WEBVTT - The Soundcloud Story

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<v Speaker 1>Get technology with tech Stuff from dot com. Hey there,

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<v Speaker 1>and welcome to tech Stuff. I am your host, Jonathan Strickland.

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<v Speaker 1>I'm a senior writer with how stuff Works dot com,

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<v Speaker 1>where we explained how the universe works one topic at

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<v Speaker 1>a time. And as you probably know, I am one

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<v Speaker 1>of the people in charge of the computer and Electronics channels,

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<v Speaker 1>senior writer for those channels, so I cover all stuff

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<v Speaker 1>what goes beep, as my former co host Chris Palette

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<v Speaker 1>would say, and uh, today we're going to talk about

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<v Speaker 1>a web based service, one of the really popular ones

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<v Speaker 1>that has suffered some problems recently. In August, this particular service,

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<v Speaker 1>the streaming music service SoundCloud, wasn't really serious trouble. The

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<v Speaker 1>company was teetering the brink of collapse. It was in

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<v Speaker 1>desperate need of investment money to stay afloat, and for

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<v Speaker 1>about twenty four hours, the tech world, including myself, watched

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<v Speaker 1>to see if a rescue line would be thrown to

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<v Speaker 1>the company or if it would sink, leaving the people

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<v Speaker 1>who still use the service completely stranded. I guess marooned.

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<v Speaker 1>Perhaps I should keep using the ocean metaphors. As it

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<v Speaker 1>turns out, SoundCloud lived to stream another day, but I'm

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<v Speaker 1>getting ahead of myself. Where did the service come from,

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<v Speaker 1>and what's the story behind it and how did it

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<v Speaker 1>get so close to going under and what pulled it back?

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<v Speaker 1>At least for now, well ten years before SoundCloud found

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<v Speaker 1>itself in this precarious position, it was born Alexander Leong

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<v Speaker 1>and Eric wall Force. And I know I'm butchering their names.

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<v Speaker 1>They're both Swedish, and my Swedish is as as bad

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<v Speaker 1>as any of my completely unfamiliar languages. Right, I know

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<v Speaker 1>I'm going to butcher names. I apologize from this point

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<v Speaker 1>forward for all of that. I just know that I'm trying.

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<v Speaker 1>I might be failing, but I'm putting forth an effort.

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<v Speaker 1>So Leung and wall Force joined forces to create these

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<v Speaker 1>streaming service SoundCloud. But let's learn a little bit more

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<v Speaker 1>about both of them before we get into the company itself.

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<v Speaker 1>So Alexander Leong was born in the United Kingdom, but

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<v Speaker 1>he spent his childhood in Sweden. From the sounds of it,

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<v Speaker 1>he was quite the little brainiac. He attended Stockholm University

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<v Speaker 1>from two thousand one to two thousand four, and there

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<v Speaker 1>he studied such diverse topics as literature, politics, international relations, philosophy,

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<v Speaker 1>and film music. He went on to study marketing at

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<v Speaker 1>the Stockholm Technical School from two thousand five or so,

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<v Speaker 1>and then he took more courses in human computer interaction

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<v Speaker 1>at the at the Royal Technical Institute. And this guy

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<v Speaker 1>would leave me in the dust unless we were to

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<v Speaker 1>get into a real deep discussion about Chaucer or Milton

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<v Speaker 1>or Shakespeare. I bet I could hold my own in

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<v Speaker 1>those cases. But it sounds like he was really interested

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<v Speaker 1>in a huge spectrum of topics. Now, while he was

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<v Speaker 1>learning all this stuff, he was also working in a

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<v Speaker 1>sound design company called A L. C. Lud Design from

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<v Speaker 1>two thousand to two thousand three. He was a sound

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<v Speaker 1>designer and composer for that company. So he was filling

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<v Speaker 1>his brain with tons of different subjects while also working

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<v Speaker 1>as a creative professional. Now, he got that job because

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<v Speaker 1>he recorded an album. He was a musician and decided

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<v Speaker 1>to record his own music and it got some notice

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<v Speaker 1>in the professional world, and this company said, hey, why

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<v Speaker 1>don't you work for us in sound design? Sounds like

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<v Speaker 1>you're really talented. Uh. He would actually go on to

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<v Speaker 1>say that he was making quote very very very very

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<v Speaker 1>bad music end quote. He did not He really downplays

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<v Speaker 1>the quality of the work he did back when he

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<v Speaker 1>was a kid, but it was good enough for him

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<v Speaker 1>to land this gig, so he was working at the

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<v Speaker 1>same time as he was studying. Now after his studies

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<v Speaker 1>were over, Alexander moved on to work with SF Anytime,

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<v Speaker 1>which was a video on demand service that serves customers

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<v Speaker 1>in Sweden, Finland, Norway and Denmark. Uh And I looked

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<v Speaker 1>into SF anytime while I was researching this podcast. I

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<v Speaker 1>wanted to see what it looked like. And the library

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<v Speaker 1>is really impressive, though there are a lot of boomlouts,

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<v Speaker 1>like a lot of them. Alexander's job at s F

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<v Speaker 1>Anytime was as a business and product developer. While he

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<v Speaker 1>was working with s F Anytime, he also founded his

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<v Speaker 1>own cross media production studio called Young Studios, and he

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<v Speaker 1>founded a company called acril P, a media production agency.

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<v Speaker 1>So as that media production agency, he worked with some

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<v Speaker 1>clients of some renown a few companies you've probably heard of,

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<v Speaker 1>like Coca Cola and MTV and Phillips. And this guy's

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<v Speaker 1>resume makes me tired just from reading it. So he

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<v Speaker 1>had founded two studios, plus he was working at SF

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<v Speaker 1>Anytime all concurrently, so he's doing all this work around

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<v Speaker 1>the same time. He left SF anytime in two thousand

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<v Speaker 1>and six, he stuck with the companies he founded acrol

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<v Speaker 1>P and Young Studios until about two thousand seven, and

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<v Speaker 1>it was in two thousand seven that he partnered with

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<v Speaker 1>Eric Walforce to form SoundCloud. So now let's go and

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<v Speaker 1>talk about Eric. We've learned about Alex. Let's learn about Eric. Well,

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<v Speaker 1>first of all, there's less information that's publicly available about

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<v Speaker 1>Eric than there is about Alex. He was also raised

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<v Speaker 1>in Sweden. His grandfather was a member of the clergy

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<v Speaker 1>and his mother directed his local churches choir. Though Eric

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<v Speaker 1>would say that as a kid he resented being dragged

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<v Speaker 1>to church, he found it to be intolerably dull. It

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<v Speaker 1>was only later, as an adult that he began to

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<v Speaker 1>develop an appreciation for religious music. He says that even

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<v Speaker 1>secular people can have an interest in that style of

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<v Speaker 1>music and its complexities and harmonies, and the various aspects

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<v Speaker 1>of religious music that you can encounter, particularly things like

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<v Speaker 1>intricate chance that can date all the way back to

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<v Speaker 1>the medieval era. He would attend the Stockholm School of

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<v Speaker 1>Economics for three years, and then he also earned a

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<v Speaker 1>master's of Science degree from the Royal Institute of Technology

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<v Speaker 1>in Stockholm. He later would move to Berlin, Germany. He's

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<v Speaker 1>an avid supporter of various nonprofit organizations and he does

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<v Speaker 1>a lot of volunteer work now. In the mid nineteen nineties,

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<v Speaker 1>he worked as an interaction designer for a company that's

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<v Speaker 1>called Gate five. Gate five was a company that designed

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<v Speaker 1>location based services for mobile devices that included stuff like

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<v Speaker 1>mapping programs, route planning software, personal navigation tools, and content management.

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<v Speaker 1>In two thousand six, Nokia would go and acquire Gate five.

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<v Speaker 1>In addition to his work and technology, he also pursued

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<v Speaker 1>a love of music. He is known as fours fo

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<v Speaker 1>r s S a musician who creates music tracks that

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<v Speaker 1>are experimental in nature. Typically, his work fuses different elements

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<v Speaker 1>to make something new. You might find a piece that

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<v Speaker 1>combines elements of jazz, house music, ambient music, and Gregorian chant,

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<v Speaker 1>for example. Or there's a piece I love called funk

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<v Speaker 1>for Nerds that makes great use of piano, bass, guitar, cello, percussion,

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<v Speaker 1>and glitchy digital sounds to create a really cool vibe.

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<v Speaker 1>You can actually find it on SoundCloud. So wall Force

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<v Speaker 1>and Leon met at the Royal Institute of Technology and Stockholm,

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<v Speaker 1>and the thing that first united them was a common problem,

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<v Speaker 1>and it was not a problem that involved music, despite

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<v Speaker 1>the fact that both of them were musicians and both

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<v Speaker 1>of them were avid seekers of music online. The initial

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<v Speaker 1>problem that brought them two together had to do with

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<v Speaker 1>the Mac operating system. Now, as le Young would explain,

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<v Speaker 1>he says, I was having this problem where I couldn't

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<v Speaker 1>sink my calendar with I cal the school's calendar feed.

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<v Speaker 1>And I go up to this guy with a Mac

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<v Speaker 1>laptop and I'm like, hey, I notice you have a Mac.

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<v Speaker 1>Do you know how to do this? And no joke,

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<v Speaker 1>He's sitting there trying to get the exact same thing

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<v Speaker 1>to work. And that's how Eric and Alex met. They

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<v Speaker 1>met over the difficulty in sinking their personal calendars to

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<v Speaker 1>their school's calendars using Max software. Just think, if this

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<v Speaker 1>school had been using PCs instead of Max, SoundCloud might

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<v Speaker 1>never have existed. It was only through this chance meeting.

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<v Speaker 1>Who's to say if that's true or not. I mean,

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<v Speaker 1>the chance meeting part is probably true, but the whole

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<v Speaker 1>PC thing is me just being silly. Before long, both

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<v Speaker 1>young men were running into a different, but equally frustrating problem.

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<v Speaker 1>Each was interested in composing and recording music, which they

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<v Speaker 1>could do that was pretty much easy for them. They

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<v Speaker 1>had all the tools they needed in order to compose

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<v Speaker 1>and record stuff. But then, how where do you publish it?

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<v Speaker 1>How where do you host it? How do you get

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<v Speaker 1>people to discover the work you've created so that they

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<v Speaker 1>can actually listen to it and hopefully enjoy it. They

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<v Speaker 1>decided that it was a problem that they could solve

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<v Speaker 1>themselves by making their own platform. They decided it was

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<v Speaker 1>going to be a web based music service that would

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<v Speaker 1>allow people to upload their tracks and then share them

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<v Speaker 1>with the rest of the world, and it would give

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<v Speaker 1>amateurs and independent artists the opportunity to reach audiences and

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<v Speaker 1>share their work, as well as discover other work that

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<v Speaker 1>might serve as inspiration for further musical exploration. It could

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<v Speaker 1>allow for collaborations and remixes and all sorts of creative expressions,

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<v Speaker 1>and it wouldn't have all the hoops you'd have to

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<v Speaker 1>jump through to get your music onto some other services

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<v Speaker 1>like Spotify. They decided to call this new service SoundCloud,

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<v Speaker 1>as it would store audio tracks in the cloud of

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<v Speaker 1>the Internet. So this was an idea to help democratize

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<v Speaker 1>music publishing. Obviously, if you're a musician, the traditional route,

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<v Speaker 1>especially before the web based days, was that you had

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<v Speaker 1>to get discovered by a music label and have that

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<v Speaker 1>music label sign you to an agreement where they would

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<v Speaker 1>produce albums or otherwise, you know, publish your your work

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<v Speaker 1>so that a larger audience might be able to find it,

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<v Speaker 1>and it would be up to the music label to

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<v Speaker 1>promote that and maybe you go on tours to support it,

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<v Speaker 1>that sort of thing. But not everyone has access to that.

