Building Music Communities with Native Instruments
- Eric Doades
- 12 hours ago
- 22 min read
On today's episode we talk with Bomo Piri, Chief Brand Officer at Native Instruments. Our conversation begins with the techno Berlin roots of the brand and dives into what’s happening today with their strategic partnerships -- like the London based Young Urban Artist Foundation, and a very cool sounding recent collab with Mustard at Coachella. We chat about Bomo's unique marketing approach as well as the importance of authentic community engagement, and how they see that as a throughline to most of their marketing efforts.
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Episode Transcript
Machine transcribed
Dmitri: [00:00:00] Today's guest is Bomo Piri the Chief Brand Officer at Native Instruments, recently named one of Marketing Week's Future Marketing Leaders. Bomo is spearheading the brand transformation at Native Instruments, connecting global creators with expressive tools. Recent moves by the brand under Bobo's stewardship include collaborations with DJ Mustard Mastermind behind Kendrick Lamar's, not like us, equipping his.
Recent Coachella headline set as an homage to his bedroom studio, and many other notable collaborations in the works. Thanks for joining us, Bomo.
Bomo: Thanks for having me, Dmitri.
Dmitri: Let's dive in. J just since we've got a broad audience, if you meet someone on an airplane and they ask you what Native instruments is, what do you usually tell them?
Bomo: Woo. F first I ask them if they know about music production,
Dmitri: are a producer, and if they say they are a producer, I'll ask 'em if they know about Native Instruments. They might say no, or, I'm not quite sure what Native instruments is.
Bomo: And then I'll say, do you know tractor? Macina [00:01:00] reactor and usually their eyes light up and then they, they go, oh, yeah, yeah, yeah, yeah, yeah. I used to use tractor like I started DJing with tractor. And so for those who don't know, who are not music producers, who are not DJs, native Instruments really makes up three brands actually.
but Native Instruments kind of started out as, the most comprehensive sound creation. And audio finishing ecosystem there was at the time. So it's a company that started, birthed out of the Berlin Techno and House uprising. and since then has obviously branched out into a bunch of different genres.
But if you are someone who is interested in making music, if you're someone who's curious about what your sound would. What sound you can make, native instruments is that brand native instruments is really that ecosystem. It's made up of software, for sound creation, and that's virtual instruments, that's smart mixing tools and also hardware.
So anything that you [00:02:00] can, take. Out of your brain and put into the world. Native instruments is really that, and so it's really a, it's an ecosystem as well as software and hardware for music producers, engineers, mixing and mastering folks,
Got it. So what's your favorite thing about the Native Instruments brand? Like, I mean, you're, you're a marketing guy, you're a brand guy. what, what gets you excited about the culture and brand of Native instruments?
Yeah. I'd say for me, I'm a, you know, I am someone who I love the clubs, I love the niche kind of subculture and I think native instruments is that,one thing that really excites me, I. About the brand is, it's not like any other MI brand out there, which is super exciting 'cause it's got its own history and it's a history that is rooted in, like I said, this kind of bedrock of really subculture of music.
You know, when you think about the house and the techno side of things. And that is what really makes me excited about the people that I work with. I think it's, there's [00:03:00] the brand, which is what it is, you know, native instruments as the core brand. Then they're the people who make it. And I think what excites me is when I get to talk to different artists who say, I saw what was going on in Berlin.
I'm a hip hop producer, and I felt like I wanted some of that. that's super exciting.
I saw how the kids were really getting down and. Applying music tech to the subculture genres that they were living in. The club genres that they were go, that were happening. think about the Hines, but also the Resers. And um, I really loved that history. And so when I joined the company, knowing that was what made native instruments by name was super exciting.
Dmitri: Hmm. When, when you talk about the techno and Berlin roots of native instruments and how, say a hip hop producer might come in and say, I want a little bit of that. What do you think they're saying? Like, it feels like Native instruments came up in a period where the software was able to do things.
That were never done before. And so there was this [00:04:00] sort of musical aesthetic of that techno Berlin scene that infused it. But in the process there was this innovation and technology that allowed for new types of sounds or more like flexibility with sounds or more access to, sounds like you didn't, you no longer needed to buy every physical piece of hardware.
You no longer needed to buy every. Pedal or,customize your whole, like electronic setup because you could do it all through software. is that sort of what we're getting at here?
