Amiestreet, a cult favorite of sorts, was started by Elias Roman, Peter Asbill, Elliott Breece and Eric Davich. They wanted Songza as their “night and weekend” project. However, by 2010, the writing was on the wall for them: the music buyer was going to want access to their music on all the devices, all the time.

Some surveys of their audience only reaffirmed what they were reading in the proverbial tea-leaves. It helped that all the legal hassels around the Internet radio royalty were getting resolved. In 2010, they sold assets and retail business to Amazon, allowing Roman and his cohorts to focus all their energy on Songza. Amazon is an investor in the company along with Deepfork Capital, a Silicon Valley-based investment group.

For nearly year and a half, they went into hiding and started working on an iOS app that was focused on music discovery.  They launched the service in September 2011 with deep integration with Facebook . In March 2012 the company launched Music Concierge, first on the web and then on the iPhone.

It is a feature looks at the day of the week, time of the day, device you are using and everything they know about your lifestyle to suggest the things you need a soundtrack for. It’s the first feature you see when you open the iOS app or the website. Say you are feeling blue and it is Monday morning – well, there is a playlist for that. (Actually three playlists to choose from.) In the gym? Well, here ia a playlist of jock jams. Friday night and sitting at home with your spouse? You can pick a playlist for that.

Zero to a million in 10 days

Hmmm. Doesn’t Pandora already do that, you might be asking? The answer is yes and no. Yes, Pandora uses its magical algorithm and creates playlists based on the name of the artist you like or the song you want to listen to. Songza, on the other hand, uses humans  — about 25 in total — to create playlists and then uses algorithm to help you discover those playlists. (By the way, Pandora used humans to build its music genome and then uses that to create the automatic playlists we like so much.)

Things were going rather well for them, but when 10 days ago, Songza launched an iPad app, everything simply changed. Songza’s idea of presenting mood-and-situation based playlists seems to have stuck a chord with the listeners. Songza currently is now the number one iPad app, not just music, and it is ranked number two in the iPhone app universe. In the process it has become the number one iOS music app for both the iPad and the iPhone. Today the company announced that there have been 1.15 million downloads of the iOS version of the app. (Songza also works on Kindle Fire and on select Android devices.) And if that wasn’t enough, it has been getting a lot of usage and happy users — over 100,000 of them are tuning in daily.

Roman thinks that the company is making money already — through advertising –but more importantly offering a platform-type service to bigger brands. Radio stations that want to offer a curated listening experience by tapping into their DJ artists can pay Songza money to use their platform and stream music in their apps. Powered-by-Songza is going to be a good business for the company, Roman argues.

Pandora vs Spotify vs Songza vs radio

When asked if they were competitive with Pandora, Roman was quick to add that they “compete for the same hours from listeners, and I would be hard pressed to say that they are not competition.” Others see them as a direct assault on Pandora’s existence. Rich Greenfield, analyst with BTIG Research, ranks Pandora a sell and is increasingly bearish on the company. He loves Songza and points out that being a mobile first app gives it a distinct advantage over Pandora. In a recent note to his clients, he wrote:

In many ways Songza’s simplicity and focus on mobile life reminds us of what drove Instagram’s success, as consumer web activity shifts far faster than expected from computers to mobile devices. Songza is focused on simplicity as it is built for a mobile environment, so listening only takes a few clicks, rather than having to type in the name of an artist letter-by-letter to start a playlist.

Yesterday’s WWDC news that Apple’s Siri is being integrated into the car illustrates how Apple is leveling the playing field for music applications in the car.  While Pandora issues one or more press releases a week talking about their car integration, Apple enabling Siri in your car means voice commands will enable easy navigation of your smart phone apps (Songza, Spotify, Rdio, Pandora, etc), eliminating Pandora’s current integration advantage.

