David Solomon59:15
Yeah. I mean, I've been, I've been playing with it. You know, I've been, I've been playing with it. And what I'd say is what I think is cool about it, as someone who's, who's produced a bunch of music, and I want to come back to that because I think there's an important kind of lesson to learn about history in terms of music production, to where it is. I, I think it's super cool, but what it does is it opens up the creative channel to people that would never have an opportunity to produce music. Okay, let's just a little bit of history about music production, because by the way, 30 or 40 years ago I could never have produced music. Now it's so happens I played an instrument when I was in elementary school and high school. I played the saxophone. I can read music. I understand music theory because I played an instrument for, for, you know, 12 years when I was in, out of, you know, out of college, you know, I would call myself a recreational drummer. I mean, I could sit on a drum set and carry a two-four beat and, you know, so I, I understand basic music theory, but, you know, I've been a rock and roll guy forever. Like, I love Bruce Springsteen. Okay. I saw my first Bruce Springsteen show in 1978, the Darkness on the Edge of Town tour, when he wrote that album. And by the way, the albums that came before had a bunch of them that came after he sat in a studio, or he sat at a piano, or he sat with a guitar. He wrote notes down on paper, he wrote lyrics down on paper. He played around with it. Then he invited human beings into the studio with him that played piano, organ, drums, guitar, horns, saxophone, all different things. And they sat there and they made the music and somebody recorded it and it got pressed onto a vinyl album. Okay, a lot of the music that we listen to today has been made on a computer, on platforms called Logic Pro or Ableton. Which is actually how I work to produce the music that I produced. And so if you want horns, you can choose from 150 different horns. Okay. You don't need 15 different musicians, okay. Nobody's talked about, you know, the difference how technology evolved. And by the way, what it did is because Logic Pro and Ableton exist and I'm relatively dysfunctional on the platforms. You know, I can muddle my way around, but I need an expert to help me because they can do in three seconds what takes me ten minutes. But what it allowed is it for somebody to say to me, hey, I want this kind of a sound, okay? I didn't now have to write the musical notes down. Okay. You could basically, you know, basically take out a piano and, you know, say this chord sound, this chord progression, try it on the computer. You could say, I want this to be done in horns instead of in a piano, click, it's now horns. And you can basically, you know, put a top line together. That's very interesting with the computer, a lot of the music that's produced today that we listen to is produced that way. Okay. Now what you've got is you've got an application that's basically doing that. Okay. And I think there are a couple of big issues that need to be wrestled through with this. The first is these AI apps are using other people's content in some way. Right. And the artists aren't getting in any way compensated, you know, for that. And I think you've got to think about how you're going to bring the artist community and their IP, you know, in the discussion of this over time. And, you know, it's not gotten a lot of attention, but I think is a very, very important, a very, very important thing that has to be dealt with. And secondly, this goes back to the whole discussion I had about voice when I was talking about my daughter and screenwriting. Oh yeah. Okay. You know, the stuff I produced, okay. It's my voice. I said, I like, I like the way this sounds to me. So do it this way. I like the way this feels. So let's try it this way. Okay. And then you put it out there and you see whether or not anybody likes it. Obviously the technology allows you to do it faster, but without a human being really, then massaging it and tempering it. Okay. You know, I, I think you get, you're going to get at the moment certainly mediocrity and as opposed to, you know, really, really interesting, resonant stuff.