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Tape It launches an AI-powered music recording app for iPhone
Earlier this year, Apple officially discontinued Music Memos, an iPhone app that allowed musicians to quickly record audio and develop new song ideas. Now, a new startup called Tape It is stepping in to fill the void with an app that improves audio recordings by offering a variety of features, including higher-quality sound, automatic instrument detection, support for markers, notes and images, and more.
The idea for Tape It comes from two friends and musicians, Thomas Walther and Jan Nash.
Walther had previously spent three and a half years at Spotify, following its 2017 acquisition of the audio detection startup Sonalytic, which he had co-founded. Nash, meanwhile, is a classically trained opera singer, who also plays bass and is an engineer.
They’re joined by designer and musician Christian Crusius, previously of the design consultancy Fjord, which was acquired by Accenture.
The founders, who had played in a band together for many years, were inspired to build Tape It because it was something they wanted for themselves, Walther says. After ending his stint at Spotify working in their new Soundtrap division (an online music startup Spotify also bought in 2017), he knew he wanted to work on a project that was more focused on the music-making side of things. But while Soundtrap worked for some, it wasn’t what either Walther or his friends had needed. Instead, they wanted a simple tool that would allow them to record their music with their phone — something that musicians often do today using Apple’s Voice Memos app and, briefly, Music Memos — until its demise.
Image Credits: Tape It
“Regardless of whether you’re an amateur or even like a touring professional…you will record your ideas with your phone, just because that’s what you have with you,” Walther explains. “It’s the exact same thing with cameras — the best camera is the one you have with you. And the best audio recording tool is the one you have with you.”
That is, when you want to record, the easiest thing to do is not to get out your laptop and connect a bunch of cables to it, then load up your studio software — it’s to hit the record button on your iPhone.
The Tape It app allows you to do just that, but adds other features that make it more competitive with its built-in competition, Voice Memos.
When you record using Tape It, the app leverages AI to automatically detect the instrument, then annotate the recording with a visual indication to make those recordings easier to find by looking for the colorful icon. Musicians can also add their own markers to the files right when they record them, then add notes and photos to remind themselves of other details. This can be useful when reviewing the recordings later on, Walther says.
Image Credits: Tape It
“If I have a nice guitar sound, I can just take a picture of the settings on my amplifier, and I have them. This is something musicians do all the time,” he notes. “It’s the easiest way to re-create that sound.”
Another novel, but simple, change in Tape It is it that breaks longer recordings into multiple lines, similar to a paragraph of text. The team calls this the “Time Paragraph,” and believes it will make listening to longer sessions easier than the default — which is typically a single, horizontally scrollable recording.
Image Credits: Tape It
The app has also been designed so it’s easier to go back to the right part of recordings, thanks to its smart waveforms, in addition to the optional markers and photos. And you can mark recordings as favorites so you can quickly pull up a list of your best ideas and sounds. The app offers full media center integration as well, so you can play back your music whenever you have time.
However, the standout feature is Tape It’s support for “Stereo HD” quality. Here, the app takes advantage of the two microphones on devices like the iPhone XS, XR, and other newer models, then improves the sound using AI technology and other noise reduction techniques, which it’s developed in-house. This feature is part of its $20 per year premium subscription.
Over time, Tape It intends to broaden its use of AI and other IP to improve the sound quality further. It also plans to introduce collaborative features and support for importing and exporting recordings into professional studio software. This could eventually place Tape It into the same market that SoundCloud had initially chased before it shifted its focus to becoming more of a consumer-facing service.
But first, Tape It wants to nail the single-user workflow before adding on more sharing features.
“We decided that it’s so important to make sure it’s useful, even just for you. The stuff that you can collaborate on — if you don’t like using it yourself, you’re not going to use it,” Walther says.
Tape It’s team of three is based in Stockholm and Berlin and is currently bootstrapping.
The app itself is a free download on iOS and will later support desktop users on Mac and Windows. An Android version is not planned.
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SoundCloud adjusts revenue model for indie artists
We’ve known for a long time that music streaming royalties are fundamentally broken. As revenue has shifted away from sales of physical music, it’s become increasingly difficult for many independent artists to make a living off recorded music. But all of that has come to a head as the pandemic has stripped live music out of the equation entirely.
