#rasti for short

[peachphernalia]

failing jashtober because i got Really obsessed with our au again My Bad Guys . hey is this the first time i’ve posted about polar orbit i work on polar orbit . here’s a design for rasti finally

[airsthetically]

Tagged by @rasty-catastrophe

Lockscreen / Phone screen

Last song / Last photo saved (I'm crocheting some shorts!)

I tag @almondzhou @tea-with-mrs-mourning-dove @walk-in-the-wood @komposto and @moheir if you want!!

[normal-about-media]

HERES MINE!!!! If anybody was wondering about all the cards/ ace of spades ♠️, I am asexual/ aromantic/ agender sooooo... yea!!! ALL PRONOUNS!!! Their Meyers Briggs personality type is ENFP, Superrrr Adhd, Slytherin & alignment is Chaotic Neutral

Character songs are Sugar Crash-ElyOtto, Borderline- Tove Styrke, Candle Queen- Ghost and Pals & Silver Chord Music, Panic Room- Au/Ra, Mad Hatter- Melanie Martinez, Opinions- CG5, Nightmare- Zach Callison, Greedy- Or3o & Swiblet, Ready As I’ll Ever Be- Tangled the Series, Sick Boy- The Chainsmokers, & Proud Of You- RASTI. (spotify playlist link is down below)

https://open.spotify.com/playlist/7qluCvJMw1VfKbigLLfvQB?si=EKZUWgfWQMu0pnnvrbXcIw&dl_branch=1

As for their backstory they were probably suppressed & wasn’t allowed a whole lot of self expression as a kid, a result of that is they had to mask their personality, desires, & hang out with a bunch of fake people because they knew that is what was expected of them & will make their parents happy. Later down the line they found that the only place they would be loved & accepted is with villains. He ran away from her abusive parents & joined the villains because they were the only people she could be himself around.

Now they are fighting for equal rights as a villain but anyone who messes with xer people is either dead or soon to be dead.

Their magic powers started manifesting after they ran away to the villains & basically got adopted by the supernatural/ villain mafia. When they get upset or have strong emotions ze has a harder time controlling their magic & if you brush up against them you might accidentally see ghosts for a second or something nearby will shatter etc... For the most part their magic is chaos magic & is pretty unpredictable. Something that worked one day might not produce the same affect or do anything at all the next.

Languages xe are fluent in: English, ASL, Russian, Spanish, & Japanese.

He is really good at lying because they were forced to have a completely different personality for most of her childhood.

Skills: Acting, Parkour, being Charismatic, Reading other People, Voice Projection, Is an expert on the most random stuff because if xe hyperfocuses zey can know everything about a topic overnight.

Style: he tends to lean toward bright colors (their favorite being pink), Neon rainbows, & galaxy print.

Appearence: Pretty short & stalky, about 5’1, Skin is a medium-light brown (she’s a mix between asian & hispanic), curly & kinda bushy brown hair with hot pink at the tips, green eyes (nobody is really sure how because all of her family has brown eyes, it might be because of a mutation or a result of his magic), when their exited they move A LOT!!!! (and just in general)

I’m sorry I’ll stop now (yes I know the description looks nothing like the picrew leAve mE alOnE :C)

HEY EVERYONE CAN WE DO A PICREW GAME IVE NEVER DONE ONE BEFORE SO TELL ME IF ME DOIN SOMETHING WRONG

@fluxite @bread-of-death @directorarc @moon--bug @/anyone else

MAKE A FUNKY ECCENTRIC POSSIBLY GAY VILLAN VERSION OF YOU WITH THIS THING

SMALL EDIT: FEEL FREE TO ADD A VILLAIN MONOLOGUE OR SMALL QUOTE PLS I REALLY WANNA HEAR SOME COOL STUFF (yes this is an invitation)

https://picrew.me/image_maker/28750

[chocolateclipsa]

So, I want to tell you few words about my OC to Star vs The Forces of Evil, which I created back in summer. I can’t draw so, I will try to describe him the best I can. Get ready, guys! 

His name is Pudding (my sis came up with the name) and he was created as father of Toffee. Do you feel irony? I don’t exacly know how lizards are born (they are hatching from eggs, right? or their parents spit out eggs and then they are hatching, like Piccolo Daimao did with Piccolo? who knows? not me, for sure), but I tought why not? Life is short. Let’s create Toffee’s father even if it is really stupid idea!

Few facts about Pudding:

He once was respected, charismatic, honorable General, who easily could broght monsters together. Maybe he was one of Eclipsa’s husband generals and was protecting royal family? I don’t know yet.  

I don’t know if there was any mother for Toffee (since I only speculate about lizards and their biology) but if yes, she was badass, hella clever assassin, who left her family. It was really heartbreaking for Pudding. 

He trained Rasty and was like father-figure for him.

After royal family fall, he continued fighting against Mewmans. His army won no single battle and yet monsters still followed his leadrship. 

One day his glory was stolen from him. It was time of Celena the Shy rule. Pudding and his army were never so close to victory. They even got into the castle. The queen was in her bedroom without any protection. And then she came out into the corridor in her pjamas. Pudding were ready to attack but then she simply came to him and whispered something to his ear (I had that headcanon that her voice can control minds). The brave, respected General fall on knees and simply surrended. Then Celena used the wand and kicked monsters out of the castle. After that Pudding was abandoned by soldiers. He experienced humiliation and rejection. 

After Celena incident Pudding got through serious breakdown, but he tried to get over it for his son's sake. Rasty tried to help him. He even found job for him.

Pudding started working for bandit named Rabarbar. The lizard’s job was guarding Rabarbar's vault of magic items.

Toffee admired his father deeply and had ton of respect for him. He wanted to be as cunning and skilled warrior. But, after his father’s disgraceful defeat he started to despise and avoid him. Pudding had many troubles with his son and his attempts at getting trough to him were always ineffective. One time Toffee even used his father to steal something from Rabarbar’s vault. He believed that magic could gave monsters advantage in another war, so he started to studying it.

In freetime Pudding cooks. Sometimes it helps him manage all the stress. 

So, that will be all for now! Wait for more! I’m still working on this character and honestly I don’t know how exactly he looks like. But I’m sure his hair are georgeus! :P 

[awesomesaurous]

LIZARD HYPER TEAM GO!

it’s a sketch dump yay

Before the July “movie” premiere I need to squeeze in some other things I forgot were on my computer [wince] 

1. So you know that Toy Story short, “The Toy Story That Time Forgot”? Well I saw it and that prompted action figure dinosaurs. So that’s being lampooned.

2. I hadn’t gotten used to drawing Rasty yet

3. You know, I tried so hard to match the season 1 model for Toffee, and then they up and dumped this one on me - it’s hard to believe they’re the same guy!

4-6. I will ALWAYS make more A Bug’s Life jokes. Sure, they’re brothers, why not.

7. STOP

in the name of lovvvvvve

[auberginehill]

Kotitekoinen käsidesi K-3 ja Kotitekoinen käsidesi WHO-1 (liuos)

Reseptiluokka

Puhdistusaineet

Valmistusaika

15 min

Tekeytymisaika

72 tuntia

Tulos

500/300 ml valmista liuosta

Huomio

Palovaara

Ainesosat Kotitekoinen käsidesi K-3

370 ml (~199 g) Isopropanolia (Propan-2-oli, isopropyylialkoholi) / spriitä / etanolia / puhdistusalkoholia

125 ml Aloe vera -geeliä

Tuotteet Life Aloe Vera Gel ja Pur Aloé Gel d'Aloe Vera muuttuivat alkoholissa ollessaan könttimäisiksi, eivätkä varsinaisesti sekoittuneet muiden ainesten kanssa.