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<v Speaker 1>Only a very few people ever are lucky enough to

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<v Speaker 1>follow that particular pathway. If the web opened up the

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<v Speaker 1>opportunity to get discovered in brand new ways, entire audiences

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<v Speaker 1>could find your work based upon your efforts to get

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<v Speaker 1>it out there. You could publish your work to the

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<v Speaker 1>web and get that link out and through viral sharing,

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<v Speaker 1>you could actually become a known quantity and you never

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<v Speaker 1>even had to speak to a music label in order

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<v Speaker 1>to do this. Now, there were some questions about how

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<v Speaker 1>would you make money from that if you were hoping

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<v Speaker 1>to make music your career, But from a perspective of

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<v Speaker 1>actually getting out in front of people, it suddenly became

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<v Speaker 1>way easier. If only the platform were there, and that's

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<v Speaker 1>what Alex and Eric sat out to do. They wanted

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<v Speaker 1>to make a platform where the average person could upload

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<v Speaker 1>audio and find an audience. That was their goal. So

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<v Speaker 1>they got to work and they started to build out

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<v Speaker 1>this company. They chose Berlin as their headquarters. While Course

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<v Speaker 1>has said that they chose Berlin because it was a

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<v Speaker 1>city that was friendly to businesses, meaning there were fewer

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<v Speaker 1>barriers to get around when you're getting started, and also

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<v Speaker 1>because Berlin is a city filled with creative people, including artists, musicians, actors,

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<v Speaker 1>and more. Designing the service itself was no small task. Obviously,

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<v Speaker 1>you're talking about anything that's based on the web. There

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<v Speaker 1>are multiple components that go into play. It included designing

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<v Speaker 1>the back end of the service, which meant you had

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<v Speaker 1>to go out and buy hardware that would host the

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<v Speaker 1>actual files and interface, or you had to rent that

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<v Speaker 1>space from some other company to actually hold all the

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<v Speaker 1>physical audio files that would be uploaded to the service.

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<v Speaker 1>It also meant creating the user interface, something that would

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<v Speaker 1>allow people to easily navigate the site, upload audio, discover

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<v Speaker 1>audio tracks, and all of that would take several months

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<v Speaker 1>of work. So they started in two thousand seven, but

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<v Speaker 1>It really wasn't until two thousand eight that they were

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<v Speaker 1>ready to unleash SoundCloud and allow people to come in

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<v Speaker 1>and use it once they get the beta testing phase.

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<v Speaker 1>One goal the two had from the very beginning was

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<v Speaker 1>to target a global market. They could have just focused

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<v Speaker 1>on a service that would cater to Europe or two

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<v Speaker 1>areas like Sweden, Finland Norway, the areas they had been

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<v Speaker 1>working in up to that point, but they were very

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<v Speaker 1>sure that there were artists all around the world who

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<v Speaker 1>were feeling the same sort of frustration that they had

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<v Speaker 1>experienced of not having a way to get their work

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<v Speaker 1>out to an audience. And this wasn't limited to musicians.

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<v Speaker 1>Any sort of audio work would apply on SoundCloud, so

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<v Speaker 1>you didn't even have to make it be music. It

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<v Speaker 1>could be anything. It could be spoken word, it could

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<v Speaker 1>be poetry, it could be a lecture series. Any of

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<v Speaker 1>that was fair game for SoundCloud, and the two set

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<v Speaker 1>their sites pretty high. They wanted something that people around

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<v Speaker 1>the world would be able to take advantage of. To

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<v Speaker 1>get funding to run the business, the two held a

0:13:55.320 --> 0:13:59.920
<v Speaker 1>couple of rounds of seed funding. Now the full numbers

0:14:00.080 --> 0:14:03.040
<v Speaker 1>for the seed funding have never officially been disclosed, but

0:14:03.160 --> 0:14:07.640
<v Speaker 1>This typically is a relatively small amount of money that

0:14:07.720 --> 0:14:11.559
<v Speaker 1>a company will will get from angel investors early, early

0:14:11.600 --> 0:14:14.199
<v Speaker 1>in the right in the phase. It's typically when you

0:14:14.240 --> 0:14:16.720
<v Speaker 1>don't even have anything to show yet, but you have

0:14:17.080 --> 0:14:20.560
<v Speaker 1>a plan. You're able to articulate that plan, explain how

0:14:20.600 --> 0:14:23.120
<v Speaker 1>you're going to carry out that plan, and you can

0:14:23.200 --> 0:14:27.920
<v Speaker 1>usually get a small investment up front, and again relatively small.

0:14:28.240 --> 0:14:30.640
<v Speaker 1>This These are amounts of money that I would consider

0:14:31.240 --> 0:14:34.760
<v Speaker 1>enormous on a personal scale, but on a company scale,

0:14:35.120 --> 0:14:37.080
<v Speaker 1>when you think about all the stuff that goes into

0:14:37.160 --> 0:14:40.440
<v Speaker 1>running a company, it's not that much money in the

0:14:40.520 --> 0:14:45.200
<v Speaker 1>grand scheme of things. So based upon interviews, it sounds

0:14:45.240 --> 0:14:49.120
<v Speaker 1>like the first couple of rounds of seed funding gathered

0:14:49.160 --> 0:14:52.000
<v Speaker 1>around a hundred fifty thousand euros in one round and

0:14:52.040 --> 0:14:55.000
<v Speaker 1>two hundred fifty thousand euros in the second round. Again

0:14:55.240 --> 0:14:58.800
<v Speaker 1>significant to an individual, but in the big scale, it's

0:14:58.920 --> 0:15:02.360
<v Speaker 1>not much that gave SoundCloud the starting capital and needed

0:15:02.360 --> 0:15:05.720
<v Speaker 1>to launch. In two thousand and eight, Leon would become

0:15:05.760 --> 0:15:08.360
<v Speaker 1>the CEO of the company and wall Force would take

0:15:08.400 --> 0:15:12.040
<v Speaker 1>on the role of chief technology officer. The co founders

0:15:12.040 --> 0:15:14.200
<v Speaker 1>were able to get the project running on that amount,

0:15:14.240 --> 0:15:17.200
<v Speaker 1>but they realized they would need to scale up, and

0:15:17.240 --> 0:15:19.080
<v Speaker 1>they would need more money in order to do so.

0:15:19.400 --> 0:15:23.360
<v Speaker 1>If they wanted to be a truly global entity, right

0:15:23.440 --> 0:15:26.160
<v Speaker 1>and to offer more services to users and to have

0:15:26.320 --> 0:15:28.360
<v Speaker 1>all the space they would need to hold all the

0:15:28.400 --> 0:15:31.280
<v Speaker 1>files people were uploading, they're gonna need more money than

0:15:31.360 --> 0:15:34.600
<v Speaker 1>just that seed funding round. So they had the decision

0:15:34.640 --> 0:15:38.160
<v Speaker 1>to make do you concentrate on generating a revenue model,

0:15:38.360 --> 0:15:40.200
<v Speaker 1>so a business plan where you're actually going to be

0:15:40.240 --> 0:15:43.479
<v Speaker 1>making money so that you can make your business profitable,

0:15:43.960 --> 0:15:47.560
<v Speaker 1>or do you first worry about scaling up and getting

0:15:47.640 --> 0:15:50.680
<v Speaker 1>enough users so that when you do develop your business plan,

0:15:51.200 --> 0:15:55.040
<v Speaker 1>you're really in good business and you've created something that

0:15:55.120 --> 0:15:57.720
<v Speaker 1>works at the scale you are at, as opposed to

0:15:57.800 --> 0:16:00.880
<v Speaker 1>making something when you're small and then having to adjust

0:16:00.960 --> 0:16:04.320
<v Speaker 1>that as you grow. So they weighed these options. They said, well,

0:16:04.360 --> 0:16:06.320
<v Speaker 1>do we want to make money now or do we

0:16:06.400 --> 0:16:08.960
<v Speaker 1>want to get really big and then figure out how

0:16:09.000 --> 0:16:11.520
<v Speaker 1>we're gonna make money. They decided to go with option

0:16:11.640 --> 0:16:13.880
<v Speaker 1>number two, which would mean that they would need to

0:16:13.920 --> 0:16:17.000
<v Speaker 1>hold a major round of investment funding to get enough

0:16:17.040 --> 0:16:20.280
<v Speaker 1>to scale at the business. In April two thousand nine,

0:16:20.640 --> 0:16:24.640
<v Speaker 1>SoundCloud would hold a series a round of investment funding.

0:16:24.920 --> 0:16:27.520
<v Speaker 1>So what the heck does that mean? Well, I'll tell you,

0:16:28.360 --> 0:16:31.960
<v Speaker 1>but not right now. First, let's take a quick break

0:16:32.280 --> 0:16:41.240
<v Speaker 1>to thank our sponsor. All Right, I promised you guys

0:16:41.280 --> 0:16:44.160
<v Speaker 1>to tell you what Series A funding means. And this

0:16:44.240 --> 0:16:47.560
<v Speaker 1>does tie into technology. It's it's beyond technology because this

0:16:47.640 --> 0:16:49.840
<v Speaker 1>is for any sort of company. But there are a

0:16:49.880 --> 0:16:53.320
<v Speaker 1>lot of technology companies out there, startups that have gone

0:16:53.320 --> 0:16:56.160
<v Speaker 1>through multiple rounds of funding, and I think it's useful

0:16:56.200 --> 0:16:58.960
<v Speaker 1>to understand what is going on so that when you

0:16:59.040 --> 0:17:02.600
<v Speaker 1>hear about these different companies and you hear about how

0:17:02.640 --> 0:17:05.280
<v Speaker 1>many rounds they've been through, you can start asking some

0:17:05.359 --> 0:17:08.440
<v Speaker 1>tough questions such as does this company actually have the

0:17:08.480 --> 0:17:11.679
<v Speaker 1>potential to become an entity that will pay back on

0:17:11.800 --> 0:17:15.639
<v Speaker 1>that investment. So Series A rounds are typically the first

0:17:15.840 --> 0:17:19.840
<v Speaker 1>significant round of venture capital financing. This is beyond those

0:17:20.160 --> 0:17:23.199
<v Speaker 1>seed finance rounds, which were really just to get the

0:17:23.320 --> 0:17:29.240
<v Speaker 1>business started. Series A and future rounds are more about

0:17:29.760 --> 0:17:32.560
<v Speaker 1>growing a company so that it can scale up to

0:17:32.600 --> 0:17:38.920
<v Speaker 1>a certain level. So in return, the investors get a

0:17:39.000 --> 0:17:43.040
<v Speaker 1>type of steak in the company they're investing in. You know,

0:17:43.119 --> 0:17:46.720
<v Speaker 1>usually it's a top of preferred stock called Series A stock.

