"music data" entries
Transforming the experience of sound and music
The O'Reilly Radar Podcast: Poppy Crum on sensory perception, algorithm design, and fundamental changes in music.
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In this week’s Radar Podcast, author and entrepreneur Alistair Croll, who also co-chairs our Strata + Hadoop World conference, talks music science with Poppy Crum, senior principal scientist at Dolby Laboratories and a consulting professor at Stanford.
Their wide-ranging discussion covers fundamental changes in the music industry, sensory perception and algorithm design, and what the future of music might look like.
Here are a few snippets from their conversation:
As we see transformations to the next stage of how we consume content, things that are becoming very prevalent are more and more metadata. More and more information about the sounds, information about personalization. You aren’t given the answer; you’re given information and opportunities to have a closer tie to the artist’s intent because more information about the artist’s intent can be captured so that when you actually experience the sound or the music, that information is there to dictate how it deals with your personal environment.
Today, Dolby Atmos and other technologies have transformed [how we experience sound in the cinema] quite substantially, where if I’m a mixer, I can take a sound and can mix now, say, instead of seven channels, I can mix 128 sounds, and each one of those sounds has a data stream associated with it. That data stream carries information. It’s not going to a particular set of speakers; it has x, y, z coordinates, it has information about the diffusivity of that sound. Read more…
Big data and the music industry: Where’s the romance?
The O'Reilly Radar Podcast: Amanda Palmer on music industry survival techniques.
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In this week’s Radar Podcast episode, author and entrepreneur Alistair Croll talks with musician and performer Amanda Palmer about the current state of the music industry and how she’s navigating her way through new platforms, crowdfunding, and an ever-increasing amount of data.
Here are a few snippets from their chat:
I’ve always approached every Internet platform and every Internet tool with the suspicion that it may not last, and that actually what’s very important is that the art and the relationships I’m building are authentic enough that even if the Internet disappeared tomorrow, or even if Facebook collapsed, or Twitter collapsed, or what have you, or all of our email went down, I’m not so reliant on the Internet itself that I couldn’t somehow piece things together.
I kind of had to come to terms with the fact that the machine still feeds what people listen to, whether it’s radio, or what gets licensed to films, or what music is playing when you walk into a shop. The ability of an artist to actually really get over that mountain, if you decide not to play the game, your hands are still pretty tied.
[Zoe Keating] was saying that an album for her is, she wants to make it all at one time and make one big statement and put it out, kind of like you would put out an opera. I’m deliberately trying to detach myself from that, and just say, ‘I wrote a song. I have this Patreon. I’m just going to put it out.’ At some point, maybe I will collect everything together so the mainstream media people of the world can have an Amanda Palmer record. But maybe that format really is dying. Read more…