5 ml (1 tl) Glyserolia eli glyseriiniä

muutama tippa Valittua/valittuja hajusteöljyä/hajusteöljyjä, kuten esimerkiksi teepuuöljyä tai muita sen tapaisia tuoksuja

10 tippaa Setri

10 tippaa Rosmariini

2 tippaa Teepuuöljy

Jos Isopropanoli on 98.5% (puhdasta alkoholia 3.64 dl) = alkoholipitoisuus on 72.9 %.

Jos Isopropanoli on 99.8% (puhdasta alkoholia 3.69 dl) = alkoholipitoisuus on 73.9 %.

Ainesosat Kotitekoinen käsidesi WHO-1 (liuos)

230 ml Isopropanolia (Propan-2-oli, isopropyylialkoholi)

10 ml (2 tl) Glyserolia eli glyseriiniä (lopullinen määrä tuotteessa 3,3 %)

15 ml (1 rkl) Vetyperoksidia (lopullinen määrä tuotteessa 4,9 %)

50 ml Tislattua vettä tai keitettyä vettä tai akkuvettä

muutama tippa Valittua/valittuja hajusteöljyä/hajusteöljyjä, kuten esimerkiksi teepuuöljyä tai muita sen tapaisia tuoksuja

10 tippaa Frankinsensi

10 tippaa Rosmariini

2 tippaa Teepuuöljy

Jos Isopropanoli on 98.5% (puhdasta alkoholia 2.27 dl) = alkoholipitoisuus on 74.3 %.

Jos Isopropanoli on 99.8% (puhdasta alkoholia 2.30 dl) = alkoholipitoisuus on 75.3 %.

Valmistusohjeet

Kun ostat/tilaat voltteja sisältäviä tuotteita kaupasta (tai nappaat niitä käyttöön omasta kaapista/varastosta), katso tuotteiden varoitusmerkinnät ennen ostopäätöstä (tai käyttöönottoa).

GHS02 – syttyvä (liekki) -merkki on toivottava varoitus.

GHS07 – terveysvaara (huutomerkki) -merkin kohdalla lue tuoteturvaseloste läpi, että mitä vaaraa aineesta oikein on.

GHS05 – syövyttävä -merkin osalta selvitä tuoteturvaselosteesta, että mitä syövyttävyys oikein tarkoittaa, ja laske käytettävän käsidesikaavan avulla lopulliset syövyttävän aineen pitoisuudet, että ylittyvätkö mahdolliset raja-arvot.

Haitallinen (rasti, vanha merkki/tuote) tai sitä voimakkaampien varoitusmerkkien (esimerkiksi pääkallo, "vaarallinen ympäristölle”, ”vakava terveysvaara”, ”hapettava” tms.) omaavia tuotteita ei pidä käyttää käsidesin valmistamisessa.

Lisäksi tuoteselosteeseen kannattaa perehtyä huolella:

Haitallisia ainesosia alkoholeista ovat esimerkiksi metanoli, mikä aiheuttaa kuolemaa (15 ml 40 % metanolia nieltynä) sekä sisäelinvaurioita ja pienemmissä määrissä nautittuna sokeutumista (4 ml nieltynä). Metanoli on yhtenä ainesosana "Neste Sprii polttoneste" nimisessä tuotteessa.

Lisäaineista esimerkiksi "MEK" tai "butanoni" on metyylietyyliketonia, josta Työministeriö katsoo työperäisen aineelle altistumisen aiheuttavan vaaraa perimälle, sikiölle tai lisääntymiselle. MEK on yleisesti käytössä oleva etanolin denaturointiaine, ja sitä löytyy esimerkiksi tuotemerkeistä Sinol, Kemetyl T-Röd Sprii Polttoneste ja Biltema Sprii. Kannatanee käyttää harkintaa siinä, että minkälaisia aineita ehdoin tahdoin haluaa hieroa käsilleen.

Varaa hyvin tuuletettuun paikkaan tarvittavat pullotusvälineet valmiiksi, eli pullot, korkit, pumput ja imuputket sekä ota esille tarvittavat mittausvälineet, vaaka ja mahdollinen tratti ja pipetti.

Syttyvä Terveysvaara / haitallinen otsonikerrokselle Syövyttävä Haitallinen tai Ärsyttävä (väistynyt merkki vanhoissa tuotteissa) Vaarallinen ympäristölle Voi käyttää Selvitä Selvitä, Laske altistus Luultavasti ei käy, Älä käytä Ei käy, Älä käytä

Lähde

Muokattu ohjeesta MTV3: Näin teet käsidesiä itse

Lisätiedot

"Immediately divide up the solution into its final containers (e.g. 500 or 100 ml plastic bottles), and place the bottles in quarantine for 72 hours before use. This allows time for any spores present in the alcohol or the new/re-used bottles to be destroyed."

WHO-recommended Handrub Formulations (pdf, 306 kt)

Short URL: https://tinyurl.com/ry6tp42

[pmsocialmedia]

Pex buys Dubset to build YouTube ContentID for TikTok & more

Social networks are in for a rude copyright awakening. A new European Union law called Article 17 essentially eradicates safe harbor and requires that they’ve made their “best effort” to get licenses from rights holders for all content on their platform. If a user uploads a video with a popular song in the background, tech platforms can’t just take it down if requested. They’ll be liable if they didn’t already try to get permission.

That’s good news for musicians and film producers who are more likely to get paid. But it could hurt influencers and creators whose clips and remixes might be blocked or have their revenue diverted. It will certainly be a huge headache for content sharing sites.

That’s where Pex comes in. The profitable royalty attribution startup founded in 2014 scans social networks and other user generated content sites for rightsholders’ content. Pex then lets them negotiate licensing with the platforms, request a take down, demand attribution, and/or track the consumption statistics. It’s collected a database of over 20 billion audio and video tracks found on YouTube, Facebook, Instagram, TikTok, Twitch, Twitter and more. It’s like an independent YouTube ContentID.

Today that business gets a big boost as Pex is acquiring Dubset, which has spent 10 years tackling the problem of getting remixes and multi-song DJ sets legalized for streaming on services like Spotify to some success. The $11.3 million-funded Dubset does fingerprinting of 45 million tracks from over 50,000 rights holders down to the second so the artists behind the source material get paid.

Pex has come a long way from when CEO Rasty Turek tried build a Shazam for video. “It took me years to figure out how to do it technically, but there was no market for it” he tells me. Turns out that the technology was perfect for spotting illegal usage of copyrighted songs.

Now Pex will gain Dubset’s connections to tons record labels and other rightsholders in what two sources close to the deal says is an acquisition priced between $25 million and $50 million. “There are very few companies in the music business that have successfully licensed as much catalog as Dubset, and the music rights database they’ve built is massive and rare” Pex CEO Rasty Turek tells TechCrunch exclusively before the deal’s formal announcement tomorrow.

Together, they’ll be pushing Pex’s new Attribution Engine that establishes a three-sided marketplace for content. Instead of just working with rightsholders, the fresh tech can plug directly into big platforms and instantly identify copyrighted audio and visual files as short as one second. It can even suss out cover versions of songs via melody matching, as well as compressed, cropped, and modified variations. Creators can also use it to ensure the source material they’re remixing or turning into memes is given proper attribution or a cut of revenue.

