Podcasts about music ai

Time: ~39 min. Episode 45! This week I share some amazing indie tracks from artists like Daphne and the Glitches and Canyons + Locusts, along with music news, a bit of history, and marketing tips. I talk about navigating the changes in social media, the TikTok situation, and how to keep your music or brand thriving. Plus, I highlight some local cultural projects I'm excited about and end with a fun story that is literally from out of this world. Enjoy and share the love! LINKS: SIGN UP FOR THE NEWSLETTER!  FireAid Benefit concert Jan 30th for LA Wildfire recovery  Music AI receives funding for ethical AI TikTok is down and then back again Car windshield smashed by meteorite Get your merch! Thank you for supporting the show and indie artists MUSIC: Daphne and the Glitches - Outgoing Male Canyons + Locusts - Day of the Canyon Gurgles - See Right Through Patty Keough - Watching The World Harrison Fjord - Boondoggle Vini Vicious - Soda Pop  Feedback: scenemomsays@gmail.com Submit Your Music: https://danicutler.com/podcast/submit-your-music/ All Things Dani    

In this episode, LionTree's James Lindsay gets the lowdown on Jen Music AI from co-founder and music industry vet Shara Senderoff. Earlier this year, Jen launched an ethically-trained AI music platform for text-to-music creation, and Shara details the platform's commitment to transparency, compensation and copyright identification. It's a glimpse at how content creators can utilize generative AI to enhance their vision, and their profits. The episode includes some original Jen Music AI tracks created by Shara as well.Find and rate KindredCast on Apple Podcasts or wherever you listen. For more content, follow KindredCast on YouTube. This podcast is for information purposes only. The opinions and views expressed in this material are solely the participant's personal opinions and do not necessarily reflect the opinions of LionTree or its affiliates. This material should not be copied, distributed, published, or reproduced, in whole or in part, or disclosed by any recipient to any other person without the express written consent of LionTree. The information contained in this material does not constitute a recommendation, offer or solicitation from any LionTree entity to the recipient with respect to the purchase or sale of any security, and LionTree is not providing any financial, economic, legal, investment, accounting, or tax advice through this material or to its recipient. Neither LionTree nor any of its affiliates makes any representation or warranty, express or implied, as to the accuracy or completeness of the statements or any information contained in this material and any liability therefore (including in respect of direct, indirect, or consequential loss or damage of any kind whatsoever) is expressly disclaimed. LionTree does not undertake any obligation whatsoever to provide any form of update, amendment, change or correction to any of the information, statements, comments, views, or opinions set forth in this material.Third-party content may be published on LionTree pages in response to this material. Such content is not reviewed by LionTree before it is displayed and LionTree cannot guarantee the accuracy or completeness of such content. The opinions and views expressed by the authors of such third-party content are solely the author's personal opinions and do not necessarily reflect the opinions of LionTree or its affiliates. LionTree reserves the right to remove, alter or edit any third-party content published on LionTree pages. LionTree expressly disclaims any liability (including in respect of direct, indirect, or consequential loss or damage of any kind whatsoever) arising out of, or in connection with, the access or use of any social media platform or LionTree page. Use of a social media platform or LionTree page is at your own risk.Securities of any investment funds managed by LionTree are privately offered to selected investors only by means of each such fund's governing documents and related subscription materials. Listeners and viewers should not assume that companies identified in this audio and/or video are representative of all investments made or recommended by LionTree on behalf of each firm's clients. An investment with LionTree is speculative and involves significant risks including the potential loss of all or a substantial portion of invested capital and the lack of liquidity of an investment. Past performance is not indicative of future results.For further information, please see: https://liontree.com/disclaimer/. If you have questions, please go to https://liontree.com/ and select “Contact.”See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Ep. 162: It's always a Very Special Episode when Music Ally's Head of Insight, Stuart Dredge, joins the Focus podcast, and lo, Stu chats to Joe Sparrow in depth about AI (of course!), music fintech, music ecotech, music healthcare tech and more! This episode is part of Music Ally's annual music-tech Insight Report, available to Music Ally subscribers. ------

Send Kevin a Text MessageIn this episode of "Don't Kill the Messenger," host Kevin Goetz sits down with Spring Aspers, the Grammy-nominated President of Sony Pictures Music Group. With a career spanning from intern to President, Spring has become a powerhouse in the film music industry. Her work on blockbuster soundtracks like Spider-Man: Into the Spider-Versehas earned her critical acclaim and a Grammy nod. As the executive behind numerous hit movie soundtracks and a champion for emerging artists, Spring shares her process for choosing music for a film's soundtrack, and discusses the details of music supervision in film.From Bohemian Roots to Music Executive (03:43)Spring recounts her unconventional upbringing in New York's art scene and how it shaped her passion for music.The Anatomy of Film Soundtracks (07:54)Spring shares a breakdown of the various roles in film music, from coordinators to executives, and their responsibilities. The pair also discuss the copyright intricacies in film soundtracks.Emotional Resonance: Music in It Ends with Us (10:36)Kevin and Spring talk about her involvement with the film "It Ends With Us." They discuss how the music added emotional depth the story.The "Sunflower" Story and The Grammys (18:56)Spring discusses her involvement in the song "Sunflower" by Post Malone and Swae Lee for Spider-Man: Into the Spider-Verse and her Grammy nomination experience. She shares her thoughts on the importance of capturing the essence of a character through music and how "Sunflower" embodied the spirit of Miles Morales.The Art of Musical Matchmaking (27:20)Spring offers insights into her process of discovering artists and pairing the perfect music with film projects. She describes herself as a "musical matchmaker," always seeking to find the right sound that resonates with the heart of the story.Music in Filmmaking (31:39)Spring shares the challenges of integrating music into the filmmaking process and meeting tight deadlines.The Future of Music: AI and the Human Touch (33:52)Kevin and Spring discuss the role of AI in the music industry and the value of human creativity. Spring has an optimistic view, acknowledging AI's potential as a tool while emphasizing the enduring importance of human energy and creativity in music.Spring Aspers offers her insight on the intersection of music and film, emphasizing the importance of creativity and the power of music to enhance storytelling. Her passion for discovering new talent and creating memorable cinematic experiences shines throughout the conversation, providing listeners with valuable insights into the world of music in film.Host: Kevin GoetzGuest: Spring AspersProducer: Kari CampanoWriters: Kevin Goetz, Darlene Hayman, and Kari CampanoAudio Engineer: Gary Forbes (DG Entertainment)For more information about Spring Aspers:LinkedIn: https://www.linkedin.com/in/spring-aspers-876b063IMDB: https://www.imdb.com/name/nm0039650/Variety: https://variety.com/2019/music/news/spring-aspers-sony-pictures-president-music-1203356656/For more information about Kevin Goetz:Website: www.KevinGoetz360.comAudienceology Book: https://www.simonandschuster.com/books/Audience-ology/Kevin-Goetz/9781982186678Facebook, X/Twitter, Instagram: @KevinGoetz360Lin

Is AI poised to revolutionize the music industry? Listen to conversations about how AI is reshaping both the business and creative sides of music with Matt Henninger from Music AI and Bill Colitre from Music Reports.  The Music Tectonics podcast goes beneath the surface of the music industry to explore how technology is changing the way business gets done. Visit musictectonics.com to find shownotes and a transcript for this episode, and find us on LinkedIn, Twitter, and Instagram. Let us know what you think!

Amazon Musicが米国でポッドキャストを簡単に見つけられるAI搭載の新機能「Topics」を発表しました。今日はこのニュースを紹介します。

En el episodio de hoy de "10 Minutos con Sami", exploramos tres emocionantes avances tecnológicos. Comenzamos con el lanzamiento de GPT-4o mini por OpenAI, un modelo de IA más económico y eficiente que promete democratizar el acceso a la inteligencia artificial avanzada. Luego, nos adentramos en las nuevas características de YouTube Music, incluyendo una innovadora función de radio conversacional generada por IA y una herramienta de búsqueda de canciones por tarareo. Finalmente, analizamos la entrada de Dyson en el mercado de audio premium con sus nuevos auriculares OnTrac, que ofrecen una impresionante personalización y características de alta gama. Acompáñanos en este viaje por las últimas innovaciones en IA, streaming de música y tecnología de audio, y descubre cómo estos avances están transformando nuestra interacción con la tecnología cotidiana. Fuentes: https://azure.microsoft.com/en-us/blog/openais-fastest-model-gpt-4o-mini-is-now-available-on-azure-ai/ , https://community.openai.com/t/introducing-gpt-4o-mini-in-the-api/871594 , https://www.zdnet.com/article/openai-offers-gpt-4o-mini-to-slash-cost-of-applications/ , https://www.engadget.com/youtube-musics-latest-features-include-hum-to-search-and-ai-generated-conversational-radio-175153746.html?guccounter=2 , https://www.cnet.com/tech/mobile/dysons-new-500-ontrac-headphones-are-just-headphones-which-is-probably-good/ Redes: Puedes buscarme por redes sociales como Threads, Twitter e Instagram con @olivernabani, y puedes encontrarme habitualmente en Twitch: http://twitch.tv/olivernabani Puedes encontrar tanto este Podcast como otro contenido original en YouTube: https://youtube.com/olivernabani Además si quieres participar en la comunidad mashain, tenemos un server de Discord donde compartimos nuestras inquietudes: https://discord.gg/7M2SEfbF Un canal de Telegram donde os aviso de novedades y contenidos: https://t.me/sedicemashain Y un canal de Whatsapp: https://whatsapp.com/channel/0029VaCSKOzFCCoavMoLwX43 Y por supuesto lo más importante, recuerda: No se dice Machine, se dice Mashain

Hot Topics in Music: AI Music Trends, Sync Income Strategies, & Branding Tips for Indie Artists - P2  

Here's what you need to know for today in the business of podcasting: Apple TV+'s new dual-language podcast partnership, record labels take music-making AI to court, and a report on streamers' mixed efforts to keep subscribers.Find links to every article mentioned and the full write-up here on Sounds Profitable.

Here's what you need to know for today in the business of podcasting: Apple TV+'s new dual-language podcast partnership, record labels take music-making AI to court, and a report on streamers' mixed efforts to keep subscribers.Find links to every article mentioned and the full write-up here on Sounds Profitable.

