Music Tectonics Conference Announces a Lineup Including Livestreaming, VR and Social Video
Oct 06 2020
The second annual Music Tectonics conference announced its lineup on Tuesday, which will focus on the growing confluence of music and tech.
The conference held its inaugural run in Los Angeles last year. This year, it will take place virtually on October 27 and 28.
Dmitri Vietze, chief executive of the event's organizer, music PR firm Rock Paper Scissors, pointed dot.LA to a few notable examples of topics to be discussed in the event panels.
<p>The first is what he called two former "step-children of the music industry" poised to grow due to the pandemic lockdowns: music in AR and VR, and live-streamed concerts for remote audiences. </p><p>Jaroslav Beck, co-founder of popular VR music game Beat Saber, and Tom Impallomeni, chief executive of VR DJ experience Tribe XR, will feature in the "Mixed Reality & Music" panel. Stephen White, chief executive of L.A.-based live-streaming platform StageIt, will lead a discussion on the livestreaming era. </p><p>"Music Tectonics sits at the important nexus of the music industry and the software and service providers of the technology world," White told dot.LA. "It has become increasingly important for these industries to work closely together as the content and platforms continue to evolve. This relationship only works if both groups win, and that starts with meaningful dialog."</p><p>Vietze also highlighted two already-growing areas that have received a pandemic boost: social video and fitness. Triller chief executive Mike Lu will discuss <a href="https://dot.la/triller-2646853219.html" target="_self"><u>his platform's growth</u></a> with Rasty Turek, who heads Pex, another L.A.-based firm at the intersection of tech and music. TikTok's head of music Corey Sheridan will feature in the "Music in a Borderless World" panel. </p><p>There will also be discussions on the growing value of music at a time when music is playing a greater role across a variety of platforms and <a href="https://dot.la/article-17-2647841718.html" target="_self"><u>reforms to copyright law may change musicians' ability to make money</u></a>.</p><p>L.A.-based Super Hi-Fi's chief executive Zack Zalon will join Sonos' Ryan Taylor in a discussion on "<a href="https://dot.la/super-hi-fi-2647727032.html" target="_self"><u>The Future of Listening Experiences</u></a>." There will also be a "Music Tech Investor" panel focused on venture capital and startups.</p><p>The event will be headlined by Warner Music Group's chief innovation officer Scott Cohen and Cherie Hu, a music analyst with a popular music-tech blog, <a href="https://waterandmusic.transistor.fm/" rel="noopener noreferrer" target="_blank"><u>Water and Music</u></a>. </p><p>Tickets are $59 for general admission. More information on the event, lineup and sponsors can be found at musictectonics.com.</p>
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- LA's Music-Tech Startups Are Poised to Reshape the Industry. - dot.LA ›
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The Pandemic Has Changed the Music Industry Forever. Meet the LA Music-Tech Startups Poised to Reshape It.
Aug 19 2020
- The pandemic has ravaged the music industry, but music-tech companies are poised to drive its growth into an industry where a music company is much more than music.
- Los Angeles is home to a bustling ecosystem of startups empowering musicians through a variety of next-generation technologies.
- The Takeaway: Innovations in music-tech offer new tools to independent artists to help them create music, manage money, reach fans and share their music in vivid, immersive ways.
<p>
The pandemic has hushed the music industry. Throbbing concert crowds have disappeared, artists' sales have plummeted and musicians' overall <a href="https://www.weforum.org/agenda/2020/05/this-is-how-covid-19-is-affecting-the-music-industry/" target="_blank">income has fallen precipitously</a>. But a handful of Los Angeles-based tech startups are providing musicians with everything from socially-distanced collaborative recording to simplified back-office accounting.<br>
</p><p>
"The L.A. music-tech scene is primed to drive this industry forward," says Ed Buggé, partner at L.A.-based entertainment law firm Hertz Lichtenstein & Young. "It's a hugely exciting time in the industry, with startup-driven disruption enabling new models for artists and media companies alike."
</p><p>
Buggé, who advises some of the world's leading tech and media companies, says the ecosystem of music-tech startups is poised to accelerate two big trends in the music industry.