The Attribution Engine earns money by facilitating the licenses and payments between platforms, rightsholders, and creators. It’s free to register content with the service as well as for platforms to perform

The Attribution Engine is free for rightsholders to register their content and free for platforms to run identification scans on what’s uploaded to them. using our asset lookup service. The hope is that by creating a simpler path to cooperation and revenue sharing, more rightsholders will make their content accessible for use on social networks or in remixes. It could also grant platforms protection from Article 17 liability since they’ll be able to say that Pex made it best effort to get content usage approval from rights holders.

“Basically every platform in the world that operates in the EU will have to identify all copyrighted content on their platform as it comes in or go back and identify all of it” says Dubset chief strategy office Bob Barbiere. “Dubset was really built to serve at the DJ or content creator level . . . doing it purely for the purposes of mix and remix content. Pex does it in a much bigger way for the platforms.”

For up-and-coming platforms like TikTok competitors Dubsmash or Triller, Pex’s business model is a gift. They don’t have to pay for the ID service until they’re ready to cut licensing deals with rightsholders when Pex adds a fee on top. Trying to build this stuff from scratch could be slow and hugely expensive, given YouTube’s still perfecting its ContentID system eight years in.

Pex will have to manage the careful balance of staying ahead of regulation but not so far that it’s building technology people won’t need for a long time. European Union states have until June 21st 2021 to implement Article 17 with local laws. “We don’t want others to out-innovate us, but we also don’t want to out-innovate ourselves out of existence by being too early and then waiting for the market to catch up to us” Rasty explains.

Image via HelpCloud

The internet needs this kind of infrastructure because we’re still at the beginning of the age of the remix. TikTok has proven how recontextualizing a song or vocal track with new visuals can create chains of jokes and content that go massively viral. The app productizes the Harlem Shake phenomenon, whereby people promote their own takes on a piece of content, drawing attention to the original and all the other versions. But these webs of remixes could be severed if platforms and rightsholders can’t forge licensing agreements.

“I hope that thanks to Pex, 20 years from now people will not have to think about copyright” Turek concludes. “Any content they produce and distribute on the open internet will be automatically attributed to them and generate revenue if they so choose.” That could allow more people to turn their passion for creation into their profession, whether they’re building an app, writing a song, or remixing a song into a meme for an app.

via Social – TechCrunch https://ift.tt/2TqyzlN

[localbizlift]

Pex buys Dubset to build YouTube ContentID for TikTok & more

Social networks are in for a rude copyright awakening. A new European Union law called Article 17 essentially eradicates safe harbor and requires that they’ve made their “best effort” to get licenses from rights holders for all content on their platform. If a user uploads a video with a popular song in the background, tech platforms can’t just take it down if requested. They’ll be liable if they didn’t already try to get permission.

That’s good news for musicians and film producers who are more likely to get paid. But it could hurt influencers and creators whose clips and remixes might be blocked or have their revenue diverted. It will certainly be a huge headache for content sharing sites.

That’s where Pex comes in. The profitable royalty attribution startup founded in 2014 scans social networks and other user generated content sites for rightsholders’ content. Pex then lets them negotiate licensing with the platforms, request a take down, demand attribution, and/or track the consumption statistics. It’s collected a database of over 20 billion audio and video tracks found on YouTube, Facebook, Instagram, TikTok, Twitch, Twitter and more. It’s like an independent YouTube ContentID.

Today that business gets a big boost as Pex is acquiring Dubset, which has spent 10 years tackling the problem of getting remixes and multi-song DJ sets legalized for streaming on services like Spotify to some success. The $11.3 million-funded Dubset does fingerprinting of 45 million tracks from over 50,000 rights holders down to the second so the artists behind the source material get paid.

Pex has come a long way from when CEO Rasty Turek tried build a Shazam for video. “It took me years to figure out how to do it technically, but there was no market for it” he tells me. Turns out that the technology was perfect for spotting illegal usage of copyrighted songs.

Now Pex will gain Dubset’s connections to tons record labels and other rightsholders in what two sources close to the deal says is an acquisition priced between $25 million and $50 million. “There are very few companies in the music business that have successfully licensed as much catalog as Dubset, and the music rights database they’ve built is massive and rare” Pex CEO Rasty Turek tells TechCrunch exclusively before the deal’s formal announcement tomorrow.

Together, they’ll be pushing Pex’s new Attribution Engine that establishes a three-sided marketplace for content. Instead of just working with rightsholders, the fresh tech can plug directly into big platforms and instantly identify copyrighted audio and visual files as short as one second. It can even suss out cover versions of songs via melody matching, as well as compressed, cropped, and modified variations. Creators can also use it to ensure the source material they’re remixing or turning into memes is given proper attribution or a cut of revenue.

The Attribution Engine earns money by facilitating the licenses and payments between platforms, rightsholders, and creators. It’s free to register content with the service as well as for platforms to perform

The Attribution Engine is free for rightsholders to register their content and free for platforms to run identification scans on what’s uploaded to them. using our asset lookup service. The hope is that by creating a simpler path to cooperation and revenue sharing, more rightsholders will make their content accessible for use on social networks or in remixes. It could also grant platforms protection from Article 17 liability since they’ll be able to say that Pex made it best effort to get content usage approval from rights holders.

“Basically every platform in the world that operates in the EU will have to identify all copyrighted content on their platform as it comes in or go back and identify all of it” says Dubset chief strategy office Bob Barbiere. “Dubset was really built to serve at the DJ or content creator level . . . doing it purely for the purposes of mix and remix content. Pex does it in a much bigger way for the platforms.”

For up-and-coming platforms like TikTok competitors Dubsmash or Triller, Pex’s business model is a gift. They don’t have to pay for the ID service until they’re ready to cut licensing deals with rightsholders when Pex adds a fee on top. Trying to build this stuff from scratch could be slow and hugely expensive, given YouTube’s still perfecting its ContentID system eight years in.

Pex will have to manage the careful balance of staying ahead of regulation but not so far that it’s building technology people won’t need for a long time. European Union states have until June 21st 2021 to implement Article 17 with local laws. “We don’t want others to out-innovate us, but we also don’t want to out-innovate ourselves out of existence by being too early and then waiting for the market to catch up to us” Rasty explains.

Image via HelpCloud

The internet needs this kind of infrastructure because we’re still at the beginning of the age of the remix. TikTok has proven how recontextualizing a song or vocal track with new visuals can create chains of jokes and content that go massively viral. The app productizes the Harlem Shake phenomenon, whereby people promote their own takes on a piece of content, drawing attention to the original and all the other versions. But these webs of remixes could be severed if platforms and rightsholders can’t forge licensing agreements.

“I hope that thanks to Pex, 20 years from now people will not have to think about copyright” Turek concludes. “Any content they produce and distribute on the open internet will be automatically attributed to them and generate revenue if they so choose.” That could allow more people to turn their passion for creation into their profession, whether they’re building an app, writing a song, or remixing a song into a meme for an app.

[un-enfant-immature]

Pex buys Dubset to build YouTube ContentID for TikTok & more

Social networks are in for a rude copyright awakening. A new European Union law called Article 17 essentially eradicates safe harbor and requires that they’ve made their “best effort” to get licenses from rights holders for all content on their platform. If a user uploads a video with a popular song in the background, tech platforms can’t just take it down if requested. They’ll be liable if they didn’t already try to get permission.

