from a simple observation of one of our founders, an underground electronic music artist. Digitalization brought a lot to this domain, from music distribution or music supports to interactions and networking between the electronic music industry stakeholders. New digital solutions appear every day and drastically improve the efficiency within this sector, yet he faced an unpleasant experience that was not made easier by digital yet. After finishing an album, he needed to find a label to sign it on. Then came hours and hours of searching to find the right label that fits his music and is open to sign new artists. Small deejays also spend hours looking for venues and party organizers that are looking for warm-up* artists around their place. So, he realized that we needed to use digitalization to connect better small artists and labels, small deejays and party organizers, while offering listeners the opportunity to discover unknown and emergent underground electronic music artists.
    Two associates partnered and created Hubtrack, which literally is a hub to improve interactions of electronic music stakeholders around tracks. It would help small artists to find labels by posting demos on the platform and to market their independent releases without label. It would help labels to find new artists that match their artistic line and let them communicate about their availability to sign. It would help small deejays to share their mixes and find party organizers around their location to play for them, and it would help experimented deejays and listeners to dig* for new and unknown artists, either by streaming or by track downloads. Moreover, it would connect people for free while offering different kind of paid services, depending on the budget and the need of our different customers. They are underground electronic music lovers or actors such as artists, label owners and party organizers, and they can’t wait to be better connected thanks to Hubtrack.
    Because in an artistic environment we need to focus on Art, Hubtrack will save time for musicians. We will strive to become pioneers and leaders in this niche market and expand internationally to offer our service to any underground electronic music stakeholder in the world.

    1. COMPANY DESCRIPTION 7
    1.1 PERSONAL EXPERIENCE 7
    1.2 MISSION STATEMENT 7
    1.3 OWNERSHIP AND MANAGEMENT 8
    1.4 ORGANIZATION AND RESOURCES 8
    1.5 OUR VISUAL IDENTITY 9
    1.5.1 Our name 9
    1.5.2 Our logo 9
    1.6 COMPANY CULTURE AND BUSINESS PHILOSOPHY 10
    1.7 MISSION AND VISION 10
    1.7.1Mission 10
    1.7.2 Vision 11
    1.8 STRATEGIC OBJECTIVES 11
    1.9 KEY SUCCESS FACTORS 12
    2. EXTERNAL ANALYSIS 13
    2.1 THE ELECTRONIC MUSIC AND MUSIC DISTRIBUTION INDUSTRIES 13
    2.1.1 A Brief History 13
    2.1.2 How digitalization changed and democratized the industry 13
    2.1.3 Key numbers about our industry 15
    2.1.4 The revival of vinyl 17
    2.2 PESTEL ANALYSIS 18
    2.2.1 Political 18
    2.2.2 Economical 19
    2.2.3 Social 20
    2.2.4 Technology 20
    2.2.5 Environmental 21
    2.2.6 Legal 21
    2.3 COMPETITORS 22
    2.3.1 Direct and indirect competitors 22
    2.3.2 Competitive analysis 26
    2.4 OUR MARKET AND SEGMENTATION 27
    2.4.1 Our niche and customer profile 27
    2.4.2 Barriers to entry. 28
    2.5 BUSINESS OPPORTUNITIES 29
    3. PRODUCTS AND SERVICES 32
    3.1 SERVICES FEATURES 32
    3.1.1 First development round: Hubtrack for producers 32
    3.1.2 Second development round: Hubtrack for producers and deejays 33
    3.2 PRICING STRATEGY 34
    3.2.1 Cost structure for producers 34
    3.2.2 Cost structure for listeners and digging DJs 35
    3.2.3 Cost structure for labels 36
    3.2.4 Cost structure for promoting DJs 36
    3.2.5 Cost structure for party organizers 36
    3.3 USER INTERFACE 36
    4. MARKETING CHANNELS AND PARTNERS 37
    4.1 PROMOTIONAL PARTNERS 37
    4.2 DIGITAL MARKETING 39
    4.2.1 External strategy 39
    4.2.3 Internal strategy 40
    5. BUSINESS MODEL CANVAS. 41
    6. OPERATIVE PLAN 43
    6.1 YEAR 1 – PRELAUNCH PHASE 43
    6.2 YEAR 2 – LAUNCH PHASE 44
    6.3 YEAR 3 – EXPANSION ABROAD AND DIVERSIFICATION OF OUR SERVICES 45
    6.4 YEAR 4 – LONG TERM VISION 45
    7. FINANCIAL PLAN 47
    7.1 ASSUMPTIONS 47
    7.1.1 Costs assumptions 47
    7.1.2 Revenue assumptions 48
    7.2 COST ANALYSIS 49
    7.2.1 Startup expenses 49
    7.2.2 Operational costs 50
    7.3 REVENUE ANALYSIS 50
    OUR REVENUE COMES FROM MANY DIFFERENT SOURCES. OUR MAIN SOURCE OF REVENUE IS SUBSCRIPTIONS, BUT IF WE GROW VERY BIG, THE REVENUES FROM SALE OF PAID TRACK AND OVER STORAGE SERVICES SHOULD REPRESENT A BIG SHARE OF OUR REVENUE IN THE YEARS FOLLOWING OUR 5-YEARS FORECAST. 50
    7.4 PROFIT & LOSS TABLE AND BREAK-EVEN ANALYSIS 51
    OUR PROFIT AND LOSS TABLE SHOWS THAT WE WILL BREAK EVEN A BIT AFTER THE BEGINNING OF YEAR 2, WHICH IS AN ACCEPTABLE RANGE. AS WE CAN SEE MORE VISUALLY ON THE BREAK-EVEN CHART, WE WILL START DOING BIG MARGINS BETWEEN OUR INCOME AND EXPENSES FROM YEAR 5. 51
    8. CONCLUSION 53
    9. FIGURES AND TABLES 54
    10. GLOSSARY OF TERMS 54
    11. REFERENCES 55