0:17:47.720 --> 0:17:50.360
<v Speaker 1>And while there are some variations in this, typically, if

0:17:50.400 --> 0:17:54.720
<v Speaker 1>you were to buy Series A stock in a private company,

0:17:54.800 --> 0:17:58.200
<v Speaker 1>should that private company ever hold an initial public offering

0:17:58.280 --> 0:18:01.600
<v Speaker 1>and turn into a publicly traded company, your Series A

0:18:01.680 --> 0:18:06.240
<v Speaker 1>stock would convert into common stock. So if you owned

0:18:06.280 --> 0:18:09.760
<v Speaker 1>a certain percentage of the company because you had funded

0:18:09.800 --> 0:18:14.000
<v Speaker 1>it in this round of venture capital funding, you would

0:18:14.000 --> 0:18:17.800
<v Speaker 1>get that equivalent amount of ownership in common stock if

0:18:17.840 --> 0:18:21.240
<v Speaker 1>that company went public, and then you could say, all right, well,

0:18:21.320 --> 0:18:23.840
<v Speaker 1>I'm ready to walk away. Maybe you're making a profit

0:18:23.880 --> 0:18:26.560
<v Speaker 1>now because the amount of investment you made versus the

0:18:26.560 --> 0:18:29.200
<v Speaker 1>amount of value the company has once it goes through

0:18:29.240 --> 0:18:31.680
<v Speaker 1>its I p O. You might have made a mint

0:18:32.359 --> 0:18:34.399
<v Speaker 1>or maybe you lost money on it. It It all depends

0:18:34.400 --> 0:18:36.240
<v Speaker 1>on how well the company is received when it goes

0:18:36.280 --> 0:18:38.720
<v Speaker 1>through that I p O process. It's a moot point

0:18:38.720 --> 0:18:42.280
<v Speaker 1>with SoundCloud, it stayed private. It's probably a good idea

0:18:42.320 --> 0:18:43.960
<v Speaker 1>to take a little tangent here and talk about the

0:18:43.960 --> 0:18:47.280
<v Speaker 1>realities of getting money in the startup space as a

0:18:47.320 --> 0:18:50.280
<v Speaker 1>startup company, because there's so many tech companies these days

0:18:50.280 --> 0:18:53.280
<v Speaker 1>that trace their roots back to being a startup. I mean,

0:18:53.320 --> 0:18:56.040
<v Speaker 1>there are some big, monolithic companies that have been around

0:18:56.080 --> 0:18:58.320
<v Speaker 1>for decades or even a century or more in the

0:18:58.359 --> 0:19:01.760
<v Speaker 1>technology space. But so Cloud provides a good example of

0:19:01.800 --> 0:19:04.760
<v Speaker 1>how this can work, though I'll explain how some details

0:19:04.760 --> 0:19:07.800
<v Speaker 1>have changed over the years to make it more complicated today.

0:19:07.880 --> 0:19:10.159
<v Speaker 1>So we begin with this round of seed funding. This

0:19:10.240 --> 0:19:13.399
<v Speaker 1>is typically a relatively small amount of investment money in

0:19:13.440 --> 0:19:16.359
<v Speaker 1>the grand scheme of things, and we're talking about a

0:19:16.359 --> 0:19:19.240
<v Speaker 1>few hundred thousand dollars, typically enough to get a business

0:19:19.320 --> 0:19:23.119
<v Speaker 1>up and running from basically nothing at all. Now, unless

0:19:23.119 --> 0:19:25.960
<v Speaker 1>your new business has a killer way to generate significant

0:19:26.000 --> 0:19:28.719
<v Speaker 1>revenue right out of the gate, you're probably not going

0:19:28.760 --> 0:19:31.440
<v Speaker 1>to be profitable at least at first. You might need

0:19:31.480 --> 0:19:34.560
<v Speaker 1>to scale up before you can put your business plan

0:19:34.680 --> 0:19:39.360
<v Speaker 1>into play. So it's kind of like that that joke

0:19:39.440 --> 0:19:42.320
<v Speaker 1>about making it up in volume. In this case, the

0:19:42.400 --> 0:19:44.600
<v Speaker 1>volume you're talking about is not a volume of products,

0:19:44.600 --> 0:19:46.960
<v Speaker 1>but the volume of customers. You may need a certain

0:19:47.040 --> 0:19:51.400
<v Speaker 1>number of users before you can unveil your revenue generating

0:19:51.440 --> 0:19:55.199
<v Speaker 1>plan to make it a profitable business. And until you

0:19:55.240 --> 0:19:57.560
<v Speaker 1>get that number of users, you're going to be in

0:19:57.600 --> 0:20:01.680
<v Speaker 1>a losing proposition. So you may want to scale your

0:20:01.680 --> 0:20:06.600
<v Speaker 1>business up before you try and make generate revenue Uh.

0:20:06.680 --> 0:20:09.520
<v Speaker 1>This obviously varies from business to business, and it absolutely

0:20:09.520 --> 0:20:12.920
<v Speaker 1>depends upon that revenue strategy. So you might say, once

0:20:12.960 --> 0:20:15.320
<v Speaker 1>we hit a million users, we will start to make

0:20:15.359 --> 0:20:17.640
<v Speaker 1>more money than we spend, and that is a good thing.

0:20:18.480 --> 0:20:21.439
<v Speaker 1>Only of course, your specific number of users could be

0:20:21.480 --> 0:20:24.080
<v Speaker 1>different from that, and if you don't have any means

0:20:24.160 --> 0:20:27.720
<v Speaker 1>of generating revenue, it doesn't work at all. So you

0:20:27.760 --> 0:20:31.560
<v Speaker 1>would start burning through your cash reserves faster as more

0:20:31.560 --> 0:20:34.440
<v Speaker 1>people start using your service, because you have to meet

0:20:34.480 --> 0:20:36.639
<v Speaker 1>the demand of more users. And if you have no

0:20:36.680 --> 0:20:39.720
<v Speaker 1>way of making money, you're burning through that cash at

0:20:39.760 --> 0:20:44.720
<v Speaker 1>an increasingly faster rate. So it becomes a double edged sword.

0:20:44.760 --> 0:20:48.400
<v Speaker 1>You're getting more popular, but you're not creating a way

0:20:48.440 --> 0:20:51.560
<v Speaker 1>to make money based off that popularity. And meanwhile, that

0:20:51.600 --> 0:20:55.919
<v Speaker 1>popularity is placing a greater demand on your resources. So

0:20:55.960 --> 0:20:58.040
<v Speaker 1>you might keep your business going for a year or

0:20:58.080 --> 0:21:01.159
<v Speaker 1>more on that seed funding alone, depending upon what you

0:21:01.240 --> 0:21:03.639
<v Speaker 1>are doing and how wisely you are spending the money.

0:21:03.800 --> 0:21:06.399
<v Speaker 1>After that, assuming you aren't yet profitable, which is a

0:21:06.400 --> 0:21:09.439
<v Speaker 1>pretty safe assumption with many startups, you would hold that

0:21:09.560 --> 0:21:13.679
<v Speaker 1>series A round of funding. Series A funding is typically

0:21:13.720 --> 0:21:16.639
<v Speaker 1>on a much bigger scale than seed funding. Seed funding

0:21:16.680 --> 0:21:18.560
<v Speaker 1>is on the order of a few hundred thousand dollars,

0:21:18.560 --> 0:21:21.600
<v Speaker 1>whereas Series A can range between a couple of million

0:21:21.680 --> 0:21:26.960
<v Speaker 1>to fifteen million dollars. That's the range of averages. SoundCloud

0:21:27.359 --> 0:21:30.520
<v Speaker 1>had its Series A funding and netted the company about

0:21:30.560 --> 0:21:35.480
<v Speaker 1>two and a half million euros, so roughly around three

0:21:35.520 --> 0:21:39.520
<v Speaker 1>million dollars. That was not enough to or that was

0:21:39.640 --> 0:21:42.000
<v Speaker 1>rather enough to not only keep the company in business,

0:21:42.080 --> 0:21:45.720
<v Speaker 1>but also to allow it to grow at that time. Now, sometimes,

0:21:45.760 --> 0:21:48.200
<v Speaker 1>such as with the case of SoundCloud, a company must

0:21:48.240 --> 0:21:50.960
<v Speaker 1>hold further rounds of funding in order to stay in

0:21:51.040 --> 0:21:54.160
<v Speaker 1>operation while it attempts to generate enough revenue to support

0:21:54.200 --> 0:21:58.639
<v Speaker 1>itself and become profitable, or maneuver itself in such a

0:21:58.680 --> 0:22:02.399
<v Speaker 1>way that someone else acquires the company. A lot of

0:22:02.440 --> 0:22:07.080
<v Speaker 1>startups have begun with their goal not being to generate revenue,

0:22:07.320 --> 0:22:10.720
<v Speaker 1>but to become so enticing that a larger entity comes

0:22:10.720 --> 0:22:14.399
<v Speaker 1>along and says, hey, that's a nice business you got there,

0:22:14.720 --> 0:22:17.359
<v Speaker 1>how about I scoop it up for you know, like

0:22:17.400 --> 0:22:20.600
<v Speaker 1>a billion and a half dollars. How's that sound And you,

0:22:20.720 --> 0:22:23.360
<v Speaker 1>as the founders at the startup, would say something like, yes,

0:22:23.440 --> 0:22:26.760
<v Speaker 1>that sounds wonderful. Please cut me a check. So there

0:22:26.760 --> 0:22:31.560
<v Speaker 1>are startup companies that, when they get going, the founders

0:22:31.760 --> 0:22:35.280
<v Speaker 1>their plan is to get big enough so that someone

0:22:35.320 --> 0:22:37.600
<v Speaker 1>else will come along and acquire them, and then they

0:22:37.600 --> 0:22:41.040
<v Speaker 1>don't have to worry about making the business profitable because

0:22:41.080 --> 0:22:43.520
<v Speaker 1>they will have made their money by being purchased by

0:22:43.560 --> 0:22:47.119
<v Speaker 1>someone else. But there are plenty of other cases where

0:22:47.720 --> 0:22:49.879
<v Speaker 1>the founders set out from the start to say, we

0:22:49.920 --> 0:22:51.760
<v Speaker 1>want to own our own business, and we want to

0:22:51.800 --> 0:22:54.320
<v Speaker 1>make sure we can make the business profitable. So you

0:22:54.400 --> 0:22:58.119
<v Speaker 1>see all the different variations. It's not like everyone sets

0:22:58.119 --> 0:23:02.359
<v Speaker 1>out just to get acquired. So SoundCloud is one of

0:23:02.400 --> 0:23:06.080
<v Speaker 1>these companies that has held held multiple rounds of funding.

0:23:06.720 --> 0:23:10.000
<v Speaker 1>And again, the more rounds of funding a company holds

0:23:10.000 --> 0:23:13.720
<v Speaker 1>in order to stay solvent so that keeps doing business,

0:23:14.480 --> 0:23:18.960
<v Speaker 1>the more challenging it can be to convince investors to

0:23:19.960 --> 0:23:22.959
<v Speaker 1>hand over that kind of money, because if you've been

0:23:23.000 --> 0:23:26.000
<v Speaker 1>around for in the case of SoundCloud, a decade, and

0:23:26.080 --> 0:23:30.119
<v Speaker 1>you haven't turned a profit, there may eventually come a

0:23:30.200 --> 0:23:33.040
<v Speaker 1>question of will you ever turn a profit? Will I

0:23:33.040 --> 0:23:35.399
<v Speaker 1>ever get a return on this investment I am making?

0:23:35.800 --> 0:23:39.560
<v Speaker 1>Or is this throwing money away on a sinking ship

0:23:39.640 --> 0:23:42.000
<v Speaker 1>that is doomed to be at the bottom of the ocean.

