It’s a Rock Paper Scissors takeover! This week join Dmitri Vietze and Tristra Newyear Yeager to explore the power of cultural storytelling.
Discover how cultural storytelling allows companies to build emotional connections with their audience by conveying the value of their products in new ways. Find out how creator tech companies can aim beyond the standard product reviews and create a major moment in the press. How will you weave your company deep into the fabric of new generations of customers and users? Find out on this week’s episode.
Download our white paper and find out how to build a storyfinding process in your company, get the attention of journalists at major publications, and leverage stories to stand out in a crowded market.
Looking for Rock Paper Scanner, the newsletter of music tech news curated by the Rock Paper Scissors PR team? Subscribe here to get it in your inbox every Friday!
Early Bird Tickets are on sale at a special price until August 15:
Listen to the full episode here on this page, or wherever you pod your favorite casts.
Listen wherever you pod your casts:
A full transcript of Dmitri and Tristra's Conversation below:
What is Cultural Storytelling?
Dmitri: It's a Rock Paper Scissors take over the Music Tectonics podcast.
Tristra: You know what's particularly hard about this is you can't tell since we're the co-hosts that we've actually taken over the podcast.
Dmitri: We're simultaneously the hosts and the rebels who've taken over. You are listening to Music Tectonics, we normally go beneath the surface of music and tech and I'm Dmitri.
Tristra: And I'm Tristra.
Dmitri: We're your regular and irregular hosts, and we're also the team at Rock Paper Scissors, the PR firm that's behind the Music Tectonics Conference and the Music Tectonics podcast. And the reason we're doing a takeover of the podcast today is because normally,
You may have noticed when we started the podcast and the conference, we've been really careful not to make it all about Rock Paper Scissors, all about our clients, all about the work we do in PR, but it's been like almost five years now. And we're starting to occasionally say, you know what, maybe you guys do want to hear a little bit about what we do and how we do it,
Tristra: the dark arts
Dmitri: and get some tips about it. So we actually put together a white paper called Cultural Storytelling for Music Creation Tech Companies, which you can get from the Music Tectonics podcast website. You can see the show notes, and we'll make sure to announce it throughout this podcast that you can download this information, but we thought it'd be really fun to just talk through this idea of cultural storytelling for music creation.
[00:01:21] Tristra: So before we go any further, Dmitri, I think we need to tell people what we mean when we say cultural storytelling, because both of those terms get thrown around a lot. What do they mean when they're together?
[00:01:34] Dmitri: Well, yeah, I mean, we use it in a lot of different ways, but we are kind of trying to get to something very specific.
And the first thing is when you think about. PR. We do PR for a lot of music tech, music innovation, musical instrument, music gear companies, and so forth. A lot of times when we get hired, what people are looking for is to get the news about what they're doing out to the world. So it could be announcing they exist, it could be a launch.
It could be a feature, a new feature of their product or service. It. Could be a new partnership, an investment. There's all these things that are very specifically news. And so all of that could be storytelling in a sense. So it's not that it's not that cultural storytelling is that different, but the difference is when we say cultural storytelling, we're saying it's not specifically promotional or news in the way that you think of with a press release.
It's more like finding a user, an artist that's using your technology or your gear or a partner that you're working with that tells the story in a different way. It's not just, here's what we have, here's how we offer it, here's what we sell, here's how much of it we've sold.
It's more like, Hey, check out what this cool artist did that happens to use this and then as a result you get a whole different way of storytelling and in a way like when we say cultural storytelling since it's not news you're tapping into emotional reactions instead of marketing language and we know it even with press releases when we get pitched for the podcast for example, we can tell when somebody's marketing us or somebody's storytelling and it's really different it's you can tell which things just feel super promotional.
And then I guess the last thing I'll say in the answer to your question, Tristra, what is the culture in cultural storytelling, I think, is what's significant. And we're not necessarily talking about, you know, Aztec culture or Malian culture or something like that. We're talking about like the broader sense of culture in all societies.
It's not a specific culture, but more like it's the music playing, it's the storytelling, it's the traditions and ways that people go and go about habits and things like that. But really it's, like the specific uses of this music technology or these musical instruments and actually sometimes it's business practices too, but it's sort of the soft side It's not like hey, this is the price of this product.
