App review: “audioBoom”

I love listening to podcasts and therefore regularly use platforms like iTunes (not the best user experience) and TuneIn (lots of choice). Although I’d heard of audioBoom, I haven’t used it yet. Let’s give it a go and see what the product is like:

  1. How did the app come to my attention? – I think it must have been one of my colleagues in the digital music space who mentioned audioBoom to me.
  2. My quick summary of the app (before using it) – I expect a platform which both enables people to upload their audio recordings and provides easy access to these recordings.
  3. How does the app explain itself in the first minute? – The first screen of the app displays a video without sound, showing two different people using audioBoom (see a screenshot in Fig. 1 below). Each video segment mentions a different element of audioBoom’s proposition: “Welcome – The best in spoken-word audio”, “Trending – The biggest stories as they happen”, “Curate – Build your listening playlists”, “Trending – The biggest stories as they happen”, “Discover – Explore unmissable audio content”, “Record – Record, upload and edit on the fly”, “Follow – Don’t miss your favourite posts” and “Download – Listen offline no internet need.”
  4. Getting started, what’s the process like (sign up and choose a category)? – I’m not looking to record anything at this stage, I’m just looking to discover new podcasts to listen to. The signup screen and related steps are very straightforward. The second screen of the onboarding looks great and again, feels very intuitive; I can select the categories that I’m interested in (see Fig. 3 below). The overlay message explains this in two easy to understand messages (see Fig. 3 below) after which I tick the categories that I’m interested in.
  5. Getting started, what’s the process like (choose a subcategory)? – Per category that I’ve selected, I then get to choose a subcategory. For example, for the “Sport” categories I can choose from subcategories such as “Football”, “Rugby Union” and “NHL” (see Fig. 4 below). Once I’ve gone through the different subcategories, I’m then presented with “Recommended Follows” (see Fig. 5 below).
  6. How easy to use was the app? – Once I completed the onboarding process, the app explains how to navigate between different pieces of audio (see Fig. 6 below) and how to follow a specific user or to download audio for later. When you get into an actual piece of audio, the interface is clean but has all the info and calls to action necessary to listen to the audio (see Fig. 7 below). Navigating between the different pieces of audio on audioBoom felt very easy and intuitive.
  7. How does the app compare to similar apps?  TuneIn Radio is one of audioBoom’s main competitors. TuneIn’s iOS app has a similar feel to audioBoom. However, I feel that TuneIn currently has more to offer when it comes to audio to listen to. For example, in the “Sports” category there’s more content to explore than on audioBoom (see Fig. 8 below). However, from a pure design and visual perspective, audioBoom looks a lot nicer and feels like a more ‘delightful’ experience.
  8. Did the app deliver on my expectations?  Yes, easy to find and use audio content, presented in a way that feels very intuitive. The only thing I’m hoping for is that audioBoom will be able to further grow its content portfolio. This way the app will no doubt get more sophisticated in the personalised recommendations that it can provide me.

Fig. 1 – Screenshot of audioBoom’s opening screen

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Fig. 2 – Screenshot of audioBoom’s signup screen

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Fig. 3 – Screenshot of audioBoom’s “Choose your preferences” screen

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Fig. 4 – Screenshot of audioBoom’s “Choose a subcategory” screen

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Fig. 5 – Screenshot of audioBoom’s “Recommended Follows” screen

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Fig. 6 – Screenshot of navigation messaging on audioBoom

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Fig. 7 – Screenshot of audio interface on audioBoom

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Fig. 8 – Screenshots of TuneIn’s sports category screen

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App review: Meerkat

The other day is saw a discussion about whether Meerkat will or won’t last. Meerkat is a simple video app which lets people stream live to their Twitters. It launched about two weeks ago and has been talked about (and used) a lot since. Let’s do a quick review of the app:

  1. How did the app come to my attention? – Simple. My wife told me about Meerkat about a week ago. I also came across the app on ProductHunt.
  2. My quick summary of the app (before using it) – This app lets me stream live to my Twitter follows.
  3. How does the app explain itself in the first minute? – The first time I open the app, there’s a screen that introduces Meerkat’s ‘rules of conduct’, explaining that “Everything that happens on Meerkat, happens on Meerkat” and thus making it clear that my Meerkat recordings will be shared on Twitter (see Fig. 1 below).
  4. How does the app explain itself in the first minute – The Meerkat login screen says “Tweet Live Video”, which clearly suggests that I’ll be able to tweet live video streams. At the top of my personalised screen I see a text field which says “Write what’s happening …” with two big calls to action – “schedule” and “stream” – underneath (see Fig. 2 below). I’m not quite clear about what will happen when I write something in the text box, or what to expect when I click on “schedule” or “stream”. Nor am I clear on why certain posts appear under the “upcoming” header; I’ve got three upcoming streams from Index Ventures in there, but I don’t understand where these posts have come from. Are they based on Twitter accounts that I follow or are they just placeholders to deal with an initial ‘cold start’ problem? Also, I know I’m not a designer but the light grey font used for the “upcoming” header doesn’t work particularly well against a dark grey background in my opinion.
  5. Getting started, what’s the process like – I type in “Playing with Meerkat” (see Fig. 3 below) and then click on “schedule” to put in a time that works for me (see Fig. 4 below). Et voila, a tweet announces my live stream and off we go (see Fig. 5 below).
  6. How easy to use was the app? – Fairly easy. I guess I personally could have done with a bit more to better understand how Meerkat works and perhaps see some examples of other live streams. For people like me who don’t do video that frequently or who are who conscious of the things they share on Twitter, a bit more context on the app would be helpful. For instance, I can see on the Meerkat leaderboard that Nir Eyal, who I know and trust, is an avid Meerkat user (see Fig. 6 below). It would be good to see some of Nir’s video streams directly from the app.
  7. How does the app compare to similar apps?Qik, which is now part of Skype, and Periscope, which is currently in private Beta are similar to Meerkat in a sense that enable live video streaming from a multitude of devices. It will be interesting to see what Periscope will look like when it goes live and to learn how easy to use the app is in comparison to Meerkat.
  8. Did the app deliver on my expectations? – Yes. The app is simple – perhaps a bit too simple in places – and does exactly what it says on the tin, nothing more and nothing less.

Main learning point: It will be interesting to see what Meerkat’s usage is like once the current hype has subsided and once competitors like Periscope have entered the fray. The app is easy to use, but I feel it could yet do more in terms of its explanatory interface and enabling users to discover content. Considering that this is only the first release of Meerkat, it feels like a good and effective product.

Fig. 1 – Screenshot of the Meerkat screen which introduces the Rules of Meerkat

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Fig. 2 – Screenshot of my personalised screen on Meerkat 

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Fig. 3 – Screenshot of my personalised screen on Meerkat after I’ve typed in something in the free text field

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Fig. 4 – Scheduling my live video stream via the Meerkat app

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Fig. 5 – Screenshot of my tweet announcing my live video stream on Meerkat to my Twitter followers

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Fig. 6 – Screenshot of the leaderboard on the Meerkat app 

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Related links for further learning:

  1. http://quibb.com/links/on-meerkat-and-why-it-won-t-last
  2. http://www.theverge.com/2015/3/9/8164893/meerkat-live-video-streaming-twitter-yevvo-periscope
  3. http://www.producthunt.com/posts/meerkat
  4. http://www.wsj.com/articles/twitter-acquires-live-video-streaming-startup-periscope-1425938498
  5. http://hunterwalk.com/2015/03/14/meerkat-the-value-of-slow-graphs/

Twitch and its appeal for Google and Microsoft

The other day, I heard about the rumoured takeover of Twitch by Google for the handsome amount of $1 billion. I have to be honest; up until that point I had never heard about Twitch. Reason enough to look into Twitch and a possible ratio for Google willing to spend such a large amount of cash on this startup:

