Interviews: LinkinBio
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Interviews: LinkinBio
Interviews: LinkinBio
用户2825用户28252月28日修改
Nick Mersh - 最早的BioLink产品Songlink联合创始人，负责商业化和增长，21年Linktree现金收购了这个一年获得百万用户的产品；Songlink除了音乐，也做了大量的播客创作者。
SongLink（bio link）得与失
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Nick： Songlink诞生在在一个周末, 在一个数据黑客训练营活动上 Kurt 开发了这个产品. 来找我, 嘿, 他不知道怎么做这个生意. 他就是把音乐放在一起, 他的一些朋友有Spotify. 但不是所有的音乐平台，好的, 所以真正发生的是我们有一个小链接, 只有Spotify和Apple的流媒体平台. 他不知道生意怎么做. 所以我一起创业开始做市场研究. 我发现创作者在他们的社交媒体上分享SoundCloud和Spotify的单个链接.
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这是在Linktree之前, 是在你今天能找到所有链接堆栈的微型网站之前. 我看到, 嘿, 如果我们只做一个产品, 首先包含流媒体平台的链接以及YouTube视频, 对, 那么艺术家, 唱片公司会使用这个, 他们会用这个而不是单个链接. 这正是发生的事情. 所以我们就启动了.
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那时候真的没有多少人用DM. 但这个带来了我们第一次突破. 我们每天给艺术家发数百个DM. 我们找到了一种自动化的方法. 我们会查找艺术家的歌曲或专辑. 我们会发送他们的Songlink, 说, 嘿, 我想给你一些免费的东西. 我看到你刚发布了歌曲. 你应该用Songlink, 因为你只使用Spotify链接而不是Apple链接，就会错过很多粉丝，对吧?
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同时我们也和50 Cent, Dog和Foo Fighters以及其他大牌合作. 我们与SoundCloud建立了API合作伙伴关系.然后是YouTube, 对, 使其能够添加到链接中, 这是一个突破, 我们可以添加所有这些. 在YouTube视频下方还可以让人们可以看到歌词视频, 也可以看到音乐视频, 这样就形成了一个完整的发布体验. 这就是最初的突破
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然后我讲讲我们如何商业化, 因为它是免费的. 所以我们说, 好, 现在我们可以告诉艺术家你可以定制URL. 所以不是Songlink/某某, 而是Song.link/SnoopDogg或歌曲名, 我们只收取2.99美元, 对, 不直接推月度的订阅费,而是一个功能点的订阅支付, 看看效果如何. 我们产生了大量的收入. 我们超过了10万美元, 但我们叫它漂亮的链接, 这是一个突破, 使我们能够建立分析功能. 现在我们可以让他们添加任何带图标的链接, 意味着他们的商品, 他们的演出票. 它真的成了艺术家的微型网站. 我们当时看到的竞争对手是Linkfire. 他们向艺术家收取几百美元一个月, 提供一些虚假的分析和定制URL. 我们打败了它. 所以我们说, 不, 让我们公开. 让任何人都能查找他们的歌曲或专辑, 能够免费创建一个链接, 并在底部如果他们想定制, 那么我们可以有一个倡导带来的流量呼吁,这是我们在创作者经济中看到的第一次突破。后来我们在播客领域也做了同样的事情, 对, 是相同的渠道, 这使我们能够在第一年内就达到第一个百万用户, 是的 (song link, over a weekend, he was a data camp hacker. Cisco built this product. Came to me, Hey, I don’t know how to make this business. Their music together, and some of his friends had Spotify. He used that whole musicyeah. So what happened, really was we had this small link that just had the Spotify and the apple streaming platforms. He didn’t know business. So I did market research. I found that creators were sharing SoundCloud Spotify, really individual links in their socials. And this before link tree, this is before like the micro website, where you find stack. And I saw that, hey, if we just made a product that one at first, streaming platforms to the link as well as the YouTube video, yes, then artists, record labels, they want to use this, they would use this over that individual link. And that’s exactly what happened? So we just fired. This is when really DMS weren’t really being used. And that was that first unlock. We’re doing, you know, hundreds of DMS per day. We found a way to automate it. We would look up a song or an album from an artist. We would send them their song link and say, hey, I want to give you something for free. I saw that you just released the song. You should use a song link, because you might be missing a fan using Spotify links and not Apple links, right? While that is going on. And we’re like 50 cent and dog and crew fighters and like these, bigger bands. Yes, we were making API partnerships with SoundCloud. These are gandex, YouTube, yes, to be able to be added to the link, and that was the breakthrough, where it’s Wow. Now we can add all this. And then YouTube also recommended a video, so at the bottom, they can actually, if they have a lyric video, it would populate, but also, if they had a music video, and populate, and then it’s like this whole release experience. And that’s what was that that true, amok in the beginning, and that told us how we could monetize, because it was free. So we’re like, Okay, now we can tell the artist you want to make a custom URL. So instead of song link slash whatever it was, Song dot link slash Snoop Dogg or the song name, we just for 299, yeah, not that pushing them into a subscription fee out of the gate, but just the time by for that release and just see how it played out. We were driving a ton of revenue. We reached a little bit over 100k but really we called those pretty links, and that was a breakthrough that led okay. Now we can build analytics attached. Now we can allow them to add any link with an icon, meaning their merch, their tickets. And it really became this micro website, just provider for all