Fast Company names 10 Most Innovative Music Companies 2025Fast Company has released its annual list of the 10 most innovative music companies for 2025. Not one of the major streamers or record labels made the list.
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“Perhaps the best tool ever created for producers of soundtracks and ambient music”: Beetlecrab Tempera review€670, beetlecrab.audio
I get to see so much cool music-making and sound-wrangling gear here at MusicTech that it can feel like I’ve seen it all. Not that I’m jaded, mind you — I’m regularly impressed, often delighted, and occasionally blown away. It’s just that surprises are more rare.

READ MORE: Beetlecrab Tempera: “As soon as we placed our hand on the grid and played a chord, we knew immediately, ‘Okay, this is it’”

Huge kudos must therefore go to Prague-based Beetlecrab for reminding me what it’s like to be hit with simultaneous doses of “wha..?” and “wow!”

What is Tempera?
At its heart, the compact and solidly built Tempera is a sampler, so the unit’s eight-by-eight grid of pads, four rotary encoders and assorted buttons don’t look out of place. But hang on a moment! Contrary to expectations, those touch-sensitive pads are not trigger pads like those found on MPC-style samplers or MIDI pad controllers.
Instead, each column of the grid hosts an audio sample, and each pad (or cell) within a column represents 1/8th of that sample. Touching or swiping across a cell causes it to light up, either momentarily whilst being touched or via various latching options, and when a note is played into the instrument the sample segments associated with any lit cells will sound.

Touching the grid to change the cells that are lit modifies the sound in real-time, making for a delightfully tactile and accessible experience that’s unlike anything else. But what you actually hear, and the colour of a cell’s lighting, is determined by which of the four colour-coded ‘Emitters’ is active when the cell is touched.
What is an Emitter?
An Emitter is, in essence, a granular synth engine that derives its grains from the audio contained within all cells lit in that Emitter’s colour. (A quick recap: granular synths loop and layer snippets of audio data, referred to as grains, to create constant or repeating sounds.)
The Emitter specifies the size of the grain, from just a fraction of a cell’s length, through the entirety of the cell, and up to the whole sample loaded into a column. In this way, Emitters can produce static pitched notes, shifting textures, or loops and beats (depending on the source sample).

Emitters can also pull in sample data from other cells in the X and Y dimensions on the grid, either via an offset or via a pair of ‘Spray’ parameters that cause additional cells to be triggered along with the selected cells.
Offsets and spray values can produce particularly striking results, especially when bringing in grains taken from different columns within the grid. This has been made even more flexible in the v2.1 firmware released just before this review was published, with an Emitter’s X offset now crossfading between different columns and samples where previously it would snap to one column/sample or another.
Image: Simon Vinall for MusicTech
What is a Canvas?
A Tempera patch is referred to as a Canvas and incorporates all samples, Emitter settings, and the status of the grid cells at the time the Canvas was saved. The Canvas also includes additional sound processing stages.
A set of 10 modulation slots is provided, each with a choice of simple attack/decay or attack/release envelope, various LFO shapes, noise-based randomisation, and real-time input from the modulation wheel and aftertouch. The most recent firmware adds keyboard tracking and velocity to these available sources. Each modulator can only be mapped to a single destination, unfortunately, but this can be practically any Canvas- or Emitter-level parameter. With 10 modulators available, you’re unlikely to run out of options.
Similarly, each of the eight Macro slots, which are controlled via the unit’s rotary encoders when in Macro mode, can only drive a single parameter. This feels a bit restrictive – macros tend to be at their best when controlling multiple parameters simultaneously – but it does allow specific parameters to be made easily accessible for real-time performance control.
Image: Simon Vinall for MusicTech
Another duty of the rotary encoders is to set the volume of each Emitter. The mixed signal is then fed through a multi-mode resonant filter, offering low-pass, band-pass, high-pass and formant filter models. The v2.1 firmware adds keyboard tracking to the filter’s cutoff frequency, the ability to choose which Emitters are routed via the filter, and a new Rake filter model. This is similar to a comb filter, and features amplitude modulation when the filter emphasis is turned up above 0.5, resulting in exceptionally interesting resonances.
The signal then flows to an ADSR amplitude envelope triggered by the notes played into Tempera. Meanwhile, individual Emitters have fade up and down parameters to shape the volume of grains, and the v2.1 update adds the option to apply a fast attack to the first grain that’s triggered, allowing an Emitter to react quickly to a played note whilst also creating smooth-sounding grains.
Finally, there’s a Canvas-wide effects chain consisting of chorus, delay and reverb (with the latter two having been enhanced and improved in the new firmware). Each Emitter has its own send level into the chain, although per-effect sends from each Emitter would have been preferable. Hopefully, we’ll see this in a future firmware update.