  1. What is Twitch? – Twitch is a video streaming platform and a community for gamers. Geekwire describes Twitch as “the ESPN of the video game industry” and says Twitch is a leader in that space. Twitch has over 45 million monthly users and about 1 million members who upload videos each month. In a relatively short space of time (Twitch was launched in June 2011), Twitch has successfully created an online streaming platform for video games.
  2. Who use Twitch? – I’m not an avid video gamer myself, but browsing the Twitch website tells me that are in effect two main user roles, which are closely intertwined: game players and broadcasters. Clearly, you can be both and I’m sure that a lot of Twitch members fulfil both roles. One can play games on Twitch channels like Counter-Strike: Global Offensive or World of Tanks or one can create their own pages from which you can broadcast games. A great example of Twitch’s success in engaging its community around a game is TwitchPlaysPokemon which has had over 78,000 people playing a game that turns chat comments into controller inputs, parsing hundreds of thousands of ups, downs, and starts and translating them into in-game movements.
  3. Why is Twitch such an interesting acquisition target? – Twitch is reported to have snubbed Microsoft’s takeover offer but is rumoured to have fallen for Google. This raises the question as to what makes Twitch such an interesting takeover target? I think that the answer can be split into two main factors. Firstly, scale. Twitch has a rapidly growing and very engaged user community who all share a passion for (video) gaming. Secondly, live broadcasting. Going back to the example of TwitchPlaysPokemon, Twitch streams games that get people excited and gets them participating in real-time. This simultaneous element is something that for instance YouTube is lacking. YouTube is great for on-demand video content, but (currently) less so for live event coverage or participation. The combination of both factors (as well as a very rich vein of user generated content and data) makes Twitch an extremely interesting target indeed.

Main learning point: Recently there have been some major takeover deals in the digital industry – think Instagram, WhatsApp and Beats – but the rumoured acquisition of Twitch by Google is interesting for a number of reasons. If I have to highlight one key reason, then synergy is the main aspect that makes this potential takeover sound like a very exciting one. How will Google potentially integrate YouTube and Twitch or at least find a way to combine both platforms? Will the acquisition of Twitch help YouTube in cracking the real-time broadcast element of its offering? Lets wait and see if the deal actually gets done in the first place, but if it does then I will definitely keep an eye out for any future developments involving Google, YouTube and Twitch.

Related links for further learning:

  1. http://www.fool.com/investing/general/2014/05/28/why-youtube-buying-twitch-for-1-billion.aspx
  2. http://www.geekwire.com/2014/microsofts-xbox-shot-potential-twitch-buyer-matters/
  3. http://variety.com/2014/digital/news/youtube-to-acquire-videogame-streaming-service-twitch-for-1-billion-sources-1201185204/
  4. http://techcrunch.com/2014/05/27/tc-cribs-tours-twitch-tv-gaming-office-headquarters/
  5. http://thenextweb.com/insider/2014/05/29/twitch-now-lets-filter-counter-strike-global-offensive-game-streams-map-skill-level/
  6. http://thenextweb.com/google/2014/05/19/google-reportedly-wants-buy-video-streaming-service-twitch-1b-deal-boost-youtube/
  7. http://variety.com/2014/digital/news/why-google-wants-to-hitch-twitch-and-youtube-1201188093/
  8. http://www.theverge.com/2014/5/20/5734108/why-twitch-could-be-the-best-billion-google-ever-spends
  9. http://guardianlv.com/2014/02/twitch-live-broadcast-to-be-included-in-xbox-one/

Twitch

How supermarkets are becoming entertainment platforms

Over the past year or so supermarket giants such as Sainsbury’s and Tesco have started venturing into entertainment content. A good example is supermarket giant Tesco which acquired We7 (digital music) and Blinkbox (video on demand) last year. Its UK competitor Sainsbury bought online entertainment platform Global Media Vault and Anobii (eBooks) around the same time.

I wondered about the business rationale and aspirations that underpin these deals. Do supermarkets want to bolster their physical presence with an equally comprehensive digital offering? Are Tesco and Sainsbury’s looking to take on global content providers such as Amazon, iTunes and Netflix? What’s in it for these supermarkets?

