How Auntie Flo’s ‘Plants Can Dance’ compilation celebrates a new species of producersDJ and producer Brian D’Souza, also known as Auntie Flo, is behind a new compilation, Plants Can Dance, pulling together a number of music-makers with a shared vision: to use nature as a collaborative partner for their music.
Plants Can Dance by A State Of Flo
“I have a newfound respect for the natural world and hope this work inspires others to feel the same,” D’Souza says, who has showcased his own plant-based sonic experiments at British institutions such as the Tate and V&A.
“80 percent of us now live in cities and are mostly surrounded by concrete. I see this work as literally breaking through those concrete layers, uncovering a world that was previously hidden. By using sound as the point of entry, I’ve been able to re-tune my entire perspective on the living ecosystem that is all around us.”

READ MORE: Tom Oberheim at 90: “I can never retire, first of all”

The processes behind each electronic piece differ, from interpreting plant biodata into sound to translating wind patterns into compositions — with varied and engaging results. Modern Biology, Dr Helen Anahita Wilson, OMMA (founder of Playtronica) and Jason Singh are among the compilation’s cast.
“Through biosonification I can interpret the world of other living entities and share this with people in ways that traditional music making or performing hasn’t allowed,” says Jason, whose track Tsubaki features.
“By mimicking the natural world through my voice, I feel a deeper connection with both my internal and external environment. The more I explore, the more I find out that I know very little about nature and that there is so much to learn.”
Brian D’Souza. Image: Press
Plant experiments
If you’ve headed down to the Hideout venue in Hackney Wick of late, then you might have come across D’Souza and his fellow explorers at his Plants Can Dance events. It’s not the usual kind of music night – there’s arguably as much soil as there are synthesisers and modular equipment alongside discussion and workshops with everyone encouraged to contribute. The concept behind Plants can Dance initially stemmed from a commission D’Souza received for a project called ‘Dandelion’ at the UK’s Unboxed festival in 2021.
“The project was all about vertical farming and they positioned these boxes they called Cubes Of Perpetual Light around remote locations around Scotland, with a surround sound set up inside that you could immerse yourself in if you encountered them,” says D’Souza. “I made my piece using MIDI captures of herbs around my garden – sage, basil and rosemary using a PlantWave device and put together a piece.”
Field recording was initially D’Souza’s way into working with plants, a practice he has always undertaken via his phone. He was encouraged to amplify this part of his work via a course with Cabaret Voltaire’s field recording expert, Chris Watson.
“I spent thousands of pounds on a variety of mics and that got me deeper down the path of trying to capture the natural world through sound,” D’Souza explains. I then went on a week-long CAMP.Fr course on Ecoacoustics, which provided more inspiration and direction when it came to the purpose of using sound as a means of connecting with nature.”
“The simple act of listening deeply and intently was a revelation to me – and this heightened ability for attentive listening was made possible through the field recording techniques I’d learned.”
Helen Anahita Wilson. Image: Press
Helen Anahita Wilson’s work is strictly in biophilic composition as opposed to biosonification, which involves capturing MIDI from organisms. Instead, her approach is to translate plant processes, then embed this data within her compositions to create music that tunes into an organism’s character.
“My way into this kind of plant-derived work – which I call biophilic music – was through working with medicinal plants and wanting to raise awareness of the natural derivation of certain pharmaceutical drugs,” Helen states. “I was, and still am, very interested in creating plant-derived biophilic music for healthcare settings.”
“My projects under the name PLANT VOX are also examples of using herbs and medicinal plants to create music which aims to create the same effect on the listener as if they had ingested those plants, i.e. listening to a piece of music that helps you get to sleep, made from plants that also have that same soporific quality.”
OMMA. Image: Press
Plants Can Dance
D’Souza’s interest in working with plants was accelerated by the COVID lockdown and solidified over several artistic commissions: Mushroom Music for the mycelium pavilion at Glastonbury and sonifying a show garden at the Chelsea Flower Show. Although he believed these nature-based projects would be one-offs, conversations and experiments continued to expand.
“Through my various projects, I started to meet musicians around the world who are on a similar journey to me – all with their own unique story to tell,” he says. “So the compilation is a way of bringing all these approaches together under one roof, which will hopefully inspire more to get into nature-inspired music. The lesson is, once you start putting yourself out there, you end up meeting other likeminded souls and that helps you grow a community, both locally and online.”
Jason Singh got on board through a mutual connection with D’Souza. With roots in the Punjab in North India, his great-grandmother was a Hakim, a plant-wisdom holder and healer who worked with plants from the forest to help people.
“Indian music is an ancient system where melody and rhythm is directly derived through nature via the seasons, time of day, colours, animals, insects and the planets,” he says. “I have been raised with this so the relationship has always been there, not as something experimental or academic but direct and experiential. I was raised on Indian ragas through Indian classical and folk music, and this flowed through me from an early age.”
Jason Singh. Image: Press
Initially, Jason started using specialist microphones and was influenced by the electronic music of artists like Mileece, Eberhard Schoener and Charles Dodge. As technology became cheaper and more open source, he purchased a MIDI Sprout device – this enabled him to connect plants to his hardware and powered his piece, Tsubaki.
“This is the Japanese word for Camellia, and was originally part of a long-form piece I created for an eight speaker sound installation at The Camellia House in Woolaton Park in Nottingham,” he states.
“People come from all over the world to see the Camellia bloom in late winter/early spring and I wanted to create a sound installation where not only could people experience the visual aesthetic of the flowers but also affect the mood and emotion of the space through the hidden music created by the plants themselves.”
“There was also a plant music concert where musicians played live with the Camellia. I reworked a section of the piece and my dear friend, cellist Liz Hanks, played a really emotional composition to accompany the Camellias composition.”
Jason used a MIDI Sprout device to capture the plant data, then played the MIDI files via Ableton.
“I did this through a range of pads, effects and bespoke plugins designed by Leafcutter John,” he states. “I also used Arturia’s Pigment synth as I really like the pad sounds in that software synth.”