the artists. And what we saw from competitors was link fire. They were charging artists a few $100 per month for some BS analytics and some custom URLs. We beat it. So we’re like, no, let’s make this public. Let’s allow anybody to look up their song or album, be able to create a link for free and at the bottom if they want to customize it, then we can have that call to action, but I don’t want to keep rambling, but that was like that first turnkey moment where we saw that was happening in the Creator economy, and eventually, that’s what led to the podcast being because it’s, it’s the same thing, right? Yes, the same channels, and that allowed us to really find reach that first million users, I would say, over this, that first year, yes, sure. Then, yeah)
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Peng Yi： 所以当在获得第一个百万创作者和用户时, 你的责任是增长。 所以, 你的挑战是什么? 因为在我们的假设中, 用户可能通过Songlink获得多渠道渠道, 进入到正确的渠道, 但是用户留存率可能不太高. 所以你在那个阶段的挑战是什么? (Then, so when you get the first million creators or users, so your responsibility is on growth. Yeah, right. So, so what’s your challenge here? Because, you know, in our hyper hypothesis, that user might, might get the the multi channel right through the song link, might get that get their right channel
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Nick： 用户流失是很难. 当我们从免费变成收费时, 我们要收取每月10美元, 以获得无限链接和分析功能, 对. 但我们没有看到太多的变化. 知道，我们提供了一次性购买的漂亮链接，我们也提供图形服务，因此你可以制作图形. 我们有一个创作者会为艺术家制作图形. 这些一次性购买实际上建立了这种信任, 艺术家会回来购买, 不一定总是为第二首歌再买一个定制链接, 但我们发现他们总是使用这个链接, 用于一切. (The churn was the churn was hard. When we went from free to paid and we were to charge $10 per month to have unlimited links with the analytics, yes, but we didn't see much. You know, with the one-time buy pretty links, is what we called it. We also offered graphics so you can make graphics. We would have a creator that would build graphics for artists. These one-time purchases actually created this trust where artists were coming back, not necessarily always buying another customized link for that second song, but we found that they were always using the link, like for everything,)
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Peng Yi： 转换有点困难，对吗? (Conversion is a little bit difficult, right?)
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Nick： 是的, 你知道, 我总是说，从我回顾那段时间的流失情况来看，从免费到收费真的很难. 我们可能一开始就应该收费, 对, 但如果我们一开始收费，我们永远不会达到那几百万用户. 因此，我们总是在反思, 好, 我们平台的增长有多少, 市场实际上提供了什么, 创作者在寻找什么? 所以这种循环让我们通过与他们进行通话了解他们的歌曲, 通过某种形式的研究学习. 那时我非常简陋. 我只有一个Google表格, 只是试图从每个创作者那里学习, 然后根据数据驱动做出决策, 好, 我们什么时候转向订阅? 但早期的流失不是问题. 问题在于如何扩展和赚更多的钱. 收入一直是问题. 我们的用户数量的增长总是超过收入的增长, 因为我们一开始是免费模式, 对. 这也是我们被收购的原因. 因为我们建立了一个生态系统，而不是我们创造的收入. 是的 (Yeah, it was, you know, and I always say it's really hard to go from what I learned looking back on that turn, it's really hard to go from free to paid. We probably should have just started out as paid, yes, but we never would have reached those millions of users, if we didn't see that the market wasn't already offering that. So we were always reflecting, okay, how much growth into the platform, what is actually the market providing, and what are creators looking for? So that loop of giving them the song on a call with them learning through just some type of research. And I was really scrappy back then. I just had, like, a Google form just trying to, like, learn from each creator, and then making a data driven decision on, okay, do we? When do we go to subscription? But early on that the turn was was was not the problem. It was trying to scale and make more money. Revenue was always the problem. Our users always outweighed the revenue because we were freemium in the beginning, yes, and that's ultimately why we were acquired. It was where the ecosystem that we built, not the revenue that we created. Yeah. Then I believe you were quite)
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Peng Yi： 你用了不同的方法去推广付费模式，对吗？所以你能分享一下你认为对创作者有效和无效的是什么吗？(Different method on the on the pre on your premium mode, mode, right? So would you share we think are effective and which is ineffective for the crazy creators?)
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Nick： 是的，你是说我们转向订阅时什么有效，什么无效，对吗? 是的, 有效的是给他们提供这个一体化工具, 所以他们可以创建任意数量的链接. 我们看到创作者会回来并实际使用它. 他们不仅仅是每年创建两到三个发布并支付我们每月10美元. 他们变得有创意. 他们用他们的链接推广他们的商品. 他们会用链接推广他们的门票. 所以当他们有一个发布时，他们会在接下来的12周内进行巡演. 他们仍然会使用Songlink来推动门票销售. 所以这让我们从认为，我们不仅仅是一个歌曲提供者，而是一个微型网站.
