While
there may be any number of potential markets for us to explore, our primary
focus at this stage is on developing musically gifted applications for toys,
mobile, and videogames.
We can
put a toddler at a toy piano and have them compose their own lullabies or
nursery rhymes with such composers as Strauss or Mozart.
In mobile, we could
convert your text message into lyrics, instantly compose music to fit the mood,
and allow you to send a unique, personalized musical text message to your
friends (or blast musical Tweets to your Twitter followers). We could also
enable you and your friends to create a virtual collaboration, essentially air
guitar-ing (or bass, or keyboards, or all of them simutaneously) new works of
music, by simply tapping or strumming your respective iPhone screens. The
software would interpret the tactile input as rhythm or syncopation data, and
use genomic patterns to connect the dots. Like a safety net, you and your
friends could create new music out of thin air, whether you have any underlying
talent or not. No practice required.
Videogames
may come to adopt non-repeating soundtracks, replaced with technologies that
composed scene-appropriate music in realtime, as the game was being
played.
Lifestyle
activities like Karaoke and videogames like RockBand, Guitar Hero, and Wii
Music have long revealed the public's deep desire to perform vicariously
in emulating legendary music artists. The next iterations of these games can
and should evolve to enable user improvisation, allowing the player to create
new works of music through the invisible hands of their musical heros.
We
believe the popularity of these 'vicarious experience' activities are proof as
to the profound economic opportunity in developing comprehensive solutions for
reselling/recapitalizing legacy artist, song, and album catalogs into new
formats and applications. As such, we anticipate the eventuality of serving the
broader recorded music industry, as we represent a means by which they could
repackage and continuously resell the compositional patterns inherent in popular
music.
We also
see opportunity in the social networking implications of our software, as it
stands to attract and drive web traffic. Imagine MySpace, Facebook, Second
Life, or World of Warcraft, with the added functionality of users (and avatars)
creating and conjuring their own unique music through the helpful hands of
their favorite artists, manipulating the algorithms through simple interfaces,
then posting the music, uploading the music, socialcasting, sharing it with
friends, turning it into ringtones, ringbacks, etc etc.
Intelligent
music genomes inside cellphones, gaming consoles, social networks, childrens
toys, etc would serve to effect more dynamic, more intuitive, more immersive,
more interactive, and thus more personal consumer experiences, as if we had
added another dimension of functionality to these familiar brands and devices.
It also begs strong consideration what our technologies would mean across much
of Asia, where the entertainment cultures are almost religiously based on
emulating musical heroes, and where the populations are notorious early
adopters of new technology.
Literally
everywhere music exists, our technologies can elevate the consumer experience,
and create new and lasting revenue for the entire creative community.