Helen’s approach is aimed at expressing the characteristics of the organisms rather than compiling an archive of plant recordings.
“I like to work with bioelectricity monitors, conductivity monitors such as PlantWave and the Pocket Scion, real audio recordings, and with botanical analyses and genetic data to record and find interesting little patterns which seem musical to me in some way,” she says.
“Once I spot something promising in the plant biodata that I can translate into rhythms and pitches, then I develop that fragment using techniques from Western and South Asian musics that can convey characteristics and behaviours of the plants involved,” Helen continues. “I always use Ableton for this kind of work. In Porcupine and the Outdoor Girls [her contribution to Plants Can Dance] I used data recordings and botanical information from the toxic Porcupine tomato and the edible Outdoor Girl tomato as the original source material for the composition.”
D’Souza track Hector’s Sunflower opens the compilation and was inspired by his son and the sunflower seeds he was gifted at school.
“It was fun to watch them flower and the sunflowers to grow over the course of last summer,” he explains. “I originally took some MIDI readings throughout various stages in its lifecycle but ended up not using them and instead recording a whole album in a day, which came out on Music To Watch Seeds Grow By in January.”
While the Plants Can Dance compilation is now released, D’Souza is keen for it to signpost the possibilities for anyone to work with plants.

“The idea is to make things as accessible as possible to help others feel inspired, most of the tech is open source and with a bit of time and knowledge can be adapted and built upon,” he says. “The scientific research is still very young and plenty of things we are yet to discover in terms of the deeper themes around plant sentience or even intelligence.”
Alongside the album, D’Souza is planning on launching a new app – Soniferous – while also updating his modular setup and gear.
“I’m a purist in terms of not running any kind of clock and not adding any human playing into my compositions. My role is to set up the patching ecosystem and then let the plant or organism do the work. The more performances I do, the less I do. My role is sometimes just to occasionally water the plants and hear how that sounds. I find audiences tend to appreciate that more.”
Find out more about Plants Can Dance at A State Of Flo | Brian d’Souza | Substack
The post How Auntie Flo’s ‘Plants Can Dance’ compilation celebrates a new species of producers appeared first on MusicTech.

Global law firm launches MiCA compliance tool as crypto companies navigate new EU rulesReed Smith’s Aquarius platform automates regulatory filings and legal workflows as demand for MiCA compliance tools grows across Europe.

Satya Nadella has issued a shocking warning to companies using AIOf all the debates raging about the potential downsides of AI, there is one worry causing the most hand-wringing among AI enthusiasts in Silicon Valley — that the giant AI labs that sell proprietary models are somehow acting like Trojan horses.