That’s good news for musicians and film producers who are more likely to get paid. But it could hurt influencers and creators whose clips and remixes might be blocked or have their revenue diverted. It will certainly be a huge headache for content sharing sites.

That’s where Pex comes in. The profitable royalty attribution startup founded in 2014 scans social networks and other user generated content sites for rightsholders’ content. Pex then lets them negotiate licensing with the platforms, request a take down, demand attribution, and/or track the consumption statistics. It’s collected a database of over 20 billion audio and video tracks found on YouTube, Facebook, Instagram, TikTok, Twitch, Twitter and more. It’s like an independent YouTube ContentID.

Today that business gets a big boost as Pex is acquiring Dubset, which has spent 10 years tackling the problem of getting remixes and multi-song DJ sets legalized for streaming on services like Spotify to some success. The $11.3 million-funded Dubset does fingerprinting of 45 million tracks from over 50,000 rights holders down to the second so the artists behind the source material get paid.

Pex has come a long way from when CEO Rasty Turek tried build a Shazam for video. “It took me years to figure out how to do it technically, but there was no market for it” he tells me. Turns out that the technology was perfect for spotting illegal usage of copyrighted songs.

Now Pex will gain Dubset’s connections to tons record labels and other rightsholders in what two sources close to the deal says is an acquisition priced between $25 million and $50 million. “There are very few companies in the music business that have successfully licensed as much catalog as Dubset, and the music rights database they’ve built is massive and rare” Pex CEO Rasty Turek tells TechCrunch exclusively before the deal’s formal announcement tomorrow.

Together, they’ll be pushing Pex’s new Attribution Engine that establishes a three-sided marketplace for content. Instead of just working with rightsholders, the fresh tech can plug directly into big platforms and instantly identify copyrighted audio and visual files as short as one second. It can even suss out cover versions of songs via melody matching, as well as compressed, cropped, and modified variations. Creators can also use it to ensure the source material they’re remixing or turning into memes is given proper attribution or a cut of revenue.

The Attribution Engine earns money by facilitating the licenses and payments between platforms, rightsholders, and creators. It’s free to register content with the service as well as for platforms to perform

The Attribution Engine is free for rightsholders to register their content and free for platforms to run identification scans on what’s uploaded to them. using our asset lookup service. The hope is that by creating a simpler path to cooperation and revenue sharing, more rightsholders will make their content accessible for use on social networks or in remixes. It could also grant platforms protection from Article 17 liability since they’ll be able to say that Pex made it best effort to get content usage approval from rights holders.

“Basically every platform in the world that operates in the EU will have to identify all copyrighted content on their platform as it comes in or go back and identify all of it” says Dubset chief strategy office Bob Barbiere. “Dubset was really built to serve at the DJ or content creator level . . . doing it purely for the purposes of mix and remix content. Pex does it in a much bigger way for the platforms.”

For up-and-coming platforms like TikTok competitors Dubsmash or Triller, Pex’s business model is a gift. They don’t have to pay for the ID service until they’re ready to cut licensing deals with rightsholders when Pex adds a fee on top. Trying to build this stuff from scratch could be slow and hugely expensive, given YouTube’s still perfecting its ContentID system eight years in.

Pex will have to manage the careful balance of staying ahead of regulation but not so far that it’s building technology people won’t need for a long time. European Union states have until June 21st 2021 to implement Article 17 with local laws. “We don’t want others to out-innovate us, but we also don’t want to out-innovate ourselves out of existence by being too early and then waiting for the market to catch up to us” Rasty explains.

Image via HelpCloud

The internet needs this kind of infrastructure because we’re still at the beginning of the age of the remix. TikTok has proven how recontextualizing a song or vocal track with new visuals can create chains of jokes and content that go massively viral. The app productizes the Harlem Shake phenomenon, whereby people promote their own takes on a piece of content, drawing attention to the original and all the other versions. But these webs of remixes could be severed if platforms and rightsholders can’t forge licensing agreements.

“I hope that thanks to Pex, 20 years from now people will not have to think about copyright” Turek concludes. “Any content they produce and distribute on the open internet will be automatically attributed to them and generate revenue if they so choose.” That could allow more people to turn their passion for creation into their profession, whether they’re building an app, writing a song, or remixing a song into a meme for an app.

[loyalizard-blog]

Here is a sort-of maybe one-sidedTofficore ficlet from an AU where Toffee captures the kingdom but can’t bring himself to kill a baby Star and adopts her with Rasticore doing most of the actual raising of Star. Star calls them Pops (Rasticore) and Dad (Toffee), she has always assumed they were a couple and when she mentions it in public so does everyone else. Now Rasti has to deal with things he wasn’t ready for.

---

Pops and Dad. Such a simple assumption had changed the dynamic between them so much in such a short time it made Rasticore's head spin.

The King-General actually seemed to listen to him now. If Rasticore spoke up, he'd actually respond now. It was mind boggling. Actually other nobles had started acknowledging him too, if he really thought about it... but if he was the King's consort wouldn't that make sense?

But he wasn't right? Not really, it was just to get people off of Toffee's back. Right?

This sort of stuff was not really his forte. Should he just be direct with general? How did he even feel about the guy? He'd always sort of admired him, but that did not romance make... right?

Why was this so hard? Shouldn't he just be able to shrug and have nothing really change? Hadn't the general?

No. No, he hadn't. So was all this complicated stuff Toffee's fault? Now Rasticore really had to talk to him. And he really didn't want to. At least not about this. How did he bring this up?

"We need to talk, sir," Classic Rasticore just getting right to the point. Catching Toffee in a quiet moment was nearly impossible. He still had so much to sort out, even now years after the conquering.

But Rasticore had managed to catch him at dinner. The king did not look pleased to be interrupted at all, "What is it, Rasticore?"

"Uh, it's kind of... private, sir," If lizards could sweat Rasticore would be sweating rivers. His frills were half perked up though, almost unfurling proper. Toffee scowled, took one more bite of the meat in front of him and stood, beckoning Rasticore to follow.

They ducked into the nearest empty room, "What's this about, Rasticore?"

"I just wanted to know where we stood, y'know? As a couple?" As soon as Rasticore said it, it sounded like a stupid question and apparently it was because Toffee almost immediately started to laugh.

"There is no us. It's all just an act. I thought you would have realized that, but I guess I overestimated your intelligence yet again.”

Rasticore winced; he hadn’t expected that to sting as much as it did. He thought he was pretty used to Toffee’s occasional cruel streak by this point, “O-oh. I totally knew that! I just wanted to, uh, make sure that you weren’t, y’know, thinking it was anything else!”

Rasticore could tell Toffee didn’t believe him from that skeptical little smirk on his face but Toffee didn’t call him on it, “Is that everything, Rasticore?”

“Yes sir,” The soldier nodded as the king excused himself, leaving Rasticore alone.

That was supposed to help him feel less confused about his feelings and stuff, but now he was more confused than ever! Ugh!

[dennakryptoanalyza]

BTC nadalej rastie, ale uvidime tento mesiac nove ATH?

Minuly tyzden som preskocil kompletnu analyzu a namiesto toho napisal len kratky update kedze som si nebol velmi isty dalsimi pohybmi BTC. Situacia sa odvtedy rychlo zmenila a dnes popisem co budem sledovat v blizkom tyzdni.

