Surveying the Horizon of Music and Tech: Rock Paper Scanner
- Eric Doades
- May 15
- 22 min read
On today's episode, Dmitri and Tristra discuss the news of the week. They review recent acquisitions like Monstercat and BANDS, and discuss the economic confidence of the music sector despite economic downturns. They also talk about the evolving role of AI and the implications of recent legal copyright cases on AI training data. It’s a lot of news to round up!
Shoutouts
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Episode Transcript
Machine transcribed
Dmitri: Welcome back to Music Tectonics, where we go beneath the surface of music and tech. I'm Dmitri Vietze, the CEO and founder of Rock Paper Scissors, the PR firm that specializes in music, tech and innovation and you're
Tristra: I am Tristra, Newyear Yeager, the Chief Strategy Officer at the same wonderful PR firm, rock,
Dmitri: And today.
Tristra: to get to talk to you. Yes.
Dmitri: you. today we're gonna mix it up a little bit. We've been doing news roundups. at the beginning of most of the episodes, we decided that News Roundup and the Rock Paper Scanner is gonna take over the entire episode. This time there's lots to talk about and we have so much fun doing it right.
Tristra say yes.
Tristra: Yeah. Oh, it's really fun. No, this is not mandatory fun. It's actual fun. It's really fun
I mean, it is cool to see what's happening out there and have a chance to, you know, each week, spend some time synthesizing with you. Yeah. and there is so much going on. It is a very. Intense
Dmitri: and if you don't know why we call it rock paper scanner, we think about scanning the horizon for our work and for our clients in the PR [00:01:00] business as well. seeing like what's going on around topics of the industry's, health and revenue around investments and acquisitions and. What's happening in the live side and the social side, and then also like what are the things around us that kind of inform what could happen in the future in music or, or should happen, you know, may maybe could or should or, and it's just helpful to see all that.
So we do this, weekly newsletter that you can get in your inbox called the Rock Paper Scanner, where it's just like 20 or 30 of the most important headlines, both from the music trades, but also like in parallel universes as well. and it has been. A busy,Newsweek, , the past week. I guess I'm gonna throw out a couple of headlines just to make note of and then I think we should dive into some stuff, if that sounds good.
Tristra: Sounds great.
Dmitri: I mean, there were a couple of acquisitions that are worth noting. One, just because there seems to be an uptick in acquisitions and there seems to be the beginning of some more investments. It seemed a little slow at the beginning of the year. Create Music Group acquired, the Indie electronic label, Monstercat reported [00:02:00] by, music business worldwide and Monstercat.
Tristra: And Monster Cat. Oh, jinx, buy me a Coke. A Monster cat is has really been quite innovative and in really, smart ways. Using, newer technologies and even trendy technologies, but in a way that you're like, oh, that's really cool. That is the way it should be done. They know their audience really well, and they're not afraid to take some risks and, but they do it in such a smart and savvy way.
It's, it's very, very
Dmitri: think of them as a gaming first, record label. The most kind of forward and engaged in the kind of,gaming world, which is interesting to see. And I think a lot of other labels and artists have followed suit, oh wow, look at this whole. Audience here that's interested in certain genres or scenes and that sort of thing.
Another acquisition, I was not familiar with a brand called Bands, but apparently they were just acquired by Warner Music Group. And, I Actually found this on LinkedIn. and there's a link in the newsletter to their website saying they're expanding access to tools and transparency for artists. And one, investment that Music Ally reported [00:03:00] is Onic raised three and a half million dollars for its Uum fandom.
Tech platform. So always good to keep track of what's happening there. and I guess another one, media posts did an interesting article called Jay Penske Takes Control of South by Southwest Will Prophets Politics Overtake Festival I. And we've been watching, what's been going on with South by Southwest closely because we, I go almost every year and it's been a great, a great place to meet up with interesting new startups and other players in the field.
And for years. I mean, I've been going for, I don't know how long it's been, probably over a dozen years. and for years people have talked about. Shifts happening at South by, oh, it's, oh, it's really crowded this year. Oh, it's really not crowded this year. or,I can remember back when I saw, Chuck D from Public Enemy perform inside a giant Fritos vending machine, and that was the year that everyone said, oh no, south by Southwest has gone corporate.
And I'm like, I just saw [00:04:00] Chuck D. I'm not that worried about the Frito vending machine.
