Tag: social

6 lessons from 6 weeks without net neutrality

Posted on | by Bas Grasmayer

My music consumption has been clearly impacted by the lack of net neutrality on my new mobile plan. Here are my key takeaways as a heavy user of music services.

This Spring, I moved from The Netherlands to Berlin, which means setting up new contracts for everything. While I’m still waiting for my flat to be connected to the internet (for 2 months already!), my mobile plan is keeping me connected.

My mobile provider Telekom, known as T-Mobile in most countries, is zero-rating certain partner services. So data consumed by streaming from the Netflix or YouTube bundles are not deducted from my 6GB / month data bundle.

I decided to give the bundle a try, as I think the EU will eventually declare zero-rating in violation of net neutrality (which means the telco should compensate me or release me from the plan). Net neutrality demands that you treat all traffic the same, and while they’re not prioritizing traffic of particular services over others in terms of speed, zero-rating does influence consumer decisions over what service they use.

Here are my main take aways of living without net neutrality for the last 6 weeks or so.

1. Zero-rating influences the services you use

This is beyond a doubt for me. When I want to listen to music, I now search music on YouTube (zero-rated partner) instead of through Spotify (not a zero-rated partner). I basically only listen to Spotify through offline synced music, and have stopped using it as a way to explore music – until I get WiFi at home, or Spotify gets zero-rated.

Telekom's current zero-rated partners
Telekom’s current zero-rated partners

2. Spotify’s stickiness is strong

Despite the fact that Apple Music, Amazon Prime Music, and Napster (Rhapsody) are all included in the zero-rated partners, I’ve somehow stuck with Spotify. I have so many years of history in there, that it’s hard to start using a different app.

I have a lot of friends on Apple Music, because they were the first major Western music service to launch in Russia and really double down on the market (as opposed to Deezer, which struggled to gain traction). Having lived there a few years, most of my friends are on there now. But having done 2 three month trials, I never really developed a feeling for the service. Can’t stand iTunes either by the way (I listen to files through VLC Mediaplayer instead).

But the key point here is:

Music is not the most important part of music services. It’s the behaviours around the music. For Spotify, the only service that has managed to help me find a new home for some of my behaviours is YouTube, but to move collection management to a new place: no way.

And to clarify that first statement: if you have all the music, and a lot of other services do too, the music is no longer the key point that people come to you for. People never had a music access problem: piracy solved that. The music access issue was an industry problem, not a consumer-problem.

3. It’s hard to dig into niches through YouTube’s mobile app

I’ve been trying to use the YouTube app as a kind of radio station, because it sucks to search for decent playlists in there. The problem with the Play Next function, is that when you start on something very niche, it sends you ‘upward’ to more popular tracks. So if you’re listening to underground trap, you end up on Migos after a couple of tracks.

Likewise for related music on particular music videos. You have to sift through unrelated recommendations that are related to your personal profile, rather than the particular thing you’re viewing, but even then, it directs you out of the niche and into the mainstream.

4. Netflix finally found its way into my life

I’ve never really developed a strong habit for Netflix, but it finally happened. Browsing the web, and reading article after article, gets tiring when you’re doing it from a small mobile screen (I’m on iPhone 5s).

Besides, I get ‘data anxiety’: am I using too much data? Will I have enough data at the end of the month? Better play it safe: Netflix.

This actually pulls me away from Reddit, Instagram, Facebook, and other social platforms. Which brings me to my next point.

5. Using YouTube as my default mobile music service is keeping me from social networks

The thing with YouTube is that it can’t keep playing music in the background, unless you are on a certain subscription that’s not available in Germany.

Because of this, I have to choose: am I going to listen to music, or am I going to write to a friend, see what they’re posting on Instagram, etc.

6. If I cared less about music, I’d switch services

The reason why I’m using YouTube, if not obvious by now, is because it’s a nice temporary space to do some of the things I’d prefer to do on Spotify.

But if I were less invested in Spotify, I’d 100% be using one of the partner services offered. I would not even consider any other options. And I think this goes for most consumers, who are not quite as heavy users of music services. It’s troubling: it gives ISPs and mobile operators a lot of control over the music, video, and social landscape.