Sampling with Tempera
Creating custom Canvases is relatively straightforward. Samples are recorded (or imported) directly into a column and can be resampled from the unit itself, or be taken from a line or mic signal connected to the unit’s balanced jack input. There’s also a built-in mic for instant sound capture. It’s not the best quality, yet incredibly convenient.
My only complaint here is that any one sample is limited to just over 11 seconds in length. This is ample for creating textures and pitched sounds but is a definite drawback when designing samples to use as rhythmic or musical loops.

Recording samples involves placing one of Tempera’s columns into a record-enabled mode, and the v2.1 firmware has added an intriguing new feature here: the ability to use the record-enabled track as a real-time effects processor. When you do this, rather than the cells moving across the audio, the audio moves across the cells, whilst the Emitters continue to do what they do. If you are already struggling to grasp Tempera’s concept, then this will make you want to hide in a corner with a blanket over your head!
The results of this real-time processing are best suited to rhythmic effects, and so rely heavily on Tempera’s MIDI clock being synced to the incoming audio. They’re somewhat unusual and unpredictable too. It certainly plays to Beetlecrab’s penchant for the experimental and is a fascinating sound effect in its own right, but the jury’s still out on how useful or usable it actually is.
Tempera has 8GB of internal storage, some of which is used for the firmware and for preset Canvases and samples, but the vast majority is available for storing your own creations. Additional storage can be added via a micro SD slot, or by connecting a USB stick to the USB Host port.
The Host port can be used to connect USB-equipped keyboards and controllers, although standard MIDI in and out is also supported via mini-jacks. If you have no controller to hand, part of Tempera’s grid can be set to act as note triggers, although this then limits the area in which you can interact with the Emitters.
An additional USB Device port allows Tempera to connect to a computer, where it appears as a MIDI source and destination. When connected in this way, the unit can be switched to USB Bridge mode, allowing the computer to read and write directly to Tempera’s micro SD card.
Image: Simon Vinall for MusicTech
What is Tempera like to use?
Tempera is enormously engaging and satisfying from the get-go, its inviting touch-pads making it astonishingly easy to start exploring fascinating noises with barely any introduction to the hardware.
Beetlecrab’s ingenious user interface plays a big part in its accessibility. The combination of colour-coding, rotary encoders, mini displays and mode buttons have been implemented in such an elegantly intuitive way that you find yourself dancing effortlessly around the instrument in no time.
Admittedly, it takes more effort to fully get your head around what Tempera is actually doing and how to fully exploit its abilities and idiosyncrasies. But hey, that’s half the fun of it!
Like all granular synths, Tempera is well suited to creating evolving sonic textures and soundscapes. This ability is supercharged by its interactive tactility, not to mention the astonishing sonic flourishes and details that can emerge from exploratory touches and swipes.
Put simply, Tempera could be the best tool ever created for producers of soundtracks and ambient music.
However, this is not the only instrument that is suited to this. With the right samples loaded, and the Emitters configured appropriately, Tempera can be an expressive lead synth, an emotive pad machine, or the maddest loop-and-rhythm box you ever laid hands on.
Being so open-ended does mean that, no matter how familiar you are with Tempera itself, you have to invest time in exploring the Canvases you wish to use, learning their particular abilities and nuances. Thankfully, doing this is a lot of fun.
Tempera will be fascinating to anybody interested in synthesis or sound design, but there’ll be fewer for whom it will have a tangible practical application. At a lesser price, this may not have mattered, but at €670 Tempera is not exactly a toy.
What it is, though, is an amazing, unique, quirky and endlessly engaging machine, and I absolutely love it.