Tristra: Yeah, it's gonna be interesting. I think there is, just to speak very generally, we were just talking about this before we hit record. It's a, there's a little bit of a vibe shift, but some of that feels a bit top down.
Dmitri: that's true. to get a little more granular here. I think it was the. President who had been the head of programming for years, Hugh Forests, left in this latest, uh, round, that's actually a series of lay layoffs there. the head of music programming left apparent according to the news.
It wasn't, directly related to the layoffs or shift there, but I mean, we're definitely seeing. something's changing and it doesn't help that the Austin Convention Center is gonna be, being renovated for the next three years I think it is. So they already announced like a, a shortening of the entire event.
They've licensed the name of South by out to London and Australia. And, I've heard various conversations about, are those even the same types of events, et cetera. Like I said, I've always had a great experience at South by. But yeah, if there's a [00:05:00] shift in kind of what the goals are there as well as the staffing and the and the soul of it.
I, yeah, we will just have to keep an eye on it.
Tristra: maybe there needs to be a a, a March event.
Dmitri: I'm not gonna compete with South by Southwest Music. Tectonics is in November in
Tristra: Am I gonna, am I just have I just Amazoned you? I just, Amazon press released you, they're notorious for writing the press release and then being forcing their product teams
Dmitri: Yeah, we're not, and we're not gonna do something in March in Austin, but we are gonna start putting tariffs on our registration badge. Invoices. Oh, no. No, we're not, we're not, we're not.
Tristra: no. only for, only for, I'm sorry for actual aliens.
Dmitri: Sorry. We're getting a bit, we're getting a bit, punchy here. A little weird. We're weird news of the
again, Trump signals willingness to extend TikTok Band deadline. thank you music business worldwide for keeping us posted on this. Then that, then this, it's hard to keep up with, but, uh, TikTok bad. TikTok good. TikTok bad.
Tristra: Just it was just like this week, this past week, there was an announcement that there would [00:06:00] be a hundred percent tariffs on. here are the scare quotes, foreign made films, which is very complicated to suss out exactly what qualifies as foreign made. because Hollywood has like a lot of industries gone very global in terms of its, especially when it comes to the, where things are shot, production, and even post and post-production as well.
and then that was. Sort of walked back. that's another one of those, we'll see what happens, kind of things. But one thing we do know for sure is that the NE's grants have finally, I'm kind of surprised it took them this long. but the NEA has joined, the NIH, the NEH and all the other sort of federal grant makers.
In,suddenly stopping and rescinding the grants they had already promised to organizations. Reuters had a pretty good piece on it that I believe was in the scanner. And, you Can take a look there at the details, but the bigger picture here is,we don't often think in the music business about the.
Performing arts side of the music [00:07:00] world, but a lot of venues do and a lot of concert series do, and a lot of community organizations that are the unsung heroes of especially emerging artists or artists who have cultural significance and may not be instantly commercially viable. these are the folks who are really the grassroots at this point.
It's very difficult to run a for-profit club at this point, just because of the economics of real estate. You know, rent, et cetera, et cetera, in most communities. So this is something that's, the federal government hasn't been a massive, funder of the arts traditionally in the us unlike other countries.
But it still is significant and a lot of times what the NEA can provide is things like operating budget, which is a very difficult, it's very difficult to secure private grants for just your basic expenses like the electricity or the. Paper or somebody to run the copier, somebody to answer the emails.
and so it's a pretty significant blow for some organizations. here locally [00:08:00] in, Indiana where rock paper scissors is based, there was a, a wonderful arts organization that lost $40,000, is basically its entire budget, overnight. So it's important to remember that this also affects.
Musicians and therefore the music business and, we should all be keeping an eye on some of these things.
Dmitri: Yeah, totally relevant. a lot of
Tristra: Yeah. Cheery. Cheery.
Dmitri: that gets that kind of support. But it was pulled, overnight. In fact, there was one here, performance here in Portland, Oregon where I'm based that. They, it was on opening night that they found that they weren't getting the $25,000 grant that they had already been agreed to.
So, um, so widening out, Glen Peoples has been on a tear with some really interesting analysis and insight at Billboard. And there was an article this week called Our Music Companies Seeing Consumer Pullback, this week's Earning Calls. Offered an answer. and yeah. basically he says that despite worsening economic signals like the fall of the GDP rising, [00:09:00] jobless claims and declining consumer sentiment, major music industry leaders remain confident.