0:23:42.359 --> 0:23:46.720
<v Speaker 1>To go back to my metaphor from earlier, SoundCloud held

0:23:46.800 --> 0:23:50.080
<v Speaker 1>a Series B round in two thousand eleven, which is

0:23:50.119 --> 0:23:52.480
<v Speaker 1>exactly what sounds like. It's like a Series A, except

0:23:52.600 --> 0:23:55.639
<v Speaker 1>obviously it's the next one. And they held a Series

0:23:55.680 --> 0:23:59.840
<v Speaker 1>C in twelve, and a Series D and fourteen, and

0:24:00.119 --> 0:24:03.760
<v Speaker 1>a Series E T sixteen, and this year, just as

0:24:03.800 --> 0:24:06.520
<v Speaker 1>we were wondering if SoundCloud was going to fall apart completely,

0:24:06.600 --> 0:24:10.560
<v Speaker 1>it held a Series F round of funding. The amount

0:24:10.680 --> 0:24:14.000
<v Speaker 1>raised in those rounds range from ten million dollars back

0:24:14.040 --> 0:24:16.960
<v Speaker 1>in Series B all the way to an astounding one

0:24:17.000 --> 0:24:20.960
<v Speaker 1>hundred sixty nine point five million dollars with Series F.

0:24:22.200 --> 0:24:27.160
<v Speaker 1>That was the largest round of investment fundraising by far

0:24:27.440 --> 0:24:31.800
<v Speaker 1>in Soundclouds history. Was the one that happened August, with

0:24:31.840 --> 0:24:36.000
<v Speaker 1>a hundred sixty nine point five million dollars in investments.

0:24:36.840 --> 0:24:40.160
<v Speaker 1>The company also held two rounds of debt financing during

0:24:40.160 --> 0:24:43.639
<v Speaker 1>that same span of years. The first was in January

0:24:43.680 --> 0:24:47.359
<v Speaker 1>sixteen and the second was in March seventeen. Collectively, they

0:24:47.440 --> 0:24:51.080
<v Speaker 1>raised about a hundred million dollars for this debt found financing,

0:24:51.119 --> 0:24:53.679
<v Speaker 1>so all told, if you were to count both the

0:24:53.720 --> 0:24:57.720
<v Speaker 1>debt financing and all the investment money the company raised

0:24:57.720 --> 0:25:02.480
<v Speaker 1>four hundred sixty million dollars or thereabouts in various rounds

0:25:02.480 --> 0:25:06.760
<v Speaker 1>of fundraising and debt financing. Four sixty million dollars has

0:25:06.800 --> 0:25:09.440
<v Speaker 1>gone into this company without it being able to turn

0:25:09.600 --> 0:25:12.720
<v Speaker 1>a profit. Uh, the reason for not being able to

0:25:12.720 --> 0:25:15.520
<v Speaker 1>turn a profit is pretty complicated. There are actually quite

0:25:15.520 --> 0:25:18.600
<v Speaker 1>a few. Now I'm gonna step away from SoundCloud again

0:25:18.680 --> 0:25:21.800
<v Speaker 1>just for a second to mention the fact that startups

0:25:21.800 --> 0:25:28.320
<v Speaker 1>today are facing a really interesting challenge. On the one hand,

0:25:28.720 --> 0:25:31.960
<v Speaker 1>there are so many different angel investors out there, people

0:25:32.080 --> 0:25:37.080
<v Speaker 1>who have the money to pour a good investment into

0:25:37.200 --> 0:25:39.960
<v Speaker 1>a small start up just as it's getting going. So

0:25:40.119 --> 0:25:42.280
<v Speaker 1>there are a lot of For example, there are a

0:25:42.280 --> 0:25:44.720
<v Speaker 1>lot of people who have founded other companies who are

0:25:44.720 --> 0:25:48.280
<v Speaker 1>now flush with cash, and often they are looking around

0:25:48.280 --> 0:25:50.840
<v Speaker 1>to see what other interesting ideas are out there, and

0:25:50.880 --> 0:25:53.679
<v Speaker 1>the ones that they really like they might support financially

0:25:53.800 --> 0:25:56.320
<v Speaker 1>in a round of angel investment funding. So this would

0:25:56.320 --> 0:26:00.119
<v Speaker 1>be that seed funding early on. So there's lots of

0:26:00.200 --> 0:26:04.240
<v Speaker 1>seed funds out there. If you are getting your startup going,

0:26:04.560 --> 0:26:08.919
<v Speaker 1>it's not that difficult to get that initial amount of

0:26:08.960 --> 0:26:12.960
<v Speaker 1>money that that's smaller round of funding, but obviously that's

0:26:13.000 --> 0:26:15.199
<v Speaker 1>only going to keep you going for so long before

0:26:15.280 --> 0:26:17.560
<v Speaker 1>you either need to be turning a profit or you

0:26:17.560 --> 0:26:22.399
<v Speaker 1>need to seek out a Series A uh venture capital round.

0:26:23.600 --> 0:26:28.200
<v Speaker 1>Here's the problem. Series A is way more competitive. Series

0:26:28.240 --> 0:26:32.640
<v Speaker 1>A investors are far more cautious when they're looking around

0:26:32.800 --> 0:26:36.720
<v Speaker 1>at properties they might invest in. So it's very easy

0:26:36.760 --> 0:26:39.560
<v Speaker 1>to get that initial investment and you might stick around

0:26:39.600 --> 0:26:42.280
<v Speaker 1>for a year or so, but then trying to get

0:26:42.280 --> 0:26:45.000
<v Speaker 1>a Series A round is much more difficult. So there

0:26:45.000 --> 0:26:47.520
<v Speaker 1>are a lot of companies that get started to have

0:26:47.600 --> 0:26:50.200
<v Speaker 1>a promising beginning, like they get a lot of interest

0:26:50.480 --> 0:26:52.919
<v Speaker 1>right out of the gate, but they are not able

0:26:52.960 --> 0:26:57.600
<v Speaker 1>to sell themselves to investors at a later date, and

0:26:57.640 --> 0:27:02.080
<v Speaker 1>thus they end up going away. There are countless numbers

0:27:02.080 --> 0:27:04.600
<v Speaker 1>of startups that could have been huge if they had

0:27:04.600 --> 0:27:07.159
<v Speaker 1>secured a Series A round. Now, there are a lot

0:27:07.160 --> 0:27:08.960
<v Speaker 1>of people who say that this is not a bad thing.

0:27:09.160 --> 0:27:12.960
<v Speaker 1>It means that there's kind of a quality control, but

0:27:13.040 --> 0:27:16.680
<v Speaker 1>it comes after you've already reached the point of launching

0:27:16.680 --> 0:27:21.360
<v Speaker 1>a company. So from the person who launched the company,

0:27:21.440 --> 0:27:25.160
<v Speaker 1>from their perspective, it's really kind of dark and scary.

0:27:25.640 --> 0:27:27.119
<v Speaker 1>You don't know if you're going to be able to

0:27:27.119 --> 0:27:29.760
<v Speaker 1>get that next round of funding to keep your business

0:27:29.800 --> 0:27:32.040
<v Speaker 1>alive and scale it up to the size you wanted

0:27:32.119 --> 0:27:35.200
<v Speaker 1>to be. But from an investment point of view, you

0:27:35.280 --> 0:27:37.359
<v Speaker 1>might say, well, this is a good thing because it

0:27:37.440 --> 0:27:41.000
<v Speaker 1>cuts down on all the companies that would have continued

0:27:41.160 --> 0:27:44.719
<v Speaker 1>on for years and years and years without ever turning

0:27:44.720 --> 0:27:49.439
<v Speaker 1>a profit. And some people would say that SoundCloud falls

0:27:49.440 --> 0:27:53.840
<v Speaker 1>into that category of a company that has gathered more

0:27:53.920 --> 0:27:57.960
<v Speaker 1>investment money than perhaps it was warranted, that perhaps it

0:27:57.960 --> 0:28:01.880
<v Speaker 1>would have been better to see SoundCloud be a noble

0:28:01.920 --> 0:28:05.879
<v Speaker 1>failure early on, rather than continue on for years and

0:28:05.960 --> 0:28:10.440
<v Speaker 1>years and years, continuing to gather investment funds but yet

0:28:10.520 --> 0:28:14.280
<v Speaker 1>not being able to turn a profit. Is that really

0:28:14.320 --> 0:28:16.600
<v Speaker 1>the case. It's hard to say, because the story of

0:28:16.600 --> 0:28:20.359
<v Speaker 1>SoundCloud isn't over yet. Getting back to that story, in

0:28:20.400 --> 0:28:24.879
<v Speaker 1>two thousand nine, Wired cited SoundCloud as a credible threat

0:28:24.960 --> 0:28:29.120
<v Speaker 1>to another music based social platform that was online, one

0:28:29.240 --> 0:28:34.679
<v Speaker 1>called my Space. Hey do you remember my Space? I

0:28:34.720 --> 0:28:37.200
<v Speaker 1>did an episode about it. Actually, I think I've done

0:28:37.200 --> 0:28:40.440
<v Speaker 1>more than one episode about my Space. But yeah, my

0:28:40.560 --> 0:28:44.160
<v Speaker 1>Space used to be a thing, guys, and SoundCloud helped

0:28:44.280 --> 0:28:47.160
<v Speaker 1>bury it. Though. I really think any reasonable person would

0:28:47.280 --> 0:28:51.320
<v Speaker 1>point at Facebook as the real reason my Space ultimately floundered,

0:28:51.360 --> 0:28:54.680
<v Speaker 1>and these days no one really talks about it at all,

0:28:54.840 --> 0:28:57.080
<v Speaker 1>even though it's tried to reinvent itself a couple of

0:28:57.120 --> 0:29:00.600
<v Speaker 1>times since then. SoundCloud, I would say it would be

0:29:00.640 --> 0:29:04.400
<v Speaker 1>an additional blow, like a little kick on my Space

0:29:04.440 --> 0:29:08.720
<v Speaker 1>when it was down after Facebook had delivered the massive

0:29:08.960 --> 0:29:15.560
<v Speaker 1>body slam. So SoundCloud had all the musical aspects of

0:29:15.600 --> 0:29:19.280
<v Speaker 1>my Space more or less, something that could duplicate my

0:29:19.360 --> 0:29:22.840
<v Speaker 1>spaces ability to allow artists to upload their music to

0:29:22.920 --> 0:29:25.800
<v Speaker 1>a platform, and SoundCloud actually made it much easier for

0:29:25.800 --> 0:29:29.560
<v Speaker 1>you to get your music everywhere else because of their approach.

0:29:30.240 --> 0:29:32.640
<v Speaker 1>They were also seeing a lot of success with recognized

0:29:32.760 --> 0:29:37.440
<v Speaker 1>artists joining SoundCloud groups like Sonic Youth or musicians like

0:29:37.520 --> 0:29:41.200
<v Speaker 1>Moby We're using SoundCloud to promote tracks or entire albums.

0:29:41.560 --> 0:29:45.440
<v Speaker 1>Beck was also using SoundCloud to reach fans online. And

0:29:45.440 --> 0:29:48.160
<v Speaker 1>one of the things that really set SoundCloud apart was

0:29:48.200 --> 0:29:52.600
<v Speaker 1>that you could embed a SoundCloud player into another website.

