OBS 211

GROUP
PROJECT:
THE GIG
ECONOMY

SOUNDSWIPE
Presented by:
Ryan Persson (u24925056)
 Table of Contents

P H A S E 1 ................................................................... 2

1) Identifying the Problem ........................................... 2

2) Define What a Gig is ............................................... 2

3) Ideate......................................................................... 5

4) Prototype .................................................................. 7

5) Test............................................................................ 8

P H A S E 2 ................................................................... 9

1) Business Model Canvas (BMC) .............................. 9

2) Market Analysis...................................................... 13

3) Commercialisation Strategy ................................. 15

Bibliography ............................................................... 23

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PHASE 1

1) Identifying the Problem

• Sound engineers in the gig economy face a significant number of challenges in
finding and securing consistent and stable work, building up a reputation that
doesn’t limit networking with people in the same industry as well as building up
recognition and visibility in the industry due to the nature of the gig economy
which is characterized by freelance work and short-term contracts.

• The contributing factors to inconsistency in work opportunities is that many

sound engineers have placed reliance on social media or even word of mouth
to get gigs, thus leading to unstable income.

• Due to limited platforms for sound engineers, networking becomes difficult for
them if they have not already established themselves. This also makes it
difficult for knowledge to be shared and passed down, hindering growth as a
sound engineer and building a profile.

• Without the right platform, sound engineers are unable to build up recognition
for themselves to grow their brand to be able to stand out and secure good gigs.

2) Define What a Gig is

Gig work, also referred to as non-standard work, involves earning money through
activities that fall outside the traditional employer-employee relationship. We may be
familiar with what gig work is not, but what exactly does it include? What types of work
fall under this category? Before diving into the numbers, it's important to understand
the different ways we can define gig work.

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Different Ways to Define Gig Work

One way to define gig work is by the type of work arrangement—the relationship
between workers and the businesses or individuals paying them. In traditional
employment, workers have long-term contracts with employers, getting paid a set
wage, either by the hour or annually. Gig work, on the other hand, tends to be
temporary or project-based. Workers are typically hired for a specific task or for a set
period. In some cases, workers may have an employer, but the company paying them
is different from the one they actually work for. This kind of work is often referred to as
alternative or non-standard work and includes freelancing, temp agency roles, self-
employment, and subcontracting.

Another way to define gig work is by tax status or legal classification, focusing on
whether workers are considered employees or independent contractors. Employees
receive W-2 forms, and their employers are responsible for providing benefits,
withholding taxes, and ensuring compliance with minimum wage and anti-
discrimination laws. On the other hand, independent contractors receive 1099 forms
and don't have the same protections or benefits as employees. They are not directly
employed by the company they work for, and taxes are not automatically deducted
from their pay.

A third approach to defining gig work looks at the nature of the work itself, focusing on
what people actually do on a daily basis. This perspective considers aspects such as
flexibility, scheduling, and the amount of direct supervision. Depending on the type of
work, these factors can be seen as either benefits or drawbacks for workers.
These different definitions often overlap. For instance, many gig workers are
independent contractors with 1099 tax status and have unpredictable schedules,
although that’s not always the case. As a result, different definitions can lead to varying
estimates of how many gig workers there are. Surveys tend to focus on work
arrangements, but all of these definitions provide valuable insights into the gig
economy. Data from all three perspectives is shared in the Data Hub.

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General Problems

Lack of Stability: Because gig workers' jobs are project-based or temporary, they
frequently experience income instability. They usually don't have job security, benefits,
or a guaranteed salary like regular employees do.

Benefits Access: Gig workers frequently do not have access to paid time off, health
insurance, or retirement benefits. Employees usually have access to these, but
independent contractors and freelancers do not.