There's. Sector is weathering the storm and referring specifically to earnings calls from Live Nation, Spotify and UMG, saying that the demand for music is still high and all of them are pretty confident. Michael Rapinoe, the CEO at live Nation said we haven't seen a consumer pullback in any genre, club, theater stadium or amphitheater.
And, uh, live Nation's revenue increase two point. 3% the company's revenue jumped 21.1%. just, uh, some interesting stuff there. Daniel X says, engagement remains high. Retention is strong. I don't see anything in our business right now that gives me any pause for concern. And, Lucy And Grange from UMG said, music has always proved to be incredibly resilient.
It's low cost, high engagement, and obviously a unique form of entertainment. Yeah. Interesting to, to hopeful. Hopeful to see, see this coming out of those reports, at least for the economy as a, the music economy [00:10:00] as a whole.
Tristra: And if you want some more insight into that conversation about recession resistance and music. I believe Dan Runcie had a trap Atol episode about that, last week. So pretty, or this week. I think it came out this week. And by the way, that was a Washington Post article I was referring to. Not Reuters.
I'm gonna get to Reuters in a second here. in fact, maybe I'll do it right now. Reuters had a really, some good coverage of. The case against Meta brought, on behalf of several of a bunch of authors. and that involves basically AI training. So like a lot of other, folks looking to scoop up as much data as possible, meta has pulled a bunch of copyrighted works into their data sets that include, novels and books and other, important works.
And the judge so far has basically said this will destroy the impulse to make original works and for people [00:11:00] to, I guess sell their creative. Products. and I think there's an interesting debate that's opening up a little bit around that.
Like, what, what is the role of copyright? What should it do? but I think the music business, we're all pretty much, we're all pretty much in agreement that copyright is important and should stay. Maybe it needs some modification gently. Around the edges, but it definitely does not need to be thrown out, with the bath water.
So it, it's interesting to see how all these discussions are unfolding in these various court cases in various verticals, but at the moment I would say, and please, listeners correct me if you think I'm wrong, but, I think we're leaning towards, we have copyright, you should license works to train.
and I think that is a growing consensus about what is. Fair and what will support the creative industries.
Dmitri: Yeah, I, when these, legal cases get reported, I like reading like the specific arguments that are getting made, like when you hear the actual words that are being used to make these cases. [00:12:00] so from that Reuters article, met attorney Canon. She Mugham said copyright owners are not entitled to quote protection from competition in the marketplace of ideas.
And then Vince, the judge Vince. Chaia responds with, but if I'm going to steal things from the marketplace of ideas in order to develop my own ideas, that's copyright infringement. Right? Um, and he goes on to say, I think it's taken away by fair use. Unless a plaintiff can show that the market for the actual copywriter work is going to be dramatically affected.
So this debate, it's just like back and forth about the impact on. on the competition in the marketplace, and the idea of free ideas, but yeah, you know, if billions of new pieces of content are being created on somebody else's ideas, that doesn't really quite sound like it's solely about ideas at that point.
You're really using the essence of the new newly created, piece,to create these AI generated pieces as well.
Tristra: Y. Yeah, I think we're gonna have to really get granular about what is. [00:13:00] what is the origin? What is a derivative? How far does a derivative have to go to become, an original work? and that may vary according to. Media, right? so what we're talking about in a book, may feel radically different, compared to a piece of music.
But there is an industry that has already started to have enough evidence, gathered to get some ideas about what AI will do. And, this is a piece that we, you can read in the scanner from a company called capture.co. The silent collapse, generative AI's, erosion of photo licensing revenue. Now. The headline is a little deceptive.
It's more complicated than that. for instance, there's a really awesome graph that they have that shows the stock photography versus generative AI market size. and if you see like they, so they're looking at like they're comparing 20 24, 20 23, and the projections for 2030, the stock, the [00:14:00] stock photo market actually grows.
and not inconsiderable. but of course the AI market is exploding. So in 2023 it was almost nothing. And they're projecting by 2030. We're looking at,almost a billion dollars in. Re I don't know, in market size. which is kind of interesting 'cause if people are generating for free, how is that anyway?
I'm not exactly sure how they're making those calculations. There's probably some good explanations there. but one interesting thing that has hap and this is a question for music that I don't think music's. Being disrupted quite this way. and there, the, this could just be a matter of time.
I don't know. but I do, there is actually evidence of, according to folks like the Society of Authors, just to go back to the, to the photos slash illustrations. So 26% of illustrators lost work due to AI by early 2024. And 37% reported reduced income. and however, though people are still looking for stock photos, according to these projections, [00:15:00] it makes me wonder, Dmitri and I wonder about this a lot in music, is are we looking at.
