Category Archives: Product Development

#SoundCloud app update fails Product Management 101

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The Golden Rule of Product Management is ‘under-promise and over-deliver’ (otherwise known as ‘managing expectations’). If anyone needs a case study on how NOT to release a new app upgrade, SoundCloud is proving to be a rich source of material…..

Background image via SoundCloud - post-production editing by the author

Background image via SoundCloud – post-production editing by the author

Last week, SoundCloud broke the Golden Rule by releasing a new version of its iOS phone app before it was finished. It did so without telling its customers in advance – not even the paying subscribers. Only after a considerable backlash on Twitter and Facebook (and a growing number of 1-star ratings in the iTunes Store) did the company start addressing customer complaints, via a rather anodyne blog. Based upon user comments, this response has failed to placate subscribers. While SoundCloud admitted that the shiny new release was not the final product, it was unable to give any indication when the rollout will be completed.

For the uninitiated*, SoundCloud is to audio what YouTube is to video. It allows customers to upload audio files that can then be shared with and downloaded by the community of users. It is entirely powered by user defined content:

  • content created and uploaded by content creators, and
  • content curated by users (via re-posts, playlists and social media interaction).

Audio content takes the form of:

  • music, mixtapes, podcasts, radio programmes and spoken word contributions.

Social media content takes the form of:

  • likes, feedback comments, and data on the number of plays, likes, downloads, followers and re-posts.

Many content creators are Pro Users, who pay upwards of $70 a year for the privilege. In return, they get a platform for hosting and distributing their content, and access to a global community of listeners. However, unlike other music streaming services such as Spotify and Pandora, SoundCloud does not charge listeners (yet), nor does it carry 3rd party advertising or sponsored content (yet).

Although SoundCloud has been highly successful (thereby contributing to the decline of MySpace?), it faces a range of competitors – from Twitter Music and Bandcamp to Mixcloud and 8tracks (as well as the aforementioned subscription streaming services).

In recent months, there has been some industry speculation about SoundCloud’s next business move, mostly in relation to increased monetization. There has also been some commentary about copyright infringement, a new cookie policy, and access to SoundCloud’s back-end data by major record labels. Leaving aside the usual conspiracy theories (Big Brother is listening in on you), future commercial relationships with major labels could mean that record companies with more marketing budget than talent may be given preferred access to listeners’ accounts and activity, in order to promote the next generation of Lady Gaga wannabes. And this prospect has no doubt contributed to some concerns among the user community, especially content creators that fuel SoundCloud’s platform.

From the start, SoundCloud has done a couple of things really well (in addition to the widgets for embedding sound files in 3rd party websites, and a few other technical tools): first, it has made it easier to discover new music; and second, it has enabled thousands of independent and unknown musicians to get some public exposure. The mobile app has now seriously compromised both of these features, because a lot of the existing functionality has been removed or suppressed pending the ‘full’ release (admittedly, these functions are still supported on the desktop version).

In short, the new app release has created the impression that SoundCloud is focussing on listeners (rather than content creators) and plans to make it much easier for major labels to connect with consumers, thereby squeezing out the independent musicians, producers and labels who have helped to make SoundCloud successful in the first place.

*FOOTNOTE: Declaration of interest – I maintain a Pro User subscription to SoundCloud under my nom de musique.

ACKNOWLEDGMENT: Credit is due to ‘Do Androids Dance?’ (itself a beneficiary of the SoundCloud user community) for continuing to cover this developing story

Oxygen Ventures brings some fresh air to Australia’s #Startup Community

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Last week, Larry Kestelman’s new investment vehicle, Oxygen Ventures gave 5 local startups the opportunity to bid for a share of A$5 million in funding at the inaugural Big Pitch night in Melbourne (#thebigpitchAUS).

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The Judges at the Big Pitch

 

The #Startup Contenders

Drawn from over 300 applicants, the hopeful candidates (in alphabetical order) were:

Bluesky  Shopping portal for leading fashion and lifestyle brands.

ECAL On-line event and brand marketing calendar launched by E-DIARY.

etaskr Enterprise productivity solution that allows employees to ‘bid’ for in-house projects based on their expertise.

KartSim New go-kart game for PCs, from developer Black Delta.

WeTeachMe Booking platform for short-courses and special interest classes.

After each contestant made a short presentation, they were questioned by a panel of judges, comprising CEOs, entrepreneurs, corporate advisers and business development experts from a range of well-known organizations. Most of the questions related to the startups’ revenue projections, funding requirements and growth opportunities – but some were grilled in more detail about their business models and financial performance to date.

How did the participants fare on the night?

The Joint Winners were ECAL and WeTeachMe – with the People’s Choice Award (based on audience votes) going to KartSim.

My sense is that ECAL came out on top (with A$2.5m of funding) on account of their early success in signing up a number of high-profile sporting franchises in the USA and Australia, demonstrating their growth potential – otherwise with 1 million users, but only $440,000 in revenues, you’d have to think the business model would struggle.