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艺术家不想要有10个标签的WordPress网站，粉丝会困惑. 他们只想要这个小的堆叠的页面. 好, 这是我在推广的歌曲, 这是我想让你点击的链接. 他们能够组织这些链接. 所以如果是音乐, 那会在顶部的流媒体链接, 但如果是门票, 他们会把它移到顶部. 如果是商品, 他们会把它移到顶部, 他们可以更改链接的图片, 这样就让他们能够随时随地作为创作者与他们在一起. 我们发现，听他们的意见, 不试图预测他们需要什么, 而是实际上听取他们的意见, 他们想要的只是一个与他们的职业生涯现状保持同步的链接, 这让我们可以转向订阅模式. 但并不是所有人都跳到订阅模式. 你知道, 数字上来说, 不多的艺术家年收入超过1万美元. 不到5万. 所以能够花费100到150美元每年在Smart Link服务上, 这并不符合他们的模式. 但我们仍然把他们当作客户对待, 因为他们使用我们的免费产品, 这最终让他们成长, 是的 (Yeah, you're saying what worked when we went to subscription and what didn't work? Yes, yeah, what worked was giving them this all in one tool, so creating as many links as they wanted, we saw that creators were coming back and actually using that. They weren't just creating two or three releases per year and paying us $10 per month. They were getting creative. They were using their link. They were promoting their merch with the link. They would promote their tickets with the link. So when they had a release, they would go on tour for the next 12 weeks. They would still use that song link to drive those ticket sales. So that's where it changed us from thinking, Oh, we're just the we're not just a song provider. We're like a micro website. And artists don't want fat WordPress websites with like, 10 tabs and fans are confused. They just want this little stacked Okay, here's my song that I'm promoting, and then here's the links that I want you to click. And they were able to organize those links. So if it was music, yeah, that would be at the top the streaming links, but if it was tickets, they would move that up top. If it was merged, they would move that up top, and they could change the picture of the lake so it allowed them to stay in the moment with where they were. As a creator, we just found that listening to them and not trying to project what we think they need, but actually listening and we just what they wanted, was a link to be present with them on where they were in their career, and that allowed us to go to that subscription. But not everybody jumped to subscription. You know, for numbers sake, like not many artists make over $10,000 per year. There's there's less than 50,000 so being able to spend $100 $150 per year on Smart Link services, it just didn't fit the mold. But we still treated them as customers, because they were using our our freemium products, and that allow them to grow ultimately, yeah, then have you, we are always)
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Peng Yi： 我们总是谈论双边网络效应，对吗？所以你有没有考虑过像通过YouTube的API获取创作者的信息流呢，比如说，或者你设置了一个爬虫，得到创作者的许可，然后用户就可以在Songlink获取订阅多频道的内容. 我们是这么想过的. (Talking about the two side network effect, right? So have you, have you ever considered to like to get the feed of the creators like to through the like YouTube's API, or you just set up the web Crowder with the permission of creator, then the subscriber, the user, could just get the feed of that from Mountain channels. We were thinking like that.)
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Nick： 你知道, 当时我和我的合伙人是唯一全职的成员. 我们有一个律师和一个运营人员. 我们是自筹资金. 我们没有融资. 所以当我们卖掉公司时, 我持有40%的股份. 我的合伙人持有45%. 所以我们处于不同的状态. 如果我们对我们当时的操作方式做更多的分析, 回过头来看, 我们本可以做出更明智的决策, 继续扩张提高我们的估值, 会有更好的退出. 是的, 我当时没有那样想. (We were just, you know, my partner and I were only full time. We had a lawyer and we had an operator. We were bootstrapped. We didn't raise money. So when we sold, you know, I had 40% of the business. My partner had 45% so it was we were in a different state. If we would have done more analysis on actually how we were operating in the moment, looking back, we could have made smarter decisions that would have drove our valuation higher would have been a better exit. Yes, I wasn't. We weren't thinking like that. Now, do you think it's reasonable)
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Peng Yi： 对用户来说，使用Songlink，聚合内容是合理的吗? 不只是链接平台. 对你的消费者和创作者来说，现在合理吗, 如果你还在运营Songlink的话? (Of a needs for users, for consumers, some song link like to add? Do you? Do you think is it to to make an aggregator of content? Yeah, not just the link platform. What is reasonable for your consumers and the creators? For now, if you operate, operating song link,)