Key features

16-voice polyphony
4 rotary encoders with colour-coded rings
8-by-8 grid of touch-sensitive pads
Colour-coding fully customisable
4 high-resolution displays
8GB internal storage
Micro SD slot
USB Host port for USB sticks, keyboards and controllers
USB Device port for connection to computer
Stereo line/headphone out (headphone jack uses the left-hand jack socket)
Stereo sampling line input via a single TRS jack
Built-in mic
Optional live grain processing of incoming audio
MIDI in/out via TRS mini-jack
ARM Cortex A72 quad core processor
32-bit internal processing
VESA mounting holes on rear panel

The post “Perhaps the best tool ever created for producers of soundtracks and ambient music”: Beetlecrab Tempera review appeared first on MusicTech.

💬 🔥 Weekly Deals & Freebies Thread
Welcome to the BPB Community Weekly Freebie Thread for March 17–23, 2025! 😊 Read the Thread Guidelines 💬 This section of our community is where BPB readers can share links to the latest freeware news and deals with fellow music producers in the comments. Thank you for contributing! To keep the discussion helpful and relevant, please [...]
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Recorded music market 2024: $36.2 billion, up 6.5%MIDiA has just released its annual recorded music market shares report. Clients can access the full report and the accompanying massive (!) data set here. For the rest of you, here are some highlights from the report.

Global recorded music growth has oscillated through the 2020s and 2024 continued that pattern, up 6.5% to $36.2 billion after 9.4% growth in 2023. (Excluding expanded rights, the total was $32.1 billion). Given that the first half of the 2020s was characterised by global upheaval and uncertainty, shaped by factors such as the pandemic and rising inflation and interest rates, 6,5% growth was no small achievement. But global disruption is not going away – 2025 has thus far picked up the baton and sprinted with it. The music business is going to have to get used to operating in challenging global circumstances, even before considering a growing catalogue of disruptive industry specific trends such as, bifurcation, the rise of the Global South and a fast-maturing streaming market.

Streaming still dominates revenues but its impact is lessening. For the first time ever, its share of total revenues declined slightly in 2024, down from 61.5% to 61.3%, with streaming growing slightly slower than the total market to reach $22.2 billion. Streaming is no longer the market maker. Its contribution to total market growth was down by more than a fifth compared to 2022. The streaming revenue slowdown has been on the horizon for many years and – despite price increases – it has now arrived. Super premium cannot come soon enough.

On top of this, physical was down -4.8%, carrying on its very own 2020s yo-yo growth pattern (up, down, up, down). So where did all the growth come from? Other i.e. performance, sync and expanded rights. Expanded rights (merch etc) were up to $4.1 billion, reflecting the recorded music businesses success in monetising fandom. Other as a whole was up 17.3% while Sony Music pulled up a forest of trees, seeing its ‘other’ revenue up by 38.6% in 2024.

In fact, Sony Music had a good year all round. UMG remained comfortably the world’s largest label with revenues of $10.5 billion but for the second successive year, Sony Music Group (SMG) was the fastest growing major label, increasing revenues by 10.2% to grow market share 700 basis points to 21.7%. SMG was the fastest growing major label in the first half of the decade, growing by a total of 73.9% between 2020 and 2024. The only other market constituent to grow share was non-major labels, up to 29.6% market share. Artists Direct meanwhile (self-releasing artists) felt the pinch of new royalty structures, with revenues slower than the market to reach $2.0 billion. This despite the fact that the number of self-releasing artists grew by 17.2% to reach 8.2 million, with Chinese streaming services Tencent and NetEase seeing particularly strong growth.