And for one aspect of music, it already changed me over: I stopped watching live streams on Facebook and Twitch, and instead the only place where I watch live video is YouTube now.

TheWaveVR could let online music subcultures thrive

Posted on | by Bas Grasmayer

Last week, at SĂłnar+D, I finally got to try out TheWaveVR as the founders were there to demo and pitch in the startup competition. The company has built a way for DJs to perform in VR and bring an audience from around the world together. It does this in a very fun and visual way, and this was probably the first time that a VR experience has made me seriously considering buying a VR setup.

Here’s why.

Over the last decade, I’ve spent a lot of time discovering music on Soundcloud and have seen microgenres rise and fall, with some blowing up and changing the sound of pop (e.g. moombahton, and then ‘EDM trap’). Subcultures and music styles used to be clustered to particular cities, but because of online platforms people from around the world can build on each other’s sounds rapidly. I call it ‘Soundcloud culture’, although the phenomenon is not limited to Soundcloud.

Tools like Turntable.fm, and now Plug.dj, have made it possible for people to gather online into chatrooms and play music to each other. These subcultures have embraced these tools to throw small online gatherings, bringing together all the top producers in their styles for virtual listening parties, or cyber raves.

It’s very akin to the subcultures that exist around video games, and particularly MMORPGs such as World of Warcraft. There’s a sense of community and friendship, because people get to share something they don’t get to do irl (‘in real life’). I’ve written about gamers as a music subculture before, but I haven’t pointed out the connection to Soundcloud culture.

Many of these pioneering DJs and producers in microgenres have nowhere to go. They might not live anywhere with clubs, be too young to go to any, or there might simply not be enough critical mass for their sound to take it into the local clubs. So they take it online, where every niche can find an audience (for an example of a microgenre, check out Gorge). As with many gamers, it becomes far easier for these producers to express themselves virtually than in non-digital settings.

Back to TheWaveVR.

TheWaveVR is taking this to the next level, making the entire experience more immersive. What caught my attention is when Aaron Lemke, one of the founders, explained to me that they’re doing a weekly rave at a set time. All of the above instantly clicked into place.

When gamers have free time, they check out Steam, Battle.net, or similar tools, to see if any of their friends or team members are online, so they can play a round or just sign on, chat, and hang out. Social listening platforms do a similar thing, but they’re not nearly as fun or engaging for the audience as games. For the audience, they’re basically a radio station with a chatroom.

This is what TheWaveVR is changing, by giving the audience visual ways to interact with each other and the DJ. And this is what makes me finally ‘get it’ when it comes to VR: as a media format for social platforms it makes so much sense.

People are skeptical whether virtual reality is ‘the next big thing’ for music. And they’re right: there are many obstacles. But it’s not important. The people pondering such questions are not the target audience for these experiences in the next few years.

Online subcultures are the target audience for VR experiences, and particularly the ones connected to gamer subculture. Gamers are going to be the ones to first embrace this medium, and while the world’s figuring out whether to take it seriously and what to do with it, it’s gamers that will define the soundtrack for the medium: just like they’ve done with YouTube.

Why playlists should be part of your social media strategy

Posted on | by Bas Grasmayer

The emphasis of playlist strategy is usually placed on how artists can get their music on popular curated playlists. Let’s discuss the long-term value of artists stepping into the curator role themselves.

In the context of this article, when referring to playlist strategy, I mean playlists that you create.

For most of the readers of this article, the two most important places for developing a cohesive playlist strategy are YouTube and Spotify (and maybe Soundcloud). They’re the places with the highest amount of traffic and search queries.

Objectives

You’re going to be using your playlists to achieve 3 things:

  • To get discovered by (potential) new fans;
  • To establish a habit for fans that keeps them connected to you;
  • To create regular engaging content for your socials to help you stay top of mind for fans.

Discovery. Habit. Top of mind.

Building your playlists

Let’s address objective 1 first: getting your music discovered. This is the main concern for most artists. Before anything, your music has to be good. If people are not sharing your music, it’s probably not that great. This needs to be your #1 concern and priority. If people are not sharing your music, go work on your sound instead of marketing something that people don’t care about.

