Discover the beating heart of the sync industry as Karl Richter peels back the curtain on music supervision's dynamic role in intertwining tunes with visuals.
Our conversation starts with the evolution of music supervision into 2024, navigating through the challenges that have shaped the industry, including writers' strikes and economic fluctuations. We zoom in on the artistry and legal tango behind syncing music to media, dispelling myths and bringing to light the financial heft these placements hold for artists and rights holders—it's a stark contrast to the pennies earned from streaming.
Embark on a tech-savvy journey as we unpack the marvels of DISCO, a platform revolutionizing music discovery and catalog management. With Karl guiding us through DISCO's genesis and growth into an indispensable tool for music professionals, we probe into the future of music technology. There's a treasure of insights on the importance of human touch amidst AI's rise, along with strategies for tackling metadata and rights management. We end the episode with a wealth of resources and wisdom for anyone keen to immerse themselves in the world of music supervision and sync. Join us and amplify your understanding of the harmonious marriage between music and the moving image.
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!
Listen to the full episode here on this page, or wherever you pod your favorite casts.
Listen wherever you pod your casts:
Shownotes from the Episode
Episode Transcript
Machine transcribed
0:00:10 - Dmitri
Welcome back to Music Tectonics, where we go beneath the surface of music and tech. I'm your host, Dmitri Vietze. I'm also the founder and CEO of Rock Paper Scissors, a PR firm that specializes in music tech and music innovation, and there's an interesting sector of this whole music tech and music innovation world which is the sync, the placement of music with video, with moving picture, that we overlap with quite a bit. It's kind of its own special world, but it definitely fits into the big picture of the music industry, not only with innovation but also with revenue of the industry, and so I'm excited today because I have a guest who is going to help us explore this world.Â
His name is Karl Richter. While working as a music supervisor at his company, Level 2 Music, Karl founded Disco, a music file sharing and workflow platform built specifically for the music industry. Disco now manages 90 million files for publishers, record labels, managers, artists, media companies and music supervisors globally, counting Netflix, UMG, Amazon, Sony, TikTok and Warner among its customers. If you were at our conference, the Music Tectonics conference, you probably saw some folks from Disco there. They were there supporting us at our party and just a part of the community. Hey, Karl, welcome to Music Tectonics.Â
0:01:26 - Karl
Hey, dmitri, good to be here, great to chat.Â
0:01:29 - Dmitri
Yeah, thanks. Thanks for joining, hey, so let's just dive in. How would you describe the state of music supervision as we move into 2024?Â
0:01:37 - Karl
Yeah, look, it's been an interesting year, right? Well, obviously, the rightest strike has been one of the things that impacted music supervisors and then also music rights holders and so on. We've come out the other side of that. I think that there's also been macro, global economic challenges as well that have occurred in the last year and and it's been a challenging year for some, but I think it's it's looking pretty good next year. It's looking great, and certainly there's lots of areas where where music is always needed against moving picture and the opportunities for that continue to grow.Â
0:02:16 - Dmitri
So, even if we widen out even beyond, just like this exact moment in time, how's music supervision been going for the past several years? Let's let's look at that as well.Â
0:02:25 - Karl
Yeah, look it's, I think it, you could, you know, you could say it. Just, it grows year on year. In the last column, numbers that are sort of kicking around for a financial year of 2022. It's all sort of growth of around over 20 percent on the recorded on the master side and a similar sort of growth as well on the publishing side. So it's a it's a healthy area and it's an area that continues to find, you know, new ways of evolving and new ways and new platforms and new opportunities to for music copyright to be utilized.Â
0:03:06 - Dmitri
So long before TikTok or maybe even long before YouTube. There were some moments that I think really put music supervision in sync on the map for not just the music industry but also society, culture as a whole. There were these Beverly Hills 902 One moments, apple TV commercials even the earlier ones, where TV and film placement were like a shining light of the music industry. But I've looked into what numbers I can find and I look at the overall industry revenue for sync, the overall industry revenue as a whole and then sink as a part of it. It doesn't seem like it's a huge proportion, but I'm curious what your thoughts are. How, how big is this market? Or you know what? What kind of contribution does it really make to music overall?Â
0:03:51 - Karl
You're right, it is a relatively small proportion of the music industry of that sort of total revenue and that it's on the recording side. Some of those numbers look like two and a half percent or so. On the publishing side it can be around 20 percent or so of the revenue is generated through sync. But it's also one of those areas that rather than talking about pennies, you're talking about thousands of dollars. So an individual sync and a usage can actually have an outsized impact on the copyright owners or the artists, should they get one. So in that sense it kind of, I guess, bats above its weight and certainly there is a as an opportunity to either unlock the value of a copyright or to empower or support an independent artist or an independent record label rights holder. It certainly applies to really significant role.Â