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Nick: 有趣的是我确实也还在音乐行业工作。我从中感觉到的是，这种链接聚合器已经饱和，所以艺术家现在想回到分享单一链接的状态，因为他们的Linktree上堆积了太多内容，有些甚至与他们当前的状态无关，导致点击率下降，粉丝不知道该点击哪里。所以他们会回到个人链接。我知道Linktree在过去六个月里因为创作者面临这个问题而增长乏力。我的合伙人仍然在Linktree工作，帮助管理很多创作者部门，他也看到了这个问题。现在需要一种能够抓住艺术家或创作者当前状态的解决方案，可以还是聚合器，但需要感觉新颖，不能再是这种堆叠链接的方式。Linktree创造了这个陈列的体验，但我不认为艺术家会像四年前那样使用它们。因为他们现在的链接中有些是18个月前发布的歌曲链接，这让页面显得有些杂乱。这就像是WordPress的问题，让我们创建了Songlink。我们现在处在这样一个时间点，堆叠、饱和的网站让艺术家们想要新的感觉，能够真实反映他们当前状态的解决方案是不存在的。（英文原文-Well, you know what’s really funny is, I’m still working music, yeah? What I’ve learned is that aggregators have created a saturation so artists that now they want to go back to sharing this individual links, have created a saturation so artists that now they want to go back to sharing this individual links, because they stack their link tree with so much stuff that some of it’s not even relevant to where they are, that it’s not actually driving a lot of clicks with their fans, because their fans don’t know where to click. So they’ll go back to individual links. I think, though, creators across the board, and I know linktree, has had problems with growth in the last six months because of create having that issue. My partner still works there. He still helps run a lot of the Creator department on the dev side, and he seemed to drop off because everybody got so like, Okay, this stacked experience, and not just us. There’s a ton of other companies that came out after link tree, and there’s a lot of people in this space. So there needs to feel, how do you grab somebody in that present moment of the career? It can be an aggregator, but it needs to feel new. It doesn’t. You got to get away from this stacked approach. Like Lake tree created that almost, that that column. You know, they created a segment. And I don’t, I don’t, I don’t see artists wanting to use that as much because they’re not just they’re not getting as many clicks as they used to, let’s say, four years ago, when they were using link tree and they only had like, one to three links. Now I go to artist pages and sometimes they have links from songs they release 18 months ago, so it gets a little sloppy, and it’s almost like what happened with WordPress and why we created song like is almost in the time where now, where they’re having these stacked, saturated websites, where they want it to feel fresh. They want you to feel like this is where, exactly where the artist or the creator is, right now, there’s not a solution for that.）
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Nick： 因为我们有这个想法, 比如movies.link, art.link. 我们看到这个愿景, 我们应用于流媒体平台的东西可以应用于, 比如一个艺术家, 他们在Etsy上，他们在Mercury上，他们在不同的平台上销售他们的创作. 再次有机会, 但它的内容需要让人感觉是当下的. 所以我不知道AI是否可以创造一种方式来聚合, 也许, 如果是来自他们的粉丝和社区的新闻消息以及他们试图分享的资产, 是的, 但它需要感觉像一种全新的体验. 还没有人能做到这一点. 是的, 这是下一个阶段的 (Because we bought, we had this idea of like, movies.link, art.link. We saw this vision that man, what we applied to the streaming platforms could be applied to, like an artist that they were on Etsy and they were on Mercury, and they were on these different platforms selling their creative there is opportunity again, but it needs to feel present. So I don't know if AI can create a way to aggregate maybe, if it's like press messaging from their fans and their community as well as the asset that they're trying to share, yes, but there needs to feel like a net new experience. And nobody's been able to do that. Yeah, that's the next phase of)
播客与音乐、舞蹈的转化效率差异
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Peng Yi： 我想和你讨论.一下, 你有没有衡量或评估过从Songlink到播客或舞者或歌手的不同效率? 对他们有区别吗? (Question I want, I want to discuss with you. And by the way, by the way, have you ever measured or evaluated the different efficiency from the song link to the podcaster or the dancer or the singer? Is there any difference for them? )
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Nick： 是的. 我的意思是, 这就是为什么我们后来深入做播客。一, 因为我们有所有的流媒体API关系. 但我们很难确定到这些API关系有多长时间. 比如, 你知道, 50 Cent发布一首歌的前五分钟. 我们的用户当时没有人能观看视频, 因为我们当时达到了调用YouTube视频的API的上限. 但我们不得不建立和YT的更多关系来构建这个定制体验, 是的, 所以这种平台限制也这让我们转向播客. 我们看到了播客的增长, 人们实际上, 你知道, 会发邮件, 嘿, 你能不能为播客创建相同的东西? 这看起来非常相似, 这就创造了播客链接, 这就是我们在退出之前, 2021年2020年, 是的, 几乎与艺术家增长的速度相当. 我们看到这过去只是一个被唱片公司, 经理人和艺术家, 尤其是独立艺术家大量使用的音乐网站, 是的, 现在转向了播客里, 你知道, 在2010年到2015年之间可能只有几千个播客, 现在每个类别都有成千上万个播客, 他们面临同样的问题. 你知道, 他们的听众可能没有Apple或Spotify, 所以创建相同的全新体验, 也允许他们创建商品门票和定制链接, 让他们的业务扩展到广告之外. 所以我不知道现在的具体数字. 当我卖掉公司时, 2021年的时候我个人完全现金退出. 但我们当时看到的播客的增长趋势是非常好的, 那时的预测是2030年左右会有更多是视频创作者. 我们预测这当中其实有个中间地带，人们会更多做直播, 而不是仅仅是播客, 无论这个创作者术语是什么, 都会需要某种形式的聚合. 