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Cyanite Talks #2 with Vincent Raciti from TRO – About AI in sound branding

Cyanite Talks #2 with Vincent Raciti from TRO – About AI in sound branding

For the second part of our interview series #CyaniteTalks we sat down with Vincent Raciti from the renown German audio and sound branding agency TRO. They not only have an outstanding brand image and a remarkable roster of clients. They also recognized very early the power of algorithms for their work and developed their own proprietary technology together with two universities.

Learn more in this interview about what DJs and sound strategists have in common, how TRO has integrated AI into their workflows and what artists shall look out for when they want to be considered for synch deals. Enjoy the read.

 

Cyanite: Hi Vincent, whether behind two turntables for a small rave community or in a team at TRO for big clients like Porsche and C&A: you develop music and sound strategies. In both cases it is important to anticipate moods and find suitable music for it. How do you manage this?

Vincent RacitiA DJ set, at least for me, includes preparation. You think about who might be expecting you in the club and to a certain extent, adjust your record selection. That doesn’t mean that I change music genre or style for a certain audience; but maybe select records with a little more or less energy. As a DJ I have a kind of ‘brand’ or ‘fixed style’ but I also work in accordance with the external factors present at each gig, and most importantly: find an empathy with my audience and keep a fascination for the music I play.

When we talk about a brand for which we want to find the right sound, we deal with similar parameters: Brand fit, consideration of the target group, empathy and creative intuition are key. Most of our clients have a huge international reach. But even at this scale, a fascination for music from our producers, creatives and strategists is of the utmost importance – 10 experts work on a large project with us. In order to always hit the bull’s eye when choosing the right sound for a brand, we have sought scientific support beyond intuition.

“Brand fit, consideration of the target group, empathy
and creative intuition are key.” 

Cyanite: That’s a good point: Five years ago, together with two universities, you developed your so-called “Sonic-DNA-Algorithm”, which classifies music based on brand values. How did you get the idea and what did you hope to achieve? And most important: How did it change your work?

Vincent: The effect of music on people is an extremely exciting field of research that we (collaborators involved in the project) have always dealt with individually. Through past projects we already knew a lot about the effects of music – but the knowledge was fragmented. So, we started to look for models that objectively describe the emotional effects of music in order to provide orientation in the selection of music for complex projects. Because we were not satisfied with the results of the research, we joined forces with the Düsseldorf University of Applied Sciences and the University of Osnabrück.

The collective approach was soon clear to us: we conducted studies in which test persons listened to music and while doing so, tagged perceived emotions. Then we started to teach a machine learning algorithm with this data so that we no longer had to conduct new listener studies for each project. Our Research & Development Leader Michael Wittland did an amazing job as a one-man team. He optimized the algorithm to such an extent that we see it as the core of our Sonic Branding projects.

This is how it works: Together with the client, we firstly determine an emotional profile of the brand. Based on the profile and the target group, the algorithm creates a musical mood board that is used by our creatives and music producers as the basis for conception. Newly created music can be checked with the algorithm for its brand fit.

Thanks to the emotion model we use, we can talk to our clients in a very clear and direct way about the actually very subjective topic of music – this helps all parties involved in such a project enormously.

“Thanks to the emotion model we use, we can talk to our clients in a very clear and direct way about the actually very subjective topic of music.” 

Cyanite: How do your customers react to the use of AI? Enthusiasm or skepticism? Can you identify tendencies, who is particularly open to new technologies? What characterizes such as pioneers?

Vincent: Algorithms are omnipresent, increasingly in both music and in marketing. Even Spotify is in the end a user interface with a lot of algorithms that make sure that you basically don’t have to select a song in your account anymore, and still love every song that is played automatically.

Our algorithm works differently because, similar to the algorithm of Cyanite, it tries to imitate a human being and identify emotions in the music. We use it as a supporting tool in complex processes. Despite its accuracy, every result is checked by our creatives, adjusted and implemented by our music producers and artists. And this is also important to communicate, because our clients would be rightly skeptical about an algorithm that does all the creative work – and ends up producing the music itself.