An actual expansion of use rather than,a zero sum game, right? So if more people can add music that they generate to their, say if you're an influencer and you're making something like a promoted post where you're not allowed to use commercial music without licensing it. like, you would for an ad would, is that just gonna simply expand,the, how much music people are using, because they can AI generated and it's, quote unquote license free or royalty free.
and in some ways it looks like. In the stock photo market, you're looking at, the lower end being the most disrupted, whereas higher end, more premium products are less likely to be disrupted. And I think that also holds true for music. So from what we heard, we've heard from some CEOs and other folks we work with at Rock Paper [00:16:00] Scissors, they are less concerned about high quality.
Music being disrupted by, AI generated music and they see AI generated music as expanding the lower end of the market.
Dmitri: the, so there's this, I love this idea you're introducing of like you're. It, the technology could be introducing kind of like a middle tier or an additional tier of creation and creativity or more functional production in a sense. And really when you think about what's the impact on the economy in terms of the job markets,the assumption is that it will replace jobs, right?
but there's also an argument to be made that it will. Free certain people to be able to do something for the first time as well, which is interesting too. It's just it does have like large economic impact in the short. Term where somebody's
Tristra: Mm-hmm.
Dmitri: is like, oh, I just spent my last 10, 20 years mastering this [00:17:00] craft.
Being able to make photographs or write books or make music or whatever. And now I'm finally ready to start profiting from all of the work to create a voice, but also to like master the tools or to build an audience or whatever. And now all of a sudden. You see somebody who was way back at the beginning of the race, who's going at a much faster pace than you.
So there's this whole idea of stealing jobs from existing, creators or workers, as you might say. I'm thinking about the printing press. There were all these scribes that were, there was high demand for scribes before the printing press came along, but eventually there was need for other types of jobs.
But more than anything. Just a lot more stuff was getting written and printed in more than anything, amplified and publicized. So all of a sudden there were voices that were never heard before that were able to get their content out to the world.
Tristra: Yeah. And new formats, like the novel arguably that they did, there were novel like, writing in late. Greece and, in Rome there were some [00:18:00] other examples that you could call novels, but the novels as like a phenomenon really took off with the popular printing press.
in Europe at least. I'd love to hear in China, 'cause I think the printing press was actually invented earlier, than it was in, in the West. anyway,
Dmitri: I and terrestrial, I don't know if there really was this economic impact. I don't know what, whether it. Creates more jobs or, or does the opposite, ends more jobs, puts more people out of work. Or it may be that there's a period of transition and I don't know if there's a direct, parallel with what could happen in music with that.
it's so hard to even
Tristra: Yeah. The,
Dmitri: music making as a job.
Tristra: Yeah, that's true. It's also really important to keep in mind that we're looking right now, it's a new shiny thing, so a lot of people are like, Hey, let's do a whole AI generated ad campaign. But in, in five years, the pe, the younger people who grew up with AI are gonna be like, that's really.
Lame. Like that looks, I don't like the way that looks a really, a premium company, A, a [00:19:00] luxury brand would never, or it will be used really explicitly with other things. So I think there's gonna be, even if AI improves. It is highly likely that humans will always be able to detect it to some extent.
especially, when it comes to, we can tell what's a drawing, even a really good photorealistic painting or drawing versus a photo I. and maybe AI will get like that much better. I have questions about that. And I also think there will be some ongoing issues of like prestige and quality and craftsmanship.
So yes, you can make a really great table, in a factoryit's a solid table. Made out of the same materials more or less as,a, a furniture maker might make, but you would pay significantly more for the furniture maker. And it's a much more of a prestige item or a work of art or a thing of beauty.
So those things also matter to humans. And right now, all of that. Those questions aren't being asked yet because [00:20:00] it, in a lot, in most conversations, because everyone's so obsessed with this shiny new thing, we're all being a little bit of, little mag pies right now when it comes to ai.
oh wow, look at this. Get this, I'm gonna put this in there and I'll be able to fire all my customer service people and we'll never need to have our someone write something for us again. And all of that is probably not gonna be true and will be looked at as like. The foolishness of our age in like five, 10 years, by history.