所有的数据都在朝这个方向发展. (Yeah. I mean, that's why we lean into podcasting One, because we had all the street API relationships. We didn't realize how long some of those API relationships were taken. Like, you know, 50 cent releases a song in the first five minutes. Nobody can watch the video because we've hit the API limits on the YouTube video. But we had to build these relationships to build this custom experience, yeah, so I that's what led us to podcasters. We saw this podcast growth, and people actually, you know, would email, Hey, can you just create the same thing for podcasting? This looks very similar, and that's what created the podcast link, and that's we ended up right before the exit, which was 2021 2020 Yes, almost an equivalent in terms of uptick of growth from podcasters and artists. And we saw this used to be just a heavily used music site from from labels and managers and and artists, especially independent artists, yes, now is kind of shifting in the podcasters, in a space that you know, in the early 2010 to 2015 there's a few 1000 podcasts now there's 1000s of podcasts in every category, and they face that same issue. You know, their listeners don't have Apple or they don't have Spotify, so creating that same net new experience that also allowed them to, you know, create the merch tickets and the custom links that allow them to scale their business beyond ads for cassix. So I don't know where the numbers are right now. I don't have, you know, access to that when I sold it 1021 part of my personal deal was a complete cash out. But I we were seeing the trends of it heading Well, podcasting, actually, by the time was like 2030 or Video Creators. We were predicting this kind of live stream, middle space of people doing more live stream versus, like podcasting, just whatever this creator term is, there's gonna, there's gonna need to be some form of an aggregation for it. And all numbers were headed there. Yes, I've got it so, so, and how)
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Peng Yi： 转换率或货币化率, 对于播客或歌手来说, 哪个更高? 或者它们差不多? (About the conversion rate, or the take rate for the podcasters or the singers? Which one is smart is higher or they are?)
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Nick： 嗯, 我认为这取决于他们的受众. 当我们与小型艺术家合作时, 比如每月听众少于2万的, 我们发现就像点击Spotify的转换率会高很多, 是的, 但在购买创作者资产方面. 我会说在播客创作者要高得多. 我将其归因于他们与听众相处的时间更长. 比如, 如果你每周听Joe Rogan【美国头部播客主持人】一次, 每周两小时, 你就会了解Joe Rogan, 但如果Joe Rogan每六个月发布一首歌, 是的? 我了解Joe Rogan, 所以我会听, 但在实际购买和获取创作者资产方面, 没有可比性. 播客在这方面表现出色, 因为他们免费提供所有东西. 他们通过推广一个Amazon链接赚钱, 他们会获得推荐, 你知道, 这是一种联盟广告收入, 是的. 所以播客创作者确实他们免费提供了很大价值. 所以, 就是Gary Vee【著名播客主持人】说的, 给予, 给予, 给予.
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然后无论用户的第一次请求什么时, 我们正好是他们请求东西的目的地, 这就是为什么他们能够真正建立更高的转换率. 我有点不确定具体数字了，但大概是播客可能比艺术家创作者的转化率高出40%. 真的超过了很多, 我们当时看到这个数据在上升. 现在, 我认为它今天仍然如此吗? 不, 因为我认为播客现在已经饱和, 在当时这几乎像是在Discord, Twitch上的人们通过直播订阅和他们提供的东西的高转换率. 所以内容总会有一种演变, 这种感觉, 对于下一个创作者, 但我们发现那些免费提供所有这些价值的人真正专注于建立观众, 我们只是作为call to action的目的地, 我们就在播客领域也取得了成功. (Yeah, well, I think it all depended on their audience. When we were working with smaller artists, let's say below 20,000 monthly listeners, we found that there was a lot of a higher conversion rate in terms of like clicking on Spotify, yes, but in terms of buying assets from the Creator. It was much higher on the podcasting side, I will say. I attribute that to their ability to spend longer time with the listener. So like, if you're listening to Joe Rogan once a week, for two hours a week, You know Joe Rogan, but if Joe Rogan drops a song every six months, yeah? Like, I know Joe Rogan, so I'll listen to the look in terms of actually buying and acquiring assets from the Creator, it wasn't even comparable. Like the podcasters crushed in that light, because they were giving everything away for free, right? They were making money. You know, it's a small percentage, especially in the beginning, was making money through, like, promoting an Amazon link for you to use. And they would like get a referral, you know, it was affiliate income, yeah. So they were value giving it out for free. So it's, it's the Gary Vee, it's the Give, give, give, give, give. And then the one time you asked for something, we just so happened to be the destination for where they asked for things, and that's why they were able to to really build a much higher conversion. Do I know this specific number, but no, it was much. I want to say it was like 40% higher than than artists on the Creator side. It really outweighed it, and we just saw that skyrocketing. Now, do I think it's still today? No, because I think podcasts have now become saturated, and it's almost become like people on Kik and people on Twitch are now creating that higher conversion rate now through subs on the platform and through things that they're offering. So there's always going to be an evolution, it feels like, for that next creator, but what we found is the people that are giving out all this free value really focusing on building that audience and how us just being that call to action allowed us to find success with podcasters. Yeah, that I agree with you, that's very)
