Visualising the Decline in Gaon Points

  • What do you think is causing this? It seems like Melon's chart reform back in July 2020 resulted in an increase in longevity, but at a more macro level, I'd also propose that the general transition from downloads to streaming is an even bigger factor.

    Big drop in downloads starting in 2018, causing less turnaround on the realtime charts overall, but overall melon replacing the realtime chart with the 24chart is by far the biggest factor.


    Koreans have been conditioned for over a decade to use the top 100 chart as a playlist, thats how most people discovered new music, by starting from #1 everyday and going down, most people never got further than top 10 during a day (Yoo Jaesuk have often mentioned how he is a typcial top 10 only listener).


    Now, people either still use the top 100 as their playlist, and with how it work(ed) almost never hear anything new, just the same old. Others make their own playlist and mostly listen to the same favourite songs, as is more common in the west i think. In fact, the charts now looks more like the western charts in turnaround, while as before the korean chart stood out by having such a fast turnaround that songs staying for more than 3 weeks at #1 was extremely rare.


    --


    I think looking at gaon digital chart on wikipedia and the songs with most weeks at the top on the chart says it all really:
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    Pre 2020 only three songs ever made it over 5 weeks, and those three are some of the biggest hits to have been released in korea in the past two decades, true national hits as some like to call it.


    2020 onwards, theres suddenly 10 songs that have done 5 weeks or more, with one song increasing a record that stood for 8 years at 5 weeks, by doing over double the time, and another five songs in total doing 6+ weeks. That in less than two years, something that took nine years for the first three songs.

  • What do you think is causing this? It seems like Melon's chart reform back in July 2020 resulted in an increase in longevity, but at a more macro level, I'd also propose that the general transition from downloads to streaming is an even bigger factor.

    Streaming is the main reason i feel. The final form of streaming is taking shape. Also maybe the pandemic too changed music consumption. People don't let go off old songs.

    ♪ d◕‿◕b ♪ 𝓢𝓔𝓔𝓤𝓝 ♪ d◔‿◔b ♪

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  • Does that mean that people in general consume less music, or that they listen music on platforms that aren't included in the Gaon connected platforms? :whatb:

    That's the question. Or, as BlackpinkHouse proposed above, are people consuming roughly the same amount of music, but just different types of music that aren't reflected in the top 100 songs?

  • This actually originated from Gaon themselves. They wade this video and in it they say Gaon index about how much money a song has earned.


    Explained/timestamped in video below. It seems the chart is a 1:1 Won representation of combined sales of streaming and downloads from Gaon compliant platforms.

    I ended up watching the entire video, which was helpful. To look into things further, I was reading Gaon's FAQ page and saw this:


    1. Digital Comprehensive Chart is a chart compiled by multiplying the download/streaming/BGM counts of digital sound sources by the weights for each service (based on neighboring rights fees) and summing them up.

    2. The download chart is a chart that is aggregated by multiplying the download count of digital sound sources by the weight for each service (based on neighboring rights fees).

    3. The streaming chart is a chart that is aggregated by multiplying the streaming count of digital sound sources by the weight for each service (based on neighboring rights fees) and adding them together.

    4. The BGM chart is a chart aggregated by online background music COUNT.


    So it appears that Gaon points take into about background music in addition to downloads/streams.

  • It also includes ringtones i think?


    But as i posted earlier, even if the score is supposed to reflect revenue, its only on filtered data (ul/day). It ignores the fact that every single stream increase the revenue of a song even if its the same user listening to the same song 24/7.

  • I don't think it will grow much, Melon/Flo/Genie in particular are super entrenched and not only that but all of them have deals with the various cell phone providers so you can get them for cheaper than Spotify. I live in Korea and I don't know any actual Korean citizens with Spotify. The only ones who use Spotify are just the expats who drop by for a few years. And even if Spotify did grow it'd just be other Koreans who dropped the other services and jumped on, so idk how it would affect Gaon at all, as it doesn't change the amount of people listening to music, it's not like they'd be materializing new streamers out of thin air.

    Ah I appreciate the perspective, since it's nice to be able to have a point of view from someone who's actually living in Korea.