Legal Protections: Gig workers are not entitled to the same labour protections as
regular employees, including minimum wage laws, anti-discrimination laws, and
workers' compensation laws, because they are categorized as independent
contractors.
Digital Literacy Technology Skills: Since many gig jobs are made possible by digital
platforms (like TaskRabbit, Uber, or freelance marketplaces), gig workers must be
able to use these tools efficiently, which calls for a certain level of digital literacy. This
entails being able to handle payments, manage accounts, use apps, and keep up a
digital presence.

Getting Used to New Tools: Due to the quick development of digital platforms, gig
workers frequently lack formal training and must constantly adjust to new software and
technologies.

Technology Access: Some gig workers may not have equal access to computers,
smartphones, or the internet, which could limit their ability to take advantage of some
digital opportunities. A digital divide may result from this, with certain workers
encountering obstacles to entry.

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3) Ideate

Ideate can be defined as the formation or conception of an idea (Merriam Webster,

2025). Idea generation is the heart of innovation and therefore it is an essential
development with regards to the creative problem-solving process. Ideas relating to
the defined problem are as follows:

a) Create a website or app designed to replicate that of the tinder style (left or right
swiping) in which freelancing sound engineering businesses can upload
previews and/or achievements of their previous work.

This will assist other businesses and/or musicians, looking to outsource their sound
design, in locating competent sound engineers who will be an ideal fit for the desired
outcome. A swipe right on a potential freelancer will notify him/her that a business has
taken interest in his/her work and would like to work with him/her. It will then be up to
the freelancer to reach out to the interested client through the in-app direct messages
system where quotes and specifics can be discussed. This appeals to businesses
looking for niche, customisable sound design which is not often offered in the big
corporate sound engineering companies. While the clients can enjoy the sound
tailored to their satisfaction, the self-promoted sound engineers on the app can expect
greater recognition and an influx of job opportunities. Therefore, it is in both parties’
interest to make use of the app and its features.

b) Make efficient use of the various social media platforms.

If one’s sound design work can be recognised and appreciated on social media
platforms such as Instagram and/or TikTok, he/she is more likely to garner a
loyal fanbase. Releasing interesting short-form content with unique and
immersive sound can build massive support for a freelancer. A boost in internet
popularity creates a form of trust in the legitimacy and capabilities of a
freelancer. Moreover, with popularity comes social status and, therefore, this

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 may encourage businesses to collaborate much more frequently with internet
famous freelancers.

c) Making use of different AI tools in throughout the sound design process.

With the rise in AI and technology, it may be viable for a freelancer to make use
of these tools. For example, nowadays AI can extract the different sound
separates (drums, guitar, bass, synths, vocals etc) which is a very useful and
efficient process in terms of mixing and mastering tracks. With the partial use
of tools such as this, the speed of the sound design process can be increased
drastically whilst still preserving the human elements of creativity and attention
detail. Thus, this may grant freelancers a competitive advantage over corporate
sound engineering firms which are still very much conservative and old-
fashioned in their approach to sound design.

d) Designing a sound engineering software which offers innovative and unique

never-before-seen features.

If a freelancer can create a technology unique and differentiated from the sound design
softwares available market wide, he/she will create a sizable gap between him/her and
his/her competition. Thus, he/she will stand out amongst other businesses and
freelancers in the industry and this recognition will generate large market demand for
the freelancer. A unique coded software feature may, for example, be the generation
of a sound and/or instrument through descriptive text. This can create specific and
unique sounds, as requested by the client, at a rapid pace.

The selection criteria of the above-mentioned ideas are as follows:

1. Is the idea practical or realistic?

2. Is the idea clear and comprehensive?
3. Is the idea better than an existing product or process?
4. Does the idea deliver value to the customer?
5. Does the idea align with the goal / does it solve the problem at hand?