</p><p>
One is the rise of independent artists. In 2018, indies – artists who own most or all of their material – <a href="https://www.midiaresearch.com/reports/independent-artists" target="_blank">earned 6.6% of total recorded music revenues.</a> That's a 78% growth rate from 2015, which <a href="https://www.rollingstone.com/pro/features/diy-artists-will-earn-more-than-1-billion-this-year-no-wonder-the-major-labels-want-their-business-830863/" target="_blank">makes independent artists the fastest growing segment of the recorded music market</a>. Entertainment research firm MIDiA says this change <a href="https://www.midiaresearch.com/reports/independent-artist-survey#become-a-client" target="_blank">"could prove to be more impactful than even the rise of streaming."</a>
</p><p>
The other trend startups are speeding up is the transformation of what a music company even is.
</p><p>
"Music is no longer just music," says Buggé, adding that audio is becoming inseparable from technologies spanning artificial intelligence, gaming, social media, as well as augmented and virtual reality.
</p><h2>Recording Studios at Home
</h2><p>
Musicians today have far more access to high-quality production tools and capabilities than they once did.
</p><p>
Software packages like Logic Pro or Ableton have brought the recording studio's physical equipment and professional engineers right into an artist's living room, saving them thousands of dollars.
</p><p>
"In 2020, all you really need is the essentials – your phone, your laptop, and a good pair of headphones," says Americo Garcia, aka <a href="https://open.spotify.com/artist/4m1yRHUMhvB8gKAJTjK4kO" target="_blank">Boombox Cartel</a>. Add in a good $100 microphone or two and an instrument and you've got a home studio.
</p><p>
"Back in the day you'd have to ship reels of tape and jump hoops and loops just to make a song happen. Nowadays you can email someone in Poland and say, 'hey man, let's start something,'" Garcia says. In addition to tools like Dropbox that enable file-sharing across the world, several companies have emerged to help musicians find and work with each other.
</p><p>
"If you think you need a label to blow up, you're wrong," Garcia says.
</p><h2>Meet Your Bandmates</h2>
<img lazy-loadable="true" src="https://dot.la/media-library/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMzU2NDgyNy9vcmlnaW4ucG5nIiwiZXhwaXJlc19hdCI6MTY1NjQ1NjUxN30.WPzxOmOeWfRcUTNHvrPYT4MEq3vyN4WHhUkyX9Bcv7Y/image.png?width=980" id="628fb" class="rm-shortcode" data-rm-shortcode-id="65d41b028416e445cdf3b9c5e195a5d1" data-rm-shortcode-name="rebelmouse-image" />
Musicians' Jammcard profiles help them to collaborate
<p>L.A.-based <a href="https://jammcard.com/" target="_blank">Jammcard</a> has been called the "LinkedIn for musicians." Founded in 2017 by professional drummer Elmo Lovano, the company has nearly 10,000 members and has raised around $2 million from Quincy Jones, Twitch co-founder Kevin Lin and Lionsgate President Robby Melnick.</p><p>Lovano formed the company to streamline the process by which professional musicians find each other, rather than relying on word-of-mouth. He estimates that as many as 95% of Jammcard members are independent, and that their median income is around $70,000.</p><p>"A lot of the people that are on Jammcard are the people that support the big artists; Kendrick Lamar's not on Jammcard, but his entire band and crew are," Lovano says. "Sound engineers, stage managers, guitar techs – we like to say that it's for 'anyone that's on the bus or in the studio'."</p><p>Lovano says Jammcard is finalizing partnerships with Sony and Fender and has recently expanded its platform to enable digital payments to members for collaborating, performing and teaching. Jammcard also recently partnered with New York-based <a href="https://splice.com" target="_blank">Splice</a>, an online music production service that offers downloadable samples and plugins that make it "a lot more accessible and intuitive to start creating music," says Ankur Patel, Splice's head of corporate development. Jammcard's artists can host their sound samples on Splice and share in the proceeds.</p>
<p>
<a href="https://soundstorming.com/" target="_blank">Soundstorming</a> is another L.A. company using tech to enable artistic collaborations. Users upload small segments of their self-produced audio files, allowing other members on the platform to provide feedback and even layer in their own bass grooves, vocal melodies, and drum beats to collectively compose a new track.<br>
</p><h2>Build Your Own Label
</h2><p>
Former UTA agent Milana Lewis created <a href="https://stem.is/" target="_blank">Stem Disintermedia</a> in 2015 to "alleviate back office work so an artist can eliminate those costs and release content more easily."