Keep reading if you’re actually at a level where your music gets traffic through friend recommendations.

You’re ready to get your music discovered.

Variety

Take a couple of your best tracks. For each of these tracks, create a playlist. Add tracks from similar artists, artists that inspire you, anything that is somehow logically related to your music.

Understand that a lot of users will start playing your playlist and then switch to background listening. The logical relation has to be there, even when people are focusing on a different tab in their browser, or have moved on to another activity away from the computer.

For the music you select, the most important criterium is that it has to be music that people actually search for.

People will type search queries, and you need to create the best chance that they will land on your playlist. Think carefully the first few times you make these playlists. Over time, you’ll find the best way to do it and the amount of effort required will decrease.

Do not place your track at the top. People need somewhat familiar content to get into a playlist. Place it somewhere in the middle.

Remember the listener’s perspective: this is not about your music — this is about their experience. If you provide them with a good experience, they’ll listen to your music. If you don’t, they won’t. Simple.

Consistency & regularity

You’re going to pick a day of the week and every week you’re going to update your playlist on that day. If your playlists delight your listeners, they’ll check back every week on that day (that’s why Spotify’s Discover Weekly feature is so important to them).

This means you let people create a habit around your playlists. And while all other content of the playlists might change every week, you’ll have at least one of your tracks in there. So, the habit implies that returning listeners will listen to you every week.

It’s an elegant way to make sure fans don’t miss out on new music through their cluttered Facebook and Twitter feeds and inboxes.

Bi-weekly is also ok. Monthly is a maybe. Anything irregular is a big no. Either you execute this strategy, or you don’t. This particular strategy only works when applied consistently and with fixed regularity.

YouTube vs Spotify

YouTube and Spotify require their own approaches. They’re very different services, that drive very different types of music listening behaviours, bookmarking, etc.

For YouTube, I’d focus on making an ever-growing set of playlists from your main channel where you also post your music videos. It might net you subscribers, too.

This means every YouTube playlist becomes a finished product. Keep them short: roughly 10 tracks. Every week, you’ll create a new playlist with new content, and one of your tracks in there. Share it on your socials: some nice new content for fans.

For Spotify, you’re going to do something different. They’ve actually demoted user-generated playlists in search results, so it’s a bit harder to get found now. So, instead, you’re going to turn it into a tool to connect with your fans and familiarize them with your music taste.

Your Spotify playlists should be longer. 30 tracks or more. Think of them more as radio stations that are refreshed every week. Your followers check in, tune into the new content and also reconnect to your music (like the Diplo & Friends playlist).

User stories

I want to explain a concept from product management called ‘user stories’ — they’re used to describe certain things people expect from or want to be able to do with a product or service. They’re a useful way to not lose sight of what’s important to the people you’re making something for. What’s important to you, is not always what’s important to your target audience.

For your fans

Let’s think from the perspective of fans. And let’s define fan as someone who has shared your music with someone else. Facebook likes don’t count. We’re talking about the people who care enough about your music to share it with others. 

Let’s think of some of the reasons why they might be interested in your playlist:

  • “I want to learn more about the music that inspires this artist.”
  • “I’ve already heard everything by this artist, but I want more!” 
  • “I wonder what other music this DJ / producer plays besides his own tracks.”

As people get more familiar with your playlists, they may start to develop some more specific expectations, such as “I want to know about the freshest new releases this artist curates” or “I just need some great party music” and they associate your playlists with that.

Focus on the bullet pointed user stories first. You need to get people in, and then get them to form a habit. There are a lot of people creating good playlists for more specific purposes, but the advantage of the bullet pointed items is that they’re all focused on you — and nobody does you like you.

For people who don’t know you

This gets more tricky, because there are so many reasons why someone might land on your playlist. Think about what kind of music you’re curating. What are people trying to achieve when they’re searching for that type of music? A lot of them are going to land on your playlist by looking for an artist other than you, Four Tet for example.

  • “I want to listen to Four Tet.”
    • Yup – some people will just click the first playlist they see if it includes Four Tet and they spot the cover art.
  • “I want to listen to music like Four Tet.”
  • “I just want to put on some chill out music and not think about it.”
  • “I want to listen to a playlist that includes music like Four Tet.”
  • “I’m curious about discovering more music like Four Tet.”

