The BBC’s reporting that recording giants like Sony BMG have started using computer programs rather than their ears to determine whether they have a hit song on their hands. More specifically, they’re using a complex new program called Platinum New Music Intelligence to determine what songs to put their marketing money behind. The program, developed by Mike McCready of Platinum Blue, analyzes songs in mathematical terms, breaking music “down into 30 or so component parts including rhythm, melody, harmony, beat, cadence, timbre, pitch, and gives each a number.” Regardless of genre, the company believes chart toppers seem to fit the same pattern. Of course, the program has musicians flustered. Electronic musician Moby is all over it, while singer-songwriters (like James Blount’s writing partner Amanda Ghost) are appalled and worried that music is going to sound more and more the same.
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“Worried that music is going to sound more and more the same?” Christ, isn’t it already too late?
Actually, I find this whole thing stunning. If it’s true that all songs fit the model regardless of genre, this could yield something like a Unified Theory of Pop Music. Of course, I guess this measures hit potential, not actual song quality — wonder what it’d do with “My Humps” — so perhaps not.
posted by Mary on 6-19-2006 at 10:26 am
Yeah, there was a similar story in The Economist last week. Of course it got me thinking about iTunes, and how some people argue that the algorithm that drives the “shuffle” function tends to favor bands and artists like U2 that are hooked up with Apple. (Which, by the way, I’ve found to be 100% true.) So once this Platinum Blue inks a deal with a software company, will bands somehow linked to said software company tend to turn out more hits than others who aren’t? Ahh, I’m such a cynic sometimes, ain’t I?
posted by David on 6-19-2006 at 10:44 am
I definitely think it’s fascinating, and I’m curious to see how the marketing will change… if indie bands will group together and put stickers on their stuff that shows they’re program-free, or if the program will actually help writers who embrace it by giving them more options to tweak their sounds.
As for the shuffle thing, I’ve always been curiuos about that as well. I always thought that the shuffle pulled songs that ended on a note, and started on a close note so they blurred well into one another. I have no idea if that’s right, but U2 songs always have those long fuzzy intros that seemed easy to seamlessly blend with. I figured that’s why they always showed up on my shuffle feature. I little cynicism and dwelling on the marketing tie-ups makes it seem more clear.
posted by Mangesh on 6-19-2006 at 10:55 am
Talking about the iPod shuffle algorithm is guaranteed to make me pull out my tin-foil hat. The Times did a good summary and debunkment of the conspiracy theories a couple years ago… but not good enough to convince me that there isn’t a gremlin in there.
posted by Mary on 6-19-2006 at 11:05 am