Check out this interview with Ludwig Goransson and his steps of creating the music for "Oppenheimer" he talks about not having to add alot of sounds to make your piece sound bigger but more on capturing the emotion and more... https://youtu.be/fWvX4M1dXss?si=ymj8iNgzpxRhRKfP

📍 1. CONTEXT / INDUSTRY SHIFT Creative workflows are being rewritten not by new distribution platforms, but by machines inside the studio. AI is no longer just a helper - it’s becoming a collaborator. Tools that generate, iterate, remix, and suggest are embedding themselves into design, video, and music pipelines. The shift: humans are handing portions of ideation, drafting, and even “finishing touches” to AI agents. That breaks the old model of tool → user → output. Now it’s tool + user → continuous co-creation. This matters for creators because when machines become teammates, everything changes: • How credit and splits are assigned • How teams are structured (humans, AI, hybrid) • What skills stay valuable• What gatekeepers (platforms, labels) try to regulate - 📂 2. CASE FOCUS / BREAKDOWN We’ll look at three specific examples of this shift in motion: • Adobe Firefly / Firefly Boards Adobe recently rolled out Firefly Boards globally, adding generative video models (e.g., Runway Aleph, Moonvalley Marey). (The Times of India) In this platform, creators can ideate, generate, remix, and co-iterate on images + video + effects in a unified “board” setting. (Adobe Blog) Adobe also integrates external models inside Firefly, giving creators multi-model choice inside the same workspace (OpenAI, Google, Runway, etc.). (Reuters) • Udio (AI music co-creator)Udio allows creators to generate full songs (vocals + instrumentation) from text prompts in under a minute. (AI Musicpreneur) The team behind Udio includes former DeepMind / Google engineers, signaling a serious R&D pedigree. (AI Musicpreneur) Udio’s output can act as a “first draft” or scaffold, which creators then refine, remix, or layer over. That changes the role of the musician: from generator to curator + editor.

Most of us are so busy creating that we don’t always stop to look at new tech that could impact our world. So let me give you a super simple breakdown of something I’ve been studying: Blockchain Think of a centralized parking garage. If a thief breaks into it, they could take or alter hundreds of cars at once. Now imagine instead that everyone keeps their car in their own garage at home. For a thief to steal everything, they’d have to break into thousands of houses at the same time. That’s what blockchain is: Instead of one big database controlled by a "central authority," the information is spread across thousands of computers (nodes). If someone tries to cheat, it doesn’t line up with the rest of the copies, and it gets rejected. That’s why blockchain is used for things like cryptocurrency (Bitcoin, Ethereum, etc.). It’s just digital money that isn’t issued by a bank (central authority), but verified by this "decentralized" network. Transactions get logged in a permanent, tamper-proof chain. So, why should we care in music? I’ve been diving into some new topics at Berklee that I thought would be good to share here. Again, a lot of us are busy creating, so things like "blockchain" may not usually cross our radar.... but it’s starting to show up more and more in conversations about music and media. Another simple way to think about blockchain: It’s like a giant shared notebook. Instead of one company holding the “master copy,” everyone has the same notebook, and every time a new entry is written, all copies update together. If someone tries to change their page later, it won’t match the others, and the change gets rejected. That’s why people call blockchain “tamper-proof.” So how does this help us? Right now, music files are just audio. The old way (problem) - MP3s, WAVs, AACs — they’re just "dumb" audio files. - They can be copied infinitely, with no built-in way to prove who owns them or who should get paid. - Metadata (songwriter names, splits, publishers) can be added, but it’s not locked - anyone can alter it with a simple “file info” edit.

Since I missed Last week's, here is a bit of a fusion of 2 different topics in one.. — 📍 1. CONTEXT / INDUSTRY SHIFT Two signals are colliding this week. On one side, creators are seizing new ground. Reports from Epidemic Sound and Summit Partners (Sept 9–12, 2025) show how creators are demanding direct monetization, smarter AI tools, and ownership of their pipelines. The “middle class” of artists is being rebuilt around subscription models, live commerce, and community-powered economies. On the other side, legacy systems show cracks. In gaming, Nobuo Uematsu (Sept 8, 2025) warns that mainstream soundtracks are becoming “less weird,” more risk-averse, and more formulaic. Creativity narrows while independent spaces still experiment. Why it matters: as creators gain tools to monetize directly, large-scale institutions cling to safer formulas. The battle line is between empowerment and stagnation. - 📂 2. CASE FOCUS / BREAKDOWN • Epidemic Sound “Future of Creator Economy” report (Sept 9, 2025) – creators now want workflow speed, AI integration, and ownership, not dependency on legacy distributors. • Summit Partners trend note (Sept 12, 2025) – brands and creators are collapsing the “discovery to commerce” pipeline into one step. • Nobuo Uematsu (Sept 8, 2025) – mainstream game music has lost experimentation, with risk only showing up in indie titles. - 📈 3. STRATEGY OR BUSINESS PRINCIPLE The principle revealed: platform divergence. Where risk is punished at scale, creators are building their own economies where originality thrives. For music licensing, this means the most valuable placement opportunities will increasingly come from platforms, games, and communities that are structurally aligned with creator-led experimentation. Safe formulas dominate the mainstream, but new monetization models are rewarding uniqueness. - ✅ 4. TAKEAWAYS / ACTION STEPS 1. TRACK CREATOR ECONOMY TOOLS - Monitor how AI and subscription platforms are reshaping creator revenue. These tools will dictate future placement flows.

Hey everyone. As a novice sync composer and producer, I've been working on the administration side of the job and trying to keep track of tracks I submit, where they went and what they're for, if I've logged them on Tunesat, registered on ASCAP (if the publisher isn't doing it), etc. I'm also trying to do a better job of keeping track of samples and presents that I end up using regularly (pizzicato strings, 808's, hip hop horns, transitions) so I don't have to open up old track files to get the info. Would love any best practices you all have that work for you in terms of keeping track of your libraries and placements. Thanks!