Some services have looked to buck the trend. The immensely popular Bandcamp Fridays are a notable example, offering all revenue to artists and labels one day a month. And now SoundCloud is looking to shake up how it pays its own independent creators — a move that could prove a nice boon for musicians on a service that’s lent its name to at least one popular musical subgenre.
The site will institute a new revenue structure at the beginning of next month. Soundcloud breaks down “Fan-powered” royalties thusly,
Fan-powered royalties are a more equitable and transparent way for independent artists who monetize directly with SoundCloud to get paid. The more fans listen on SoundCloud, and listen to your music, the more you get paid.
Under the old model, money from your dedicated fans goes into a giant pool that’s paid out to artists based on their share of total streams. That model mostly benefits mega stars.
Under fan-powered royalties, you get paid based on your fans’ actual listening habits. The more of their time your dedicated fans listen to your music, the more you get paid. This model benefits independent artists.
The service is available for independent artists who monetize their pages through select Pro accounts. There are a number of factors that go into the final payment (the first of which will arrive in May), including whether listeners have a subscription, the amount they’ve listened to one artist relative to others and ads they’ve listened to. The fine print is available here.
Musicians have become increasingly vocal about their inability to live off of streaming revenue as the pandemic has cut off major income sources over the past year. Spotify, in particular, has drawn harsh criticism as the company has spent hundreds of millions on podcast acquisitions while maintaining old revenue models for musicians.
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E-bike subscription service Dance closes $17.7M Series A, led by HV Holtzbrinck Ventures
Three months on since the former founders of SoundCloud launched their e-bike subscription service, Dance today is announcing the close of a $17.7 million (€15 million) Series A funding round led by one of the larger European VCs, HV Holtzbrinck Ventures.
Founded by Eric Quidenus-Wahlforss (ex-SoundCloud), Alexander Ljung (still at SoundCloud as chairman) and Christian Springub (ex-Jimdo), Dance has ambitions to offer its all-inclusive service subscription package into expanded markets across Europe and eventually the U.S. Dance is currently operating the invite-only pilot of its e-bike subscription in Berlin, with plans for a broader launch, expanded accessibility and availability and new cities next year.
Rainer Märkle, general partner at HV Holtzbrinck Ventures, said in a statement: “The mobility market is seeing a huge shift towards bikes, strongly fueled by the paradigm shift of vehicles going electric. Unfortunately, the majority of e-bikes on the market today have some combination of poor design, high upfront costs, and cumbersome maintenance. We analyzed the overall mobility market, evaluated all means of transport, and crunched the numbers on all types of business models for a few years before we found what we were looking for. Dance is by the far the most viable future of biking, bridging the gap between e-bike ownership and more ‘joyful’ accessibility to go places.”
E-bikes tend to be notoriously expensive to purchase and a hassle to repair. That said, startups like VanMoof and Cowboy have brought an Apple -esque business model to the market, which is fast bringing the cost of full ownership down.
Most commuters are put off cycling the average 10 kilometers (6.2 miles) commute but e-bikes make this distance a breeze. Dance sits in that half-way house between owning an expensive bike and having to hunt down a rentable e-bike or electric scooter close to your location.
Additionally, the COVID-19 pandemic has brought individual, socially distanced transport into sharp relief. U.K. sales of e-bikes have boomed, seeing a 230% surge in demand over the summer. This has happened at the same time as EU governments have put in more than 2300 km of bike lanes, with the U.K. alone pledging £250 million in investment.
Quidenus-Wahlforss said the startup has been “inundated with positive responses from around the world since we announced our invite-only pilot program.”
Dance’s subscription model includes a fully assembled e-bike delivered to a subscriber’s door within 24 hours. This comes with maintenance, theft replacement insurance, a dedicated smartphone app, concierge services, GPS location tracking and unlocking capabilities.
