Author: azeeadmin

22 Feb 2021

Spotify to test paid podcast subscriptions this spring via new Anchor feature

During its live-streamed event today, Spotify officially confirmed its plans to launch paid podcast subscriptions on its platform. As a first step, the company will this spring begin beta testing a new feature in its Anchor podcast creation tool that will allow U.S. creators to publish paid podcast content aimed at their “most dedicated fans.” It also opened up signups for this and other new features, starting today.

Spotify had hinted at its plans for paid podcast content during its fourth-quarter earnings call earlier this month, when it said it was exploring ideas like paid podcast subscriptions and à la carte payments. But it didn’t detail when these new options would go live or how they would work.

At its online event today, Spotify more formally announced its plans to enter the market of paid podcasts, initially with a new service that would allow Anchor creators the ability to offer paid podcast subscriptions supported by their listeners.

This sort of idea is not new, to be clear. Already, some podcasters offer paid access to bonus material — for example, through a service like Stitcher Premium, which promises both an ad-free experience and bonus episodes. Some creators may even independently offer paid feeds through their own platforms.

But until now, a similar option was not available to Spotify creators.

Anchor co-founder Michael Mignano said the company believes paid bonus material can work well as a means of podcast monetization, in addition to ads.

Image Credits: Spotify

“We have found that, through our research, it seems to work especially well for creators who have really engaged and dedicated audiences — regardless of the audience size,” he told TechCrunch in an interview following Spotify’s event. “We’ve also found that podcast listeners do tend to be open to financially supporting the shows they love,” he added.

The company was hesitant to detail some of the specifics of how paid subscriptions would work at launch, but did say that the model would involve a revenue share between creators and Anchor, where creators keep the majority of the earnings. Anchor will also allow creators to determine what price to charge their listeners for the paid experience and what that experience would include — like bonus episodes or interviews, or even ad-free content, if they prefer.

It will then use its understanding of what creators actually do with paid subscriptions to inform its product product launch and its “best practices” recommendations in the future.

We also understand the offering will be limited to those who use Anchor to record and publish across podcast platforms. However, it will more immediately benefit creators with a strong Spotify presence and a loyal listenership.

But Mignano points out that creators may be able to grow their paid subscriber base thanks to Spotify’s tools for podcast discovery.

“The problem is the system for doing this type of paid subscription so far in podcasts has been really disjointed,” he explained. “It hasn’t been a really seamless experience for the listener, and it hasn’t really been a great experience for the creator. We feel like that’s really held this model back and hindered creators’ reach and ability to gain paid subscribers,” he said.

Image Credits: Spotify/Anchor

In other words, users may be open to the idea of paid bonus material, but they don’t necessarily want to switch between apps to gain access, nor do they want to figure out how to get paid RSS feeds into some third-party podcast listening app.

Spotify, meanwhile, will try to make discovery easier. It will highlight the paid content alongside the free material on the podcast’s main page, for example. Plus, in the same way that Spotify today helps users discover new podcasts they may like to try, it will also point to paid subscription-based podcasts in the future as the new model rolls out further.

Anchor says it will initially open up the beta test in the U.S. to a small number of creators, but aims to expand access to more creators as soon as reasonably possible. The test, for the time being, will only focus on paid subscriptions, but Mignano told us the company may explore the à la carte model in the future.

Paid podcasts were only one of several new features Anchor announced today at the Spotify event.

The company also announced the launch of a WordPress partnership that makes it easier for bloggers to turn their posts into posts, either by reading the blog posts themselves or leveraging third-party text-to-speech technology Anchor provides.

Anchor will also expand beta testing of video podcasts, which so far have been tested by only a handful of creators, including Higher Learning from The Ringer.

And it will begin beta testing new, interactive features, like polls and Q&A, with a small number of creators in the months ahead.

These features could potentially overlap with paid subscriptions. For example, some podcast creators may choose to make their videos a paid feature, or perhaps other interactive features. It remains to be seen how they’re put to use.

But more broadly, features like polls and Q&As could help Spotify better differentiate an interactive podcast from a live audio program, like those popularized by the buzzy new app Clubhouse. The advantage of the latter is that it allows for audience participation in the “show,” rather than being a one-way street where hosts control the experience. But on the flip side, Clubhouse rooms can also have folks who drone on and on, or they can become boring, when not carefully managed.