0:29:52.840 --> 0:29:55.400
<v Speaker 1>You would just get some code that you would put

0:29:55.440 --> 0:29:58.560
<v Speaker 1>into the HTML of your website, and that would create

0:29:58.640 --> 0:30:03.680
<v Speaker 1>a little player inside the confines of the website you

0:30:03.720 --> 0:30:06.959
<v Speaker 1>had built and within that player, you could play the

0:30:06.960 --> 0:30:10.600
<v Speaker 1>tracks that you were uploading to SoundCloud. That gave SoundCloud

0:30:10.640 --> 0:30:13.640
<v Speaker 1>a huge advantage because it could be everywhere instead of

0:30:13.640 --> 0:30:17.640
<v Speaker 1>forcing users to go to a centralized location to experience music,

0:30:17.720 --> 0:30:20.440
<v Speaker 1>So you didn't have to log into SoundCloud to listen

0:30:20.480 --> 0:30:23.600
<v Speaker 1>to SoundCloud files. You could encounter a SoundCloud file on

0:30:23.640 --> 0:30:26.320
<v Speaker 1>any website at all. If you had a band and

0:30:26.360 --> 0:30:28.360
<v Speaker 1>you wanted a few of your songs to be available

0:30:28.400 --> 0:30:30.800
<v Speaker 1>on your website for people to listen to, the just

0:30:30.880 --> 0:30:33.600
<v Speaker 1>stream it while they're they're viewing your site. You could

0:30:33.640 --> 0:30:36.960
<v Speaker 1>use a SoundCloud embettable player to stream that music and

0:30:37.080 --> 0:30:39.400
<v Speaker 1>your fans will be able to listen to it. On

0:30:39.520 --> 0:30:42.440
<v Speaker 1>top of that, uploading a track to SoundCloud would generate

0:30:42.480 --> 0:30:44.880
<v Speaker 1>a unique u r L that you could then share

0:30:44.920 --> 0:30:48.560
<v Speaker 1>on various social platforms like Twitter, and that helped musicians

0:30:48.560 --> 0:30:52.760
<v Speaker 1>promote specific tracks and encouraged sharing online. Making music is

0:30:53.520 --> 0:30:57.240
<v Speaker 1>already challenging, but making your music discoverable is an even

0:30:57.320 --> 0:31:01.600
<v Speaker 1>bigger challenge. There's so much con tent going up online

0:31:01.800 --> 0:31:03.840
<v Speaker 1>all the time, and finding a way to reach your

0:31:03.880 --> 0:31:07.720
<v Speaker 1>potential audience gets harder with every minute of content that's

0:31:07.800 --> 0:31:11.760
<v Speaker 1>uploaded to the internet. These strategies helped put SoundCloud on

0:31:11.800 --> 0:31:16.040
<v Speaker 1>the path to becoming the YouTube of audio files. Every minute,

0:31:16.040 --> 0:31:19.440
<v Speaker 1>twelve hours of audio content joined the vast amount of

0:31:19.480 --> 0:31:22.920
<v Speaker 1>audio already on SoundCloud. Now that is dwarfed by the

0:31:22.960 --> 0:31:26.080
<v Speaker 1>amount of video content that's going up on YouTube every minute,

0:31:26.240 --> 0:31:29.680
<v Speaker 1>but still pretty impressive all on its own. One of

0:31:29.680 --> 0:31:32.200
<v Speaker 1>the neat features in SoundCloud is that you can leave

0:31:32.240 --> 0:31:35.360
<v Speaker 1>a comment about an audio track and even have that

0:31:35.440 --> 0:31:39.000
<v Speaker 1>comment associated with a specific moment in the track itself.

0:31:39.080 --> 0:31:42.520
<v Speaker 1>So the tracks on SoundCloud are represented as wave forms.

0:31:42.560 --> 0:31:44.920
<v Speaker 1>You see the wave form and you see the progress

0:31:44.920 --> 0:31:47.200
<v Speaker 1>go from left to right as you play the track.

0:31:47.320 --> 0:31:50.080
<v Speaker 1>It starts to highlight the track as it's going down

0:31:50.120 --> 0:31:54.120
<v Speaker 1>the timeline of this audio track. Meanwhile, you can leave

0:31:54.120 --> 0:31:57.840
<v Speaker 1>a comment at any point along the track to say

0:31:57.880 --> 0:32:01.400
<v Speaker 1>something about how that track made an impression on you

0:32:01.640 --> 0:32:04.800
<v Speaker 1>or what you felt about the choices the artist was making,

0:32:05.280 --> 0:32:08.000
<v Speaker 1>and it will actually show up at that point along

0:32:08.040 --> 0:32:10.480
<v Speaker 1>the track, and people can read your comments and see

0:32:10.480 --> 0:32:12.800
<v Speaker 1>what you had to say about it and digested and

0:32:12.880 --> 0:32:15.160
<v Speaker 1>decide whether they agree with you or they don't agree

0:32:15.240 --> 0:32:18.200
<v Speaker 1>with you. And it's actually a really cool feature. I

0:32:18.240 --> 0:32:22.680
<v Speaker 1>like it a lot because people can get feedback not

0:32:22.800 --> 0:32:25.680
<v Speaker 1>just for the audio track, but for the specific decisions

0:32:25.720 --> 0:32:28.560
<v Speaker 1>that went into making that track what it was, whether

0:32:28.600 --> 0:32:32.200
<v Speaker 1>it was spoken word or a lecture or music or whatever.

0:32:32.560 --> 0:32:36.480
<v Speaker 1>And those moments of creativity that resonate with the audience

0:32:37.120 --> 0:32:39.760
<v Speaker 1>can stand out. If you are a musician and you

0:32:39.800 --> 0:32:42.960
<v Speaker 1>create a music track and you change up the tempo

0:32:43.200 --> 0:32:46.560
<v Speaker 1>or you insert a new instrument and people respond to

0:32:46.600 --> 0:32:48.720
<v Speaker 1>that moment within the track, you know that you did

0:32:48.760 --> 0:32:51.960
<v Speaker 1>something right, and you might explore that further with future songs,

0:32:52.600 --> 0:32:56.520
<v Speaker 1>or you might get some criticism and find out the

0:32:56.560 --> 0:32:59.600
<v Speaker 1>stuff that people don't like. Now, in my experience, those

0:32:59.640 --> 0:33:02.520
<v Speaker 1>comments tend to be less helpful and more aggravating because

0:33:02.600 --> 0:33:05.640
<v Speaker 1>of the nature of the way people tend to word them.

0:33:05.680 --> 0:33:08.320
<v Speaker 1>There are nice ways to offer criticism, is what I'm

0:33:08.320 --> 0:33:12.480
<v Speaker 1>getting at. It's just that most people don't exercise that.

0:33:12.960 --> 0:33:16.960
<v Speaker 1>They go with declarative statements that aren't terribly helpful and

0:33:17.200 --> 0:33:23.880
<v Speaker 1>often are hurtful. By May, SoundCloud had hit a million users.

0:33:24.560 --> 0:33:27.640
<v Speaker 1>In those early days, there was no advertising on the site,

0:33:27.920 --> 0:33:31.320
<v Speaker 1>so you could have an ad free experience when you

0:33:31.480 --> 0:33:34.840
<v Speaker 1>came there, and then basic accounts were free. Those free

0:33:34.840 --> 0:33:37.160
<v Speaker 1>accounts did come with some restrictions. You had a limit

0:33:37.160 --> 0:33:40.800
<v Speaker 1>to how many songs or audio tracks you could upload. Really,

0:33:40.840 --> 0:33:43.880
<v Speaker 1>it was in the amount of time collectively that all took.

0:33:44.000 --> 0:33:47.720
<v Speaker 1>So your basic free account would include a hundred eighty

0:33:47.760 --> 0:33:50.920
<v Speaker 1>minutes of audio that you could upload. After you hit

0:33:50.920 --> 0:33:54.000
<v Speaker 1>a hundred eighty minutes, you hit your limit. Or it

0:33:54.040 --> 0:33:56.080
<v Speaker 1>also would put a limit on how many contacts you

0:33:56.120 --> 0:33:59.560
<v Speaker 1>could have within SoundCloud. So if you wanted to have

0:33:59.600 --> 0:34:02.920
<v Speaker 1>a bunch of contacts and then every time you upload

0:34:03.000 --> 0:34:06.000
<v Speaker 1>a new piece of audio it informs those contacts that

0:34:06.040 --> 0:34:08.400
<v Speaker 1>you've got something new there, you had a bit of

0:34:08.400 --> 0:34:10.320
<v Speaker 1>a limit there. If you had the Basic Free account,

0:34:10.360 --> 0:34:15.320
<v Speaker 1>you could choose to enter into a tiered premium account selection.

0:34:16.000 --> 0:34:19.399
<v Speaker 1>SoundCloud would get a lot of feedback on this. People

0:34:19.440 --> 0:34:23.399
<v Speaker 1>would argue that the various tears were kind of confusing

0:34:23.760 --> 0:34:27.719
<v Speaker 1>and messy, and that it made it more complicated than

0:34:27.760 --> 0:34:31.560
<v Speaker 1>what was necessary. But if you went to the premium account,

0:34:31.640 --> 0:34:34.600
<v Speaker 1>it would ease up on restrictions. At the first level

0:34:34.680 --> 0:34:37.719
<v Speaker 1>of Premium, users could upload up to six hours of

0:34:37.760 --> 0:34:42.680
<v Speaker 1>audio content at the basic Premium level, so three times

0:34:42.719 --> 0:34:45.520
<v Speaker 1>what you were rather two times what you were able

0:34:45.560 --> 0:34:48.759
<v Speaker 1>to do previously with the Basic Free or you could

0:34:48.800 --> 0:34:51.279
<v Speaker 1>splurge and you can go all the way. With SoundCloud

0:34:51.320 --> 0:34:55.600
<v Speaker 1>Pro unlimited. That meant that you could have unlimited audio

0:34:55.719 --> 0:34:58.319
<v Speaker 1>time to upload, so you can upload as much as

0:34:58.360 --> 0:35:01.279
<v Speaker 1>you wanted to do. There was no limitation there. But

0:35:01.320 --> 0:35:03.200
<v Speaker 1>in those early days, there were no other means of

0:35:03.200 --> 0:35:06.920
<v Speaker 1>generating revenue. That was it. You just had these premium

0:35:07.120 --> 0:35:10.680
<v Speaker 1>subscription based things, and it really premium accounts that you

0:35:10.760 --> 0:35:13.799
<v Speaker 1>could uh enter into. But that was the only way

0:35:13.840 --> 0:35:16.880
<v Speaker 1>that SoundCloud was generating revenue in the early days. In

0:35:16.920 --> 0:35:21.400
<v Speaker 1>two thousand twelve, the website underwent a major redesign and

0:35:21.440 --> 0:35:25.080
<v Speaker 1>one of the features that the company introduced was called repost,

0:35:25.400 --> 0:35:29.920
<v Speaker 1>and boy did this feature cause some huge problems. A

0:35:30.040 --> 0:35:32.600
<v Speaker 1>repost is pretty much what sounds like. It's like a

0:35:32.680 --> 0:35:37.200
<v Speaker 1>retweet or tumblers reblog feature, and the intent was good.

