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Mosaic engr 245 lean launchpad stanford 2020
1. Mosaic
Elan Halpern James Schull Aditya Naganath Jay Kim Patrick Gilligan
hacker+hustler
BS CS, MS Sustainability
hacker+picker
BS, MS in CS
picker
GSB2, BS in CS
hustler
GSB2
designer
BS Product Design, MS CS
Interviewed 106 people
(niche market type)
Day 1
A professional network for
musicians, agents, and
labels
Now
A collaboration platform for
music creatives to find other
creatives to work with
(starting with producers &
musicians)
2. Key Partners
• Music
professionals
• Agents/labels
• Studios/venues
Customer
Segments
Two-sided:
1. Music
professionals who
are looking for
representation
2. Agents + labels
who want to find
musicians to sign
Value
Propositions
• Create a
musical portfolio
• Get discovered
by an
agent/label
• Find talent
more easily and
earlier
Cost Structure
• Customer acquisition cost
• Development and hosting cost
Revenue Streams
• Fee from users to ‘boost’ their profile
• Fee for booking services
• Subscription fee from agents/labels/venues
Key Activities
• Development of
mobile/web
platform
• Onboarding
music producers
Customer
Relationships
• Community and
professional
network
• (Potentially,
self-serve agent)
Key Resources
• Users
• Platform
development &
experience
• Brand
Channels
• Web and
mobile
3. We began at a coffee shop with a problem...
“The only way to proactively try to
get signed is to cold call and send
cold emails, and it never really
seems to work out.”
“Getting discovered [by an
agent/label] as an artist is
impossible. It’s a ton of luck and
timing and all done by word of
mouth.”
Week 2
4. This insight inspired us, as musicians, to try and solve this
problem:
How might we help deserving
musicians get discovered more
easily?
Week 2
6. We thought that we could deliver a compelling value
proposition to both customer segments:
2. Agents & labels:
An effective channel for
discovering fresh talent
early
1. Aspiring musicians
who need to build
industry networks:
Get represented and
possibly signed to agents
and labels
Value Proposition
Week 2
7. So we went and spoke to musicians, agents, managers...
36 musicians, agents, managers, labels,
and more..
and asked them about what they needed.
(musicians)
Are you interested in building
industry connections? How do
you do it?
(agents/labels)
How do you go about finding
new talent? Are you satisfied
with your current means?
Week 3
9. ...and realized neither side needed our product.
“I never attempt to make cold
approaches to industry
connections, because they simply
don’t respond” - Luigi, DJ
Week 3
10. ...and realized neither side needed our product.
“I never attempt to make cold
approaches to industry
connections, because they simply
don’t respond” - Luigi, DJ
“We have our own
standardized dashboards to
look for artists” - Jose, A&R @
Warner Bros
Week 3
11. ...and realized neither side needed our product.
“I never attempt to make cold
approaches to industry
connections, because they simply
don’t respond” - Luigi, DJ
“We have our own
standardized dashboards to
look for artists” - Jose, A&R @
Warner Bros
There isn’t enough demand
from the non-creative side of
the marketplace.” - Dom, CEO
of Daisie (competitor)
Week 3
12. Where do we go next?
Week 3
time
our confidence
14. And went out searching for a more impactful value prop for
musicians
27 more musicians, songwriters, and
producers...
We spoke to
Week 4
We trawled online channels where musicians spend time, to
observe their behaviors...
15. We learned that musicians and other creatives make
creative/collaborative connections through social media (FB
groups, Instagram, etc)...
“I use Instagram to find
musicians whose work I like,
and DM them samples to see
if they want to collab”
- Cat, musician
“I’m a singer looking
for a band or
musicians! I have tons
amid great originals
but open to playing
anything!”
- Tora
Week 4
16. ...but these channels don’t deliberately address their needs
“I wish Instagram had a private
section just for musicians… I
scroll through hashtags but
have to look through a ton of
junk”
- Finn, producer
Week 4
17. So we decided to become a collaborative network for creatives
(our second pivot)
musicians, songwriters, videographers,
graphic designers, and other creatives...
Week 5
18. Value
Proposition
- Create a musical
portfolio
-Connect with
potential collaborators
-Find other music
industry creatives to
work with
And changed our value proposition
Week 5
19. Customer
Segments
- Music professionals
who don’t have an
agent
-Music industry
creatives (musicians,
songwriters, graphic
designers, etc)
And redefined our customer segments (again)
Week 5
20.