For the purpose of this blog post I’ll focus primarily on video streaming, outlining the key characteristics of this offering and user demands. Let’s start by looking into some of the relevant factors with regard to building a digital video platform:

  1. What does the user want? – From my market research and conversations with consumers, I believe that users are primarily interested in quality content which is easy to access, engaging and – ideally – free. They want to watch TV shows or films across a wide range of devices, with the the experience being as ‘seamless’ as possible. “It just needs to work” is a sentiment that I’ve heard echoed by numerous people, meaning that they don’t have much time for technical glitches, issues when watching content offline or on multiple devices. The average video on-demand customer wants to be in full control of what they watch, when and where. Also the breadth of the catalogue is just as critical a factor; the sooner a service can offer the latest, popular TV shows or movies the better. An interesting development in this respect is Netflix creating its own “House of Cards” series and offering this exclusively to its subscribers. 
  2. What does the business want? (1) – Revenue. User data. Cross-selling. Forgive me for the crude breakdown of these high-level objectives, no doubt the detail behind their business models is probably more refined than that. I’ve tried to break this down a bit more in Fig. 1 below. For a platform like Tesco’s Clubcard TV (powered by Blinkbox) the main revenue source is likely to be advertising. However, just as important is the value the supermarket colossus derives from offering their users an additional, free service and the ability to learn more about their entertainment preferences. Understanding those preferences better will no doubt help in recommending users other content or entertainment related products. I’ve outlined some relevant metrics to determine the customer value in Fig. 2 and 3 below.
  3. What does the business want? (2) – Engaged customers, brand advocates. Perhaps less easy to quantify but not an insignificant factor in this context. It’s much easier to go to another supermarket if they offer the same packet of crisps at a cheaper price. However, if a supermarket offers their loyal customers great free content, you might think twice before switching your ‘allegiance’. There’s still some debate about how successful Netflix’ House of Cards series has been so far in terms of views and subscription increases, but there’s no denying that the programme got people talking and engaged.

Main learning point: previously I had looked at the business models for video on demand providers such as Lovefilm and Netflix. Their subscription based models were relatively easy to work out. With a supermarket chain like Tesco offering free content to its loyal customers, the proposition gets very interesting. It seems like a very effective way to engage with customers, offering them free but compelling content. Similar to the paid versions of on-demand video, I believe that a free content offering will have a bigger chance of success if it provides great content and if it’s easy to access across a range of devices.

Fig. 1 – Breakdown of key players in the video streaming space and their business models

A. Subscription model / Pay-as-you-go

Key players: Netflix, Amazon (Lovefilm/Amazon Instant Video), Apple, Blinkbox and Walmart (Vudu – US)

Key value proposition: Offering quality content and a great – cross-platform – user experience

Business model: Either a monthly subscription fee or pay-as-you-go rental

B. Advertising

Key players: YouTube. BBC iPlayer, Channel 4 VOD, Hulu (US), Tesco Clubcard TV, WatchFreeMovies and Zmovie

Key value proposition: Offering quality content for free and a seamless – cross-platform – user experience

Business model: Free access, no fees required. Use free-access model to attract users to other (premium) content services. Advertising as a main revenue source.

Fig. 2 – Four ways visitors of media sites can generate value (adapted from “Lean Analytics” by Alistair Croll and Ben Yoskovitz, p. 121)

  • Subscriptions – Measure subscription rate to monitor subscription revenue
  • On-site engagement – You can look at a number of engagement metrics (e.g. time since last visit, time per visit, visits per day, pages per visit and time on page)
  • Ad-revenue – Generate revenue through display ads (number of impressions x cost per impression = Cost Per Engagement), affiliate links (affiliate % x sales volume = Affiliate Revenue), sponsorship (e.g. monthly sponsorship rates and number of sponsored banners) and Pay Per Click (Click-through rate x Ad price = Pay Per Click revenue)
  • Sharing –  Generate value through sharing content (e.g. through on-site tools and off-site)

Fig. 3 – Key metrics that media sites are likely to care about (adapted from “Lean Analytics” by Alistair Croll and Ben Yoskovitz, p. 117)