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Former SoundCloud founders launch e-bike subscription service, backed by BlueYard
You’ve heard of e-bike and e-scooter rental startups spreading across cities. But today three veterans of the startup world will launch what appears to be a brand new take on the “e-revolution” sweeping cities in the wake of the global pandemic: subscription e-bikes, or, if you will, “EaaS” or “E-bikes-as-a-Service.” The previous founders of SoundCloud and Jimdo will today launch Dance, a new subscription e-bike service, backed by a stellar lineup of European investors.
The invite-only program kicks-off first in Berlin, with an all-inclusive service package of a €59-a-month “introductory price” and its own design of e-bike. The founders’ goal is to emphasize the community aspects of the rental service, just as they did with SoundCloud.
Dance is co-founded by SoundCloud founders Eric Quidenus-Wahlforss and Alexander Ljung, together with the co-founder of Jimdo, Christian Springub. While Quidenus-Wahlforss and Ljung are best known for co-founding SoundCloud more than 10 years ago as CTO and CEO, respectively, Quidenus-Wahlforss is taking the CEO role this time, while Ljung will be chairman. Ljung remains chairman of SoundCloud in the meantime.
The main institutional backer is Berlin-based VC BlueYard Capital, together with entrepreneurs and investors such as Ilkka Paananen (founder & CEO Supercell), Jeannette zu Fürstenberg (La Famiglia), Kevin P. Ryan (founder & CEO, AlleyCorp), Neil Parikh (founder & CSO Casper), Bjarke Ingels (founder & CEO BIG Architects) and several others.
Here’s how it will work: Users will download an app and register for the service. A fully assembled e-bike is delivered to a subscriber within 24 hours. If the bike needs maintenance or gets stolen, the user alerts Dance via the app and the bike is replaced “immediately.” That’s more or less it. Here’s the current design of the bike:
Image Credits: Dance
However, a specially designed Dance e-bike will look closer to this rendering at launch:
Image Credits: Dance
Quidenus-Wahlforss, co-founder and CEO of Dance said: “Dance means having a state-of-the-art e-bike always and only available to you, but without the hassle of buying and owning it… Dance is the perfect solution for those who are looking for a healthy, environmentally friendly, time-saving and joyful form of mobility.”
“We are convinced that Dance provides the missing piece of the puzzle at the right time to accelerate a broad and lasting movement from individual car ownership to daily use of e-bikes,” he added.
The startup notes that 45% of Germans are interested in owning an e-bike, while the European market is projected to double by 2025, according to some estimates.
This could be a disruptive moment in the e-bike space. E-bikes are generally considered the fastest and most efficient means of individual urban transport on routes up to 10 kilometres, but the pandemic has put new emphasis on their utility.
But with an average purchasing price of €2,300, e-bikes can be expensive and have a higher probability of being stolen, leaving many consumers out of the market.
At the same time, more than 930 kilometres of new cycling infrastructure have been implemented in Europe since March due to the COVID-19 pandemic, which has shifted populations away from “risky” public transport.
Ljung commented: “You save time and you save the environment. You exercise, but you don’t sweat. And besides that, riding an e-bike is simply joyful. Music was one of the first industries to experience the shift from ownership to subscription. At SoundCloud we helped usher in this transformation… Now we want to transfer this experience to the mobility space and start a movement that will ultimately make our cities more livable.”
Springub added: “We have carefully analyzed the mobility market in the past years and we are deeply concerned that despite the new options out there and the clear necessities set by climate protection, car ownership continues to be high, along with all its negative implications such as congestion and pollution.”
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How Kobalt is betting on music’s middle class and DIY stars
Streaming services have made music ubiquitous, driving more exploration by consumers who don’t have to pay for each song or album individually. Musicians are correspondingly able to find their own niche of fans scattered around the world.
(This is the third installment of our EC-1 series on Kobalt Music Group and changes in the music industry. Read Part I and Part II.)
As Spotify gained rapid adoption in his native Sweden in 2006, Kobalt’s founder & CEO Willard Ahdritz predicted music streaming and the rise of social media would increasingly undercut the gatekeeping power of the major label groups and realign the market to center more on a vast landscape of niche musicians than a handful of traditional superstars.
