Alejandro Koretzky draws a U to explain the impact of technological innovation on society: “What you see when you study what effect technologies generate is that the two extremes favor each other. Applied to music, those who do not understand anything are encouraged to express themselves musically without being musicians; those who know a lot take advantage of the new to be even better. In short, technology always raises the bar for you.”
Thus, convinced, enthusiastic, this Cordovan musician and technologist has fun spinning things from an island near Mykonos, in Greece, where he spends a few days with his girlfriend, making use of the benefit of those who work remotely. They are part of that current phenomenon called “digital nomads”.
Lyric – yes, Alejandro is indeed a musician and her name is Lírica – laughs from the bed of the hotel room from where he is about to talk about how artificial intelligence (AI) impacts music. She just woke up from her nap.
“We met in a bowling alley in Los Angeles -refers he, with a healthy 38, knowing that, beyond nomadism and her unparalleled freedom, she, with 33, wants children-, and I still haven’t made the switch but we’re going to have a family”, he comments, raising his tone a bit. He turns with Cordovan mischief and Lyric, black, with a fabulous smile, reaffirms in English: “Yes, we’ll have kids”, and covers herself with a pillow.
She is one of the lawyers of Snapchat, the social network for teenagers that proposes to play with the cell phone camera. Her specialty is data privacy, a thorny issue for applications. “Sometimes when I’m researching something or creating a product, she guides me as to what’s possible and what’s not,” explains Koretzky.
However, it is doubtful that anyone can stop him from creating. Koretzky (with ancestors in Eastern Europe, bilingual with perfect pronunciation) recorded two albums with his band, Ximétria, and with the song It’s a Wild Ride he had success on MTV. Meanwhile, as a Telecommunications Engineer, he won scholarships with which he studied Computer Science and Electronic Engineering in the United States.
He founded companies, mentors entrepreneurs, and advises talented and innovative young people starting their startups. His mentor is Lars Perkins, founder of Picasa, the photography platform that had its glory at the beginning of this century, and that Google bought for several million dollars.
Today, and for five years, he has been the head of the Department of AI and Innovation in Audio Sciences at Splice, a company that offers all kinds of digital tools to create music: sound bank, virtual recording space, effects, ability to record and edit from any digital device.
Within this incredible world, Alejandro is a specialist in using convolutional neural networks (CNN) to add and disaggregate sounds that become music. March a translation for table five!
Of the many ways in which a computer program can learn and become intelligent, NCRs are the ones that best emulate the behavior of the human brain, even because they manage to learn from the information they receive, without anyone’s supervision.
Within Splice, Koretzky’s latest invention is called CoSo – an acronym for Complementary Sounds. It is an application for mobile phones with which one has the opportunity to create music but no longer trying to compose in a simplified way –what artists who are today a worldwide trend have been doing– but rather more intuitively.
In one click, choosing the style of music the user is imagining, CoSo creates a sound base instantly. In other words, something that starts, right off the bat, being unique and attributable to whoever uses the interface. Then, that theme is infinitely tuneable: all kinds of sounds, including voices, are added or removed with absolute simplicity, using nothing more than the index finger.
Once the user is satisfied, they save the new song to a CoSo profile, which even offers a tentative name for the creation, if the composer? he is not inspired for titles. From then on, it is possible to continue producing the material in audio editors within Splice, in order to record more instruments, or mix.
Of course, with each new attempt, CoSo’s artificial brain learns and improves its creations. Koretzky loves the dilemma about whether or not this is music, well faced, delights Koretzky: “Whenever technology impacts art, we tend to believe that what is new is not authentic (…) but then, despite the fact that many things that probably have no artistic value, what is not good is distilled, and technologies end up being of great help to the truly talented. Today, from the top ten Billboard, everyone uses software to create their songs.
Alejandro plans to come to Argentina at the end of the year, and bring Lyric for the third time “because I still love my country, and I try to get her to know it and I explain to her that it is a country of contrasts, where friends are brothers and there are people who are very valuable, but I can’t live there because mentally I can’t stand it (…) anyway I would like it to incorporate a little more of what is good about us, Argentines”.
The latter, about the end of July and with the winds that blow through these pampas, sounds, at times, indecipherable. Lyric loves the humita salteña, the pizzas from Buenos Aires and the wine from Mendoza. Perhaps that is what we have to offer, in addition to the hospitality that, without a doubt, the family of the future father of his children will offer them in Córdoba.
For the rest, it will fall by its own weight that Alejandro’s extraordinary career needs much more than beautiful landscapes, delicious food and the warmth of those who make the fraternity a cult.
Long live those who leave a frayed country, leave their mark on the world through sheer talent and are still capable of caring for their origins!
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