Semedo Audio semedo PURESEMEDO PURE Clean. Control. Restore. Semedo PURE is a modern audio plug-in built around one intelligent cleanup engine instead of a rack of separate tools. It listens to the signal, tells the difference between what is getting in the way and what is being buried underneath it, and lets you dial in exactly how much of each to fix - all from one focused workflow. Where a traditional chain forces you to reach for a de-esser, a dynamic EQ, a resonance suppressor and a noise reducer separately, Semedo PURE runs one adaptive engine that reacts to whatever the material actually needs: harsh resonances, sibilance, boxiness, mud, room build-up, background noise or masked detail. You are not switching between five specialised tools - you are pointing one smart engine at the problem and telling it how hard to work. Semedo PURE is made for everyday mixing and mastering. Use it gently for transparent cleanup, or push it harder when a recording needs real correction. WHAT SEMEDO PURE IS FOR. Semedo PURE is built to improve audio that sounds harsh, cloudy, noisy, dull, muddy or unbalanced. Use it when a vocal has painful high frequencies, when drums sound too sharp, when guitars or synths build up harshness, when a bass or low end feels muddy, when a room recording has too much unwanted build-up, or when a full mix needs a cleaner and smoother final polish. It is not only a noise remover and it is not only an EQ. Semedo PURE works more musically: it listens to the signal, reduces the areas that are getting in the way, brings hidden detail back into focus, and lets you balance cleanup and recovery from one simple workflow. MAIN Features. One Engine, Every Kind of Problem Instead of separate tools for separate symptoms, Semedo PURE runs a single content-aware engine across the full spectrum. Whether the issue shows up as a harsh resonance, sibilance, a boxy midrange, low-end mud or a noisy room tone, the same intelligent process finds it and reacts - so the plug-in stays simple even when the material is not. Tame The Tame side focuses on cleanup. It reduces unwanted resonances, noise build-up, harshness, mud and unstable frequency areas. This helps make the sound smoother, cleaner and easier to mix without making it feel lifeless. Recover The Recover side helps bring useful musical detail back into the sound. It can restore presence, clarity and forwardness when important parts of the signal are masked or hidden - useful for vocals, instruments and full mixes that need more definition without simply adding harsh EQ boost. Balance Control The Balance control lets you move between more cleanup and more recovery. Turn it toward Tame when the sound needs more control and reduction of harsh or messy areas. Turn it toward Recover when the sound needs more presence, detail and musical forwardness. Noise and Room Build-Up Reduction Semedo PURE reduces unwanted background build-up, room tone and broadband noise with a soft, gradual response rather than a hard noise gate. This makes it useful on vocals, samples, recordings, instrument tracks and older or imperfect audio. Smooth Preset and Quality Changes Preset changes, quality changes and speed changes transition smoothly, so you can switch settings while working without hearing clicks or jumps. Factory Presets Semedo PURE includes a collection of factory presets to help you start quickly, covering common real-world tasks such as vocal cleanup, instrument control, mix balancing and detail recovery. Modern Visual Feedback The plug-in shows exactly what the engine is doing in real time - a live curve of where it is taming and where it is recovering, laid directly over the input and output spectrum. You do not just hear the change, you can see where it is happening. WHERE TO USE SEMEDO PURE. Vocals Reduce harshness, sibilance, boxiness, nasal tones, room build-up and background noise. Helps vocals sit more clearly in the mix while staying natural. Drums Control sharp cymbals, aggressive hi-hats, harsh snare tones, room resonances and muddy drum bus build-up without losing energy. Bass and Low End Clean up low-end mud, unwanted rumble and frequency build-up that can make a mix feel heavy or unclear. Guitars and Synths Reduce harsh mids, sharp resonances and crowded frequency areas, making layered sounds easier to place in the mix. Samples and Loops Clean old samples, noisy loops and harsh recordings before further processing. Mix Bus Apply gently on the mix bus to smooth harshness and reduce build-up without changing the balance of the mix too aggressively. Mastering Use it when the final track needs more polish, less harshness and better control before release. WHY USE SEMEDO PURE. Semedo PURE is made to save time. Instead of reaching for a different tool every time a new kind of problem shows up, you use one plug-in that recognises the problem and reacts to it - then lets you choose how much to clean up and how much detail to bring back. It is designed to stay musical. The goal is not to strip everything out of the audio, but to reduce what is getting in the way of a professional sound. The result is cleaner audio that still feels like the original performance. Formats AND SYSTEM REQUIREMENTS. Semedo PURE is available as VST3 and AU (Audio Unit) for Windows and macOS, plus a Standalone application on both platforms. Read More