Both of these predictions have proven directionally true. The question is to what extent and how are industry players actually realigning as a result?
What musicians need in addition to the administrative collection of their royalties (explained in Part II) is a menu of creative services they can tap for support. Kobalt’s AWAL and Kobalt Music Publishing divisions provide such services to recording artists and songwriters, respectively, and do so on purely a services basis (getting paid a commission but not taking ownership of copyrights like traditional labels and publishers do).
Niche middle class vs. Global superstars
Image via Getty Images / rolfo eclaire
The whole music industry is growing substantially due to streaming music’s mainstream penetration in wealthier countries and increased penetration in emerging markets.
As the overall pie is growing, the non-superstar segment of the market is indeed growing faster than the superstar segment, taking over a larger portion of industry royalties.
According to data from BuzzAngle, the top 500 songs in the US in 2018 accounted for 10% of on-demand audio streams — a dramatic decline in market share compared to 2017 when the top 500 songs accounted for 14% of streams. Stepping back, the top 50,000 songs made up 73.2% of all US streams in 2017 but that declined to 70.5% in 2018.
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Klaus, the ‘conversation review’ tool for support teams, picks up $1.9M seed
“No bad conversations between companies and their customers is what we’re shooting for,” Kair Käsper tells me. He’s the head of Growth of a relatively new startup called Klaus, which he founded together with old high school friend Martin Kõiva.
Most recently the pair were employees at Pipedrive, holding the roles of director of Product Marketing and global head of Customer Support, respectively. Many years prior to that they shared a flat together and worked on a number of projects. One of those was an applicant-tracking startup called Jobkitten “that didn’t really go anywhere.”
The latest Käsper and Kõiva venture, however, appears to already be on firmer footing. Described as a “conversation review and QA tool for support teams,” Klaus is designed to help companies improve the quality of customer service. Two years in the making but only launched formally six months ago, customers already include Automattic, Wistia and Soundcloud. And today the Estonian startup is disclosing $1.9 million in seed funding led by Creandum, the first Baltic investment by the Swedish VC firm and the first from its new fund.
“The problem is that maintaining an even, high level of customer service quality is hard,” explains Käsper. “It becomes even harder if you have over 20,000 monthly conversations with customers and your support team is 100 people in three offices.
“As the head of customer support, you want everyone on your team to provide answers that meet with internal standards, regardless of how long they’ve been with the company or how seriously they take their job. You get very anxious in this situation, because you have no idea about what’s going on in those thousands of conversations. For you, no visibility means no control.”
He says that his and Kõiva’s firsthand experience at Pipedrive taught them that the key to quality assurance is going through past interactions and giving systematic feedback to agents. “Kind of like code review in engineering or the editorial process in writing,” he says. “Teams all over the world are discovering this now, but they almost always start with a manual process, managed in spreadsheets. They get stuck fast.”
To make this type of feedback loop more scalable, Klaus has created a purpose-built UI for giving internal feedback. Smartly, it also integrates with modern SaaS help desk solutions, such as Zendesk and Intercom.
“[The software also has] countless specialized features that allow you to focus on the actual feedback instead of managing a spreadsheet,” adds the Klaus head of Growth. They include the ability to easily filter out conversations for review, rate them based on a customized score card and notify agents of received feedback through email or Slack.
Meanwhile, the young company makes money by charging a monthly or yearly subscription fee based on how many users are connected to its app. In other words, just like Pipedrive before it, another classic enterprise SaaS play out of Estonia.
Update: An earlier version of this article wrongly said that Kair Käsper is CEO of Klaus; his job title is actually head of Growth.
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Dolby quietly preps augmented audio recorder app “234″
Dolby is secretly building a mobile music production app it hopes will seduce SoundCloud rappers and other musicians. Codenamed “234” and formerly tested under the name Dolby Live, the free app measures background noise before you record and then nullifies it. Users can also buy “packs” of audio effects to augment their sounds with EQs settings like “Amped, Bright, Lyric, Thump, Deep, or Natural”. Recordings can then be exported, shared to Dolby’s own audio social network, or uploaded directly to SoundCloud through a built-in integration.