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Therefore, considering the above selection criteria, idea a) of creating an app or
website has been chosen. This is the most feasible approach due to the fact that the
group has past experiences dealing with website and/or app design. This has been
identified as a strength in the group and therefore, we have decided it be wise to use
this talent as a firm base to build off of. We believe this idea will revolutionise the sound
engineering industry for freelancers due to the fact that there is little to no means for
freelancers to create a name for themselves in the industry. It will provide a self-
promoting service to freelancers through which they can customise their profiles to
their hearts content, boasting all the accomplishment history in this line of work.
Moreover, its social media-like interface will be accessible the world over, thus
connecting freelancers with a broader potential customer base. The familiar and
comforting left/right swiping feature will be designed to offer ease and efficiency to the
users of the app. This, therefore, may become the preferred alternative of sound
engineering recruitment as opposed to the standard website or email booking
approach. Thus, it is expected that this approach will result in with networking and
relationship-building opportunities for freelancers the world over, which, if cultivated
correctly, can grow into long lasting healthy business relationships.

4) Prototype

Our group’s app prototypes can be found through access of the links below:

[Link]
test/work_promotion?debug_mode=true

[Link]

[Link]

The chosen app prototype:

[Link]

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5) Test

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PHASE 2

1) Business Model Canvas (BMC)

Key Partners

1. Partners: Freelancing sound engineers and companies looking to outsource

sound design.
2. Suppliers: Media companies and sound engineering companies.
3. Activities: Employ the sound engineer’s skills, advertise job opportunities.
4. Resources: Workshops for the sound engineers.

Value Proportions

Our sound engineering app provides emerging sound engineers with access to job
opportunities, mentorship, and industry insights, helping them launch and grow their
careers.
Customer Segments

1. Sound engineers
2. Audio production companies event organizers
3. Music producers
4. Post-production facilities
5. Film and television producers
6. Game developers
7. Live sound technicians
8. Recording studios
9. Music schools and universities

Key Activities

1. Developing and maintaining the app's platform

2. Curating job listing

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 3. Facilitating networking and collaboration
4. Creating and promoting industry events
5. Providing educational resources
6. Managing the community
7. Marketing and promotion
8. Building partnerships
9. Monitoring industry trends
10. Continuously evaluating and improving the app

Customer Relationships

1. Personalized support
2. Community engagement
3. Regular updates and notifications
4. Feedback mechanisms
5. User profiling and customization
6. Networking opportunities
7. Educational resources and support
8. Responsive customer service
9. User forums and discussion groups
10. Loyalty and retention programs

Cost Structure

1. Development costs
2. Server and infrastructure costs
3. Marketing and advertising expenses
4. Content creation costs
5. Community management costs
6. Industry partnership fees
7. Technology and software expenses
8. Data analytics tools costs
9. Intellectual property costs
10. Operational and administrative expenses

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 Revenue Streams

1. Subscription fees
2. Advertising
3. Sponsored content
4. Commission-based job board
5. Freemium model
6. Affiliate marketing
7. Sponsored events
8. Premium services
9. Data analytics
10. Partnerships and collaborations

Channels

1. App Store
2. Google Play Store
3. Social media platforms
4. Email marketing
5. Industry events and conferences
6. Online advertising
7. Influencer partnerships
8. Content marketing
9. Referral programs
10. Website and landing pages

Key Resources

1. Development team
2. Server infrastructure
3. Content creators
4. Industry partnerships
5. Marketing budget
6. Community management team
7. Industry expertise

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8. Technology and software
9. Data analytics tools
10. Intellectual property

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2) Market Analysis

After brainstorming, we were able to identify that the market our solution serves is one
consisting of independent-contract freelancers, capable of integrating Artificial
Intelligence with their own creativity as well as individuals who are able to adapt to the
rapidly-changing industry and create quality audio experiences efficiently. Our market
is composed of individuals who are constantly learning and developing their skills while
also creating work that is eco-friendly. The market is also composed of those who are
unable to find employment, those who are unwilling to subject themselves to currently
placed working conditions for others in their field of work. Freelancing in sound
engineering provides work with a given duration, expectations, allowing you to choose
how you would want to work, with whom you would like to work with and where you
would work from.

