ASCAP Lab highlights a quartet of early-stage music startups – TechCrunch


Music rights giant ASCAP said today that a quartet of early stage college music startups / projects will compete in its Immersive Music Studio Challenge. The 12-week project is a partnership between ASCAP Lab and NY Media Lab (NYCML) that offers teams grants and access to development resources. They will also be featured in the next ASCAP experience.

It’s an interesting little cohort, aiming to tackle some powerful music industry problems. Some have already submitted marketing plans, while others essentially joined for the show and haven’t really thought that far down the road.

We spoke with the founding teams to get a better idea of ​​the projects.

Image credits: Boomy

Who is on your founding team?

Boomy was founded by serial music entrepreneur Alex Jae Mitchell and music industry veteran Matthew Cohen Santorelli in 2019.

Describe your product. What market problems are you trying to solve?

Making music is a complex skill that requires time, equipment, and resources that most people do not have. Boomy is an AI-powered music automation platform where people create and release music instantly, effortlessly, and for free, even if they’ve never made music before. More than 200,000 people are already using Boomy to create and release music, 85% of whom are first-time music creators.

Do you have plans to market? So what? Have you identified the sources of income?

Through the Boomy platform, users release albums to more than 40 streaming services and digital retailers around the world, including Spotify, TikTok, YouTube, Apple Music, and more, all for free. Users are left with an 80% share of the associated royalties, with Boomy using the remaining 20% ​​to power the free service.

What is your funding to date?

Boomy graduated from accelerator Boost VC in 2019 and has raised follow-up funds from venture capital firms and music funds, but has yet to make a formal announcement regarding their fundraiser.

Image credits: MiSynth

Who is on your founding team?

MiSynth started out as a fictional business proposition created by Senaida Ng in her freshman class, “Are Friends Electric?” taught by Professor Errol Kolosine. After class ended, Ng continued with the idea and worked closely with Kolosine to bring the idea to life. She recruited Ph.D. Biomedical engineer Sinem Eriksen to lead R&D along with guidance from NYU Music and Audio Research Laboratory (MARL) researchers Pablo Ripollés and Elena Georgieva.

Describe your product. What market problems are you trying to solve?

MiSynth is a revolutionary music software plugin that will allow musicians, songwriters, and producers to synthesize whatever sound they hear in their heads. They will bridge the gap between your imagination and your music by taking data from Brain Computer Interfaces (BCIs) and turning it into playable MIDI instruments. The MiSynth team firmly believes that everyone can and should have the tools to be an artist. Rather than spending hours learning about sound design and trying to recreate the perfect synth, MiSynth makes music more accessible and efficient for everyone.

Do you have plans to market? So what? Have you identified the sources of income?

Yes, we plan to continue building our prototype and testing it after the ASCAP NYCML Challenge and we expect to release our software in August 2024. MiSynth will be sold as a software add-on compatible with any Digital Audio Workstation (DAW), including Logic Pro X, Ableton Live, Pro Tools, FL Studio, Cubase, and Reason. Customers can purchase the license to use the software by paying a one-time fee or a monthly subscription fee until they pay the full price of the license.

What is your funding to date?

We are a relatively new company that started in December 2020 only, but we plan to continue seeking investor funding, research grants, and challenges such as the ASCAP NYCML Challenge to continue our business.

The slashers

Who is on your founding team?

Devin Kenny, a New York-based interdisciplinary freelance artist, writer, musician, and curator, and William Leon, an AR / VR developer and professor at Cornell Tech. The founding team met through the Art Fellowship at Cornell Tech in 2020.

Describe your product. What market problems are you trying to solve?

Otherwards is a mixed reality album listening experience that combines music with interactive 3D objects and geolocation technology, creating an exploratory album experience for the listener that blends music, games and the world around them.

Do you have plans to market? So what? Have you identified the sources of income?

There are no plans to commercialize at the moment. We are in the process of iterating through the application toolchain and doing customer discovery.

What is your funding to date?

We have just started work on this project and we have not yet raised any funds.

Image credits: Point point

Who is on your founding team?

Kate Stevenson, Elizabeth Perez, Chris White and Jacques Foottit.

Describe your product. What market problems are you trying to solve?

Social is the best of its kind online events platform where users can easily meet and chat with other people while exploring virtual spaces with games and live presentations. We saw the need to bring serendipitous social moments and ways to build real-life relationships in a remote virtual experience, especially at events and live performances.

Each world comes with proximity-activated audio, livestream avatars, beautiful customizable images, and unique branding opportunities. With options to display video content, host a live social broadcast, add entertaining challenges and game packs for attendees and audience members to connect through playful exploration and be impressed by the experience.

Do you have plans to market? So what? Have you identified the sources of income?

Social is used commercially for product launches, conferences, team building events, art exhibitions, and performances. Sources of income include monetization through tickets, donation widgets, and sponsorship packages. Our business clients include fashion and beauty brands, media, technology and finance.

The COVID-19 pandemic has redefined the way we think about communication and virtual experiences. We have seen a level of behavior change that would normally take more than 10 years to occur in just 12 months. There is now a viable market for virtual engagement and therefore an opportunity to consider a hybrid approach on how we can engage audiences as we emerge from the pandemic.

What is your funding to date?

We are currently funded through white label development for companies and event brands. Social media is growing organically based on user needs, through pilots with physical venues, artists, and passionate communities.


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