Moja povodna teoria bola, ze som ocakaval $4350-4400 ako top tohoto mierneho rally ktore zacalo na $3500, kedze som videl znaky vycerpanosti (i.e. 'divergences') na indikatoroch. Predpokladal som pad na nejakych $4050, konsolidaciu medzi $4100 - $4400 a az neskor eventualny prelom velkej hranice $4400. Napriek divergences, BTCUSD islo hore a dostalo sa prekvapujuc na hranicu $4480. Aj som zacal v tomto bode shortovat ale som to closeol lebo BTC bolo pre mna prilis nepredvidatelne na tradeovanie (silly me).

Ked o par dni BTCUSD padlo pod $4300, az vtedy som zbadal na grafe ze BTCUSD formovalo krasnu Elliott Wave:

BTCUSD, 2H sviecky, Bitfinex, Logaritmicka skala

Idealne Elliot Waves. Doporucujem nastudovat teoriu, jeden zo zakladnych principov s ktorym sa budete stretavat.

Aj som vtedy zakreslil linie do grafu zrkadlujuc lavu stranu, ale necakal som ze by cena sledovala ten pattern az uplne nadol, to by bolo prilis dokonale. Ako mozme vidiet, od $4130 sa cena velmi silno odrazila az nad $4270 a momentalne sa drzi medzi $4300 - $4400. U mna bullish signal. Okay, otvaranie longov na podpornych fibo liniach by malo byt relativne bezpecne.

Stale som bol ale strateny a nevedel som co ocakavat od ceny. Podla 4H Ichimoku Cloud (10,30,60) som urcil, ze hranica $4435 je jednoznacne dolezita resistance linia ktoru treba sledovat pre potencialny breakout (sice sme uz videli $4480, ale sviecky 4H+ sa aj tak uzavreli presne pod $4435):

BTCUSD, 4H sviecky, Bitfinex, Logaritmicka skala. Ako vidime, cena sa neraz odrazila od tejto klucovej hranice + linie Sekou Span B.

Nakoniec som si ale vsimol nasledovny pattern, vyzerajuc ako tzv. 'Rising Wedge' - bearish pattern z ktoreho sa vacsinou cena prelamuje nadol na vysokom predajnom objeme.

Co je ale zaujimave v tomto pripade, az privelmi sa podobu tomu istemu rising wedge, ktore ETHUSD tvorilo v Auguste ked sa inicialne odrazilo od $140 a neskor dosiahlo $395. Dopadlo to velmi krvavo, az to stiahlo cely trh so sebou:

Vlavo: BTCUSD, 4H sviecky, Bitfinex, Log     Vpravo: ETHUSD, 6H sviecky, Bitfinex, Log

Ta podobnost, a nie len toho rising wedge ale aj tej korekcie ktore viedla k jeho zaciatku je priam neuveritelna, vsak ze? Az odtialto vidim tie dolare ktore sa vam objavili v ociach.

Rad sa pozeram na fraktaly v minulosti pretoze velmi pekne odrazaju spravanie a mentalitu trhu a poukazuju na to, co mozem ocakavat od buduceho vyvoja cien. Ale predtym, ako si zoberiete hypoteky a predate organy na nakupenie BTC po tom co ste toto videli, vas chcem upozornit ze je nebezpecne tradeovat ciste na zaklade minulych fraktalov. Berte ich v ohlad a zapamatajte si ich a sledujte vyvoj, ale nebudte nimi zaslepeni a nadalej sledujte charts a vase oblubene indikatory, a ostante pri svojich strategiach. Inak lahko mozte byt brutalne rekt. (Zdroj: Ja v minulosti a tradeovanie fraktalov gone wrong).

Musim ale priznat ze trochu sa uskrnam z pod fuz ked toto vidim, nie len kvoli momentalnej long prilezitosti (som long z $4335 a pridam ak pojde nizsie), ale aj potencialnej Big Short prilezitosti na konci. K tomu sa ale dostaneme neskor ked/ak tam prideme. Budem vyzerat divergences na oscilatoroch.

Samozrejme ako konzervativny trader by som chcel vidiet viacero potvrdeni na tych Rising Wedge liniach. S dolnou podpornou liniou som ale celkom spokojny, s hornou ale nie. Taktiez, Rising Wedge by aj presne vyvrcholil v okoli $4800 (15-16 Oktober), co je okolie sucasneho ATH, a mozme i vidiet postupne znizujuci sa volume, co je tiez indikator potvrdzujuci Rising Wedge.

Ak to pojde dokonale, tak mame asi jasnu odpoved na otazku v nadpise.

Fraktal-nefraktal, stale by som bol prekvapeny novym ATH tento mesiac aj z fundamentalneho hladiska - v novembri nas caka dalsia Hard Fork drama - aj z technickeho hladiska - Bollingerove Pasma na vysokych skalach stale niesu dostatocne stiahnute, + mesacne RSI.3D a 1W Bollingerove Pasma som uz spominal minule a boli jeden z indikatorov podla ktorych som povodne ocakaval opatovny test $3000. Nakoniec sme sa dostali len k $3500. Napriek tomu, nove ATH sa tazko dosahuju bez obcasnych dlhych konsolidacnych period a Bollingerove pasma (a ich sirku) stale povazujem za skvely indikator volatility a urcovania konsolidacnych period. Pozrime sa na 3D a 1W opat:

Vlavo: BTCUSD, 3D sviecky, Bitfinex, Log     

Vpravo: BTCUSD, 1W sviecky, Bitfinex, Log

3D uz mame celkom pekne stiahnute, ale 1W este potrebuju zopar tyzdnov. Napriek tomuto BTCUSD stale moze ist v tomto bode vyssie a spravit nove ATH, ale vysoke ceny typu $7000 by asi boli nepravdepodobne a to rally by nebolo prilis udrzatelne. Ak ostane co najdlhsie sa konsolidovat v $4000kach (FYI 3D Bollingerove Pasma su ~$4850 a ~$3650) pred dalsim pokracovanim, tak to rally bude mat o to vacsi potencial...

...za predpokladu ze to pojde hore. Avsak nebojim sa toho ze by do konca roka nemalo spravit este aspon jeden vystup. Volume je najdolezitejsi indikator, a ked sa pozrieme na tie grafy vyssie, hlavne na 1W, vidime ze nam pekne spolahlivo stupa pocas tohoto bull run, indikujuc zvysujuci sa zaujem a doveru vo vyssich cenach.

To je vsetko.

Co sledovat

1. Ak sa niekto zarazil pri tom ako som spomenul Ichimoku Cloud a cudoval sa co je to za voodoo, je to pomocka pri analyzovani grafov (viac tu). Donedavna som to pouzival zriedkavo a nebol som s tym dobry, nedavno ma ale jeden trader naucil mnozstvo zaujimavych veci o Ichimoku Cloud ktore na mna zaposobili a zatial s uspechom som ich implementol do svojej strategie. Pri najmensom vynikajuco znazornuje podporne a resistancne linie. Budete ma vidiet castejsie ho pouzivat, raz o nom nieco aj ja postnem.

2. Vyssie spominany Rising Wedge. Mal by trvat vysse tyzdna. Opat vas upozornujem pozor na tradeovanie fraktalov.

3. NEO je jedno z par alts ktore su momentalne bullish a spolahlivo idu ruka v ruke s BTC. Osobne idem dokupit spolu k BTC.

4. Ostatne alts su anal fucked, niektore (napr. STRAT) spadli pod long term support line, ine ako XMR, ZEC alebo ETHBTC sa na nich ledva drzia. Sledoval by som ich a pripravil sa na na otvorenie padaku ak holdujete.