It's more like this artist made a living doing such and such It's because of our technology or because of the new sound they created and that's another thing like you can do It doesn't have to be an individual user. Or a scene. Yeah, exactly Like this whole scene emerged because of this new musical instrument or music software.
Does This Stuff Actually Get Press?
Tristra: It makes me think, I mean, one little mental rubric you could have is, is this something that someone would find really interesting at a, at a party at a casual, like get together if I told the story, versus is this the thing that gets me excited when I'm talking to my product team? Right? So the product team might get really into like, Oh, this thing is finally shipping or we've got this neat new thing we figured this out and all this, and we've got a business model, that kind of thing.
But if you talk to like someone who's from a completely different line of work, the cultural stories are what's going to really interest them and rivet them.
Dmitri: Exactly.
[00:04:38] Tristra: So cool. We've kind of talked a bit about the difference between news and updates and that kind of thing and cultural storytelling, but why bother like, does this stuff actually get press? I mean, who cares? Why is it important?
Dmitri: I think the big issue first is people get turned off by being sold to all the time,
Tristra: especially journalists.
Dmitri: Exactly I mean That's one thing that I think a lot of people who hire us as a PR firm don't realize is that journalists are a really good barometer for reactions because they get pitched so much stuff and they're paying so much attention to their individual vertical or their industry or their niche or their field or their scene or whatever so journalists get turned off by being sold to, but so do potential buyers, consumers, everyday people, your target market.
Sometimes they want to hear about it from somebody else or from a different angle. They don't just want to hear about the price point or the added feature where it seems like somebody came up with a way to make more money off of it rather than to serve whatever was happening. And so they kind of want to know like, is this really a thing? \
And so by tapping emotions through these types of cultural stories, you can convey your value proposition without raising those people's guards. Imagine you're on a car sales lot and the salesperson comes up to you in their crisp suit and they immediately start pitching you on a particular car that you're not interested that has certain features that don't really suit your lifestyle.
And then you see a friend on the other side of the lot and they're like really digging this totally other car and the salesperson is like trailing you and you're like, you know what, can I just have a minute? This is like a friend of mine. And you start talking to your friend, not expecting to look at the car they're looking at and they just start talking about, Oh, you know what?
My mom has one of these and blah, blah, blah, blah. And so it's really like remove the whole, uh, you know, the guardrails that we put up when we're being sold to. And the other thing is, if you do cultural storytelling well, you're kind of using those stories to get credibility and stuff instead of relying on those sales tools, those marketing tools, or even traditional press releases.
I mean, at Rock Paper Scissors, we try not to make our press releases salesy specifically for this reason. But if you're telling the story about an artist who uses your product or service, it's already got some validation there. So another thing, Tristra, is you can tap media outlets and audiences that aren't accessible by straightforward news.
A lot of musical instrument and gear and even software companies, they're going after the studio production and the gear publications, but if you can tell the story of how a sound emerged or a song emerged because of an instrument or a plugin or a virtual instrument or something like that, you can actually do that in more of a music facing like a fan facing outlet. So all of a sudden an outlet that wouldn't necessarily write up an interview, a review of your products are accessible.
[00:07:21] Tristra: The other thing that we've noticed sometimes too, in some of our campaigns is we've had, it's a lot of times business reporters, personal finance reporters, consumer tech reporters, those kinds of folks who often have like pretty, their beats can sometimes feel a little bit, like a little bit repetitive or they're having to focus on very similar stories.
If you can offer them a story that has some of those fun, cool elements like a lot of music stories do, it really excites them and they want to talk to people who are a little bit off their usual beaten path and they want to tell stories that they feel, you know, could hook into other interests of readers beyond the sort of world of strict business tech or that kind of thing.
So that's another interesting way you can actually make a journalist's life more fun too and get yourself some coverage.
Dmitri: Yeah I mean in the journalism world, I think it's called a human interest story
Tristra: exactly
[00:08:14] Dmitri: And so how can you make a conscious effort to not always just send out news releases press releases, announcements, thought leadership pieces, but actually show that there's humans doing cool stuff that happens to weave your brand into it and speaking of which, having cool artists do cool stuff with your cool products really demonstrates the cool factor, or sometimes it's the practical factor. If there's some monetization opportunity for artists as well, you highlight users and you're inherently cool as opposed to just, you know, being proud to present blank, blank, blank press release, boring, boring, boring.
