China silences podcast and music apps as online crackdown widens

Audio apps are flying high in China. In 2018, online listeners in the country grew 22.1% to surpass 400 million, at a rate far exceeding that of the mobile video and e-reading populations, according to market researcher iiMedia.

But the fledgling sector is taking a hit. On Friday, a total of 26 audio-focused apps were ordered to terminate, suspend services, or have talks with regulators as they were investigated and deemed to have spread “historical nihilism” and “pornography,” according to a notice posted by the Cyberspace Administration of China (CAC).

The clampdown has, in a way, been foreshadowed by a recent attack of user-generated audio content. Last month, Apple restricted Chinese users from accessing podcasts that aren’t hosted by its local partners, effectively preventing those with a Chinese Apple account from consuming content unchecked by Chinese censors.

It’s not uncommon for Chinese authorities to take aim at a rising media field. As short-form videos took off in 2018, the government issued similar directives demanding Douyin (TikTok for China), Kuaishou and many others to purge “illicit” content. The year before, a raft of live streaming apps were in the crosshairs.

CAC, the country’s top internet regulator, only disclosed four of the apps it’s attacking. These services are dwarfed in user size by mega-apps like WeChat or Douyin, with the most successful one — Soul — used on six million devices in May, per data from analytics firm iResearch.

Nonetheless, people reported on social media that more prominent services have also gone missing from app stores. China’s top podcast sharing app Himalaya FM and its smaller rival Lizhi FM, for example, have been pulled from certain Chinese Android markets including one operated by Xiaomi.

Himalaya FM has been pulled from a number of Chinese Android stores. Screenshot: TechCrunch

Music apps seem to be under fire as well. Searches for “NetEase Cloud Music,” a music streaming service operated by internet titan NetEase, on a few local Android stores returned the alert that the app is unavailable for download due to ongoing “maintenance”.

NetEase Cloud Music has been pulled from a number of Chinese Android stores. Screenshot: TechCrunch

As of Monday afternoon, Himalaya FM, Lizhi FM and Netease Cloud Music are still available for download via Apple’s Chinese App Store, where Beijing’s oversight has historically been slower to come.

This is hardly the first time online music platforms get scrutinized in China. The government has occasionally disavowed and censored songs, including most recently works of Li Zhi, an outspoken musician who’s reportedly gone missing ahead of the 30th anniversary of the Tiananmen Square crackdown. None of Li’s songs can be found on China’s major music streaming apps now.

li zhi

Popular rock musician Li Zhi’s songs are missing from all major Chinese music streaming apps. / Screenshot: TechCrunch

Himalaya FM, Lizhi FM, and NetEase could not be reached for comment at the time of writing. We will update the story if we hear back from the companies.

China’s audio market has been left to “run rampant” for a long time and create “harmful influence” on teenagers, so measures must be taken, said the CAC. The regulator accused firms of chasing eyeballs with personalized podcasts containing content like pornography, superstition and, to some surprise, “two-dimensional culture,” a term referring to a fast-growing industry consisting of anime, comics and games inspired by Japanese pop culture.

The Communist Party is certainly on the watch for the expanding universe of imported content from a country over which it has historical grievances. Besides suppression, the party has also responded by making its own anime — one about Karl Marx — to attract the younger generations. Of course, the series was scheduled to broadcast on Bilibili, the Nasdaq-listed video-streaming platform that’s long been a favorite haven for China’s fans of 2D and youth cultures.

Original Content podcast: ‘I Think You Should Leave’ brings deranged laughs to Netflix

A sketch on Netflix’s “I Think You Should Leave with Tim Robinson” doesn’t just settle for one funny idea. As soon as you start to get comfortable and assume that you know where things are going, there’s usually a wild left turn, and sometimes a third and fourth for good measure.

We review the new comedy series on the latest episode of the Original Content podcast, highlighting our favorite sketches and the ones that didn’t work for us — sometimes things stretch out for too long, or the idea can seem more bizarre than funny.

Still, the hit rate feels remarkably high, provoking frequent, disbelieving laughter, with co-creator and star Robinson continually mining new shades of deranged behavior. It helps that there are only six episodes of around 20 minutes each, so “I Think You Should Leave” definitely doesn’t wear out its welcome.

In addition to our review, we follow-up last week’s discussion of “When They See Us” by noting that the show has supposedly been viewed by more than 23 million Netflix accounts.