The main users of our solution would be sound engineers seeking either part-time
work or exposure to their field of work. These individuals are able to create their own
work schedule. Our findings suggest that these individuals are those suffering from
income instability from being unable to grow their network and establish themselves
in the industry as there is competition who do the job better and more affordably.
These individuals are also those seeking mentorship from established professionals
to develop their skills and build their credibility to potential clients. Other users of the
solution would be organisers, aiming on surveilling the industry to find individuals who
fit the purpose of their need. Our last identified users are individuals in the music
industry such as producers and musicians who need assistance composing singles
for their fans.

After researching our market we were able to compose a list of competitors for our
solution. The competitors are as follows in no particular rank in potential threat level:

• Fiverr - connects potential clients to freelancing sound engineers. It helps you

choose which individuals you would like to work with at the commission rate of
20%.
• Upwork - a platform catering to all professions. It helps freelancers establish
long term clients and receive secure payment and contracts.

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 • Soundbetter - a platform that is specialised according to the user’s
preferences. It is a highly competitive platform but it helps you build a strong
customer base. It is a rather selective platform so it offers an element of
exclusivity.
• Airgigs - connects individuals in the music industry to sound engineers. It is a
niche platform, allowing users to set their own rates and operations depending
on their platform status.
• Soundexx - a South African based platform for sound engineers to showcase
their work to clients as well as sustains the audio community of the country. A
con of the platform is that it offers basic user experience.
• LinkedIn freelancers - these individuals are already established in their field
and do not need intermediaries such as the above platforms to attract clients,
thus showcasing their heightened credibility.
• Social Media freelancers - these individuals have built a following of fans that
help build their credibility while also actively engaging with clients, building a
connection of trust between them clients will not be willing to break for our
solution.

Thus after investigating our competitors, we were able to identify what challenges we
could face in selling our solution, the first being trying to convince people to use our
app. While our solution could solve many issues such as providing opportunities to
host/advertise live gigs and allowing individuals with any level of experience to sign
up, the fact that we are entering an existing market that has existing relationships
between clients and freelancers on existing platforms may pose a challenge. Another
issue is customers do not know what to do on such platforms and so forfeit attempting
any incentives to use such platforms. Another issue is commission rates. Although
some platforms offer rather high rates, others are adjusting theirs to be more
affordable to clients, thus jeopardising our pricing strategy, although we can solve
these issues by being price sensitive by offering tailored rates to different clients based
on the work required. Operational issues such as social media presence,
communication with clients through customer service and work scheduling also exist.
However, we can use already existing established platforms as a benchmark in order
to learn from and out-perform these competitors. Another challenge is possibly dealing

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with established platforms stealing our idea and selling it to their established customer
base or their customers being unwilling to switch to our solution due to doubts about
our credibility. Lastly, we identified location to also be a challenge as language barriers
and being unable accessibility to our solution makes potential customers lose interest
in attempting to use our product.

3) Commercialisation Strategy

i) Funding and Project Projections

1) Startup Accelerators – Otherwise known as Seed Accelerators support early-

stage companies through mentorship and funding for a set period by applying
to the accelerator that they must either accept or reject. Examples of
accelerators are:

- Grindstone Accelerator
- Techstars
- 500 Global

2) Angel investors – Interested wealthy individuals invest in our platform after

analysis of probable success and profitability and in return we offer them a
stake of our equity and the ability to make decisions. They also offer mentorship
and networks to help grow our platform. Most investors are found on LinkedIn,
AngelList and social media networks.

3) Crowdfunding – Using our social media accounts to ask a large number of

people to support our app through donations. These people would mainly be
aspiring sound engineers, known industry professionals or even strangers with
the expectation of providing them updates on our progress and success. This
method can also generate loyalty in our fanbase. Platforms to use are:

- Kickstarter
- SeedInvest

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- GoFundMe

4) Music and Sound Industry grants – Grants from organizations such as MIDiA
Research and PRS Foundation as well as from the state government offer
funding to start-ups such as our platform and are not required to be repaid and
have no equity stake involved. They are granted based on feasibility, mission
statement and potential social impact. It is difficult to secure funding from this
source due to competition, however if approved, the grant is expected to
facilitate innovation and positive social impact.