Tristra: We're so excited.
Dmitri: And you know, the other piece of all this, and it boils down to this is storytelling is sticky and this type of storytelling is especially sticky. It leads to better word of mouth. It's repeatable. And finally, Tristra to just finish the answer to your question, why this is important.
You might not always have news to tell, you know, we have clients who have something to say, but once we've said it, they're like, what's next? And we're like, well, let's talk about how this product is being used out there.
Tristra: I have to say, even if you have regular announcements that would fit into the normal category of quote unquote news, so you've got partners, you've got, I don't know, maybe earnings or you've secured an investment round, all that fun stuff.
If you just send out 1000 little press releases like that, even if they're newsworthy, you're not really telling a bigger story. You're not really getting your point across. There's, you know, you're just kind of sending out a bunch of blips, but it's not coalescing into a really sick beat, so to speak.
Dmitri: You know, I'm going to flip the script and ask you a question and then we'll take a quick break.
Cause even though we took over the podcast, they have some stuff they want to announce.
Tristra: So annoying.
Examples of Cultural Storytelling
[00:09:51] Dmitri: So, I think maybe it'll help our listeners think about everything we've just said in terms of what cultural storytelling is and why it's important if we give them some examples. What are some examples of cultural stories that all our listeners might have heard?
[00:10:04] Tristra: Well, one that we were talking about before we kicked all the Music Tectonics people out of their podcast palace and started, you know, taking things over, was the collaboration between Grimes and Endel. So Grimes, I think probably doesn't need a ton of introduction, but she is a, gosh, how would you even describe her?
She's like a pro she was like proto hyper pop, right? She sort of, I see her almost as like this OG or like the gray Cardinal who's pulling all the hyper pops strings. And she teamed up with Endel, which is a generative AI wellness company that uses artist based stems to create soundscapes for particular lifestyle purposes.
So sleep, focus, that kind of fun thing. And they got together and they did a lullaby because Grimes had become a mother and she was having a very interesting cultural moment herself. And this collaboration led to, I believe, a front page feature in the New York times in the print edition if you guys remember what those things are like, those flat things with words on them that people used to get,.
Oh yeah. That was really, really weird anyway. I bring this up because, and this isn't always easy to orchestrate, but it shows the value of considering the sort of broader cultural context. So what else is going on out there that had to do with what at the time, but this was prior to the AI insanity going on right now, that was, it was still very obscure.
It felt technologically very cold and distant. And the way they worked together with Grimes, helped bring it, make it feel really, really relevant. Everyone has heard a lullaby. Everyone knows what lullabies do. And then having this kind of sci fi singer slash instigator doing something that felt very both on brand and off brand using this technology really resonated with people.
It was a very intriguing story, but it was one they could grasp because it didn't really revolve around what the technology was and what it did. So that's a really interesting example. Now you had a really wonderful, like, it's become like one of the greatest hits in music tech marketing. I have to say, why don't you talk a little bit about Lil Nas X?
Cause like he's the master.
Dmitri: That's the example that I think of for music tech creation companies, music creation, instrument marketplaces, all that kind of stuff. Lil Nas X popped on the scene, appeared to pop on the scene out of nowhere. I believe it was like an early example of Tik Tok in a way of Tik TOK as well for music, but really Beatstars.
Because Lil Nas X got the beat that he used for old town road from Beatstars and Betastars really rose to fame along with that song. And I think others are like, Oh, wow, you can get a beat that you can use commercially in a song without any complications, not huge expense and actually turn it into a hit song, which is pretty amazing.
So those are a couple of quick examples. There's probably a lot more we could come up with. You're probably thinking of some for your own company or your brand or possibly other ones that you wish you could replicate. I'm sure there's certain models of guitars that are associated with certain artists.
I once went to a keyboard archive in Calgary, I think they've changed their name since then. And, not a docent, but somebody there walked me through and played each keyboard and synth and played the song that made it famous. Those are also, I mean, you could use a song for cultural storytelling, you know?
Tristra: It could be something small. We used two like big flashy examples, but, if you, you know, not everybody has a partnership with a major cultural icon, there are other ways to approach this. And so it doesn't, you can start by working on something small. You don't have to go, you don't have to have star power to make this work.