One of the most important market trends though, is the growing gap between DSPs and labels and distributors. Streaming services are both growing revenue faster than rightsholders and are widening the growth gap. DSPs grew revenue three times faster than labels in 2024 and the rate of growth was up three years running. Despite working within tightly set rightsholder constraints, DSPs are learning how to improve margin through a diverse mix of tactics including content mix (e.g., podcasts, audiobooks), acquiring cheaper music (e.g., production libraries, exclusive commissions, generative AI), licensing discounts (e.g., audiobook bundles) and charging labels for access to audiences (e.g., Spotify Discovery Mode). 

All in all, a solid year for the recorded music market, but with warning signs: labels aren’t keeping pace with DSP growth and despite keeping the long tail of Artists Direct quiet with new licensing structures, more artists than ever are deciding to release without labels. Eventually they (and smaller indie labels) will take heed of the ‘you’re not welcome here’ sign on streaming’s door and build their audiences elsewhere. This will be a short-term win for bigger labels, but long-term risk, with this new lane being where much of tomorrow’s culture will be made. In case you forgot, Bifurcation is coming.

Note: we scaled down some of our historical numbers slightly to reflect some double counting of independent label revenue distributed by other independent labels

Songs in Film and TV: Which songs are used most?The relationship between film and and TV and music has always been strong, but these songs have been used so often that their identity is shaped by on-screen appearances.
The post Songs in Film and TV: Which songs are used most? appeared first on Hypebot.

Steinberg update Cubase 14 Cubase 14.0.20 introduces some changes to the Pattern and Score Editors, additional Audio Export options and a new Audio Segment Detection feature capable of highlighting individual elements such as words, drum hits in audio regions. 

Ableton Live 12.2 public beta announced Live 12.2 delivers updated devices for all editions, introduces an array of new features for Ableton's Push hardware, and adds two new devices to the Move and the Note iOS App. 

Carl Cox is bored of DJing: “Instruments don’t play themselves; you have to create the sounds”Oh yes, Carl Cox loves playing to crowds just as much as when he started four decades ago:

READ MORE: Deadmau5 sells his catalogue for $55 million: “We inherit a legacy that changed music forever”

