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SoundCloud, a new beginning?
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Since whatshisface the rapper took control, are there any signs/ plans of great things to come?
Also, with reference to the IOS app, what is the deal with ten IAP's all of the same name but different prices?
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So, almost 40 views so far, and no one has any idea as to my questions. Is SoundCloud now a secret society.
The silence IS the answer.
in fact... no ideas. They supposedly secured funding of the thing in some way and now have to work out a plan how to handle the much praised (original conent providing) versus a business model that actually generates revenus.
I once had the pro-version for the fun to know at what location of the world my shit happens to be played occasionally - but on a more tight budget line I ceased it.
So it would seem, Bianca.
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Shit. You'd think that would've been worked out before anyone threw money.
The running byline in any news coverage I've seen the past three years has been some variant of "SoundCloud is about to DIE!"
I've never needed a pro account, been followed by a number of pretty ladies with no songs, and never bothered with the app, as I learned they removed the ability to upload your tracks via their app by the time I rolled along ...
So, yeah, crickets ...
I have no insider information.
I learned they removed the ability to upload your tracks via their app by the time I rolled along ...
Seems like a dead loss.
Yes, I was shocked by the number of lovely young ladies who love white noise overlaid with samples from serial killer interviews. Who knew???!!!
HOT
http://nypost.com/2015/02/08/charles-mansons-fiancee-wanted-to-marry-him-for-his-corpse-source/
I got the pro account so I could upload changes without losing everything, to get the extra minutes, and to get the ability to specify the top five tracks a visitor would see. Not that I'm expecting mass quantities of visits, but I like all that. I have also had random people actually like my stuff, though the number of young babes who apparently find my elderly self irresistable is definitely higher. And I always loved the look of the app, the graph showing the song dynamics.
I'm sure they had some "plan" to make money, but there is also the, "if you let us go down now, all the money you've already invested goes poof." And, "we have millions of eyeballs, that's worth something if we just figure out how sell them." Both of which are true.
Could drop dead any day. Just got to be ready with plan B. I'm too damned lazy to move, and I actually do have, like, 10s of followers, that I would feel TERRIBLE about abandoning.
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I'm also vintage, and played something new to a woman in her mid 20's who is a friend of my other half. The young woman LOVED what she heard, and was excited to hear about a new band....until I told her where it came from. Now she's trying to work out how an old bloke, who isn't trying to be a pop star, could possible do this stuff.
Naturally you told her that for some of us, sheer talent simply oozes out the pores. Unstoppable, actually.
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I did say that there are a number of us doing our thing, and one day the grey army will rise...which she misheard as gay army, to much amusement.
I thought this CDM article about the SoundCloud reorganization was informative.
You ALL get beautiful women following you on SoundCloud?!
I thought I was special
Alihoopa?
You Too?
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Yes, and from that article -
"SoundCloud’s Pro and Pro Unlimited subscription services provide insights into which tracks are most popular and where. The Pro service, which costs $7 a month, provides basic stats such as play counts and likes, see plays by country, turn on or off public comments and upload up to six hours of audio. The Unlimited offering, for a $15 monthly fee, lifts the cap on the amount of music that can be uploaded and provides more specific analytics."
So the new model would seem to be about fleecing creators for as much as possible. What use is 'specific analytics' if there is no team, no mechanism and no plan to promote new music? Basically, people join, have the platform for their music, and yet are on their own.
So this is no different to Amazon's 'CreateSpace' publishing arm, which allows writers to produce and sell Kindle and PoD paperbacks. Both can be of a high standard, but many are not. Amazon do offer professional proofreading, but the costs of this are extortionate, well beyond most customers, and still offer zero promo.
I don't understand the need to characterize something as fleecing when a company describes the differences between the services they offer. SoundCloud offers you some thing you want for the price or it does not. Fleecing has a deceptive connotation to it which I don't see here.