  • Audience and churn  Understanding how many (paid) users you’re adding and losing. For services like Netflix and Blinkbox ‘user loyalty’ is a critical aspect
  • Ad rates or Cost per engagement –  How much money can a service make from impressions based on the content it covers and the people who use the service
  • Ad inventory – The number of impressions that can be monetized
  • Click-through rates – How many of the impressions actually turn into money
  • Content/advertising balance – The balance of ad inventory rates and content that maximizes overall performance

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Related links for further learning:

  1. http://www.walmart.com/cp/vudu/1066144
  2. http://www.walmart.com/cp/Video-On-Demand-by-VUDU/1084447
  3. http://www.vudu.com/
  4. http://crave.cnet.co.uk/homecinema/tescos-free-clubcard-tv-service-has-some-right-old-tosh-50010826/
  5. http://blog.laptopmag.com/walmart-launches-vudu-video-on-demand-service
  6. http://money.cnn.com/2011/07/26/news/companies/walmart_vudu_online_movie_service/index.htm
  7. http://techcrunch.com/2013/01/07/walmart-vudu-disc-to-digital/
  8. http://techcrunch.com/2011/07/26/walmart-vudu-movie-streaming/
  9. http://www.fool.com/investing/general/2013/05/15/can-netflix-out-stream-the-competition.aspx
  10. http://appadvice.com/appnn/2013/05/when-it-comes-to-streaming-video-netflix-and-youtube-continue-to-lead
  11. http://www.allmyfaves.com/blog/movies/watch-movies-online-top-10-film-streaming-review-sites/
  12. http://voyager8.blogspot.co.uk/2010/02/what-are-cpm-cpc-cpa-cpe-etc-in-online.html
  13. http://thenextweb.com/uk/2013/04/03/tesco-brings-bbc-worldwide-content-to-its-blinkbox-powered-video-streaming-service-clubcard-tv/
  14. http://www.bbc.co.uk/programmes/p01b1hyh
  15. http://www.pocket-lint.com/news/121318-tesco-clubcard-tv-adds-itv-dramas-and-cooking-shows-to-free-streaming-service

Understanding more about Amazon Cloud Player and storing music in the cloud

Last week saw the UK launch of Amazon’s Cloud Player, a service enabling Amazon users to play their music stored in the cloud (through Amazon’s Cloud Drive) from any computer or Android device connected to the Internet. The service was launched in the US back in July, and now Amazon’s UK customers will be able to experience the same service. These are the main propositions that the Cloud Player is promising to offer:

  1. Your Music. Everywhere. – Seamless access to one’s music is rapidly becoming a ‘given’ when it comes to offering music services. Irrespective of the device one is using – smartphone, tablet, PC or ebook reader – users expect to be able to access music wherever, whenever. No surprise then that this is the main underlying promise of the Cloud Player: your music is available on a range of devices (e.g. Android, iPod, iPhone, Sonos, etc.) and the experience will be consistent across all of these devices and platforms.
  2. Import your music collection – Like iTunes Match and Google Play, Amazon’s Cloud Player will enable users to upload their own music collections, with Amazon matching the music on your PC to their 20m track catalogue. This means that music purchased from Amazon or iTunes or from ripped CDs will be matched against Amazon’s catalogue, upgraded (to a better audio quality where possible) and made available through the Cloud Player.
  3. Secure and easy to use – Amazon promises that for all the MP3 songs and albums users purchase or have purchased in the past will be automatically saved to Cloud Player, which means you’ll have a secure backup copy of the music you buy at Amazon. The ‘secure’ and ‘instant’ aspect are key to any service of this kind. I haven’t used the Cloud Player yet but this would be main challenges to any product or service which promises a great user experience. Is is easy to use? Does is ‘just work’?

I haven’t yet tried the Cloud Player, but reading user and expert reviews gives an interesting insight into this new service. The main thing that struck me is that users are restricted from buying songs through the Cloud Player app on Apple devices (think iPhone, iPad and Mac). This means that one can use the Cloud Player for listening and streaming on an Apple device but not for buying music. I know I’m biased (since I work for 7digital, a competitor of iTunes and Amazon Music) but this defeats the purpose of using a service that promises to work ‘everywhere’.