Dmitri: All right. So now that we've gotten you kind of the definitions and the reason for why we're even talking about cultural storytelling for your music making brand, we want to talk about the storytelling process, but first we have to take a quick break for an announcement. And when we come back, we'll go to the next step of the storytelling process.
Tristra: We'll be right back.
Dmitri: Okay, we're back. What were we going to do?
The First Step of The Storytelling Process
[00:14:02] Tristra: We're going to talk about the next step of the storytelling process, I believe, Dmitri. Oh, first of all, well, so if the next step we haven't taken any steps yet, so let's take the first step.
What is the first step in story finding?
[00:14:13] Dmitri: So, this would be fun to talk to you about, because we've done this in the past with different companies. And we do it as the PR partner, but I think for our listeners, you're at a music technology, music creation company of some sort. The first thing I think you want to do is communicate the effort to the team.
So figure out a good way to make sure that everybody understands that you're on a story finding mission. That's an expression you and I use sometimes, not just storytelling, but story finding just, just the idea that these things aren't just going to land in your lap. You shouldn't just start talking about doing some thinking about it and so forth.
So I think the first step is to make sure the team's on board and say, it's time for us to start doing some story finding so that we can do some storytelling.
Tristra: And okay. So we, we've told everybody. Now, what do we do?
Dmitri: So I think the next step is to create a way to store and process the story ideas. You know, for some people it could be a spreadsheet or it could be a slack or, Microsoft teams or discord or some way of like a channel where you're just kind of capturing all that stuff.
I think you can actually have a little bit more education, give people examples, maybe have a team meeting about this and so forth. But really to get really specific because the thing is, if you don't have a process for surfacing those ideas and then storing them, they're kind of just floating and everyone sort of takes them for granted.
Or maybe you think everybody knows what artists is using your technology or what songwriter or performer or management team or whatever is using it. But you don't actually have a way to really surface those ideas and prioritize them.
Tristra: I want to underline this is a really crucial step. And as someone who tries to help people story find, this is a place where things can fall apart right out of the gate.
So even if it's just a doc where everyone dumps random stuff, it can be messy or a Slack channel. We often have shared Slack channels with our clients. And the best thing is when they jump in there with random ideas at 3 a. m. their time is like, Oh my God, I remember this thing. I want to like, what about this?
Those are the prompts and the places that preferably searchable, where you can go back and find things or start to organize things or look for nuggets. But you know, you really, if you're doing it just ad hoc, it can be a little rough. Then I have another question for you, Dmitri.
Who's going to coordinate all this, like who is going to look through these inbound story ideas and start to sift through what's the good stuff and what is just, you know, random?
Assigning a Story Curator
[00:16:34] Dmitri: All right. We have a little bit more about this storytelling and story finding process in the white paper that's available at rockpaperscissors.Biz in the resources section that's in the notes. You can get to it from the notes of this podcast episode as well. But one of the concepts that we put there is assigning a story curator. Now you're not going to go out and hire somebody who's just a story curator.
Although. If you do have a community manager or education or engagement type person or a forums manager, or maybe it's a social media coordinator, it might be them. It might be the head of comms. It might be the CMO. It could be the CEO. It doesn't really matter where they are in with the organization. It really depends on their strength for listening for these types of opportunities, having access to these kinds of cultural stories.
But really making a conscious effort as a team to say, Tristra is our story curator, everyone's going to feed stuff into our system, whether it's a Slack channel or a Google sheet or whatever, and then Tristra is the one that's going to say either let's start assigning values, yes, no, maybe priorities, whatever, or saying I'm going to surface these at our weekly marketing meeting and I'm going to get clearance from internal teams and external teams like partners, ambassadors, managers, whatever labels, whatever it is, and kind of be responsible for saying these are the cool stories. Which ones can we get internal agreement on?
Which ones can we get external participation on? Now we're going to select that as one of our next stories that we're going to tell. So again, it doesn't matter exactly who it is within the organization, but make a conscious effort to say, Tristra or whoever is the story curator, and this is their role.
Tristra: Okay, that would be really helpful. I wish we had more story curators at our beck and call as a publicist. So we've got all this work going into this, you're finding stories, you're curating them. You know, to me, it sounds almost like the temptation would be let's just use this on socials.
Let's throw this in the blog or YouTube channel, wherever it is that a company is connecting with the public, because it feels like great marketing material. What should folks think about before they take that jump?