Using Your Own RBMK Reactor Control Center At HomeTo give people the most intimate RBMK experience, the [Chornobyl Family] has been working tirelessly at not only replicating the original RBMK reactor control room and its SKALA industrial control system’s controls, but also to create a version that you could tinker with at home if you ever fancied getting your own RBMK operator license. This starts with the operator console, with its use demonstrated in a recent video including a range of common commands.
In this video the entering of codes on the console to interact with the system is detailed, including the logic behind it. In the absence of large displays to display many parameters and such, this way the operator could ‘talk’ with the control system, including obtaining current sensors readings and the setting and changing of setpoints. From the same console you can also select and run programs, which is useful for automating tasks, like monitoring coolant flows.
In the second video not only the construction of the control panel is covered, but also a visual representation of the simulated reactor core which is displayed on a connected monitor. Although not a part of the original SKALA system as such, a much larger version existed as a wall-sized physical version inside the control room, so it’s definitely more home-simulator friendly.
We previously covered this SKALA system that controls RBMK reactors, as well as the 1990s modernization of the Chornobyl Nuclear Power Plant.

Grammy Camp Los Angeles Returns This WeekGrammy Camp Los Angeles is taking place this week, starting Sunday, July 12 and running through to Saturday, July 18.

According to a statement, "The Grammy Museum's® Grammy Camp® Los Angeles is a seven-day, non-residential intensive program for high school students with strong proficiency in multiple areas of music and the music industry, including music business, production, songwriting, and instrumental or vocal performance. Students are placed into cohorts where every subject area is represented, creating a collaborative environment that mirrors real-world music industry settings. In cohort-based teams, you'll collaborate across music business, production, songwriting, and performance—learning through the lens of artistry, entrepreneurship, and a DIY mindset. With the freedom to focus on your strengths while exploring new skills, you'll develop the versatility, creativity, and industry insight needed to build a sustainable career in today's music world."

"Grammy Camp gives students the opportunity to explore music in a way that feels connected to the real world," Arin Canbolat, Vice President of Education, Grammy Museum, told MC. "As they build skills in songwriting, production, performance, and music business, they also learn how collaboration and creativity show up in the professional world. What makes the program so powerful is the access students have to Grammy-winning and Grammy-nominated artists and industry professionals, who help students see the many ways a passion for music can become a lifelong pursuit."

Faculty, according to the statement, includes: Chase Jackson, multi-instrumentalist and producer; Jason Goldman, Grammy-winning, multi-platinum music producer, songwriter, composer/arranger, and engineer; JJ Kirkpatrick, internationally acclaimed multi-instrumentalist; Natasha Pasternak songwriter, composer, musician, producer, performer, and professor; Ryan McDiarmid, drummer, recording artist, and educator; Haleigh Bowers, songwriter and faculty member at USC; YULI, Grammy-nominated, platinum selling producer, songwriter, composer, violinist and violist. Guest artists include Grammy-nominated artist WILLOW (pictured) and Latin Grammy-nominated singer-songwriter Sofia Reyes."