The way we use and communicate the technology has given us astonishingly good experience – 5 years ago, we were already allowed to use our work in progress’ algorithm’ in large projects for our customers.

In general, I believe that it is becoming increasingly important for all companies to identify, filter and effectively use new technologies.

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TRO’s music and audio production for a mighty Porsche ad featuring Peggy Gou

Cyanite: The loss of live revenues due to the current crisis is bringing license revenues from Sync even more into focus. What do you give to young artists who want to score a sync deal?

Vincent: It is important to be where the gatekeeper is. And these are practically the same platforms on which you present yourself as an artist one way or another: like streaming, radio and social media. I think, even if it might sound tempting now to focus on syncs, or in the short term paid placements of music in media, it’s much more crucial in the long run to work authentically on your brand awareness and artist brand. That’s how the gatekeepers become aware of you. Label, publisher, management and distribution can of course help with a network and infrastructure to pitch the music directly. Dubious offers that promise quick sync success or want to bind artists exclusively, cost money and will rarely bring happiness.

“Dubious offers that promise quick sync success or want to bind artists exclusively, cost money and will rarely bring happiness.”

Cyanite: Is sound branding crisis-proof? What is a current development that could pose a threat?

Vincent: No, I don’t think any “industry” is crisis-proof. Let’s take sound branding as an example – shooting film is currently prohibited so there are no new TV or media spots that we can set to music. Also for us, this means that we’re working on fewer projects. But we see this strained situation also as an opportunity: If it is not allowed to shoot with actors, more animation is simply created – and then perhaps it will end up in our studios for dubbing. Personally, we have also gained exciting new customers during the Corona period, who have used this time to take a strategic look at the use of music and sound in respect to their brand.

Audio-only media such as podcasts and smart assistants will generate reach for brands that was previously only achieved via TV and radio. Culture and the personalities behind the music will become more and more important for authentic brand communication – especially as a distinguishing feature, if AI really can produce great sounding music soon.  All in all, I see more opportunities than threats for the industry if it is open and proactive in shaping these developments together with its customers.   

 

Thank you for taking your time Vincent! Shout-outs to the TRO gang and all the best for the upcoming projects.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Music Analysis API: AI-Powered Tagging & Search

Music Analysis API: AI-Powered Tagging & Search

If you are a company that manages music assets on its own platform, the Cyanite Music Analysis API is the right choice for you. It allows you to utilize all of Cyanite’s capabilities directly in your interface, making it a part of your user experience. Our GraphQL API offers unparalleled flexibility for your platform – enhancing your music library organization tailored to your needs.

Here you can find the API’s full documentation: https://api-docs.cyanite.ai/

Cyanite API Benefits

Ease of Use

The API is a two-way highway letting you easily upload tracks directly from your system into Cyanite and get music AI music tagging or music similarity search results with unprecedented accuracy within seconds. All without your users even noticing that they are using Cyanite while it’s seamlessly embedded into your music library and their workflows on your platform. 

Each free Cyanite account can access the API on a small analysis contingency for testing purposes. To extend the testing scope, please reach out to business@cyanite.ai.

Speed of Deployment and Integration

We understand that your business is unique with individual requirements. That’s why we built a GraphQL API to read data from our service rather than traditional static REST APIs. GraphQL has the advantage of supporting any customization needs  – flexibly sending data – allowing you to change workflows as-you-go while you learn more about your users’ behavior with Cyanite.

Curious to learn more about the integration process? Just reach out to us via e-mail.

Quality of Support

We focus on making the API documentation as clear, up-to-date, and fun as possible. We explain the integration step-by-step and show examples while being your hands-on support in the integration. We have seen customers go from no AI to all Cyanite features in a matter of a few weeks.

API Scope

A basic rule of thumb is that everything you see on the Cyanite Web App is also possible on your own platform.

AI-Powered Music Tagging

To get an impression about the scope of Cyanite’s AI-powered music AI music tagging, we advise using our tagging taxonomy. Cyanite not only delivers a rich set of tags for a song as a whole but provides the same level of depth for every 15-second segment. This way you can map out dynamics and changes in energy, key, instruments, vocals, and other useful data points.