You could call it VSCO or Instagram for SoundCloud.
234 is Dolby Labs’ first big entrance into the world of social apps that could give it more face time with consumers than its core business of integrating audio technology into devices by other manufacturers. Using 234 to convince musicians that Dolby is an expert at audio quality could get them buying more of those speakers and headphones. And by selling audio effect packs, the app could earn the company money directly while making the world of mobile music sound better.
Dolby has been covertly testing Dolby Live/234 since at least June. A source tipped us off to the app and while the company hasn’t formally announced it, there is a website for signing up to test Dolby 234. Dolby PR refused to comment on the forthcoming app. But 234’s sign-up site advertises it saying “How can music recorded on a phone sound so good? Dolby 234 automatically cleans up the sound, gives it tone and space, and finds the ideal loudness. it’s like having your own producer in your phone.”
Those with access to the Dolby 234 app can quickly record audio or audio/video clips with optional background noise cancelling. Free sound editing tools including trimming, loudness boost, and bass and treble controls. Users can get a seven-day free trial of the Dolby’s “Essentials” pack of EQ presets like ‘Bright’ before having to pay, though the pack was free in the beta version so we’re not sure how much it will cost. The “Tracks” tab lets you edit or share any of the clips you’ve recorded.
Overall, the app is polished and intuitive with a lively feel thanks to the Instagram logo-style purple/orange gradient color scheme. The audio effects have a powerful impact on the sound without being gimmicky or overbearing. There’s plenty of room for additional features, though, like multi-tracking, a metronome, or built-in drum beats.
For musicians posting mobile clips to Instagram or other social apps, 234 could make them sound way better without much work. There’s also a huge opportunity for Dolby to court podcasters and other non-music audio creators. I’d love a way to turn effects on and off mid-recording so I could add the feeling of an intimate whisper or echoey ampitheater to emphasize certain words or phrases.
Given how different 234 is from Dolby’s traditional back-end sound processing technologies, it’s done a solid job with design and the app could still get more bells and whistles before an official launch. It’s a creative move for the brand and one that recognizes the seismic shifts facing audio production and distribution. As always-in earbuds like Apple’s AirPods and voice interfaces like Alexa proliferate, short-form audio content will become more accessible and popular. Dolby could spare the world from having to suffer through amazing creators muffled by crappy recordings.
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SoundCloud finally lets more musicians monetize four years later
SoundCloud moves painfully slow for a tech company, and no one feels that pain more than musicians who are popular on the site but don’t get paid. 10 years since SoundCloud first launched, and four years since it opened an invite-only program allowing just the very biggest artists to earn a cut of the ad and premium subscription revenue generated by their listeners, SoundCloud is rolling out monetization.
Now, musicians 18 and up who pay SoundCloud $8 to $16 per month for hosting, get over 5000 streams per month, and only publish original music with no copyright strikes against them can join the SoundCloud Premier program. They’ll get paid a revenue share directly each month that SoundCloud claims “meets or beats any other streaming service”. However, the company failed to respond to TechCrunch’s inquiries about how much artists would earn per 1000 ad-supported or premium subscription listener streams, or how many streams would earn them a dollar.
Beyond payouts, Premier members can post new tracks instantly without having to wait to be discoverable or monetizable, they’ll get real-time feedback from fans, and extra discovery opportunities from SoundCloud. The company hopes monetization will lure more creators to join the 20 million on the platform, get them to promote their presence to drive listens, and imbue the site with exclusive artist-uploaded content that attracts listeners.
It’s been a year since SoundCloud raised an $170 million emergency funding round to save itself from going under after it was forced to lay off 40 percent of its staff. That deal arranged by Kerry Trainor saw him become CEO and the previous co-founder and CEO Alex Ljung step aside. With underground rap that had percolated on SoundCloud for years suddenly reaching the mainstream, the startup seemed to have momentum.
The problem is the slow speed of progress at SoundCloud has allowed competitors with monetization baked in to catch up to its formerly unique offering. YouTube Music’s launch in June 2018 combined premium major label catalogues with user uploaded tracks in a cohesive streaming service. And last month, Spotify began allowing indie artists to upload their music directly to the platform. Meanwhile, licensing distribution services like Dubset are making it legal for big streaming apps to host remixes and DJ sets. Together, these make more of the rarities, live versions, and hour-long club gigs that used to only be on SoundCloud available elsewhere.