You can listen in the player below, subscribe using Apple Podcasts or find us in your podcast player of choice. If you like the show, please let us know by leaving a review on Apple. You can also send us feedback directly. (Or suggest shows and movies for us to review!)

If you want to skip ahead, here’s how the episode breaks down:
0:00 Intro
0:40 When They See Us follow-up
8:53 I Think You Should Leave review
17:44 I Think You Should Leave spoilers

Apple tries out the ‘choose-your-own adventure’ Twitter thread format that recently went viral

It looks like choose-your-own-adventure Twitter games won’t be a one-hit wonder, now that Apple’s social team has adopted the format. A new tweet from the @AppleTV Twitter account today helps users find a movie to watch by having them click through a series of Twitter threads. However, their effort (so far at least) pales compared with the original viral sensation — a Twitter choose-your-own-adventure style game that blew up earlier this month, where Twitter users try to not get fired as Beyoncé’s new assistant.

If you haven’t seen this masterpiece of Twitter handiwork, give yourself a break this Friday and go try it. It’s great fun.

The game is played by presenting you with a multiple choice question. You then click on your answer from among the Twitter replies presented by the original poster.

For example, you start your day by ordering Queen Bey her breakfast. You’re asked to choose between ordering a five-star breakfast or granola and yogurt. If you choose the former (spoiler alert!), you’re fired. If you click the right answer, you move on to the next task.

Further questions take you to new threads where you choose things like who Beyoncé should FaceTime, what activity you suggest while she waits for hair and makeup, what song to play for her when she asks for music, when she should get dressed for the event and where, whether you should photobomb her on the red carpet to fix her dress, where she sits at an event, and so on.

The game isn’t always simple A/B choices, either. The answers lead you down different paths. Your choice may not immediately result in being fired, but still could later on. For instance, if you send Beyoncé swimming, there’s no way to save your job when the next set of choices comes.

According to a TIME profile, the idea for the thread came from 19-year-old student Landon Rivera, who lives in L.A.

The thread, now which now has over a quarter million Twitter likes, was noticed by celebs like Chrissy Teigen and Questlove, the report also noted.

After the Beyoncé game blew up into a viral hit, the creator started new threads about being Cardi B’s bodyguard and getting away with murder. These haven’t yet taken off to the extent the original Beyoncé thread did, which today stands at over 250K Likes on the thread placeholder tweet, and 97,300 retweets.

While it’s interesting that Apple’s social media team has now copycatted the idea, their choose-your-own-adventure thread falls short.

Actually, really short.

In fact, it’s not much of an adventure at all.

Instead, the movie suggestion thread doesn’t go much further than letting your pick between two movie watching scenarios, then directs you into a genre of your choosing…then, it dead ends with a movie suggestion.

This overlooks the reasons the Beyoncé game went viral in the first place: because it was lengthy, complex, multi-branched, and funny. You could get down several threads deep into the thing and then get booted out and lose.

The questions themselves also prompted commentary from those who knew Beyoncé actual habits (or at least, thought they did.)

Social media teams looking to replicate this formula for their own success will need to do more than create a handful of quick-to-end threads with little payoff. Either invest the serious effort in designing a clever branching narrative or just tweet as usual.

 

 

 

How startups can make influencer marketing work on a budget

Influencer Marketing has ballooned into a $25 billion industry, yet many marketing managers are left confused by this, because for them, it’s really not delivering the results to justify the hype.

Here’s the thing. Influencer marketing is not a one-size-fits-all marketing strategy such as Facebook or Adwords advertising. Each company needs to take a closer look at what influencer marketing can achieve, where it falls down, and how you can do a better job with this latest form of marketing that delivers, on average, $6.50 of value for every $1 spent.

The analysis below relies on clients and case studies from our experience at OpenSponsorship.com (my company) which is the largest marketplace connecting brands with over 5500 professional athletes for marketing campaigns.

With over 3500 deals to date across clients as big as Vitamin Shoppe and Anheuser Busch, established players like Jabra and Project Repat, and new startups like Brazyn and Gutzy, we have seen a lot go wrong (who knew you could disable comments on a post!) and a lot go right (an unknown skiier’s $100 Instagram, posted right before the Winter Olympics, going viral after he won the Silver)!!

Thanks to our in-house data experts, integrations with IBM Watson, robust ROI tracking tools and 10 years+ of experience combining the learnings of sports sponsorship with influencer marketing, we have gained extensive insights into campaign strategies.

