AI models are composing at a pretty high level right now. It won’t be long before most production music (background music, music for breaks in and out of segments, and other utility music) will be fully produced by AI. We’re only moments away from synthetic artists and superstars. We’re only a few months (maybe a year or two) away from completely artificial artists (not virtual, artificial).
A group of managers and lawyers representing some of Germany’s biggest artists have written a joint letter to the leaders of the four largest music rights companies in the market – Universal, Sony, Warner and BMG. The artist reps are demanding “more money from the booming business [created by] music streaming services such as Spotify and Apple Music”.
The Song Economy is the new music industry’s growth engine. It’s why publishing and songwriter catalogs are being acquired at multiples of between 10-20 of annual royalty revenues. It’s why playlists are the most valuable real estate on streaming platforms. It’s why labels and publishers are staffing up their sync teams around the world.
Source: The Song Economy
Media company Discovery Networks has scrapped controversial plans to stop paying performance royalties to composers for shows aired in the US across its channels including Discovery Channel and Animal Planet. As first reported by Variety in December, Discovery Networks was planning to start asking composers to agree to “direct source licenses” for their music, (i.e. having their rights bought outright ), or risk having their work removed from programming.
Subscription-based music services have understandably caused publishers to look over their shoulders to see if there’s a similar revolution in the offing for publishing. But to blame streaming platforms such as Spotify and Pandora for the collapse of Tower Records and other bricks-and-mortar music retailers would confuse the effect with the cause.
The NY Times last week released results from its preliminary research into whether and how blockchain might be useful in combating the problem of misinformation and disinformation spreading on social media platforms. While the Times deserves credit for investing the time, money and resources into addressing a systemic problem like the spread of fake news, the results so far also illustrate the limits of blockchain’s capacity to solve systemic problems, at least within the media industry.
Source: The Real News on Blockchain
Global digital distributor and label services company Ditto Music is to launch a new blockchain solution that, it says, will generate higher earnings for artists and creators. Called Bluebox, the suite will utilize blockchain technology to record data around songwriter, artist and producer rights and allow creators to instantly register copyright, publishing and mechanical splits at the point of creation.
Following last year’s success in modernising copyright laws for the digital age, the government has made clear it has no plans to implement the Copyright Directive in light of the UK’s withdrawal from the EU on 31 January. MP Chris Skidmore, confirmed that any changes to the UK’s copyright framework would fall under the domestic policy process.
UK-born, global distribution and record label services provider Ditto Music is launching a new blockchain-backed suite of tools and applications for musicians called, Bluebox. Ditto has raised $1 million in private seed capital to create Bluebox, led by blockchain investment firm Kosmos Capital at a valuation of $20 million.
Inside the conference rooms the conversation was dominated by — what else? — the television industry’s migration to streaming and on-demand platforms. While the stars worked to ingratiate themselves at the retail level of broadcast TV — local stations — executives pondered how the business of making, selling and distributing content is likely to evolve.