Although similar, these are different motivations that correspond with different behaviour types. It also means people will judge the quality of your playlist differently (quality is defined as to whether it scratches the person’s itch).

Long term effects

If you do well, your music might actually become associated with the other acts you include in your playlists. This means algorithms will add it to the ‘play next’ queue on YouTube, to ‘similar artists’ on Spotify, or even have you appear in the Discover Weekly of people who listen to a lot of music like that.

Your playlist may become a brand on its own: something artists try to get their music featured in. This means you’re able to shine a light on great artists you feel are not getting enough recognition. Then there will be the people who follow you on playlists, but not on other socials. These may be actual fans (people who share your music) or just people who are into the music you curate.

Playlists are a social medium in their own right. Treat them like that.

Why I’ve stopped posting on Medium

Posted on | by Bas Grasmayer

A recent change broke my trust and made me act on my pre-existing skepticism. That change is not the membership plan.

Okay, I haven’t completely stopped publishing on Medium, but I have stopped making Medium the go-to destination for my audience. Instead, I’ve placed focus on my own WordPress-based site again, and cross-post articles here after some time, without sharing to socials.

This article will be my last exception to that rule: the Medium is the message, after all.

The reason for my recent switch has to do with the limited access Medium gives me to data, combined with the lack of meaningful organic traffic, and a breach of trust, but before I dig into that I want to emphasize the other side of the coin.

Why I love Medium ❤️

Medium’s editor is slick. Sometimes I use it to write pieces I have no intention of publishing to Medium. Sure, there are desktop editors that do it, but Medium is free and available in any browser, so I can use it anywhere.

I started a weekly newsletter about innovation in the music business over a year ago with the intention of writing a new thought piece every week. At some point, the pieces started getting longer and it didn’t make sense to post the entire texts in emails anymore. I also wanted to make the content more shareable. So I started publishing to Medium and started the MUSIC x TECH x FUTURE publication, which now sits at well over 5,000 subscribers.

Medium also has a great community, and its highlighting feature that works across all its publications and authors’ pieces really adds a lot of value. In the obvious way, that it points out friends’ highlights that let you quickly see important information, or give you a perspective on what people you follow find important. But also in a less obvious way: if I share a Medium article to my newsletter followers, many of whom follow me on Medium, they’ll automatically see passages I’ve highlighted.

But that’s about it. I’ve always assumed there were more reasons to love Medium, but as an author who is skilled at driving his own audience to destinations, I think that’s kind of it.

Medium’s organic traffic problem

About a year ago, I built a site for my newsletter which had quickly turned into a consultancy agency after I started getting requests to share my expertise. I wanted to publish my articles on my own WordPress, but it was just too cumbersome. I didn’t feel the motivation to publish on my own site, because my articles looked so much nicer on Medium.

I realized I needed to build a personal site that I could be proud of. So I redesigned musicxtechxfuture.com, put the agency to the background, and the content front and center. From that point onwards, I started posting new articles to both platforms simultaneously. Sometimes it would look nicer on Medium, and sometimes it would look nicer on my own WordPress. Depending on aesthetics, I’d make decisions about which links to prioritize when sharing to my newsletter and socials.

This taught me something about organic traffic on Medium. It turned out that that 5,000 publication followers number is a bullshit vanity metric.

Medium article view count
I didn’t share any of these on social media.

The above data includes traffic from people who follow my personal account (not publication) on Medium, because they get push notifications from the app, or email updates from Medium.

Meanwhile, the limited data Medium gives you makes it very hard to understand from what context these people are finding my articles. Are they my personal audience, my publication audience, random people using the Medium app? I have no idea.