We will share our learnings about what criteria to consider when choosing the best influencer to work with, figuring out how much to pay the influencer, what rights to ask for in the deal, what terms and conditions are reasonable and how to track ROI for the deal.

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Table of Contents


Who is the right influencer? 

At OpenSponsorship, we match brands with athletes for marketing campaigns, with a view to further expand into other areas of media and entertainment such as music artists, comedians, actors. Even within the athlete world, there is the concept of micro-influencers such as yogis, triathletes, marathon runners, all the way to macro-influencers such as NFL Quarterbacks, starting NBA point guards and everything in between.

Our 3 recommendations for picking the right influencers are:

Twitch will join Amazon Prime Day with giveaways, events and live shows

Amazon -owned game streaming site Twitch will be participating in Amazon Prime Day this year, with giveaways of free content from Apex Legends and EA Sports games, live-streamed events, and apparently, even a live-streamed shopping show. The latter was reported this morning by AdWeek, which detailed the streaming site’s plans for a 2-day live shopping show on its Twitch Presents channel.

Update: Twitch says the article was taken down and news will be shared at 10 AM PT. We’ll update then.

In any event, it appears that the broad strokes of Twitch’s plan is to loop in some of the gaming site’s favorite streamers to Amazon’s big shopping holiday.

It’s worth noting Amazon has tried to make QVC-style video shopping work several times in the past.

Years ago, it briefly ran a fashion-and-beauty focused show called “Style Code Live,” that was canceled in spring 2017. It also ran live video during past Prime Day events right on Amazon.com to show off some of its brand advertisers’ best deals.

And most recently, Amazon launched a dedicated section on its site, Amazon Live, which features a live-streamed video shows brands build using a new app, Amazon Live Creator.

Given its push for more live video, it only makes sense that Twitch would get involved with Prime Day in this way, too.

Beyond Twitch’s plans for live video, the streaming site is also offering a number of giveaways and hosting live events.

ea sports

Twitch Prime, which comes with an Amazon Prime subscription, will offer members an exclusive character and weapon skins for Apex Legends, along with free content in multiple EA Sports titles. Members will have to link their Twitch Prime account to their EA Account to gain access to the in-game offers, Twitch says.

In addition, Twitch will host two events ahead of Prime Day. On July 13, Las Vegas and London will host Twitch Prime Crown Cup tournaments, featuring Apex Legends and EA Sports games. In London, Olympic gold medalist runner Sir Mo Farah, footballer Thierry Henry, and five-time X Games gold medalist street skateboarder Leticia Bufoni compete against each other in an unnamed EA Sports game.

Meanwhile, the Vegas event will feature music producer Murda Beatz, global platinum-selling DJ Dillon Francis, and others, the company says.

The 8-hour event will be live-streamed on Twitch Prime’s channel starting at 10 AM PDT.

Twitch Prime is a gaming perk with Amazon’s $119/year Prime membership. This year, it’s given away more than $2,000 in free games and content, the company says, including two dozen free games.

Unrelated to Prime Day, Twitch also announced this week the launch of subscriber-only streams for its top creators, Twitch Partners and Twitch Affiliates.

Quibi is getting an action-thriller series starring Liam Hemsworth

Streaming media startup Quibi, co-founded by entertainment industry heavyweight Jeffrey Katzenberg and former HP CEO Meg Whitman, is adding more star power to its launch slate. The short-form video content startup will have an action-thriller series starring Liam Hemsworth, one of the many Hemsworths (the one who was in The Hunger Games, specifically).

This series doesn’t yet have a name, but Hemsworth will start as ‘Dodge Maynard’ (Dodge is a very common name), who undertakes a very different kind of indecent proposal where apparently he ends up becoming human prey for villains who probably end up being very rich people who want nothing more than to hunt ‘the most dangerous game,’ to draw conclusions from a popular fictional trope.

There’s strong creative talent attached behind the scenes, too, including Sopranos writer Nick Santora and frequent Mad Men episodes director Phil Abraham.

Quibi, which is set for a launch in April next year, will have lots of content from a laundry list of top creators, likely owing to Katzenberg’s considerable tinsel town influence. Shows already greenling include a murder mystery comedy from SNL’s Lorne Michaels, a documentary series from Tyra Banks, a Steven Spielberg horror show, plus projects from Guillermo Del Toro, Chrissy Teigen, Idris Elba and more.