Bomo: Both, I think, look, I'm a marketing guy and the one thing that I really appreciate is that there's this incredible amount of innovation, especially in the beginning, 1996. We were still using desktop, right? And that was a time where music innovation, virtual instruments were blowing everyone's minds.
And then thinking about how you could take that and create new sounds or get access to sounds and instruments you've never had before or you couldn't afford, frankly, that's exciting. That was really cool. But then. What [00:05:00] I got really excited was how you take that and also start to story tell around it.
So the innovation is one really amazing thing that hip hop producers definitely saw. But there was something also that you couldn't replicate, which was the vibe, for lack of a better word. That feeling of, Hey, look, this is something that. the founders of this company created not with a huge amount of resources, but really a lot of trust with each other and also really deep understanding of the music that they, that the genre, the niche wanted to hear.
So that. It wasn't something that everybody celebrated. And to this day, almost 30 years later, it's not like everybody knows about Native Instruments, but the people who do know it really love it for what was protected and um. When I say that, you know, hip hop producers looked at and said, I want some of that.
Dmitri: I think some of that community feel that you're describing comes out of the, the way the technology was built as well in the sense that other people are building samples and virtual instruments on top of the platform that you have [00:06:00] there. it inherently has that sort of like.
What is this scene up to? What is this person up to? What is this developer up to? What is this producer up to? Because people can start to select from different scenes as a result as well. It's almost like a fractal version of what you described.
Bomo: 100%. And you, you know, you've had a lot of people within native instruments. our product teams, our engineers, who came from these different genres or appreciated these different genres. And so when we were creating these, these sounds, what was really amazing is it becomes, as the company gets bigger, an amalgam of really an understanding of music. What, what works, what doesn't work. But also a very playful level of experimenting with sound too. So people appreciated it. and continue to really sing the praises of even some of the products that don't exist anymore. there, there's a continued level of love for what was built.
Dmitri: Yeah. So I want to get into a little more specificity around some of the things you were talking about in terms of your love of the brand and your [00:07:00] excitement around it. But first, just so people are clear, what's your role in the company? I know we, we said you're chief brand officer, but what does that mean to you on a day to day, week to week basis?
Bomo: so my role is yes, I am VP of brand or Chief Brand Officer at Native Instruments, which really means. Three things. So one is that, my team sets the narrative that ties those three companies, into one creator. First Story. What does that mean? So that means, look, isotope has its own history.
Native instruments has a legacy, plugin Alliance also has one. And so we really wanna, my team looks at how do we. Used a lot of field research, a lot of analysis to really build unique stories that make people ultimately feel something that relates to the stories that you as a music producer, whether you are a first time bedroom producer or you're a Grammy award-winning artist, a story that is rooted in reality.
Um, and then secondly, we also are looking at really trying [00:08:00] to tell. I guess build, protect the brand equity. So while we're telling the story, it's making sure that the legacy itself continues. It's making sure that we're kind of, we're not dipping into spaces that don't necessarily feel right for the brand.
and so every touch point from social to the product interfaces. How they look, how they make you feel? Do they align with the different attributes that we set up for native instruments, for isotope, for plugin alliance? That's the second thing. And then the last thing is really community. So we build community programs and partnerships that make the story feel real.
that's where the mustard collaboration comes in. That's where the number of collaborations that we'll talk about today all come in as well, is making. Partnerships that are rooted in really exciting experiences. and again, at the same time, still protect the brand equity overall and the legacy long term.
Dmitri: Cool. Awesome. That's great. That does help us set the framework [00:09:00] here. and let's dig into some of that. People often talk about cultural relevance in marketing, and I'm curious, what does that mean for you and how does it play out for your work at Native Instruments?
Bomo: Yeah. cultural relevance. How do you get it? How do you get it, Dmitri? I think that's a really, that's a really interesting one for some brands because, cultural relevance for me really starts with. Understanding the people that are making culture. I spent a lot of time working at other companies.
I've worked at, YouTube for about a decade, and one thing that was really important was understanding what we called the zeitgeist of creator. And it's the same thing at Native Instruments as well. It's do you really understand what culture looks like today? And also can you forecast or can you help to, can you work with people who can articulate where culture is going?
So it starts with audience insight, not necessarily trend chasing. So audience inside is, it could be that you're, [00:10:00] working with another organization to do, qual and quant analysis like Midia, but it could also be that you just talk to people, right? You could just go to Coco down the street and have a discussion with people who are coming out of the bathroom.