Anchor says it doesn’t intend to charge creators for access to its tools, beyond taking a rev share on subscriptions.

“I think our vision with Anchor and Spotify has always been to really empower creators. In the Anchor suite of tools, we’ve never charged creators for any features because we believe that charging creators can often represent friction that stands in the way of them trying to actually make something and getting it out into the world,” Mignano said. “We want to enable creators to do whatever they want, as far as expressing themselves through these new tools,” he added.

 

22 Feb 2021

Jamaica’s Amber Group fixes second JamCOVID security lapse

Amber Group has fixed a second security lapse that exposed private keys and passwords for the government’s JamCOVID app and website.

A security researcher told TechCrunch on Sunday that the Amber Group left a file on the JamCOVID website by mistake, which contained passwords that would have granted access to the backend systems, storage, and databases running the JamCOVID site and app. The researcher asked not to be named for fears of legal repercussions from the Jamaican government.

This file, known as an environment variables (.env) file, is often used to store private keys and passwords for third-party services that are necessary for cloud applications to run. But these files are sometimes inadvertently exposed or uploaded by mistake, but can be abused to gain access to data or services that the cloud application relies on if found by a malicious actor.

The exposed environmental variables file was found in an open directory on the JamCOVID website. Although the JamCOVID domain appears to be on the Ministry of Health’s website, Amber Group controls and maintains the JamCOVID dashboard, app, and website.

The exposed file contained secret credentials for the Amazon Web Services databases and storage servers for JamCOVID. The file also contained a username and password to the SMS gateway used by JamCOVID to send text messages, and credentials for its email-sending server. (TechCrunch did not test or use any of the passwords or keys as doing so would be unlawful.)

A portion of the exposed credentials found on the JamCOVID website, controlled and maintained by Amber Group. (Image: TechCrunch)

TechCrunch contacted Amber Group’s chief executive Dushyant Savadia to alert the company to the security lapse, who pulled the exposed file offline a short time later. We also asked Savadia, who did not comment, to revoke and replace the keys.

Matthew Samuda, a minister in Jamaica’s Ministry of National Security, did not respond to a request for comment or our questions — including if the Jamaican government plans to continue its contract or relationship with Amber Group, and what — if any — security requirements were agreed upon by both the Amber Group and the Jamaican government for the JamCOVID app and website?

Details of the exposure comes just days after Escala 24×7, a cybersecurity firm based in the Caribbean, claimed that it had found no vulnerabilities in the JamCOVID service following the initial security lapse.

Escala’s chief executive Alejandro Planas declined to say if his company was aware of the second security lapse prior to its comments last week, saying only that his company was under a non-disclosure agreement and “is not able to provide any additional information.”

This latest security incident comes less than a week after Amber Group secured a passwordless cloud server hosting immigration records and negative COVID-19 test results for hundreds of thousands of travelers who visited the island over the past year. Travelers visiting the island are required to upload their COVID-19 test results in order to obtain a travel authorization before their flights. Many of the victims whose information was exposed on the server are Americans.

One news report recently quoted Amber’s Savadia as saying that the company developed JamCOVID19 “within three days.”

Neither the Amber Group nor the Jamaican government have commented to TechCrunch, but Samada told local radio that it has launched a criminal investigation into the security lapse.


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22 Feb 2021

Jamaica’s Amber Group fixes second JamCOVID security lapse

Amber Group has fixed a second security lapse that exposed private keys and passwords for the government’s JamCOVID app and website.

A security researcher told TechCrunch on Sunday that the Amber Group left a file on the JamCOVID website by mistake, which contained passwords that would have granted access to the backend systems, storage, and databases running the JamCOVID site and app. The researcher asked not to be named for fears of legal repercussions from the Jamaican government.

This file, known as an environment variables (.env) file, is often used to store private keys and passwords for third-party services that are necessary for cloud applications to run. But these files are sometimes inadvertently exposed or uploaded by mistake, but can be abused to gain access to data or services that the cloud application relies on if found by a malicious actor.