I, I think,
Dmitri: Well, the other piece of all this, is going back to what is the outcome of the legal suits around,unethical, unlicensed, training of ai. the two articles you've brought in this week. one of thems about. Books and meta, and one of them is about photography and the licensing, the photo licensing market, being eroded by ai.
and I think, the legal cases from each industry will influence the legal cases of the next, the other verticals as well. So, you know, whatever happens with, in the book and social media side will impact music for sure. But it's kind of like a toggle.
Like right now [00:21:00] with the political climate, it's very hard to predict how the courts will rule as well as. What, as well as
Tristra: What will
Dmitri: whether it's enforceable, right? Whether anybody enforces anything, which is, I know it's awful to say and awful to laugh at, but also like, I think we're all feeling that sense of uncertainty, like what sticks, what doesn't stick.
When you have political leaders that are saying, I don't care, or it's not up to me to decide whether the Supreme Court's decision holds or some, something like that, or, oh, it's not up to me whether the Supreme Court has any authority or not. it's in the Constitution, but other than that, yeah, it's, you did.
Tristra: the constitution aside, I have no idea.
Dmitri: That's, I have great legal advisors who can tell me that. but I think it's still a toggle to consider is. How is this going to get ruled or enforced or not? is there a case for fair use or, or are all of the ai, generative AI companies going to be forced to reckon with the idea that they have to license the stuff?
At which point, in addition to licensing this stuff, they also will have to [00:22:00] have some kind of system in place that are still being built around. The attribution stuff that you talked about at a fractional level in a way that has never existed in the world before. You know, it's so transformative.
The process is so transformative that it's really hard to actually define, maybe there could be thousands of influences on one. Gen I out output. and so we're kind of at this weird moment where you can make an ethical argument, but you can't quite make a strategic decision as a business, whether you're a Gen A I company or an IP company, you can't quite decide what you know.
Do I lean into licensing now? because it's going to be upheld by the courts and by the law, or,or do I start negotiating,about the output without the licensing? do we do it after the fact, after the creation moment? Are we trying to figure out who's, whose music was, the cause of the influence of, whatever.
So it's A really, it feels like we're all just [00:23:00] waiting to see what, how it plays out.
Tristra: And a lot of media companies have made deals like licensing deals, and if there's a question about whether they're good deals or not, did they get enough money for their content, right? some of them look like, you know, that could be kind of fair and some, I don't know.
That looks a little low to
Dmitri: And the
Tristra: Um, but that's, again, nobody knows.
Dmitri: of the licensing could be to the point where, yes, you have permission to train on our data, but then there's the terms and conditions for the user that's trying to generate new types of music through these platforms. What are they
Tristra: Mm-hmm.
Dmitri: once they've signed up and generated something?
Tristra: They've become the best music prompt engineer in the world to create an amazing song. Are they allowed to do anything with it afterwards? And Yeah. Can it be copyrighted at all or can Yeah. Can it be monetized? Yeah.
Dmitri: right. Can it even be played publicly?
Tristra: Yeah. That's a really interesting question, and I think we're going.
Dmitri: the licensing contracts on the front end for the training, but it also influences the terms and conditions for the user on the tail end.
That, which I think [00:24:00] even it once we see some maturation in this discussion around licensing. training data. There was gonna be another. I think there's gonna be another whole long period where people are sorting out, well, am I allowed to upload this? am I allowed to monetize it? Who owns it? We've heard that, that conversation was.
A few years back. Couple years back, there were those conversations about when you create something on some of the more simple gen AI music platformslike we, we saw, you know, AI companies getting credited for songs,
Tristra: Yeah. That's right. That's right.
Dmitri: by streaming services.
Tristra: if they were composers. Yeah. Though, and there's a legitimate, I mean there's a legitimate argument that, that makes sense because they developed the algorithm that kind of, did play a role in composing the song. The other thing though is this sort of points to, I.
In some ways, it's not even, it's beyond bifurcation, but this completely different universe where people just make music. And they have always done this for non-commercial reasons. [00:25:00] Like there, there's this strange, moment that we're in where the, we copy pasted the world, the traditional distribution pipeline, but with some digital variance, right?
And now the, that whole pipeline is not relevant. Per potentially to a huge body of music that's being made that could be shared, right? If I just play my guitar live in my room and sing, like Layla or something to myself, no one knows about it and it can't be commercially distributed. But if I generate a song, I could potentially send that to all sorts of people and share it.