WHEN: Sunday, July 12 - Saturday, July 18, 2026 PDT

WHERE: WESTLAKE RECORDING STUDIOS

7265 Santa Monica Blvd.

West Hollywood, CA 90046

2026 Los Angeles Grammy Camp Selectees (In Alpha Order by First Name)

Andrew Carlson — Solana Beach, CA

Andrew Tran—Round Rock, TX

Anjali Haaf—San Diego, CA

Asha Dreher—Berkeley, CA

Ava Valianti—Newbury, MA

Ayoade Oladimejij—Greenbelt, MD

Basel Hall—Los Angeles, CA

Baxter Zrob—San Francisco, CA

Bellalina Young—Las Vegas, NV

Brandon Pham—Foothill Ranch, CA

Cabell Williams—Fredericksburg, VA

Calibrooke Myers—Burbank, CA

Campbell Carey—South Pasadena, CA

Carolina Chase Butler—Pasadena, CA

Charlotte Milstein—La Jolla, CA

Chase Gardenhire—Carlsbad, CA

Christopher Wilson—West Hills, CA

Devanjana Rajesh—Irvine, CA

Deven Dhanidina—Irvine, CA

Edie Yvonne—Laguna Hills, CA

Ella Wu—Laguna Hills, CA

Emma Berg—Hillsborough, CA

Emma Nevell—Santa Ana, CA

Emmy Gerth—Washington, IL

Erik Holterman—Hillsborough, CA

Genevieve Bracher—Rutherford, CA

Grady Prance—Peachtree City, GA

Haley Le—Los Angeles, CA

Hudson Brandt—Foster City, CA

Hudson Toney—Mission Viejo, CA

Ian Chenne—Bellevue, WA

Izzy Burris—Carlsbad, CA

Jenner Yaep—North Tustin, CA

Jillian Ritter—Swansea, IL

Joseph Bradic—Los Angeles, CA

Julia Castro—Los Angeles, CA

Kamaiya Whitaker—Compton, CA

Knox Yoon—Encino, CA

Leia Perez—Houston, TX

Leon Schiefele—St. Pete, FL

Londyn Knight—Carson, CA

Lucas Noe—Venice, CA

Lucie Johnson—Burbank, CA

Lucy Rowley—Phoenix, AZ

Maira Srivastava—Palo Alto, CA

Mansen Li—Interlochen, MI

Maxwell Stein—Chicago, IL

Mia McEwen—Miami, FL

Noam Ben-Efraim—San Diego, CA

Oscar Ellsworth—Los Angeles, CA

Parker Beck—Studio City, CA

Parker Winzenried—Los Angeles, CA

Petra Betti—San Anselmo, CA

Phoenix Ferrari—Los Angeles, CA

Raquel Reyes—Sherman Oaks, CA

Ray Lally—West Hills, CA

Rayan Karoui—Phoenix, AZ

Rylie Tyson—Houston, TX

Sawyer Mitchell—San Marcos, CA

Seven McIntosh—Los Angeles, CA

Sienna Kay—Fair Haven, NJ

Sol Vega Storace—Woodland Hills, CA

Sophie Seaver—New Canaan, CT

Sparkle Shabazz—Woodland Hills, CA

Takahiro Yoshida—Kirkland, WA

Trisha Jha—Cerritos, CA

Tvisha Garodia—Castro Valley, CA

Veronica Horosz—Kentfield, CA

William Dearborn—La Canada, CA

Yoyoka Soma—South El Monte, CA

For more information, visit  www.grammymuseum.org

WILLOW photo by Five TowersThe post Grammy Camp Los Angeles Returns This Week first appeared on Music Connection Magazine.

The 2026 Chroma Drive: Our New DJ USB Drive (with no cap to lose)Our new 2026 Chroma Drive for DJs covers both the USB-C and USB-A ends, and comes in five colors.
The post The 2026 Chroma Drive: Our New DJ USB Drive (with no cap to lose) appeared first on DJ TechTools.

Meta scraps AI Muse Image feature that scraped Instagram accounts, following CAA backlashUnder the opt-out design, the public Instagram account of any adult artist could be referenced by other users to generate AI images unless the artist switched the feature off
Source

Bjango releases FREE Double Freak frequency follower plugin
Bjango has released Double Freak, a free dual oscillator frequency follower plugin for macOS and Windows. Double Freak is one of the several entries I really liked in this year’s KVR Developer Challenge. I will cover a few more challenge entries separately (James also checked some of them out here and here), but this one [...]
View post: Bjango releases FREE Double Freak frequency follower plugin

Gamechanger Audio launch the Plus Pedal II Built around an entirely new engine, the Plus Pedal II introduces an intelligent automatic layering function, advanced performance controls and expanded connectivity, all of which the company say extend its capabilities to a wider range of instruments and performance contexts.

HoRNet Spikes transient shaper plugin is FREE for a limited time
HoRNet Plugins is offering HoRNet Spikes, a transient shaper/processor for macOS and Windows, as a free download for a limited time. The offer ends on July 16, 2026. To get Spikes for free, add them to your cart on the HoRNet website and use the coupon code SPIKESFREE at checkout. The plugin is usually priced [...]
View post: HoRNet Spikes transient shaper plugin is FREE for a limited time

UJAM offers UFX DELAY plugin as a FREE summer sale signup bonus
UJAM is offering UFX DELAY as a free download for anyone who signs up for the company’s summer sale mailing list. To get it for free, you’ll need to visit the signup page and enter your email. I tested the process yesterday, and the email arrived right away. Clicking the button in the email opened [...]
View post: UJAM offers UFX DELAY plugin as a FREE summer sale signup bonus

Avalanche Tones release Chainsaw Suite Avalanche Tones' debut product is an all-in-one plug-in suite that's been created with ultra-heavy modern guitar tones in mind.

Tom Oberheim: “The history books say I was involved in creating MIDI – that’s such a joke”By allowing computers, synthesizers, controllers and other instruments to speak to each other via a universal digital language, MIDI, introduced in 1983, has become one of the most pivotal inventions in the history of music technology and production.
While spearheaded primarily by Dave Smith of Sequential – alongside his contemporaries Dave Rossum, Bob Moog, Don Buchla, Roger Linn and Alan R. Pearlman – Tom Oberheim is often mentioned in the conversation surrounding MIDI’s widespread adoption, but in a new interview with MusicTech, the synth pioneer plays down his role.