I think it would still be useful to read the article as there's a lot more specific information on the experience of the new people in the company. The POD service doesn't really seem similar to me as a significant aspect of a service like SoundCloud is connecting creators with their audience. It definitely remains to be seen how effective SoundCloud can be for musicians now or how their services will evolve. The YouTube versus Vimeo discussion is interesting to me as well as the idea of creating a service that is more sustainable rather than relying upon successive waves of venture capitol funding based upon speculation.
There's a void between DIY marketing and getting signed by a label who markets for you. While there are some similarities with writers and publishers, the live performance aspect of music seems to separate musicians from writers who generally do not make their living from readings.
I do think the distribution of both books and recordings has been radically changed due to the internet and digital distribution versus retail outlets which have rapidly shrunk over the last 20 years. Unsigned musicians have the challenge of how they separate themselves from the rest of the musicians on the internet who can vary widely in the type and quality of their music as well as how they draw attention to themselves.
The deception is in getting people to believe there is some kind of advantage to bring on SoundCloud. That buying a 'Pro' package somehow gains you the kind of tools and media machine available to signed acts.
When all it really does is allow you to place your music on the Net, with zero serious promo from SoundCloud and AFAIK nobody even looking/ listening to artists from an A&R perspective, with a view to offering such acts some kind of promo deal.
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Yes. A situation which the new SoundCloud does nothing to change. It's all down to the individual, and luck. Someone promoting themselves via YouTube has the same chance in a million of getting spotted, and without paying anyone a fee! I would not necessarily be against paying a reasonable fee to SoundCloud, or someone else, if I believed they would actually do anything remotely useful to promote my work and had commitment.
I have extensive experience with Amazon CreateSpace publishing, as a cover designer and producing books for clients. Many of the titles I worked onare re-publications from a former internationally best-selling author of both fiction and non-fiction on both sides of the Atlantic. Basically, when he fell out with traditional publishing, copyright reverted back to him, and he uses PoD/ Kindle to stay in print. Even with a 'name' and quite a following, he doesn't make that much. On the plus side he is in total control of what is published and how it is presented. As is anyone going down this rabbit hole. But, and vitally, without the vast machine of a big publishing house behind you, it is virtually impossible to gain enough momentum to have a significant success. Amazon does absolutely nothing for the majority of CreateSpace clients, and the ludicrous US tax laws they require foreigners to sign up for make the chances of earning even a modest living unlikely.
CreateSpace and SoundCloud are designed to entice creatives, with a view to charging them for services, and taking a large chunk of any sales. The model is not friendly to individuals. Lulu is much better in that respect, but lacks the profile. It's such a shame, as there is great talent out there, for written works and for music of all types. But those with the power to help locate, promote and develop this talent do not want to know. Instead, they trade in hope.
Soundcloud is a vanity platform - it makes most of its money from people like me who will never get a record deal, sell anything or do anything of interest to publishers, but who make stuff they want to share with others.
Basically there's a lot more people making music these days, and fewer people buying it. Same with a lot of creative persuits - I used to be able to sell my paintings via a big range of local galleries. Now they want to 'represent' certain artists, and then limit the number of other galleries they use. They charge more comission than they used to, and get away with it because there are more people doing it. Another development has been 'open exhibitions', where you pay a fee (non-retunrable) to have your work asessed for inclusion in an exhibition.
It's all bollocks.
I enjoy making music and painting my pictures, but there's no money in it these days, and the vultures are circling ready to make money out of my ambitions.
What a great post, MonzoPro. You have it exactly right.
I also produce artwork, and have had a few sales via one local gallery. The others only wanted the same old same old. But I only made a modest living from cover design, etc. No big deal. So now, just the same as you, I enjoy my creative pursuits and hope others like it too, but don't expect a miracle.
@Zen210507 @MonzoPro I'd agree SoundCloud has done nothing to distinguish itself so far in terms of creating opportunities for musicians that I'm aware of versus other services. The new changes at SoundCloud are very recent so it'll be interesting to see where things are at in a year. My prediction would be that they won't be able to offer significant tangible benefits to musicians.
