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Spotify’s Clubhouse clone adds six new weekly shows, some that tie to Spotify playlists

This summer, Spotify launched its live audio app and Clubhouse rival, Spotify Greenroom, with the promises of more programming to come in the months ahead to augment its then primarily user-generated live content. Today, the company is making good on that earlier commitment, with the launch of six new shows on Spotify Greenroom focused on pop culture and music, in addition to what Spotify calls “playlist-inspired shows” — meaning those that are inspired by Spotify’s own playlists.

This includes a new show based on the popular playlist Lorem, which launched in 2019, showcasing an eclectic mix of music that has included indie pop, R&B, garage rock, hip-hop and more, focused on a younger, Gen Z audience. That playlist today has over 884,000 “likes” on Spotify and has risen to become one of the places new artists are able to break through on the platform. Now, Lorem listeners will be connected to “Lorem Life,” a Spotify Greenroom show that will feature a mix of culture and discussions about music, the environment, sustainability, fashion, and space, Spotify says. The show is hosted by Gen Z influencers and TikTok stars Dev Lemons and Max Motley, who will engage with other artists and influencers. It begins airing on Wednesday, September 15, at 9 PM ET.

Another new “playlist-inspired” show is “The Get Up LIVE.” If the name sounds familiar, it’s because “The Get Up” was introduced last fall as Spotify’s own take on a daily morning show by mixing music with talk radio-style content led by hosts who discuss the news, pop culture, entertainment and other topics. To date, that content has not been provided as a live program, however. Instead, the show has been pre-recorded then made available as a playlist that gives listeners the feel of a daily FM radio show. Now, “The Get Up’s” co-hosts Kat Lazo and Xavier “X” Jernigan will record their show live on Greenroom. The program was originally planning to launch Wednesday, Septtember 15 at 11 AM ET but has been delayed.*

This odd time seems to contradict Spotify’s original intention of providing a show for those who commute to the office. But with the rise of remote work in the face of the unending pandemic, addressing the commuter audience may be of less interest, with the new program. However, Spotify tells us “The Get up LIVE” will be complementary to the daily show, which will still run as normal — that’s why it has a later airing.

Other new Greenroom shows include “A Gay in the Life,” hosted by the married couple actor Garrett Clayton and writer and educator Blake Knight, who will discuss LGBTQIA+ news and issues (weekly, 8 PM ET, starting today); “Take a Seat,” hosted by Ben Mandelker and Ronnie Karam of the “Watch What Crappens” podcast, who will recap reality shows and dive into other pop culture fascinations (weekly, 10 PM ET, starting today); “The Movie Buff,” hosted by film buff and comedian Jon Gabrus, who will review and break down the latest hot movies (weekly, 11 PM ET, starting today); and “The Most Necessary: Live,” a complement to Spotify’s “Most Necessary” playlist, where host B.Dot will discuss up-and-comers in hip-hop (weekly, 9 PM ET, starting Tuesday).

In addition to the new programs, Deuxmoi’s show “Deux Me After Dark” will also air this evening (September 13) at 9 PM ET to recap the red carpet looks and gossip from this year’s Met Gala alongside guest Hillary Kerr, co-founder of Who What Wear.

Image Credits: Spotify

Greenrom is now available to listeners in more than 135 global markets and has been quietly expanding with live audio from sports site and podcast network “The Ringer” as well as from artists like Pop Smoke, the company says. Other programs added include Men In BlazersDeaux Me After DarkTrue Crime Rewind and Ask The Tarot. Many of the shows are also being published on-demand after the live show ends.

The app had gotten off to a slower start this year, given its roots had been in sports talk live programming, which didn’t necessarily connect with Spotify’s music fans. Plus, it has faced growing competition from not only Clubhouse, which inspired its creation, but also other top social networks like Facebook, Twitter, Reddit, Discord and more. Without dedicated programs to garner user interest in yet another live audio app, the company had only seen 141,000 new downloads for Greenroom on iOS a little over a month after its launch, and fewer on Google Play. But Spotify’s long-term vision for the service was to more closely tie Greenroom to the music, artists, programs and podcasts that were already available on its flagship music streaming app — and these new shows are an example of that plan in action.