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Peng Yi： 非常有洞察力. 你刚才也提到Twitch和Discord, 比如可以设置我的用户组, 让我的消费者群体并提高转换率, 对吗? 但从我们的观察来看, 我发现大多数顶级播客主持人并没有使用Discord或Twitch进行直播. 你有没有考虑过这个? (Insightful that. So I mentioned that twitch and disco, right? I could set up my reducer, my consumers group, and make a good, very higher conversion rate, right? So, but, but I observed, from my from our observation, I found that for top podcasters, I think most of them, they don't have this code or Twitch to make some yeah live. So have you ever Yeah? Think about it. )
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Nick： 我们从创作者那里学到了 运营一个Discord或甚至是一个Telegram, 需要花费五到十个小时每天, 是的. 如果我每天都在听Lewis Howes的《伟大的学校》, 我不需要也在他的Telegram中. 我每周听他一次. 就感觉我与他在一起. 听众在节目之前和之后，他总是给你这些点子，他们总是有更好的机会去像会员网站, 而不是再次去另一个免费的平台提供免费价值. 所以对于这些类型的创作者来说，更重要的是如何在漏斗底部实现货币化，而不是创建另一个漏斗顶部的渠道, 对, 就像Discord或Telegram (But we've learned from creatorsRunning a discord or even a telegram, yes, it could take like five to 10 hours per day, yes, and they weren't. You're already building a community with something like, if I'm listening to School of Greatness by Lewis Howes every single day, I don't also need to be in his telegram. I hear him every week. I'm with him. Listeners. And before the show, after the show, he's giving you these nuggets, and they always have a better opportunity to go to, like a membership site, versus going again to another free platform where they're giving a free value. So I think it's for for those types of creators, it's more about, how can you get to monetization at the bottom of the funnel, versus create another top of funnel channel, yeah, which would be discord or Telegram, yeah, yeah, true, agree, yeah. Then)
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Peng Yi： 我们也许可以讨论一下大型语言模型在这些问题上的有效性. 我们在想是否可以创建新一代的AI机器人. 我想听听你的直觉. 大型语言模型如何实际为创作者服务? (We maybe we could talk, discuss about the larger language models, effectiveness on this, about these shoes, yeah, what we are thinking is like whether we could create a new generation of AI bio or AI by an AI boat, have you? Then I want to get your intuitiveness about it. Yeah. So you will mention the how large and model could actually work for create using it,)
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Nick： 是的. 类似于让人们上传了问题的带平台, 如何为创作者自己的社区创造价值? 对吗? (Yes, yeah. So I upload, like my streaming platform that I'm using for my ask, like, how would, how would that create something for me that could be a value for my community? Yeah? Then, then I think we have some)
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Peng Yi： 第一个假设是， 你知道RAG, 对吗? 它可以从任何内容中检索任何个性化问题. 是的, 我们认为对于一些付费内容来说, 限制次数用它来生成一些答案，可能会比创作者固定开放一些免费内容更好. 或者我只提供三个免费的个性化问题并从我的高级内容中检索 (Hypothesis, yeah. Like, the first one is, you know, you should, you know, the rag, right? R, R, G, and it could just retrieval any any of your content from to any personalized question from customer. Yeah, we believe that, like for some premium content, it's better, it might, it might be better than or I just make three of them on the list of freemium. Yeah, if I could permit it to you for three free, personalized question and retrieve it from my premium content. )
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Nick： 是的, 你知道, 就像我说的, 你可以创建一种感觉像创作者在场并在他们的社区中与他们在一起的体验, 在一个AI链接共享体验中, 这就是将占领创作者经济的下一个事物. 现在, 我试图了解更多关于AI机器人的事情, 比如, 机器人如何对创作者有帮助? 是的, 然后我认为也许是的 (Yeah, you know, like I said, you could create An experience that feels negative, greater and it feels like you're in the present moment with them, in their community, in one AI link sharing experience, like, that's the next thing that's going to take over this, this creator economy. Now, I from, from a bot. I'm trying to learn more about, like, how, how would a bot be helpful for creator? Yeah, sure. Then I think maybe)
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Peng Yi： 第二部分是, 你提到, 如果你运营用户组, 是的, 可能需要花费五到十个小时每周, 对吗? 但我认为大多数问题可能只是围绕你的产品或你构建的内容, 你的短片或你的高级会员, 对. 但对于机器人来说, 它可能可以随时去回答那些问题 (The second, the second part is, like you mentioned, if you, if you operate user groups, yeah, that might, it might cost the five to 10 hours a week, right? But I think most of questions maybe just around your, your your good or your your building, your short or your premium, your membership, yeah. But for the bot, I think maybe it could, I think, make the first, the first to use case, it could just apply the questions for creator, right then I yeah, like later, I'll train you'll train all of Joe)
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Nick： 你提到的用例会应用于创作者, 对吗? 是的, 然后我会训练, 你会训练所有的JoeRogan的播客, 然后用这个机器人与之互动, 它会像粉丝一样回应, 来自创作者的 (Rogan's podcast, and use this bot to reach out to this bot, and it would respond from like a fan, from the creators, that it's just a kind of)
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Peng Yi： 以AI助手的身份, 对, 回答社社群的问题. (On the on behalf of an AIS assistant, yeah, to to answer questions for the community.)
