Steve Scott: February 2011 Musical Whittling

Steve Scott

Like many of us, I don’t understand hard-core science and technology. But my interest and fascination in the innovative opportunities that are daily made available because of them…well, that’s the part I follow ardently as I bring my commercial sense of business, administration and marketing to look for trends and attempt to anticipate next-step corporate music strategies.

That the business of music has changed is a given, that it should have changed so dramatically in so short a time is surprising and a little confounding.

Well, let me tell you, if you didn’t already know, that the future is already here and our charge is to sort it all out and make it work for us. The daunting task of music industry executives, of whatever stripe and discipline is to stay informed, analyze and discern directions and consequences and then accept, adapt, employ and, if called for, completely re-direct our business models. Read more here….

One harbinger of the radical changes to come was the 1993 release of Todd Rundgren’s No World Order, where listeners, using a Phillips CD-I device could take elements of his songs and form their own unique permutations. Now, thanks to current technology, we are witnessing a paradigm shift where end-users are expecting more control and interaction in their product purchases and where creators are shifting from creating finished products to creating spaces where user-driven input and expression can occur.

Blame it on Algorithms.

Trent Reznor

Think now of pop charts where many of the songs are not really songs, but song algorithms subject to variations to be manipulated and replicated by the purchaser, end-user. Think of the recent Nine Inch Nails’ Trent Reznor and film composer, Atticus Ross, releasing tracks from The Social Network as multi-track files for fans to edit and remix using widely available home music editing software.

Think of new products like UJAM, a web app that functions as a studio band and as a recording studio. Ujam analyzes a melody then produces harmonies, bass line, drum tracks, horn parts and more. Its artificial intelligence distinguishes which notes the user is singing or playing, then once recognized the algorithm searches for chords to match the tune using a mix of statistical techniques and hardwired musical rules.

This same technology has finally now given us the “Celestial Jukebox,” available in seven European Nations where 10 million subscribers can listen for free, legally, at any time and over any device to any song ever released in those countries.

This free service is provided by the innovative technology of Spotify and its Swedish creator Daniel Ek, who claims that data shows as music is more available and is shared among friends, it has led to more sales and more paid downloading.

In coming seminars, Cosmo will show you how you, too, can access this huge market.

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As a closing note, let me remember and recommend a wonderful compilation CDs: The disc is entitled “Beautiful” and it contains 17 incredibly talented artists who came together to raise funds for Southern California Women’s Shelters. Produced by Joan Enquita for Red Coyote Records and mastered by Universal Studios, this is a musical feast. Its one of those CDs that always seems to be on my turntable or playlist. Try CD Baby or www.redcoyoterecords.com