5. BAT ma sklamal. Nemyslim cenovo (i ked vyzera neprijemne, yikes), ale nadslubili a Mercury v plnej verzii neprisiel, nakoniec len preview -_-. Plna verzia nasledujuci tyzden. Nie je to pre mna dealbreaker a nebudem predavat svoj cenny BAT, len dufam ze sa v buducnosti budu vyvarovat tychto praktik.

6. Velmi ma zaujima kadial pojde ETH v blizkej dobe ak predpokladame ze BTC ozaj vystupi na tych $4800. ETHBTC stale neprejavuje znamky zivota a volume je coraz mensi a mensi. Dokonca je prvy krat po dlhych mesiacoch pod 4H EMA200. 0.067 ostava hlavna podpora, ak sa zlomi, mozme vidiet 0.05. Na USD sa musi konecne udrzat nad $310, co je velmi silna resistance.

Tolko odo mna tento vikend, stastne tradeovanie and stay safe kids! 

Sledujte ma na Twitteri a Facebooku ak vas zaujimaju moje obchody a nazory na trh pocas tyzdna.

[peachphernalia]

I was looking through the HV tag and got curious , does Whole change at all in High voltage/ Polar Orbit? and if so how does it affect his relationship with HMS or how they percieve him? (specially Soul) -WHAT WHO SAID THAT

AHHH YES YES YES sorry i am very excited to talk about this .

cut because this is long 😵‍💫😵‍💫

for both aus i can say that whole is basically the same in his personality just because . well. they're swap aus . same pieces in a slightly different configuration not much is Actually changing for him. i do have small small ideas of differences between them but i would need to talk it over with my co-writers since nothing is distinctly canon now x-P

in PO thoooouuugh. ,. well he definitely gets a bit different but i cannot disclose much of how or why due to that being extreme spoiler territory . sorry !!!

for the second bit …. actually one of the most important factors in how i make terminal [hv] & rasti [po] distinct from canon soul is their differing relationships to their wholes ! :-]

i write canon soul to be quite unwavering in his confidence in what he knows of whole . i think that soul is innately connected to whole [or at least he Believes that he is] in a way the other two aren’t so he doesn’t ever truly doubt himself on it . whatever opinions or ideas of whole heart & mind have are irrelevant because they simply don’t get it like he does . he thinks .

terminalllll . gets different with it . he feels that he needs to fight harder for it because he Doesn’t have that innate connection. he lost that in becoming the heart . it kind of freaks him out Bad especially when signal is confident in their belief that the whole is more or less dead & circuit is treating him as a machine rather than a man . it just makes him more devoted it just makes him want to fight harder to prove that the whole he knows is real . i don’t think he gets much more vocal about it than canon soul [because i think they’re all relatively . private about their interaction with wholeness . for varying reasons] but he gets more frantic certainly . having that room to doubt himself Freaks Him Out

& then rasti gets the flip side of that where its devotion almost quiets down & gets mellowed with that connection being cut . rasti is of course still doing everything it does for the sake of the whole but it’s more receptive to like . idk. short term goals ?????? it’s less immediately obsessive over whole because it knows that whole is distant at best right now . things are fragile . it’ll die before it loses faith but it’s currently more constructive to let that lay low & to focus on what it has. which is. basically jupiter. it’s not linked to the whole anymore [not like jupiter is] but it can sit in jupiter’s shadow & that’s the best it can do . it can learn to live with that .

these points also are huuuuugely important to how they interact with their respective souls . terminal just gets pissed off about how deeply wrong he believes circuit to be about whole & that misconduct is a large part of why the coup was even attempted. rasti goes the complete opposite direction & basically just starts using jupiter as a stand-in for whole & a bucket to dump its faith into while it can’t reach Actual harmonia . at least for awhile

thanks for the ask sorry i went insane . i like talking about our aus & i Really like lining up soul & terminal & rasti to point out all the little quirks in how i write each of them . hooray

[computer-basics]

Social networks are in for a rude copyright awakening. A new European Union law called Article 17 essentially eradicates safe harbor and requires that they’ve made their “best effort” to get licenses from rights holders for all content on their platform. If a user uploads a video with a popular song in the background, tech platforms can’t just take it down if requested. They’ll be liable if they didn’t already try to get permission.

That’s good news for musicians and film producers who are more likely to get paid. But it could hurt influencers and creators whose clips and remixes might be blocked or have their revenue diverted. It will certainly be a huge headache for content sharing sites.

That’s where Pex comes in. The profitable royalty attribution startup founded in 2014 scans social networks and other user generated content sites for rightsholders’ content. Pex then lets them negotiate licensing with the platforms, request a take down, demand attribution, and/or track the consumption statistics. It’s collected a database of over 20 billion audio and video tracks found on YouTube, Facebook, Instagram, TikTok, Twitch, Twitter and more. It’s like an independent YouTube ContentID.

Today that business gets a big boost as Pex is acquiring Dubset, which has spent 10 years tackling the problem of getting remixes and multi-song DJ sets legalized for streaming on services like Spotify to some success. The $11.3 million-funded Dubset does fingerprinting of 45 million tracks from over 50,000 rights holders down to the second so the artists behind the source material get paid.

Pex has come a long way from when CEO Rasty Turek tried build a Shazam for video. “It took me years to figure out how to do it technically, but there was no market for it” he tells me. Turns out that the technology was perfect for spotting illegal usage of copyrighted songs.

Now Pex will gain Dubset’s connections to tons record labels and other rightsholders in what two sources close to the deal says is an acquisition priced between $25 million and $50 million. “There are very few companies in the music business that have successfully licensed as much catalog as Dubset, and the music rights database they’ve built is massive and rare” Pex CEO Rasty Turek tells TechCrunch exclusively before the deal’s formal announcement tomorrow.

Together, they’ll be pushing Pex’s new Attribution Engine that establishes a three-sided marketplace for content. Instead of just working with rightsholders, the fresh tech can plug directly into big platforms and instantly identify copyrighted audio and visual files as short as one second. It can even suss out cover versions of songs via melody matching, as well as compressed, cropped, and modified variations. Creators can also use it to ensure the source material they’re remixing or turning into memes is given proper attribution or a cut of revenue.

The Attribution Engine earns money by facilitating the licenses and payments between platforms, rightsholders, and creators. It’s free to register content with the service as well as for platforms to perform

The Attribution Engine is free for rightsholders to register their content and free for platforms to run identification scans on what’s uploaded to them. using our asset lookup service. The hope is that by creating a simpler path to cooperation and revenue sharing, more rightsholders will make their content accessible for use on social networks or in remixes. It could also grant platforms protection from Article 17 liability since they’ll be able to say that Pex made it best effort to get content usage approval from rights holders.

“Basically every platform in the world that operates in the EU will have to identify all copyrighted content on their platform as it comes in or go back and identify all of it” says Dubset chief strategy office Bob Barbiere. “Dubset was really built to serve at the DJ or content creator level . . . doing it purely for the purposes of mix and remix content. Pex does it in a much bigger way for the platforms.”

For up-and-coming platforms like TikTok competitors Dubsmash or Triller, Pex’s business model is a gift. They don’t have to pay for the ID service until they’re ready to cut licensing deals with rightsholders when Pex adds a fee on top. Trying to build this stuff from scratch could be slow and hugely expensive, given YouTube’s still perfecting its ContentID system eight years in.