I guess I give people more credit for having some common sense in terms of being realistic about what SoundCloud can do for them. Relative to vanity publishers, the cost of giving SoundCloud a go is relatively low.
I would also agree there is a general devaluation of creative work across the board including public support for the arts and businesses that try to squeeze artists for profit. I don't think it's accurate to blame a service like SoundCloud for this, they're certainly trying to turn it into a business opportunity though it seems to me you're both exaggerating the investment and tactics used by SoundCloud to convince musicians to purchase their services.
While you're both very skeptical, I think other musicians will also be very skeptical especially since SoundCloud has been very inconsistent about their direction and goals the last couple of years which is sufficient reason to consider other alternatives unless and until SoundCloud produces results.
If people have delusions about the marketability of their music, I'm confident they can easily connect with significantly more unethical organizations willing to take their money than SoundCloud whose biggest mistake IMHO was to chase venture capitol rather than focus on their product. If anybody's been ripped off and been deceived by SoundCloud, it'd be their financial investors rather than musicians who weren't that gullible. Given the well publicized high risk and volatility of dot com startups, their investors had ample opportunity to evaluate the risks they were taking so I don't feel sorry for them.
Yes, that is a fair appraisal. The likes of CreateSpace not only charges via sales, but to actually produce a paperback as good as anything in a book store is quite a task. Few people have ALL the skills required, and even hiring independents like me who try to give a good deal, still adds up. SoundCloud, in comparison, is a much smaller investment.
I haven't exaggerated anything, just giving my opinion on who they (try to) target to make their cash. I've never paid them anything for hosting my rubbish, so I'm a fan - I just don't expect anything to come from it, aside from making a few connections with like-minded souls. I'd assume Bandcamp was a beter investment, though I've never really used it.
I've just had a look at my daughter's SC account - one of her songs has had over 3 million plays, and she hasn't made a penny from it. In contrast her agent has managed to get one of her tracks played on a famous brand's Labor Day TV advert, and those 20 seconds will probably make her more money than I will in a year.
Soundcloud works best for people like me - who like making music as a hobby, need some sort of outlet for the results. They ruined it by removing Groups, as that was a great way to discover new music, but it's better than nothing.
I totally agree. Over the years, I've encountered many writers who are very out of touch with the quality of their work and what it takes to get their work published let alone earn any sort of living from it.
In many respects, writers have a tougher time generating any income in less popular sorts of writing such as poetry where even poets who appear in top journals and have published books can not earn any significant income from their published works. By and large the poets who earn a living through poetry are academics who earn their money through academic salaries not book advances or royalties. Shrinking readership doesn't help.
Hiring people such as yourself to help guide, edit and polish their work to achieve the level of quality needed to compete is definitely a good investment for writers who are serious about their work even if the chances of market success are uphill.
Your way of expressing your opinion is 100% valid. I think it's fair to say that I express myself with relatively little emotion here so my perception of exaggeration could very easily be attributed to how I express myself versus how you do so that could be my own distorted expectations rather than any objective insight on my part.
I think sharing your daughter's experience with SoundCloud versus the agent is the most compelling information I've read about why SoundCloud isn't effective.
Your use case of SoundCloud parallels my own although I'd say the quality of my output is so low that I make zero effort to publicize it.
If SoundCloud does ever reintroduce groups, I'd get the first tier account and put more effort into what I post to feel okay with associating with people who create and enjoy music similar to mine rather than trying to put any effort into convincing the non-believers.
I think if someone is serious about getting their music published, then they should consider Soundcloud as part of a package deal - along with Facebook, Bandcamp, Twitter followers etc. Having a ready-made following can make an artist more attractive, as it'll save their PR some leg-work.
Ultimately the main reason my daughter was signed though was due to relentless leg-work, doing any gig she could get on the bill with, and networking in person. But 3 million hits on Soundcloud (before she was signed) for one track certainly didn't hold her back. Having a bit of talent helps too.
That makes sense. I'm sure her music had to be of exceptional quality as well to develop such a following. It's great she had the work ethic and self confidence to follow through. I can really respect that.