0:04:48 - Dmitri
I mean that's a great point. We're constantly having conversations about fractions of pennies in the streaming world and even though it's probably become a little tighter on the sync side to maybe because of the economic wins you referenced earlier, or maybe just because there's more competition or more opportunity, I don't really is it's, it's still. It may be smaller than the earliest sync placement days, but there's still thousands of dollars, not fractions of pennies. So great point, which leads into my next question what are some common misperceptions around sync and music supervision? I'm sure you've been doing this for a long time, so I'm sure you're well aware of misunderstandings people have, whether it's on the rights holder side or on the the, the person that's slicing, the entity that slices music, or maybe just just in common culture, what, what kind of converse misperceptions have you seen?Â
0:05:39 - Karl
Yeah, look, I think pretty much anyone that is part of the sync industry will hold a misconception about our neck of the woods, so, and that that could be about the type of music that is synced and why. It can be about understanding the legal and commercial complexities that basically go into any sort of placement, and also then it's sort of the considerations that are financial, strategic, brand or content aligned. There's, there's a whole raft of them, and then as well, there's sort of the, I guess the misunderstanding or just not the lack of awareness of the singular lack of time that is generally is sort of like a constant theme across any sync usage. So the amount of time that you that you need to have to be able to go and clear and license the track and the complexity that sits behind that is always a challenge.Â
0:06:40 - Dmitri
Right. So I think I've walked into some sessions at different music industry conferences about sync. I'm no expert in sync, but I mean the basics of just like. Hey, there's two different aspects, two different rights that you have to clear. Then there's the issue of do you have stems as well, because sometimes users of those tracks want to do different things, as it goes with a film or TV or video commercial, whatever it is there as well. So lots to learn there. I think that's one of the things about it. It's like an interesting niche that's slightly different than a lot of other things in the music space and slightly more complicated in certain ways, because you have to have both sides of the rights as well. But it leads me to my question, because you went from being a music supervisor into building a platform for this entire industry. Let's move to disco, Describe what it is for us.Â
0:07:28 - Karl
Well, it's a platform essentially for managing and sharing music files, and it's a platform that's utilized from the entire frontline catalogs of major rights holders through to an individual artist and so, along the way, it's also a workflow platform as well.Â
So it's a way of capturing your creative IP in the role of a supervisor, of actually managing and collating and then sharing your ideas onto whoever it is that you're working for.Â
But it's also a place that an artist can house their music and then be able to share it with everyone inside their ecosystem. So it sort of leans into the shared problem of being, if you're a band manager or if you're a radio plugger, or if you're working in PR or if you're working in A&R, the one sort of shared common problem when it comes to actually moving the files around is uploading and downloading those files. So it gets rid of a shared problem there that I guess it's kind of like it's created around a gatekeeper system where you're always thinking about what's the best experience for the person that you're sending and sharing that music to. So be that if you're pitching for a show or if you're pitching to a publisher, or that publisher is then on sending it to a music supervisor, so it's kind of every step along the way is how can we make that as a productive and as efficient and as creatively interesting as possible?Â
0:09:16 - Dmitri
So it certainly works in music supervision and I assume that's what you designed it for originally, based on your past and your expertise. And you've got kind of quote, quote two sides of the market or the exchange where you've got somebody who's created music who wants to pitch, and then you've got somebody who's placing music, who wants to organize their thoughts and the sounds they're working with.Â
0:09:35 - Karl
Yeah, correct, and I mean, look, we started with it. It's taken us around seven years or so and and I would say that the vast majority of the world's music supervisors are now utilizing disco and so that's created its own sort of, I guess, efficiencies for those users. But at the same time then we've we've seen it really spread across all other different sectors of the music industry as well. So we've just released a product that is aimed specifically for artists and a package that's that's just for them. But the types of people that we see now that are in there and using it daily, management companies or radio plug is here in Australia Most of the rights holders actually use disco to then pitch for adding, you know, getting adding to to radio stations and so forth. So it's got a really a much broader use now that we've sort of established ourselves and inside the engine room of sync in the in the music industry.Â