I know it sounds really invasive and crazy, but that's the, that's the type of attitude that I re, I recommend, I encourage my team to have is everyone is. everyone who's a musician, has a really unique story. And so if you want to understand what cultural relevance means, you need to understand both at a personal level as well as a macro level.
we all have it everywhere because most of the people who work at Native instruments also make music, which is the brilliant thing. So you're in music spaces. So you start with the audience insight. Don't rely on just the trends. Those things
Dmitri: Yeah. You know, Boma, I like what you're saying. It actually kind of reminds me of a traditional a and r person from a record label in a sense. Like you have to be out in the clubs, literally seeing the sweat on people's foreheads to understand [00:11:00] like what is not what's trending, but what's.
About to happen. what's the well of creativity before it even emerges in a public like fan facing sphere?
Bomo: 100%. Look, if you don't know, part if my job was. if I had to explain my job outside of, the kind of, here's what Native Instruments does, if no one knew what the company was, they just wanted to know what I did. It's really understanding what people want, what people wanna feel as a brand person.
that's just second nature to the job, right? You have to really talk to people in order to get that. And so for harnessing that, that cultural relevance, if you will, it means having conversations and I don't think that any. I don't think that any brand, any company necessarily, does it perfectly every time, you still have p and l reports and you still have a lot of business objectives that you have to hit.
But at the same time, if you are a custodian of the brand, it's important that you understand what that looks like, and then you think about how you. [00:12:00] Translate that into different opportunities, collaborations. So Mustard for example, that was purposefully centered on his production workflow. It wasn't just swapping or putting his logo onto something.
It was really an artist who was having a moment, but also an artist who wanted to really work with and want to under wanted his community to understand that he is a producer first. So he was. If you saw the Coachella set, he was really paying it forward, recognizing all of the producers who got him to where he was, and Native Instruments being part of that conversation was, authentic, as authentic as we can get it, because he was having a moment, he was talking about the tools that got him there and Macina being one of those, groove boxes that was, centered around beat making and he wanted to talk about it.
Was that, that relevance for us?
Dmitri: so what did that look like at Coachella? how did that manifest?
Bomo: Yeah. How did we, how'd we, how did it manifest in terms of on the stage
Dmitri: Yeah, yeah, yeah. what did people see?[00:13:00]
Bomo: So you saw him, open up his set. It was really like, it was beautiful storytelling. It was him starting in the bedroom. I. It was him with his macina and his keyboard, his 88 and
He's talking, not talking, but he was playing all those songs that you didn't know. Had mustard on the beat, but they were, they were cultural moments, cultural iconic songs for us, for in the hip hop space. And it started there and then it blew up, right? It kind of took you to a bigger place, which is obviously Super Bowl and all of the big moments that he's having right now.
And so it was almost this kind of, the story that we tell at Native Instruments, which is, any. Bedroom producer starting out has the opportunity to come out with really clean, precise sound, professional grade sound, and then you move into all those avenues that you work with your labels and the, and your team on.
And so that was the story that he told
Dmitri: Got it. That makes a lot of sense. I want to ask you about strategic partnerships. Did you wanna say anything else about [00:14:00] cultural relevance before we move on? I.
Bomo: I think that's, it's, I'd say it's earned. if we are gonna talk about cultural relevance, I also don't go, I wouldn't go outta my way to say that Native instruments is nailing cultural relevance. I think we have to earn it through repeated action with our community. So we don't, we're not looking to do one-off stunts.
We're looking to do real authentic collaborations that feel. Natural to Isotope community, the Plugin Alliance community, and that's how we earned cultural relevance as a brand, as brands.
Dmitri: Awesome. So, so I guess you could think of those as strategic partnerships. I'm curious if you could talk a little bit more about what role those play in marketing a company like Native Instruments, if you want to get into more examples. Glad to hear that as well. but tell us a little bit about that, the role of those partnerships.
Bomo: Yeah. we've done a lot of partnerships over the last I. What now? 18 months. We've been really focused on partnerships that aren't just about going for the biggest. Biggest artist or the [00:15:00] shiniest thing. It's really collaborations that show our tools in a real studio pressure cooker. So we, for everyone who is a producer, for everyone who has been in that space, there's a lot of pressure.