21. Week 5
Experiment: landing page click-through rate
With targeted marketing (FB groups), we thought a signup rate of 5% would
indicate interest in our value proposition...
54 visitors 0 signups
22. What did we learn?
● No one wants to come to an empty landing page
● Need more than just a sign up page to get traction
Week 6
23. What did we learn?
● No one wants to come to an empty landing page
● Need more than just a sign up page to get traction
And, most importantly…
● None of our customer segments were eager enough to use this
unless there were quality people already there
Week 6
24. We had a chicken-and-egg problem...
“For me, it’s all about success
rate. I need to know that what
I’m doing is translating directly
towards my goals.”
- Jordan
“I need to see why this
would be valuable to me at
sign up for me to get on.”
- Alex
Week 6
25. Looking for a solution to the chicken-and-egg problem...
We dove deep, looking for a customer segment that
could ignite the fire
Week 7
26. After several interviews we realized music producers
could be part of our solution
“I spend 70% of my time combing
through social and streaming sites to
look for musicians to send my tracks
to”
Finn, producer
“Every week I look through 1000 new
artists and find the 5 best to pitch to
my producers”
Tucker, manages producers
Week 7
27. We found two broad producer personalities
Proactive Reactive
● Get paid to work for
others
● Do not search often
● Use existing platforms
effectively to find work
● Laid back mindset
● Release music as
themselves
● Search aggressively for new
artists
● Savvy with social media
● Hustle minded
Week 7
28. Our target is the proactive producers
Proactive
● Release music as
themselves
● Search aggressively for
new artists
● Savvy with social media
● Hustle minded
Week 7
29. So we divided our customer segments chronologically
Week 8
Customer
Segments
-(Short Term)
Independent proactive
music producers
-(Medium Term)
Musicians/producers/
sound engineers
looking for
collaborators
-(Long Term)
Creatives across
industries, looking for
collaborators
30. Scraping our way to our second MVP
An easily searchable directory pre-populated with
Spotify artists
With relevant and accurate artist contact info
Week 8
32. Key Partners
• Spotify
• Instagram
• Youtube
• Chartmetric
• Soundbetter
Customer
Segments
• (Short Term)
Independent
proactive
music
producers
• (Medium Term)
Producers/sound
engineers/musicians looking
for collaborators
• (Long Term)
Creatives across industries,
looking for collaborators
Value
Propositions
• Find more
relevant
artists to work
with in
radically less
time.
• Allow producers to
centralize their portfolio-
sharing workflow
• Give producers a central
place to find musicians &
securely exchange tracks
Cost Structure
• Customer acquisition cost
• Development and hosting cost
Revenue Streams
• LinkedIn-style Premium subscription
Key Activities
• Development of
mobile/web platform
• Collect artists
contact info
Customer
Relationships
• Discovery network
• Track-sharing
platform
Key Resources
• Users
• Platform
development &
experience
• Brand
Channels
• Web and mobile
33. No product-market fit… yet
“If you send my this once you
have a live beta I’ll send it to
every producer I know”
- Cori Jacobs, Grammy
Nominated Producer
Week 9
35. Thank you...
To our wonderful mentor Carol!
To the teaching team, from whom we have learned an
enormous amount in 10 weeks!
To our interviewees, from whom we learned an
enormous amount in 10 weeks!
36. The story of Mosaic
- We began as a professional network for musicians to get discovered by
agents and labels (LinkedIn for musicians)
- We got out the building, spoke to musicians and corporates, and realized that
the idea wasn’t a) sticky enough for musicians or b) useful enough for
corporates
- So we set out defining a new value proposition…
- And after a couple of weeks, settled on a collaborative network for musicians
to meet musicians
- We struggled with finding an approach to the chicken-and-egg problem
- Until we met producers: a customer segment with such a strong need to
connect with musicians that we could attract them with a directory, not even a
network
- So we build an MVP, tested with producers, and here we are
Editor's Notes
We’re Mosaic, on day 1 we were X, and now we’re Y
So Elan and I began Lean Launchpad as part of Butter, a different team, and learned an early first lesson in startup team pitfalls when half our team quit after week 1.
In a 24-hour scramble, we formed a new team with Aditya, Jay, and Patty, and embarked on our new journey as Mosaic.
So a brief look at our day 1 BMC, before I tell the story of how we got there.
We began with a focus on two customer segments:
For music professionals...we offered the ability to create a cohesive musical portfolio, and be reliably discovered by an agent/label
For agents
Address feedback: clarify in commentary
So the idea for Mosaic was born in Aditya’s local Brooklyn coffee shop, where the baristas, both independent musicians (meaning not signed to a label) made two complaints about the process of being discovered.