“The idea of my performance is always excitement. What’s going to happen? The creativity of that — what can I achieve? How do I connect with people?” Cox says.
But these days, his excitement, creativity, and connection come from his live electronic set, not DJing. Cox has completed the DJ game. In this phase of his career, the 62-year-old steps on stage, and, with the help of a Pioneer V10, a bevy of machines, and his inimitable ability to respond to crowds, he creates music that will never be heard again.
“It’s only me, from my point of view, coming down from the DJ pedestal to go into realms of creativity. The machines don’t play themselves. You have to create the sounds. You have to find the rhythm. You have to find its soul. When it all comes together, it comes through the speakers, and everyone’s got their hands in the air — there’s your moment,” Cox says. “That’s where I’m happiest because I’m being challenged.”
Image: Dan Reid
Cox is currently preparing to debut his brand new live set, Evolution, at Ultra Music Festival on 29 March. But he’s been seeking challenges onstage long before he developed this show.
“I’ve always had aspirations of being a live electronic artist,” Cox says. He recalls watching Liam Howlett perform for The Prodigy with an Ensoniq SQ-80 in the early 90s, when Cox was opening for him as a DJ.
Inspired, Cox decided to start the Carl Cox Concept, a trio that included Cox on keys, MC Magika on the mic engaging with the crowd, and Neil McLellan, a producer who worked on The Fat of the Land and other albums from The Prodigy, also using an SQ-80.
But Cox stopped the trio — he was too in-demand as a DJ and hungry for growth.. “I hadn’t reached the highest heights as a DJ to be able to say to myself, ‘I’m going as a live act.’ So I dropped the live,” Cox says.
Cox didn’t perform a live electronic set from 1992 until 2010, when he finally assembled a couple of shows in Melbourne for his album All Roads Lead To The Dancefloor. The album got a lukewarm reception, despite his diligent work with vocalists and instrumentalists, so he quickly reverted to DJing and swore he was never going to make another album. 10 years later, two things happened in quick succession in 2020: the pandemic eliminated live events and he received a beta version of the Pioneer DJ V10.
Image: Pres
“I said to the world, ‘That mixer is a game changer’. People were like, ‘How much is he getting paid to say that?’ But every DJ now wants to use a V10 mixer,” Cox says. “I never was a massive Pioneer fan. I always felt that the sound of Pioneer would be cheapened based on the components they used to use back in the day, but now it’s as good as any [premium] mixer out there.”
The most groundbreaking aspect of the V10, for Cox, is its ability to separately record each channel into Ableton Live, while many other mixers can only output a stereo feed. “When I told people you can record each channel like they’re stems in Ableton, people thought I was mad. I was using Richie Hawtin’s Model One mixer before I changed over to the Pioneer. It doesn’t do that.”
With this new tech available while he was on a forced break from touring in 2020, Cox spent his time off the road jamming on hardware. He would plug his Moog Labyrinth, Moog DFAM, Roland TR-8S, and various other machines into the V10, link them with Ableton, hit record, and start making music.
Image: Press
After one particularly fruitful jam session, he realized he had a whole album’s worth of material recorded into Ableton — after just 90 minutes. Just as new tracks unfold before him during his live set, new tracks were revealing themselves to him in the studio. That material became his 2022 album, Electronic Generations.
“I found as I was doing all these different ideas while I was jamming that I was actually making a live album. I wasn’t expecting to do an album. But everything that was coming about, I could tell — ‘That’s another track. That’s another track. That’s another track.’ I found myself doing about 25 tracks,” Cox says. This process birthed the new live setup he’s been touring since events resumed.
“I didn’t want to come out of COVID and just continue to DJ. I [like to] dive into the machines, swim around in all their components, and find out all these wonderful things that can come out of them that turn a corner on people’s expectations,” Cox says.
Cox will always be a legendary DJ but many of his world-class contemporaries are yet to follow him on this creative path. David Guetta put it similarly in 2024 — “In our profession, there are now…Entertainers and DJs.” These ‘entertainers’, says Guetta, stand behind decks of CDJs playing their own songs in their entirety, with little improvisation and a focus on props and stage production. “I don’t think that’s DJing,” adds Guetta.
DJs, on the other hand, read the crowd, play the music that fits the moment and introduce audiences to new music. Such entertainers, Cox says, are squandering their skills as a DJ.
Image: Press
“It’s the reason why a lot of DJs are bored. They’re playing the same tune, week in, week out,” Cox says. His remedy to that boredom is the machines, but in his experience, very few DJs have any interest in playing a live set.
“If you stick most DJs in front of [a live setup], they’ll just walk away. I feel there’s laziness to that, because when you go in the studio to record, you use these machines. You use a drum machine. You use synths. You use keyboards. So why don’t you do what we’re doing in the studio, and then create that live?” Cox says.
Cox is creating tracks in the studio and on stage with 13 different pieces of gear including his MacBook Pro running Ableton Live, an Ableton Push, Novation Launch Control XL, Abstrakt Instruments’ Avalon (to emulate the sound of the Roland TB-303), and a MOTU Ultralite mk5. All this runs into the six channels on the V10, and he puts a DOCTron IMC on the master chain.
Channel 1 is a palette of kick drums in Ableton. His music is based heavily on four-to-the-floor beats, which allows him to manipulate the sound of his set drastically. He can infuse any track with a different energy, from round and funky house kicks to deep and throbbing techno kicks.
Image: Press
“If I’m using a track, I normally take the kick out of that, and then put a new kick on top, so the track sounds different. But sometimes, that track has a good kick. I don’t even use any of mine. So I exchange, or I use the kick in a track and then use my kick to really get that bottom slamming,” Cox says.
Channel 2 is reserved for the TR-8S for the classic Roland drum machine sounds. Channels 3 and 4 include the full tracks he wants to play during his set that he can then manipulate with the machines and the mixer. Channel 5 controls the Abstrakt for the 303 bass, and then channel 6 is a submix of the rest of his Moog synths, percussion clips, and samples from Ableton for any further sonic decoration.
“I hear a track, find a good loop area, and I basically make a track from that loop. Then I work that, and take the channel from the Ableton out, and already have another new track being created. So I use that as my paint board,” Cox says.
For past live shows, he’s used mixing desks with 64 channels to give him all the room he needs for all of his desired functions. However, the tactility of the V10 allows him to perform like he does when he’s DJing. Still, Cox remarks that routing all of this into the V10 is still limiting him a bit because it only has six channels: “I could actually use two more extra channels on this mixer, but [Pioneer DJ]’s not listening to me,” Cox says with a laugh.
“I create the energy of my music through the mixer. Cuts, fades, and effects. I use it as an instrument. Where all the other mixers you put the fader up and fader down, you go to a channel on an insert and find an effect that you want to use. That slows me down,” Cox says. “Having a V10 as my only DJ tool within my live set keeps me on my toes.”
Image: Press
Keeping his eyes off his computer screen is crucial to remaining on his toes. He wants to give his attention to the machines and the crowd, absorbing their energy and transmuting into the music as directly as possible.
“I don’t want to be seen scrolling the menu. It makes me a very dull looking performer,” says Cox.
Though he’s concerned with how he looks, he is more concerned with sound quality. That’s why he has the DOCTron IMC. Given that Cox is combining numerous live elements rather than outputting tracks that have already been properly mastered, the extra bit of compression and limiting from the DOCTron (made by fellow techno gearhead, Stimming) helps him glue everything together.
“The difference is unbelievable. It takes what you’ve got and makes it into the most beautiful butterfly. The sound guys love me for it because they cannot believe the signal that they get,” Cox says. “You just feel the sub level tones you never thought existed. It brings it all out. I want this to sound live.”
Over the past 40 years, millions of people have heard Carl Cox say “Oh yes! Oh yes! Oh yes!” on the mic at his shows. He says this to fire up crowds into uproaring cheers, and as he challenges himself with new machines, new methods of performance, and new ways to deliver top tier musical experiences, he is just as excited as they are.
The post Carl Cox is bored of DJing: “Instruments don’t play themselves; you have to create the sounds” appeared first on MusicTech.