0:10:44 - Dmitri
So in a way you can sort of think of it as a like a closed and controlled ecosystem of music sharing music, playlisting music, plugging, pitching, all the stuff that happens that you wouldn't want on a DSP necessarily.Â
0:10:58 - Karl
Yeah, correct. I mean it's also essentially. It's that moment it's still a B2B rather than a B2C platform. It's that moment where you actually need to share the file rather than just listen to a stream and you know. Then along with that file comes all of the metadata and who has the rights to the track and so on. So it's it's also an opportunity there to really connect the idea of a system of record which sits there, if you're managing a catalog within that information, traveling with that track and and so on to the ultimate end user.Â
0:11:36 - Dmitri
Okay, one more thing on desk. Well, I have a couple more things on disco, but what I mean? We could probably guess the origin story of disco, but I'd love to hear from you because I we've got a lot of music tech, founders listening and just part of that innovation ecosystem and super helpful for, I think, people to hear from each other what's the origin story for you of disco?Â
0:11:55 - Karl
Yeah, look it's, it's.Â
there is a common theme, I think, with with products that are built out of existing businesses, and that was obviously to solve a problem that I had, and my problem was that I was that I lost my iTunes collection, I think around three times and that's that that just killed me and at the same time, I was watching the crew here at level to spending a lot of time uploading and downloading files, be it from individual websites, or then having to upload and download a Dropbox link or we transfer and so on, and it was built to solve a problem, you know, for us, and the reality was that when I went out and had a look at if there was anything out in the marketplace, there was really nothing there that actually understood the workflow of what it was that we were that we needed to do. So there's clearly nothing had been made from inside the music industry as such, and and that tool was essentially something that we just sort of built for ourselves.Â
0:13:05 - Dmitri
First of all, Did you realize what you're getting into? Are you? Are you glad you product eyes of the work.Â
0:13:11 - Karl
It wasn't with the. It also sort of wasn't with the strategy of oh hey, great, let's go, let's, let's have a start up, and it really was something where at a point, I was like Jesus spent a lot of money on this. Maybe other people can use it as well, and I think they're. Through a sort of series of collaborations with rights holders in Australia, first and foremost, we were able to understand that it was a platform that could be used not just by music supervisors and then also with music supervisors themselves. You know, lots of people had had the idea of hey, there's a nice chunky sync market. Why don't we try and create a marketplace around it and supervisors should go there?Â
But I was more interested in actually empowering the supervisors themselves. What is a tool that could actually help them? And in helping them, how do you then actually sort of increase the you know, the democratization of discovery when it comes to music? How do you actually facilitate and make it easier for music to be shared and ultimately end up in a position where it might be earning some money because of a sync?Â
0:14:30 - Dmitri
Right makes sense. All right, we gotta take a quick break when we come back. I wanna learn a little bit about what you've learned in the process. We'll be right back.Â
0:14:37 - Eleanor
What's up, beautiful listeners. Now I have a question for you. What do you want to hear next? Let me know at musictechtonicscom slash podcast. Click the big pink button to fill out a quick survey. Suggest future guests or music innovation topics. You wanna hear Dimitri and Tristra cover? Or just tell me how we're doing. That's at musictechtonicscom slash podcast. Now back to the show.Â
0:15:06 - Dmitri
Okay, we are back and, Karl, I wanted to ask you what have you learned about catalog management since the launch of disco? I mean, it feels like that's a lot of what the value proposition there is is coming up with a system that works for everyone, not just your iTunes library, but you know the flip side, the artists or the publishers or the labels, and then now you have other types of users as well. So what have you learned from this?Â
0:15:33 - Karl
Yeah, look, that's a good question. I think the themes really are that there's sort of a constant tension between the role of catalog management as a system of record but it also then being a creative workspace that you know enables discovery and sort of allows the unlocking of the value of those assets that you're actually managing. So there's absolutely no point in having a system that basically ticks every box and you know meets every requirement that's there from an administrative point of view but is completely unusable when it comes to actually them being on a share and manage. So disco actually stands for discovery, intuitive search and creative organization.Â
0:16:23 - Dmitri
Oh, fancy.Â
0:16:24 - Karl
And so the creative organization really is around the idea that everyone manages and organizes their music differently for whatever their purpose is, and so what we really try to do is create a workflow platform that sort of works as fast and as intuitively as you like to work, and it should be. It should be kind of like slightly addictive as well, in a really good way. So, and then that intuitive search is, we have a function called the break drum trail where essentially all of your previous searches and you know, going back years can be sort of very quickly surfaced. Now that's super useful for rights holders, it's super useful for music supervisors or people that are looking to have music that they you know that they need to find.Â