0:35:37.239 --> 0:35:40.280
<v Speaker 1>It was meant to help users share music discovery viral

0:35:40.320 --> 0:35:43.920
<v Speaker 1>e through the platforms. So you know, you discover a

0:35:44.280 --> 0:35:47.680
<v Speaker 1>track you really like and you repost it, and then

0:35:47.719 --> 0:35:50.319
<v Speaker 1>the people who follow you see that track, maybe they

0:35:50.320 --> 0:35:53.000
<v Speaker 1>like it, they repost it, it goes to the people

0:35:53.000 --> 0:35:55.800
<v Speaker 1>who follow them, et cetera, and that way music discovery

0:35:55.800 --> 0:35:59.560
<v Speaker 1>could filter through the entire system, but people began to

0:35:59.640 --> 0:36:03.680
<v Speaker 1>abuse use the system almost immediately. Some artists would repost

0:36:03.800 --> 0:36:07.120
<v Speaker 1>their own tracks frequently because it would push it to

0:36:07.160 --> 0:36:10.480
<v Speaker 1>the top of all of their followers feeds. So let's

0:36:10.480 --> 0:36:15.160
<v Speaker 1>say you're following a band. Uh, let's say it's ilor

0:36:15.200 --> 0:36:18.920
<v Speaker 1>Again the Monsters. That's a reference to a live stream

0:36:18.960 --> 0:36:22.000
<v Speaker 1>I did earlier today about Tetris so I Lori Agan

0:36:22.080 --> 0:36:25.279
<v Speaker 1>The Monsters has their new surf album out and they've

0:36:25.320 --> 0:36:28.719
<v Speaker 1>got this one track that they're really promoting. Um, let's

0:36:28.719 --> 0:36:31.680
<v Speaker 1>call it Soviets in the Sand. Soviets in the Sand

0:36:31.719 --> 0:36:34.319
<v Speaker 1>as their new track, and they want to get a

0:36:34.360 --> 0:36:37.279
<v Speaker 1>lot of reaction to this track. So they post the

0:36:37.320 --> 0:36:40.279
<v Speaker 1>track and their followers see it. But you know, if

0:36:40.280 --> 0:36:43.880
<v Speaker 1>you're following lots of bands, it's just like Facebook, those

0:36:43.880 --> 0:36:48.160
<v Speaker 1>notifications can push that initial announcement further and further down

0:36:48.239 --> 0:36:50.760
<v Speaker 1>the page, making it less likely that you will actually

0:36:50.800 --> 0:36:54.680
<v Speaker 1>see it. So the next day Elrigan the Machines, they

0:36:54.880 --> 0:36:58.000
<v Speaker 1>repost Soviets in the Sand and so now it pops

0:36:58.040 --> 0:37:00.319
<v Speaker 1>up at the top of everyone's feet again, and they

0:37:00.360 --> 0:37:02.120
<v Speaker 1>do it again and again and again, and that way

0:37:02.120 --> 0:37:04.040
<v Speaker 1>it keeps on popping at the top of the feed.

0:37:04.520 --> 0:37:06.879
<v Speaker 1>This is a form of abuse, especially if you are

0:37:06.920 --> 0:37:09.320
<v Speaker 1>not following a whole lot of bands. It just means

0:37:09.200 --> 0:37:11.440
<v Speaker 1>that you keep seeing the same track getting posted by

0:37:11.480 --> 0:37:14.440
<v Speaker 1>Ilrigan the machines over and over again. Is not a

0:37:14.480 --> 0:37:17.719
<v Speaker 1>good user experience. So what was intended to be a

0:37:17.760 --> 0:37:22.440
<v Speaker 1>way to help music discovery flourish on the service turned

0:37:22.480 --> 0:37:26.040
<v Speaker 1>out to be a massive pain in the butt. On

0:37:26.160 --> 0:37:29.759
<v Speaker 1>top of that, you had some artists that were ending

0:37:29.840 --> 0:37:34.759
<v Speaker 1>up making deals with other artists. Uh, they were essentially

0:37:34.760 --> 0:37:37.680
<v Speaker 1>creating an arrangement of I'll repost you if you re

0:37:37.800 --> 0:37:44.320
<v Speaker 1>post me, and that way they were artificially boosting these numbers. Uh.

0:37:44.360 --> 0:37:47.440
<v Speaker 1>There were people who are offering to repost tracks for money,

0:37:47.560 --> 0:37:50.520
<v Speaker 1>so essentially paid for impressions of different audio tracks. There

0:37:50.520 --> 0:37:54.359
<v Speaker 1>were people who are paying for listens to tracks because

0:37:54.400 --> 0:37:56.480
<v Speaker 1>if you're a musician and you've got a track out

0:37:56.520 --> 0:38:00.319
<v Speaker 1>on SoundCloud, you might want a music label to take

0:38:00.360 --> 0:38:03.600
<v Speaker 1>a look at your your tracks, and if you have

0:38:03.760 --> 0:38:06.680
<v Speaker 1>huge numbers, that's going to look pretty attractive to that

0:38:06.760 --> 0:38:09.560
<v Speaker 1>music label. It might mean that you get signed. So

0:38:09.680 --> 0:38:12.880
<v Speaker 1>there were artists out there that were paying a fee

0:38:13.480 --> 0:38:17.440
<v Speaker 1>so that they would get an artificial boost to their

0:38:17.520 --> 0:38:23.000
<v Speaker 1>their listen numbers to help out with that, and it

0:38:23.040 --> 0:38:25.600
<v Speaker 1>all boils down to gaming the system in one way

0:38:25.719 --> 0:38:29.120
<v Speaker 1>or another. The problem would persist for years before SoundCloud

0:38:29.160 --> 0:38:32.120
<v Speaker 1>managed to address it, and in the meantime, many artists

0:38:32.120 --> 0:38:35.120
<v Speaker 1>and users began to look at alternative services. They did

0:38:35.200 --> 0:38:37.800
<v Speaker 1>finally come up with a solution to the repost problem

0:38:37.920 --> 0:38:41.239
<v Speaker 1>in two thousand fifteen, so three years after they had

0:38:41.320 --> 0:38:44.520
<v Speaker 1>launched it. That's when they established limits to the number

0:38:44.520 --> 0:38:47.719
<v Speaker 1>of reposts you could actually do, and they stated that

0:38:47.760 --> 0:38:51.160
<v Speaker 1>breaking the rules could lead to banning or suspending accounts.

0:38:52.600 --> 0:38:55.800
<v Speaker 1>Well back in two thousand fourteen, so this is after

0:38:56.320 --> 0:38:59.920
<v Speaker 1>the repost feature had been launched, SoundCloud began to introduce

0:39:00.120 --> 0:39:05.160
<v Speaker 1>advertising on its website. This was a big move soundclass.

0:39:05.200 --> 0:39:08.120
<v Speaker 1>SoundCloud at the time was boasting about dred seventy five

0:39:08.239 --> 0:39:12.480
<v Speaker 1>million listeners. That puts SoundCloud behind YouTube make but it

0:39:12.560 --> 0:39:15.360
<v Speaker 1>made it the second biggest streaming service in the world

0:39:15.480 --> 0:39:19.080
<v Speaker 1>at that time. But they had no system too to

0:39:19.280 --> 0:39:22.120
<v Speaker 1>pay out royalties to artists who are using the service

0:39:22.160 --> 0:39:25.240
<v Speaker 1>to reach an audience, So for the early years, artists

0:39:25.280 --> 0:39:29.000
<v Speaker 1>pretty much accepted this as just part of the system.

0:39:29.120 --> 0:39:31.680
<v Speaker 1>SoundCloud gave them a chance to find an audience in

0:39:31.680 --> 0:39:35.319
<v Speaker 1>the first place, but there was no direct monetization that

0:39:35.400 --> 0:39:37.919
<v Speaker 1>they could take advantage of in that model. But over

0:39:38.000 --> 0:39:41.520
<v Speaker 1>time there was a growing expectation among artists and music

0:39:41.600 --> 0:39:44.279
<v Speaker 1>labels that they should be able to receive compensation in

0:39:44.280 --> 0:39:47.040
<v Speaker 1>the form of royalty payments. And that makes sense. You

0:39:47.160 --> 0:39:50.080
<v Speaker 1>might make music because you love it, but if you

0:39:50.120 --> 0:39:52.480
<v Speaker 1>want to make it your career, you gotta get paid,

0:39:52.880 --> 0:39:55.320
<v Speaker 1>because most landlords are not going to accept a song

0:39:55.400 --> 0:39:58.400
<v Speaker 1>in place of the rent. For more on this topic,

0:39:58.960 --> 0:40:02.440
<v Speaker 1>see the musical rent. Actually, don't get me started on

0:40:02.440 --> 0:40:04.839
<v Speaker 1>that musical. I get really grouchy about it. So back

0:40:04.840 --> 0:40:08.160
<v Speaker 1>to SoundCloud. The company itself had reached a valuation of

0:40:08.239 --> 0:40:12.840
<v Speaker 1>seven hundred million dollars, but that was from the perceived

0:40:13.000 --> 0:40:16.160
<v Speaker 1>value of the company, not its ability to make money.

0:40:16.200 --> 0:40:19.520
<v Speaker 1>It still wasn't making money. It was making money from

0:40:19.560 --> 0:40:22.799
<v Speaker 1>advertising and from premium subscriptions, but not enough money to

0:40:22.880 --> 0:40:26.480
<v Speaker 1>offset the costs of operations, so it wasn't making any

0:40:26.480 --> 0:40:30.239
<v Speaker 1>sort of profit. Premium subscriptions has only gone so far,

0:40:30.280 --> 0:40:33.320
<v Speaker 1>and the company was already in the midst of holding

0:40:33.400 --> 0:40:37.200
<v Speaker 1>numerous rounds of venture capital investments. Meanwhile, music labels were

0:40:37.239 --> 0:40:40.760
<v Speaker 1>starting to place larger demands on SoundCloud. The labels wanted

0:40:40.800 --> 0:40:43.840
<v Speaker 1>the reach of the service, but companies rarely are pleased

0:40:43.840 --> 0:40:46.640
<v Speaker 1>to give away their products for free, and so SoundCloud

0:40:46.719 --> 0:40:50.400
<v Speaker 1>turned to web advertising, that traditional revenue generator of the web,

0:40:50.760 --> 0:40:53.120
<v Speaker 1>and ads would play after a user listen to a

0:40:53.120 --> 0:40:55.600
<v Speaker 1>certain number of tracks. You listen to a couple, you

0:40:55.600 --> 0:40:57.920
<v Speaker 1>would get an ad. And when the ads first launched,

0:40:57.960 --> 0:41:00.400
<v Speaker 1>it appeared only on the US version of sound Cloud

0:41:00.440 --> 0:41:02.640
<v Speaker 1>and the various SoundCloud mobile apps. So some of the

0:41:02.680 --> 0:41:06.440
<v Speaker 1>advertising was visual advertising, you know, the kind of ads

0:41:06.440 --> 0:41:09.000
<v Speaker 1>you would discover on any sort of app or web page.