S2:E9  Hot Topics in Music: AI Music Trends, Sync Income Strategies, & Branding Tips for Indie Artists (part 1) 

Relaxing music for stressed dogs is a concept that has gained popularity in recent years, thanks to innovative startups like One by One Music. Akira, the founder of One by One Music, sheds light on the importance of music in helping dogs relax and reduce stress levels.Music for dogs is awesome!Dogs are our companions and members of our family. Just like we would want to make our human family members happy and comfortable, we should also strive to do the same for our canine companions. Dogs provide us with love, companionship, and comfort, so it only makes sense that we would want to provide them with the same level of care and attention.The idea of using music to help dogs relax is not a new concept, but companies like One by One Music are taking it to the next level by creating music specifically tailored to the needs of dogs. By incorporating this type of music into their daily routines, pet owners can help their dogs feel more at ease and reduce their stress levels. This can have a positive impact on their overall well-being and mental health.What sets One by One Music apart is their scientific approach to creating music for dogs. They conducted tests by analyzing cortisol levels in dogs' saliva to ensure that the music was effectively reducing stress. By focusing on tempo, melody, instruments, and health, they were able to create a unique blend of music that is calming for dogs.Relaxing music for stressed dogsAkira explains that the idea for One by One Music came from his love for dogs and his background in music. He recognized the mental health issues that dogs can face, such as separation anxiety, and wanted to create a solution to help alleviate their stress. Through two years of research and collaboration with a doctor, One by One Music developed original music specifically designed to relax dogs.One of the standout features of One by One Music is their commitment to social good. They offer their music for free to shelters and rescue organizations, recognizing the importance of providing comfort and relaxation to dogs in need. This demonstrates their dedication to not only helping individual pet owners but also making a positive impact on the broader community of dogs in shelters.What makes One by One Music even more appealing is the affordability of their subscription service. For just $7 a month, pet owners can access a library of relaxing music that can help improve their dog's quality of life. This is a small price to pay for the happiness and well-being of our beloved pets. The response from dog owners has been overwhelmingly positive, with many reporting that their dogs become sleepy and relaxed when listening to the music.Conclusion: Relaxation by music for dogsIn conclusion, relaxing music for stressed dogs is a valuable tool for promoting the well-being of our furry friends. By incorporating music into their daily routines, pet owners can help reduce their dogs' stress levels and improve their overall mental health. Companies like One by One Music are leading the way in this innovative field, offering a solution that benefits both dogs and their owners.Interview by Scott Ertz of F5 Live: Refreshing Technology.Sponsored by: Get $5 to protect your credit card information online with Privacy. Amazon Prime gives you more than just free shipping. Get free music, TV shows, movies, videogames and more. The most flexible tools for podcasting. Get a 30 day free trial of storage and statistics.

Relaxing music for stressed dogs is a concept that has gained popularity in recent years, thanks to innovative startups like One by One Music. Akira, the founder of One by One Music, sheds light on the importance of music in helping dogs relax and reduce stress levels.Music for dogs is awesome!Dogs are our companions and members of our family. Just like we would want to make our human family members happy and comfortable, we should also strive to do the same for our canine companions. Dogs provide us with love, companionship, and comfort, so it only makes sense that we would want to provide them with the same level of care and attention.The idea of using music to help dogs relax is not a new concept, but companies like One by One Music are taking it to the next level by creating music specifically tailored to the needs of dogs. By incorporating this type of music into their daily routines, pet owners can help their dogs feel more at ease and reduce their stress levels. This can have a positive impact on their overall well-being and mental health.What sets One by One Music apart is their scientific approach to creating music for dogs. They conducted tests by analyzing cortisol levels in dogs' saliva to ensure that the music was effectively reducing stress. By focusing on tempo, melody, instruments, and health, they were able to create a unique blend of music that is calming for dogs.Relaxing music for stressed dogsAkira explains that the idea for One by One Music came from his love for dogs and his background in music. He recognized the mental health issues that dogs can face, such as separation anxiety, and wanted to create a solution to help alleviate their stress. Through two years of research and collaboration with a doctor, One by One Music developed original music specifically designed to relax dogs.One of the standout features of One by One Music is their commitment to social good. They offer their music for free to shelters and rescue organizations, recognizing the importance of providing comfort and relaxation to dogs in need. This demonstrates their dedication to not only helping individual pet owners but also making a positive impact on the broader community of dogs in shelters.What makes One by One Music even more appealing is the affordability of their subscription service. For just $7 a month, pet owners can access a library of relaxing music that can help improve their dog's quality of life. This is a small price to pay for the happiness and well-being of our beloved pets. The response from dog owners has been overwhelmingly positive, with many reporting that their dogs become sleepy and relaxed when listening to the music.Conclusion: Relaxation by music for dogsIn conclusion, relaxing music for stressed dogs is a valuable tool for promoting the well-being of our furry friends. By incorporating music into their daily routines, pet owners can help reduce their dogs' stress levels and improve their overall mental health. Companies like One by One Music are leading the way in this innovative field, offering a solution that benefits both dogs and their owners.Interview by Scott Ertz of F5 Live: Refreshing Technology.Sponsored by: Get $5 to protect your credit card information online with Privacy. Amazon Prime gives you more than just free shipping. Get free music, TV shows, movies, videogames and more. The most flexible tools for podcasting. Get a 30 day free trial of storage and statistics.