5) Bootstrapping – Use of personal savings. This type of funding is relatively low

risk and low cost however funds are sometimes not enough to cover all
expenses, thus putting more strain on our financial stability.

6) Private Investors – These individuals include family and friends. They will invest
in our platform in exchange for equity or a portion of profits. Some of these
investors may also offer connections, advice and feedback on our platform,
thus being entitled to a bigger pay-out than normal investors.

7) Venture Capital Investors – These are companies that invest in high-risk start-
ups, offering large amounts of capital and networking opportunities at the
expense of forfeiting a large part of your equity, operations and profit. Examples
of investors, in alignment with our business model are:

- Andreessen Horowitz
- Lightspeed Venture Partners
- Quick Hack
- Knife Capital

8) Bank loans – Loans from banks offer flexibility, security and stability. Loans
have strict criteria to measure if our platform is eligible for a loan. If so, we will
be charged interest, fees and told to provide collateral in the event of our
platform being unsuccessful. Proper documentation is also required for
verification

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 ii) Intellectual Property

Intellectual Property (IP) can be defined as a broad categorical description of a set

of intangible assets that are owned by a company or individual (Kenton, 2024).

SoundSwipe has used components of already existing ideas and/or websites such as
Tinder and LinkedIn, however, it combines these mechanics in a manner which
produces a refreshingly new and distinctive product. Our app has its competitors as
mentioned in the market analysis, however, these mostly comprise of apps, services
or websites which cater to a much broader, unspecialised market. In contrast to this,
our app derives a bounty of opportunities and value for sound design freelancers and
offers a level of market-centred attention to detail and scrutiny which its competitors
cannot. Therefore, it is very difficult for other competing businesses to replicate the
niche catering offered by SoundSwipe. This grants SoundSwipe a major competitive
advantage which should set it apart from its competitors. It is the hopes of the company
that SoundSwipe will inevitably be recognised as an industry standard in terms of the
sound design outsourcing and recruitment process the world over. Due to the fact that
SoundSwipe is an original and unique product, it therefore requires IP protection.

The different forms of IP protection are as follows (Brook, 2022):

1. Patents – protects new, unique ideas, inventions or processes

2. Trademarks – protects designs, symbols, words or phrases that are associated

with a brand

3. Copyrights – Protects original authorship / intellectual works such as books or

music

4. Trade secrets – Protects restricted information that provide a competitive

advantage

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In theory, our group has chosen to protect it by trademark and copyright. Trademarking
is necessary in terms of protecting the IP of the brand itself, its name and its logo. Its
longevity is indefinite however a trademark must be renewed every 10 years.

Figure 1. The name and logo of the company SoundSwipe protected by its trademark,
as seen in the app

Moreover, copyrighting is essential in order to protect the unique source coding of the
app and the creative design elements and imagery thereof.

Figure 2. An indication of the in-app copyright protection

These two forms of IP protection will ensure that SoundSwipe, not only an app but as
a company, will remain secure and protected from the threat of IP theft.

iii) Marketing and Sales

Let’s dive deeper into marketing and sales:

Marketing Strategies:

1. Target Audience: sound engineers

2. Unique Selling Proposition: Our sound engineering app provides emerging
sound engineers with access to job opportunities, mentorship, and industry
insights, helping them launch and grow their careers

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Content Marketing:

1. Blog: Share industry insights, tutorials, and success stories.

2. Webinars: Host webinars on sound engineering topics.

Influencer Marketing:

1. Industry Influencers: Partner with renowned sound engineers.

2. User-Generated Content: Encourage users to share their experiences.

Digital Marketing:

1. Social media: Leverage platforms like Facebook, Instagram, Twitter.

2. Email Marketing: Build relationships through targeted emails.
3. Search Engine Optimization (SEO): Improve website visibility.