</p><p class="shortcode-media shortcode-media-rebelmouse-image image-crop-4x3">
<img type="lazy-image" data-runner-src="https://dot.la/media-library/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMzU2NDgzNy9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTY1ODY0ODI0OX0.pWF64e99T6hiJHaHfTXrdeaa70RCcrg6TMhcouZzPCw/image.jpg?width=2000&coordinates=211%2C1702%2C198%2C1964&height=1500" id="42ef4" class="rm-shortcode" data-rm-shortcode-id="3afb4c3879ec1b87b7f681591733cc81" data-rm-shortcode-name="rebelmouse-image">
<small class="image-media media-caption" placeholder="Add Photo Caption...">Stem co-founder and CEO Milana Rabkin Lewis</small>
</p><p>
As an agent, Lewis saw how the complexities of music copyright were depriving musicians of opportunities to make money. "The administrative work was too burdensome for any individual artist to do," she told dot.LA. Artists would give up and say, ''I'm just going to put it up for free'" on sites like YouTube and Soundcloud.
</p><p>
Stem has raised over $12 million in funding, including two rounds from L.A. firm Upfront Ventures. The startup also recently launched its own $100 million debt-financing arm to allow artists to borrow money against their existing catalogs.
</p><p class="shortcode-media shortcode-media-rebelmouse-image">
<img type="lazy-image" data-runner-src="https://dot.la/media-library/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMzU2NDg0OC9vcmlnaW4ucG5nIiwiZXhwaXJlc19hdCI6MTYzMzIwODA0MX0.hVGcHFix-9uoxfeq_qMZn1uUUqEyG3WAqiiS6mf2vHU/image.png?width=980" id="47b09" class="rm-shortcode" data-rm-shortcode-id="c711613438422424bf982e03559e0a19" data-rm-shortcode-name="rebelmouse-image">
<small class="image-media media-caption" placeholder="Add Photo Caption...">Stem's interface helps artists and their managers track their finances</small>
</p><p>
<a href="https://createmusicgroup.com/" target="_blank">Create Music Group</a>, another startup formed in 2015 that helps artists take control of their accounting and distribution, has a similar origin story.<br>
</p><p>
"We realized the YouTube landscape was poorly mismanaged," recalls Sam Casucci, partner and senior vice president of digital strategy at Create, recently named the second-fastest growing company in the country in <a href="https://www.inc.com/inc5000" target="_blank">the annual Inc. 5000 list.</a> Create employs about 120 people and serves over 10,000 clients – mostly indie artists and labels, the company says. "There was a lot of music and (rights holders) who weren't getting paid what they should be," Casucci says. Create has since built technology on top of YouTube's rights-management platform to help artists make money.
</p><p class="shortcode-media shortcode-media-rebelmouse-image">
<img type="lazy-image" data-runner-src="https://dot.la/media-library/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMzU2NDg0NC9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTY1MTAyMTMyOX0.Dscpj9oxYKyx6-dye-p0WwEkNEAeNt4kG10a6mgg0fs/image.jpg?width=980" id="d272e" class="rm-shortcode" data-rm-shortcode-id="606931ca6494f1c234e49b4707d3dec9" data-rm-shortcode-name="rebelmouse-image">
<small class="image-media media-caption" placeholder="Add Photo Caption...">Create Music Group's Hollywood office</small>
</p><p>
Independent artist and Create client Ray J told dot.LA, "They help you study everything that's going on and help you find money you might not have even known existed."
</p><p>
"When you sign to a major label you don't really get to see what's going on behind the scenes," says Ray J. "You can become your own record label now."