It is fairly easy to assume that this is trouble for Pandora, but one has to put things in perspective. Much of Pandora’s growth came from the company’s ability to launch mobile applications. I can’t remember if I have actually heard Pandora on the web — it is either on my mobile phone or one of my Internet enabled music devices. Are Songza and Siri a challenge for the company? Absolutely. Are they going to kill Pandora tomorrow? Probably not.

Pandora by the numbers

Pandora had 53.9 million active users at the end of May 2012 (vs 51.9 million at the end of April 2012)  and they spent 1.1 billion hours listening to music on the service in May 2012, up from 1.07 billion hours in April 2012, thanks to more device makers and car makers embedding Pandora into their platforms. The advertising revenues are still on an upswing. The fact remains that Pandora and more apps like Songza along with services such as Rdio are going to continue to take “attention” away from traditional radio. Even the car makers are preparing for a connected future where Pandora, more than terrestrial or satellite radio, starts to become part of in-car listening experience.

The way I see it, Songza too is part of a greater trend of siphoning attention away from current established formats — satellite and terrestrial radio. And yes, if they keep adding 3 million people a month, then not just Pandora but Spotify too is in trouble.

When asked if he competes with Spotify, which has dabbled with algorithmic and social discovery of music, Roman said no, they don’t. I am not so sure. I think all these apps (and services) are duking it out for our ear — and it doesn’t matter what we do, there is still only 24 hours in a day.

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The acquisition puts Smule in the driver’s seat of a new opportunity in mobile music as people move from consuming to increasingly creating their own music through mobile apps. Just like consumers are now sharing more and more creative pictures through Facebook and Instagram, they are growing more comfortable expressing themselves through music apps that make song creation easy and accessible. Smule and Khush’s customers together have downloaded almost 30 million apps and created more than 350 million songs.

Smule’s Magic Piano and Ocarina apps, which help users play pianos and flutes through their mobile devices, have been downloaded six million times each while Khush’s Songify app, which takes people’s spoken words and turns it into catchy songs, has been downloaded five million times. The companies have been competitors in a way but have also partnered previously, helping cross promote their apps.

Jeffrey C. Smith, co-founder of Smule said the combination makes a lot of sense. Both companies share an academic background with Smith and co-founder Ge Wang coming out of Stanford University’s Center for Computer Research in Music and Acoustics (CCRMA) while Khush co-founder Dr. Parag Chordia is a professor of computer music at Georgia Tech and serves as the director of the Georgia Tech Music Intelligence Lab. But more importantly, the two companies have taken a similar “odd” approach to music, making it fun, bizarre and entertaining.

“We’re almost like sister companies. This is a company that shares a common vision with Smule, believing people have creative potential. We believe we can get to 1 billion people creating music,” Smith told me in an interview.

Smith said the combination is almost necessary to stay at the head of this burgeoning market. He said the winners will be companies that have a large user base and a network to drive growth. Khush will connect its apps to Smule’s Sonic Network, a social layer that helps users create and share music together.

Ultimately, they’re hoping to build what they believe can be the “YouTube of music in mobile,” said Chordia. He said the key is that connected mobile devices are unlocking musical creativity that is greater than what you see on the web alone.

“We find the usage and engagement on mobile is different. Mobile is a personal device. You can whip it out at any time and people feel much more expressive with a mobile device because it’s like an instrument,” Chordia said.

Smule co-founder Jeffrey Smith, Khush co-founders Prerna Gupta and Parag Chordia

Both companies are looking at big launches of new products in the coming weeks. Khush is about to introduce a holiday-themed app that explores more visual elements while Smule will build upon its success with Magic Piano by going deeper with a new genre.

I think this is a good marriage and it highlights something that is really special about mobile. Smartphones and tablets are actually becoming very interesting content creation devices and they’re getting people to explore their creativity because they’re very simple and easy to use and sharing is so quick. I think other companies will be looking in this direction including gaming companies that will enable more creation tools and music companies looking to engage more with users. But I think Smule and Khush have proven they have a very clear vision of how to empower musical creativity and together, they will help that trend flourish even more.