 

*Update, 9/13/21, 2:18 PM ET: Following its announcement, Spotify reached out to let TechCrunch know it has decided to delay the launch of “The Get Up LIVE.” According to a company representative: “due to a scheduling change, The Get Up LIVE’s launch has been postponed and a new premiere date will be announced soon.”  

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Voice chat is coming to Roblox

As one of the frontrunners in the race to build the metaverse, Roblox is thinking ahead to what virtual worlds really need. And while the platform has had no shortage of growth on its current path — as of July, it boasted 47 million daily active users — it’s looking to chart a course toward deeper, richer virtual experiences that will keep people coming back for years to come.

To that end, Roblox is taking careful but decisive steps toward weaving voice chat into the platform’s core experience. The first move: inviting a group of trusted developers to explore how they can integrate proximity-based audio into the wildly popular experiences that beat at the heart of the platform — from chill, vaporwavey vibe games to pulling off kickflips in a Vans-sponsored skate park.

With spatial audio, users will be able to speak with other people nearby through live voice chat. Roblox sees its new voice product as a natural extension of the way that text chat works now, but instead of text bubbles that pop up over an avatar’s head, visible to anybody around them, players will be able to talk naturally to the other people they bump into.

Say you’re hanging out in a virtual skatepark in Roblox with spatial audio enabled: skaters in the half pipe with you would sound loud and clear, just like they would in real life. But you wouldn’t be able to hear someone walking around on the sidewalk across the street, since they’re too far away. To have a private conversation with a nearby friend, you might peel off and walk toward a store down the block.

“As we think about the future of communication in the metaverse, we think that it needs to be very natural and feel very similar to the way we communicate in the real world,” Roblox Chief Product Officer Manuel Bronstein told TechCrunch in an interview. “But it also can transcend, some of the limitations that physics and space create in the real world.”

Bronstein joined the company in March, leaving Google to help realize Roblox’s particular vision for the metaverse. Prior to hopping over to Roblox, Bronstein worked on product teams at Zynga, Xbox and YouTube — three very different companies that are probably equal parts relevant to his current work.

“If you think about the metaverse as the next incarnation of where you know I could go shopping or I could go to a concert, I could go to school, I think that you need to be relevant to everybody in society and you need to both build the content, the rules, the features that support all of those behaviors,” Bronstein said. “And part of bringing voice to the platform is to ensure that our older audiences have a natural way to communicate.”

Voice chat is very much on the way to Roblox, but that doesn’t mean it will appear overnight — and that’s by design. The company is inviting an initial group of 5,000 developers, all 13 and older, to try out the new spatial voice chat capabilities in a custom-built Roblox community space.

“We’ve put a bunch of neat features in there and places for them to chat and hang out and they’re going to be able to learn from the code that we wrote for that community space… So a few weeks later or a month later they can put that into their experiences and turn it on,” Bronstein said.

Bronstein emphasizes that Roblox will take this process slowly, building new moderation and safety tools in parallel as it goes. The voice rollout will go slowly, starting with the chosen circle of developers and gradually expanding out from there as the company feels confident that it can create a safe enough environment with its moderation tools.

“I think we want to take it slowly and we want to learn as we go through it,” Bronstein said. “We may start, as I mentioned, with the developers. It is likely that right after that, we may go to an audience that is 13+ and park there for a while until we understand exactly if all the pieces are falling into place before deciding if we ever open it to a younger audience.”

To moderate its sprawl of virtual worlds, Roblox uses a blend of automated scanning and a 3,000-person safety team of human reviewers. Like in any social network, players can report, block and mute other players to make their own experiences feel more comfortable. And because half of its player base is under 13, Roblox gives parents options on what kinds of age-appropriate experiences to allow and toggles for things like text chat. If voice chat ever makes its way to younger age groups, parents would be able to disable it altogether.

Roblox’s under-13 crowd comprises a massive chunk of its user base, but a surprising number of older kids and young adults hang out there too. According to the company, 50% of its users are over the age of 13 and it’s seeing the most explosive user growth among 17- to 24-year-olds. Roblox is attracting new users, but its core users are also growing up and the company knows it needs to grow alongside them.

