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A distributor I know got a takedown-adjacent question from a platform last quarter: prove this catalog of 400 tracks is human-made. Not "confirm you hold the rights" — that they could do.
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A number has been doing a lot of work lately. Somewhere between a rights-holder panel and a product roadmap deck, "half of new uploads are AI-generated" became the load-bearing fact of the AI music…
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A talent management company announces a "Music Division." There's a named executive at the top, a paragraph of prior affiliations — a major label here, a management shop there, a Grammy mention if…
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The most useful thing about AI music generation is that it will not turn you into a musician. That is not a knock. It is the entire reason it matters to you.
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A track lands in your ingestion queue. The topline vocal is unmistakably synthetic — cloned timbre, that faint plastic sheen on the sibilants at 6kHz.
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Start with the number, because the number is the whole press release. When a heritage act plants a flag in a virtual world, the figure that lands in the trade write-up is almost always the same shape…
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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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The advice you'll hear, over and over, from professors and forum threads and the back matter of every "history of synthesis" book, goes like this: if you want to understand where electronic music came…
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A press release lands in your inbox at 9am on a Tuesday. Someone you've half-heard-of takes a title you've never seen before at an organization you license through. Most people archive it.
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A catalog manager I know pushed 400 tracks to three streaming services last spring. One instrumental — an AI-assisted ambient bed with a live cellist over the top — came back from one platform tagged…
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