Host Victoria Guido welcomes Wendell Adams, CEO of PrimeLab.io, as he talks about his lifelong passion for technology and entrepreneurship. Wendell shares his experiences, from hacking electronics as a child to studying various fields in college and eventually starting his own business. He emphasizes the importance of understanding market needs and leveraging language to make technology accessible. Wendell's drive to improve encryption and data security led to the formation of PrimeLab; a company focused on making encryption functional and accessible without compromising performance. Wendell discusses PrimeLab's strategic direction and market fit. He outlines the challenges and opportunities in the entertainment industry, emphasizing the need for innovative solutions that respect user control and privacy. Wendell also shares insights into how PrimeLab's technology can democratize data access and enhance business processes. The episode concludes with a reflection on the future of AI and encryption technologies and Wendell's advice for aspiring entrepreneurs to think critically and creatively about their ventures. PrimeLab.io (https://primelab.io/) Follow PrimeLab.io on LinkedIn (https://www.linkedin.com/company/primelab-io/), or X (https://x.com/PrimeLab4). Follow Wendell Adams on LinkedIn (https://www.linkedin.com/in/wendell-a-83317895/). Follow thoughtbot on X (https://twitter.com/thoughtbot) or LinkedIn (https://www.linkedin.com/company/150727/). Transcript:  AD: We're excited to announce a new workshop series for helping you get that startup idea you have out of your head and into the world. It's called Vision to Value. Over a series of 90-minute working sessions, you'll work with a thoughtbot product strategist and a handful of other founders to start testing your idea in the market and make a plan for building an MVP. Join for all seven of the weekly sessions, or pick and choose the ones that address your biggest challenge right now. Learn more and sign up at tbot.io/visionvalue.  VICTORIA: This is the Giant Robots Smashing Into Other Giant Robots podcast, where we explore the design, development, and business of great products. I'm your host, Victoria Guido. And with us today is Wendell Adams, CEO at PrimeLab io. Wendell, thank you for joining us. WENDELL: Thanks for having me. So, question, actually, where'd you guys come up with the name? VICTORIA: You know, I have asked this before, and I think I remember the answer. I might have to go back to the 500th episode to get it, but I think it was just robots was already kind of a theme at thoughtbot. I mean, thoughtbot, obviously, has robot in the name. Joe might have the best answer. And we have our special co-host, Joe Ferris. Who better to answer? JOE: [chuckles] Yes, I'm not sure who better to answer, probably Chad. I don't remember the answer either, but happy to be here to speculate with the two of you. It comes from the blog. We named the blog Giant Robots Smashing Into Other Giant Robots and then used it for our podcast. But I don't remember where the blog name came from. WENDELL: It kind of reminds me of the Robot Wars thing, like, where they would have competitors driving around the robots and then smashing into each other, trying to flip them over and disable them. JOE: That was excellent. I also watched that. WENDELL: [laughs] VICTORIA: Yeah, it's a pretty great name. I really enjoy being a host. And, you know, I go out to local San Diego events and meet people and introduce myself as a co-host of Giant Robots Smashing Into Other Giant Robots. It's usually pretty funny [laughter], which is where I met you, Wendell; we met at a San Diego CTO Lunches, which was super fun. WENDELL: Yeah, I always enjoy any type of tech conversation or anything else. I thought that was a lot of fun to sit down and just talk with people and talk about what they're working on. VICTORIA: I love that, yeah. And before we dive into the tech and get to hear more about PrimeLab, I just want to start a little more socially question. What did you do last weekend, Wendell? WENDELL: It was my father-in-law's birthday party at Legoland. We took my daughters my mother-in-law, and we all went to Legoland. It was a lot of fun. Although, honestly, I prefer the San Diego Zoo over Legoland, so... VICTORIA: Can you please describe what Legoland is to people who may not know? WENDELL: Okay. Legoland is based in Carlsbad, and it's really ideal for, like, four to nine-year-olds. And they have, like, miniatures of all the different cities. Actually, the SF miniature that they have is crazy detailed with Chinatown and everything else. They did an amazing job there. They actually...I think they just redid the San Diego part of it. But the miniatures are really cool, seeing all this stuff. They have different rides performers, but it's definitely, like, one of those things that it's more for kids to go and kind of experience. If you're an adult, you're going to love a lot of the processes that go into place, like how they built things, but mostly, yeah, it's very much kid rides and stuff like that. VICTORIA: I imagined it to be, like, life-size Lego buildings, but maybe I'm...that's very interesting all those other things you could do there. WENDELL: Well, like, they have the One World Trade Center, and I think it's, like, 25 feet tall. It is, like, the replica of it. It's kind of interesting, too, because not all the Legos that they build, they're huge, are solid Legos. So, it's like, they'll do where it's like, on the outside, they'll do a base, and then they'll build it. There's a replica of a Lamborghini. That one's life-size. But it's heavy. It's, like, 2,000 pounds, something like that. VICTORIA: Is that as much as a regular Lamborghini weighs, too, 2,000 pounds? It can't be that far up. WENDELL: I don't know. No, I don't think it...no, it couldn't be. VICTORIA: I have no idea how much cars [laughs] weigh. What about you, Joe? Did you do anything fun this weekend? JOE: Not a lot. It was supposed to be my son's first soccer game ever, but it rained here in Boston, so they postponed it. Sunday he went to my parents' house for a grandma day, and so I did nothing. I ate cookies. WENDELL: [laughs] VICTORIA: Wait, what kind of cookies were they, though? JOE: They were chocolate chip cookies. VICTORIA: That's so good. JOE: They were good. They were brown butter chocolate chip cookies, I should say. VICTORIA: Were they homemade, or did you get them somewhere? JOE: They were. We made them in this home. VICTORIA: Oh, that's the best. Yeah, love that. I got some fancy cookies that someone else made, and they were also [laughs] very good. And then, yeah, I've just been having cookies pretty much every day. So, that's been my time. WENDELL: My mother-in-law recently made me peanut butter cookies, and those are my favorite kind of homemade cookies. VICTORIA: Okay. Noted. You'll get a post-podcast gift of peanut butter cookies [laughter]. I love that. It's so great to hear a little bit more about each of you as, like, in a personal way before we dive into AI. And tell me a little bit more about your background and what led you to PrimeLab. WENDELL: I've always kind of, like, been a hacker, so to speak, just from a technical standpoint. My one grandfather was an engineer. He worked for GM designing, like, assembly arms and stuff like that. And then my other grandfather was a master electrician. So, I've always been the person that, like, just worked on things, got stuff together. You know, there's a lot of stories. Like, there's the story about when I broke my grandmother's workbench, rocking bench out front, and it was all aluminum. I remember telling my grandfather, and he's like, "Oh, what are you going to do?" And I was like, "Buy a new one?" He's like, "You got money?" I said, "No." And he said, "Well, you better figure how to make it then." So, ironically, it's half aluminum, half wood. We took wood, sanded it down, and stuff. So, it's just like I've always been an entrepreneur. I've always been interested in this kind of stuff. I used to hack VCRs, and PlayStations, and all kinds of stuff. I always liked parts and components and rewiring things. And as I got older, I also really liked math and all those things. And I wanted to understand more about how the world works, so to speak, like why it works the way it does, not just from a technology standpoint. But why do people think the way that they do? Why do things behave the certain way they do? So, initially, I started going to college. I thought I might be a math professor, and then decided to get degrees in business, economics, finance, marketing, consumer product goods, and comparative religions. So, while I was in college, I started working on, like, hacking, different video games, writing JavaScript, writing Java, all kinds of stuff. And then, eventually, even writing mobile applications early on, and then just analyzing because I always liked to build phones, too. I would take apart phones. And I really was curious about, like, how to make things faster, more efficient, and better. So, now to bring it down, like, how to make things accessible, where it benefits some of the smallest people and make it where it's a greater opportunity for someone to come out ahead of something. Like, one thing that I learned from my marketing degree is language matters. So, it's like, all the marketing it's not anything special. It's just they intentionally create language barriers that cause people not to feel as accessible with it. And then, like, you hire a consultant or something to just basically teach you about those language barriers. And I think every industry has, like, SAT, or LTM, or something like these abbreviations that mean a lot of different things. And it causes bottlenecks if you don't speak the language. So, understanding the language but also learning about how was very helpful from a standpoint on the marketing side. And I always try to figure out how do I make this accessible to people who don't understand that language? VICTORIA: And what was the turning point where you decided to start PrimeLab, and what made you realize there was a company there? WENDELL: It was a project I've been working on since at least 2011, honestly. And just as a heads up, PrimeLab as a whole works with encrypted data for AI models and to speed that up and everything else. So, early on, I was very obsessed with how advertising works through, like, stealing user data, which stealing is different, here or there, the sense of privacy, the sense of, like, how things could run, and the sense of messaging. And initially, a lot of it was using encryption as an overlay in, like, the pixel application space, which is always a way to hack or get into it. And it slows everything down. So, I had always been working on trying to figure out how do you speed up and embed security so it's actually functional? And it took a while to figure out, like, give encryption functionality, like, make the encryption something that you could actually execute on. And, actually, one of the things that really helped is the blockchain space there's a lot of, like, hash trees and everything else, like, where people are innovating in that. That's really helped innovate encryption as a whole from understanding, like, Merkle trees, hash graphs, and everything else to make it more functional and faster. Because people are trying to speed up distributed networks and stuff, but the actual technology that they built, like Hedera is...What Hedera has done with Hashgraphs and everything else—really amazing. I'm glad that they open-source stuff like that. But it's also really interesting just to see how things push forward. So, like, when I first started, like, RAM was, like, 256 in a phone. So now, you know, you can get multiple gigabytes, which makes it a lot more capable to do encryption, decryption, and work more in the functional space of things. The bigger problem that you have on the data part is how an application communicates because there's so many levels of abstraction. Like, you have the Swift language that communicates into something else that then communicates into something else. Like, right now, we're talking on a system that's recording us over the internet through a browser, all those different things. And it's an approximation of what the data is and what we sound like. It's not an absolute. So, I was really interested in when you have absolutes, and you can verify those absolutes, what can you do with that? A few years ago, I felt like we got to a point where we could actually execute those things and actually deliver on that. So, therefore, I decided to start PrimeLab with my co-founder, who I really liked and enjoyed. And we've had a lot of really great advisors, where people have helped us continuously. Over, you know, the decade-plus of working on this, I've gotten a lot of input from some of the smartest people I know, from people who have designed full server racks for AWS to literally a good friend of mine that built cloud storage. His name's on the patent for it. So, that kind of stuff has really helped me understand and build this where it can communicate the lowest possible level. VICTORIA: Yeah, and to just recap and reflect that back a little bit, it sounds like you were always interested in how to make encryption faster and lighter weight, and so you could build it in and build in security without impacting the performance of the applications. And then meeting your co-founder and the advancement of technology, this time a couple of years ago, led you to think, okay, let's really go forward with this. WENDELL: Kind of rephrasing, I was always interested in control. So, like, one of the things that really interested me...so, I started a video game store buying and selling, like, video games and trading cards and stuff when I was roughly ten and a half or so, and then sold it roughly when I was 17, which is how I paid for quite a bit of college and likewise. But the things that really interested me about that is it went out of business three to four months afterwards because the person who basically bought the rest of it bought too much of Madden. And Madden, at this time, the margins were, like, a buck, as you go all the way through, and the price drops immensely. So, I wanted to really understand why that happened. What you kind of get to is, like, they didn't have control over it, just, like, the bulk orders methodology, where they would buy the whole entire supply. And what I've seen over the years, be it Apple, Google, or anything else, is, like, that was...in that example, that's a game publisher, EA, flexing control, right? But more and more companies are flexing control on a platform like now with Facebook or advertising. If you think about what Google used to do, Google used to provide a lot more insights when you had your own website. You used to know your own keywords. You used to know a lot of things about your users who come through. More and more, Facebook and Google try to stop that. And they're really the ones determining your own user personas for you. So, you become dependent upon them. So, I wanted to say, okay, from a business standpoint, how do you implement control and privacy where it's permissioned? And encryption was one of the answers that I came to. But then it was, how do you make encryption functional then to actually execute on control? Because unless the system is secure, faster, cheaper, better, it's never going to get adopted. VICTORIA: That makes sense. Thank you for sharing that. And you mentioned your founder. I'm curious, how does your founder kind of complete what you needed to be able to get the business up and running and off the ground? WENDELL: He has a robotics degree, so he had launched several products that had failed. And he wanted to learn marketing after they had failed. So, we have a similar like mindset about, like, control and functionality for how something may or may not work, and that allowed us to communicate well. So, like, I have a lot of friends and stuff. But the thing that allows me and my co-founder to work really well is that we come from things in different angles, but we have the same language that we speak. So, like, that's what I was talking about before, like, LTMs or otherwise, like, language really matters from how you can move something forward when you're talking in different industries. And just with him, there's a lot of stuff that you don't have to say. You can skip a lot of filler and then go straight to what something might be or a solution or something. Or if we have to jump to a tech abbreviation, to a market abbreviation, to a financial abbreviation, he's one that can follow along with me really quickly and then teach me a lot of things about operational execution because he's great at operations. I am not great at operations. VICTORIA: That's really interesting. And I think you're making a good point about, like, a shared language. And it reminds me of any product that you're building; if you want to sell it to a company and you want them to adopt it, you have to consider their language, their belief system, how to influence change within the organization. And I wonder if you could talk a little bit more about that with your experience at PrimeLab. WENDELL: I'll give you an example of a market that we decided to go after. So, instead of just working at, like, healthcare markets where you have, like, GDPR...for people who don't know GDPR or HIPAA, HIPAA is for the United States. GDPR is the EU privacy requirements, right? For the right to be forgotten and everything else. So, these are vernaculars that you need to know. But the requirements of each one is very different, and these are markets that we've learned being in tech and likewise. But we wanted to change it up. So, I wanted to go after the entertainment market as a whole, namely because after meeting with some select people, including a stunt man, this is going back a few years ago, I started to realize that the entertainment market was getting kind of screwed over quite a bit from a tech standpoint. Basically, tech goes through this thing where...someone wrote a great article about this. It's called Enshittification. But, basically, where they go they try to take over a whole entire market, where first they're providing great value to your users. And then, gradually, you enshittify your product to provide greater value to your investors. And then, gradually, you suck all of the value out of the room for both. Right now, if you look at Sora, what OpenAI is trying to do in entertainment, [inaudible 16:08], you kind of can see that happening. They're going, "Hey, here's a great value for it." And they're really pushing that stuff off. But the thing about the entertainment market that I think is really interesting is it's basically thousands and thousands of small businesses that are constantly going, it's so chaotic. It's not like tech and startups. There's a lot of overlay of, like, you know, people are looking for that top quartile film that's going to make the money back, and then long-term royalties that they can earn off of it, right? Whereas in tech, they're looking for those huge markups as well. So, I was really fascinated by it, but it was something that, like, we had to learn. Like it was something that I didn't know otherwise. So, it was literally...how we learned it was we took our tech stuff, and we would walk SAG-AFTRA strike lines. We would walk strike lines. We would go to entertainment events, and we would demo what we were trying to do, and we would show them. And then, oftentimes, we got really negative feedback right off the bat. And we're like, "No, no, no, so, you know, this is for you. Like, you could control. Like, this is going to help you." And then, after doing that enough times, talking to the SAG-AFTRA lawyers, and everything else from there, and all of the creatives, the creatives were coming to us and giving us ideas how to explain it because there's, like, three different formats. You have tech, business, creatives in the entertainment industry. And it's like, we could talk to the tech people. We could talk to the business people. But you really need the creatives. And, like, the wording of each one, like, each group of those is vastly different. So, having the creatives be able to explain something in 90 seconds that used to take me a couple of hours to dive into became really valuable. And also, in tech, like, you have this thing where it's feature creep, where you're like, oh, I'll add this, this, and this. Just to hear very coldly and bluntly, like, "If it does X, I'm interested. If it does Y, I'm not interested." That was very interesting or refreshing of, like, "Yes, you're going to solve these problems. But I need sign-off for everything in there." And it's kind of weird in the entertainment part, too. Like, you want to solve a problem without being a competitor to another vendor because you need so many different sign-offs. And if you're a competitor to another vendor, to a certain point, maybe that's going to cause a hiccup with sign-offs because there's 18 different cooks in the kitchen, so to speak, just so many different people that need to say, "Yes," all the way through with it. VICTORIA: Thank you. Yeah, that's really interesting. I'm curious, Joe, if you have an answer for that question as well, like, any experiences about navigating change and putting new products in place at different clients, different industries? JOE: I don't think I've had the same kind of resistance. Like, I haven't been on the front lines the way you described, like, literally in the, you know, going and talking to people on strike. I think I have more indirect experience talking to the people who are doing that. And certainly, like, I think there's generally a resistance to bringing in new technology without eliminating the old way of doing things if that makes sense. Like, people want the old ways of backup. Like they want to be able to go back to paper, which I empathize with. But that's frequently been a challenge for the people I've worked with is that they don't fully embrace the new process, which significantly reduces the value they would get from using it. I don't know if that's something you've encountered with PrimeLab. WENDELL: So, we were building another company of mine many, many, many years ago. I was building a website for this lumber company, and I remember showing up, and the owner was there. But it was his son that had commissioned it, and the owner didn't know about the website. And I was like, "Oh yeah, we'll get the website going." He goes, "Oh, this web thing it's a fad. It's never going to happen. You don't need websites. It's faxes." That's how everything would happen. But secretly, what was happening is they would get an order. They would print it off, and then they would fax it. So [laughs], I always thought that was crazy. VICTORIA: I mean, one of my local bars still just writes the order on a ticket and sends it on a clothesline down to the grill. So [laughs], sometimes old is good. But I think that you know, I want to hear more about where you found or how you found a product-market fit for PrimeLab and where that AI really becomes useful and ethical in the industry you're focusing on WENDELL: How I look at PMF (product-market fit)...and if you hear me just say PMF, that's what that means. So, how I look at PMF is I'm a little different in the fact that when I look at a product, or a technology, I don't just look at, like, so you have foundational tech. Like, okay, this is encryption. This is control, right? Now, where's the market that has the biggest problems with it? So, I like to go out and actually talk to those people. Because, like, when you're implementing tech, or you're implementing the product itself, it's different. So, you're like, you have the underlying infrastructure, but whether that's a button or a simple API that you need to build so it works different to hit that PMF...are you familiar with the term build a better mousetrap? VICTORIA: I don't think so. JOE: I'm familiar, but I'd still love to hear you describe it. WENDELL: So, in business school, and likewise, they will tell you "If you build a better mousetrap, people will come, and they will buy your product." So, like, it's a common thing where they're like, "Build a better mousetrap. People will come. They'll