What would a marriage of two musical start-ups be without a music video. Check it out:

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That’s the word according to Onavo, a mobile data management and compression service, that has done some work to figure which are the most popular mobile music apps and what their data usage is. Onavo, which runs user traffic through its compression servers to reduce data usage, pulled anonymous data from more than 100,000 users in October, looking at music apps that connected to the Internet.

Onavo found that TuneIn, which lets people live-stream local radio stations, was the top music service on the iPhone in October, with 6.6 percent of users on the service at some point during the month. TuneIn came out ahead of Pandora (5.8 percent) and Spotify (3.6 percent), while all other music services had less than one-percent penetration.

On Android, Android Music — the music player for Android which can now connect to Music Beta, Google’s cloud service for streaming a user’s personal content – has the highest penetration with 7.6 percent, followed by download and streaming service Amazon MP3 (5.4 percent). Amazon’s service is a combination of downloads and music streamed from its Cloud Drive/Cloud Player service which works on Kindle and Android devices. After that, TuneIn Radio (4.9 percent) is third ahead of Pandora (4.6 percent) and Spotify (3.2 percent).

Pandora users consumed the most 3G data, according to Onavo, gobbling up an average of 139 megabytes per user monthly on iOS and 122 megabytes per month on Android. Rhapsody (147 MB per month) had even higher data consumption on iOS though much less on Android. The high usage may be a combination of more dedicated users and the fact that Pandora subscribers get higher quality audio with a higher bitrate than non-subscribers.

Now take this all with a grain of salt; Onavo isn’t a seasoned market research firm, and this isn’t a simple comparison of identical services. Pandora is more of a personalized Internet radio service, while Spotify offers streaming from an unlimited library. TuneIn radio does music from local radio stations but additionally runs talk, sports, news and other programming which are also big draws. But it’s still interesting to see how popular TuneIn Radio is with Onavo’s users, who lean more toward early adopters. It shows that there’s still a lot of appeal in tapping traditional radio, which has a wide diversity of programmed content. The results also show that Android users appear to be taking advantage of Android Music Beta and Amazon’s MP3 music service.

It’s also interesting to see what the average data footprint is for certain services. Pandora won’t bust most users’ data caps, but it’s still a significant amount of average data use. Increasingly, users may have to start counting their bits as they come up against new data caps. That’s of course the business that Onavo and other data compression services are in. But it’s a reality that music lovers are going to have to deal with more in the future.

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Pandora ended up shipping their app through the official iTunes app store the day it launched three years ago and has since seen its user base explode from 13 million to over 100 million registered users. Conrad has also since made peace with Android, about which he had previously said that he needed the platform ”like I need a hole in my head,” referring to the confusing state of Android fragmentation. On Monday, Conrad didn’t want to go into the specifics of Android vs. iOS market share amongst Pandora users, but he called Android’s growth “nothing short of remarkable.”

Still, Pandora’s future may not be in apps on either platform, but in HTML5. The company launched a new HTML5-powered website last week, and Conrad said that using HTML5 helped to both dramatically increase the performance of the site as well as implement new social features. Being able to turn features like these around rapidly is one of the big advantages in developing for the web, Conrad said: “The good thing on the web is that you can experiment really, really quickly.” Changes could be pushed out over night, whereas the same could take a month or more with native apps.

That doesn’t mean that Pandora will move away from apps for mobile platforms, even though Conrad said he could envision combining HTML5 and native code into a hybrid kind of app. However, HTML5 will also play a huge role in another big future growth area for the company: Devices that bring Pandora to the TV screen. Conrad called HTML5 a “key enbaler for connected devices,” and aded that he foresees that this kinds of devices as well as solutions to bring Pandora to the car dashboard will have a major impact on Pandora’s audience:

Right now, Conrad explained, 70 percent of Pandora’s listening happens on mobile devices. “In the future, the majority of Pandora listening will happen in the car and on the connected device,” he said.

