Mikey Shulman: preference

Transcript context

…But curious to see to hear how you're thinking about Suno, too. Like, is there a second act of Suno that is like going broader into the music industry? Going broader into like the custom mode and making making this the central hub for music generation? I think we intend to make many more modes of interaction with our stuff, but we are very much not focused on, quote unquote, professionals right now. And it's because what we're trying to do is change how most people interact with music and not necessarily make professionals a little bit better, a little bit faster. It's not that there's anything wrong with that. It's just like not what we're focused on. And I think when we think about what workflows does the average person want to use to make music, I don't think they're very similar to the way professional musicians make music now. Like, if you pick a random person on the street and you play them a song and then you say, like, what did you want to change about that? They're not going to say, like, you need to split out the snare drum and make it drier. Like, that's just not something that a random person off the street is going to say. They're going to give a lot more descriptive things about the thing, about the kind of the oeuvre of the song, like something more general. And so, I don't think we know what all of the workflows are that people are going to want to use. We're just, like, fairly certain that the workflows that have been developed with the current set of technologies that professionals use to make beautiful music are probably not what the average person wants to use. That said, there are lots of professionals that we know about using our stuff, whether it's for inspiration or sample generation and stuff like that. So, I don't want to say never say never. Like, there may one day be a really interesting set of use cases that we can expose to professionals, particularly around, I think, like custom models trained on custom people's music or, you know, with your voice or something like that. But the way we think about broadening how most people are interacting with music and getting it to be much more active, a much more active participant, we think about broadening it from the consumer side and not broadening it from the producers, from the professional side, if that makes sense. Is the dream here to be, you know, I don't know if it's too coarse of a grain to put it, but, like, is the dream here to be, like, the mid-journey of music?…

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