The exposed environmental variables file was found in an open directory on the JamCOVID website. Although the JamCOVID domain appears to be on the Ministry of Health’s website, Amber Group controls and maintains the JamCOVID dashboard, app, and website.

The exposed file contained secret credentials for the Amazon Web Services databases and storage servers for JamCOVID. The file also contained a username and password to the SMS gateway used by JamCOVID to send text messages, and credentials for its email-sending server. (TechCrunch did not test or use any of the passwords or keys as doing so would be unlawful.)

A portion of the exposed credentials found on the JamCOVID website, controlled and maintained by Amber Group. (Image: TechCrunch)

TechCrunch contacted Amber Group’s chief executive Dushyant Savadia to alert the company to the security lapse, who pulled the exposed file offline a short time later. We also asked Savadia, who did not comment, to revoke and replace the keys.

Matthew Samuda, a minister in Jamaica’s Ministry of National Security, did not respond to a request for comment or our questions — including if the Jamaican government plans to continue its contract or relationship with Amber Group, and what — if any — security requirements were agreed upon by both the Amber Group and the Jamaican government for the JamCOVID app and website?

Details of the exposure comes just days after Escala 24×7, a cybersecurity firm based in the Caribbean, claimed that it had found no vulnerabilities in the JamCOVID service following the initial security lapse.

Escala’s chief executive Alejandro Planas declined to say if his company was aware of the second security lapse prior to its comments last week, saying only that his company was under a non-disclosure agreement and “is not able to provide any additional information.”

This latest security incident comes less than a week after Amber Group secured a passwordless cloud server hosting immigration records and negative COVID-19 test results for hundreds of thousands of travelers who visited the island over the past year. Travelers visiting the island are required to upload their COVID-19 test results in order to obtain a travel authorization before their flights. Many of the victims whose information was exposed on the server are Americans.

One news report recently quoted Amber’s Savadia as saying that the company developed JamCOVID19 “within three days.”

Neither the Amber Group nor the Jamaican government have commented to TechCrunch, but Samada told local radio that it has launched a criminal investigation into the security lapse.


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22 Feb 2021

EquityBee raises $20M to help startup employees actually afford their stock options

EquityBee, a stock option marketplace startup, has raised $20 million in a Series A round of funding.

Group 11 led the financing, which also included participation from Oren Zeev Ventures, Battery Ventures and ICON Continuity Fund. It brings the company’s total raised to over $28 million since its 2018 inception.

EquityBee CEO and co-founder Oren Barzilai says his company’s mission is to help educate startup employees on the meaning of their stock options, as well as provide them with funds to be able to purchase them.

“I have seen many of my friends and colleagues negotiate a $500 salary increase, but completely disregard their stock options package, from lack of knowledge due to the whole field of startup stock options being opaque,” said Barzilai, who founded Tapingo, which was acquired by Grubhub in 2018 for $150 million. “As a founder I saw my team members who helped build the company not take part in our success because they left prematurely and didn’t exercise their stock options.”

The way it works is fairly straightforward. EquityBee provides capital to startup employees so they can purchase stock options. The employees get money to cover the cost of exercising their stock options and the taxes. The investors who helped provide the funding so they could do that get a return, or a share of the profit, if there’s “a liquidity event.” EquityBee makes money by charging an upfront fee from the investor on the investment day, as well as any carried interest upon a successful exit or IPO.

Barzilai said that many employees don’t realize they have about 90 days to exercise options before they expire once they leave a company. And even if they do, they may not always have the money to exercise them. That’s where EquityBee wants to help.

The company was originally founded in Israel before launching in the U.S. market, and moved its headquarters to Silicon Valley in February 2020. Since then, it’s funded employees from “hundreds” of companies, including Airbnb, Palantir, DoorDash and Unity, with capital provided by family offices, funds and high-net individuals. Its investor community is made up of 8,000 funds, family offices and high-net worth individuals.

2020 was a good year for EquityBee, according to Barzilai, who says it grew by more than 560% the amount of money it raised to fund employee stock options. It also saw a 360% increase in the number of individual employees funded through its platform.

Looking ahead, the 33-person company plans to use the money toward hiring and expanding product offerings.