</p><p class="shortcode-media shortcode-media-rebelmouse-image image-crop-16x9">
<img type="lazy-image" data-runner-src="https://dot.la/media-library/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMzU2NDg0MS9vcmlnaW4ucG5nIiwiZXhwaXJlc19hdCI6MTY0Mjg2MTE3Nn0.P2GltSXW2-xLoudj0GTOz3dJC3Tqi6U-ZaqGjSITds4/image.png?width=1245&coordinates=0%2C29%2C0%2C552&height=700" id="3c618" class="rm-shortcode" data-rm-shortcode-id="6fde8d6674a1a7114390675ab398e010" data-rm-shortcode-name="rebelmouse-image">
<small class="image-media media-caption" placeholder="Add Photo Caption...">Create's dashboard to help musicians manage their copy rights</small>
</p><h2>Get Paid<br>
</h2><p>
Elsewhere in L.A., <a href="https://pex.com/" target="_blank">Pex</a> helps artists manage their monetization by following the data associated with their songs across the web. Wilson Hays, head of business development, says Pex monitors over 20 billion songs and videos on dozens of social media platforms.
</p><p>
The company indexes all that data – which comprises over three-times as much content as what's on YouTube, Hays says – and uses patented technology to allow the people behind the music to track and measure its online activity. It even allows artists to easily issue take-down notices if they wish.
</p><p class="shortcode-media shortcode-media-rebelmouse-image">
<img type="lazy-image" data-runner-src="https://dot.la/media-library/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMzU2NDg0OS9vcmlnaW4ucG5nIiwiZXhwaXJlc19hdCI6MTYwNjA3ODA4Nn0.zlGf6lj3n8ozN3qDo0d8gw7s8l6PkcfomAQs0Zea-78/image.png?width=980" id="a02ae" class="rm-shortcode" data-rm-shortcode-id="ee0d1d19ef45970df5be8d0d6339e9e2" data-rm-shortcode-name="rebelmouse-image">
<small class="image-media media-caption" placeholder="Add Photo Caption...">Pex's song-tracking dashboard</small>
</p><p>
"YouTube has Content ID and Facebook has Rights Manager, but outside those platforms, in the wild, you don't know how your content is being shared, moved, monetized, or pirated," Hays says. "We want to put control back in rights holders' hands."<br>
</p><p>
That sort of control offers benefits to artists that they wouldn't necessarily have with a traditional label deal. One benefit is that payments come in faster. It also gives artists more freedom to manage their career trajectory.
</p><p>
And that freedom gives artists the choice in how they use the many emerging mediums by which they can share their music.
</p><h2>Reach an Audience
</h2><p>
An artist who wants to interact directly with fans can post their songs on a host website like YouTube, TikTok, Soundcloud or Bandcamp and chat with their audiences on social media channels. But these platforms have limitations.
</p><p>
A post on Instagram, for example, carries no guarantee that it will reach an artist's fans; most followers do not see every post. Artists must also contend with the fact that the interests of social media platforms are not always aligned with their own.
</p><p>
Jake Udell, a music manager and entrepreneur with a reputation for digital wizardry, recognized social media's limitations early on.
</p><p>
"The thing I kept noticing was that the algorithms were making it really challenging for us to reach our audiences," Udell told dot.LA. "I didn't think there was a fix, though. We'd given up and sort of ceded our audiences to these social platforms."
</p><p>
Then he conducted an experiment. Tickets went on sale for an artist of his who had about twice as many fans in L.A. than New York. Not surprisingly, about twice as many purchases came in for the L.A. shows than the New York ones. Udell then decided to collect around 1,000 phone numbers from fans at a New York show.
</p><p>
"We found some random texting service online and just blasted them out," he recalls. "What happened next changed the way I thought about building audiences online forever."
</p><p>
7,000 tickets to two New York shows immediately sold out. <a href="https://artofamanager.com/2018/02/artist-texting-is-the-new-craze/" target="_blank">Udell wrote about it on his blog</a>, which is how he met Matthew Pelltier, chief executive of L.A.-based <a href="https://community.com/" target="_blank">Community.com</a>, where Udell is now head of activation.