The company has already signed up $100 million in ad revenue commitments, and $1 billion in total funding. It’s unique proposition compared to the rest of the streaming originals market is to create short content specifically meant to be consumed on mobile devices on the go. Pricing at launch will range from $4.99 to $7.99 per month, depending on whether users want some ads, or a totally ad-free experience.

Nielsen reports a record half a trillion on-demand music streams in U.S. so far this year

Music streaming services have already delivered a new high of half a trillion (507.7 billion) on-demand streams in the first half of 2019, according to Nielsen’s mid-year Music Report released this week. This record number — an increase of 31.6% over the first half of last year — was attributed to the success of singles and albums from Ariana Grande, Billie Eilish, Halsey, Khalid, BTS, Lil Nas X, and Bad Bunny, among other factors.

For example, the report also noted the outsized impact of TikTok and its global audience of 500 million monthly users.

“No emerging app helped break more songs in 2019 than TikTok,” Nielsen said.

It then pointed to various TikTok hits like 2019’s year’s most-consumed on-demand song, Nil Nas X’s “Old Town Road,” which saw 1.3 billion total on-demand streams year-to-date; as well as Ava Max’s “Sweet But Psycho,” which snagged 310 million on-demand streams (YTD); and Joji’s “Slow Dancing in the Dark,” with its 165 million on-demand streams (YTD).

Screen Shot 2019 06 28 at 10.32.29 AM

The report additionally broke down the record 507.7 billion on-demand streams into both on-demand audio streams — like those found on Spotify and Apple Music — and on-demand video streams, found it was the latter that was growing faster.

According to Nielsen data, video streaming grew 39.6% from 124.7 billion streams in the first half of 2018 to 174.2 billion streams in the first half of 2019.

Meanwhile, audio streams only grew 27.8% by comparison, going from 261.0 billion streams in the first half of last year to 333.5 billion streams in the first half of 2019.

Screen Shot 2019 06 28 at 10.23.30 AM

Further analysis by Music Business Worldwide found that, despite the record streaming numbers, annual growth in audio streaming is actually declining. This year’s 27.8% growth in audio streaming from H1 2018 to H1 2019 was a reduction from the 41.5% growth seen from H1 2017 to H1 2018. Or, more simply put, the annual growth in total U.S. audio streaming was over 4 billion streams smaller between the two reports.

Also trending downward are physical album sales (-15.1% to 32.5M); digital album sales (-24.4% to 19.1M); vinyl (-9.6% to 7.7M); and digital track sales (-25.6% to 153.1M).

The report made mention, too, of a few notable moments in music so far in 2019. One key finding, in terms of its relationship to technology companies, was Marshmello’s concert held in Fortnite. Nielsen found the event led to “major gains” in artist’s catalog, with 13,000 equivalent units earned during the debut week of “Marshmello: Fornite Extended Set” — the DJ/producer’s largest sales week to date. His album “Joytime II” in the week following his appearance in Fortnite saw a 316% increase in sales, as well.

The full report, which dives into individual artists and trends, is available here.

The data was calculated from Jan. 4, 2019, through June 20, 2019.

Image credit, top: Billy Ray Cyrus and Lil Nas X perform onstage at the 2019 BET Awards on June 23, 291 in LA, CA. Photo by Kevin Winter/Getty Images

Spotify needs to crack down on labels snatching user data

Spotify seems to have learned little from the Facebook developer platform’s scandals despite getting a huge boost from the social network in its early days. Spotify has been caught allowing record labels to grab tons of unnecessary user data and permissions to even control their accounts just so people can “pre-save” upcoming song releases.

An investigation by Billboard’s Micah Singleton found major label Sony’s app for pre-saving demanded access to users’ email address, what you’ve listened to and saved to your library, playlists you’ve made or subscribed to, artists you follow, and what you’re playing right now. It also asks to be able to take actions on your behalf including change who you follow, add or remove songs from your library, create/edit/follow playlists, and even control Spotify on your devices.

Spotify Pre Save Developer Abuse

An example of Universal Music Group’s pre-save app that asks for unnecessary user data and access permissions

This means that by agreeing to use a pre-save feature, a record label could index you music tastes and determine your current mood for marketing purposes, subscribe you to all of their artists and playlists, force you to create playlists that include their artists or add them to your existing playlists, and delete or unfollow any music or artists represented by their competitors.

Since users often speed through platform app permission screens assuming they’re just asking for what’s required, many likely gave up valuable data about themselves and the ability to manipulate their accounts without fully understanding what was happening. Other major labels like Warner and Universal’s pre-save apps like this one similarly ask for 10 types of permission — most extraneous.