Dmitri: So that is great thinking. You want to take advantage of and leverage it.
But here is the PR super hack. Don't do it before your PR person or your PR firm pitches it to the press.
Tristra: But why not? Won't they just cover it if we have this lovely blog post?
Dmitri: I think it's great to try to level up what type of outlet you're going to get for a story like this. So spend some time and energy building some relationships, having some conversations with some top tier press to see if you can get that New York Times piece you were talking about for Grimes or that New Yorker piece that we did with James Blake when he did an Endel collaboration, or that New York Times piece we did with Lyric Financial when they had Steve Jordan had used their advanced system to help fund his career.
You don't necessarily want it trickling out to smaller outlets, including your own blog, without trying to get something bigger. So really coordinate with your PR firm. Hopefully that's Rock Paper Scissors but whoever, maybe it's somebody internal, whatever, to try to get some kind of exclusive in the press, cause you can always put it on your blog and YouTube or socials later. And once you do, you get that added credibility of what we've been going for in this podcast the whole time. Which is a major outlet showing credibility through the story of an artist.
[00:19:46] Tristra: So, and sometimes when you build out these little stories, maybe you've done an interview or Q&A with an artist or a producer or someone and you have some extra material that's great stuff for your blog or for social. So say maybe let a journalist have first dibs. But you may end up with a wealth of materials that you can use in a bunch of other ways.
So it could have some really wonderful knock on effects if you start gathering stories consistently. So, okay, cool. We've got these flow of stories coming in, someone's curating them and someone's figuring out how to get permission or get everyone to sign off on them who's involved. What do you do now?
Dmitri: So I think, I just want to talk a little bit about the pitch itself. And, again, if you're working with a company like ours, Rock Paper Scissors, this'll be definitely part that you're kind of handing it off to us. We have two different approaches that we use depending on the circumstance.
One is to sort of write up the story. In our minds, we think of it like a press release, but in reality, Rock Paper Scissors press releases aren't like regular press releases anywhere. They feel a little bit more like feature stories, but they're a little bit tentative as feature stories in the sense that we're not saying, Hey, run this as is, it's more like, let's give you everything you need to get excited about whatever we're trying to announce in the case of news or about the story too.
So one option is to write it up almost like a feature article and say, you should do a story like this. The other option is to write a pitch. There's two advantages of writing a pitch. One is it's faster to do and less time on your part before you get the buy in from an outlet to do it. But the other reason is you can leave enough mystery for the journalist to be able to go the direction they want to go with it.
They can raise their own questions. So you're not, they don't feel as force fed on it.
[00:21:25] Tristra: Yeah, you don't want to overdetermine the story to some extent, especially if you're kind of trying something out and seeing how the media will react. Journalists are very, you know, decisive folks. They love to pursue their own curiosity and interest.
So leaving some room for them to report on something, take their own spin on it, is really, really important. Also, you just never know how your little story might fit into a bigger story they're reporting on. So you don't want to make it so that they can't really see how they'd fit yours into what they're doing.
Yeah, just wanted to add that.
[00:21:57] Dmitri: And, we talked about it a little bit before when we talk about what next steps once you have this story. Yeah. So you're picking between the story or the pitch, but the other thing is really thinking about the timing of the media placement with other events or announcements.
Sometimes, you're going to have a big news announcement, but you're not quite ready to tell that story, but you want to kind of prime everybody to know what you're up to, or here's some really cool ways in which your product or service is being used. So you might want to time this media placement of this cultural story with other events or announcements.
And of course, as we mentioned before, even just putting it on your own blog or video channel or socials, again, make sure that the social media team and the content marketing team is on the same page as the PR team, because you get more bang for your buck if you give it to a top tier outlet first, you can still use it everywhere else, but then you can say as seen in blank media outlet as well. So, and then, you know, there's a lot in this process that you can see. We talked about story curators, in the white paper that we're offering it explains more about additional roles you can assign to existing team members.
So a wide variety of team members could be story finders. You could say everybody in the company needs to be one. Sometimes the person that does the accounts payable finds out something and somebody. The artist relations people obviously will, but sometimes the, you know, the CEO or the founder has direct contact with somebody who's doing something interesting.