    Brainvoyager, 2017, “The History of electronic music”, brainvoyagermusic.com. Available from: https://brainvoyagermusic.com/history-of-electronic-music/

    Cousin M. David B., 2000, “Le chant de la machine”, editions allias.

    Swash R., 2011, “Music industry dances to technology’s tune”, The Guardian. Available from: https://www.theguardian.com/culture/2011/mar/17/sxsw-music-technology-soundcloud

    The editorial board, 2019, “Vinyl revival marks the tone of our times”, Financial Times. Available from: https://www.ft.com/content/bc4cbc26-2a27-11e9-88a4-c32129756dd8

    “Legal regulations for e-commerce”, European Comission. Available from: https://ec.europa.eu/growth/sectors/tourism/business-portal/understanding-legislation/legal-regulations-e-commerce_en

    The Copyright hub. Available from: http://www.copyrighthub.org/copyright-resources/copyright-organisations/

    Delpech M., 2017, “Etat des lieux de la musique électronique”, PWFM.fr. Available from : https://www.pwfm.fr/etat-des-lieux-de-la-musique-electronique/

    iMusician, 2019, “Everything you need to know about selling music online”, imusiciandigital.com. Available from: https://imusiciandigital.com/en/blog/everything-you-need-to-know-about-selling-music-online

    Alexander J., 2019, “Streaming makes up 80 percent of the music industry’s revenue”, The Verge. Available from: https://www.theverge.com/2019/9/6/20852568/streaming-revenue-growth-spotify-apple-music-industry-ariana-grande-drake-taylor-swift

    Amazon S3. Available from: https://aws.amazon.com/fr/s3/

    Yeung C., 2019, “Competitive benchmarking of top music streaming platforms”, Synthesio. Available from: https://www.synthesio.com/blog/competitive-benchmarking-music-streaming/

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