Dovi Frances, founding partner of Group 11, said it doubled down on EquityBee after backing the company in its $6.6 million funding round in February 2020 because it’s impressed by what it described as the company’s “perfect product market fit” and triple-digit growth.

WeWork co-founder Adam Neumann led the company’s $1.5 million seed round in September of 2018.

22 Feb 2021

Watch Perseverance’s harrowing descent to the surface of Mars

NASA has released video taken by the Perseverance landing module and rover showing the famous “seven minutes of terror” in a bracing first-person perspective. The images sent back Friday were just a teaser — this is the full experience, and the first video of a Mars landing ever captured.

A full description of the rover’s descent and mission can be found here, but briefly stated here’s what happened:

After decelerating in the atmosphere interplanetary velocity, the heat shield is jettisoned and the parachute deployed. Beneath the heat shield are a number of cameras and instruments, which scanned the landscape to find a good landing spot. At a certain altitude and speed the parachute is detached and the “jetpack” lower stage takes over, using rockets to maneuver towards the landing area. At about 70 feet above the surface the “skycrane” dangles the rover itself out of the lander and softly plops it down on the ground before the jetpack flies off to crash at a safe distance.

Diagram showing the various parts of the Perseverance landing process

Image Credits: NASA/JPL-Caltech

The whole process takes about seven minutes, the last few seconds of which which are an especially white-knuckle ride.

While previous rovers sent back lots of telemetry and some imagery, this level of visual documentation is a first. Even Insight, launched in 2018, wasn’t able to send back this kind of footage.

“This is the first time we’ve actually been able to capture an event like the landing of a spacecraft on Mars,” said Mike Watkins, head of JPL, at a press conference. “These are really amazing videos, we all binge watched them over the weekend if you can call a one minute video binge watching. We will learn something by looking at the performance of the vehicle in these videos but a lot of it is also to bring you along on our journey.”

The team discussed the entry, descent, and landing camera system or EDL cams, which were made both to monitor how the process went and to provide the visceral experience that the whole team craved.

“I don’t know about you, but it is unlikely at this point in my career that I will pilot a spacecraft down to the surface of Mars,” said Matt Wallace, deputy project manager of Perseverance at JPL. “But when you see this imagery I think you will feel like you are getting a glimpse into what it would be like to land successfully in Jezero crater with perseverance.”

This image of the heat shield falling away feels iconic already – revealing the desert landscape of Mars as it goes:

Animated image of Perseverance jettisoning its heat shield as it descends toward Mars.

Image Credits: NASA/JPL-Caltech

You can see the whole thing below:

Over 30 gigabytes of imagery were captured of the descent even though one of the cameras failed when the parachute deployed.

Practically every frame of the video offers new information about the process of landing on Mars — for instance, one of the springs used to eject the heat shield can be seen to have disconnected, though it didn’t affect the process. All the footage has been and no doubt will continue to be scrutinized for other insights.

In addition to these amazing landing videos, Perseverance has sent back a number of full-color images taken by its navigation cameras, though not all of its systems are up and running yet. The team stitched together the first images of Perseverance inspecting itself and its surroundings to form this panorama:

Panoramic image of the Martian landscape and Perseverance rover.

Image Credits: NASA/JPL-Caltech

We’ll have many, many more images soon as the team processes and uploads them.

As a parting “gift,” the team provided the remarkable first sound recording from the surface of Mars; they hoped that this would both provide new insights and also let anyone who can’t see the images experience the landing in a different way.

The EDL system included a microphone to capture the sound of the landing, but sadly didn’t work during the descent. It is, however, working perfectly well on the surface and has now captured the ambience of the Red Planet — and while the sound of a gust of wind may not be particularly alien, it’s incredible to think that this truly is wind blowing across another world.

22 Feb 2021

Spotify to expand international footprint across 85 new markets

Over the next few days, Spotify will be launching its service in 85 new markets, and will also roll out 36 new languages on the platform. The news was announced at its online event, “Stream On” today.

The expansion includes markets across Africa, Asia, Europe, Latin America and the Caribbean. Combined, these markets include more than a billion people. With these launches, Spotify says “sounds and stories that once remained local will have access to a global audience of fans across nearly 180 markets.” And as part of its ongoing commitment to building a truly borderless audio ecosystem— connecting creators, listeners, and content — this move represents the company’s broadest market expansion to date.