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Nick ： 我认为这对我和我的伙伴非常有帮助. 我们运营一个帮助音乐和技术平台的代理公司. 我们也正在创建一个我们几乎完成的联合创始人大型语言模型, 我们围绕它创建了一个模型, 它就像一个机器人, 我们训练了所有我们做过的项目, 所有的产品设计和增长知识, 输入这个机器人角色中. 所以当人们联系我们时, 他们可以通过这个机器人来找我们. 它就像一个漏斗顶部帮助我们吸引更多客户. 所以我认为, 从创作者的角度来看, 如果你能找到方法来自动化帮助提高他们的流程效率, 无论是发布还是如何与社区互动, 过去的工作经验, 这些都会有帮助. 我们发现越来越多的细分创作者, 在多个领域. 所以我认为你可能会在什么对创作者有价值的问题上忙得不可开交. (I think it's very much helpful. Me and my my partner, I run an agency as well that helps music and tech platforms. And we were creating a we're almost done, with a co-founder, LLM, that we've created a model around and it acts as that bot of we trained all the projects that we've worked on, all the product design and growth knowledge, inputted this bot like character. So when people reach out to us, they could just go to us through the bot. And it acts as this, almost this top of funnel for us to help drive more customers. So I think, from a creator standpoint, if you could find ways to automate them help drive efficiency to their processes, whether that's how they release or how they should interact with their community, what worked in the past like that's always going to be helpful. And more creators were finding more niche creators too, in multiple segments. So I see that you could have your hands full in terms of what could actually be valuable for the Creator. Yes, sure. Then that)
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Peng Yi： 我不确定. 你有没有一些经验, 因为有一些CRM系统也有这种能力, 对吗? 但我认为它们不是为创作者设计的 (I'm not sure. Have you ever had some experience on how because there was some CRM system or software. Well, right? But I don't think they are designed for creators, yeah, but yeah, I don't.)
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Nick： 是的, 但我不确定.我还是说，我非常专注于AI音乐方面. 所以我实际上严格专注于构建AI语音和多语音模型. 我不太了解创作者的宏大愿景, 但当我看到你的产品时, 我看到越来越多的, 你知道, Opus退出了, 但我看到, 我看到创作者使用这些来提高效率. 所以我认为有多个领域, 因为我从创作者和他们的粉丝那里听到的最大抱怨就是建立社群和推动流量所需的时间. 他们其实在与平台上其他人竞争. 以前需要27次展示， 现在需要72次展示来真正建立关系, 所以效率很重要. 我不认为创作者经济会停止, 至少到2035年, 我至少还看到10年的持续增长, 研究告诉我们这不是, 你知道, 只是我的直觉. (I'm still saying, like, I'm very much on the AI music side. So I'm in, like, in this very I'm actually strictly focused on building AI voice and multi voice model. I don't know much about, like, the grand vision for creators, but as I look at your product here, I see more and more, you know, Opus quit, but I see, I see just creators using these to drive efficiency. So I think there's multiple areas, because the biggest complaint that I hear from creators and their fans is just the time it takes to continuously build a community to drive impression. They're battling with other platforms. And what took 27 impressions now takes 72 impressions to really build that relationship so efficiency, and I don't see the Creator economy stopping, at least until 2035 at least, I say, 10 years of seeing continuous growth and research tells us that that's not, you know, just my instinct. Yes, I got, got you that. Then,)
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Peng Yi： 你知道, 就像Songlink, 我们必须选择一个特定的领域, 对吗? 只是为了开始并邀请创作者, 所以有人认为也许长篇或基于知识的内容比音乐或舞蹈更具有可互动性. 你对此有什么看法? (You know, like Songlink, we have to choose a specific area right to, just to start and to to invite creator, so that someone thought that maybe the long form or the knowledge based content are more interactive than like the music or dancing yet. So what's your opinion on it? Yeah, I mean, let me Joe Rogan, the podcasters)
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Nick： 是的, 我的意思是, 比如Joe Rogan, 播客主持人这样的，我（作为消费者）觉得与他们关系更近, 因为他们给了我更多的信息. 他们允许我, Andrew Huberman也是, 他们的内容更容易深度参与, 我从他们那里学到了更多, 因为他们提供了更多的信息. 所以我在你们网站上看到, 例如, 这里显示的总结和时间轴. 我知道还有其他竞争对手在做总结YouTube视频, 但我看到, 你知道, 有些孩子在Tiktok上创作了直播者的剪辑, 这些直播者直播三到五小时, 在Tiktok上变现. 你可以看到, 长篇内容, 尤其是在直播领域, 有人会直播八小时, 有人会直播12小时, 他们会有50到几万并发用户. 你看Kai Cenat【著名Twitch游戏直播主】的直播, 他会有60万并发观众四小时. 我觉得他们现在有最多的注意力, 长篇内容, 而短篇艺术家现在很难找到一个利基市场, 因为长篇内容其实在占用人们很多时间. 所以你现在看到艺术家上直播, 你知道, 上Kai Cenat的直播, 这比博客文章, 或任何公关工作效果更好, 因为他们有注意力. 所以我看到注意力集中在长篇内容上. 我不会说质量, 但如果你抓住了某人的注意力几小时, 这是非常有价值的. 我认为在这方面有很多机会. 