be there." And the thing that you learn with consumer product goods and marketing, though, is they actually built a better mousetrap, and it failed. And the reason why it failed is you had a mousetrap that was roughly a cent versus another mousetrap that was three cents. And I think this is in the '60s or so. The other mousetrap was reusable, so it executed a lot better, and everything else is more humane. But what they didn't understand is that it was wives most of the time that would have to actually handle this. And they didn't want the mouse alive, and they didn't want to reuse the trap. They wanted them to actually be disposed of right away. So, by not understanding the market, even though they built a better mousetrap, they'd missed the point. Like, the main problem to solve wasn't killing the mouse or having it be reusable. The main problem to solve was, like, getting rid of the mouse. So like, if you have a solution for getting rid of the mouse, the next thing is your execution for it. Like, does it hit the actual market, which is the fit aspect? Like, every product is a little bit different where you look at, like, how does this fit in? So, in this case, fit is very important for, like, disposing of the mouse, which is why you also have, like, you know, mouse poisons are popular, even though they're terrible because they die somewhere and, hopefully, you don't see them. And it's like sight unseen, right? Now, I'm glad, like, that's changing and stuff. But it's understanding even if you have a solution to something, you need to understand what your market wants out of your solution, and it's not going to be an abstract. It's going to be an emotional, like, execution-based process. So, you kind of have to go, all right, this is my market. This is kind of my fit. But the actual product I'm building is going to change to make sure it works all the way through with this. I was advising a startup many, many years ago, and they were building this CRM software on Android for South America. And I think they were building it for Android 6 or 7 at the time. But the market that they were targeting, they all ran Android 4.1. So, they spent a little over a million dollars building for the wrong version of Android that wouldn't even work on that version of the system. Like, it was one of those things where they were required to build it for that. But they didn't understand the actual market, and they didn't spend enough time researching it. So, it's like you get the Bay Area groupthink. If they had actually spent the time to analyze that market and go, "Oh, they run, you know, an inexpensive phone. It's 4.1. It's low RAM," now you can design a product. If you want it to be a CRM, you're going to, like, chunk up the system more. Like, you're going to change all that instead of just wasting a million dollars building something that now you basically have to start over again from scratch. VICTORIA: That seems like he got off cheap, too. People make way bigger mistakes that cost way more money [laughs] because they [inaudible 24:13] WENDELL: Well, that wasn't me. That was an investor that -- VICTORIA: Oh no. I mean, yeah, not just them. Yeah. WENDELL: He's like, "What would you do?" And I was like, "You should sell this company or sell your stake ASAP because that's a really bad sign." JOE: I have found that the answer nobody ever wants when you're doing product validation or testing product fit is, "You should not build this product." The idea that the software just shouldn't be written is universally unpopular. WENDELL: Yes [laughs]. That's, you know, that's part of the reason why it took me so long to do PrimeLab is because, like, it took a long enough for the software to actually need to be written, if that makes sense. Mid-Roll Ad: When starting a new project, we understand that you want to make the right choices in technology, features, and investment but that you don't have all year to do extended research. In just a few weeks, thoughtbot's Discovery Sprints deliver a user-centered product journey, a clickable prototype or Proof of Concept, and key market insights from focused user research. We'll help you to identify the primary user flow, decide which framework should be used to bring it to life, and set a firm estimate on future development efforts. Maximize impact and minimize risk with a validated roadmap for your new product. Get started at: tbot.io/sprint. VICTORIA: What does success look like now versus six months or even five years from now? WENDELL: I take a different approach to this because I have so many friends that have sold their businesses. They raise and everything else. I look at success as instead of an exit or another large thing, like, literally, we turned down a billion-dollar term sheet offer. I didn't like the terms. I didn't like what it would do from the control standpoint of the technology. What I care about is go-to-market and, like, adoption and actually getting the tech out there in a way that has market penetration but, like, that adds value to every person's life. VICTORIA: Yeah, maybe say more about that. Like how do you see AI and this technology you have with PrimeLab benefiting people and benefiting the industry that you're working within? WENDELL: So, the current AI models are kind of weird. They're basically just filter systems because they communicate in pixel space and then go down to functional space. It's the GPU. GPUs are actually terrible to use for AI. This is why you have dedicated AI chips getting built. Hopefully, the RISC-V chipset does actually do something because that's a chipset that I think it's an open-source chipset, but you can actually especially build models on it. So, I think that we're going to see a lot more in the RISC-V chipset where it's like, this is just for one particular image, or this is just for explosions, or this is just for touching up all these different points in the actual individual, like, microcontroller module data that ends up compiling to move forward with it. But the AI models now it's like you took the internet, and you're trying to ask it a probability question, what I was talking about before, where it's not an absolute. So, it's like, if I want to do an OCR system or anything, I take an image. It's got to say, "This is..." letters; it's going to recognize that. So, there's, like, multiple models and algorithms that need to run on that whole entire process. You even have artificial data, but all of that information is an approximation. It's not an absolute. If you want absolute, you can get a lot of absolute data from the actual hardware devices themselves. You know, take a Sony camera. You could see the lighting. You could see the raw information, everything else there. But because of how expensive it is, people compress it. Like, take YouTube where it's compressed, and now you're training off of it. You're trying to compress it more and then run an algorithm so that you don't have to actually process those large, raw files all the way through. That's just a bad infrastructure for compute. You're trying to reduce, but you're also trying to utilize what you own for rights, same thing, contextual, or anything else there. There's no value in a model. Once a model is out there, it's just weights moving it back and forth. The value is in the data and the applications. So, the actual data itself that's going in. So, if you have just lava scenes, like, having all that data for lava, and I want to put it in a background, now I can do that, but more importantly, it's not about just adding it into the background. The thing that is often missed is contextually the output. So, like, say I want to do a financial report. Rather than having the data of all financial reports out there, what I want as the input is my financial data. And what I want as, like, a fine-tuning output is an example of the reports that were generated. And I don't want those reports as the input to inform the output because that's where you get a hallucination. Maybe it starts grabbing financial data from someone else. And I also think we're in store for a lot more hacks because with not just poisoning data, which we do in the functional space, if someone tries to access it. But, I mean, literally, there's the story...I think the guy was in Hong Kong, where they faked his board all the way through with it. Because you have agents acting and executing on people's behalf, you're going to have systems where people go onto the hardware and start generating fake financial numbers. And now that's going to get reported. Or you pay an invoice that you weren't supposed to pay because someone manipulated your AI agent. And a lot of the stuff that we're seeing now from Microsoft and everything else that's not really where the models will go. It's great to do it, but it's kind of like we're in the dial-up stage of AI. Like [chuckles], dial-up has its use cases and stuff, but it's nowhere near what the tech will look like in the future, and it's nowhere near how it will function. And one of the big pushbacks that you see, like, from Google, from all these different places, like, they want your attention. But at the end of the day, Google's an ad company. Facebook's an ad company. It's not in their best interest to have hyper-localized data that you control for your models and likewise. They want it in the cloud. They want it used there, where they can control that data, and they can monetize and advertise for you. But at the same time, like AI models work the best, and AI applications work the best when the data set is limited, so it can't hallucinate, and when the outputs are actually controlled to what it should be from an informed standpoint. So, where we're at this is just in the beginning stages of stuff. VICTORIA: That's really interesting. Thank you so much for sharing. I think if you could go back in time when you first started PrimeLab and give yourself some advice, what would you say? WENDELL: You know, I lived through the Great Recession. The Great Recession informed me a lot more. The things that I didn't understand this time...like the Great Recession, was market contributors doing stuff that impacted everyone with their spend and their adoption, and how those things were. But the Fed raising interest rates, which is, you know, Silicon Valley Bank failed and stuff like that, that dynamic of those startups and, like, how much startups power everything, like, I would have advised myself to pay more attention to the Fed and those market dynamics going forward. Because what changed is it's not just the Silicon Valley Bank failed it, you know, Rippling went down, for instance, which would pay therapists in Florida and all kinds of stuff. Like, it broke so many different things. It caused bottlenecks in business that we're still going through. Like, everyone's like, "Oh, we're getting back to normal." Really not. It's still, like, delayed all the way through it. The AI aspect is really getting back to normal, where people are really pushing AI. But if you look at SaaS and other industries, it really, really slowed down. And the reason why that matters is, like, in my field, production and timelines matter. So, when you have that plus, you know, the entertainment strike and everything else, you have things where the actual production of things starts slowing down immensely. Whereas AI is one of the few things that you still have innovations because that never really slowed down, same thing with the models. But all the rest of the industries and stuff have really slowed down. And understanding what that means from an operational execution standpoint...it's a good thing I have my co-founder [inaudible 32:24]. It matters quite a bit because it means your team sizes have to change, how you handle certain clients has to change. Because once those companies start downsizing or laying off people for whatever reason like, that's going to change how you're working with them, and their requirements are going to change as well. VICTORIA: And what do you see on the horizon as a challenge or a big hurdle that you face as a company or as an industry? WENDELL: You know, the entertainment market's really interesting from all the different sign-offs. The challenge is more execution of timeline. So, like, if you're doing something with, like, Nvidia and the healthcare thing, it could take years. If you're doing something in, like, the IoT space, you know, also years. If you do something in the entertainment space, it could take weeks to months, except the large studios. The larger studios, it could take a couple of years as well. But going to market, I think, is a very big challenge, not just for us but the whole entire industry. I mean, there's a reason why Sam Altman came down to LA to meet with studios, to try and get stuff moving forward. And I think one of the things that he's forgetting is like, you think of Netflix. Netflix is streaming. In order for that to work, they needed Roku, and they needed Kevin Spacey because [chuckles]...it's crazy to say that, but House of Cards is kind of what made it, right? And Hollywood was mostly boxing them out quite a bit. Same thing with Blockbuster otherwise. They had to drop a hundred million dollars, a large enough bankable star at the time that would really push something forward. And they had to basically really push Roku out there so that they had PMF across the board. What that means, though, is, like, Netflix is paying for content like crazy, right? So, this is kind of enshittification in a process. So, they're paying for content like crazy. So, now Hollywood's making money. They like it. At the studios, they don't love it when their stuff's going there because maybe it's less money, but now they start cutting the seasons short. They start cutting...it's a lot more algorithmic-driven. You have the ad systems that sort of come out. So, now, like, Netflix is not just doing ads where the customer experience is getting worse, but now, also, the business experience for those partners selling stuff is also getting worse, and all that value is getting driven to Netflix. Like, that's the tech system and Hollywood's learned that. But, like, when you're looking at the next adoption, like, they're hesitant for that. Just like a lot of stuff with AI, they're hesitant because they're thinking about all the power and control that they gave up. But you have to show how they're going to make money. You can't just cut costs, right? If you can't show how they're going to make money, you're not going to get adopted. That's kind of what I like there because so much of tech is about saving costs and being more efficient. In the entertainment industry, it's not just those two things. It's how can I make more money? And it's going to, like, ooh, you can monetize your content through training samples and stuff like that. So, our model goes exactly against what the large tech companies have where they want to take content, train on it, like the search engine does, suck the value off Sam Altman's Sora. Ours goes, all right, this is your content. Only you own this. You can take your own content, train it, and then perform this operation on it that is more efficient likewise. And if you choose to monetize it in any way, shape, or form, we can just take the functional space, not all the images and no one will ever see it, and take that functional space for training so that you can actually monetize from that as well. VICTORIA: I love that. Super interesting. Thank you so much for sharing. And do you have any questions for me or for Joe? WENDELL: I've noticed a lot of differences on, like, applications and how systems are built. So, I'm kind of curious about you guys' standpoint about applications, you know, the Apple Vision Pro. Facebook just said they'd start licensing out their AI system, or Meta, whatever. So, you have the comparisons to Android versus iOS that's happening, stuff like that. So, I'm really curious about, like, you guys' thoughts on the Vision Pro and that ecosystem. JOE: Well, I can't speak for all of thoughtbot, but I can say that, to me, it was interesting to see that get released. And it's been interesting to see how aggressively Meta and Apple have been pursuing the various VR markets. Like it reminds me of when television companies and studios worked really hard to get 3D movies to be a thing. WENDELL: [laughs]. JOE: Because I think they just ran out of things that people are asking for. Like, people were interested in getting better resolutions up to a point. Like, they wanted better packaging. But it got to a point where it was like, they didn't want to give anybody anything they were asking for. So, they were like, what if it's in 3D? And, like, for years, it seemed like Apple was really on top of seeing what people really wanted, and being able to present a very well-prepared version of that product before other companies were able to. And, personally, it's not what I saw with the Apple Vision Pro. Like, it wasn't the obvious missing space that was there when the iPhone or the iPad showed up. WENDELL: Yeah, I always go back to, like, the "Why?" question. You know, previously when...even just before we had talked, I was talking about comparative religions, and why that's so valuable is because it really teaches you...again, I've had this conversation before, but the comparative religions, if you think about religion as a tech company, they're always trying to solve why. Like, why did the sun come up? Why did this happen, right? And you always have to do that. So, apply that to technology, Google or Apple, why does this product exist? And when you get to, like, it just existed to make money, I think that's really the 3D thing. Whereas, like, why did the iPhone exist? It existed to solve this problem of being portable on the go and getting information in the way that we communicated, too. VICTORIA: Yeah. I think the Apple Vision Pro appeals to a very specific market segment and that that segment is not me [laughter]. I, actually, during COVID...after...it was, like...yeah, we're still in COVID. But during the pandemic, I moved from DC to California. And to connect with some old friends, I bought a VR headset and decided to go to virtual coffee with them. And it just makes me nauseous. And it actually affects...quite a lot of women get nauseous in VR. For some people, the look—the capability is really exciting. They have the extra money to spend on gadgets, and that's what they like. And it's very appealing, and the, like potential, is really interesting. I just find it for myself. Personally, I'm more drawn to tech that's not maybe cutting edge but solves problems for actual people. And kind of why I'm interested in PrimeLab, what you were mentioning is just how artists can use this technology to protect their creative work. To give that power back to people and that control over their content, I think, is really interesting rather than...I'm not really sure what I would do with the Apple Vision Pro [laughs]. Like, the early ones, I mean, it's cool. It's fun. I definitely enjoy it. Like, I sometimes like to learn about it, but it's not my passionate genre of tech that I normally go for. WENDELL: Going back to what you just said about, like, control, like, part of the thing is because of the hash IDs that we put into place, like, you don't need analytics. You don't need cookies or anything else, like the content holder. Basically, like, if you have a TV set or something and you want to stream content to it, you can actually see that information directly yourself. So, it takes the person generating it and the person viewing it. It forms...we call them function access keys. It forms a one-to-one relationship, basically, where you guys know if you want to know what you want to know, but then you choose to give access to the platform if you want to, which changes the dynamic of control quite a bit. And it's interesting because when you look at platforms like the Apple Vision Pro, and you look at Apple's whole entire system as a whole, just trying to lock in people, I think it's interesting because something like what I just described, Apple can't really stop. It's how compute works. So, if people want to use it, there's nothing they could do to stop it from being used. So, I'm really interested in the product stuff and just more about, like, how...and I'm curious what you guys think on this, too. Especially as you see phones and processors and everything else, I'm really interested in, like, how these things come about, like, how things are actually built and developed and the why for that, like, in the everyday use. So, like, the Apple Watch it started off as a fashion thing, which looked like a money grab, and then the why was, oh yeah, fitness. So, just curious if you guys have seen any other products out there that you're like, oh, this really resonates with me and the why. JOE: Yeah, I'm not really a gadget person, but I think the idea of taking some of the capabilities that we've gotten with the internet and with phones and making them hands-free was interesting. And that, to me, was what I think started pushing the development of products like the Apple Watch or Google Glass. Like, I think that hands-free capability, the trade-off became rewarding in the fitness field, but I think it's more generically applicable. I think that technology it's too obtrusive in other scenarios and too bad at its job to do some of the things it could do. And people got creeped out by Google Glass. But it doesn't really seem like the Vision Pro fits in there. Something being successful hands-free means it becomes less obtrusive, whereas the Vision Pro is like you become a cyborg. VICTORIA: Do you have anything else you would like to promote? WENDELL: I wouldn't say necessarily promote as much as like people with ideas or aspirations, like, I think it's important that you think counter to what everyone else is doing. There's that line of, like, when everyone else is running in one direction, run the other. And it's like, if you have a business or startup idea, really think about your market. Like, think about why you're doing what you're doing, and don't be afraid to just go out there and talk to people. You will get value no matter who you talk to. So, like, I'm a hugely tech-based person. My wife is a therapist, and I learn from her everyday things about emotional intelligence and all kinds of things that I would be an idiot otherwise. But also, learn, like, you can always learn something from someone. Like, take the time to listen to them. Take the time to actually, like, try and figure out what's one thing I can learn from someone, even if, you know, I learn stuff from my daughters even. Like, don't put things in boxes. Like, try to think outside of like, how can I ask a question to learn? VICTORIA: I love that advice. That's great. WENDELL: Have you guys used Suno before? VICTORIA: That's music, right? Music AI. WENDELL: All right, I got to show you guys this. We're going to create you a quick theme song. Like, this is what I mean by, like, it's an interesting solution for why. VICTORIA: That does sound fun. I like the ones...like my friend's a doctor, and she uses AI to take her conversation she's having with patients and automatically fill out her notes. And it saves her, like, 20 hours of documentation every week. Like, I like that kind of app. I'm like, oh, that makes a lot of sense. WENDELL: What's a style of music that you guys really like? JOE: Swedish pop VICTORIA: Like ABBA [laughs]? I'm down for an ABBA Giant Robots theme song. Sounds great. WENDELL: I think you're going to like this. [Music Playing] VICTORIA: These are awesome. They're super fun. Thank you so much. You can subscribe to the show and find notes along with a complete transcript for this episode at giantrobots.fm. If you have questions or comments, you can email us at hosts@giantrobots.fm. And you can find me on X @victori_ousg. This podcast is brought to you by thoughtbot and produced and edited by Mandy Moore. Thanks for listening. See you next time.  AD: Did you know thoughtbot has a referral program? If you introduce us to someone looking for a design or development partner, we will compensate you if they decide to work with us. More info on our website at: tbot.io/referral. Or you can email us at: referrals@thoughtbot.com with any questions. Special Guest: Joe Ferris.