0:41:09.239 --> 0:41:11.400
<v Speaker 1>Some of them were audio ads that would play in

0:41:11.480 --> 0:41:15.719
<v Speaker 1>between tracks. It all just depended upon what version of

0:41:15.719 --> 0:41:19.279
<v Speaker 1>SoundCloud you were listening to and where you were. Later on,

0:41:19.360 --> 0:41:22.399
<v Speaker 1>they would actually roll out this advertising strategy to other

0:41:22.480 --> 0:41:26.000
<v Speaker 1>regions besides the United States. Now, alex had made it

0:41:26.040 --> 0:41:28.839
<v Speaker 1>a point to make sure that artists had control over

0:41:28.920 --> 0:41:32.200
<v Speaker 1>when advertising would play, so they could actually choose to

0:41:32.239 --> 0:41:35.279
<v Speaker 1>have some tracks play free of advertising entirely. They could

0:41:35.360 --> 0:41:39.319
<v Speaker 1>turn off ads for whichever tracks they wanted. SoundCloud also

0:41:39.440 --> 0:41:42.320
<v Speaker 1>planned out a subscription plan that would allow users to

0:41:42.320 --> 0:41:44.880
<v Speaker 1>pay a monthly fee and in return, they would go

0:41:44.920 --> 0:41:47.840
<v Speaker 1>back to an ad free experience when using SoundCloud, so

0:41:47.960 --> 0:41:50.480
<v Speaker 1>something similar to what you can find on other music

0:41:50.520 --> 0:41:53.040
<v Speaker 1>streaming services. You can listen to them for free and

0:41:53.080 --> 0:41:56.600
<v Speaker 1>get ads, or you can pay a subscription fee and

0:41:56.640 --> 0:42:00.960
<v Speaker 1>get unlimited listening without any ads. It's pre standard throughout

0:42:01.040 --> 0:42:04.680
<v Speaker 1>streaming services now. At that same time, big music labels

0:42:04.680 --> 0:42:07.360
<v Speaker 1>were in talks with SoundCloud about taking some percentage of

0:42:07.360 --> 0:42:10.440
<v Speaker 1>the company in return for supporting it. This put the

0:42:10.480 --> 0:42:13.120
<v Speaker 1>service in a delicate situation. So how do you balance

0:42:13.160 --> 0:42:16.160
<v Speaker 1>the need to generate revenue to stay in business while

0:42:16.200 --> 0:42:18.880
<v Speaker 1>also keeping your service as close to the vision you

0:42:18.920 --> 0:42:22.200
<v Speaker 1>promised your users as you can? And SoundCloud ended up

0:42:22.239 --> 0:42:25.360
<v Speaker 1>getting a couple of opportunities, but we'll talk about those

0:42:25.440 --> 0:42:28.920
<v Speaker 1>in just a second. First, let's take another quick break

0:42:29.160 --> 0:42:40.080
<v Speaker 1>to thank our sponsor. In two thousan fourteen, SoundCloud got

0:42:40.120 --> 0:42:44.480
<v Speaker 1>the attention of a little company called Twitter. So talking

0:42:44.480 --> 0:42:46.560
<v Speaker 1>about companies that have had to hold multiple rounds of

0:42:46.600 --> 0:42:50.160
<v Speaker 1>venture capital fundraising, Twitter is another poster child. But anyway,

0:42:50.200 --> 0:42:54.080
<v Speaker 1>Twitter was looking to expand its services, and it already

0:42:54.080 --> 0:42:56.640
<v Speaker 1>tried to build a music product that would keep people

0:42:56.760 --> 0:42:59.880
<v Speaker 1>using Twitter longer per visit. It was called hashtag mu

0:43:00.040 --> 0:43:02.200
<v Speaker 1>sick and if you don't remember it, that's not a

0:43:02.200 --> 0:43:04.200
<v Speaker 1>big surprise because it didn't get a lot of traction

0:43:04.239 --> 0:43:09.040
<v Speaker 1>when it launched. Hashtag Music was a supplemental app that

0:43:09.120 --> 0:43:12.319
<v Speaker 1>was supposed to focus conversations about music and musicians on

0:43:12.320 --> 0:43:15.880
<v Speaker 1>Twitter and improve the ability to discover and share music.

0:43:15.960 --> 0:43:19.440
<v Speaker 1>But Twitter ran into a problem. There were already a

0:43:19.440 --> 0:43:22.520
<v Speaker 1>whole bunch of music centric services that were already on

0:43:22.560 --> 0:43:25.080
<v Speaker 1>the market, And honestly, at some point you just reach

0:43:25.120 --> 0:43:28.000
<v Speaker 1>a level of saturation which you're not likely to switch

0:43:28.080 --> 0:43:31.600
<v Speaker 1>from one app to another or add yet another app

0:43:31.680 --> 0:43:35.239
<v Speaker 1>to your growing list. So a new app has to

0:43:35.239 --> 0:43:38.800
<v Speaker 1>be incredibly compelling to convince people to adopt it beyond

0:43:38.880 --> 0:43:44.120
<v Speaker 1>that initial curiosity phase. See also every social networking site

0:43:44.160 --> 0:43:47.520
<v Speaker 1>that isn't Facebook or Twitter in the United States. Well,

0:43:47.680 --> 0:43:52.320
<v Speaker 1>hashtag Music had started off as a different music discovery

0:43:52.320 --> 0:43:56.160
<v Speaker 1>service called We Are Hunted, which Twitter acquired back in

0:43:56.200 --> 0:43:59.640
<v Speaker 1>two thousand twelve. So, with the door closing on hashtag Music,

0:43:59.680 --> 0:44:03.120
<v Speaker 1>but are still eager to get into that music sharing space,

0:44:03.520 --> 0:44:07.480
<v Speaker 1>the company turned its sights to SoundCloud. Now, this next

0:44:07.480 --> 0:44:12.799
<v Speaker 1>part of Soundclouds history is shrouded in mystery, or at

0:44:12.880 --> 0:44:15.319
<v Speaker 1>least it was never made totally public, but the two

0:44:15.320 --> 0:44:20.480
<v Speaker 1>companies definitely entered into negotiations to talk about an acquisition. However,

0:44:20.960 --> 0:44:24.439
<v Speaker 1>it ultimately went nowhere and Twitter decided to back out

0:44:24.440 --> 0:44:28.120
<v Speaker 1>of the agreement. The general consensus is that Twitter had

0:44:28.200 --> 0:44:31.400
<v Speaker 1>made an offer based more or less on the seven

0:44:31.480 --> 0:44:35.520
<v Speaker 1>hundred million dollar valuation of SoundCloud, but that the company

0:44:35.560 --> 0:44:40.400
<v Speaker 1>wanted something closer to a billion dollars and Twitter said thanks,

0:44:40.440 --> 0:44:43.120
<v Speaker 1>but no thanks, and went on its merry way. And

0:44:43.120 --> 0:44:45.799
<v Speaker 1>it became something of a joke in interviews to ask

0:44:45.800 --> 0:44:49.080
<v Speaker 1>either Alex or Eric about the Twitter deal and they

0:44:49.080 --> 0:44:54.000
<v Speaker 1>would respond with an exasperated no comment. Other troubles would

0:44:54.040 --> 0:44:57.440
<v Speaker 1>follow in two thousand fifteen when labels like Sony Music

0:44:57.480 --> 0:45:00.799
<v Speaker 1>began to remove some artists work from sound Cloud. So

0:45:00.840 --> 0:45:03.759
<v Speaker 1>apparently Sony felt that the company was getting less than

0:45:03.840 --> 0:45:06.560
<v Speaker 1>what it was worth to have the artist music hosted

0:45:06.640 --> 0:45:10.560
<v Speaker 1>on SoundCloud service. Also, there were issues with users uploading

0:45:10.640 --> 0:45:15.160
<v Speaker 1>music that you know, didn't belong to them, so, in

0:45:15.200 --> 0:45:18.600
<v Speaker 1>other words, there were copyright infringement problems. YouTube has also

0:45:18.680 --> 0:45:21.719
<v Speaker 1>experienced this sort of thing like a lot, and that

0:45:21.840 --> 0:45:26.320
<v Speaker 1>also falls into issues with remixes and mashups. Who owns

0:45:26.360 --> 0:45:30.359
<v Speaker 1>the copyright to that and the copyright infringement issues so

0:45:30.440 --> 0:45:33.680
<v Speaker 1>quick aside, I think it's a cool point here to

0:45:33.760 --> 0:45:37.080
<v Speaker 1>share uh that. I think sharing a link to an

0:45:37.120 --> 0:45:40.080
<v Speaker 1>artist's work is great. So if there's an artist you

0:45:40.160 --> 0:45:44.400
<v Speaker 1>like and there's a link to a legitimate SoundCloud file

0:45:44.640 --> 0:45:47.879
<v Speaker 1>or YouTube video and it leads to that music, by

0:45:47.920 --> 0:45:51.160
<v Speaker 1>all means share it. It helps get the word out,

0:45:51.360 --> 0:45:58.240
<v Speaker 1>and obviously if it's an official U SoundCloud or YouTube stream,

0:45:58.320 --> 0:46:02.920
<v Speaker 1>then everyone's cool with it. I do not think it's

0:46:03.080 --> 0:46:06.680
<v Speaker 1>super cool to upload audio that doesn't belong to you

0:46:06.920 --> 0:46:09.600
<v Speaker 1>and share it that way, because artists put a lot

0:46:09.640 --> 0:46:12.160
<v Speaker 1>of work into creating stuff, and even if they don't

0:46:12.239 --> 0:46:15.480
<v Speaker 1>choose to monetize it themselves, it's at least respectful to

0:46:15.520 --> 0:46:19.520
<v Speaker 1>point folks toward an official source rather than pirates stuff. Now,

0:46:19.560 --> 0:46:22.799
<v Speaker 1>I often will hear the argument that sharing creates exposure,

0:46:23.200 --> 0:46:26.359
<v Speaker 1>but exposure ultimately means nothing to an artist if they're

0:46:26.400 --> 0:46:28.560
<v Speaker 1>not if they're actually trying to make a living off

0:46:28.600 --> 0:46:32.399
<v Speaker 1>of their music, Because you cannot pay the rent with exposure.

0:46:32.719 --> 0:46:36.280
<v Speaker 1>You can't say to your landlord, hey I'm not gonna

0:46:36.320 --> 0:46:39.359
<v Speaker 1>pay rent this month, but don't worry, I'm gonna talk

0:46:39.440 --> 0:46:43.399
<v Speaker 1>this place up to everybody, So you're gonna get great exposure,

0:46:44.080 --> 0:46:48.400
<v Speaker 1>all right, rant over Sony withdrew artists from SoundCloud in

0:46:48.400 --> 0:46:51.080
<v Speaker 1>two thousand fifteen, which was the same year that Universal

0:46:51.200 --> 0:46:54.880
<v Speaker 1>Music Group began working on a licensing agreement with SoundCloud

0:46:54.920 --> 0:46:58.200
<v Speaker 1>in return for what Business Insider reported was a quote

0:46:58.560 --> 0:47:02.920
<v Speaker 1>significant chunk of equity end quote in the company. Now,

0:47:02.960 --> 0:47:07.040
<v Speaker 1>this would allow other people to actually do those remixes

0:47:07.040 --> 0:47:10.000
<v Speaker 1>and mash ups because of the licensing agreements, and it

0:47:10.120 --> 0:47:13.359
<v Speaker 1>also followed in the footsteps of Warner Music. Warner Music

0:47:13.360 --> 0:47:15.360
<v Speaker 1>had actually made the same sort of agreement back in

0:47:15.400 --> 0:47:19.080
<v Speaker 1>November two fourteen for a five percent stake in SoundCloud.

0:47:19.880 --> 0:47:23.440
<v Speaker 1>The negotiations with Universal Music Group took some time. It

0:47:23.520 --> 0:47:27.480
<v Speaker 1>started in but it wasn't announced as an official partnership

0:47:27.560 --> 0:47:32.640
<v Speaker 1>until January. The agreements did have some benefits for users

0:47:32.760 --> 0:47:36.759
<v Speaker 1>because with those mashups and remixes, getting the licensing meant

0:47:36.800 --> 0:47:41.120
<v Speaker 1>that people could actually practice their their skills and upload

0:47:41.160 --> 0:47:44.960
<v Speaker 1>work without fearing of being pulled down for copyright infringement.

