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That’s the kind of convenience that Bader says makes Splice “easier than piracy,” echoing Spotify director Sean Parker’s plan to beat bootleg MP3s with a simple streaming service.
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Knowing income can be unpredictable, Splice lets musicians access plugins, software and instruments on a rent-to-own basis, where they can pause payment and resume later. Since Splice’s staffers actually make music themselves rather than parachuting into a foreign space, they intimately understand the frustrations they’re trying to solve. Splice saves every edit to a song-in-progress so you can experiment but always reverse changes Splice Studio automatically backs up the artist’s work-in-progress song after every single edit so they can always reverse changes and safely work with collaborators without having to nervously save manually and fret about keeping all the copies organized. This might sound nerdy, but it’s a lifesaver. Splice Studio integrates with composition software like GarageBand, Logic and Ableton to offer cloud-synced version control.
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That means creating the same kind of tools that help programmers code apps, but for musicians to compose songs. While the Sounds marketplace has blown up recently, pushing Splice to 1.5 million users, the startup has a grander vision for software to eat instruments. “I have zero tolerance for bullshit at this point in my life and there’s zero bullshit on this team.” “Everyone has a genuine passion for music. It doesn’t feel like a tech company as much,” says Bader. Martocci apparently takes feedback well, which is different because “I’ve had some pretty fucking hard people to work with in the past…” Bader notes, likely referring to disagreements with his co-founder at Secret. He wants his offices where the artists live. Splice now has 100 staffers, mostly hobbyist musicians themselves, but “I don’t think I have one San Francisco employee,” says Martocci.
Splice has just hired former Facebook product manager Matt Pakes as VP of product to lead core teams in New York, and former Secret co-founder Chrys Bader to build out a new squad in Los Angeles.
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Splice then compensates artists based on how frequently their sounds are downloaded, and has already paid out over $7 million.īut now he’s getting some big-name assistance, attracted by Splice’s success in the stubborn musician community and its $35 million Series B from December. That’s cheaper than it costs to listen to music on Spotify. Even Kanye West got caught stealing the trendy Serum digital synthesizer.īut Splice lets artists pay $7.99 per month to download up to 100 samples they can use royalty-free to create music. That might be a shock, considering Martocci estimates that 95 percent of digital instruments and sample packs are pirated because they’re often expensive with no try-before-you-buy option. Splice has attracted $47 million in funding to power this all-new music economy. That led them to collaborate with famous DJ Zedd, resulting in the Billboard No.
He tells me about some bedroom music producers who were “working at Olive Garden until they put sounds on Splice.” Soon they quit their jobs because they were earning enough from artists downloading those sounds to use in their songs. “The percentage of Top 40 music made with our platform blows my mind,” says Splice co-founder Steve Martocci.
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