Steve Martocci

I think that's a great point. And I think that, look, I think I've had a real luxury doing really cool businesses where you can be like, you know, JJ Abrams says he needs this feature, you know, and you're like, oh, wow, we got to build that. You know, it's inspiring.

Like I definitely, how to do it in some enterprise SaaS companies, I'm not exactly sure, but maybe it's, you know, everything you were just saying there, just like. You know, raising that kind of both that empathy bar and just the friendliness of the relationship between both the coworkers and the customers.

Like I definitely, how to do it in some enterprise SaaS companies, I'm not exactly sure, but maybe it's, you know, everything you were just saying there, just like. You know, raising that kind of both that empathy bar and just the friendliness of the relationship between both the coworkers and the customers.

Like I definitely, how to do it in some enterprise SaaS companies, I'm not exactly sure, but maybe it's, you know, everything you were just saying there, just like. You know, raising that kind of both that empathy bar and just the friendliness of the relationship between both the coworkers and the customers.

Yeah. All right. So, you know, there's three different examples on this. First was Splice Studio, our first product, which was just a collaboration tool that I made one of my biggest career mistakes on, which was just not charging for it because I thought it wasn't good enough.

Yeah. All right. So, you know, there's three different examples on this. First was Splice Studio, our first product, which was just a collaboration tool that I made one of my biggest career mistakes on, which was just not charging for it because I thought it wasn't good enough.

Yeah. All right. So, you know, there's three different examples on this. First was Splice Studio, our first product, which was just a collaboration tool that I made one of my biggest career mistakes on, which was just not charging for it because I thought it wasn't good enough.

And, you know, honestly, if I had charged for it, I think we would have gotten a stronger signal if people committed to it. And I think we would have invested more resources in it. Because once you do generate revenue, all your focus shifts to generating more revenue. Right. So with when Splice Sounds generated revenue, that was like our focus. Right.

And, you know, honestly, if I had charged for it, I think we would have gotten a stronger signal if people committed to it. And I think we would have invested more resources in it. Because once you do generate revenue, all your focus shifts to generating more revenue. Right. So with when Splice Sounds generated revenue, that was like our focus. Right.

And, you know, honestly, if I had charged for it, I think we would have gotten a stronger signal if people committed to it. And I think we would have invested more resources in it. Because once you do generate revenue, all your focus shifts to generating more revenue. Right. So with when Splice Sounds generated revenue, that was like our focus. Right.

And so that was so for Splice, our biggest kind of real competition at that point in time was piracy. People just stealing sounds. Right. So we had to build a user experience that was kind of good enough to, you know, kind of like what Spotify would do from listening to music. Right. Like it now was like, oh, I'd rather do it if it's not on Spotify. I don't know if I'm going to listen.

And so that was so for Splice, our biggest kind of real competition at that point in time was piracy. People just stealing sounds. Right. So we had to build a user experience that was kind of good enough to, you know, kind of like what Spotify would do from listening to music. Right. Like it now was like, oh, I'd rather do it if it's not on Spotify. I don't know if I'm going to listen.

And so that was so for Splice, our biggest kind of real competition at that point in time was piracy. People just stealing sounds. Right. So we had to build a user experience that was kind of good enough to, you know, kind of like what Spotify would do from listening to music. Right. Like it now was like, oh, I'd rather do it if it's not on Spotify. I don't know if I'm going to listen.

I might go to Torrent site anymore. Right. So we had to build a great product. And, you know, initially the price point was like $7.99 a month. And, you know, we had to build all these tools to let people put their accounts on hold because musicians would literally go month to month being like, all right, it's Netflix or Splice this month. Right. And so we kind of kept that price low.

I might go to Torrent site anymore. Right. So we had to build a great product. And, you know, initially the price point was like $7.99 a month. And, you know, we had to build all these tools to let people put their accounts on hold because musicians would literally go month to month being like, all right, it's Netflix or Splice this month. Right. And so we kind of kept that price low.

I might go to Torrent site anymore. Right. So we had to build a great product. And, you know, initially the price point was like $7.99 a month. And, you know, we had to build all these tools to let people put their accounts on hold because musicians would literally go month to month being like, all right, it's Netflix or Splice this month. Right. And so we kind of kept that price low.

And then also what we did is we shared revenue, major amounts of our revenue with the content creators. And so all of a sudden we were a new revenue stream for these people who then wanted to market their content on the platform, which created this like pretty epic flywheel. And that still exists today.

And then also what we did is we shared revenue, major amounts of our revenue with the content creators. And so all of a sudden we were a new revenue stream for these people who then wanted to market their content on the platform, which created this like pretty epic flywheel. And that still exists today.

And then also what we did is we shared revenue, major amounts of our revenue with the content creators. And so all of a sudden we were a new revenue stream for these people who then wanted to market their content on the platform, which created this like pretty epic flywheel. And that still exists today.

I mean, I think if you pulled the numbers now, I think we would have paid over $100 million to artists for sound. And that was just amazing. And like, you know, some people would look at the model and be like, well, you know, okay. You're used on these top 40 tracks, but the artist isn't making any money off. The sound creator is not making any money off because it's royalty free.