Main learning point: I guess the main caveat to this blog post is that, as I say, I work for a (smaller) competitor of Amazon in 7digital. At 7digital, we always try to concentrate on a consistent user experience that ‘just works’ irrespective of the device or operating system one uses. Services like Amazon Cloud Player are good solutions for anyone who wishes to ‘consolidate’ his/her music collection. I guess the main downside of using the likes of Amazon and iTunes is that they are pretty ‘vertical’ which means that their products only work totally seamlessly and as intended on their own devices and operating systems, which has bearing on the overall user experience.

Related links for further learning:

http://www.telegraph.co.uk/technology/amazon/9550721/Amazon-announces-cloud-player-in-the-UK.html

http://www.techradar.com/news/internet/amazon-cloud-player-heads-to-the-uk-1098144

http://lifehacker.com/5930593/amazon-cloud-player-adds-scan-and-match-to-save-you-time-when-uploading-your-music?tag=streaming-music

http://www.forbes.com/sites/ewanspence/2012/09/19/amazons-cloud-player-arriving-in-the-uk-is-a-vital-step-for-kindles-success/

http://allthingsd.com/20120903/demystifying-amazons-cloud-player/

http://cloud-music-player-review.toptenreviews.com/amazon-cloud-player-review.html

http://download.cnet.com/8301-2007_4-20048416-12.html

http://lockergnome.net/questions/129952/will-you-use-amazon-cloud-player

Will Bardowl become the Spotify for audiobooks?

I recently came across Bardowl, a British startup that is looking to become the ‘Spotify for audiobooks’. Bardowl provides a streaming service for audiobooks, currently only available as an iPhone app. This new service is looking to upset established audiobook download business Audible (owned by Amazon). How is Bardowl looking to do this?

  1. Streaming – Bardowl streams audiobooks directly to your (iPhone) device rather than downloading audiobooks (like Audible does).
  2. Subscription – Users will pay £9.99 per month for a Bardowl subscription which entitles them to unlimited streaming of audiobooks (applying exactly the same model that the likes of Spotify and Rdio use). In comparison, Audible offers a subscription model for its download products, with users  paying £3.99 per month for any audiobook download.
  3. Social features – Bardowl users are able to extract 30 second clips from an audiobook (think of a favourite quote or a good line) and to share these with others via Facebook, Twitter or LinkedIn. As a user, I can select and share a quote that has already been generated by another user or simply create my own.
  4. Instant streaming – An important factor in Bardowl’s future success will be the overall user experience, particularly thinking of the instantaneousness with which users can stream their audiobooks (after purchase) or the ease with which a user can continue to listen to a chapter even when he has lost 3G or Wifi access. Bardowl says that the app saves chapters in the “cache” so that users can listen to a book for up to 3 hours even without a signal. I liked the app’s “sleep timer” function, whereby a user can set the time after which the app should pause play. This feature will come in handy for those users who tend to listen to their audiobooks before going to sleep …
  5. Catalogue (1) – Like with all these subscription-based streaming services, the breadth and depth of Bardowl’s catalogue will be critical to its success. Typically, users expect the assortment of audiobooks to be pretty comprehensive; if what they are looking for is not there, they are likely to go and look elsewhere. It will be interesting to see what happens when Audible launches its own subscription-based streaming service; I can imagine that this Amazon owned competitor will have a head start on Bardowl when it comes to breadth and depth of audiobook catalogue.
  6. Catalogue (2) – At launch, Bardowl only offers business audiobooks but is looking to extend its catalogue soon. Publishers like Penguin, Macmillan, AudioGo, Wiley and audio-focused publishers Summersdale and Creative Content are already on board. As much as I enjoy listening to “The Maverick” by serial entrepreneur Luke Johnson, the group of people who share this pleasure is likely to be to be fairly small in comparison to, let’s say, people wanting to listen to bestsellers like “Fifty Shades of Grey”.