0:47:45.080 --> 0:47:47.560
<v Speaker 1>So people were all on the up and up here now.

0:47:47.560 --> 0:47:50.040
<v Speaker 1>It did also mean that if you own the copyright

0:47:50.040 --> 0:47:52.880
<v Speaker 1>to a certain song, you could get the monetization for

0:47:52.920 --> 0:47:56.319
<v Speaker 1>that instead of the person who made the remix. That

0:47:56.400 --> 0:47:58.799
<v Speaker 1>was an issue. So there was still kind of a

0:47:58.840 --> 0:48:01.880
<v Speaker 1>mess because has not everybody had the same deal, and

0:48:02.280 --> 0:48:05.160
<v Speaker 1>sometimes you might be mixing artists from two different labels.

0:48:05.160 --> 0:48:07.719
<v Speaker 1>So it wasn't like everything was smooth sailing from that

0:48:07.800 --> 0:48:11.799
<v Speaker 1>point forward. Around that time, Spotify began to express an

0:48:11.800 --> 0:48:15.000
<v Speaker 1>interest in acquiring SoundCloud, but it would also back off

0:48:15.000 --> 0:48:17.640
<v Speaker 1>from the deal, kind of following Twitter's lead in a way.

0:48:17.760 --> 0:48:21.080
<v Speaker 1>It was because Spotify was looking at an initial public

0:48:21.120 --> 0:48:24.400
<v Speaker 1>offering and getting involved in an acquisition just before an

0:48:24.400 --> 0:48:26.840
<v Speaker 1>i p O would mean that it could potentially scare

0:48:26.880 --> 0:48:30.960
<v Speaker 1>off investors. So Spotify ultimately said, you know what, while

0:48:31.080 --> 0:48:34.200
<v Speaker 1>I would like to remove competition from this field and

0:48:34.239 --> 0:48:38.080
<v Speaker 1>get access to some of SoundCloud's technology, I'm not sure

0:48:38.120 --> 0:48:40.960
<v Speaker 1>it's worth the risk to investment if we actually go

0:48:41.080 --> 0:48:43.719
<v Speaker 1>for an i p O. Now. During all of this,

0:48:43.960 --> 0:48:49.440
<v Speaker 1>SoundCloud still managed to really shoot itself in the foot

0:48:49.440 --> 0:48:51.560
<v Speaker 1>when it comes to try and to find a profitable

0:48:51.600 --> 0:48:55.560
<v Speaker 1>business model. In July, the company had to lay off

0:48:56.800 --> 0:49:00.880
<v Speaker 1>of its staff. That meant one seventy three people lost

0:49:00.960 --> 0:49:05.120
<v Speaker 1>their jobs, and SoundCloud closed down two of its offices,

0:49:05.160 --> 0:49:08.279
<v Speaker 1>the ones in London and San Francisco, which meant that

0:49:08.360 --> 0:49:10.879
<v Speaker 1>only its offices in Berlin and New York City would

0:49:10.920 --> 0:49:14.719
<v Speaker 1>remain open. At that time, SoundCloud would only say that

0:49:14.760 --> 0:49:17.640
<v Speaker 1>the company had enough money to last through the fourth quarter,

0:49:17.760 --> 0:49:22.000
<v Speaker 1>of which many took as a sign that the company

0:49:22.040 --> 0:49:24.560
<v Speaker 1>would be out of money by the end of the year.

0:49:25.200 --> 0:49:28.080
<v Speaker 1>Tech pundits then began to suggest that the vultures were

0:49:28.080 --> 0:49:33.359
<v Speaker 1>circulating SoundCloud as a result. In augusteen, SoundCloud was known

0:49:33.440 --> 0:49:37.280
<v Speaker 1>to have entered talks with potential investors about another round

0:49:37.280 --> 0:49:41.000
<v Speaker 1>of venture capital funding. This would be Series F of funding.

0:49:42.040 --> 0:49:44.600
<v Speaker 1>It was at this time that people in the technosphere

0:49:44.600 --> 0:49:49.200
<v Speaker 1>began to say that unless someone swooped in, SoundCloud was doomed.

0:49:49.880 --> 0:49:53.040
<v Speaker 1>But swoop they did, and boy hawdy it was with

0:49:53.080 --> 0:49:56.879
<v Speaker 1>a big change. The swoop happened in mid August. An

0:49:56.880 --> 0:50:00.239
<v Speaker 1>investment bank headquartered in New York called Rain grew coup

0:50:00.520 --> 0:50:04.160
<v Speaker 1>and a Singapore state owned investment fund called tim Asek

0:50:04.600 --> 0:50:08.000
<v Speaker 1>provided the moolah that was that hundred sixty nine point

0:50:08.080 --> 0:50:11.319
<v Speaker 1>five million bucks i mentioned earlier in this episode. With

0:50:11.440 --> 0:50:15.520
<v Speaker 1>this investment also came some changes at the top for SoundCloud.

0:50:15.719 --> 0:50:19.240
<v Speaker 1>There were demands for some changes at the executive level,

0:50:20.080 --> 0:50:25.000
<v Speaker 1>so Eric Walforce would transition from Chief Technology Officer to

0:50:25.080 --> 0:50:30.080
<v Speaker 1>a newly created position, Chief Product Officer. Artem Fishman, who

0:50:30.160 --> 0:50:33.400
<v Speaker 1>was once a vice president of engineering over at Yahoo,

0:50:33.520 --> 0:50:37.680
<v Speaker 1>would assume the role of CTO. Alex Leung would step

0:50:37.760 --> 0:50:40.640
<v Speaker 1>down as CEO and become the chairman of the board.

0:50:40.960 --> 0:50:44.840
<v Speaker 1>In his place will be Carry Trainer. Trainer was the

0:50:44.840 --> 0:50:48.360
<v Speaker 1>CEO of Vimeo once upon a time, and Video is

0:50:48.400 --> 0:50:51.920
<v Speaker 1>the video streaming service that's a competitor with YouTube. This

0:50:52.000 --> 0:50:55.279
<v Speaker 1>has led some people to speculate that video content might

0:50:55.520 --> 0:50:58.880
<v Speaker 1>find its way onto SoundCloud, but there's been no confirmation

0:50:58.920 --> 0:51:02.200
<v Speaker 1>of that so far as of the recording of this podcast.

0:51:02.880 --> 0:51:06.240
<v Speaker 1>At this time, SoundCloud has around eighty eight million active

0:51:06.360 --> 0:51:09.520
<v Speaker 1>users according to similar Web, and earlier report in twenty

0:51:09.600 --> 0:51:12.920
<v Speaker 1>seventeen showed that SoundCloud had lost more than one hundred

0:51:13.120 --> 0:51:16.080
<v Speaker 1>million users over the course of a year, and those

0:51:16.160 --> 0:51:20.479
<v Speaker 1>users were moving on to other platforms like Pandora and Spotify.

0:51:20.880 --> 0:51:24.239
<v Speaker 1>So is that a hundred sixty nine and a half

0:51:24.360 --> 0:51:28.080
<v Speaker 1>million dollar investment a wise one in the wake of

0:51:28.239 --> 0:51:32.480
<v Speaker 1>seeing how many users have abandoned SoundCloud over the past year.

0:51:33.320 --> 0:51:36.680
<v Speaker 1>I don't know. I'm not wealthy. I don't make those

0:51:36.800 --> 0:51:40.560
<v Speaker 1>kind of calls. From my outsider perspective, I would be

0:51:40.800 --> 0:51:44.360
<v Speaker 1>very hesitant to make such a huge investment. However, that

0:51:44.400 --> 0:51:47.520
<v Speaker 1>being said, SoundCloud does have some valuable technology, and there

0:51:47.520 --> 0:51:49.719
<v Speaker 1>are a lot of artists who have used it effectively

0:51:49.800 --> 0:51:51.920
<v Speaker 1>over the years, and there are a lot of people

0:51:51.960 --> 0:51:55.000
<v Speaker 1>who still use the service, so maybe it can come

0:51:55.040 --> 0:51:59.880
<v Speaker 1>back from that precipice it was teetering over. That being said,

0:52:00.160 --> 0:52:02.560
<v Speaker 1>my Space tried to do the same thing a couple

0:52:02.600 --> 0:52:05.000
<v Speaker 1>of times, and it's still kind of an also, Ran,

0:52:05.200 --> 0:52:09.279
<v Speaker 1>I don't hear anyone talking about my Space anymore, so

0:52:10.360 --> 0:52:13.160
<v Speaker 1>I don't know if this was a wise decision. I

0:52:13.200 --> 0:52:15.920
<v Speaker 1>guess we'll have to wait and see, and maybe in

0:52:15.960 --> 0:52:19.239
<v Speaker 1>another year or so we'll see another attempt to run

0:52:19.280 --> 0:52:23.880
<v Speaker 1>around of financing, or maybe they'll actually turn things around

0:52:23.880 --> 0:52:26.319
<v Speaker 1>and make it a profitable company and it will be

0:52:26.360 --> 0:52:29.239
<v Speaker 1>generating enough revenue so it can operate on its own.

0:52:29.920 --> 0:52:32.919
<v Speaker 1>But so far, that is the story of SoundCloud. It's

0:52:32.960 --> 0:52:36.160
<v Speaker 1>not the end, and I'd be lying if I said

0:52:36.200 --> 0:52:39.759
<v Speaker 1>I wasn't kind of hoping for a different result when

0:52:39.800 --> 0:52:43.280
<v Speaker 1>they were holding this most recent round of funding, only

0:52:43.320 --> 0:52:45.759
<v Speaker 1>because it would have been convenient for me to say

0:52:45.880 --> 0:52:49.080
<v Speaker 1>the end on a podcast. I certainly don't wish anyone

0:52:49.120 --> 0:52:51.759
<v Speaker 1>to be out of a job. I don't want SoundCloud

0:52:51.800 --> 0:52:54.480
<v Speaker 1>to go away, but it would have been awfully convenient

0:52:54.560 --> 0:52:59.920
<v Speaker 1>for me in my podcast. So that's it for this episode. Guys.

0:53:00.120 --> 0:53:03.400
<v Speaker 1>If you have suggestions for future episode topics, send me

0:53:03.440 --> 0:53:06.920
<v Speaker 1>a message. Let me know. The email addresses tech Stuff

0:53:07.000 --> 0:53:09.520
<v Speaker 1>at how stuff works dot com, or you can drop

0:53:09.520 --> 0:53:11.920
<v Speaker 1>me a line on Facebook or Twitter. The handle of

0:53:12.040 --> 0:53:15.239
<v Speaker 1>both of those is tech stuff hs W. Remember I

0:53:15.400 --> 0:53:17.760
<v Speaker 1>stream live, so if you want to see me record

0:53:17.800 --> 0:53:21.120
<v Speaker 1>an episode live on the air and ask questions, including

0:53:21.200 --> 0:53:23.920
<v Speaker 1>questions that have nothing to do with whatever I'm talking about,

0:53:24.200 --> 0:53:27.200
<v Speaker 1>you can do that. Go to twitch dot tv slash

0:53:27.239 --> 0:53:29.759
<v Speaker 1>tech stuff, join the chat room. I'm always happy to

0:53:29.840 --> 0:53:32.120
<v Speaker 1>chat with you, guys, and I'll talk to you again

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<v Speaker 1>really soon. For more on this and thousands of other topics.

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<v Speaker 1>Is it how staff works dot com.