There's deadlines of course, but there's also a sound that you have that signature and then there's the artist sound. And trying to bring those two together isn't always the easiest. Thing. And so we wanted to find partnerships that, give voice to some of those pressures that producers experience.
I can give you examples, but one of the partnerships that I'm really proud of is how we have started to look at both ends of the spectrum. One side of it about education for the kind of new to music. to new to music creators. And then, you know what we do for the professional grade as well.
And so for those new to music, creators, we looked at, working with Young Arban Arts Foundation, that's an example of some partnership that's [00:16:00] about. Being versatile. these aren't partnerships that are rooted in huge amounts of money, but they are partnerships that are definitely rooted in trust, in authenticity and a lot of support.
so you know, the likes of working with in Music and Akai Professional, the upcoming partnerships that we're. We're engaging with under the native control standard, our examples of what we're doing to open up native instruments to more surfaces, more opportunities, more types of creators. not everybody wants to use just native instruments stuff, hardware specifically.
And so being able to, get your,different instruments, your contact instruments, specifically on an aka that's on an MPC. That's. Freaking cool.
Dmitri: Yeah.
Bomo: one of those examples of a partnership that it takes a lot of work. It speaks to all types of creators, but it does so much more for the industry overall.
Dmitri: Got it. So Native Control Standard is like a technical standard that Native [00:17:00] Instruments has to help other hardware devices play native instruments based virtual instruments and plugins, more seamlessly so they can, yeah. Got it. Okay,
Bomo: You said it best.
Dmitri: Okay, cool. And what was the foundation? You mentioned the strategic partnership with.
that's YUAF, so that's Young Urban Arts Foundation. and what do they, what do they do?
Bomo: they're based in London. They're focusing on education for young folks who live in urban areas who maybe don't have access to, Plugins who maybe can't afford some of the software or the hardware that we come out with.
And so it's, it's one making education accessible. So music production, education, and it's two. Then giving access to some of these tools that they can use to get started.
'cause like I said earlier. There's a lot of stuff that lives in our heads, right? I wouldn't say, I wouldn't go as far to say anybody can be a musician or anyone could be a producer. There's a technicality to it. But if you had the language and if somebody was willing to [00:18:00] break it down and not be so esoteric about what you're doing, music, how music production works, or what a workflow could look like, there's a lot of opportunity for a lot of people and some folks who maybe live in certain areas within.
Urban communities, may not have that access. So if we wanted to go back to our mission, which is really making sure that, every creator can express themselves through sound, or inspire every creator to express themselves through sound, that is part of the fundamental strategic partnership.
I wouldn't be doing my job if I wasn't thinking about those types of producers as well as the really hardcore existing producer or music creator in general.
Dmitri: Yeah. I love that. I mean, there's not a, there's not very many kids out there who wouldn't want to produce music or make music. But having, like getting the knowledge and getting access to even put your hands on your first mini controller and understanding like, what. What do you do with it, you know, is huge.
So that, that's a, that's like a very [00:19:00] win-win strategic partnership because you're simultaneously helping folks who wanna make music, just get their hands on their first, tools. And then also, you know, if they're successful, obviously they're gonna be future customers and users and ambassadors.
Bomo: That's a, that's also the icing on the cake. I'm, I know it's not a charity, but I have to say it feels so good when you spend, 'cause I, you know, I came from a large, these large organizations and being able to do things within the community within really amazingly technical people who've never been given a shot or maybe rarely get a shot.
it feels good as a marketer, and I could say that's probably one of the first times that I've been able to feel that. in addition to working out a, the end to ends of a really great campaign and measuring the KPIs of how it performed, all of that is incredibly important, but what you make people feel as a brand marketer is especially important just as well.
Dmitri: I love this, talking about how it's directly impacting [00:20:00] people you know. Right In neighborhoods, right on the streets, right in buses, et cetera. We've gotta take a quick break, but when we come back, I'm curious to talk about the worldwide footprint and what you've taken away from that. We'll be right back.
I. Okay, we're back. Bomo. this has been so much fun. We're getting into the juicy stuff now. Music is so global now. What have you learned from Native Instruments, worldwide footprint that gets you excited about where music is going?
Bomo: I've learned that creativity is borderless. we talked about this a little bit. I wanna make sure that our music and music in general is accessible to everyone and it's, you know, that access. That access shouldn't be something that, people aren't able to leverage. The fact is this is software and you know, if you looked at the hardware side, that also is, we are also having a moment where we're making that more available, to everyone, those surfaces available to everyone.