That isn't just based on another algorithm. It's really about what is your creative IP, how do you connect with and find music, how do you think about music, how do you listen to music, and so we're really trying to sort of create that. Now, obviously, that's now been super powered with AI functionality and you know we have our own in-house tagging, we have our own similarity search, we have instrumental splits, all of those sorts of things that internally as well, all of those sorts of things which I think pretty much in our table stakes. But we also then have a product which is called Pages, which means that an artist essentially can share, dial up like an equivalent of an EPK or an instant website, just in the actual link that they share. So it's about us sort of thinking about not just catalog management but then also what's the interaction once the music actually and leaves the platform.Â
0:18:20 - Dmitri
Interesting as you're talking about. I think about wow, these are probably the same types of problems that huge music streaming services are trying to solve or solving as well, maybe with a slightly different end user. But here you are running this. You know smaller company that's not expecting to take over the world of streaming? I don't think. Maybe I don't know, I could be wrong, but you're having to solve the same exact problems of these multi-billion dollar companies.Â
0:18:44 - Karl
Yeah, it's interesting, isn't it? Because you still look at some of the DSPs and I don't. Ultimately, I don't think that they're about discovery. I mean, I'm you know. My background was that I was involved in A&R before I was a music supervisor, but I also did community radio too, for many years and really, you know, I tend to lean into that idea of curation and discovery coming through from people's own connection to music rather than necessarily, you know, a platform which you listen to, it being strained.Â
0:19:21 - Dmitri
Very good point. Very good point. So one other aspect of sync that I want to get into, and it's a little different than disco, but several companies have emerged as marketplaces to kind of widen the market of sync. It sounds like with disco you just add music, whereas there's a lot of other kind of sync related marketplaces that are really more marketplaces where they're trying to get people to sort of like sell their music through it like a platform. And I'm just curious is this emergence of marketplace, this emergence of marketplace, is it working? Is there this significant long tail of music placement now as a result?Â
0:20:02 - Karl
Well, you know, I know I have mixed feelings about even the idea of what a marketplace is. You know, nothing kills a buzz more than a price tag on a piece of music. And, that said, I think that there's definitely a role, because music supervision and synchronization has many, many different roles to play and there needs to be opportunities for music, the production, library music or bespoke music that is available and is available, fuzzy clearance and can be based around sort of expected price ranges and so on. I think disco has its own public facing product discovery suite so you can actually house your catalogue and have it searched by music supervisors. However, I don't call that a marketplace so much as a place that you can go and discover music and through that it's really then actually extending and building your network and your connections of people. So it's really around that idea of community building.Â
Now, that said, we've got some really exciting developments where we're looking at how we bring those public searchable catalogs into music supervisors at the exact moment that they are looking for that music. I think that sort of connectivity is an exciting place to explore, but the notion of a marketplace as such, I think is kind of like a short term response and almost like a, and I think, just through the actual limitations of it, it's got a built in lifespan. So you know, a marketplace that might have 10, 15 labels in it is in of itself a fairly limited experience and certainly not aware of huge amounts of music supervisors that are rushing to go to sort of five different marketplaces to go and try and license music.Â
0:22:12 - Dmitri
I guess the second half of my question also has to do with the long tail of music and placement, because at the same time that we have this huge growth of how much music is getting released and getting created, we also have this huge growth in how video is being used and how much video content is being created out there. And you know, it could go from looking at something on the one end as a blockbuster Hollywood film or an expected blockbuster Hollywood film all the way to the other end of the spectrum, which is somebody who's making a video on their phone and then realizes they want to put some music to it and publish it somewhere. And of course the video platforms themselves have some role to play with the licensing at that point. But there's these things that are kind of in between, these like smaller, you know, social media ads or commercial uses of music and things like that.Â
I guess I'm wondering like is the amount of new music that's getting placed as sync, that long tail music, kind of growing at the same time as video? And is that growing the sync market? Is that not even considered the sync market If you have user generated videos and you have people looking to license music for those. Is that even the same thing? I don't know. I don't know. People are saying, oh, there's more like micro sync opportunities as a result of both the larger scale creation of music and the larger scale creation of video, and I'm just curious where we really are with that.Â