Main learning point: it will be interesting to see if Bardowl can indeed become the ‘Spotify for audiobooks’. I believe a lot will depend on Bardowl’s ability to quickly ramp up its catalogue as well is cross-platform reach (think tablets and different mobile operating platforms). Irrespective of what happens with Bardowl, I defintely think it is a very interesting service with a lot of potential.

Related links for further learning:

http://www.guardian.co.uk/technology/appsblog/2012/jun/25/bardowl-iphone-app-audiobooks

http://www.telegraph.co.uk/technology/news/9345170/Bardowl-plans-to-be-Spotify-for-Audiobooks.html

http://bookmachine.org/2012/06/21/bardowl-launches-streaming-audiobook-subscription-service/

http://www.tapmag.co.uk/review/492667930/bardowl

Rdio vs. Spotify: when it comes to user experience, the first round is for Rdio

Last year I wrote about Rdio, about its affiliate programme and data partnerships respectively. At the time, Rdio was only available in the US and my interaction with its streaming service was therefore limited. I had heard, however, that its user experience design (‘UX’) was great.

I have now had a chance to try Rdio (it recently launched in the UK) and compare it with Spotify (of which I am a premium subscriber). If this was a boxing match, Rdio would win against Spotify in the 1st round. Spotify would have struggled to put a punch in whilst Rdio’s decisive knock out punch would have come in the form of its powerful UX.

This is how the two streaming services compare in my opinion:

  1. Design – I have a got a strong preference for clean, simple design and Rdio comes up trumps in this respect. Whether it is an artist (see screenshot 1), album or track (see screenshot 2), all pages have a very uncluttered layout. Even though I can understand Spotify’s rationale for collating as much artist or product info onto a single page, I feel that Rdio’s pages are more effective. Rdio’s UX design   feels like it has been thought through a lot better.
  2. Social – On Spotify, opportunities to understand what others think of a particular album or track are limited. When I have got my “This is what your friends are listening to in real-time” functionality enabled on Spotify, I tend to ignore it. I think the way in which Rdio have enabled user reviews is again simple but effective (and not a distraction from the main purpose, i.e. to listen to a track or an album – see screenshot 2).
  3. Labels – The main differentiator between between Spotify and Rdio is the ability to filter by labels. Increasingly, users are looking to engage with specific labels. Spotify is tapping into this trend with its label specific apps (I love the “Def Jam at Spotify” app) and services like Drip.fm and Distro.fm are geared towards this. Rdio gets this too: I can follow labels directly and get a good sense of all their releases. For instance, the 4AD Records (see screenshot 3) or Blue Note pages provide a neat overview of their top albums and recent activity.
  4. Nobody is perfect – At a first glance, Rdio’s music catalogue seems smaller than that of Spotify and I would love to see more labels involved with this service. Perhaps it is my perception but the “unavailable” tag seems to be appearing on albums a bit too often. From a UX point of view, there is nothing as frustrating as finding the album you were looking for to then see it marked as unavailable.
Main learning point: Spotify clearly has a ‘first mover’ advantage in the UK, both in terms of its user base and breath of music catalogue. With the right amount of marketing and word of mouth, however, Rdio could be catching up sooner than you think. Rdio’s design is great and opportunities for interaction and discovery have received the right amount of attention by Rdio’s designers. The main thing for Rdio to concentrate on is adding to its catalogue and creating a user base / ecosystem around its service.

Screenshot 1 – Artist page on Rdio

Screenshot 2 – Track page on Rdio

Screenshot 3 – 4 AD Records page on Rdio

Related links for further learning:

http://www.electricpig.co.uk/2012/05/03/rdio-launches-in-the-uk-spotifys-worst-nightmare/

http://www.techradar.com/news/internet/rdio-coming-to-the-uk-to-take-on-spotify-1073595

http://www.huffingtonpost.co.uk/2012/05/04/spotify-rival-rdio-launches-in-uk_n_1476668.html

http://musically.com/2012/06/08/with-teeth-rdio-spotify-and-the-perils-of-user-experience/