Whether voice chat ever rolls out for younger users or not, Roblox seems well aware that keeping a virtual environment with voice chat feeling safe and friendly is a steep challenge. The company plans to rely on user-initiated reporting as voice rolls out and it’s exploring other tools that could bolster those efforts. The company is looking at a few different tools, including automatically recording a snippet of conversation just prior to a user being reported as a way to capture bad behavior for reviewers. It’s also interested in expanding reputation systems that automatically restrict users who have a certain number of strikes against them.

Much like any social platform, Roblox will likely lean heavily on user reporting, which disproportionately shifts the burden to users on the receiving end of hate and harassment — an unfortunate outcome that no social company has properly dedicated the human resources to solving.

Next on the voice roadmap

Bronstein describes spatial audio as “one component” of Roblox’s vision for natural communication. The next step is integrating a voice chat experience that’s persistent across experiences, letting users who know each other hang out even when they aren’t doing the same thing. For anyone who paid attention to the company’s quiet acquisition of a company called Guilded last month, that won’t come as a surprise. Though Roblox’s work on voice pre-dates the acquisition, Guilded will lay the groundwork for Roblox’s future voice plans.

A Discord competitor, Guilded similarly built out a chat platform for gamers, doubling down on the competitive gaming scene where Discord expanded its horizons beyond gaming. Beyond group voice chat, Guilded gives gamers built-in scheduling and community management tools that ease the hassle of organizing complex online social events, like wrangling 20-some-odd gamers to run raids in World of Warcraft.

“In the near term, Guilded has an amazing road map, we want to just continue with that road map and grow it without any hardcore integration at this point,” Bronstein said.

Into the metaverse

Moderation challenges aside, there’s basically nothing in Roblox’s way. The company went public in March and today it’s worth $49 billion, making it easily one of the most valuable companies in gaming. Investors, content creators and tech giants alike are going all-in on the metaverse, and really, it looks like a pretty safe bet.

Metaverse is a buzzy term right now, but it’s more shorthand than empty hype. When people talk about the metaverse, they generally want to evoke a futuristic vision of interconnected virtual worlds — online spaces that we can move through, socialize and shop within (for better or worse, that last part is key). Whether this will all be in virtual reality or not and when is a point of some debate, but really the interconnected part is the bigger challenge. In the app age, software was siloed by design. But to realize the promise of the metaverse, our virtual selves and our virtual stuff will need to be able to move through online worlds fluidly.

A few companies are ahead of the curve on this, and it’s no coincidence that two of the big ones, Roblox and Fortnite-maker Epic — best known for their virtual worlds stocked with custom avatars, in-game economies and a seamless social layer — are elevating user-created content. Those experiences, and the ability to easily hang out with friends while doing stuff in them and elsewhere in virtual space, may wind up being what the metaverse is all about.

Most adults can hardly grasp the appeal of the blocky, suburban worlds that their kids love hanging out in, but Roblox understands something fundamental about where online life is going. Or rather where we’ll all going — into online worlds like Roblox.

 

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Spotify’s Clubhouse rival, Greenroom, tops 140K installs on iOS, 100K on Android

Spotify’s recently launched live audio app and Clubhouse rival, Spotify Greenroom, has a long road ahead of it if it wants to take on top social audio platforms like Clubhouse, Airtime, Spoon and others, not to mention those from top social networks, like Twitter and Facebook. To date, the new Greenroom app has only been downloaded a total of 141,000 times on iOS, according to data from app intelligence firm Sensor Tower. This includes downloads from its earlier iteration, Locker Room — an app Spotify acquired to make its move into live audio.

On Android, Google Play data indicates the app has been installed over 100,000 times, but Sensor Tower cannot yet confirm this figure.

For comparison, Clubhouse today has 30.2 million total installs, 18.7 million of which are on iOS, Sensor Tower says.

Other top audio apps include Airtime, with 11.4 million iOS installs, out of a total of 14.3 million (including Android); and Spoon, with 7.6 million iOS installs, out of a total of  27.3 million.

International apps like UAE’s Yalla and China’s Lizhi are massive, as well, with the former sporting 48.1 total installs, 3.8 million of which are on iOS. The latter has 29.5+ million total installs, but only a handful on iOS.

There are other newcomers that have managed to stake smaller claims in the social audio space, too, including Fishbowl (759,000 total installs), Cappuccino (497,000 installs), Riff (339,000 installs) and Sonar (154,000 installs.)