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Here’s a breakdown of the other features in the service tiers, including offline mode to store tracks and advertising-free playback:

The removal of ads is nice, as is truly unlimited streaming, assuming you don’t have bandwidth caps to contend with, but to me, the big feature is Spotify playback on mobiles. And another Premium feature dovetails nicely with the supported handsets: Playlists can be used offline, allowing for music from Spotify’s catalog to be stored locally and played back without using precious mobile broadband. A great strategy for this feature would be to have the software synchronize offline playlists while on a Wi-Fi network. In fact, on the Android version of Spotify, I see options to sync music over Wi-Fi, 3G or both.

Aside from the offline storage, Spotify can help manage mobile broadband use through a playback quality setting. Low-bandwidth mode won’t sound quite as good, but uses a 96 kbps data stream; high bandwidth boosts the audio quality as well as the bandwidth due to a 160 kbps music stream. Such mobile data use can add up quickly: See our recent post on what a gigabyte is for mobile users to get an idea of how much data these types of services use.

On handsets, I haven’t yet found a feature that’s available in the Windows or Mac Spotify client that’s missing for mobiles. It’s easy to create Playlists, search for albums, tracks or artists, play locally stored tracks (yes, Spotify will play back music you’ve purchased and store on your handset) or share tunes with friends. There’s an option to shoot track information to Last.fm, Facebook, Twitter or via email. If you have friends on Spotify, you can even share your current track with them directly and a news feed in the app shows what your Spotify friends are listening to, provided they’ve enabled sharing and take advantage of it. If you’d rather hide your addiction to ABBA, you’ll want to see how to manage Spotify’s sharing settings.

I have found two limitations when using Spotify on a smartphone, however. First, not all tracks are playable, although I can’t tell how many are limited specifically to the desktop client. A good example is The Legend of Johnny Cash. When searching for this album, it doesn’t appear in the mobile search results, but does show and is playable in the desktop client. That’s likely due to Spotify’s licensing agreements with music labels and it also brings up the second limitation: You can’t play music simultaneously on different handsets and desktop clients.

That means Spotify won’t allow you to listen to music on your smartphone while your family is trying to do the same on a desktop at home. As soon as I hit the play button in Spotify’s iOS client, for example, the desktop client stopped playing. For now then, it’s one account per person unless Spotify can devise some type of family plan.

Some may compare Spotify to Microsoft’s Zune Pass service, which supports music streaming to phones, local downloads and playback of millions of tracks in a similar subscription approach. Zune Pass costs $14.99 per month, which includes users to download and keep 10 tracks per month. But the biggest drawback I see compared to Spotify is the mobile platform limitation. If you want to subscribe to Zune Pass, you can only use a Windows Phone or the older Microsoft Zune digital audio players.

With support for multiple platforms, hooks into Facebook and wireless streaming playback in addition to offline music storage, Spotify plays all the right notes for mobile music lovers. I’ve long been adding to my music library through Amazon’s MP3 store, which offers daily deals as low as $1.99 for an album. But I haven’t yet bought Colbie Caillat’s new $9.49 album that arrived earlier this week. For just a few cents more, I’ve already heard the full album twice on Spotify and plenty of other songs too, so the new service has me rethinking my mobile music plans.

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On the desktop, you can use the software to manage and listen to music, so it’s not limited solely to media syncing. Without a music store, however, HP Play is one-dimensional in what it can do for now. Some beta testers have reported sync issues, but I had no problems moving the tracks in my Purchased playlist; even while I was using the software to play other tracks. You can manually choose what to sync or setup an automatic synchronization.

While you could always manually move music to the TouchPad, HP Play offers a nice start to what I hope will be a useful tool for webOS device owners. Neither photos nor videos are supported yet, so there’s still work to be done. But I expect HP will get them added quickly, especially since the Pre 3, an upcoming webOS smartphone, will also be supported by HP Play. Ideally, some type of wireless syncing will be part of the solution as well; the days of using a USB cable to move data between devices is dying a slow painful death that can’t come soon enough.