In the music industry, ‘being discovered’ often refers to being signed by an agent or label like Warner Bros who help with distribution, brand, etc.
These baristas said that:
1. It’s seemingly random, determined by luck and word of mouth
2. It relies on unproductive cold calls and emails
Aditya
Our initial idea was simple: let’s make LinkedIn for musicians, a professional network specifically catered to musicians trying to be signed by agents and labels.
WE THOUGHT AGENTS WOULD CARE
Jay
Key questions we asked
How do musicians and labels find each other currently?
Where do musicians and industry people hang out?
What does it take for them to get connected?
Is there a need to create artistic profile/resume among musicians?
How important is the in-person interaction to build trust?
Address feedback:
Jay
Too many words on this slide
Jay
Too many words on this slide
Jay
Too many words on this slide
In the graph of confidence against time, this was our low.
We’d come in bullish about our idea, and by week 3 had discovered that nobody wanted what we had.
This was undeniably deflating.
Address feedback: in commentary
We crammed into a conference room, went back to the whiteboard, and after a long night, made a unanimous decision to scratch agents/labels, and double down on musicians.
This was partly rational: we felt that we had gathered more insights about musicians’ needs than agents or labels, and partly emotional: half our team are musicians, and we felt passionate about solving their problems.
Story 2: Becoming a collab network
Elan
Elan
“My entire job this summer was going through Instagram to look for artists I thought would be a good fit to work with our musicians”
Jensen, Intern at NYC label
Elan
“I spend 70% of my time combing through social and streaming sites to look for musicians to send my tracks to”
Finn, Producer
Elan
Changed out target customer segment
Jay
Jay
Elan
We came up with the world's most boring MVP in the world-- the mosaic landing page to see if our value prop was meeting a need
Here’s what we found form out MVP
Elan
Though we had a decent amount of visitors through guerrilla marketing, we did have any sign ups
We had a chicken and an egg problem. How could we get creatives to the platform initially, before we had the scale of a large social network? We heard this from tons of interviews, so we knew it was something we needed to crack
To solve this problem, we dove deeper into our customer segment to find which specific customer group we could provide an initial, tangilbe benefit for.
After interview more people, we found our ideal target user in music producers. Music producers are always reaching out to musicians to work with, and we heard this need in man interviews. For instance, finn told us he spends 70% of his time combing through social media to find artists
However, we started to realize that there were two different categories even within producers, proactive and reactive. Proactive producers are always hustling and reaching out to artists to try and stoke collaboration, reactive producers aren’t
Patty
We wanted to focus in on the proactive producers, as we thought we could actually provide tangible value to them
Patty
So we redefine our customer segments to reflect this. Our short term customers are the proactive music producers. We wanted to not forget about our medium and long term vision for our customers, but for our MVP we will be targeting only the producers.
To provide value to the proactive music producer, we scrapped Spotify data to provide a database of musicians that producers could search to find their next collaboration. Currently, there is no artist to artists facing search tool, only fan to artist. We provided value to the producers by creating a streamlined way to search for artists to work with, based on criteria important to producers such as genre, follower count, and more.
By the end of the class, we still had many remaining business model hypotheses, particularly around how to generate scalable revenue. But we had discovered previously unknown customer segments, revised our value proposition, and learned a ton along the way.
Value Prop, customer segments, Key partners
Address: clarify in commentary
Aditya
By the end of the class, we still had many remaining business model hypotheses, particularly around how to generate scalable revenue. But we had discovered previously unknown customer segments, revised our value proposition, and learned a ton along the way.
Value Prop, customer segments, Key partners
By the end of the class, we still had many remaining business model hypotheses, particularly around how to generate scalable revenue. But we had discovered previously unknown customer segments, revised our value proposition, and learned a ton along the way.
Value Prop, customer segments, Key partners
By the end of the class, we had some reduced expectaiotns about market size and ability to capture reventue,...
Add titles to each pedal leaf and then drop logos into the pedals themselves
Use search tools (either those on from the Market Research section in Steve Blank’s Startup Tools or other publicly available sources)
Story 2: Becoming a collab network
Elan
Jay
Key questions we asked
How do musicians and labels find each other currently?
Where do musicians and industry people hang out?
What does it take for them to get connected?
Is there a need to create artistic profile/resume among musicians?
How important is the in-person interaction to build trust?
Aditya
Story 1: LinkedIn for creatives -> don’t need it
Jay