Hans Zimmer says his Rain Man score was the “beginning of orchestras having to adapt” to synth-written movie scoresHans Zimmer feels his score for the 1988 film Rain Man marked the start of orchestras adapting to working with synthesizers for movies.
Rain Man won Best Picture at the 1989 Academy Awards, with Zimmer being nominated for Best Original Score. He went on to be Oscar-nominated for a number of other synth-laden scores, including Interstellar and Dune: Part One, the latter of which he won Best Score for in 2022.

READ MORE: Hans Zimmer concert film coming to cinemas to offer “peek behind the curtain” at his work

Speaking to Josh Horowitz for the Happy Sad Confused podcast, Hans Zimmer says, “I wrote Rain Man on a synthesiser with weird sounds and there’s an orchestra trying to play my music.
“Actually it’s really interesting that you say this because I’m only just realising as you’re saying it, it was the beginning of orchestras having to adapt. Like, ‘there’s this new guy in town and he works with weird electronic instruments, so we better have some stuff in the orchestra as well that can go and do that!’
“The following year I wasn’t up but Driving Miss Daisy won Best Picture so they kept playing that tune over and over again, and then Gladiator won Best Picture and I was nominated but again it was like they played the tune over and over and over again… and then winning for Dune: Part One, I was so grumpy about the whole affair.”
Hans Zimmer goes on to recall what turned out to be his most-loved Oscars experience from his win in 2022, which didn’t actually involve his presence at the ceremony itself: “I phoned my PR people and said, ‘don’t bother me, I want to go to sleep’. I had my kids with me and they were downstairs doing whatever, and then the phone rings and it’s my publicist going, ‘It’s your category!’ and I’m going, ‘I told you I don’t want to be disturbed.’
“Two minutes later the phone rings again and I’m going, ‘I told you!’ and she goes, ‘But you won!’ At that moment the door burst open and I realised there was a devious plot between [my partner] and my children and they flew in and there’s a big party going on downstairs with the whole band. They didn’t care if I won or lost, they just wanted a great big party! That was the best Oscars I ever had.”
Check out the full podcast below:

The post Hans Zimmer says his Rain Man score was the “beginning of orchestras having to adapt” to synth-written movie scores appeared first on MusicTech.