It may not mean I wanna monetize it or send it down the same distribution pipeline as Rihanna would with her next album. But it, yeah, so it's a huge question of what is this even, how is the music industry going to react to this other world? and it's a strange, it's a strange moment we live in.
exciting though. At the same time, there's an opportunity here somewhere.
Dmitri: no. if you can step out the side of it, if your job's not [00:26:00] being challenged by it, it is exciting. It's interesting to see. And the other thing is there will be new forms of creativity that come from it, and that's exciting too. Is there, there are people who are making music for the first time.
Possibly in collaboration with software programmers, but,who's to say that? Like how different is that from the audio programmers who build the engines underneath synth and sequencing devices and so forth, or daws and plugins? You know, there's a lot. could you imagine if you invented one of these dos or plugins that turned out to like be used across thousands of hit songs already and to think about some decision you made about a sound wave that changed the course of musical history?
that would be
Tristra: Autotune would comes to mind.
Dmitri: Yeah. Oh, exactly. do the autotune, inventors and engineers feel like. did they transform music or did they ruin it? But
Tristra: You can do cool stuff with autotune. It can, if you've got a lot of mema [00:27:00] ornaments, it snaps 'em into place in a really interesting way. So you can, you Can Make cool things with
Dmitri: marketing director. Pull that quote from Tristra. We're gonna use that in our marketing materials.
You don't have to just believe in the power of love with Cher, where you sound like a robot, I'm not really criticism criticizing autotune, just making a joke, but, yeah, but it's interesting
Tristra: we love share, we love autotune. Please don't get on us in the
Dmitri: been launched on the back of Autotune and its competitors.
Tristra: Absolutely. Yes. And it's, it's wonderful competitors
Dmitri: uh,
Tristra: who keep everything fresh and exciting.
Dmitri: no position, no doll war is here.
Tristra: no. We love you all. We love you all. You're all our favorite children.
Dmitri: but yeah, no, that level, you know, like the amount of creativity that'll come from and it's just, it's those painful moments in between where there's these economic shifts that impact people's livelihoods as well. But this, shtro, before we go, 'cause we are coming up on the half hour here.
and we, and next week we will go back to our traditional format. I've got an interview with, Ty Roberts. That's super fun. If you're interested in hearing about. What he [00:28:00] thinks is coming in the future. This is the founder of Grace Note, the company that gets sold for a couple hundred million dollars and he continues to be so active in the music innovation space.
And just to drop a little hint about that episode, his focus is on the future of music is visual and all the ways to think
Tristra: Oh, I love
Dmitri: really interesting to hear about somebody who's been focused on metadata in the past. it's all this
Tristra: I feel seen, heard as a sins thi.
Dmitri: Nice. so we will get back to a regular episode next week, but Tristra, before we go, I, what I love about this conversation, it kind of lets our listeners in on some of the ways that you as our chief strategy officer think about the industry and the wider society and how that influences Howie.
Work with our clients to advise them around thought leadership, around storytelling, around like how do we weave their stories into things that are relevant for what's happening in the world.
Tristra: Yeah, and how to push the conversation forward. Like we Were talking this week on Slack, in the office [00:29:00] about stories we would love to see. And it's not just because they would flatter our clients, which of course is also a goal, but, also because they're interesting stories that people haven't quite picked up on yet.
And that's, those are always the most fun pitches to make as a publicist. If I may get inside baseball
Dmitri: mean, we talk with so many companies, whether they're clients or partners at Music tectonics or, or listeners from the podcast or just, you know, new companies that are, what's that? I.
Tristra: or just randos?
Dmitri: and journalists as well. We're like, we kind of get an interesting insight into like a lot of different ideas and things that are happening.
And then in our brains we're saying, how does the, how do these patterns all fit together? And then you start to see like a constellation, almost like a. You look at the constellations of stories that are happening, but then you also have these blank spaces in the sky where you're like, I'm pretty sure I can't see the constellation yet, but I can see these stars are starting to align around something that's a story that needs to come out, that's a trend or a pattern or an insight or a projection of something that's emerging [00:30:00] around music innovation, which is why I love talking to you like this Tristra.
It's been super
Tristra: Yeah, it's so much fun. It's so
Dmitri: So we'll be back next week with a regular episode and we'll probably do these, news round ups a bit more through the summer 'cause we're having a, having a blast. Thanks Tristra.
Tristra: Yeah. And if there's ever anything you want, uh, want us to riff on audience, just shout. Wanna hear it? Alright. Thank you Dmitri.
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.
