“I love intimate shows in these really interesting spaces.” “It lives outside the algorithm,” Walters says. Sofar Sounds explicitly curate the old fashioned way: by listening to the music. “I think these spaces in real life, that let us listen to a human being performing … will become more important,” he says. Matt Walters from live music curation agency Sofar Sounds is best known for setting up Parlour Music, a platform that facilitates musicians to perform at house parties and in back yards. In the meantime, musicians still have live performance. “It’s pretty hard to answer the question of ‘how did you make this sound?’, if you didn’t make it.” Peters suggests a certification process could include interviews with composers and producers about the origin of their music. “The farm certification process for organic food for instance: there are people who check, and it’s regulated.” The process, he says, could be similar to organic food certification or protected origin designation for regional cheeses and wines. “The industry is still playing catch-up on what that licensing might look like.”Īustralian singer-songwriter Didirri Peters, who records under Didirri, believes that artists and labels need to consider certifying and labelling music made by humans – a product he refers to as an “organic trademark”. “It’s never been legal,” SoundCloud’s Hazel Savage said at BigSound, noting that she had signed specific deals to license music to train large music models. Attorney general Mark Dreyfus’s department is convening a copyright roundtable, and high-profile lawsuits have already begun. At stake is the huge amount of copyrighted compositions tech firms have trawled to train their models. On the other side, the Guardian understands that tech companies and the content industries are both lobbying the federal government for favourable copyright reforms and exemptions that will give them freer access to AIs. Australia’s representative union, the Media Arts and Entertainment Alliance, has warned that “it is conceivable that many of our members could be replaced by various versions of generative AI”. Regulation hasn’t caught up with the technology, causing deep concern within the cultural sector. “AI will kill probably all reality TV music within three years … and the cop show where someone is chasing someone down an alley, all of that will be generated.” “We are deluding ourselves if we think it isn’t going to happen,” Franglen said. The employment impacts could be significant, including in composition and production. “The deep fake side of this – you’re not going to know the difference.” “What happens this year is not the issue what happens in three or five years is.”įranglen predicts record labels and music publishers will look to “remonetise” dead artists, for instance by creating “new” songs by Frank Sinatra. Panellist Simon Franglen, a composer, has worked with The Weeknd – and while conceding that Heart on my Sleeve was not yet a convincing dupe, the technology is rapidly improving, he said. These tools mean nearly anyone will be able to produce professional-sounding original compositions – although the use of the word “original” is a topic of fierce debate, which made headlines recently when Heart on My Sleeve, a deep-fake song purporting to mimic Drake and the Weeknd, was submitted to the Grammys.Īt a panel discussion on music AI at BigSound, the majority of attenders were already using AI tools in their production activities, at least according to a show of hands. (Stem separation was the tool that enabled Paul McCartney’s producers to extract John Lennon’s vocals and piano from an old tape of background instruments.) Meanwhile, so-called “ stem separation” tools make it possible to split digital audio files into their “stems” or harmonic components, such as vocals, bass and drums – a holy grail previously only available to producers with access to master recordings.
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