Emma Stanfield
AI Music Detection Won't Tell You Who Gets Paid
Deezer said it out loud before most of its competitors did: on some days, roughly a third of the tracks arriving at its ingestion pipeline are fully machine-generated.
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Copyright Law at the Border: Why a Quiet EU Proposal Could Pull $300M From US Artists
Last spring I pulled a royalty statement for a track of mine that had been licensed to a mid-size European retail chain — background music, in-store, the kind of use that plays a few thousand times a…
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Where to Distribute AI Music: The Streaming Platform AI Music Policy That Actually Affects Your Payout
You upload a track through your distributor on a Tuesday. Wednesday it's "in review." Friday you get an email: the release is held pending "clarification of the tools used in production." You didn't…
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AI and Music Rights Won't Be Settled in Court — They'll Be Settled in Infrastructure
The fight over AI and music rights will not be settled by a landmark verdict. It will be settled by whoever builds the registries, the metadata, and the payment rails that decide who gets paid when a…
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The Gallery Analogy Is Doing a Lot of Work in AI Copyright Regulation
Last month I ran a small test, mostly out of suspicion. I took a bassline I know cold — a detuned analog walk in F minor, the kind of line that sits under a thousand library cues — and I described it…
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AI Music Generation Isn't Your Real Problem — The Algorithm Quietly Sorting You Is
There's a number that's been doing the rounds in label Slacks and producer Discords, and it goes something like this: somewhere around 40-something percent of tracks uploaded to streaming platforms in…
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