But a producer who is in Lagos, you know, I'm Nigerian and I really think about. [00:21:00] That region. I think about all the moments that are happening within, uh, afrobeats and all the moments that are happening within kind of Latinx music and, they're all in need of help support, right? I think that's something that I've learned from operating on this global stages that all of these, little stories deserve to be told because when you start getting into that, yes, people will respond to different price points.
Different training content. maybe some people need to be pushed out of their comfort zone a little bit. it's really got me thinking about how we, as you know, even in conversations with our product teams, how we not necessarily just focus on, I. What we've always done, how we kind of look at rolling out lighter entry plans.
So that's something that I've really learned is that we need to make that accessibility wider and we need to think about both the stories that we tell from a marketing standpoint.
And we need to then obviously reflect them in the [00:22:00] products, reflect them in the pricing, reflect them on where you're getting that information on how to get started or how to continue your journey as well.
Dmitri: Yeah, it sounds like you're, thinking not in terms of brute promotion, but really about access, about education, about not just cultural relevance that we talked about around like, you know, emergence of sound or creativity, but really just about. Relevance to different groups of communities based on where they are in terms of not only in terms of their musical development, like we talked about with individuals and youth, but also in terms of a society, like a, an entire region of the world.
Bomo: It is interesting to hear you talk about some of these partnerships with these real culture moment creators, and then also like people who literally haven't put their hands on an instrument before or down a loaded, a plugin. One of the most challenging things in marketing music creation tools is that you have to speak to both the biggest hit makers as well as.
Dmitri: New artists and producers, and even hobbyists, how do you manage making your marketing work relevant to both of those two user [00:23:00] types?
Bomo: Yeah, I wanna make it, I wanna make it clear for anyone who's listening that marketing isn't just what you see on screen. it's not just an ad. Marketing goes into how you show up, how the brand is showing up in all those areas where you might not expect or where you've been asking them to show up in, in the past.
We do a lot of hands-on. I can talk about the artist board, for example, when I'm thinking about some of that kind of prosumer side of the business.
Dmitri: Did you say the artist board? Like artist advisors basically.
Bomo: so we have a list of, so we actually have a board where, it is kind of an essentially a committee of selected artists who share with us regularly what is at the core, at the crux of what a producer, an engineer, a musician who's at that level would want, right?
So they'll preview upcoming features, they'll stress test usability. they'll surface emerging creator needs. They'll help us ensure, make sure that the toolkit that [00:24:00] we've got is really sharp. It's culturally led. So you talk about cultural relevance. That's one of the ways that we do it, because they really help sanity check the work, the pipeline.
I, I don't know what a label is asking for, and I couldn't tell you always, on a technical level what we are missing. But those folks help us. And then on the other side of it, of the spectrum, I would say it's, like I said, doing the field work, talking to folks who are coming out of Guild Hall or maybe the Royal College of Music in London, maybe Berkeley, making sure we really understand those dynamics.
And that's part of marketing too, right? That field work beyond just. The ads that you see, it's making sure that you understand those anecdotes, those nuances, and then turn them into, solutions that respond to what those groups have been asking for. And so again, my job is really making sure I'm listening, and then it's also making sure that we are responding with activity that helps.
Dmitri: Yeah. Cool. [00:25:00] Yeah, that's interesting to hear about the artist board and sort of like them being really specific about what they need versus like almost flips a little bit where you're educating. New artists, new producers and giving them tools to just get further along.
I can see the, the relationship, between those two different conversations. It's, it's almost like two sides of the same co coin. I really feel like I'm starting to get to know your approach and your, kind of like, your philosophy as I'm a marketing person, which has been super fun. You have a real, a really sweet and thoughtful and generous.
Approach to how you do marketing, which is really great to, I'm inspired by it. And I think our listeners are gonna enjoy kind of like thinking through your approach to this. I'm curious, one thing we love to do on the Music Tectonics podcast is check in with people that are in different positions in the industry and in the world, and ask what other trends in music innovation are you keeping an eye on what, maybe it's not things that you're implementing today at Native Instruments, but just as you're doing that, listening as people are, coming outta the bathroom at the club or.
or you're in a school, something doing the educational piece. What are you hearing [00:26:00] about that? You're like, oh yeah, we gotta keep an eye on this one.