0:23:38 - Karl
Yeah, look, it's a good question and micro licensing is something that is definitely a growth market. And then you also see the types of things that are happening, say, with a product like Canva, where you know they're now feeding in independent rights holders as well as majors into products that are becoming more and more about moving picture, and you know it also. I think it also then plays a role with the ways that, say, brands use music on TikTok and the opportunity there where there may not necessarily be a sync fee initially, but there's certainly, you know, rev share or there is the opportunity to then build a broader viral moment as well. So the reason for being for the sync itself is something that continues to kind of like draw and expand.Â
0:24:40 - Dmitri
Okay, if we haven't already gotten in trouble with our questions yet, we will after a break. I have to take a quick break and then I want to ask you about the hot topic generative music AI. We'll be right back. Well, hello listener. Did you know that this podcast is just one-way? Music tectonics goes beneath the surface of music and tech. We know that innovation thrives on community and connection, so we bring innovators together in a variety of ways. We've got a free online event series we call Seismic Activity. We've got the Music Tectonics conference every October in Los Angeles and we've got meetups at major industry events like the Nam Show, south by Southwest and Music Biz. Stay on top of our schedule. Get the Music Tectonics newsletter in your inbox. Sign up at musictectonicscom. All right, Karl, we're back, and I am curious what's your take on how generative music AI will impact your field and work?Â
0:25:34 - Karl
Yeah, it's certainly the topic. Does your, isn't it? And I enjoyed listening to the recent episode there from your conference as well. So, hearing the panel there about music and AI, look there's. I think that there's a number of different challenges there. It is definitely going to impact on music supervision. I think that there's sort of some really challenging copyright questions there that, when it comes to a brand or anyone in actual fact using music where it's not clear who actually owns the copyright to that track, is in itself a much larger issue than is AI-generated music going to take over the world. I think that the obvious low hanging fruit is some sort of background music, users or royalty free music, but I'm also a strong believer in that. The right track or good music, human music that is there. That is kind of like the extra character that you don't see but that you hear. I think that there's always going to be that role for human created music.Â
0:26:54 - Dmitri
Got it. So you just think the human's awareness is what you're saying? Well, no, look.Â
0:26:57 - Karl
I think the humans are going to play with.Â
0:26:59 - Dmitri
AI.Â
0:27:00 - Karl
I think that there's incredible opportunities to be more creative, but the reason that the fake track was such a banger was not that it sounded like Drake in the weekend, but there was actually some really great production chops and so on. They're actually around that 70% of that was created by an artist. So there's albeit that I suspect they probably used samples that they shouldn't, but we've only put that in this podcast and cut that bit out. I think that the challenges for AI where it comes to competing against artists or against rights holders, or then also the data scraping and actually using that copyright, that cats out of the bag, and there's already clearly a number of companies that are doing that and once again, it's the music industry sort of scrambling to play catch up with a challenge that is certainly going to be there and evolving over the next couple of years.Â
0:28:19 - Dmitri
Well, thanks for diving in on that, so let's widen out a bit before we wrap up here. I'm curious what other evolutions in music tech are you following? As you said, you started in ANR. You've been in community radio, then music supervision. Now you have your own music tech startup, if you want to call it that, and I'm sure you're looking at a wider range of things as well. What are you following? What's interesting to you?Â
0:28:43 - Karl
Yeah, that's a good question. I'm kind of yeah as.Â
I said I think sort of that space of tagging or similarity search or instrumental splits, those sorts of things.Â
I think those are essentially just table stakes. Now I'm kind of interested more in companies that are serving the needs of their music community and sort of artists, first ideas and kind of open ended as well, not with guard rails, but ones that kind of grow with their community. So there's a company that I really like called Roster, which is an LA based company and is doing an amazing job sort of, I think almost conceptually, philosophically, sort of building this ecosystem around band managers and bookers and artists and agents, and I think that there's something really interesting that's going to come out of that. There's another company, breva, out of France. They're sort of another values driven company that I like. That I really like the way that they connect artists and curators in a really interesting way. And then the much bigger companies, the title for artists program and title rising. They're doing great stuff there too, and it's interesting as you look at sort of see how some of the DSPs are sort of reimagining themselves too.Â