</p><p>
"The algorithm has not really been an enabler" for musicians, Udell says. "What if we could just meet the fans where they're already at?"
</p><p>
That's exactly what Community does, he says, by providing artists (and other "Leaders") a SaaS platform for exchanging text messages with fans en masse.
</p><p>
"I think about it like this," Udell says. "How many social platforms have you joined over the last 10 years? Versus how many times did your phone number change?...The phone number is a true atomic unit of identity; it's not going anywhere."
</p><p>
What's more, Udell says 98% of text messages get opened in the first three minutes.
</p><p>
"On other platforms there's a guarantee of instant publishing, but there's no guarantee of instant distribution," he says. Whereas with Community, "the idea that you will always be able to reach your fans, this community, via text, is a really empowering thing not just for you personally but for your business."
</p><p>
Big-timers like Jennifer Lopez use Community, as do aspiring local band types. Prices depend on audience size. One feature: ability to segment fan outreach so that, for instance, a band coming to a specific town can message only the locals – "See you at the show tonight?"
</p><h2>Tour Virtually
</h2><p>
Wave turns performers into digital avatars and puts them on virtual stages where they can entertain and interact with fans, who tune in via VR headset, gaming console or web browser.
</p><p>
"We started the company four years ago to help musicians make money," <a href="https://wavexr.com/" target="_blank">Wave</a> chief executive Adam Arrigo told dot.LA. "We've been touring musicians and we know how hard it is."
</p><p>
Wave has now hosted over 50 events. Its recent concert featuring The Weeknd in partnership with TikTok <a data-linked-post="2646923010" href="https://dot.la/the-weeknds-concert-on-besieged-tiktok-2646923010.html" target="_blank">reportedly drew a digital audience</a> of over 2 million fans.
</p><p class="shortcode-media shortcode-media-rebelmouse-image">
<img type="lazy-image" data-runner-src="https://dot.la/media-library/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMzU2NDg1MS9vcmlnaW4ucG5nIiwiZXhwaXJlc19hdCI6MTYzNTc0OTYyOX0.LPZMZWipBamYsrPT8hxnLSZ0AamP4hN3ugroBwtRPJs/image.png?width=980" id="698f4" class="rm-shortcode" data-rm-shortcode-id="c11631bd2cd2da7e040b1a08b2815a6e" data-rm-shortcode-name="rebelmouse-image">
<small class="image-media media-caption" placeholder="Add Photo Caption...">A Wave concert of Swedish band Galantis</small>
</p><p>
Arrigo says his former role as a designer for the Rock Band video game franchise showed him how novel technologies can empower musicians.<br>
</p><p>
"From working on that game I learned that when you create new experiences you can create additional revenue streams for the industry," he says.
</p><p>
Building on a blueprint established in part by L.A.-based <a href="http://www.brud.fyi/" target="_blank">Brud</a> (whose digital influencer and singer <a href="https://www.instagram.com/lilmiquela/?hl=en" target="_blank">Lil' Miquela currently has 2.6 million Instagram followers</a> and attracts <a href="https://www.youtube.com/channel/UCWeHb_SrtJbrT8VD-_QQpRA" target="_blank">millions of views on YouTube</a>), <a href="https://strangeloop-studios.com/" target="_blank">Strangeloop Studios</a> is currently designing a cast of animated characters of its own.
</p><p>
Co-founder and chief executive Ian Simon, who is also on the creative team at Wave, says, "the long-term vision is to be a studio; to bring in storytellers and visual artists and creators to tell stories using these characters. The characters are a medium in themselves."