 “Having more listeners on our platform creates more opportunities for artists and podcasters to make a living from their work. And more creators means more audio content for our users to discover,” said Alex Norström, Spotify chief freemium business officer. “This creates an essential flywheel between creators and listeners that is the foundation of our business — and in the end, it is what will propel the audio industry forward.”

According to the company, it will be working closely with local creators and partners in each market to deliver a tailored experience that meets their unique needs, with scaled language translations and specialized payment formats. In addition, Spotify’s expansion will likely accelerate the discovery of more genres like Afrobeats, Amapiano, K-Pop, Reggaeton, and Amapiano that have earned a place in the global music scene.

“The existing rich music cultures in each of these markets will now be able to reach Spotify’s global audience. All this untapped music energy and access to our innovative creator tools will help propel artists to new heights and empower them to turn their passion into a profession,” an excerpt in the company’s statement read. 

Working with local creators and partners, here’s a holistic approach to how Spotify plans to roll out its music offerings in each region.

First off, its free and premium plans will be available across all the markets. It will also offer individual, family, duo, and student plan options but in select markets which Spotify doesn’t specify. Also in each of these new markets, Spotify will offer its full global catalog. The company adds that it will continuously work with local rights holders and partners to expand its catalog to include more local offerings globally.

Full podcast catalogs of the global streaming giant will be launched in the majority of these markets. For the other markets,  Spotify will work closely with local partners to introduce more podcasts from its catalog, as well as Spotify’s proprietary creator platform, Anchor.

Other offerings include providing a personalized experience to users through its home screen, and browse and search features. Upon launch in these markets, Spotify will be available on mobile and desktop web players while the company works with local partners to introduce Spotify on more platforms, including TV, speakers, wearables, and cars in the coming months.

The new markets include Angola, Antigua and Barbuda, Armenia, Azerbaijan, Bahamas, Bangladesh, Barbados, Belize, Benin, Bhutan, Botswana, Brunei Darussalam, Burkina Faso, Burundi, Cabo Verde, Cambodia, Cameroon, Chad, Comoros, Côte d’Ivoire, Curaçao, Djibouti, Dominica, Equatorial Guinea, Eswatini, Fiji, Gabon, Gambia, Georgia, Ghana, Grenada, Guinea, Guinea-Bissau, Guyana, Haiti, Jamaica, Kenya, Kiribati, Kyrgyzstan, Lao People’s Democratic Republic, Lesotho, Liberia, Macau, Madagascar, Malawi, Maldives, Mali, Marshall Islands, Mauritania, Mauritius, Micronesia, Mongolia, Mozambique, Namibia, Nauru, Nepal, Niger, Nigeria, Pakistan, Palau, Papua New Guinea, Rwanda, Samoa, San Marino, Sao Tome and Principe, Senegal, Seychelles, Sierra Leone, Solomon Islands, Sri Lanka, St. Kitts and Nevis, St. Lucia, St. Vincent and the Grenadines, Suriname, Tanzania, Timor-Leste, Togo, Tonga, Trinidad and Tobago, Tuvalu, Uganda, Uzbekistan, Vanuatu, Zambia, and Zimbabwe.

The expansion news follows a thread of announcements Spotify made today where it also rolled out Spotify HiFi in select global markets and launched a new tool “Discovery Mode” in beta.

22 Feb 2021

Spotify to launch Spotify Audience Network, an audio ad marketplace

Spotify provided more details today about how it plans to monetize its investments in podcasts. The company said it’s launching a new audio advertising marketplace, the Spotify Audience Network, which will allow advertisers to reach listeners across Spotify’s own Originals and Exclusives, as well as podcasts via Megaphone and creation tool Anchor, and its ad-supported music, all in one place. The company also said it plans to offer podcasts on its self-serve ad platform, Spotify Ad Studio, starting with Spotify Originals and Exclusives in the U.S., in a beta test phase.

This will expand to include third-party podcasts in the future, the company noted today during its live online event, “Stream On.”

Currently, Spotify Ad Studio is being used by advertisers across 22 markets following its 2017 launch, to reach Spotify music listeners with both audio and video advertisements. Spotify said the service is its fastest-growing buying channel, but didn’t provide specific figures to detail that growth.

