<p>Strategies for knowledge-sharing have been among the key challenges faced by research in ubiquitous music (ubimus). Post-2020 musical activities feature a disruption of both the standard venues and the specialized profile of the stakeholders engaged in musical endeavors. This new context opens opportunities for an overhaul of the design and deployment of support infrastructure. Given the heterogeneous characteristics of ubiquitous music ecologies, a complex emergent issue is the management and circulation of knowledge. On the one hand, ubimus ecologies encompass state-of-the-art technologies featuring adaptive and distributed forms of knowledge production and sharing. On the other hand, they provide support for legacy forms of music-making that rely on established specialized knowledge. Hence, the frameworks that recycle acoustic-instrumental notions such as the score, the orchestra or the hierarchical social structures embedded in centralized musical infrastructure are challenged by the emergent heterogeneous, distributed and esthetically pliable approaches to thinking, designing and deploying musical resources that characterize ubimus research. In this paper we discuss two examples of design deployments based on second-wave ubimus frameworks as an effort to increase our understanding of the role of actionable tacit knowledge in creative activities.</p>