</p><p class="shortcode-media shortcode-media-rebelmouse-image image-crop-16x9">
<img type="lazy-image" data-runner-src="https://dot.la/media-library/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMzU2NDg2Mi9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYyMDk0MTQ5OH0.2u4Jl20-ZsS2IoBPWbJBOBO--6EdbmVd6yxfWBMCr_A/image.jpg?width=1245&coordinates=0%2C824%2C0%2C825&height=700" id="2d48c" class="rm-shortcode" data-rm-shortcode-id="631605323631149e2ec18c363cb4c57c" data-rm-shortcode-name="rebelmouse-image">
<small class="image-media media-caption" placeholder="Add Photo Caption...">A character from Strangeloop Studios' virtual artist label, Spirit Bomb</small><small class="image-media media-photo-credit" placeholder="Add Photo Credit...">Strangeloop Studios</small>
</p><p>
Those characters present musicians with scalable creative opportunities. "You can play the same show with the same character in multiple places at the same time," Simon says. "They're vessels for human collaboration – multiple musicians contributing songs, various visual artists creating content and fans informing the narrative and aesthetic trajectory of the characters."<br>
</p><p>
"People are already listening to music on screens, even if the screen isn't really being leveraged," says Simon, whose small team includes former visual designers for megastars like Kendrick Lamar and Flying Lotus.
</p><h2>Immersive Music</h2><p>
<a href="https://virvii.com/" target="_blank">ViRvii</a> – a portmanteau of virtual, visual, and immersive – gives artists a new "paintbrush" for creating immersive fan experiences, says founder Juan Dueñas, who formerly founded My Mixtapez and was an early user of Oculus' development kit.
</p><p>
Dueñas says ViRvii will allow fans to "hang out" inside The Beatles' Yellow Submarine while the album plays in the background, for instance. Contemporary artists will be able to design VR experiences to accompany their releases. Despite the high-tech approach, Dueñas says he wants users to be able to get a homespun feeling of "sitting around a stereo or record player and smoking a joint and drinking a beer with friends and listening to your favorite album."
</p><p class="shortcode-media shortcode-media-rebelmouse-image">
<img type="lazy-image" data-runner-src="https://dot.la/media-library/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMzU2NTE1Ni9vcmlnaW4ucG5nIiwiZXhwaXJlc19hdCI6MTY0ODMyNjg3NH0.4Zh0Ng5dMUM1ex1Om6FtZcM_MVFFd6VtWF6cs4k1rec/image.png?width=980" id="76310" class="rm-shortcode" data-rm-shortcode-id="7c57a0a0d666f337408736e857c9e799" data-rm-shortcode-name="rebelmouse-image">
<small class="image-media media-caption" placeholder="Add Photo Caption...">ViRvii's continuous VR world will immerse fans into albums</small>
</p><p>
Formed in 2019 and now with a staff of 30, the L.A.-based startup <a href="https://dot.la/explaining-big-techs-la-for-vr-2646036087.html" target="_blank">recently announced a partnership with Facebook and its Oculus VR subsidiary</a>.<br>
</p><p>
<a href="https://www.splashmob.app/" target="_blank">Splashmob</a> gives performers control of their audience's cell phone screens. They can preprogram the screens of anyone who opts in with features like polls, audiovisual media to accompany the main show, and merchandise sales portals. The screens can also be controlled in real-time, not unlike an effects technician manipulating phone screens rather than lights and sound.
</p><p>
Founder Blaise Thomas was formerly a sound engineer in London, where his work in recording studios and live performances got him thinking about how to enhance concerts, whether in-person or streamed.
</p><p class="shortcode-media shortcode-media-rebelmouse-image">
<img type="lazy-image" data-runner-src="https://dot.la/media-library/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMzU2NDg2OC9vcmlnaW4ucG5nIiwiZXhwaXJlc19hdCI6MTYwNjg2MjI0Mn0._EFPNkWwMC5R5GYvAfsML25obs9HfaxTIWuOBTcvoV0/image.png?width=980" id="559ce" class="rm-shortcode" data-rm-shortcode-id="b385f8c62957fa443595c70ebbdcc7cf" data-rm-shortcode-name="rebelmouse-image">
<small class="image-media media-caption" placeholder="Add Photo Caption...">Splashmob's control panel gives performers the power to curate audience members' phone screens</small>
</p><p>
"The flashlight on the phone is all well and good," Thomas says, "but how far can that go?"<br>
</p><p>
Splashmob has collaborated with Dani Van de Sande and her L.A. startup, <a href="https://www.ulo.world" target="_blank">ULO</a>, which along with Splashmob and Strangeloop was part of the 2020 Techstars Music cohort.