In reality, the only permission a pre-save app should need is to be able to add the song you wanted to pre-save to your library. Anything else is theoretically prohibited by Spotify’s developer policy section 5.2: “You will only request the data you need to operate your Spotify Developer Application.” If you’ve used these apps, you can go into your Spotify account settings here to remove their access.

In a post-Cambridge Analytica world, platforms like Spotify should know better than to let developers run amok without proper oversight. That’s why I was so disappointed when Spotify refused to provide a statement, explanation, or even talk with me about the issue.

Offering a flexible developer platform has plenty of advantages for users. Apps for DJing with streaming music, discovering new bands, or synchronizing playback with friends could be built with rightful and transparent use of Spotify’s APIs. But for something as simple and common as volunteering to have a new song from your favorite band show up in your library on the day it’s released shouldn’t become a lure for an exploitative data grab.

That’s why Spotify should build its own in-house pre-save app that labels could all use to pre-promote their releases. Approved labels and their artists should be able to punch in their upcoming single’s Spotify URL and get a shareable link back that they can distribute through social media or wherever that only grants permission to pre-save that specific song, and that expires once that action is completed.

Spotify vs Apple Music Subsscribers

Spotify is widening its subscriber lead over Apple Music

Otherwise, Spotify risks losing all the goodwill its built up with listeners by being a music-first company compared to competitors like Apple and Google where music is a rounding error. Apple Music provides app developers with less data about users.

Just today Apple Music announced it has 60 million subscribers, lagging increasingly further behind Spotify which now has 100 million subscribers and 217 million total monthly users. Spotify already dominates cultural mind share for streaming, having used the playlists it controls to become a hit-maker and gain leverage over the labels for royalty negotiations. But turning a blind eye to shady developers just because they own the music it streams could make listeners question their loyalty and stray to Apple, which is notoriously serious about privacy.

If Spotify is unwilling to push back on data abuse by its record label partners, then it’s undeserving of users’ ears and subscription dollars.

Videos lead brand creative growth with 3x increase since 2017

As brands pursue audiences online, they are producing more creative content than ever — particularly around Instagram.

In the past twelve months, Brandfolder‘s Brand Index (check out the full Brand Index Report at the end of this article) tracked an 80% increase in videos and other creative material targeted for the platform.

With the Instagram community being a highly engaged group, brands rely on rich, visual content to connect to them. With the proliferation of new Instagram features, like video, Stories, multi-photo carousels, and IGTV, each subset requires its own content, further inflating the need for more brand creative.

The growth in brand creative isn’t just due to audience demands, however. The shelf life of brand assets has fallen as more brands compete with other content (and each other) for user attention.

In 2016-2017, the average asset shelf life was 395 days. From 2017-2018, it was 280 days, with varying lifespans across file type and industry. That’s a 29% decrease in lifespan. Over the next few years, we predict this number will continue to decrease.

data index final pg 10 copy

Check out the full Brandfolder Brand Index Report at the end of this article.

Which means, as brands are becoming increasingly dynamic and getting serious about personalization, the need for brand creative, more frequently, will continue to skyrocket in order to stay current and relevant.

To bring this to life, think about the last professional sports game you watched. You noticed one team on the field was wearing a throwback jersey with an old school logo. At a different game, they were back to wearing their normal jerseys with the most current logo.

Later in the season, however, the team is wearing pink jerseys for Breast Cancer awareness. This is a prime example of a dynamic brand expressing their creativity while adapting to varying circumstances, events, and audiences. All of this necessitates fluid brand creative.

But what exactly is brand creative? In the broadest sense, it refers to the all-encompassing collection of online and offline creative assets that a business uses to represent its brand. When we refer to brand creative, we refer to assets of all types–like videos, social media posts, product photography, lifestyle imagery, sales materials, logos, fonts, 3d renderings, and much more.

At Brandfolder, we are focused on delivering intelligence about our customer’s brand creative. We house and manage millions of creative assets from companies of all sizes–anyone from small-scale mom-and-pop shops to large-scale Fortune 10 companies.

And within this massive creative data set, our data science team extracts actionable insights through asset scoring algorithms, prediction formulas, collections, classification tools, and uniqueness analysis, to name a few.

Through these analyses mentioned above, our data science team created the Brand Index– a collection of high-level brand creative trends that CMOs, brand managers, agency professionals, and designers should use to guide their strategic campaigns and deliverables. It was built on discoveries from tens of thousands of creative assets stored in our digital asset management platform from more than 6,000 brands between 2016-2019.