Medium article referral numbers

Which brings me to the next issue…

Medium does not give you enough data — and it controls your connection to your audience

The above is a typical issue when you publish on platforms, but I’d really love to know more about my audience. Instead, Medium basically doesn’t tell you where they come from, doesn’t tell you what links they’ve interacted with, it doesn’t tell you what keywords they used to find your content… It just gives you this:

Medium referral count with more sources
Pretty useless…

Usually this is okay — that’s the sacrifice you make for publishing to a platform where your content is exposed to a greater community. But how is it that I get less than 50 views on 2 pieces after multiple years of posting, including a year of consistently posting every week and building up over 2k followers on my personal profile, 5k followers on my niche publication, having multiple articles featured by Medium staff, and being featured as a top writer in music?

My WordPress has more organic traffic than that!

So basically: Medium offers a nice editor & easy way to publish. In exchange, you hand over the audience you build up, your content, and your data. Yet I still was giving Medium the benefit of the doubt.

Then I wanted to connect a domain name to my publication

Previously, you had to submit an application and then they’d send you instructions for the process of pointing your domain name to your publication, so that your Medium publication lives on your own domain, but is still linked into the wider Medium ecosystem.

They still do that. Except since last month, they’ve started charging publication owners $75 for that (way above cost price, since you still have to pay for your own domain name). So in all the noise about introducing membership programs to support authors, they’re also monetizing their creators. It’s like Soundcloud for articles. And we all know how things have been going for Soundcloud.

That’s when I lost hope. And trust.

It just doesn’t make sense. It shows a confused strategy. I’m not sure how they justify the registration fee, because as I’ve explained above, there’s very little you’re getting in return.

You’re really better off sinking a few weekends into setting up a WordPress installation and learning to tweak a theme. You will have more control and ownership over your audience, can engage with them more directly by integrating tools, and you’ll end up learning a thing or two about web development: a valuable skill to have.

Until I start seeing Medium’s bogus follower counts translate into meaningful traffic, I’m done.

I’ll keep publishing to here. Perhaps sometimes a week later. Perhaps a month. Just whenever I get around to it. It’s just that Medium simply doesn’t generate traffic to make it worthwhile to give up so much data, insight, and direct relations to my audience. Why give ownership of that to a platform?

In the last months, I’ve gotten notifications that articles of mine were “featured by the Medium staff” — this had no meaningful impact on traffic. I’m also featured as a “Top writer in Music” — this had no meaningful impact on traffic, either.

So, my Medium’s not a priority anymore, until the company figures out a way to make it a priority.

I’ll still occasionally use it for articles that don’t fit the scope of my own page. Medium remains the best way to quickly share some thoughts, but as a publication I’m out.

I really love your product and its elegancy, Ev, but until you map out a clear strategy that’s focused on creating more value for creators, and find a way to articulate that strategy thoughtfully, I’m out.

I just don’t trust Medium anymore as the home for my creativity.

Love,
Bas

Music for the Snapchat generation: conceptualizing Music Stories

Posted on | by Bas Grasmayer

Whether you’ve ever used Snapchat or not, you have felt the influence of the social app’s design choices. How will it shape the future of music?

Snapchat is perhaps best known for its photo filters

Snapchat created something called ‘Stories’. Stories are composed of photos and short videos that stay available for 24 hours. They allow people to get a look into other people’s days, including celebrities. The feature has been shamelessly copied by Facebook and integrated in Instagram, but the low-barrier channel-flicking content format is now seeing integration in unexpected places.

Forbes launched Cards, Huffington Post launched storybooks, and Medium launched Series. This led David Emery, VP Global Marketing Strategy of Kobalt Label Services, to ask the question: what will the Snapchat for music look like?

I decided to take a stab at the challenge and conceptualize how people may interact with music in the future.

How people engage with content

I specifically looked at Soundcloud, Instagram, and Tinder for some of the most innovative and influential design choices for navigating, sharing, and engaging with content. Soundcloud for the music, Instagram for visuals, and Tinder for how it lets people sift through ‘content’. I apologize in advance for all the times I’m going to refer to people on Tinder as ‘content’, but that’s the most effective way to approach Tinder for the sake of this article.

Learning from Soundcloud

One key strength of Soundcloud is that every time you open the app or web client there’s new content for you. Either from the artists you follow, through its Explore feature, or through personalized recommendations. People should be able to check out content as soon as they open the app.