Music Similarity Search

Cyanite can deliver similar-sounding songs to any reference audio file or YouTube link. Upload a song as a file or insert a link. The music then gets ingested, analyzed, and compared to your music library. The reference song is stored in your library to enable flexible adjustment of the target segment in the song. You might want to try out similar results to the chorus versus the verse etc. for best results. With Cyanite’s Similarity Search, this is possible. To learn more about Cyanite’s Similarity Search, check out this article.

For Spotify, we are even able to use Spotify track IDs which results are stored for an even faster delivery of similar songs. Bear in mind that we are using a standard 30-second preview instead of the whole song for this.

Free Text Search

Simply ingest whole sentences and let Cyanite’s Free Text Search do its magic. Free Text Search understands the semantics of whole sentences, be it a complex musical description or the outline for a movie scene. Free Text Search eliminates guardrails in music search and opens it up to any audience to search and find tracks. To learn more about how to prompt our Free Text Search, check out this article.

Crates

Some of you might want to organize your music in more than just one library – or a music similarity search on just a part of your catalog. For those use cases, we offer Crates. With Crates, you can define subsections of your library to then perform music similarity searches. This way you make sure that specific users can only see certain parts of the catalog instead of everything.

How have others used our API? 

click on the pictures to get redirected to the websites.

Go ahead and start coding

Contact us with any questions about our music analysis API services via business@cyanite.ai. Don’t hold back from giving feedback on what we can improve.

Anyone can create an API integration. Just sign up with the button below.

If you are a coder and want to join the ride, please send your application to careers@cyanite.ai.

FAQs – API Integration

Q: How long does the integration process take?

A: Cyanite’s API integration is typically completed on our side within just a few days. However, the time required for front-end implementation and customization depends on the complexity and scope of your project. Based on our experience, a full integration – including testing, optimization, and deployment – usually takes 2 to 6 weeks to achieve a seamless, fully functional interface.

Q: What Cyanite features are available via API?

A: All features that we offer in our Web App are available via API. This includes all of our latest search & tagging algorithms. It is also possible to get insights for your catalog as a whole from data via the API. To learn more about catalog insights read this article.

Q: How much does the API cost?

A: The API usage fee is 290€/month. However, tuehe total price of the subscription depends on your catalog size and requested features. Please fill out this Typeform and we will get back to you with a quote.

Q: I am using a third-party catalog management system. How can I get Cyanite’s results into that?

A: Cyanite is fully integrated with Cadenza Box, Harvest Media, Music Master, Reprtoir, Synchtank, and Tune Bud for Auto-Tagging and Search. Also, DISCO or Source Audio customers can easily upload Cyanite’s Auto-Tagging and Auto-Descriptions to their libraries. Just reach out to business@cyanite.ai and we’ll look together over the format requirements of your library system.

Ellen Allien, Roman Flügel and Dub Isotope: An AI Analysis of Techno and Drum ‘n’ Bass

Ellen Allien, Roman Flügel and Dub Isotope: An AI Analysis of Techno and Drum ‘n’ Bass

As a team of music lovers, the Cyanite team has been tuning in regularly to Berlin’s lockdown livestream DJ sets over the last few months. 

Some of us might be of the opinion that recording technology should be kept firmly away from the dancefloor in order for party people to truly revel in the night’s atmosphere. Right now, it seems the opposite is true. 

These livestream recordings have made it possible for music fans in Berlin (and the world) to experience electronic music and to feel connected to the electronic music community. Technology has proven itself as very much needed and welcome in the music space, and in this case, instrumental in keeping club culture alive during the coronavirus restrictions.

Decoding Electronic Music with AI

In this spirit of club culture, we ran some of our favourite mixes through our analysis models.

Set #1: Ellen Alliens’s Griessmuehle set

A heavyweight in the techno scene, Ellen Allien’s combination of classic techno with a side of experimental and IDM is one-of-a-kind, and a definite favorite at Cyanite. 

Ellen Allien’s no prisoner taking set @ Griessmuehle Berlin

In this set, techno alternated between dancey and contemplative. Our genre analysis results revealed that the set was predictably profiled as consisting mostly of “electronic dance”. In moments where the electronic dance genre was detected at a low level, the ambient genre was inversely detected as the dominant genre.