</p><p>
"Imagine you're wandering around Melrose Avenue on your way to dinner," Van de Sande writes, "and out of the corner of your eye you spot a bright, iridescent light. It looks otherworldly, like something from another universe."
</p><p>
These cocoon-like walk-in installations, called ULOs ("unidentified landing objects"), offer immersive, interactive experiences for the adventurous souls who enter. ULO plans to dot them around city-scapes.
</p><p>
"We're another avenue where artists can do something beyond releasing a video – by creating an experience for people," says Van de Sande, who formerly worked on augmented reality at L.A.-based Snap.
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<a href="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMzU2NDg3MC9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYxNDcyMzQ4OH0.SWZUZGH1mIk7gXpYKH2ZLhlycs_E-zdAxTNXdT6NGbE/img.jpg?width=980" target="_blank"><img type="lazy-image" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMzU2NDg3MC9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYxNDcyMzQ4OH0.SWZUZGH1mIk7gXpYKH2ZLhlycs_E-zdAxTNXdT6NGbE/img.jpg?width=980" id="d1c3f" class="rm-shortcode" data-rm-shortcode-id="f3becabf57b005207d04fefb9ec8c09a" data-rm-shortcode-name="rebelmouse-image"></a>
<small class="image-media media-caption" placeholder="Add Photo Caption...">The Pandemic Has Changed the Music Industry Forever. Meet the LA Music-Tech Startups Poised to Reshape It.</small>
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StillVika
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These new visually oriented channels for sharing music may help to shrink the gap between the ear and the eye that Spotify founder Daniel Ek often invokes when he describes the growth potential for his company. Why, he has publicly wondered, is the total video market worth around 10-times more than audio, even though consumers spend about equal time with each?<br>
</p><h2>Get a Side Gig
</h2><p>
<a href="https://www.cameo.com/" target="_blank">Cameo</a> offers anybody with over 20,000 Instagram followers the opportunity to build a profile on its platform and set a price for which they will record a personalized video message. The company was formed in Chicago, but its chief executive Steven Galanis recently moved to L.A. With his move, <a href="https://dot.la/cameo-ceo-on-his-move-to-l-a-and-his-companys-future-2646225672.html" target="_blank">Cameo's center of gravity has shifted</a>.
</p><p>
"L.A. is the best place for me to be for Cameo right now," Galanis recently told dot.LA. "I've been focused on being the tech company to work for in Chicago and I think that's mission accomplished in many ways. Now my objective is to make Cameo that place in L.A."
</p><p>
L.A. was once the destination for artists with a guitar case and a dream. Now, many of them can pursue those dreams from home. Music-tech companies, however, are flocking in.
</p><p>
"It's not an accident that Techstars Music is in L.A.," says Bob Moczydlowsky, who runs the accelerator, which recently <a href="https://www.f6s.com/musicaccelerator-2021/apply" target="_blank">opened its 2021 cohort application</a>, with an emphasis on attracting a diverse candidate pool. Moczydlowsky attributes L.A.'s centrality in this flourishing wave of music and tech innovation to two main factors. First is the access to an ecosystem of artists, managers, labels and touring companies. Second is the venture money in Silicon Valley.
</p><p>
"L.A. is less than an hour from the money and down the street from the culture," he says.
</p><p>
The growing entrepreneurial energy in L.A. looks set to provide Angelenos a front-row seat to a new, lasting stage for entertainment technology innovation.
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<em>Sam Blake primarily covers entertainment and media for dot.LA. Follow him on Twitter @hisamblake and email him at samblake@dot.LA</em><br>
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In the aftermath of George Floyd's death, the worldwide protests, corporate condemnations and reflections on racism in America have sparked a common impression: 'This time could be different.'
An L.A.-based analytics and digital rights management firm now has data it says backs up that sentiment.