Text is easy to engage with: you can copy the parts you want to comment on, quote it, and comment. With audio this is harder. Soundcloud lets people comment on the timeline of tracks, which makes it much more fun to engage with content. YouTube solves this problem by letting people put time tags in comments.

If you really love the content, you can repost it to your network. This makes the service attractive to content creators, but also to fans, because the feature gives them a way to express themselves and build up their profiles without actually having to create music themselves. Compare this to Spotify, where the barrier to build up your profile as a user is much higher due to the energy that you have to put into creating (and maintaining) playlists.

Recommendations mean that people can jump in, hit play and stop thinking. Soundcloud is one of the few music services that seem to have found a great balance between very active types of behaviour, as well as more passive modes.

Learning from Instagram

There’s a reason why I’m highlighting Instagram instead of Snapchat. Instagram has two modes of creation and navigation. You can either scroll down your main feed, where people will typically only post their best content OR you can tap one of the stories at the top and watch a feed of Snapchat-like Stories. Tap to skip!

Instagram makes it really easy to create and navigate through content. Stories’ ephemeral quality reduces the barrier to sharing moments (creating) and makes people worry less that they’re ‘oversharing’. Snapchat’s filters, which Instagram hasn’t been able to clone well (yet), make it easy to create fun content. People open up their camera, see what filters are available, and create something funny. No effort, and it’s still fun for their friends or followers to watch.

Learning from Tinder

The brutal nature of dating services is that profiles (people) are content, which also means that the majority of users will not be interested in the majority of content offered on the service. So you can do two things: make going through content as effortless as possible and build a recommendation engine which delivers the most relevant content to users. Tinder’s focus on the former made them the addictive dating app they are today.

Quickly liking and disliking content is like a bookmarking function which also helps to feed information to recommendation algorithms.

If you really want to dive deeper into a piece of content, you can tap to expand it (open profile), but basically the app’s figured out a great way to present huge amounts of content to people, of which the majority is ‘irrelevant’, and make it engaging to quickly navigate through it.

Must haves

The key qualities of social content apps right now are a high volume of content, easy creation and interactivity, and fast navigation. Bookmarking and reposting allows for users to express themselves with little effort.

Breaking it down

This is the most important feature for the end user. There are already a lot of good services in order to access large catalogues, to dive deep, to search for specific content… Music Stories should not try to compete with that. Instead it is a new form of media, which needs to be so engaging that it will affect the creative decisions of artists.

Soundcloud’s feed is a good example, but so is Snapchat’s main Stories screen (pictured below). Both show the user a variety of content that they can engage with immediately by hitting the play button or by tapping on a profile image.

The content in the app needs to be bite-size so users can get a quick idea of the content immediately and decide whether they like it or not. If yes, they should be able to go deeper (eg. Tinder‘s ‘tap to expand’) or interact, like reposting. If not, they need to be able to skip and move on.

When a user has an empty content feed, you can serve recommendations. When a user went through all new content already, you should invite them to create something.

You want people to be able to lean back, but ideally you’ll pull people into your app a few times a day and get them to browse through some fresh content. To get them to re-open the app, there needs to be meaningful interaction. That can come in the form of swipes, comments, or remixing.

One of the cool things about Snapchat is that you can discover new filters through your friends. Think:

“Woah, you can be Harry Potter? I want to be Harry Potter, too!”

So if we extend that to Music Stories, creating some music idea needs to be as simple as making yourself look like Harry Potter or face-swapping with a painting or statue in a museum.

Snapchat is why millennials visit museums. (jk)

This means that artists should be able to add music to the app in a way that allows people to remix it, to make it their own. All remixes can stay linked to the original. You could even track a remix of a remix of a remix in the same way you can see repost-chains on Tumblr.

How do you make it easy to create and to interact with music?

That’s the biggest challenge. People are shy or may not feel creative.  You could let them use images or video (like Musically), or you could let them replace one of the samples in the beat with a sound from their environment (imagine replacing the “yeah” from Justin Timberlake‘s SexyBack with your own sound), or you could let them play with the pitch of the vocals.

Options need to be limited, easy-to-understand and manipulate, and inviting. It should be as simple as swiping through Snapchat filter options.

