『Building a Platform that Pays Millions to Music Creators | HOMIE Ep. 4 w/ Trevor Hinesley』のカバーアート

Building a Platform that Pays Millions to Music Creators | HOMIE Ep. 4 w/ Trevor Hinesley

Building a Platform that Pays Millions to Music Creators | HOMIE Ep. 4 w/ Trevor Hinesley

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Welcome to the podcast, man. Thanks for having me on. Trevor Hinesley. Yeah. Yeah. Thanks for helping our music industry evolve. So this is the homie podcast. So now you're officially a homie. Love it. So appreciate that. Yeah, of course. So Trevor Hinesley, you are the. CTO of Soundstripe and also the founder of FilePass correct? Yep. And you started out as a rock guitarist and audio engineer and got into tech along the way, or I guess you've been into tech for quite a while. Sure. And you started leaning more in that direction and now as the CTO of Soundstripe and co founder also you guys are one of the fastest growing companies in Tennessee, one of the fastest growing privately held companies in the U. S. You've now issued millions of sync licenses and helped creators make [00:01:00] millions of dollars from their music. It's amazing, man. So that's why I brought you on. You are definitely doing the thing and helping push the industry forward. So on behalf of all the creators and The people that, benefit from forward thinking people like yourself I appreciate that. Thank you, man. Yeah, it has certainly been a journey and what you're talking about, though. Like the most rewarding part, honestly, is just getting to see people's lives actually impacted by it. Is super cool, but yeah, it's been a bunch of twists and turns and I think I've had a bit of an interesting experience having been you know directly Really on both sides of the industry now. As an artist, you know I was on a Subsidiary of a major label so I got to experience all of what that means I didn't even realize that. Yeah. Yeah, you were doing the artist thing first. Yes. Yep. Okay. And, funny enough, the whole time I toured, I worked in software, like that was what was paying the bills, because music certainly wasn't at the time. It was very very tough, to make a living. But I did. I got to [00:02:00] experience it from both sides, because I went from that to owning a business where we buy copyrights. So we wind up owning it, very similar to a label and a publisher. On paper, technically we are a music label and a publisher. It's been interesting. We've learned a lot, and I've gotten to see it from both sides of the table. But also having been an artist, it's let me bring into it maybe some of my scars from the artist side. And trying to do it in a way that is a win while still creating a viable business and you know trying to Make things happen. So yeah, it's been a really fun interesting and Hard at times but really rewarding experience for sure. That's amazing So for the listeners who may not be familiar with soundstripe Let's give them the sort of elevator pitch of what you guys do. Sure and why it's different than, the companies that, that went before you. Yes. Love this question because frankly at the time we were really just trying to scratch our own itch. From the business side, we didn't put a ton of thought out of the gate [00:03:00] into what's going to be our moat or what is our differentiator and all these things. But we also knew that Nothing existed at the time like what we wanted to create, which was, we were having a hard time making a living in music, both of my co founders and I they were, like all three of us came from the industry, we were touring and session musicians, we all had pain points and battle scars and stuff from that and all had a tough time making a living. My business partners actually one of them was a rock guitar player, he was in that scene with me as well, which, we never crossed paths until we met about what is now Soundstripe, funny enough, but he was a rock guitar player. The other one his name is Travis. It was Micah and Travis are my two co founders and me and Micah always joke that Travis is the real musician of us three because he played fiddle for George Strait, Willie Nelson and so we were just jumping off of half stacks and trying to act like we were rock stars. bUt no they both had the same experience. Micah toured in the rock world for [00:04:00] 10 years. He was in a bus, he did the thing at the level that on the outside is, looks very glamorous, and sure, in some ways it is like, each stage of a touring career has its own pros and cons, but at the same time if I remember the story Micah wound up essentially driving tour buses instead he stopped playing guitar, matter of fact, he just moved seats, so That he wound up driving the band's bus that he was in and just stopped playing guitar because the day rate for the bus driver was more than the guitar. Dang. Yeah, that's the reality of it. That's such a, yeah. And I remember the same thing. We would pay our drivers like twice what we were making individually, because that was the only way you could get someone to Supply and demand. Absolutely, man. It's a, it's a free market like that. Yeah, They were doing the same thing Travis, same situation. He eventually wound up driving buses. So they were both gone on the weekend all the time ...
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