Pex will have to manage the careful balance of staying ahead of regulation but not so far that it’s building technology people won’t need for a long time. European Union states have until June 21st 2021 to implement Article 17 with local laws. “We don’t want others to out-innovate us, but we also don’t want to out-innovate ourselves out of existence by being too early and then waiting for the market to catch up to us” Rasty explains.

Image via HelpCloud

The internet needs this kind of infrastructure because we’re still at the beginning of the age of the remix. TikTok has proven how recontextualizing a song or vocal track with new visuals can create chains of jokes and content that go massively viral. The app productizes the Harlem Shake phenomenon, whereby people promote their own takes on a piece of content, drawing attention to the original and all the other versions. But these webs of remixes could be severed if platforms and rightsholders can’t forge licensing agreements.

“I hope that thanks to Pex, 20 years from now people will not have to think about copyright” Turek concludes. “Any content they produce and distribute on the open internet will be automatically attributed to them and generate revenue if they so choose.” That could allow more people to turn their passion for creation into their profession, whether they’re building an app, writing a song, or remixing a song into a meme for an app.

https://ift.tt/3azIkUO from TechCrunch https://ift.tt/2TqyzlN via IFTTT

[endenogatai]

Pex buys Dubset to build YouTube ContentID for TikTok & more

Social networks are in for a rude copyright awakening. A new European Union law called Article 17 essentially eradicates safe harbor and requires that they’ve made their “best effort” to get licenses from rights holders for all content on their platform. If a user uploads a video with a popular song in the background, tech platforms can’t just take it down if requested. They’ll be liable if they didn’t already try to get permission.

That’s good news for musicians and film producers who are more likely to get paid. But it could hurt influencers and creators whose clips and remixes might be blocked or have their revenue diverted. It will certainly be a huge headache for content sharing sites.

That’s where Pex comes in. The profitable royalty attribution startup founded in 2014 scans social networks and other user generated content sites for rightsholders’ content. Pex then lets them negotiate licensing with the platforms, request a take down, demand attribution, and/or track the consumption statistics. It’s collected a database of over 20 billion audio and video tracks found on YouTube, Facebook, Instagram, TikTok, Twitch, Twitter and more. It’s like an independent YouTube ContentID.

Today that business gets a big boost as Pex is acquiring Dubset, which has spent 10 years tackling the problem of getting remixes and multi-song DJ sets legalized for streaming on services like Spotify to some success. The $11.3 million-funded Dubset does fingerprinting of 45 million tracks from over 50,000 rights holders down to the second so the artists behind the source material get paid.

Pex has come a long way from when CEO Rasty Turek tried build a Shazam for video. “It took me years to figure out how to do it technically, but there was no market for it” he tells me. Turns out that the technology was perfect for spotting illegal usage of copyrighted songs.

Now Pex will gain Dubset’s connections to tons record labels and other rightsholders in what two sources close to the deal says is an acquisition priced between $25 million and $50 million. “There are very few companies in the music business that have successfully licensed as much catalog as Dubset, and the music rights database they’ve built is massive and rare” Pex CEO Rasty Turek tells TechCrunch exclusively before the deal’s formal announcement tomorrow.

Together, they’ll be pushing Pex’s new Attribution Engine that establishes a three-sided marketplace for content. Instead of just working with rightsholders, the fresh tech can plug directly into big platforms and instantly identify copyrighted audio and visual files as short as one second. It can even suss out cover versions of songs via melody matching, as well as compressed, cropped, and modified variations. Creators can also use it to ensure the source material they’re remixing or turning into memes is given proper attribution or a cut of revenue.

The Attribution Engine earns money by facilitating the licenses and payments between platforms, rightsholders, and creators. It’s free to register content with the service as well as for platforms to perform

The Attribution Engine is free for rightsholders to register their content and free for platforms to run identification scans on what’s uploaded to them. using our asset lookup service. The hope is that by creating a simpler path to cooperation and revenue sharing, more rightsholders will make their content accessible for use on social networks or in remixes. It could also grant platforms protection from Article 17 liability since they’ll be able to say that Pex made it best effort to get content usage approval from rights holders.

“Basically every platform in the world that operates in the EU will have to identify all copyrighted content on their platform as it comes in or go back and identify all of it” says Dubset chief strategy office Bob Barbiere. “Dubset was really built to serve at the DJ or content creator level . . . doing it purely for the purposes of mix and remix content. Pex does it in a much bigger way for the platforms.”

For up-and-coming platforms like TikTok competitors Dubsmash or Triller, Pex’s business model is a gift. They don’t have to pay for the ID service until they’re ready to cut licensing deals with rightsholders when Pex adds a fee on top. Trying to build this stuff from scratch could be slow and hugely expensive, given YouTube’s still perfecting its ContentID system eight years in.

Pex will have to manage the careful balance of staying ahead of regulation but not so far that it’s building technology people won’t need for a long time. European Union states have until June 21st 2021 to implement Article 17 with local laws. “We don’t want others to out-innovate us, but we also don’t want to out-innovate ourselves out of existence by being too early and then waiting for the market to catch up to us” Rasty explains.

Image via HelpCloud

The internet needs this kind of infrastructure because we’re still at the beginning of the age of the remix. TikTok has proven how recontextualizing a song or vocal track with new visuals can create chains of jokes and content that go massively viral. The app productizes the Harlem Shake phenomenon, whereby people promote their own takes on a piece of content, drawing attention to the original and all the other versions. But these webs of remixes could be severed if platforms and rightsholders can’t forge licensing agreements.

“I hope that thanks to Pex, 20 years from now people will not have to think about copyright” Turek concludes. “Any content they produce and distribute on the open internet will be automatically attributed to them and generate revenue if they so choose.” That could allow more people to turn their passion for creation into their profession, whether they’re building an app, writing a song, or remixing a song into a meme for an app.

from RSSMix.com Mix ID 8204425 https://ift.tt/2TqyzlN via IFTTT

[sheminecrafts]

Pex buys Dubset to build YouTube ContentID for TikTok & more

Social networks are in for a rude copyright awakening. A new European Union law called Article 17 essentially eradicates safe harbor and requires that they’ve made their “best effort” to get licenses from rights holders for all content on their platform. If a user uploads a video with a popular song in the background, tech platforms can’t just take it down if requested. They’ll be liable if they didn’t already try to get permission.

That’s good news for musicians and film producers who are more likely to get paid. But it could hurt influencers and creators whose clips and remixes might be blocked or have their revenue diverted. It will certainly be a huge headache for content sharing sites.

That’s where Pex comes in. The profitable royalty attribution startup founded in 2014 scans social networks and other user generated content sites for rightsholders’ content. Pex then lets them negotiate licensing with the platforms, request a take down, demand attribution, and/or track the consumption statistics. It’s collected a database of over 20 billion audio and video tracks found on YouTube, Facebook, Instagram, TikTok, Twitch, Twitter and more. It’s like an independent YouTube ContentID.

Today that business gets a big boost as Pex is acquiring Dubset, which has spent 10 years tackling the problem of getting remixes and multi-song DJ sets legalized for streaming on services like Spotify to some success. The $11.3 million-funded Dubset does fingerprinting of 45 million tracks from over 50,000 rights holders down to the second so the artists behind the source material get paid.

Pex has come a long way from when CEO Rasty Turek tried build a Shazam for video. “It took me years to figure out how to do it technically, but there was no market for it” he tells me. Turns out that the technology was perfect for spotting illegal usage of copyrighted songs.