READ MORE: The best new music plugins this week, free and paid

“The history books say that I was involved in [creating] MIDI, and that’s such a joke,” Oberheim says. “When Dave [Smith] did his first paper about tying synthesizers together, it was a digital thing and I wanted absolutely nothing to do with it.
“I said, ‘Don’t talk to me about a digital interface hooking up machines. I don’t want to do that.”
But after Roland founder Ikutaro Kakehashi started collaborating with Dave Smith and Sequential – and subsequently incorporating MIDI technology into their instruments – Oberheim later ended up becoming the first president of the MIDI Manufacturers Association.
While a legendary name in synthesis, Oberheim’s career hasn’t always been in the music world. In fact, in the mid ’90s, he opted to work several non-music-related jobs in Silicon Valley, in an environment he calls a “high-tech rat race”.
“I decided in the mid ‘90s  that it was time for me to go to work and pay the mortgage on the house,” he tells MusicTech. “I just got a job off the internet, and then for the next five or six years I worked three different jobs in Silicon Valley, none having to do with music.”
These jobs included building microcontroller software for traffic light systems, high-level tech writing, and working at a think tank owned by Microsoft co-founder Paul Allen.
“We thought that, ‘Well, if we’re careful, when we get older, we’ll probably be able to pay for the nursing home,’” Oberheim says.
Read our full interview with Tom Oberheim – as he celebrates his 90th birthday – at MusicTech.
The post Tom Oberheim: “The history books say I was involved in creating MIDI – that’s such a joke” appeared first on MusicTech.

Music industry proposes new system to tag AI-generated songs: “Fans want to know whether and how generative AI has been used in the music they listen to”As AI-generated music continues to flood streaming platforms, some of the music industry’s biggest organisations are launching a new labelling system aimed at giving listeners a clearer picture of how the songs they hear were made.
The International Federation of the Phonographic Industry (IFPI) and the Recording Industry Association of America (RIAA) have joined forces with several other organisations – including the Grammys, A2IM, WIN, IMPALA, SAG-AFTRA and the Human Artistry Campaign – to introduce a voluntary standard for tagging music created using generative AI.

READ MORE: LANDR boosts Fair Trade AI licensing programme with $1 million advance scheme and bigger revenue share

The proposed system features two labels: “AI-Generated” for tracks created entirely from AI prompts or featuring AI-generated lead vocals or “key” instrumental parts, and “AI-Assisted” for songs where AI played a supporting role but the core performance still comes from human musicians.
The labels are said to be conceived with “broad, global adoption” in mind, across digital music services and other partners.
“Fans want to know whether and how generative AI has been used in the music to which they listen,” say IFPI CEO Vikki Oakley and RIAA Chairman and CEO Mitch Glazier in a joint statement. “Given how important human artistry and authenticity is to music lovers all over the world, these labels will provide an immediately understandable and easily scalable approach to transparency.”
“For artists and fans around the world, true connections and trust are everything,” says Noemí Planas, CEO of Worldwide Independent Network. “Clear labeling of AI-generated content is central to this: it gives fans the transparency they deserve and supports the human-centered, safety-first approach that the global independent community has championed through the WIN Principles for Generative AI. Implementing the shared standards that the music industry is collectively developing is key to navigating AI responsibly and keeping creativity at the heart of it.”
The announcement comes as AI-generated music becomes an increasingly pressing issue for streaming platforms. French service Deezer recently revealed that AI-generated tracks now account for more than 44% of all daily uploads, while Apple Music said that more than one-third of the tracks uploaded to its platform are “100% AI”.
Labelling AI music has emerged as one of the industry’s preferred responses. Last year, Deezer began automatically tagging fully AI-generated tracks detected on its platform, while filtering them out of royalty payments and editorial playlists. The company has also launched a free online AI music detector that lets anyone check whether tracks in their own playlists – even on rival streaming services – were created using AI.
Meanwhile, Tidal announced last month that music it identifies as “wholly AI-generated” will no longer earn royalties or be eligible for direct-to-fan sales, though they will remain on the platform.
Learn more at RIAA.
The post Music industry proposes new system to tag AI-generated songs: “Fans want to know whether and how generative AI has been used in the music they listen to” appeared first on MusicTech.