Sales Strategies:

Revenue Streams:

1. Subscription Model: Offer premium features for subscribers.

2. Job Posting Fees: Charge for job postings.
3. Partnerships: Collaborate with music production schools, recording studios,
and audio equipment manufacturers.

Sales Outreach:

1. Targeted Advertising: Utilize Google Ads and social media ads.

2. Email Marketing: Nurture leads and promote platform features.
3. Partnerships: Develop strategic partnerships.

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Growth Hacking:

1. Referral Program: Incentivize users to refer others.

2. Community Building: Foster engagement through forums and events.
3. Success Stories: Showcase user success stories.

Sales Tools:

1. Customer Relationship Management (CRM): Manage customer interactions.

2. Sales Automation: Streamline sales processes.
3. Analytics: Track sales performance.

Metrics:

1. User Acquisition Cost (UAC): Track marketing costs.

2. Retention Rate: Measure user engagement.
3. Revenue Growth: Monitor subscription and job posting revenue.

This strategy can help SoundSwipe reach sound engineers, build a community, and
generate revenue.

iv) Scalability

According to Google’s English dictionary, scalability can be defined as the capacity for
a business or system to be able to grow (Anon., n.d.). Growth can be defined as a
process that involves an increase in size (Anon., n.d.). With the creation of
Soundswipe, the goal is to expose as many people as possible to the app to be able
to grow and look at scalability that will solve long-term solutions. The goal is to reach
people who have an interest and passion in sound engineering and expose them to
an accessible platform to network as well as acquire information regarding their skillset
and/or passion.

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Our growth and scalability plan:

1. Conducting surveys in the industry to identify challenges that need to be

addressed to understand the needs of our end users. This will assist in growth
as it increases the chances of users enjoying and recommending our app to
others.

2. Developing an algorithm that is user-friendly when creating profiles and

categorizes users in the right groups for sound engineers to find others that
match the skills they’re in search of, as well as those with similar experience
and more.

3. Our app allows sound engineers to integrate their portfolios by allowing them
to upload their samples, accolades as well as experience. This creates a unique
experience for our users, thus attracting more users.

4. Including a subscription model in which users can select either a free version
of the app or a subscription version. One of the benefits of a subscription model
for the company is predictable, recurring revenue (Anon., 2024). This is
beneficial in terms of long-term and future planning as it creates stability, which
contributes to growth and scalability.

5. In the early days of the launch of the app, partnering with events such as music
festivals or concert organizers to introduce the app to a specific target market
will assist in the growth stages of the app. Reaching out to sponsors such as
Yamaha that work with audio equipment to get the name of the app circulated
amongst the right communities to gain attention and traction around the app
helps with growth and scalability.

6. In the long term, implementing features such as online sound engineering

classes and tutorials that are hosted for users will broaden the target market as
well as increase users, promoting growth.

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 7. Regularly collecting feedback from end users on improvement tips, corrections
that need to be made as well as updates that are needed will help with growth.

In conclusion, we truly believe in the need for and potential success of a product such
as SoundSwipe. With working through the different phases of the assignment, we
believe our idea, objectives and goals are very reachable and have full faith in our
product and its offerings.

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 Bibliography

Brook, C. (2022). 4 Types of Intellectual Property Protection & IP Rights. [online]

[Link]. Available at: [Link]
of-intellectual-property-protection-ip-rights [Accessed 23 Apr. 2025].

Kenton, W. (2024). What Is Intellectual Property, and What Are Some Types?
[online] Investopedia. Available at:
[Link] [Accessed 23 Apr.
2025].

Merriam Webster (2025). Definition of IDEATE. [online] [Link].

Available at: [Link] [Accessed 8 Apr.
2025].

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