Core Insights - Virtual singers are emerging as a new variable in the music industry, with recent events showcasing their growing popularity and acceptance among audiences [1] - The development of virtual singers in China can be divided into two main phases: the initial phase focused on voice bank technology and the current phase exploring idolization [3][5] - The industry faces challenges in creating deep, sustainable music IPs, with many virtual singers still lacking significant recognition and commercial viability [7][8] Phase 1: Voice Bank Singers - The first phase began in 2012 with the debut of Luo Tianyi, who became a representative of the first generation of virtual singers in China, leveraging Japanese VOCALOID technology [3] - This phase was characterized by a focus on technology-driven experimentation, with limited commercial success due to a weak integration with mainstream music [3][5] Phase 2: Idolization Exploration - The second phase, starting around 2020, saw the rise of virtual idols like A-SOUL, which combines real human performers with virtual representations, enhancing audience engagement [5][9] - A-SOUL achieved significant commercial success, with monthly revenues reaching 2 million yuan and over 100,000 merchandise sales within a year [5] - The strategy of platforms like Tsingtao Pavilion focuses on creating an open platform for virtual singers, allowing more individuals to participate in the music scene [7] Challenges and Opportunities - The industry struggles with a lack of depth in music production and insufficient IP development, leading to controversies and limited public awareness of many virtual singers [7][8] - Learning from successful models in Japan and Korea, such as the professional training systems and the emphasis on music quality, could help the Chinese virtual singer industry grow [11][13] - The potential for a "national-level virtual singer" exists, given China's advanced short video and live streaming ecosystems, which could lead to a new norm in the music industry [14]