    Are there any think pieces in K-media that offer an perspective here?

    I haven't read any myself unfortunately. redcurtain, as someone who resides in the country, have you seen anything?

  • While gaon have said that the digital points are supposed to reflect the revenue of songs (be it stream or downloads), its not really true, as gaon use filtered data, while music services payout based on unfiltered data (well, for streams they pay out according to a songs % share of the total streams for a fixed pot of money, based on the services income and whatever contracts they have with the labels)


    If it was really based on a songs total revenue made, the charts would look quite a bit different, and artists with big fandom streaming would be higher overall.


    It also includes ringtones i think?


    But as i posted earlier, even if the score is supposed to reflect revenue, its only on filtered data (ul/day). It ignores the fact that every single stream increase the revenue of a song even if its the same user listening to the same song 24/7.

    I've also read about ringtones being included before, but based on what was stated on Gaon web site, it doesn't look like they're included anymore.


    But you do bring up a good point about filtered data. Do we know exactly how Gaon filters? For streams, it is truly as simple as only looking at unique listeners? And how does it apply to downloads? I've often read about people attacking Gaon for allowing mass downloads to influence their charts.

  • I've also read about ringtones being included before, but based on what was stated on Gaon web site, it doesn't look like they're included anymore.


    But you do bring up a good point about filtered data. Do we know exactly how Gaon filters? For streams, it is truly as simple as only looking at unique listeners? And how does it apply to downloads? I've often read about people attacking Gaon for allowing mass downloads to influence their charts.

    Afaik its ul/day,. All services in korea filter by ul and im pretty sure looking back the available stream data pre 2017 on gaon lines up with it. Same with digital score nowadays. If it was accumulated ul/hour LYW should be topping most weekly charts.


    Downloads does not seem to have any filtering really from gaons side. But different services have handled downloads in their own way. Some you cant download on at all, some limits to one download per user, some is/was unlimited.


    I dont think any service have unlimited downloads now. Genie limited their downloads to max 3 per user last year after fandoms massdownloaded and managed to get them a few #1 on the weekly/monthly charts, even tho they were nowhere to be seen on the streaming chart.


    Before streams plummeted it wasnt really feasible to boost somone to #1 with downloads alone because the score needed was so high then.

  • I think looking at gaon digital chart on wikipedia and the songs with most weeks at the top on the chart says it all really:

    Indeed. And I think the ranking of songs that spent the most weeks in the Melon top 10 is even more telling.


    For example, Tell Me by Wonder Girls had held the girl group record of 17 weeks since 2007.


    However, after Melon's chart reform, the record was broken three times in quick succession: first by Lovesick Girls (22 weeks), then Rollin' (19 weeks), then Next Level (27 weeks).

  • Youtube has taken a good chunk of the market share for the biggest consumers of kpop.


    Edit: it says people in their 20's, so that may not include teens and preteens, YT market share could be even bigger in that group.


    South Korea: popular music streaming services among Millennials and Gen Z 2020 | Statista
    According to a survey in South Korea in 2020, Melon was the most popular paid music streaming service among Millennials and Gen Z in South Korea with 61.1…
    www.statista.com


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  • Youtube has taken a good chunk of the market share for the biggest consumers of kpop.

    Now is YouTube predicted to surpass Melon?

    but in SK though didn't they have like their highest peak recently?

    Ah true, but points have been in steady decline since the middle of last year, well before this recent surge.

  • Indeed. And I think the ranking of songs that spent the most weeks in the Melon top 10 is even more telling.


    For example, Tell Me by Wonder Girls had held the girl group record of 17 weeks since 2007.


    However, after Melon's chart reform, the record was broken three times in quick succession: first by Lovesick Girls (22 weeks), then Rollin' (19 weeks), then Next Level (27 weeks).

    Nowadays big hits will easily do 15+ weeks in top10. Nearing or exceeding 20 weeks is norm for big ones

    ♪ d◕‿◕b ♪ 𝓢𝓔𝓔𝓤𝓝 ♪ d◔‿◔b ♪

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