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Antony Demekhin

Co-Founder & CEO at Tuney

CEO of @libraryxmusic (AI music library for content creators).

Highlights

May 24 · linkedin

Last week at the Music Business Association's Nashville conference, I talked to industry leaders about AI's potential impact on the music business:

TL;DR - the "AI" genie is out of the bottle. Platforms will emerge challenging existing copyright laws, majors will be forced to react. Big tech creating extra pressure on top of a well funded startup ecosystem. Tools are getting more powerful, and regulation needs to catch up.

  1. Big tech is offering everyone $$$ for training rights ...But rightsholders worry it might be a one way door. Let someone train on your catalog, and that might be the last paycheck you see as trained models could dilute and devalue catalog revenues.

  2. Ethics vs. Profit Music executives are feeling uneasy about the second "digitization" of music (the first being mp3s), using human created works as training material to generate AI-created ones with no artist involvement. But the money is real, and some are afraid of getting left behind.

  3. Artist-Friendly Companies Double Down Founder of BandLab Technologies Meng Ru Kuok drew a clear line in the sand that BandLab values artist rights and respects music copyright. BandLab, like Tuney, believes traceability of source material is essential to ethical music AI. It isn't a surprise that companies who already have an engaged user base of musicians are assuring those customers they are in their corner.

  4. An Axe Is Being Sharpened (maybe?) The industry is waiting to see if the major music companies and trade organizations will litigate against companies allegedly training on public data they did not acquire or license legally. But some are also aware that if unethical AI platforms get enough user or revenue traction, they could be in a position to fight or settle lawsuits, or even strike agreements with the majors.

  5. Copyright Office Guidelines due This Fall You won't see much legal activity from the trade orgs and incumbents until after US Copyright Office issues its guidelines on AI and copyright. If training isn't deemed "fair use" (and I'm sure it won't), you will likely see a string of court cases against models trained on copyright protected music without licenses.

  6. Not All Doom and Gloom There's tons of exciting innovation happening around creation, marketing, fraud prevention, music discovery and scalable tech infrastructure for the music business. Companies like SoundCloud Deezer and Tuned Global are using AI and ML in ethical ways to improve the consumer experience for streaming and social media. Also companies like Beatdapp AudioShake Chartmetric innovating in fraud detection, stem separation and analytics.

Shout out to all the friends I saw last week, old and new. Paul Sampson Gareth Deakin Jessica Powell Baylor Baugh Victoria Sheckler Jon Bahr Dae Bogan David Tauber Rob Abelow Nicolas Sincaglia Jordan Pettinato Chuka Chase Christopher Nolte Nicholas Salomone Jonathan Parks (ALIBI Music) Richard Slatter Patrick Ross

Last week at the Music Business Association's Nashville conference, I talked to industry leaders abo
Apr 18 · linkedin

I spoke at the CISAC European Committee Day with leaders of global performance rights societies, as the battle of good vs evil AI escalates in music.

What is CISAC? International Confederation of Societies of Authors / Composers, 225 societies in 116 countries representing more than 5 million professional creators.

Many CEOs of the leading performance rights societies around the world were in attendance to discuss protecting music copyright against destruction.

Destruction vs. Disruption Airbnb and Uber are great examples of tech companies disrupting traditional industries to fix existing problems and make the consumer experience better.

Tuney is working to do the same with music production, making it easier to create or remix music without complicated software or a music degree.

But AI companies training on public data (like all of the world's music, for example) are basically trying to steal the value that music creates and convert it from copyright monetization to software subscription revenue while potentially wiping out the very artists who made that music and created that value.

I personally don't believe cheap generic music that sounds like a watered down copy of the artist-created songs we ACTUALLY listen to is solving any real problem in the world, but I get that people think it's cool even if it's a little scary.

I sincerely hope that industry organizations like CISAC and the major music industry continue to work with regulators to ensure the protection of author works, music copyright and the incentives our society provides to songwriters and producers who painstakingly create the soundtrack of our lives.

Thanks to my fellow panelists Christian Zimmermann, Helienne Lindvall, Risto Salminen, András SZINGER and Tobias Holzmüller.

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Antony Demekhin
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Experience

Co-Founder & CEO at Tuney
Co-Owner at Ear Candy Shop Inc.

Education

School For Creative And Performing Arts
Jazz, Percussion, School For The Creative And Performing Arts
Bachelor Of Arts In Marketing, Journalism, Miami University

Location

Los Angeles, CA, United States