这是全新的未来. (Yes, Indeed, I feel very much closer to them because they're giving me more information. They're allowing me the Andrew hubermans. They're allowing me to buy into them, and I'm learning more from them because they're giving out more information. So I see, you know, for the example, the nation here showing like the summary and the timeline. I know there's other competitors out there that are making, like, summarize YouTube videos, but I I see that, you know, there's, there's kids that are on Tiktok, that are creating clip art of the live streamers that are live stream for three to five hours, monetizing that on Tiktok, like you just see that long form, especially in the live stream space, people that stream for eight hours, people that will stream for 12 hours, and they'll have 50 to a few 100,000 concurrent users. You watch a Kai Sanat stream, he'll have 600,000 concurrent viewers for four hours. I feel like they have the most attention right now long form, and it's hard for short form artists to find a niche now, because of the long form, they're just eating up way too much time. So you see even artists now going on, streamers live, you know, going on kaisen at and that's working better than a blog article, or that's working better than any PR because they have the attention. So I see the attention falling into this long form. You know, I'm not going to say some quality, some's not, but it's if you're grabbing somebody's attention for a few hours of time that is extremely valuable. And I think there's a lot of opportunity around that. Yes, sir, and got you then, then that.That's the second future. )
Charente Carr 24年在油管从10万到45万粉丝，她的简介里有超过10个转化链接，在各种Links Bio工具中最终为Beacon付费，是个跨效率、美妆、职场咨询、技术，粉丝区域和类型都分散的达人
Link/IM都大爆炸，一个人怎么管
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Charente: 那么，我的名字是Charente，我住在拉斯维加斯，内华达州。我是一名数字内容创作者，全方位商业教练，顾问，同时也是一名IT工作者。所以这就像是我的另一份工作。所以我称自己为“多能工”。这就是关于我的一些基本信息。那么这在网络上的意思是什么呢？这意味着我在YouTube上有观众，在TikTok、Instagram、Snapchat、Clapper、Fanbase等平台上也有观众，还有很多你可能从未听说过的应用程序，因为我喜欢到处都有我的存在。这就是我的本性。
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我会谈论测试自动化，我非常喜欢那些东西，它们让我非常开心，我也喜欢人工智能。我使用它已经很多年了。所以我可以说，当有人预订我的咨询服务时，你会得到比预订其他人更多的价值，因为我的技能水平，我的教育水平，以及这是我谋生的方式，同时我也给内容创作者做顾问。对我来说，这就是为什么我甚至开始查看你们的东西，添加了插件，开始玩它们。因为我是一个系统的破坏者。为什么呢？因为我们需要知道容量，以及它实际上能做什么，不能做什么。哪些是限制。所以你们知道一些更多的关于它的事情。这就是关于我的一些总体信息。(English Transcript: Yeah, so, my name is surance, a car based in Las Vegas, Nevada. I am a digital content creator, holistic business coach, a consultant, as well as I do it. So that's like my other side of my job. So I call myself a doula all trades. That's just a high level about me. So what does that mean on On the internet streets, that means that I have audience on YouTube, I have audience on Tik Tok, Instagram, Snapchat clapper fan base, a lot of apps that you probably never heard of, because I like being everywhere. And that's just because that's just who I am. When it comes to test automation, I love those things. They make me very, very happy and giddy, and I love me some AI. And I've been using it for years. So I can say is that like, when people book me for a console, you're getting a lot more value than if you book someone else because of my skill level, my education level, and the fact that this is what I do for a living as well as I teach content creators. So for me, that's why I even started looking at your guys's stuff added the extensions, like I start playing with it. Because I'm a breaker of systems. Why? Because we need to know capacity, and what it actually can do what it can't do. What are the limits? So you guys know a little bit more about it. So that's just a high level about me.)
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Frank: 太棒了。我浏览了你的链接，看到你有所有的渠道，我至少看到了10个链接。比如说，从Linktree来看，你有两个链接，一个是个人的，另一个是我认为更多是业务方面的。然后你还有“Glow Up 8 8”，还有虚拟助理，很多东西。我们可以从这些渠道开始。你如何区分这些渠道？使用这么多链接的需求是什么？ (English Transcript: Yeah, fantastic. I mean, like, when I browse through the link, you have all the channels you have I see at least 10 links, right. Like, for example from from link tree, by the way, you have two links for just for Link trade, while one is for your personal data is for I think it's more for business. And then you also have the glow up eight, eight. And then also, you know, virtual assistant, you know, a lot of things right, like, so, you know, to get started, maybe we can start from those channels, like, how do you differentiate? Like, what's the difference across all those channels? And what is your requirement, you know, by using so many links. So)