0:30:12 - Dmitri
Amazing. What a great mix of things that you're following there, and I love the way you're thinking about it too, and I love that, just like last year, people were like is STEM separation really something we should be looking at? Is it something that's going to add value for the music industry? Is something that you can monetize? How do you use it? Why is it important? All those questions were happening last year and this year you're saying that's table stakes, which is great. I mean those models are still developing, and. But what you're saying is each of the and even the way you talked about generative music, ai. It feels like you're saying, yep, we got another tool in the tool belt, yep, we got another tool in the tool belt, but now let's really talk about, like, what is the? You know what's the way to really help artists beyond just those kinds of tools, but with music creation, but really figure out how to make a career out of it, how to build their network and so forth. So it's really interesting to hear you say that.Â
0:31:04 - Karl
Yeah, look, I think that that sort of democratization of discovery is the opportunity that sits here ahead of us, and I do think it's a moment where, in a way, the music industry is really sort of reinventing itself again. We're in the middle of it and there's certainly a lot of noise around AI, but I think the big lift is going to be around not only discovery, but that along the way to that, the really basic things like metadata and actually understanding who has the rights for it and the very real human problems that have come with actually identifying who has the rights and who has the approvals and so on. I think those things are starting to, you know, sort of gain momentum and you know that's something that's really interesting I think Wow, I'm going to have to think about that one for a while.Â
0:32:03 - Dmitri
You got me going deep on this, Miro.Â
0:32:04 - Karl
So if our listeners want to stay on the pulse of music, supervision and sync.Â
0:32:09 - Dmitri
Just going back to the core conversation here, what is one outlet, one event and one person they should follow? Yeah, look it's interesting.Â
0:32:16 - Karl
I can't give you one, I have to give you a couple. Okay, well, I'll take a couple, ari first stands podcast the new business industry.Â
This is an amazing recent episode with Jen Pierce, who has a sync rep company Low Profile and that's basically like an hour primer into the mechanics of sync and all the different types of sync. That's there, so, and there's also some pretty candid conversations about the type of sync fees that users attract to. So that and that's the kind of question that everyone wants to know. So I would really go there and obviously as well. Like you know, ari's book is I'll call him up and get the check after this but that how to make it in the new business industry. The third one Again, that's a bit of a Bible.Â
The other things I always like looking for as well is sort of great communities, so where sync is being discussed, and I think that there's a lot to be gained by finding a place where there's other similarity yourself or people that have similar sorts of questions. And there's a great community called Control Cam. It's a free online resource that's run by a guy called Eric Campbell and that's a. If you are wanting to do a deep dive into it, that's a really good place to start, build a music supervisor's socials, and they're always a great source for information, not only about sync but sync events and where they're happening, and then I'd probably also throw in, you know, finally, there's a music supervisor that's also a lecturer as well, ryan Spenson.Â
He's based out of LA and he really pulls back the veil on music supervision in an interesting way. He recently did a public search on TikTok where he not only got people to sort of send music to him but then he went through the process of why it was that he chose particular tracks, and I think any of that sort of you know broader educational view as a resource is great and you know, actually the final thing I should mention is also the School of Disco. So I'll put in a bit of a plug, for it's a free resource, but it's something that one of the disco OG, tim Byrne, has essentially taken all of his creative IP from many, many years and put it into a resource that's there and available for people that want to do it, and it's really helpful for people that want to know more about SYNC as well, about, you know, how disco could be useful for them.Â
0:34:54 - Dmitri
Amazing, Karl. What a great conversation. So many resources, great topics here. Plugs at the right moment, but not over plugging it. I'm super happy to have you, Karl Richter, with Disco. If you want to check it out, it's at discoac. And, Karl, thanks so much for being on the podcast. Thanks so much, dimitri. This has been fun. Thanks for listening to Music Tech Tonics. If you like what you hear, please subscribe on your favorite podcast app. We have new episodes for you every week. Did you know we do free monthly online events that you, our lovely podcast listeners, can join? Find out more at musictechtonics.com and, while you're there, look for the latest about our annual conference and sign up for our newsletter to get updates. Everything we do explores the seismic shifts that shake up music and technology the way the Earth's tectonic plates cause quakes and make mountains. Connect with Music Tectonics on Twitter, Instagram and LinkedIn. That's my favorite platform. Connect with me, Dmitri. Vietze, if you can spell it, we'll be back again next week, if not sooner.Â
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.