WeTeachMe was successful in attracting A$2m in funding because the business model is simple, it falls into the growth category of lifelong learning, and the platform had already achieved significant productivity gains for its commercial clients. Plus it has the potential to scale up and go international.

With KartSim, I admit I have no interest in computer games, but it would seem to me that with a headful of (virtual) Steam behind it, the developers might be better off tapping into crowdfunding opportunities, as the early interest suggests ready and eager buyers out there, enabling a successful commercial launch without giving up any of the equity.

Feedback from the panel on Bluesky suggested that despite offering a ‘one-stop-shop’ for consumers, the margins generated from the sales commission model would be insufficient to cover fulfilment costs (so it would only ever be a transactional purchasing platform); nor would the retailer aggregation model ever be allowed to encroach on brand or retailer loyalty schemes, thereby limiting the options to develop added-value services for customers.

As for etaskr (which I have featured before), it is still one of the few B2B startups that I have seen, which may make it appear less attractive to potential investors, since there seems to be some wariness around anything that is not consumer-focussed, or that does not play in a 2-sided market. Personally, I think this type of productivity tool is just the sort of tech startup that we need as it taps into the technological, organisational and demographic changes facing the modern workplace, and current attitudes towards job structures, collaboration and employee engagement and retention.

Footnote: What is ‘Disruptive’?


Interestingly, one of the Big Pitch sponsors was Uber (current darling of the startup community – if not of taxi drivers) which has been making presentations around town on what it takes to market a disruptive startup.

For me, there are three key attributes to a #disruptive startup:

  • Technology
  • Business model
  • Market engagement

A business like Uber ticks all three boxes – its proprietary technology comes in the form of the algorithms that track things like customer usage and vehicle capacity (not so much the apps which are similar to other peer-to-peer and #sharedeconomy solutions); the business model is rather like a network of city franchises (a common global platform with local autonomy); and the disruptive market entry strategy is designed to by-pass highly regulated industry structures – although Uber also likes to stress that it is working with taxi regulators.

Of the five startups that competed at the Big Pitch, only etaskr brings an element of disruption, because it is using a technology solution to challenge traditional notions of what a job is, and allows companies to tap into in-house resources that they might not otherwise be aware of. KartSim has some proprietary programming, but at the end of the day is just another computer game. WeTeachMe and Bluesky are trying to bring operational efficiencies to disparate markets, but they are both broker-aggregators, and don’t appear to have proprietary technology or unique business models. And ECAL is a neat content management solution to a problem that companies have been aiming to solve in other sectors – such as travel, education and health services – although it is not trying to break the existing market nexus between suppliers and customers.

But full marks to Oxygen Ventures, its partners, sponsors and the participants themselves for bringing a fresh perspective to the startup pitch night experience.

Digital transactions hold the key for Australia Post

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Last week’s news that Australia Post is shedding jobs made unwelcome reading for the 900 unfortunate employees who are affected, and the recent proposal to restructure (combined with the implicit risk to rural postal services) has generated some highly charged media commentary and prompted very passionate customer responses.

My personal view is that Australia Post will have to maintain a commitment to letter delivery as part of its protected monopoly obligations. But a “user pays” model that results in higher charges for a “premium” postal service may fail to offset losses from standard snail mail – because businesses will make greater use of existing document exchange and courier services, and retail customers will prefer to receive their utility bills and bank statements by e-mail or other digital solutions such as mobile apps.

Australia Post faces a dual challenge, quite apart from the decline in its letter business (which is rightly seen as a community service, albeit one that should be able to at least cover its costs). First, although it has diversified with a range of products and services, there is very little cohesion across its individual lines of business, and nearly all of them face strong competition, and/or rely on external service providers. Also, according to one software developer I spoke to several months ago, the sheer number of available services meant that some customer service staff did not have sufficient product knowledge and needed an in-house app to train them on how to up- and cross-sell these products.

Second, although it is trying to get into digital solutions, it seems late to the party (e.g., the MyPost Digital Mailbox, which has taken about 12 months from initial announcement to market launch). A few years ago, when I was working on a standard business identifier solution for the financial services industry, Australia Post was well placed to leverage its in-house knowledge of business customers (location, size, industry, spending patterns, logistics, etc.) and combine it with a unique entity ID to enhance and upgrade its business CRM database. However, it was unable to incorporate third-party data sources that would have resulted in even greater analytics on business customer behaviour, because the legacy data systems were unable to cooperate (and the teams that ran them unwilling to collaborate…).

Australia Post’s anticipated expansion into financial services hasn’t materialised (the current CEO is a former banker). If Australia Post became an Authorised Depository Institute, it could offer on-line banking services in its own right, giving it an alternative funding source (in addition to, or instead of, issuing corporate bonds that are implicitly guaranteed by the government). Or, in conjunction with relevant partners Australia Post could expand its Load&Go pre-paid VISA card to become a universal stored value card (such as Hong Kong’s Octopus system).