Through creation and interactivity, users build up a profile to show off their music identity. Content is ephemeral, unless you choose differently (like on Instagram). I’d go for ephemeral by default and then give users the option to ‘add to profile’ once content reaches a certain engagement threshold. This will need a lot of tweaking and testing to get right.

Interactions are not ephemeral. Reposts go straight to profile, until you undo them.

Stories are all about being able to jump through content quickly. Tinder’s Like / Dislike function could work in Music Stories as a ‘skip’ and ‘bookmark’ function. By letting people bookmark stuff they’ll have content to come back to when they’re in a more passive mode. Perhaps an initial Like would send music to a personal inbox which stays available for a limited time, then when you Like content that’s in that inbox it gets shared to your profile, or saved in some other manner.

Music Stories should NOT be a Tinder for Music. Tinder’s strength is to let users navigate through a lot of content that doesn’t appeal to them, while making the interaction interesting. It’s an interesting model that manages to create value from content that may be irrelevant to some users.

Translating to features

The next steps are to start translating the concept into features. This means user stories (what you want users to be able to do with the app) need to be articulated clearly. Mock ups of specific interactions need to be drawn and tested with audiences. Challenges need to be considered, like the classic issue of getting people to start creating content when there’s no audience in the app yet (Instagram solved this by letting people share content to other social networks).

Now I invite YOU to take this challenge and develop the vision for Music Stories.

(Don’t forget to read David Emery’s original post, which prompted me to write this piece)

 

Quick guide to the relaunched Anchor: reinventing the radio format

Posted on | by Bas Grasmayer

You may remember Anchor: it started as a sound-based social network where users could start discussions that others could chime in on. A kind of long-form Twitter, but with voice instead of text. I remember getting involved with some discussions started by Bruce Houghton, from Hypebot, but people’s interest soon waned and many of us moved on.

So the startup went back to the drawing board and re-envisioned its service, relaunching with a complete overhaul last week. It now allows users to include music in their audio stories and aims to “completely reinvent the radio format by making it easy for anyone to easily broadcast high quality audio from your phone, to wherever audio is heard.”

Screenshots of the relaunched Anchor 2.0

My first impressions

I paused writing in order to do my first show on Anchor (listen now) in order to get more familiar with the service. You can check it out for my first impressions on the call-ins feature, which allows station hosts to let other people get some airtime, the ephemerality, as well as some thoughts about Anchor as a place for music curation.


Expires in 24 hours, so you may be hearing something else by now.

After playing around with the app a bit more, checking out some of the content, including Cherie Hu’s, I’ve come to revisit my first impressions.

Anchor is like Instagram for audio

Instagram lets people share moments from their lives. It’s used by professionals and amateurs. Some content is more social and some is not. And with the introduction of Instagram Stories, a lot of the content has become ephemeral. That’s exactly what Anchor is, or could be, but for audio content.

While I was initially skeptical of Anchor’s ephemerality, it may be an upside: it reduces the hurdle for sharing content and stimulates creators to deliver content in a bite-size format. People can use it to record their day and share their experiences, like music tech blogger Cherie Hu is doing at SXSW, while others use it as an extension of their professional podcasts or YouTube channels.

When someone calls in, it can be added to the station, after which it lives for another 24 hours. The host needs to take into account that whatever the caller might be responding to is not available anymore by the time their audience checks it, but that can be easily mitigated by adding a short “So yesterday I asked how people feel about fainting goats, and here’s what some of you had to say!”

As people add new audio, it’s added to their stories similar to what Snapchat (or Instagram) do in their apps.

The Instagram analogy extends:

  • A station can be seen as a profile
  • Pressing favorite is akin to following
  • Calling-in is like tweeting & featuring a call-in is like retweeting

It seems Anchor may be able to deliver upon Soundcloud-founder Alexander Ljung’s vision of the web becoming a more audible medium, with sound possibly becoming bigger than video:

“Sound is one of the only mediums that can be consumed completely while multitasking, so it has the potential to do so much more on the web than it’s already doing.”

So forget the radio lingo: Anchor is still a sound-based social network and it’s pretty awesome.

Experiment with it. Develop a format. Then ping me on Twitter, so I can check it out.