The company claims to hold the world’s largest dataset of musical composition algorithms.Īs part of the transaction, Amper’s employees will join the Shutterstock team.Īt the close of last year, Shutterstock’s library offered its users 314 million images, in addition to 17 million video clips. Shutterstock, though, is going the AI route: Amper Music enables its users to create and customize original music by using over 1 million individual audio samples recorded by musicians on thousands of instruments. The move adds to a growing trend of stock image sites getting involved in rights-free music: earlier this year, Shutterstock rival Adobe inked a deal to carry rights-free music catalogs from both Epidemic Sound and Jamendo, while Getty Images also hosts a royalty-free music library powered by Epidemic Sound. New York-based stock photography firm Shutterstock, Inc – which generated $650.5m in revenues last year – has today (November 11) announced the buyout of AI-driven music platform Amper Music for an undisclosed sum. Now, there’s been another major corporate acquisition of a company that specializes in the creation of music via artificial intelligence. Liz Ronk edited this gallery for ’s been 16 months since TikTok acquired an AI music platform in Jukedeck. “I worked at LIFE for 25 years,” Dominis said, “and worked everywhere and saw everything, and I’ve told people every year since Woodstock happened that it was one of the greatest events I ever covered.” You didn’t expect to see a bunch of kids so nice you’d think they’d be uninviting to an older person. “I was much older than those kids, but I felt like I was their age. “I really had a great time.,” Dominis told, decades after the fact. One of the LIFE photographers on scene during the festival, John Dominis, summed up his own recollections of Woodstock this way: If we are going to make it, you had better remember that the guy next to you is your brother.” Everybody remembered. Casting an apprehensive eye over the huge throng on opening day, Friday afternoon, a festival official announced, “There are a hell of a lot of us here. For three days nearly half a million people lived elbow to elbow in the most exposed, crowded, rain-drenched, uncomfortable kind of community and there wasn’t so much as a fist fight.įor those who passed through it, Woodstock was less a music festival than a total experience, a phenomenon, a happening, high adventure, a near disaster and, in a small way, a struggle for survival. Overrun, strained to its limits, the system somehow, amazingly, didn’t break. Counting on only 50,000 customers a day, the organizer had set up a fragile, unauthoritarian system to deal with them. Drugs, too, certainly, because so many of its inhabitants belong to the drug culture. It was a real city, with life and death and babies-two were born during the gathering-and all the urban problems of water supply, food, sanitation and health. Lured by music and some strange kind of magic (“Woodstock? Doesn’t Bob Dylan live in Woodstock?”), young people from all over the U.S. Here presents a gallery of pictures many of which never ran in the magazine from those heady, rain-soaked days and nights. So began LIFE magazine’s description, in its Augissue, of what has come to be seen as one of the defining events of the 1960s. What the young promoters got was the third largest city in New York state, population 400,000 (give or take 100,000), location Max Yasgur’s dairy farm near the town of White Lake.

The original plan was for an outdoor rock festival, “three days of peace and music” in the Catskill village of Woodstock.

Shutterstock music