The delays seem in part related to the fact that SoundCloud wants to be Spotify as well as SoundCloud. It’s refused to back down from its late entry into the premium streaming market with its $9.99 per month SoundCloud Go+ subscription. As I previously recommended, “to fix SoundCloud, it must become the anti-Spotify” by ruthlessly focusing on its differentiated offering in artist-uploaded music. Instead, another year has passed with only a light revamping of SoundCloud’s homescreen and some more personalized playlists to show for it.
SoundCloud proudly announced it had reached $100 million in revenue in 2017, and exceeded its financial and user growth targets. But filings reveal it lost over $90 million in 2016 and it was previously projected to not become profitable until 2020. That begs the question of whether SoundCloud will have to raise again, or might once again open itself to acquisitions. With Apple, Google, Amazon, and Spotify all in fierce competition for the future of streaming, any of them might be willing to pay up for music that fans can’t easily find elsewhere.
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SoundCloud on the blockchain? Audius raises $5.5M to decentralize music
Audius wants to cut the middlemen out of music streaming so artists get paid their fair share. Coming out of stealth today led by serial entrepreneur and DJ Ranidu Lankage, Audius is building a blockchain-based alternative to Spotify or SoundCloud.
Users will pay for Audius tokens or earn them by listening to ads. Their wallet will then pay out a fraction of a cent per song to stream from decentralized storage across the network, with artists receiving roughly 85 percent — compared to roughly 70 percent on the leading streaming apps. The rest goes to compensating whomever is hosting that song, as well as developers of listening software clients, one of which will be built by Audius.
Audius plans to launch its open-sourced product in beta later this year. But it’s already found some powerful investors that see SoundCloud as vulnerable to the cryptocurrency revolution. Audius has raised a $5.5 million Series A led by General Catalyst and Lightspeed, with participation from Kleiner Perkins, Pantera Capital, 122West and Ascolta Ventures. They’re betting that Audius’ token will grow in value, making the stockpile it keeps worth a fortune. It could then sell chunks of its tokens to earn revenue instead of charging artists directly.
Audius co-founders (from left): head of product Forrest Browning, CEO Ranidu Lankage, CTO Roneil Rumburg
“The biggest problem in the music industry is that streaming is taking off and artists aren’t necessarily earning a lot of money. And it can take three months, or up to 18 months for unsigned artists, to get paid for streams,” says Lankage. “That’s what crypto really solves. You can pay artists in near real-time and make it fully transparent.”
The big question will be whether Audius can use the token economy to crack the chicken-and-egg problem of getting its first creators and listeners on a platform that might be less functionally robust than its traditional competitors. There are a lot of moving parts to decentralize, but there are also plenty of disgruntled musicians out there waiting for something better.
From Sri Lankan hip-hop star to serial entrepreneur
Most startup guys don’t have Billboard charting singles on their bio, but Lankage does. Born in Sri Lanka, his hip-hop songs in his native tongue of Sinhalese were the first of the language to be played on the BBC and MTV. He got signed to Sony and even went platinum, but left the label seeking greater control over his work. After going to Yale, he applied his music business knowledge to build a Reddit for dance music called The Drop with Twitch’s Justin Kan back in 2015.
The two teamed up again on a video version of Q&A app Quora called Whale, but that fizzled out too. Lankage’s next venture Polly, a polling tool built as a complement to Snapchat, inspired the now super-popular Instagram Stories polls and questions stickers. But after an acqui-hire by Reddit fell through, he returned to his first love: music.
“I’ve always been passionate about building tools for creators,” says Lankage. But this time, he wanted to focus on helping them turn their art into a profession. He teamed up with CTO Roneil Rumburg, an engineering partner at Kleiner Perkins who’d build a crypto wallet called Backslash, and head of product Forrest Browning, who’d sold his software metering startup StacksWare to Avi Networks.