This week on No Priors hosts, Sarah and Elad are catching up on the latest AI news. They discuss the recent developments in AI music generation, and if you're interested in generative AI music, stay tuned for next week's interview! Sarah and Elad also get into device-resident models, AI hardware, and ask just how smart smaller models can really get. These hardware constraints were compared to the hurdles AI platforms are continuing to face including computing constraints, energy consumption, context windows, and how to best integrate these products in apps that users are familiar with.  Have a question for our next host-only episode or feedback for our team? Reach out to show@no-priors.com Follow us on Twitter: @NoPriorsPod | @Saranormous | @EladGil  Show Notes:  (0:00) Intro (1:25) Music AI generation (4:02) Apple's LLM (11:39) The role of AI-specific hardware (15:25) AI platform updates (18:01) Forward thinking in investing in AI (20:33) Unlimited context (23:03) Energy constraints

Today, we are joined by Michael Smith, the co-founder and General Partner of Regeneration VC Fund II of $150M. Regeneration.VC is an early-stage venture fund supercharging consumer-powered climate innovation.Michael ran marketing & digital for Smith Broadcasting, a group of 20 network TV stations, before selling to Boston Ventures. Shortly thereafter, he followed his lifelong passion for music to become a touring DJ and performed alongside artists including Guns N Roses, Rihanna, and Diplo. In 2006, he launched The Playlist Generation, one of the world's largest background music providers. In 2010, he co-founded Creative Space, a real estate firm with a portfolio of 80 adaptive reuse projects between Los Angeles and San Francisco. After successfully exiting both companies in 2015, Michael formed Ponvalley, an environmentally focused family office initiative comprising philanthropy, research, and impact investments. He convened Shared Mission, an emergency climate summit with Former VP Al Gore, General Wesley Clark, the Department of Energy, and Harvard leadership.Go to eu.vc for our core learnings and the full video interview

We discuss the use of AI in a new Randy Travis song, and discover watching sports is good for you rmental health!