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A report published Friday on the Noisecast tech blog places Spotify’s US launch date between July 5 and July 15, citing an email exchange between a Noisecast source and major record label executive. The emails also “suggest that Spotify may launch as an invite-only service to start with” and that the subscription price will be $10 per month, Noisecast reports.

Whether or not it’s totally accurate, the report certainly lines up with other recent talk around Spotify’s stateside debut. Earlier this week, Om Malik reported that Spotify will be a major part of a new music dashboard feature Facebook plans to release at its f8 developer conference in August. And Spotify executive Jonathan Forster recently told Silicon Valley Watcher that Spotify’s US launch is on the way, but would not occur before July 5.

Meanwhile, Spotify has been getting its financial house in order for the US push. Last week the company closed on approximately $100 million in fresh funding to fuel its geographic expansion. The latest round came from a group that included Russian venture capital firm DST and California-based VCs Kleiner Perkins and Accel Partners, all first-time Spotify investors.

Why is Spotify so hotly anticipated in the United States? For one thing, with a Spotify account, you can listen to the same library of music regardless of where you are and which of your devices you’re using. It’s the same cloud-based mentality behind some of the latest big offerings from Google (with Google Music), Apple (with iCloud) and Netflix (with Netflix streaming.) In many ways, Spotify fits right into the increasingly always-connected way many of us live now.

Update: Spotify’s US launch is indeed on track for mid-July — not July 5, as some other sources have claimed — according to a source with knowledge of the company’s plans. That confirms the rumors first published Friday morning that Spotify’s US launch will occur in July.

Spotify will be made available in the US under a three-tiered pricing model, the source said: A free ad-supported service, a $5/month subscription, and a $10/month subscription. The US pricing scheme will be very similar to the three-tiered revenue model Spotify already has in place in Europe.

The company does not have a more specific launch date nailed down at the moment, because Spotify is still sorting out a few kinks associated with the US debut, the source said.

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Grace Digital Audio Eco Extreme

If you want something rugged for taking on a bike or to the beach, you might like the Eco Extreme. The manufacturer claims it is both waterproof and shock-resistant. It seems to seal pretty tightly, but I haven’t tested it in watery conditions yet.

The Eco Extreme is designed to stand upright when desired, includes a carabiner for attaching to backpacks, and a pouch for storing cards and other small items in addition to your music player. It requires 3 AA batteries (not included), but the Eco Extreme will not charge your iDevice, since it uses the headphone jack to connect. This is a bonus if you ever want to use the Eco Extreme with something other than an Apple product.

The 3-inch speaker is pretty small, and is rated at 3 watts and a frequency range of 200Hz – 10KHz. It puts out decent sound for its size, but don’t expect high fidelity. However, the Eco Extreme might be a good way for the kids to listen to music while at the pool or the beach.

The Eco Extreme comes in several colors, retails for $49.99, and is available from the Grace Audio website.

iMainGo X

If you want better sound quality, and don’t mind doing without the shock- and water-resistance of the Eco Extreme,the iMainGo X, which also has a number of additional features.

It connects to your music player using a standard headphone jack, and it has a flexible, clear plastic cover on one side so that you can access your player’s controls without taking it out of the case. You can use the iMainGo X with iPhones as well as iPods and iPod touches, and with other MP3 players. Since it has both an aux and mic in jacks, it can even be used with iPads, Kindles, tablets, and laptops — even gaming consoles and guitars! Unlike the Eco Extreme, the iMainGo X has an external headphone jack if you want to keep your music to yourself — in fact, it has two, so your kids can share in the backseat without disrupting your peace and quiet.

The design is kind of cute — it looks a bit like an old-style cassette Walkman. The holes where the reels would be are actually the speakers, and their fidelity is much better than the Eco Extreme. I was quite impressed with the quality, frequency range, and volume that can be produced by the two 37mm (about 1-1/2″) speakers. You can even daisy-chain more than one iMainGo X if you want more sound.

