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And then once you have that, how do you not just take the sounds as it is, but how do you actually funky time result try to get them to be right for what somebody is asking for? You know, because they might ask for something that we don’t have. And then we kind of have to take something that we’ve already built and really, you know, manipulate it to become that, you know. I mean, we’ve had a tagging system for years that we utilize in Arcade. And if you don’t know Arcade, it’s kind of our ecosystem for samples and instruments.
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- It’s much easier to say, okay, we’re gonna build a reverb and we know how to build reverbs.
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- He discusses the need for imperfection in music and the desire to sound unique.
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- No, this is, 24 is a big year for output.
You’re meeting with the producers and the directors and you’re thinking through, okay, what are you trying to accomplish here? What do you want the audience to feel? How do we kind of get them to that emotion that we wanna get them to, but without sort of like being too obvious about it, right?
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Build something around a world that you know really well. And if you like it and the people around you that are also in that world really like it, then you’re onto something. If you just try to jump in and build a business around something that you’re not an expert on, it’s really hard to know whether or not you’re going down the right path. Really anything else, it’s its own thing. Movement, ugh, move stuff, you know, these type of things. Arcade is like that too, it’s funky time result not really a sampler, but it is a little bit.
So we’re not looking to build generative AI tools that replace music makers where computers write songs. That’s not what we’re about, that’s not what, that in no way helps our funky time result customers, right? And everything that we do is for the end goal of helping our customers be as creative as possible.
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