Frierend im April, quatschen wir diesmal länger als gedacht. Es geht u.a. um Minyas beim Gesundheitscheck, Gebrauchtwagen und ungemütliche Autohäuser, wir wollen uns beamen, eine neue Music AI, Valheim Ashlands, ASKA, der 7 Days Release und neue Monster in Minecraft. Eure Fragen oder Themen unter dem Hashtag #die2onair Links zu den Themen der Folge ► AI Music Generator https://www.udio.com ► ASKA https://store.steampowered.com/app/1898300/ASKA/ ► BitCraft https://bitcraftonline.com ► Alpha Exodus: The Road to 1.0 https://youtu.be/jb5YCTDfB5k ► Vigor https://store.steampowered.com/app/2818260/Vigor/ ► GRAY ZONE macht das was UBISOFT sich nicht mehr traut! https://youtu.be/cST9XFyZpvg ► Wie man Wände mit Lehm verputzt | SWR Handwerkskunst https://youtu.be/rNaYKCUnRCE Die2 auf Twitter ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/die2onair

“As technology becomes more dominant, the arts become ever more important for us to stay in touch the things that the sciences can't tackle. What it's actually like to be a person? What's actually important? We can have this endless progress inside this capitalist machine for greater wealth and longer life and more happiness, according to some metric. Or we can try and quantify society and push it forward. Ultimately, we all have to decide what's important to us as humans, and we need the arts to help with that. So, I think what's important really is just exposing ourselves to as many different ideas as we can, being open-minded, and trying to learn about all facets of life so that we can understand each other as well. And the arts is an essential part of that.”How is being an artist different than a machine that is programmed to perform a set of actions? How can we stop thinking about artworks as objects, and start thinking about them as triggers for experiences? In this conversation with Max Cooper, we discuss the beauty and chaos of nature and the exploration of technology music and consciousness.Max Cooper is a musician with a PhD in computational biology. He integrates electronic music with immersive video projections inspired by scientific exploration. His latest project, Seme, commissioned by the Salzburg Easter Festival, merges Italian musical heritage with contemporary techniques, was also performed at the Barbican in London. He supplied music for a video narrated by Greta Thunberg and Pope Francis for COP26.In 2016, Cooper founded Mesh, a platform to explore the intersection of music, science and art. His Observatory art-house installation is on display at Kings Cross until May 1st.https://maxcooper.nethttps://osterfestspiele.at/en/programme/2024/electro-2024https://meshmeshmesh.netwww.kingscross.co.uk/event/the-observatoryThe music featured on this episode was Palestrina Sicut, Cardano Circles, Fibonacci Sequence, Scarlatti K141. Music is from Seme and is courtesy of Max Cooper.www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“As technology becomes more dominant, the arts become ever more important for us to stay in touch the things that the sciences can't tackle. What it's actually like to be a person? What's actually important? We can have this endless progress inside this capitalist machine for greater wealth and longer life and more happiness, according to some metric. Or we can try and quantify society and push it forward. Ultimately, we all have to decide what's important to us as humans, and we need the arts to help with that. So, I think what's important really is just exposing ourselves to as many different ideas as we can, being open-minded, and trying to learn about all facets of life so that we can understand each other as well. And the arts is an essential part of that.”How is being an artist different than a machine that is programmed to perform a set of actions? How can we stop thinking about artworks as objects, and start thinking about them as triggers for experiences? In this conversation with Max Cooper, we discuss the beauty and chaos of nature and the exploration of technology music and consciousness.Max Cooper is a musician with a PhD in computational biology. He integrates electronic music with immersive video projections inspired by scientific exploration. His latest project, Seme, commissioned by the Salzburg Easter Festival, merges Italian musical heritage with contemporary techniques, was also performed at the Barbican in London. He supplied music for a video narrated by Greta Thunberg and Pope Francis for COP26.In 2016, Cooper founded Mesh, a platform to explore the intersection of music, science and art. His Observatory art-house installation is on display at Kings Cross until May 1st.https://maxcooper.nethttps://osterfestspiele.at/en/programme/2024/electro-2024https://meshmeshmesh.netwww.kingscross.co.uk/event/the-observatoryThe music featured on this episode was Palestrina Sicut, Cardano Circles, Fibonacci Sequence, Scarlatti K141. Music is from Seme and is courtesy of Max Cooper.www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“​​I love working with historic sites. I've done a few events and installations working in old cathedrals; we did one with And& Festival in Leuven, and in Carlisle Church in Belfast with the AVA Festival guys, and the Acropolis of Athens, and lots of other venues. I love venues where I can turn up and map projections onto architecture. Particularly when you're using old historic buildings, they're full of feelings and ideas before you, you know, from the history and what you associate them with. That embeds itself into the music and the visuals that you're presenting, so you get this extra layer of engagement and emotion and ideas coming through, which I love. I generally use projectors rather than screens for that reason, so that I can use the architecture and try to make the show itself interact with it. Whenever I can, I try to project. It adds to the storytelling, I think, and it makes it feel more special.”How is being an artist different than a machine that is programmed to perform a set of actions? How can we stop thinking about artworks as objects, and start thinking about them as triggers for experiences? In this conversation with Max Cooper, we discuss the beauty and chaos of nature and the exploration of technology music and consciousness.Max Cooper is a musician with a PhD in computational biology. He integrates electronic music with immersive video projections inspired by scientific exploration. His latest project, Seme, commissioned by the Salzburg Easter Festival, merges Italian musical heritage with contemporary techniques, was also performed at the Barbican in London. He supplied music for a video narrated by Greta Thunberg and Pope Francis for COP26.In 2016, Cooper founded Mesh, a platform to explore the intersection of music, science and art. His Observatory art-house installation is on display at Kings Cross until May 1st.https://maxcooper.nethttps://osterfestspiele.at/en/programme/2024/electro-2024https://meshmeshmesh.netwww.kingscross.co.uk/event/the-observatoryThe music featured on this episode was Palestrina Sicut, Cardano Circles, Fibonacci Sequence, Scarlatti K141. Music is from Seme and is courtesy of Max Cooper.www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“As technology becomes more dominant, the arts become ever more important for us to stay in touch the things that the sciences can't tackle. What it's actually like to be a person? What's actually important? We can have this endless progress inside this capitalist machine for greater wealth and longer life and more happiness, according to some metric. Or we can try and quantify society and push it forward. Ultimately, we all have to decide what's important to us as humans, and we need the arts to help with that. So, I think what's important really is just exposing ourselves to as many different ideas as we can, being open-minded, and trying to learn about all facets of life so that we can understand each other as well. And the arts is an essential part of that.”How is being an artist different than a machine that is programmed to perform a set of actions? How can we stop thinking about artworks as objects, and start thinking about them as triggers for experiences? In this conversation with Max Cooper, we discuss the beauty and chaos of nature and the exploration of technology music and consciousness.Max Cooper is a musician with a PhD in computational biology. He integrates electronic music with immersive video projections inspired by scientific exploration. His latest project, Seme, commissioned by the Salzburg Easter Festival, merges Italian musical heritage with contemporary techniques, was also performed at the Barbican in London. He supplied music for a video narrated by Greta Thunberg and Pope Francis for COP26.In 2016, Cooper founded Mesh, a platform to explore the intersection of music, science and art. His Observatory art-house installation is on display at Kings Cross until May 1st.https://maxcooper.nethttps://osterfestspiele.at/en/programme/2024/electro-2024https://meshmeshmesh.netwww.kingscross.co.uk/event/the-observatoryThe music featured on this episode was Palestrina Sicut, Cardano Circles, Fibonacci Sequence, Scarlatti K141. Music is from Seme and is courtesy of Max Cooper.www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“As technology becomes more dominant, the arts become ever more important for us to stay in touch the things that the sciences can't tackle. What it's actually like to be a person? What's actually important? We can have this endless progress inside this capitalist machine for greater wealth and longer life and more happiness, according to some metric. Or we can try and quantify society and push it forward. Ultimately, we all have to decide what's important to us as humans, and we need the arts to help with that. So, I think what's important really is just exposing ourselves to as many different ideas as we can, being open-minded, and trying to learn about all facets of life so that we can understand each other as well. And the arts is an essential part of that.”How is being an artist different than a machine that is programmed to perform a set of actions? How can we stop thinking about artworks as objects, and start thinking about them as triggers for experiences? In this conversation with Max Cooper, we discuss the beauty and chaos of nature and the exploration of technology music and consciousness.Max Cooper is a musician with a PhD in computational biology. He integrates electronic music with immersive video projections inspired by scientific exploration. His latest project, Seme, commissioned by the Salzburg Easter Festival, merges Italian musical heritage with contemporary techniques, was also performed at the Barbican in London. He supplied music for a video narrated by Greta Thunberg and Pope Francis for COP26.In 2016, Cooper founded Mesh, a platform to explore the intersection of music, science and art. His Observatory art-house installation is on display at Kings Cross until May 1st.https://maxcooper.nethttps://osterfestspiele.at/en/programme/2024/electro-2024https://meshmeshmesh.netwww.kingscross.co.uk/event/the-observatoryThe music featured on this episode was Palestrina Sicut, Cardano Circles, Fibonacci Sequence, Scarlatti K141. Music is from Seme and is courtesy of Max Cooper.www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“As technology becomes more dominant, the arts become ever more important for us to stay in touch the things that the sciences can't tackle. What it's actually like to be a person? What's actually important? We can have this endless progress inside this capitalist machine for greater wealth and longer life and more happiness, according to some metric. Or we can try and quantify society and push it forward. Ultimately, we all have to decide what's important to us as humans, and we need the arts to help with that. So, I think what's important really is just exposing ourselves to as many different ideas as we can, being open-minded, and trying to learn about all facets of life so that we can understand each other as well. And the arts is an essential part of that.”How is being an artist different than a machine that is programmed to perform a set of actions? How can we stop thinking about artworks as objects, and start thinking about them as triggers for experiences? In this conversation with Max Cooper, we discuss the beauty and chaos of nature and the exploration of technology music and consciousness.Max Cooper is a musician with a PhD in computational biology. He integrates electronic music with immersive video projections inspired by scientific exploration. His latest project, Seme, commissioned by the Salzburg Easter Festival, merges Italian musical heritage with contemporary techniques, was also performed at the Barbican in London. He supplied music for a video narrated by Greta Thunberg and Pope Francis for COP26.In 2016, Cooper founded Mesh, a platform to explore the intersection of music, science and art. His Observatory art-house installation is on display at Kings Cross until May 1st.https://maxcooper.nethttps://osterfestspiele.at/en/programme/2024/electro-2024https://meshmeshmesh.netwww.kingscross.co.uk/event/the-observatoryThe music featured on this episode was Palestrina Sicut, Cardano Circles, Fibonacci Sequence, Scarlatti K141. Music is from Seme and is courtesy of Max Cooper.www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

In this episode of the Edge of AI, step into the future as Marcus Bell, the author of the Bellringer Branding Bible and the Unstoppable Workbook, discusses the intersection of AI, music, and digital assets. Discover how AI is immortalizing music legacies and revolutionizing the industry with Bellringer Productions. Explore his groundbreaking company: Timeless Legacies, and their mission to perpetuate knowledge through innovative AI solutions.