The iMainGo X uses a rechargeable lithium-ion battery rated for 12 hours of playback time, and it comes with an AC adapter, a travel bag, and a carrying strap. It retails for $69.95, and is available through the iMainGo website and other online retailers.

SuperTooth Disco

The SuperTooth Disco is the 800-pound gorilla of portable sound. With a rating of 28 watts, this speaker can put out an amazing amount of high-fidelity sound, with excellent frequency response. In fact, I’ve found that it’s a bit difficult to set the levels low enough to not blast out the neighbors, which is hardly surprising since the SuperTooth Disco has specs that include two standard speakers rated at 8 watts each, plus a 12-watt subwoofer.

As you might guess from the name, ths SuperTooth Disco connects to your player using Bluetooth A2DP, so it can be used with Macs, iPods, iPhones, iPads, and many other devices. It also has a standard audio line-in jack, so you can use a cable if you wish. I’ve been using Bluetooth, and playing music from my MacBook Pro has never sounded so good. I’ve heard interference on rare occasions, but never often enough to be a problem.

The Disco includes a NiMH battery pack rated at 10 hours of playback time, and an AC adapter. At 89 x 315 x 70mm (3.5 x 12.5 x 2.75 inches) and weighing 1140 grams (2.5 pounds), this is definitely a speaker that you won’t want to put in a backpack or on a bike, although it does come with a carrying case. But if you really want to share your music with a crowd at your next summer party, the SuperTooth Disco can handle it.

The Disco retails for $149.00 and is available in the U.S. at department, specialty and mobile phone stores; the manufacturer’s online shop seems to be only for European orders.

The Speakal iPig

This one’s a bit ridiculous, and could be a relative of the Swoop, but I have three friends with kids who said they want one after taking one look at it.

The iPig actually has very good sound. It comes with five speakers, including a 15 watt subwoofer. The iPig puts out 25 watts, and it has adjustable bass and treble, so it’s not far behind the SuperTooth Disco in sound capabilities.

You can control the volume by touching the pig’s ears, which is a nice touch. To make other changes, you’ll need the included remote, which works fine, but is tiny and will probably get lost quickly. The iPig can be operated with an included rechargeable lithium-ion battery rated at 6 hours of operation, or using the included AC adapter. It will even recharge your iDevice through the dock connector in the pig’s head. It’s portable, but its shape isn’t conducive to carrying, and it’s surprisingly heavy, so I’m not sure kids are going to want to lug it around.

The iPig comes in regular and “cool” versions; the regular version has round eyes, and the cool version looks like it’s wearing shades. Oh, and if you don’t like white, it comes in yellow, pink and black, and the same manufacturer makes the iPanda, the vaguely apple-shaped iPom, the miSoccer soccer ball, and the ghostly iBoo.

The iPig retails for $139.99 and is available from the Speakal website.

Disclaimer: All speaker systems tested for this review were provided by the manufacturers.

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In a press release, Shazam says its integration with Spotify is first available in its Shazam Encore application, which is $5.99 at last check. However, the new Spotify feature will arrive in the free version of Shazam later this quarter for both mobile platforms.

With Spotify integration arriving in Shazam — a software application available in more than 150 countries — I’m wondering if this means Spotify is finally about to cross the pond over to the U.S. market. The subscription music service is a hit in Europe, providing ad-free enjoyment to more than 7 million subscribers since launching in 2006. Surely, Spotify has been able to work out the required licensing deals by now, given that competitors such as Rdio, MOG, Rhapsody, Slacker, Pandora and others have already done so.

It doesn’t quite make sense to me that such a widely popular and available app like Shazam would have Spotify functionality if it was only useful in six countries, unless Spotify was about to flip the switch and let the music play in more places. Shazam claims that 50 million folks have used its service, but there’s surely room for more. Adding new features can help broaden Shazam’s appeal, so it would get more bang for its buck if Spotify likewise broadened its potential geographic user base.

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