Image Credits: Sensor Tower. The firm analyzed 34 social audio apps. The chart shows those with the most installs.  

Spotify Greenroom’s launch last month, meanwhile, seems to have attracted only a small fraction of Spotify’s larger user base, which has now grown to 365 million monthly active users.

The majority of Greenroom’s installs — around 106,000 — took place after Greenroom’s official launch on July 16, 2021 through July 25, 2021, Sensor Tower says. Counting only its Greenroom installs, the app is ranked at No. 12 among social audio apps. It follows Tin Can, which gained 127,000 installs since launching in early March.

Because Greenroom took over Locker Room’s install base, some portion of Greenroom’s total iOS installs (141K) included downloads that occurred when the app was still Locker Room. But that number is fairly small. Sensor Tower estimates Locker Room saw only around 35,000 total iOS installs to date. That includes the time frame of October 26, 2020 — the month when the sports chat app launched to the public — up until the day before Greenroom’s debut (July 15, 2021).

We should also point out that downloads are not the same thing as registered users, and are far short of active users. Many people download a new app to try it, but then abandon it shortly after downloading it, or never remember to open it at all.

That means the number of people actively using Greenroom at this time, is likely much smaller that these figures indicate.

Spotify declined to comment on third-party estimates.

While Sensor Tower looked at competition across social audio apps on the app stores, Spotify’s competition in the live audio market won’t be limited to standalone apps, of course.

Other large tech platforms have more recently integrated social audio into their apps, too, including Facebook (Live Audio Rooms), Twitter (Spaces), Discord (Stage Channels) and trading app Public. A comparison with Greenroom here is not possible, as these companies would have to disclose how many of their active users are engaging with live audio, and they have not yet done so.

Despite what may be a slower uptake, Greenroom shouldn’t be counted out yet. The app is brand-new, and has time to catch up if all goes well. (And if the market for live audio, in general, continues to grow — even though the height of Covid lockdowns, which prompted all this live audio socializing in the first place, seems to have passed.)

Spotify’s success or failure with live audio will be particularly interesting to watch given the potential for the company to cross-promote live audio shows, events, and artist-produced content through its flagship streaming music application. What sort of programming Greenroom may later include is still unknown, however.

Following Spotify’s acquisition of Locker Room maker Betty Labs, the company said it would roll out programmed content related to music, culture, and entertainment, in addition to sports. It also launched a Creator Fund to help fuel the app with new content. 

But so far, Spotify hasn’t given its users a huge incentive to visit Greenroom.

The company, during its Q2 2021 earnings, explained why. It said it first needed to get Greenroom stabilized for a “Spotify-sized audience,” which it why it only soft-launched the app in June. Going forward, Spotify says there will be “more tie-ins” with the main Spotify app, but didn’t offer any specifics.

“Obviously we’ll leverage our existing distribution on Spotify,” noted Spotify CEO Daniel Ek. “But this feels like a great way to learn, experiment and iterate, much faster than if we had to wait for a full on integration into the main app,” he added.

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Clubhouse closes an undisclosed $4B valuation Series C round, as tech giants’ clones circle

Buzzy “social audio” app Clubhouse has raised a Series C funding round, reportedly valuing the company at $4 billion. Clubhouse said the new round of financing was led by Andrew Chen of Andreessen Horowitz, with participation from DST Global, Tiger Global and Elad Gil. This round means Clubhouse has tripled the valuation it attained in January when Andreessen Horowitz led its Series B funding round.

The funding comes as Twitter, Spotify, Facebook, Telegram, Discord and LinkedIn are all prepping similar features to Clubhouse’s live audio streaming rooms, which has attracted attention for hosting live chats with the likes of Elon Musk and Mark Zuckerberg. Indeed, Vox reported that Facebook will announce a series of “social audio” products only today.

But, unusually for such a late stage of funding, the company has not revealed the amount raised. Industry sources say that this is probably because the Series C funding round is “multi-stage” and therefore not officially closed. Alternatively, the company is “hyping” itself ahead of a sale, as is often the case with “hot” startups. Twitter reportedly broke off talks to acquire the startup at a $4 billion valuation, according to Bloomberg.