Instead, Australia Post is relying on the current boom in online shopping to drive revenue growth from its parcels and logistics operations. To me, this is a short-sighted strategy.

If digital is the key to future growth (especially for a data-rich business that operates in logistics, communications and payment transaction services), Australia Post should be looking to  provide and expand business and consumer solutions in the following areas:

  • Digital document verification, validation and transmission (to help offset the decline in snail mail)
  • Location-based payment solutions (to leverage its geographic and transactional knowledge of business customers, especially retailers)
  • Update the current post code system to provide more granular customer data to businesses and to streamline delivery and location services (e.g., like the UK’s system of house number and postcode – imagine how that would make life easier for taxi drivers!)
  • Develop off-the-shelf productivity tools for SMEs – such as on-line data forms, CRM, CMS, e-commerce (become the IKEA of small business data apps – rather like flat-pack, self-assembly furniture, many businesses might welcome such a service)

Finally, if Australia Post thinks that parcel services will carry them through, consider this: each time I want to send a parcel overseas, the counter staff have to undertake the following steps:

  • weigh the item
  • calculate the postage (using a cumbersome sequence of drop down menus on their terminal screen)
  • capture some ID information (such as my driver’s license)
  • attach the customs declaration form (which I have manually completed) to the parcel
  • print the postage label and attach it to the parcel
  • attach an “ID sighted” label to the parcel
  • attach an “Air Mail” sticker to the parcel

More steps are involved if I want use any sort of tracking, insurance or express delivery service. What if I could complete an address and customs form label, and print it before I leave home (or at a terminal at the post office)? And what if this label had scannable items, such as the destination address, for easier processing at the counter?

 

 

 

Smart Designs: 5 Trends for Digital Products

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There are 5 key themes emerging in new digital products* that are grounded in the analogue world. It seems designers and developers are having to find ways to embrace analogue once more, and integrate it into digital solutions. While not everything old is new again, there are some distinct echoes of the past in many of these new developments.

Eno Hyde - Someday World

#1. Revivalism

Sony is reviving magnetic tape as a data storage medium – prompting some pundits to suggest that cassettes might be making a comeback. (Not if the participants in this video have their way…..) Interesting to note that tape storage is far more energy-efficient than traditional hard drive storage. And last week, Telstra announced the development of a major public Wi-Fi network which sounds like the stuff of the future, but looks back more than 25 years, with the launch of Telepoint services.

#2. Hybridisation

The combination of analogue and digital technologies** is not new (remember the Advanced Photo System and the Digital Compact Cassette from the 1990s?). But modern polymath Brian Eno and his latest musical collaborator Karl Hyde have just put out an iOS app that is designed to interact with the vinyl edition of their new album, “Someday World”. It’s not quite augmented reality, but the app uses that concept to project animated graphics to accompany the music when the user points the iPhone’s camera at the record label.*** This could just be the first example of making the vinyl record a digital artefact!

#3. Simulation

As someone who dabbles in iOS music apps (as well as beta-testing a few in my spare time), I have become used to replicating the analogue experience of old-school analogue synthesizers and drum machines on my iPhone and iPad. This has now been taken a step further with the launch of the iVCS3, an iPad version of one of the first portable analogue synthesizers from the late 1960s (an instrument made famous by The Who and Brian Eno, among others). A notoriously difficult piece of hardware to operate, it is almost the antithesis of digital predictability, yet makes perfect sense in the digital context when simulated via the touch screen interface of the iPad.

#4. Sensorial

Despite some concerns about smart phone biometric security tools, the use of biometrics in banking is a near certainty. Sensory-based smart phone applications and add-on devices in the areas of health (diagnostics), the environment (air quality monitoring) and even cooking (taste tests) will soon be commonplace.

#5. Interconnectivity

The Internet of Things is starting to get interesting (beyond the fridge that can do your grocery shopping), especially when combined with robotics (although this April fool spoof from Sphero was probably a bit too real for comfort….). A couple of physical devices that could find extended use when hooked up to an internet connection are the Auug (featured in the new Apple ads) and the SwatchMate Cube (a winner in the 2013 Melbourne Design Awards). For example, the Auug could be used in remote control or simulation applications, while SwatchMate could be modified to analyse surface materials beyond their colour properties.

NOTES

* I’ve been re-reading “Grounded Innovation: Strategies for Creating Digital Products” by Lars Erik Holmquist which has helped shaped some of my thinking on this topic.

** I thought I may have invented a new word as a possible title for this blog – Digilogue – until I came across this book. (But I took heart from the fact that the author, futurist Anders Sorman-Nilsson, like me also holds an LL.B.)

*** If you install the app and point your iPhone camera at the picture below, it should also have the same result as scanning the record label itself:

WARPLP249-Label