Compared to the stage of playing songs, the inner entertainment idol is more lacking in exclusive producers

In the internal entertainment in August, the official officials announced a group of songs. From the premiere Tencent video "The Stage of Hearts", to the Mango TV "100 % Kaimai", Youku "Chaoyang Playing Song Center", etc. Passion.

But while looking forward to the stage of playing songs, in recent years, the phenomenon of "unpleasant" the "unpleasant" searches for idols in recent years also gives this enthusiasm a lot of "pouring oil". This seems to also show that what the idols are more lacking than the stage of playing the song is the music works that can take out their hands.

As we all know, the producer can play a very critical role in the launch of a music work. And this is also necessary to talk about the scarce existence in the mainland idol music -idol music producers.

After all, it is truly subdivided into a dedicated class of "idol music" and served as an exclusive producer of an idol group or individual. It can be described as absent in the mainland idol industry all year round. More often, what we see is that professional producers can serve the mainstream singers and can also produce the idols.

However, the so -called surgery industry has a special attack. Compared with Japan and South Korea, the vertical producer of "idol music" has become systematic, and the Mainland still has a certain gap. Essence.

Producer in the Japanese and Korean idol industry

At the 32nd Golden Melody Awards last year, when Chen Shanni served as the best single producer and the most album producer award, he wrote a 3 -minute introduction to the role of the producer at the scene with a 3 -minute introduction.

Generally speaking, music producers must have a solid music skills. They are people -oriented, carry out market positioning, and win the song creation or cooperation of a song or an album, as well as arrangement, recording, mixing, etc. The production began to work, and eventually achieved a win -win situation in art and commercialization. The most basic is to clearly understand the budget, time, and market.

In the idol industry, in addition to setting the concept of music of idols, the producer needs to let the audience feel full of idol attitudes and enthusiasm. According to Huang Jian, a golden song producer, if the idol's music is not written by the idol itself, the focus of the producer needs to allow the finished product to have a cold field of more than three to five seconds; if it is an idol group The point is to let the public know the persistence and love of the idols.

This situation is also reflected in the complete K-POP system in the star-making industry. K-POP idols have the needs of making music concepts and worldviews. They need to be able to truly understand and engage in the field of idol music. Therefore, they often think that an idol or idol combination provides services to the Lord.

For example, the women's group Dreamcatcher was responsible for the two professional idol music producers of Leez and OLLOUNDER from the beginning of her debut to build a team style with rock elements. The core is to maximize the rock voice of the lead singer Li Shijuan. In Leez's YouTube channel, the work content of the record must be not only responsible for proposing the music creativity and concept of this women's group, but also to guide the singing and emotional output of all members.

The BIGHIT label owned by the Hybe Group is controlled by the main producer Fang H He, and then point to the one producer to match an idol group. For example, Slow Rabbit, who is good at refreshing and lyrical, is the main master of the men's group Tomorrow X Together. It has a very obvious team style.

Like South Korea, in the Japanese idol industry, producers are also more inclusive, and often assume the role of promoting the overall development of idols. From the aspects of idol selection, music, operation and other aspects. Taking the most famous AKB48 chief producer Qiu Yuankang as an example, it dominates the overall planning of the two batches of women's groups in 48 and 46 series. Essence For example, in 2015, Qiu Yuankang set up Takasaka 46 (now Sakurazaka 46) centered on Pingshou Yaina, which carried the spiritual content of the youth blood and resistance in Qiu Yuankang's pen. Class young people.

At the same time, in order to be able to continuously match the best match between idols and producers, many Japanese and Korean agency companies are also opening the producer draft and digging the applicable producers into the Majesty. For example, the BIGHIT label of Hybe Group holds a global producer draft once a year, consciously cultivating the producers who can serve their idols, such as Adora and JUNE who came out of the producer draft. , Enhypen's producer team.

In addition, many idols choose to enter the producer field, dominate themselves or the combination of music works in a more right to speak, and serve as other singers and idol producers. For example, SUGA, a member of the BTS, is currently the most representative K-POP idol producer. In addition to the combination, he also serves as the producer of singers such as IU and PSY. Former AKB48 members pointed out that Yuan Li Nai directly took Qiu Yuankang's producer line and became the exclusive producer of the women's group.

In addition, if the content of the creation does not meet the idols they are responsible, producers in the Japanese and Korean idol industry will also choose to play the director on other idols. To put it plainly, whether it is K-Pop or idol music producers in J-POP, it is actually more like looking for appropriate interpreters for the works produced. Whether it is a producer or an idol, they are serving the work. Why does the mainland idol lack an exclusive producer?

However, it seems difficult to find a music producer with a label with a special cultivation idol music in the mainland idol industry.

The point of using the golden song producer Huang Jianwei is that the brokerage company of the asset has long gained a certain idea of ​​how to present the "idol artist" in front of the public. Therefore , Recording, editing, mixing these aspects. In this way, the producer is more like the role of "synthesis" music and does not occupy the dominant position.