Some brands house asset counts as low as 60, while others house as many as 38,000 assets or more. Specific information analyzed within the Brand Index includes amounts of assets, file formats, asset orientation, asset shelf life, event-based interactions with assets, and more. This information was then combined with the customer’s industry and anonymized to remove any identifying and brand-specific information.

In the Brand Index, companies can learn things like why and how brands’ digital footprints are growing exponentially. From 2017-2018, total asset count on a by-brand basis skyrocketed by 81%. And, it’s on track to continue climbing.

data index final pg 3 copy

Check out the full Brandfolder Brand Index Report at the end of this article.

A major factor for this digital asset boom could be the increasing demand for rich and personalized media on multiple channels, putting an even greater emphasis on the need for a robust digital asset management platform.

Additionally, as CMOs and design directors are putting more time and effort into their brand creative, the need for understanding which assets perform better, when and where, will continue to rise. Brands are already taking advantage of optimizing their creative content based on rich insights.

Thus, by integrating testing data with a platform that provides asset-specific performance insights, brands will have the competitive edge they need to continue retaining and building equity in the minds of their consumers.

Our findings also show that companies should take note of the shift in file type and how brand creative needs to become increasingly dynamic in order to keep delighting their customers. Rich media files used for engaging and dynamic advertising are on the rise–with video being a key player.

Videos have become the go-to file format supporting a variety of marketing and business goals like sales, retention, upsell opportunities, customer experience, education, thought leadership, and more. JPGs still tend to be a brand favorite, however, gone are the days that these JPGs only live in one place. Asset versatility and responsiveness are critical for the increase of digital channels. Which leads me to my next point: brand identity.

Most brands now have at least four logo orientation and color variations that contribute to consistency and cohesion across their growing portfolio of channels. The brands that are succeeding in the marketplace have animated logos and other engaging asset types that they can switch out on any channel with the snap of a finger.

And as mentioned earlier, if the average shelf life of an asset differs by file type with a current average being 280 days or less, which file formats should brands continue to invest in order to maximize their ROI?

But, what does asset shelf life really mean? Asset shelf life is defined as the number of days between when an asset was created and its latest event date (the last time it was accessed, viewed, downloaded, distributed, etc.). An asset is just like a living, breathing creature. It moves from creation through purpose and finally reaches retirement or its, sometimes timely, archival.

Not all assets are created equal, however. With the creation of AI & ML technologies, brands are getting smarter about their content’s performance. High-performing brands are quicker to remove underperforming content from their arsenal and generate new brand creative to keep things fresh.

And with video on the rise, that also takes a big chunk of change out of marketing and creative budgets. Thankfully, but not ironically, we’re seeing that the asset types that take a larger investment also have longer shelf lives.

Companies should invest in a management solution for more expensive assets to ensure they are generating the maximum reach and profitability throughout their lives.

As brands look to scale their identities and creative asset production, as well as their distribution and delivery strategies, companies should take advantage of the Brandfolder Brand Index in order to ensure they aren’t left behind with the constantly evolving landscape.

Read the full Brandfolder Brand Index below:

 

Spotify-owned Soundtrap adds unlimited storage to the free tier of its recording software

Soundtrap, the music and podcast software maker that Spotify acquired in 2017, is improving its free tier by adding unlimited storage.

Previously, Soundtrap’s free users were limited to storing five projects at a time. In addition to introducing unlimited storage, the company is also more-than-doubling the amount of music available to free users, who now have access to it’s now have access to 2,210 loops and 210 software instruments.

Soundtrap still offers paid subscriptions (starting at $7.99 per month for musicians and $11.99 for podcasters) that include even more loops and instruments, as well as interactive transcript editing.

By adding more features to the free tier, Soundtrap could attract users over from other free products like Audacity, then eventually convert some of those users into paying customers. However, co-founder and general manager Per Emanuelsson said there was a simpler reason for the change.

“The reason we’re doing it is to democratize music-making in general,” Emanuelsson told me. “We hope, obviously, that this will really be perceived … as way to get more people to be creative, who can’t be creative today.”

Soundtrap’s announcement also notes that Spotify improved its free tier last year. When asked whether he was following in the parent company’s footsteps, Emanuelsson said, “It’s more a fact that Spotify changed its free tier in 2018. We’re a strong believer in that type of model.”