Result of Cyanite’s AI analysis on the emotional dynamics of Ellen Allien’s set

Looking at our emotion analysis results, the top quality detected in her hour-long set was “dark”. This was followed closely by “tense”, and then “energetic”. Characteristically, we observed that her set opened with the level of darkness at a high point, before hovering at a more or less at a consistent mid-to-high level after, before ending high again. 

Tenseness, however, was a different story altogether. In Ellen Allien’s set, techno is a tightrope walk. Listeners alternate between feeling almost about to tip over the edge and occasional moments of stability at the peak.

Sustained periods of high musical tension were found at the beginning, middle, and end of her set. Outside of those intervals, the level of tenseness peaked and plunged all throughout the set, often in sharp, spiky drops and rises. 

In her set, tension is also characterized by a frenetic level of energy: we saw that the level of energy detected very closely paralleled the pattern of tenseness.

Set #2: Roman Flügel’s Wilde Renate stream 

Roman Flügel’s Wilde Renate stream is another hot favorite. 

Roman Flügel’s never disappointing curation of eclectic sounds @ Wilde Renate

While the Ellen Allien set we listened to earlier veered towards the heavier side, this set takes us to a gentler side of techno. Flügel treated our ears to an hour of electro, techno and occasional ambient. 

A softer brand of techno does not mean happy techno though (if there can ever be such a concept). While the previously discussed set was ruled by high-strung techno energy, Flügel’s set is more muted

Result of Cyanite’s AI analysis on the emotional journey of Roman Flügel’s set

Topmost of the qualities detected was ‘melancholia’. The atmosphere of melancholy hovered at a consistently high level throughout the entire set, with brief intervals of dips. In those moments where melancholy dropped, tenseness – which was at a base level throughout most of the set, climbed up slightly. 

Almost as much as his set was melancholic, it was calm. The smooth melodies and synth swells in the set gave it an air of sereneness. Calmness was the second highest quality detected. The level of calm closely mirrored the level of melancholy throughout the set, although it had more well-defined plateaus during the most calm moments. 

Flügel’s set was also comfortingly brooding (exactly how we love our techno). Underscoring the calmness and melancholy was darkness, which was profiled as the third top quality in the set. 

The haunting, sad effect of minor keys seem to be well favored in techno. 

Both these techno sets were detected to be mostly in minor keys: Ellen Allien’s one was predominantly B Flat minor, and Roman Flügel’s in F minor.

Set #3: Dub-Isotope’s VOID mix 

Pivoting away from techno, our third set analyzed was a Drum N Bass one. We analyzed Dub Isotope’s set at VOID Berlin- a stellar venue for non-techno and techno music alike. 

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Dub Isotope’s stellar 171 BPM Drum n’ Bass journey @ VOID Berlin

While the two sets above were in a minor key, our analysis results showed that this set favored F major. Also, compared to the 105-130 BPM range of the techno sets, Dub Isotope’s set sat firmly at 171 BPM, a tempo characteristic of Drum N Bass music. 

Listening to Drum N Bass is quite a diverse emotional journey. The qualities detected in this set were at more moderate levels, compared to the earlier two techno sets. 

Cyanite’s AI mood analysis on Dub Isotope’s Drum n’ Bass trip

Our results signaled to us that this set was definitely more upbeat. While the techno sets at certain emotions at a distinctively high level, and others at a significantly lower range (e.g. Relaxing’ at near rock bottom levels for both), the various emotions detected for Dub Isotope’s set mostly occupied the mid-range. Among these, the top few to note were ‘calm’, ‘dark’ and ‘relaxing’, followed very closely by happiness

Looking at our genre analysis, Dub Isotope’s set was similarly detected to be electronic dance, with an interesting spurt of hip hop just a bit after the halfway mark of the mix

Analyze your own music

We built Cyanite in a way that everyone can use it to analyze their own music with AI. If you want to get insights on mood, genre, bpm, and key for your music, you can register here for free and try it out yourself. Contact us if you have feedback, ideas, or want to use our API to integrate Cyanite into your database.