Sometimes it's a biz dev person or, somebody on the legal counsel who's actually doing contracts. He's like, Hey, guys, did you see how much they made off this? Or did you, you know, you see that this album and blah, blah, blah, or whatever it is. Then you need, so you need the story curator, you need a decision maker that could be one in the same, or maybe the story curator presents it to the CMO or the CEO or something like that.
And then you need obviously the writers or other content creators, no reason not to also think of cultural storytelling and video format or audio format as well. And then of course the publicist or the PR firm.
So check out the white paper to see a little bit more. We go into a lot more detail about those different roles and what they do.
Media Placements
[00:23:53] Tristra: And last but not least, you know, we've been talking a lot about media placements, so maybe we should just run through some of the places where cultural stories pop up and they may be some places that folks don't necessarily think of when they think of PR for a music creation tech firm.
So where can you see these kinds of stories in the media?
Dmitri: Yeah. So just to give some examples, I mean, first of all, the first answer is it depends. It depends on what kind of story it is.
Tristra: Publicists always answer questions that way, by the way.
[00:24:22] Dmitri: Which is fine. I mean, you don't want to do everything the same way.
You don't want to hammer everything that's not a nail, right? But if it's a nail, let's hammer it. But the point is, let's go through some examples. So if you're using an artist who's a user of your product, what are some media outlets you could go for? I'd say a couple that you'd think of right off the bat would be studio production outlets, for example, a Sound on Sound, or gear outlets like a guitar magazine or something like that. It's a more in that case, it might be like, what they call musicians musicians, somebody that everyone's going to be like, Oh, whoa, they're using that. How did they do that? But then there's also like known artists within a particular scene. So if you have a hip hop artist that's known within that scene, you might target a genre specific outlet. It might be a Complex or a Hype Beast or a Fader, or if it's an indie rock artist or actually they cover everything now at this point, you know, there might be specific music blogs like a Pitch Fork or a Consequence or something like that as well.
Now, an artist with a household name, like a super famous artist, you might be able to pitch a lifestyle outlet like the New Yorker. you might be able to pitch national TV like Good Morning America, but this stuff doesn't only work for musical instrument or music virtual instruments or plugins and marketplaces, things like that.
There's artist monetization breakout stories too. So you might tell that story in a music trade magazine like Billboard or a major newspaper like the New York Times. And we can go on and on, you might have different use cases that show something especially unique or innovative. You might have a CEO success story or a CEO lifestyle story and you might hit a different publication.
There might be a team culture. We've had clients that are more on the B2B end that have a team cultural story and got them in the Wall Street Journal, just because they do cool stuff or they organize their work in interesting ways, things like that. So it really depends, but just wanted to give you a little bit of a sense of where could this actually land, what's the variety there.
How Do I Get Started?
[00:26:14] Tristra: All right. That's really helpful. And, so, okay, great. We can do all this really cool stuff with cultural storytelling, but how do I get started, Dmitri? What should I do if I'm a music creation tech company?
[00:26:25] Dmitri: All right. Well, I know I've referred to this white paper. So first thing, go to Music Tectonics or Rock Paper Scissors and download the white paper. And then think about this type of storytelling in your context. Specifically for your brand or your business, what would it do for you? How would it help you reach new audiences?
How would it help you do more partnerships, get other deals done? How would it help you get more credibility within the press that you're already pitching by getting this other type of press as well? I think it's really important to understand the value of it and think about that to decide if it's for you, if you have the motivation to do it. And then the only other thing left to do, Tristra, is for them to contact us about how we can amplify those stories in the press, we can help you get started with developing a story finding process.
We can help you if you already have great stories and you already have somebody who's kind of curating their stories, get those pitched in the right way in the right places at the right time as well. So, you can reach us at rockpaperscissors.Biz .Go to the contact section and let us know what you're up to. We'd love to talk to you.
I think that's it.
Tristra: You would? Yes, indeed. Oh how we would love to talk to you. This has been a lot of fun. We didn't get to talk about crazy musical instruments, but maybe some other time when we kick these podcasts yahoos out and have the real people take over.
Dmitri: All right. Thanks for listening.
Tristra: That's all we have to say for now, but we lay out an even more comprehensive system for cultural storytelling in the downloadable guide, cultural storytelling for music creation tech companies. Write this down right now. tinyurl.com/rockpaperstories. That's tiny url.com/rock paper stories, and thanks so much for listening.
---
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.