Image Credits: Spotify

However, the larger news on the advertising side was the launch of the new audio ad marketplace, Spotify Audience Network. Similar to some of its other forward-looking announcements today, Spotify was light on details about how exactly Spotify Audience Network would work — saying only that it’s in the “early stages of developing the offering,” and it expects to be able to share more at a later date.

However, the company positioned the marketplace as a “game changer,” particularly for podcasters looking to make money from ads, as well as for advertisers who want to reach Spotify’s audience of hundreds and millions, both on and off Spotify.

This news follows an investigative report by The Verge earlier this year which found Spotify was the main sponsor for Anchor advertising to date — despite its promises to find sponsors for smaller podcasters. It now appears Spotify has been in the process of building out its ad marketplace and tooling to make good on those promises, and may not have prioritized advertiser outreach in the meantime.

Image Credits: Spotify

Spotify today also spoke about how its recent acquisition of Megaphone would allow it to scale its Streaming Ad Insertion (SAI) technology, launched in early 2020, to publishers beyond its own Originals and Exclusives audio programs. Today, SAI is available in the U.S., Canada, Germany, and the U.K., and will expand to other new markets in 2021.

Since its debut, SAI has been rolling out new features like audience-based buying, native ad placements, and reporting on creative performance. Later this year, Spotify says it will make SAI available to Megaphone podcast publishers and “leading” Anchor creators.

But Anchor creators won’t be limited to advertising to grow revenues.

Spotify also briefly noted it will, in a few months, begin beta testing a new feature that will allow Anchor creators to publish paid podcast content to Spotify aimed at their most dedicated fans, as TechCrunch previously reported.

 

22 Feb 2021

Spotify announces beta launch of audience development tool for artists, self-serve ‘Marquee’ ads

As part of its news announced at its live event today, Spotify announced a set of new creator tools and resources, including the expansion of Marquee, the launch of a tool called “Discovery Mode” into beta testing, the opening of the Canvas looping visual feature to all artists, and its plans to expand its Spotify for Artists platform to be available in 25 additional languages.

Marquee, launched in 2020, is a tool that allows artists and their teams to promote their new releases through full-screen, sponsored recommendations to both free and paid subscribers. Spotify says that users who see a Marquee pop-up are twice as likely to save the music.

Now, Marquee will be available as a self-serve buying experience for artists, allowing their teams to book campaigns at any time, as easily as they update their artist profile.

This self-serve feature will launch in the U.S., and this summer will expand outside North America, to the U.K. Ireland, Australia and New Zealand, before rolling out more broadly.

Spotify is also launching a beta of its audience development tool, Discovery Mode, a feature that lets artist teams select the music they want to prioritize for discovery, including through Spotify’s recommendations. During its pilot testing, this feature helped labels achieve higher royalty payments through the expanded discovery, the company claimed.

It will also require zero upfront budget to get started.

Finally, Canvas, the artwork feature that shows looping visuals as the music plays, will also now be available to all artists.

spotify canvas

Image Credits: Spotify

Along with the news of Spotify’s global expansion to 85 new markets, Spotify’s dashboard for artists will also expand to include support for 25 more languages.

“From providing new ways for artists to express themselves, to creating more chances to be discovered, to giving artists the ability to pitch their music for playlist consideration, we continue to iterate based on artist feedback, building new ways to surface artists to new fans,” said Spotify’s Head of Marketplace, Charlie Hellman, about the expansions. “We’re seeing greater adoption of our tools by artists and labels of all sizes, and we’ve just scratched the surface of what’s to come,” he added.

 

22 Feb 2021

LA’s Splice gets $55 million for its software bringing beats from bedrooms to bandstands

Splice, the LA-based, AI-infused, beat-making software service for music producers created by the founder of GroupMe, has managed to sample another $55 million in financing from investors for its wildly popular service.

The github for music producers ranging from Hook N SlingMr Hudson, SLY, and Steve Solomon to TechCrunch’s own Megan Rose Dickey, Splice gained a following for its ability to help electronic dance music creators save, share, collaborate and remix music.