The main reason is that the brokerage company located in the upper reaches of the idol industry did not really value and consciously excavate, signed, cultivated, and supported music producers exclusive to its idols. Most of the brokerage companies choose to focus on Party A's "outsourcing". The most common thing is that after buying the finished products from musicians in Japan, South Korea, Europe, and the United States, they will look for recording studio to guide idols for recording. This approach often lacks the core of music built by producers and idols.

At a certain level, it may not be necessary for all idols to equip idol artists. But as the American producer Caleb HSU said, the producer is objective. If it happens to be a producer who understands music and understands the singer's music style and the commercial market environment, it can not only be in music innovation, Song positioning and demand choices have played the biggest advantages, and can also assist singers to continuously improve and give guidance to find new ideas.

There are also no shortage of idols in the Mainland. There are cross -border to become producers, such as Luhan, Zhang Yixing, Cai Xukun and other idols. They all have the label of "original music producers" and personally operate the album production. However, in general, idols entering the professional field will also face questioning whether they are professional and knowledgeable, which also makes the idol as a producer's wind review instead very optimistic and difficult to make the public market recognition. Even at the moment, with the increasingly increasing level of music, it is the "producer" with the works that have not been served, and this label is used as a promotional gimmick.

However, even if the mainland idol market environment is the case, there are still agency companies that collect producers for idol music. For example, Wow Wow Entertainment signed the only idol music producer Sususu in 2018, and became the exclusive producer of the men's group R1SE; it was also like Kunyin Entertainment. The exclusive producer, decentralization and creation with its men's group ONER, surrendered a good result of the idol group with the producer. In Ren Zimo's self -description, it was polished in nearly a hundred songs to write songs on the perspective of membership, and gradually recognized the idol music works that he had accomplished, and he could also "affect the Chinese music scene".

In contrast, domestic and foreign idol music producers are different in terms of speech and situation, but they are also linked to income.

Different from Japan and South Korea producers have a dominant position, and can obtain copyright fees based on the situation of using songs and listening to songs. The mainland producers rely on clicking division, platform and record company to buy two models to create revenue. Most of the "old -age" treatment of "old -age care" is a hammer.

However, it is worth noting that after the epidemic, the proportion of the producer group in the musicians increased year by year. This is not only because the producer began to seize the dominant position. Later, the producer belonged to the existence of less income from the epidemic, but instead became "fragrant."

It can be said that looking at the entire music industry is no longer a single mainland idol lack of idol music producers, but the entire industry is facing the production group who is urgently needed to provoke idol music beams.

"Podge" is flooding, and you still have to return to music works

Chen Shanni described that music producers are "balanced company's expectations and singers' dreams".

However, it seems that the music works of mainland idols value the producer's golden signboard as a gimmick, nor do they care whether the producer's work is suitable for the idol group. In the final analysis, the idol and the vertical producer of the idol music are actually complementary. The two finally bred a unique idol music.

In fact, it can be seen from the Japanese and Korean star -making model that based on idols to present exclusive concepts and world views from music works, and meet the needs of attracting consumer groups from visual and auditory. Therefore, idols need exclusive idol music producers to find Your "music positioning". In this way, in the constant collision, you can make the most in line with your own idol music, instead of mechanized to sing songs mechanically, and eventually become a "fan circle".

However, the mainland idol industry has not given enough attention to the producers, nor does it give enough creative freedom and the right to speak. Last year, it was also reported that domestic music producers would get news of the song version of the song with a larger proportion of songs. The well -known producer Tan Yizhe said that this would make the music producer "finish". He pointed out that in the music environment in the Mainland, singers involving the interests of all parties are the "main body of universal", and if the producer occupies the version of the tax head, it is likely to make the producer face the disadvantages of being co -branded and well -known. However, there are also like wow, wow entertainment, Kun Yin Entertainment, to give its producers sufficient support, even cross -division cooperation, or allow producers to take care of another personal brand. For example, Ren Zimo and Xiao Xiao, a subsidiary of Kun Yin Entertainment, have the personal label of "another stove". Ren Zimo also has his own name "At that moment" in the name of Douyin.

It is very important that music is not just needed for mainland idols. For example, Kun Yin Entertainment can make idols and producers polish hundreds of works in their own workshops, and only to make a series of albums with a complete concept. More, because the idols have a variety of choices, maybe today is an idol group, tomorrow is a newcomer actor, and choose to invite songs to cooperate and fill a blurred album with different musicians. Most of them will eventually become a one. Zhang "Hodgepodge".

After all, the impetuous star -making environment cannot really dig deep into the producer's role, and it cannot make the producer and idol sedimentation close, and directly build a communication bridge.

Therefore, compared to learning Japanese and Korean stars, drafts, and songs, it is better to look at the most fundamental idol music first. Whether it is K-Pop or J-Pop, it has never ignored the producer's interlocking of the producer in the idol industry and music production.

Compared with Japanese and Korean idols, mainland idols have a broader market, and they should have been a soil with good development opportunities. At the moment when the idol industry in the Mainland is fluttering, if there are still idols who want to play music reputation, you may wish to look back at the producer group of the wine in the alleys and really find the idol music producer suitable for his beat.

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