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.

A lot of musicians I know really dislike creating content, or promotional short videos for branding because it could come off as narcissistic, inauthentic, or is just a pain. I'm definitely one of those people as well... but I feel that creating videos like these could become invaluable as AI becomes more prevalent. We could establish a connection instead of just being a music printing machine. Through my foray into creating these small videos, I'm happy to share the ones that did better than others: https://www.youtube.com/shorts/a25St3bzA-A Evidently, I'm still an extreme novice in creating these types of videos and would love to learn from the hivemind here. I'd love to hear what you are learning in the content creation space, what has stuck and what have you learned?

I'm a recovering Catholic (#iykyk) and not much of a church goer - but I have faith. This quote from Quincy Jones is something I keep up on my workstation and take a look at it whenever I start to get stuck. Such wisdom and truth...so much of what we do is math (in a way) and there's a structure to it...except when it comes to the melody. Thought I'd share this Monday as we all get back to work and hope for a better week! "There is no science for melody. The thing about music, while it is still a cousin of mathematics, it is the only thing that engages the left and right brain simultaneously: there is always emotion and intellect. You can't get away from it. That is what music is. A melody, there is no science for that. You study counterpoint or harmony or composition or orchestration but for melody there is really no science for that. We all know about the power of the fifths and the fourths, the strongest intervals. But after a while all of that scientific junk becomes part of your body, you don't even think about it. Where does melody come from? God. And God leaves his hand on some shoulders a little longer than others."

Ok Guys so I think we all love sounds. Vox chops,weird recordings we pitch into something else. Give me sounds everyday I'd be happy. What are you go drum designers,sound kits,small botique FX creators? Spill the tea 😁

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!