The company’s popularity has made it from bedroom djs to the Goldman Sachs boardroom as the financial services giant joined MUSIC, a joint venture between the music executive Matt Pincus and boutique financial services firm, Liontree, in leading the company’s latest $55 million round.  The company’s previous investors include USV, True Ventures, DFJ Growth, and Flybridge.

“The music creation process is going through a digital transformation. Artists are flocking to solutions that offer a user-friendly, collaborative, and affordable platform for music creation,” said Stephen Kerns, a VP with Goldman Sachs’ GS Growth, in a statement. “With 4 million users, Splice is at the forefront of this transformation and is beloved by the creator community. We’re thrilled to be partnering with Steve Martocci and his team at Splice.”

Splice’s financing follows an incredibly acquisitive 2020 for the company, which saw it acquiring music technology companies Audiaire and Superpowered.

In addition to the financing, Splice also nabbed Kakul Srivastava, the vice president of Adobe Creative Cloud Experience and Engagement as a director for its board.

The funding news comes on the heels of Splice’s recent acquisitions of music-tech companies Audiaire and Superpowered, creating more ways to improve and inspire the audio and music-making process. Splice is also pleased to announce that Kakul Srivastava has joined the company’s board.

Steve Martocci at TechCrunch Disrupt in 2016. Image Credits: Getty Images

Splice’s beefed up balance sheet comes as new entrants have started vying for a slice of Splice’s music-making market. These are companies like hardware maker Native Instruments, which launched the Sounds.com marketplace last year, and there’s also Arcade by Output that’s pitching a similar service. 

Meanwhile Splice continues to invest in new technology to make producers’ lives easier. In November 2019 it unveiled its artificial intelligence product that lets producers match samples from different genres using machine learning techniques to find the matches.

“My job is to keep as many people inspired to create as possible” Splice founder and chief executive, Steve Martocci told TechCrunch.

It’s another win for the serial entrepreneur who famously sold his TechCrunch Disrupt Hackathon chat app Group.Me to Skype for $85 million just a year after launching.

22 Feb 2021

If Coinbase is worth $100 billion, what’s a fair valuation for Stripe?

Mere days after we discussed Coinbase at $77 billion and Stripe at $115 billion in the private markets, those same semi-liquid exchanges have provided a new valuation for the cryptocurrency company. It’s now $100 billion, per Axios’ reporting.

Good thing we argued last week that there could be some merit to Coinbase’s $77 billion secondary market valuation from a particular perspective. We’d look silly today if we’d mocked the $77 billion figure only for it to go up by about a third in just a few days.


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Luckily for us, Axios also got its hands on a few numbers regarding Coinbase’s 2019 and 2020 financial performance, so we can get into all sorts of trouble this morning. We’ll look at the data, which stretches to the end of Q3 2020, and then do some creative extrapolating into Q1 2021 to decide whether Coinbase at $100 billion makes no sense, a little sense or perfect sense.

As always, we’re riffing, not giving investment advice. So read on if you want to noodle on Coinbase with me; its impending direct listing will be one of the year’s most-watched financial events.

We’ll drag Stripe back in at the end. Given that the companies now nearly share private-market valuations, we’d be remiss to not unfairly stack them against one another. Into the breach!

Coinbase @ $100B

Axios’ Dan Primack, a good egg in my experience, got the goods on Coinbase’s historical performance. Summarizing the bits we need, here’s what the crypto exchange got up to recently:

  • Coinbase 2019: $530 million in revenues, $30 million in net losses
  • Coinbase 2020 Q1-Q3: $691 million in revenues, $141 million in net income

It’s simple to take the 2020 data that we have and extrapolate it into full-year data. Indeed, you get revenues of $921.33 million and net income of $188 million. Compared to its 2019 data, Coinbase would have managed around 74% growth while swinging steeply into the profitable domain.

That’s a killer year. But it’s actually a bit better than we are giving Coinbase credit for. Poking around volume data compiled by Bitcoinity.org, Coinbase had its biggest period of 2020 in terms of bitcoin trading volume in the fourth quarter. Thinking about Coinbase’s 2020 from a trading perspective using the same dataset, it had a great Q1, more staid Qs 2 and 3, and a blockbuster Q4 that ramped to record highs at the end.