💬 Introducing the new BPB Community
Bedroom Producers Blog has launched an improved commenting system and a new BPB Community. Introducing the New BPB Community After months of planning and testing, I’m excited to launch the new BPB Community. This update brings a new and improved commenting system and a dedicated Community section, making it easier than ever for readers to [...]
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The Les Paul Recording Studio The Les Paul Recording Studio features a restored collection of Les Paul’s original gear, including his groundbreaking audio console and eight-track recording setup.

Mixing Dune 2 OST: Alan Meyerson Webinar Sound Particles and Apogee have announced an upcoming webinar with none other than Alan Meyerson, the Grammy-winning mix engineer behind blockbuster films such as Inception, The Dark Knight, and Dune.

Unofficial Guide to Music Tech events during SXSW: Top PicksThe free Unofficial Guide to Music Tech events during SXSW in Austin next week is live and we share out top picks.
The post Unofficial Guide to Music Tech events during SXSW: Top Picks appeared first on Hypebot.

Should voice actors be concerned about being replaced by AI? The Simpsons’ Hank Azaria thinks so – maybeHank Azaria, known for voicing multiple characters in The Simpsons, has given his thoughts on how AI may affect careers like his in the future.
In a video for The New York Times, Azaria records the voice he uses for the character of Moe in The Simpsons, to see how well AI can recreate it. Within the video, Azaria likens the future of AI in the voice acting industry to how streaming has currently impacted music – if something is readily available for free or at a low cost, he feels many people opt to use it, despite the ethics behind it.

READ MORE: Rights management platform for generative AI raises $2.1 million in investment for “trailblazing” attribution model

“I think there’s a humanness that the AI can’t do right now – at least vocally, and may never be able to do – that involves a character’s motivation, certain emotions, subtleties of physicality, facially or otherwise, that add up to a human being,” Azaria says.
Looking to the future, he adds, “People are going to listen to and enjoy and watch what they like, and they’re not going to care whether AI generated it or a human generated it, or some combination of the two. Right now, what AI generates by itself as Moe the bartender or anything else isn’t going to cut it. But if it does start to cut it, people are going to listen to it, and they’re going to be grateful that it’s so readily available.
“Look what happened to the music industry. Do you think I cried a tear because the record industry reinvented itself? I got to listen to all the music for free all of a sudden,” he explains. “I don’t think people are going to feel much differently about any of this.”
You can watch the full video below:

Currently, the UK government is considering proposed changes to copyright law, which could allow AI developers to mine from creators’ content on the internet. The suggested change would mean creative works could be used to develop AI models unless the rights holders actively opt out. A number of musicians have since spoken out about the suggested changes, including Paul McCartney, Elton John, and Max Richter.
Richter made his thoughts on the matter known earlier this week with a speech to MPs calling for greater protection for music creators: “Music is the closest thing humanity has to magic,” he said, “But all of this will fade into history unless we support creators’ rights because, unless artists can be fairly rewarded for their work through copyright, there is no future for human creators.”
The post Should voice actors be concerned about being replaced by AI? The Simpsons’ Hank Azaria thinks so – maybe appeared first on MusicTech.

Indie Artist Playbook: Tips for a Sustainable Music CareerWant to make a living from your music while staying independent? The Indie Artist Playbook shares 25 years of insider knowledge, giving you the tools to build a sustainable career, market your music, and thrive in today’s music industry.
The post Indie Artist Playbook: Tips for a Sustainable Music Career appeared first on Hypebot.