Now Pex will gain Dubset’s connections to tons record labels and other rightsholders in what two sources close to the deal says is an acquisition priced between $25 million and $50 million. “There are very few companies in the music business that have successfully licensed as much catalog as Dubset, and the music rights database they’ve built is massive and rare” Pex CEO Rasty Turek tells TechCrunch exclusively before the deal’s formal announcement tomorrow.

Together, they’ll be pushing Pex’s new Attribution Engine that establishes a three-sided marketplace for content. Instead of just working with rightsholders, the fresh tech can plug directly into big platforms and instantly identify copyrighted audio and visual files as short as one second. It can even suss out cover versions of songs via melody matching, as well as compressed, cropped, and modified variations. Creators can also use it to ensure the source material they’re remixing or turning into memes is given proper attribution or a cut of revenue.

The Attribution Engine earns money by facilitating the licenses and payments between platforms, rightsholders, and creators. It’s free to register content with the service as well as for platforms to perform

The Attribution Engine is free for rightsholders to register their content and free for platforms to run identification scans on what’s uploaded to them. using our asset lookup service. The hope is that by creating a simpler path to cooperation and revenue sharing, more rightsholders will make their content accessible for use on social networks or in remixes. It could also grant platforms protection from Article 17 liability since they’ll be able to say that Pex made it best effort to get content usage approval from rights holders.

“Basically every platform in the world that operates in the EU will have to identify all copyrighted content on their platform as it comes in or go back and identify all of it” says Dubset chief strategy office Bob Barbiere. “Dubset was really built to serve at the DJ or content creator level . . . doing it purely for the purposes of mix and remix content. Pex does it in a much bigger way for the platforms.”

For up-and-coming platforms like TikTok competitors Dubsmash or Triller, Pex’s business model is a gift. They don’t have to pay for the ID service until they’re ready to cut licensing deals with rightsholders when Pex adds a fee on top. Trying to build this stuff from scratch could be slow and hugely expensive, given YouTube’s still perfecting its ContentID system eight years in.

Pex will have to manage the careful balance of staying ahead of regulation but not so far that it’s building technology people won’t need for a long time. European Union states have until June 21st 2021 to implement Article 17 with local laws. “We don’t want others to out-innovate us, but we also don’t want to out-innovate ourselves out of existence by being too early and then waiting for the market to catch up to us” Rasty explains.

Image via HelpCloud

The internet needs this kind of infrastructure because we’re still at the beginning of the age of the remix. TikTok has proven how recontextualizing a song or vocal track with new visuals can create chains of jokes and content that go massively viral. The app productizes the Harlem Shake phenomenon, whereby people promote their own takes on a piece of content, drawing attention to the original and all the other versions. But these webs of remixes could be severed if platforms and rightsholders can’t forge licensing agreements.

“I hope that thanks to Pex, 20 years from now people will not have to think about copyright” Turek concludes. “Any content they produce and distribute on the open internet will be automatically attributed to them and generate revenue if they so choose.” That could allow more people to turn their passion for creation into their profession, whether they’re building an app, writing a song, or remixing a song into a meme for an app.

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Social networks are in for a rude copyright awakening. A new European Union law called Article 17 essentially eradicates safe harbor and requires that they’ve made their “best effort” to get licenses from rights holders for all content on their platform. If a user uploads a video with a popular song in the background, tech platforms can’t just take it down if requested. They’ll be liable if they didn’t already try to get permission.

That’s good news for musicians and film producers who are more likely to get paid. But it could hurt influencers and creators whose clips and remixes might be blocked or have their revenue diverted. It will certainly be a huge headache for content sharing sites.

That’s where Pex comes in. The profitable royalty attribution startup founded in 2014 scans social networks and other user generated content sites for rightsholders’ content. Pex then lets them negotiate licensing with the platforms, request a take down, demand attribution, and/or track the consumption statistics. It’s collected a database of over 20 billion audio and video tracks found on YouTube, Facebook, Instagram, TikTok, Twitch, Twitter and more. It’s like an independent YouTube ContentID.

Today that business gets a big boost as Pex is acquiring Dubset, which has spent 10 years tackling the problem of getting remixes and multi-song DJ sets legalized for streaming on services like Spotify to some success. The $11.3 million-funded Dubset does fingerprinting of 45 million tracks from over 50,000 rights holders down to the second so the artists behind the source material get paid.

Pex has come a long way from when CEO Rasty Turek tried build a Shazam for video. “It took me years to figure out how to do it technically, but there was no market for it” he tells me. Turns out that the technology was perfect for spotting illegal usage of copyrighted songs.

Now Pex will gain Dubset’s connections to tons record labels and other rightsholders in what two sources close to the deal says is an acquisition priced between $25 million and $50 million. “There are very few companies in the music business that have successfully licensed as much catalog as Dubset, and the music rights database they’ve built is massive and rare” Pex CEO Rasty Turek tells TechCrunch exclusively before the deal’s formal announcement tomorrow.

Together, they’ll be pushing Pex’s new Attribution Engine that establishes a three-sided marketplace for content. Instead of just working with rightsholders, the fresh tech can plug directly into big platforms and instantly identify copyrighted audio and visual files as short as one second. It can even suss out cover versions of songs via melody matching, as well as compressed, cropped, and modified variations. Creators can also use it to ensure the source material they’re remixing or turning into memes is given proper attribution or a cut of revenue.

The Attribution Engine earns money by facilitating the licenses and payments between platforms, rightsholders, and creators. It’s free to register content with the service as well as for platforms to perform

The Attribution Engine is free for rightsholders to register their content and free for platforms to run identification scans on what’s uploaded to them. using our asset lookup service. The hope is that by creating a simpler path to cooperation and revenue sharing, more rightsholders will make their content accessible for use on social networks or in remixes. It could also grant platforms protection from Article 17 liability since they’ll be able to say that Pex made it best effort to get content usage approval from rights holders.

“Basically every platform in the world that operates in the EU will have to identify all copyrighted content on their platform as it comes in or go back and identify all of it” says Dubset chief strategy office Bob Barbiere. “Dubset was really built to serve at the DJ or content creator level . . . doing it purely for the purposes of mix and remix content. Pex does it in a much bigger way for the platforms.”

For up-and-coming platforms like TikTok competitors Dubsmash or Triller, Pex’s business model is a gift. They don’t have to pay for the ID service until they’re ready to cut licensing deals with rightsholders when Pex adds a fee on top. Trying to build this stuff from scratch could be slow and hugely expensive, given YouTube’s still perfecting its ContentID system eight years in.

Pex will have to manage the careful balance of staying ahead of regulation but not so far that it’s building technology people won’t need for a long time. European Union states have until June 21st 2021 to implement Article 17 with local laws. “We don’t want others to out-innovate us, but we also don’t want to out-innovate ourselves out of existence by being too early and then waiting for the market to catch up to us” Rasty explains.

Image via HelpCloud

The internet needs this kind of infrastructure because we’re still at the beginning of the age of the remix. TikTok has proven how recontextualizing a song or vocal track with new visuals can create chains of jokes and content that go massively viral. The app productizes the Harlem Shake phenomenon, whereby people promote their own takes on a piece of content, drawing attention to the original and all the other versions. But these webs of remixes could be severed if platforms and rightsholders can’t forge licensing agreements.

“I hope that thanks to Pex, 20 years from now people will not have to think about copyright” Turek concludes. “Any content they produce and distribute on the open internet will be automatically attributed to them and generate revenue if they so choose.” That could allow more people to turn their passion for creation into their profession, whether they’re building an app, writing a song, or remixing a song into a meme for an app.

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