Bomo: Yeah, I don't want anyone to get the wrong impression that I'm just waiting outside
Dmitri: sorry, I didn't mean it like that.
Bomo: yeah, no, but, um, I've seen a lot of really interesting stuff,as you know, we have, we do a lot of, we do a lot of social listening. I also speak to a lot of researchers about, Shifts in, in culture shifts in music shifts in production styles. I think on a personal level, one thing that I'm really interested in, I'm seeing it a lot, is this kind of Gen Z nostalgia. Um, I think it's really, it's really fascinating and I don't know, maybe I'm just getting older, but I haven't, I'm still trying to understand it. I'm still trying to understand the origins of it. I know that everything old becomes new again. I know that those philosophies, but I'm like, where is all of this coming from?
I sat in a meeting the other day and a conversation, it was with a bunch of [00:27:00] other marketers, and we were all talking about these, innovation trends.
And one of those innovations is marketing in an analog way. So bringing paper back and, giving people that tactile feeling of information again, because we've become so digitally led. And be, and almost going on that digital detox, if you will, by providing information in a really unexpected way, which is analog, so that it feels disruptive.
And so I love that. I think that, you know, the combination of artists celebrating nostalgia, leaning into vinyl,
They're doing their own thing and flipping it. And it's a similar thing with marketing is we are a very digitally led company. We're a tech company and we're a music company, and sometimes we don't lead with music. We don't lead with feeling with tactile stuff. And so I love this trend where it's almost flipping innovation on its head where innovation [00:28:00] doesn't necessarily have to be digitally first.
It can be stripping everything back and going to quote unquote, the basics to, to cut your message through and really have some lasting, some staying power. I'm gonna ask you a question if that's okay.
Dmitri: Yeah. I'll, we'll try.
Bomo: When you, when was the, what was the last birthday card you threw away?
Dmitri: Oh my gosh. I don't, yeah, you kind of hang on to 'em, right? You got a Tupperware full of 'em.
Bomo: you hold onto him. Even if it's like, okay, this, this was 16 years ago. It's just, it feels weird to throw away a birthday card that's just written with so much love and sentiment and I think there's something about that I'm really investigating right now is. There's a special nature to these things and it doesn't matter that it's paper that doesn't cheapen it.
it's how it makes you feel what's on it. That nostalgia plus tactile plus a celebration of flipping it and doing it in your own way [00:29:00] is an innovation that's on my radar right now.
Dmitri: I am seeing, uh, native instruments, scratch off cards in your future bomo, or possibly like every handwritten coupon that you're gonna have to sign yourself, your hand's gonna, next time we talk you're gonna be like, oh, I've got carpal tunnel from signing so many cards, guys.
Bomo: Scratch and sniff plugins.
Dmitri: Oh, now we're talking.
Yes, we are waiting for the, we are waiting for the scratch and sniff, printer. That print is print smells with music.
Bomo: I think the question is, where does it all go? And that, I think when you see all this innovation, doesn't mean that it's a signal of, of a huge seismic change. Now, AI for sure is a different kettle of fish, but for some of these smaller ones, I think we look at these as breadcrumbs within the business.
To help us determine if we're on the right track, if some of these leading indicators are telling us that the things that we're already investing in, based on the conversations that we've had, are, legit.
and if they'll be well received by the community that we're [00:30:00] serving. Marketing takes a while to put out marketing programs.
So if I was just looking at those trends in the silo, I think we'd have a pretty. Pretty terrible business.
Dmitri: Yeah. It has to do with whether people actually want it and whether they're gonna use it, whether it goes into their workflow, et cetera. So, well, Bomo, this has been a blast. I've really enjoyed getting to know you and talk to you and, both hearing about native instruments and sort of like your philosophy, your perspective on, on marketing and the music, creativity space.
I really appreciate it. Thank you so much for joining me on the podcast.
Bomo: Thank you. Thank you for having me.
Let us know what you think! Tweet @MusicTectonics, find us on LinkedIn, Facebook and Instagram, or connect with podcast host Dmitri Vietze on LinkedIn, Twitter, and Facebook.
The Music Tectonics podcast goes beneath the surface of the music industry to explore how technology is changing the way business gets done. Weekly episodes include interviews with music tech movers & shakers, deep dives into seismic shifts, and more.