Their goal is to build a blockchain streaming music service where listeners don’t have to understand blockchains. “A user wouldn’t even know that they have a wallet,” says Rumburg. They’ll just hear an ad every once in a while, get a subscription, or pay per stream. Since Audius is open sourced, developers will be able to build their own listening clients on top, which could specialize in discovery of certain types of music or offer their own payment schemes.
“I have known Ranidu, Forrest and Roneil for a long time, and have always been impressed with their ability to blend art, technology and business together,” says investor Niko Bonatsos of General Catalyst. “In Audius, they bring together all three skills, with a deep technical heart and a compelling solution for a very big marketplace.”
Tokens, not record labels
For starters, Audius is focusing on signing up independent electronic musicians. These are the types that might be popular on SoundCloud but actually have to pay for hosting there while not getting much back due to the platform’s weak monetization options. Don’t expect U2 and Ariana Grande on Audius, at least not yet. But the startup could differentiate by offering access to content you can’t find elsewhere.
To get artists on board, Lankage tells me Audius plans “to use token incentives.” Those willing to jump on first before there are many listeners could get a bonus allotment of tokens that might be worth more if they help popularize the service. And where artists go, their fans will follow. Audius is hoping artists will share its links first because that’s where they’ll earn the most money.
Audius has also lined up a legion of big-name advisors to help it develop its blockchain product and artist relationships. Those include Augur co-founder Jeremy Gardner, EDM artist 3LAU, EA co-founder Bing Gordon and more it can’t announce just yet.
The linchpin of Audius will be the user experience. If the system feels too complicated, listeners and artists will stay elsewhere. A DJ might earn more per stream from Audius, but if Spotify or SoundCloud offer better ways for fans to subscribe to them and generate more plays long-term, they’ll still direct supporters there. But if Audius can hide the nerdy bits while solving the music industry’s problems, it has the potential to be one of the first mainstream consumer blockchain projects that treats the tech as a utility, not just a new stock market to bet on.
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Rapchat raises $1.6 million to help you make and share your def jams
The first thing to understand about media-sharing app Rapchat is that co-founder Seth Miller is not a rapper and his other co-founder, Pat Gibson, is. Together they created Rapchat, a service for making and sharing raps, and the conjunction of rapper and nerd seems to be really taking off.
Since we last looked at the app in 2016 (you can see Tito’s review below), a lot has changed. The team has raised $1.6 million in funding from investors out of Oakland and the Midwest. Their app, which is sort of a musical.ly for rap, is a top 50 music app on iOS and Android and hit 100 million listens since launch. In short, their little social network/sharing platform is a “millionaire in the making, boss of [its] team, bringin home the bacon.”
The pair’s rap bona fides are genuine. Gibson has opened or performed with Big Sean, Wiz Khalifa and Machine Gun Kelly, and he’s sold beats to MTV. “My music has garnered over 20M+ plays across YouTube, SoundCloud and more,” he wrote me, boasting in the semi-churlish manner of a rapper with a “beef.” Miller, on the other hand, likes to freestyle.
“I grew up loving to freestyle with friends at OU and I noticed lots of other millennials did this too (even if most suck lol) … at any party at 3am – there would always be a group of people in the corner freestyling,” he said. “At the same time Snapchat was blowing up on campus and just thought you should be able to do the same exact thing for rap.”
Gibson, on the other hand, saw it as a serious tool to help him with his music.
“I spent a lot of time, energy and resources making music,” he said. “I was producing the beats, writing the songs, recording/mixing the vocals, mastering the project, then distributing & promoting the music all by myself. With Rapchat, there’s a library of 1,000+ beats from top producers, an instant recording studio in your pocket, and the network to distribute your music worldwide and be discovered…. all from a free app. Rapchat is disrupting the creation, collaboration, distribution, & discovery of music via mobile.”
“We have a much bigger but also more active community than any other music creation app,” said Miller.
While it’s clear the world needs another sharing platform like it needs a hole in the head, thanks to a rabid fan base and a great idea, the team has ensured that Rapchat is not, as they say, wicka-wicka-whack. That, in the end, is all that matters.
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