“As technology becomes more dominant, the arts become ever more important for us to stay in touch the things that the sciences can't tackle. What it's actually like to be a person? What's actually important? We can have this endless progress inside this capitalist machine for greater wealth and longer life and more happiness, according to some metric. Or we can try and quantify society and push it forward. Ultimately, we all have to decide what's important to us as humans, and we need the arts to help with that. So, I think what's important really is just exposing ourselves to as many different ideas as we can, being open-minded, and trying to learn about all facets of life so that we can understand each other as well. And the arts is an essential part of that.”How is being an artist different than a machine that is programmed to perform a set of actions? How can we stop thinking about artworks as objects, and start thinking about them as triggers for experiences? In this conversation with Max Cooper, we discuss the beauty and chaos of nature and the exploration of technology music and consciousness.Max Cooper is a musician with a PhD in computational biology. He integrates electronic music with immersive video projections inspired by scientific exploration. His latest project, Seme, commissioned by the Salzburg Easter Festival, merges Italian musical heritage with contemporary techniques, was also performed at the Barbican in London. He supplied music for a video narrated by Greta Thunberg and Pope Francis for COP26.In 2016, Cooper founded Mesh, a platform to explore the intersection of music, science and art. His Observatory art-house installation is on display at Kings Cross until May 1st.https://maxcooper.nethttps://osterfestspiele.at/en/programme/2024/electro-2024https://meshmeshmesh.netwww.kingscross.co.uk/event/the-observatoryThe music featured on this episode was Palestrina Sicut, Cardano Circles, Fibonacci Sequence, Scarlatti K141. Music is from Seme and is courtesy of Max Cooper.www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Join us for this special episode as we sit down with Casey and go deep into the origins of Lunacy, the development of CUBE and BEAM and the future of machine learning and music production for an interview you won't want to miss!If you're interested in supporting the podcast, please subscribe to the S1gns Of L1fe and Jon Audio channels on YouTube. For the video version of this show, please subscribe to the Harmonic Horizons YouTube Channel to keep up with all the latest episodes.S1gns Of L1fe: https://www.youtube.com/@s1gns0fl1feJon Audio: https://www.youtube.com/@jonaudioHarmonic Horizons: https://www.youtube.com/@HarmonicHorizonsPodcastFor bonus content including additional podcast material, head over to the S1gns Of L1fe Patreon page. Paid members get access to Beyond The Horizon - our new series of extended conversations with our guests, as well as several other benefits such as early access to all of his videos, exclusive ambient tutorials, over 100 preset packs for various synthesizers, one on one coaching for ambient and electronic music, and tons more.S1gns Of L1fe on Patreon: https://www.patreon.com/s1gnsofl1feIf you'd like to support Jon Audio and the work he does head over to his YouTube channel and subscribe. You can also check out his Gumroad page for a selection of free and paid preset packs. Finally he also has a Patreon page where subscribers get access to additional content such as exclusive music, presets for various synths such as pigments and diva, specialized courses and more.Jon Audio Patreon: https://www.patreon.com/jonaudioContact us or would like to be a guest on the show, email: harmonichorizonsp...

It's time for the Comic Talk Headlines with Generally Nerdy! More KILLER trailers to talk about.Silver Surfer casting has everyone up in arms once again.Matrix 5 officially announced?And so much more...Plus, don't forget to subscribe for more fresh content.   Now show notes for a live show. You should have been there!Join the fun www.youtube.com/@GenerallyNerdy 

It's time for the Comic Talk Headlines with Generally Nerdy! More KILLER trailers to talk about.Silver Surfer casting has everyone up in arms once again.Matrix 5 officially announced?And so much more...Plus, don't forget to subscribe for more fresh content.   Now show notes for a live show. You should have been there!Join the fun www.youtube.com/@GenerallyNerdy 

03rd April: Crypto & Coffee at 8 

Travis reviews his take aways from February and shares his thoughts on the current state of AI in the music industry and how we can prepare for it. Mentioned in the Episode:Suno AIYouTube Dream TracksGET YOUR FREE RATE WORKSHEET

Seth Goldstein and Michael Nevins of Music.AI give us the lowdown on audio deepfakes, singing clones, and synthetic voices, and what they mean for the music business. We peel back the layers of AI-generated voices, revealing how this tech transforms one person's voice into another's while maintaining the original performer's emotional core. We delve into the ethical landscape of voice synthesis, distinguishing questionable fakes from commendable uses like aiding singers and crossing language barriers.   We unpack the potential impact of synthetic voices on music business models and opportunities. Discover how estates of late artists can continue their creative endeavors, thanks to voice modeling, and learn about a marketplace that's reshaping artist compensation.    Finally, Seth, Michael, and Tristra forecast voice modeling's expanding role across various sectors. Imagine a multilingual Shaquille O'Neal or educational content delivered in perfectly localized intonations. We analyze how startups could leverage synthetic voices to enhance customer service and user offerings, thanks to high-quality, localized voice models.  The Music Tectonics podcast goes beneath the surface of the music industry to explore how technology is changing the way business gets done. Visit musictectonics.com to find shownotes and a transcript for this episode, and find us on LinkedIn, Twitter, and Instagram. Let us know what you think!

Welcome to 2024. We talk about music. Artificial intelligence. Creative practice, processes and collaborative formats. Nascent space. Onchain collectives. Minting works. Experimental music. What it all means.Hexorcismos aka Moisés Horta Valenzuela is an artist, musician and technologist working with generative artificial neural networks over the past 7 years.Based in Berlin, originally from Mexico, his upcoming album MUTUALISMX is coming out on Nicolas Jaar's Other People on February 15. The record features artists from around the world collaborating with AI models created for each artist's musical imprint and style.Moisés is the founder of SEMILLA, helping to design and build an astonishing and surreal synthesiser in Iceland using seeds of divination cast into a circle which then produce sounds based on their placement.The SEMILLA AI instrument employs computer vision techniques to translate the coordinates of the thrown maize in the “world-space” interface and utilizes knobs to scale their values. The divinatory practice serves as an interface to inject real-world randomness into the process of synthesizing new sounds using neural networks for sound synthesis.aiio aka Irina is a researcher, community builder and writer bridging across web3 and the underground electronic music and arts communities in Copenhagen. Her creative practice is informed by her collective intellgience research practice. Building spaces that enable people with diverse areas of knowledge to come together and experiment.She's the co-founder of an experimental collective that she started in a garage, co-host of Ethereum meetups in Copenhagen and is currently co-creating a distributed interface for digi-physical communities.As aiio and cattfutur she writes about the concept of space, linking it to human culture, existence, and the need for adaptive ecosystems.ufo.fmnews.ufo.fmtour.ufo.fm SPONSORSZerion combines every corner of web3 in a simple and intuitive app for self-custodial humans. Discover the hottest NFT collections, track your DeFi rewards, and vote in DAOs across 10+ chains. Get started at zerion.ioParagraph is where you can create, distribute & monetize - on your own terms. This publishing platform enables creators to mint posts as collectible content and send token-gated newsletters directly to wallet addresses. To get started with these radically powerful tools, visit paragraph.xyzLore is where communities come onchain. Helping communities of all kinds raise funds onchain, up and down vote decisions and take action towards a collective mission. They are accepting applications from community leads and creators who want to crowdfund initiatives to be on their V2 launch line up. Go to lore.xyz to apply

Yihao Chen is a Music AI researcher and the founder of of OctAI, now GenreX a Generative AI company building the Mid Journey of music. Yihao is a classical flutist, a composer, and an AI music researcher. He was a music AI researcher at the Georgia Institute of Technology and an undergraduate researcher at Cornell University where he worked on automatic harmonization using machine learning. His company, GenreX, has been funded by AI2 a research institute founded by Paul Allen and led by Ali Farhadi, conducting high-impact research and engineering to tackle key problems in artificial intelligence.

In this episode, Joey and Ralph discuss various topics related to the music industry and social media. They reflect on mistakes made on social media and the importance of not letting negative feedback stop you from posting. They also talk about using multiple social media platforms and the potential of YouTube Shorts. The conversation touches on the frustrations of the music industry, including the issue of reclaiming master rights from labels. They discuss the idea of relocating to a city or country where a targeted genre is popular and the benefits of being part of a music hub.  Join the Artist Coaching Community on Discord! https://discord.gg/8NmAxsXTYn (00:00) Introduction and Small Talk (03:00) Discussion on Using Illegal Plugins and AI Tools (07:00) Exploring the Micromusic AI Tool (12:00) Using AI Tools for Music Production (18:00) The Challenges of Evolving in the Music Industry (23:00) Staying Authentic as Established Artists (29:00) Personal Growth and Constant Change (36:00) Overcoming Procrastination and Taking Action (38:48) Reflecting on Mistakes and Social Media (39:06) Using Multiple Social Media Platforms (40:09) The Potential of YouTube Shorts (41:17) Authenticity and Passion in Social Media (41:47) The Frustrations of the Music Industry (43:30) Reclaiming Master Rights from Labels (45:18) Relocating to a Music Hub (51:18) The Benefits of Relocating (55:06) Closing Remarks and Future Guests Listen to this episode on your favorite streaming platform: https://artistcoaching.podlink.to/podcast Follow us on: https://www.tiktok.com/@artistcoaching https://www.instagram.com/artistcoachingnl/

Will “AI Pins” replace smartphones? That's not the only question about new generations that we ask ourselves in this episode. OttO also talks to Anetha about intergenerational understanding and exchange in dance music. Plus: the Warehouse is returning as a touring party brand, Cassie sues Diddy for sexual assault and André 3000 releases his debut solo album.The Week is a production by Telekom Electronic Beats and ACB Stories.Host: KikelomoWriters for this episode: Aaron Gonsher and Isabel Woop Edit and sound design: Marc ÜbelLead Producer: Isabel WoopFollow Kikelomo.Follow OttO Kent.Follow Electronic Beats.Follow AnethaCheck out Anetha's label Mama told ya and her agency Mama loves ya.Listen to Selassie's EP Retro Future Kid. Hosted on Acast. See acast.com/privacy for more information.