And despite appearances that this funding round has been timed to coincide with the launch this week of Facebook’s Clubhouse clone, one well-placed source told me “this funding round has been in the works for the last 1.5 months” and that some offers have been “above 2x” the $4 billion valuation. In other words, there are some investors out there who think Clubhouse is worth more than $8 billion.

So far Clubhouse is demurring on all this, and declining to comment more directly to the media. The company disclosed the news about the funding during its weekly “town hall” chat last Sunday night and in a blog post, the company said the fundraising will support a fresh burst of growth for the app.

“While we’ve quadrupled the size of our team this year, stabilized our infrastructure, launched Payments in beta to help creators monetize, and readied Android for launch, there is so much more to do as we work to bring Clubhouse to more people around the world. It’s no secret that our servers have struggled a bit these past few months, and that our growth has outpaced the early discovery algorithms our small team originally built,” said the post.

Noting that “it’s important to us to be building all of this with people who are invested in the community and who represent a diverse set of backgrounds and voices,” Clubhouse has, however, been struck by a wave of problems in the last few days, when anti-Semitic audio rooms seemed to proliferate on the platform. Clubhouse has previously been criticized for its seeming inability to moderate extremism on the app.

The year-old platform, which has reported 10 million weekly active users, has thrived during the pandemic while people were locked down and therefore unable to chat easily in person.

Tech news site The Information first reported details on the Clubhouse funding on Friday.

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Clubhouse UX teardown: A closer look at homepage curation, follow hooks and other features

Clubhouse, the social audio app that first took Silicon Valley by storm and is now gaining much wider appeal, is an interesting user experience case study.

Hockey-stick growth — 8 million global downloads as of last month, despite still being in a pre-launch, invite-only mode, according to App Annie — is something most startups would kill for. However, it also means that UX problems can only be addressed while in “full flight” — and that changes to the user experience will be felt at scale rather under the cover of a small, loyal and (usually) forgiving user base.

In our latest UX teardown, Built for Mars founder and UX expert Peter Ramsey and TechCrunch reporter Steve O’Hear discuss some of Clubhouse’s UX challenges as it continues to onboard new users at pace while striving to create enough stickiness to keep them active.

Homepage curation

Peter Ramsey: Content feeds are notoriously difficult to get right. Which posts should you see? How should you order them? How do you filter out the noise?

On Clubhouse, once you’ve scrolled past all the available rooms in your feed, you’re prompted to follow more people to see more rooms. In other words, Clubhouse is inadvertently describing how it decides what content you see, i.e., your homepage is a curated list of rooms based on people you follow.

Except there’s a problem: I don’t follow half the people who already appear in my feed.

Image Credits: Clubhouse

Steve O’Hear: I get it. This could be confusing, but why does it actually matter? Won’t people just continue to use the homepage regardless?

Peter: In the short term, yes. People will use the homepage in the same way they’d use Instagram’s search page (which is to just browse occasionally). But in the long term, this content needs to be consistently relevant or people will lose interest.

Steve: But Twitter has a search page that shows random content that I don’t control.

Peter: Yeah, but they also have a home feed that you do control. It’s fine to also have the more random “slot machine style” content feed — but you need the base layer.

The truth about aha moments

Peter: In the early days of Twitter, the team noticed something in their data: When people follow at least 30 others, they’re far more likely to stick around. This is often described as an “aha moment” — the moment that the utility of a product really clicks for the user.

This story has become startup folklore, and I’ve worked with many companies who take this message too literally, forgetting the nuance of what they really found: It’s not enough to just follow 30 random people — you need to follow 30 people who you genuinely care about.

Clubhouse has clearly adopted a similar methodology, by pre-selecting 50 people for you to follow while signing up.

Have you noticed that some people have accumulated millions of followers really quickly? It’s because the same people are almost always recommended — I tried creating accounts with polar opposite interests, and the same people were pre-selected almost every time.

At no point does it explain that following those 50 people will directly impact the content that is available to you, or that if your homepage gets uninteresting, you’ll need to unfollow these people individually.

But they should, and it could look more like this:

Steve: Why do you think Clubhouse does this? Laziness?

Peter: I think in the early days of Clubhouse they just wanted to maximize connections, and by always recommending the same people (Clubhouse’s founders and investors), they could somewhat control the content that is shown to new users.

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