<p><a href="http://Pex.com" target="_blank">Pex</a>, which helps creators and rights holders audit, measure and monetize their audio and visual intellectual property across the web, has found that 80% of the 100 most-viewed videos on Twitter in the 12 days following George Floyd's death were related to Black Lives Matter. Another 10% were related to race or racism more broadly. </p><p>Among the top 10 are incidents of police aggression, guidance for protesters and the arrest on live television of a CNN reporter and his production crew. </p><p>In all, the data that Pex aggregated from Twitter show that between May 25 and June 5, race- and BLM-related videos were watched over 1.4 billion times. Their analysis isn't able to detect whether some of that activity is being fomented by <a href="https://abcnews.go.com/US/intel-bulletin-warns-malign-actors-targeting-us-george/story?id=71184163" target="_blank">bad actors or bots</a>. But Pex's head of business development, Wilson Hays, argues that such a high concentration of viewing around one subject matter is remarkable.<br/></p><p>"Not only have the recent uploads related to Black Lives Matter received more views than any other societal moments in recent years, but it has completely dominated the sheer volume of videos being uploaded and viewed," said Hays. "With so much content constantly battling for our attention, this has shown us that this anti-racism movement was not going to be ignored and demanded the attention of audiences everywhere."</p><div class="rm-embed embed-media"><iframe class="airtable-embed" frameborder="0" height="533" onmousewheel="" src="https://airtable.com/embed/shrGmN5GOEEhQ4jNW?backgroundColor=yellow&viewControls=on" style="background: transparent; border: 1px solid #ccc;" width="100%"></iframe></div><p>Comparing these data to a handful of recent examples provides a striking indication of how abnormal it is to have one topic capture so much attention. <br/></p><p>In the week following the January 2017 Women's March, for example, Pex estimates that just 13% of the top 100 Twitter videos pertained to the protest and women's rights.</p><p>In the time between The Washington Post's September 2018 <a href="https://www.washingtonpost.com/investigations/california-professor-writer-of-confidential-brett-kavanaugh-letter-speaks-out-about-her-allegation-of-sexual-assault/2018/09/16/46982194-b846-11e8-94eb-3bd52dfe917b_story.html" target="_blank">publication</a> of Christine Blasey Ford's allegation that then-Supreme Court nominee Brett Kavanaugh had raped her and Kavanaugh's October Senate confirmation, the figure was just 4%.<br/></p><p>And <a href="https://www.nytimes.com/2020/06/05/sunday-review/black-lives-matter-protests-floyd.html" target="_blank">an analysis by the <em>New York Times</em></a> reports Twitter said that by May 28 of this year over 8 million tweets had been tagged with the #BlackLivesMatter hashtag. That's over 50-times the number of similarly tagged tweets in the five months following Eric Garner's death in 2014. (The phrase "Black Lives Matter" came into widespread use in 2013 following the acquittal of George Zimmerman in the death of Trayvon Martin.)</p><div id="5dc21" class="rm-shortcode" data-rm-shortcode-id="3fc78080294c30c913fc9ad33cf79a41"><blockquote class="twitter-tweet twitter-custom-tweet" data-twitter-tweet-id="1266315061221613569" data-partner="rebelmouse"><div style="margin:1em 0">Minnesota police arrest CNN reporter and camera crew as they report from protests in Minneapolis… https://t.co/lblKo2Nh0d</div> — CNN (@CNN)<a href="https://twitter.com/CNN/statuses/1266315061221613569">1590748012.0</a></blockquote></div><p>Historians, organizers and protesters have offered reasons why this time feels different: the evident cruelty of the video footage of George Floyd's death, pent-up anxiety from the coronavirus pandemic and the fact that lockdowns have meant many have more time to watch and participate in what's happening on the streets. There's also the fact that 2020 is an election year, which may be spurring politicians to take a stand.<br/></p><p>Pex's data suggest another reason: the high volume of video footage and the fact that the footage has truly captured our attention.<br/></p><p>"We can say that for the first time," Hays said, "we've all been watching this together." </p>
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