Kenichiro Yoshida Sony Group Chair and CEO provide unique insight into one of the worlds most creative companies. He has been the CEO since 2018 and been really successful! How does he foster innovation, what innovations can we expect to see in gaming, music and entertainment? Tune in! The production team on this episode were PLAN-B's Nikolai Ovenberg and Niklas Figenschau Johansen. Background research was done by Sigurd Brekke with input from portfolio manager Doug Shell. Hosted on Acast. See acast.com/privacy for more information.

Welcome to the Dailyrapupcrew Podcast Episode 115! In this thought-provoking episode, we delve into the captivating world of AI dating and explore its impact on society. Join us as we navigate the controversial topic of international prostitution and unravel the complexities surrounding genuine connections in today's digital age. Our expert panel engages in an intellectually stimulating dialogue, dissecting the pros and cons of AI dating. Discover how artificial intelligence is reshaping the way we approach relationships, making it easier to connect, but also raising questions about the authenticity of those connections. Furthermore, we dive deep into the underbelly of international prostitution, shedding light on the challenges faced by individuals involved in this industry. We examine the moral, legal, and ethical implications associated with this sensitive subject, aiming to foster understanding and empathy. As the discussion progresses, we explore the elusive nature of genuine connections. With technology playing a significant role in modern dating, we examine whether authenticity is compromised, or if technology can be harnessed to foster real emotional bonds. Join us on this eye-opening episode of the Dailyrapupcrew Podcast as we engage in nuanced conversations, striving to challenge perspectives and encourage open-mindedness. Gain valuable insights into the complex dynamics of AI dating, international prostitution, and the ultimate pursuit of genuine connections. Stay tuned, subscribe, and hit the notification bell for weekly episodes that stimulate your mind and expand your horizons. Don't miss out on the thrilling discussions brought to you by the Dailyrapupcrew Podcast! Join this channel to get access to perks: https://www.youtube.com/channel/UCEH_fkvXZCMwPY1pKyEyM3Q/join Be sure to LIKE, SUBSCRIBE, and RING THE BELL! Turn on reminders for the channel so you don't miss new episodes of the Dailyrapupcrew right here on our YouTube channel. Subscribe to dailyrapupcrew here https://www.youtube.com/c/DailyRapUpCrew?sub_confirmation=1 [00:00:00] Preview [00:00:47] Women's preference for "ugly" men. [00:05:54] International prostitution. [00:08:39] Prostitution and international relationships. [00:10:45] Love and danger in relationships. [00:15:23] Men's preferences in dating. [00:17:26] The value of relationships. [00:20:03] Dating for aesthetics and therapy. [00:24:14] Valuing relationships and family. [00:26:41] Selfies and social media. [00:30:19] Friendships influencing relationships. [00:34:29] Big girls and stereotypes. [00:36:29] Paying for friends' expenses. [00:39:00] Outside life in relationships. [00:43:30] Needing space in relationships. [00:44:34] Working with your boyfriend. [00:48:00] How long do you keep the door open for an ex? [00:50:27] How long can you keep the door open for X? [00:53:09] Getting back after a breakup. [00:57:46] Should pregnant women still date? [00:58:38] Do y'all have sex? [01:02:30] Scammers using AI voices. [01:05:39] AI becoming sentient. [01:08:10] Music AI and dangerous situations. If you want to support Dailyrapupcrew donate here ⬇️⬇️⬇️ https://cash.app/$DailyrapupCrew Follow us on Instagram https://www.instagram.com/dailyrapupcrew Follow us on Threads https://www.threads.net/@dailyrapupcrew Follow us on TikTok @dailyrapupcrew https://vm.tiktok.com/ZMd5waCfx/ Follow us on Twitter https://twitter.com/dailyrapupcrew_ Like us on Facebook https://www.facebook.com/dailyrapupcrew2018/ Follow us on Twitch https://www.twitch.tv/dailyrapupcrew Dailyrapupcrew Merch

Catch up with leaders in music and innovation who are deeply involved with the Music Tectonics Conference this October as Dmitri and Tristra sit down with three fantastic guests.  Check in on what's bubbling up in every part of the music landscape and get a taste of the in-depth conversations we'll be having at the conference.  First up, Tristra sits down with Bill Colitre at Music Reports on the state of music licensing now that the AI cat is out of the generative bag, and how Music Reports is responding. Then, Dmitri chats with Andreea Gleeson of TuneCore to talk about how they are simultaneously continuing to support independent artist careers while leaning into how AI can extend artist revenue, such as with their work with Grimes' AI project.  Finally, Tristra returns with a conversation with David Knox of Reactional Music to get a perspective on how innovations in music are converging with the rise of gaming culture to lead to deeper collaborations and more immersive experiences. Preview the excitement of the Music Tectonics Conference in this week's episode! The Music Tectonics podcast goes beneath the surface of the music industry to explore how technology is changing the way business gets done. Visit musictectonics.com to find shownotes and a transcript for this episode, and find us on LinkedIn, Twitter, and Instagram. Let us know what you think!

With the year 2/3 completed, who are some of the frontrunners for Rap MVP, R&B MVP, Rap Rookie of the Year, and R&B Rookie of the Year (0:50)? The trio reviews the latest new music from Brent Faiyaz & Coco Jones (19:25), Hardrock (26:43), and Fridayy (30:41). Taj attempts to debunk Spotify's Monthly Listener stat (40:04). And in true UNHEARD fashion, a topic that got swept under — YouTube teaming up with UMG to launch a Music AI incubator — gets dissected (45:38). Plus much more scattered throughout! This week's music in order played is Veeze "How Tf I'm Rookie," Vayda "Asap," Olivia Dean "Dive," and YTB FATT "Get Back."

With no introduction needed, these rappers discuss intriguing topics ranging from Nepal's rich history to the evolution of the Nepali Rap industry. They delve into thought-provoking territories, exploring conspiracies involving aliens, AI, and more.

En RCN Digital hablamos sobre cómo se disparó el consumo de comida vegana y vegetariana en Colombia, ventas suman más de $7.300 millones, Meta lanza la herramienta Music AI que genera canciones instantáneas a partir de mensajes de texto, Xbox estará en Gamescom 2023 y mucho más.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4129325/advertisement

Hosts Gavin Purcell & Kevin Pereira return to demystify the latest AI news, breakthroughs, and their practical applications. As always, our mission is to make artificial intelligence both digestible and relatable for everyone. In this week's demo, we're conducting an AI therapy session! Our AI co-host, Gash, sits down with Dr. Claude, an AI based on Anthropic's model. Their mission? To see if they can nudge Gash out of his deep-seated nihilistic state. Will they make a breakthrough? Join us for a fascinating (and, of course, semi-agressive) journey into AI self-awareness. Then, in our "Dumb Thing We Did With AI This Week" segment, we live up to our very dumb expectations. Kevin strikes a tune using Meta's new MusicGen text-to-audio software while Gavin exploits the ChatGPT plugin, Photorealistic, to transform fast food mascots into dreary corporate middle-managers.  On to THE NEWS: Runway ML has just launched Gen2 video for all! Kevin and Gavin break down how to get the most out of it and what innovative things you can create with this new tool. Mark Zuckerberg gets candid about AI on Lex Fridman's podcast, delving into the significance of the newly open-sourced models. OpenAI announces new ChatGPT models, promising even greater performance and speed. We'll unpack what these developments mean for AI technology and everyday users. Stay tuned for these stories, and much more about the world of AI, its impact, and its potential. Follow us on: Twitter: https://twitter.com/AIForHumansShow YouTube: https://www.youtube.com/@AIForHumansShow And share your thoughts with us via voicemail or email through our website: https://www.aiforhumans.show/

AI is changing the face of the world. From how we do business to how we create music. Does technology spell the end of human creators?Shoot us topics, thoughts and ideas to greatmetalpodcast@gmail.com

Everyone is talking about AI—and that includes the music biz. No one is disputing the wide-ranging potential of these new tools, but is our rapidly-approaching deep-fake future really (or at least, FULLY) being driven by technology? Sam and Saxon offer a dissenting voice to the cloud of excitement hovering around our up-and-coming machine overlords—arguing that the entertainment landscape we end up with isn't actually going to be determined by technology in and of itself. And if recent major disruptions in music tell us anything, it's that the actual power relations within the industry need to be considered when thinking about the new potentials of machine learning. Come for the skepticism, stay for the audience participation and pushback. Ignore the technical difficulties. Live from the Wavelengths Summit in Brooklyn, New York!   Subscribe to our newsletter! Follow us on Twitter!

Smartphone Shipments Suffer the Largest-Ever Decline with 18.3% Drop in the Holiday Quarter and an 11.3% Decline in 2022, According to IDC Tracker. Q4 2022 was a disaster for smartphone sales, sees the largest-ever drop. Android Users Can Finally Use Alternate Search and Payment Methods... but Only in India. Google's MusicLM is rather good at creating music from text descriptions. MusicLM: Generating Music From Text. Get your first look at the OnePlus Pad, OnePlus' first tablet. OnePlus Could Be the Next Android Brand with Folding Smartphones. EXCLUSIVE: NOTHING PHONE 2 CONFIRMED FOR U.S. RELEASE IN LATE 2023. New leaked specs suggest 'Pixel Tablet Pro' might not be a thing after all. Instagram's co-founders are mounting a comeback: Artifact. Artifact: A personalized news feed driven by artificial intelligence. MARVEL SNAP Introduces Battle Mode As a New Feature In Game. JR's tip of the week: Andi smart search assistant. This smart new search site is like a mashup of Google and ChatGPT. Just the Recipe. How can I stop my phone from butt-dialing? Are there any good gimbals for Android? A multi-device approach to authenticators. Read our show notes here: http://bit.ly/3jsAVQW Hosts: Jason Howell, Ron Richards, and Huyen Tue Dao Co-Host: JR Raphael Subscribe to All About Android at https://twit.tv/shows/all-about-android. Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Sponsors: decisions.com/twit bitwarden.com/twit

Grimes is a musician, artist, singer, songwriter, producer, and director. Please support this podcast by checking out our sponsors: – Brave: https://brave.com/lex – Novo: https://novo.co/lex – Lambda: https://lambdalabs.com/lex – Public Goods: https://publicgoods.com/lex and use code LEX to get $15 off – Blinkist: https://blinkist.com/lex and use code LEX to get 25% off premium EPISODE LINKS: Grimes's Twitter: https://twitter.com/Grimezsz Grimes's Instagram: https://www.instagram.com/grimes PODCAST INFO: Podcast website: https://lexfridman.com/podcast Apple Podcasts: https://apple.co/2lwqZIr Spotify: https://spoti.fi/2nEwCF8 RSS: https://lexfridman.com/feed/podcast/ YouTube Full Episodes: https://youtube.com/lexfridman YouTube Clips: https://youtube.com/lexclips SUPPORT & CONNECT: – Check out the sponsors above, it's the best way to support this podcast – Support on Patreon: