Why you should – or should not – upgrade to Cubase 15It happens every year. The leaves start dropping, the winds start blowing, the nights start drawing in. All the signs are there that a big day is coming. No, not that one — I’m talking about Cubase receiving its annual upgrade, of course.

READ MORE: I’ve used Cubase for 36 years — here’s what I honestly think about Cubase 15’s AI tools

I’ve already gone into some depth on what I see as the two biggest additions in Cubase 15 – stem separation and the Omnivocal plugin instrument – but there are many other tweaks and changes. Are these sufficient to justify the upgrade price? Your mileage may vary, but I certainly think so – here’s why.
New expression maps in Cubase 15. Image: Press
What do I prefer about Cubase 15 compared to 14?
Pattern Editor
One of the big-ticket additions to Cubase 14 was track-level pattern sequencing courtesy of Pattern Events and the Pattern Editor, introduced to support the also-new Drum Track track type. In my review of that release, I commented on how Pattern Events could also be used with pitched instruments, but that the Pattern Editor was not well-suited to this usage. I also lamented that patterns were stored at the project level and couldn’t be saved and loaded independently, making them awkward to share between projects.
I’ve got used to working around these shortcomings over the last year, but am nonetheless very pleased that Cubase 15 deals with both of them. The Pattern Editor now offers a choice between drum and melodic modes, the latter now geared toward creating basslines, arpeggios, etc., and offering a choice between monophonic and polyphonic patterns. Better still, the set of patterns associated with a Pattern Event can now be stored and recalled as Pattern Banks, making those patterns much easier to transfer between tracks and projects.
Modulators
Another major new feature introduced in Cubase 14, and which has kept me happily occupied since, was Modulators. These have been transformative (no pun intended) and allowed me to do with Cubase things I would previously have turned to Bitwig Studio to achieve. The addition of six new modulators in Cubase 15 has brought with it a wealth of tantalising possibilities, especially the Sample & Hold and Crossfader modulators, which combine with other modulators to create unique and dramatic effects.
Expression maps
Expression Maps have received a much-needed overhaul in Cubase 15, so it’s now much easier to work with maps overall. What I like here most of all is that each articulation defined in a map can now have its own set of MIDI modifiers applied to it. So you can, for example, add attack compensation and length adjustment to a violin’s legato articulation so that it stays in time with pizzicato and staccato articulations.
Sure, when performing and recording, you would make these compensations yourself, but by wrapping the options into Expression Maps, you can experiment with different articulations on the fly as the music develops.
Volume and pan on track heads
Cubase 15 now allows small volume and pan sliders to be shown on track heads. This is something most other DAWs offer, but personally, I’m not so excited by this, preferring the full-sized fader available in the Channel zone. In fact, prior to the Channel zone’s introduction in (I think it was) Cubase 11, I was perfectly happy with the option to show a fader and pan control in the Track Inspector.
Nevertheless, this is proving to be a very popular new feature, so I will bow to the group wisdom on it… Although I suppose from my own point of view it highlights the benefits of Cubase’s customisability, because I can leave them switched off!
Melodic and polyphonic patterns in Cubase 15. Image: Press
What’s missing that I hoped to see, and what could be better?
Drum track management
Drum Tracks, introduced in Cubase 14, allow you to create drum machines directly in the timeline, where they can be triggered and controlled by Pattern Events. Yet despite being fundamentally an instrument, the drum kits themselves are stored and recalled as Track Presets, and I find this confusing and inconvenient. Confusing because… well… why?! And inconvenient because the panel for loading Track Presets, while similar in layout to a standard instrument preset panel, closes automatically as soon as you choose a preset. These are small gripes, sure, but I’ve been haunted by them for a year now, so I had hoped that Steinberg would tidy this up.
Modulators
As I mentioned in my Cubase 14 review, one thing lacking from the Modulators system is the ability to create global modulators that can control global-level parameters and plugins, and can reach into multiple tracks simultaneously. I had hoped maybe Cubase 15 would have gained this ability… oh well, perhaps it’ll come in Cubase 16.
I was also hoping that, by now, Steinberg would have provided some documentation to support the ModScripter modulator. This generates its modulated output from scripts, and some basic notes are included in the default script that loads with a new instance of the modulator, but the distinct lack of any proper documentation makes it difficult to learn how to work with the scripting API. Publishing such documentation needn’t wait for a Cubase update, but the v15 release would have been a good opportunity to address this.
Controller mapping
Steinberg introduced a new controller mapping system in Cubase 12 that was a massive improvement on what had come before. Nevertheless, I find it can still be awkward and frustrating to configure, and the Cubase documentation doesn’t shed much light either (it’s proficient at covering the ‘how?’ but rarely bothers with the ‘why?’ and ‘when?). Controller mapping is an unavoidably complex issue in the modern studio, for sure, and Cubase 12’s updates were a big step in the right direction, but I had hoped that, by now, Steinberg would have turned its considerable user experience skills towards making this something that’s easier to manage and navigate.
Loading pattern banks in Cubase 15. Image: Press
What are the upgrade options, and are they worth it?
Cubase is still one of the most expensive DAWs when buying a full license, but its upgrade pricing is amongst the best, and hasn’t changed for quite some time despite the rampant inflation plaguing most of us.
The £63 to update from Cubase 14 Pro (and less to upgrade to new Elements or Artist editions) is extremely reasonable, as there’s easily enough here to justify such a minimal outlay. Upgrading from older versions and/or lesser editions adds to the price, but if you do the math, you can see that Steinberg keeps these prices fairly balanced.
Nothing’s ever perfect, but the new features in Cubase 15 are significant and bring a lot to the table for a minimal upgrade cost.
The post Why you should – or should not – upgrade to Cubase 15 appeared first on MusicTech.

Learn how to layer monosynths to give your music more impactYou might think a polyphonic synth keyboard is a more expansive live instrument than a monophonic one, but this isn’t true in the context of recording — especially in a DAW environment where we have limitless tracks. When we start to think of the sounds we create as parts that make up the leads, basslines, and soundscapes within the music we produce, a monosynth can become a finer brush for your palette.

READ MORE: How to make better mixes in your bedroom studio

How to approach sound layering with monosynths
Naturally, when it comes to layering any sound, whether it comes from a synthesizer or an acoustic instrument, simple notation is a key factor in getting a lush, unified sound. If our notation is over-complicated, either melodically or rhythmically, the listener easily loses the connection with the picture we’re trying to create.
Layering monosynths is similar to layering drum samples, a process in which we separate the initial attack point or transient, the main body of the sound, and the decay. The difference is that with synth leads, we are working with a longer time frame, and we can use envelopes to shape each part so it occupies the exact space we need it to in the mix.
Also, the orchestration style and song tempo are crucial because we need to write parts that sound good in layers. If we use short, repeating staccato notes, like a 150 BPM Psy-trance bassline, it gives us very little room to build expressive and distinctive layers. Instead, a simple ostinato consisting of three or four sustained notes provides more space to get creative, especially at a tempo of around 116 BPM or lower.
Layer 1 settings. Image: Press
Getting layering right
One of the best examples of monosynth layering that I’ve heard by far is Goldfrapp’s Anymore, the lead single from the UK group’s seventh studio album, Silver Eye (2017). The entire song revolves around a simple three-note melody, which expands into chords through clever layering, while the vocals provide contrasting harmonies that extend the reach of the song’s emotive depth.
From the song’s first verse (0:18), there are two monophonic synth layers carrying the melody, a fifth apart, which creates power chords. However, because the root notes are played by a filtered synth occupying the sub bass range, the harmony synth layer spread across the stereo becomes more pronounced. As a result, the lead vocal melody, which is similar to the root notes, is pushed into focus.

As the song moves into the second verse (0:52), we see the use of descending and ascending transitional synth parts, as well as groove-oriented synth bass fills which add spatial dimension, as these sounds jump out of the mix. Then, from the second reprise (1:09), things start to ramp up considerably, with textured evolving pads sitting above the vocal range, followed by yet another screaming synth harmony in the chorus (1:26).
At this point, the culmination of synth layers creates a swarming sea of euphoric textures and colours without ever feeling busy or cluttered. As you can see, the use of monophonic synth parts can create an incredibly detailed and animated sonic tapestry with the right compositional approach and feel.
Layer 2 settings. Image: Press
How to start layering monosynths
Monophonic synth layering can be done with any synth, from hardware synths like the Korg Monologue, the Novation Bass Station, and the Arturia MicroBrute, or you can use the stock subtractive synth in your DAW, such as Analog in Ableton Live setup in monophonic voice mode. To get started, we need to create a simple 4-bar progression. I’ve chosen a slow boom-bap tempo around 92 BPM to focus on micro-timing aspects, but we can speed up the tempo at a later stage if necessary.
Layer 2 low cut filter. Image: Press
Timing is the first tool we can use to differentiate each layer, so playing the individual parts in or varying the timing of the MIDI notes ensures the layers don’t all hit you at the same time. Also, because we’re using such simplistic notation, we want to avoid sounding robotic or homogenised, especially if you’re only using software. Start by setting the sustain of your amp envelope to full, adding some release time (around 15%), and introducing some portamento/glide (around 15%) to create a more organic feel.
If you’re programming your MIDI notes, you’ll need to ensure that they overlap slightly to activate the portamento effect. To create the bottom synth layer, we can set the filter to around 100 Hz or lower, with very little filter envelope interaction (around 15%). Then, you can simply duplicate the track in your DAW and start working on the next layer.
Layer 3 settings. Image: Press
To separate the second layer, we can roll off some of the bass with a low-cut or low shelving filter (around 120 Hz) and then re-voice the synth layer. Start with only one oscillator active, and then raise the pitch by 5 semitones to create 5ths or power chords, and lift the filter to release more harmonic content. Now, with the second oscillator, use the same tuning settings but up an octave, and notice how the two oscillators begin to beat and move around. You can also add some fine detuning for a more chorussy effect.
MIDI notation. Image: Press
To create the third layer, simply duplicate the second and, using a single oscillator, raise the pitch to 9 semitones above the root note. Now, to make it stand out, we can lift our low-cut (around 240 Hz), introduce some filter modulation (around 20% depth) from the LFO, and add some signal from the noise oscillator for texture. Your 3-note melody should now sound like a chord progression, spread across the three monophonic synth layers. Remember that the impact comes from taking a compositional approach, so you might only need to use the third layer in the chorus to enlarge the sound scape. Also, be sure to experiment with different effects, as this can give the layers space in the stereo or reverberant field.
The post Learn how to layer monosynths to give your music more impact appeared first on MusicTech.

How Roland’s TR-1000 revives analogue drum machines for modern producersAd feature with Roland
It’s been over 40 years since Roland released an analogue drum machine, and there was always a danger that any new product would end up retreading old ground. On the other hand, if Roland strays too far from the originals, then it risks not satisfying the drum machine purists.
It’s a tricky tightrope to walk, but with the TR-1000, Roland has somehow managed to satisfy both crowds; modern producers get a comprehensive package with cutting-edge sounds, effects and connectivity, and the purists get the authentic analogue circuits.
Here’s how this flagship drum machine distinguishes itself from its predecessors and puts more power into the hands of modern-day producers.
Extended Analogue Sounds
The analogue sounds of the 808 and 909 have endured since the 1980s, so Roland didn’t need to reinvent the wheel here. A range of original units were tested to try and extract the essence of the originals, without trying to be exact copies. The controls have been extended to include wider tuning, decay and velocity response, making these sounds more flexible.

A prime example is that you can now tune your 808 kick drums to make genuine analogue 808 basslines. If you just want it to sound like a classic drum machine, though, then you can do that too.
New FM engines and Circuit-bent ACB
However beautiful they sound, analogue circuits will always be more limited than their digital counterparts. To widen the sonic palette further, Roland includes new circuit-bent versions of its ACB modelled drum machine sounds. Extra controls allow these to be pushed further than before into new experimental territories.

You can do interesting edits like individually tuning the three layers of a 909 Rim Shot, or play with the pitch envelope and wave folding on an 808 kick drum to get zappy, synth-like sounds. On top of this, there are seven FM percussion models that perfectly complement the rounded analogue sounds by generating precise, bright and aggressive tones. This variety, combined with the potential to have two layers on four of the ten tracks, allows you to quickly break away from the more familiar TR sound.
Sample Tricks
The ability to load up your own samples and loops massively opens up the TR-1000 and turns it into more of a workstation than its predecessors.
With a massive 46GB of user hard drive space, you can store thousands of samples, with a maximum length of 16 minutes. This means you could easily perform whole tracks live, using the sample playback to add extra instrument layers, effects or vocals.

You can also slice, stretch and resample the internal sounds, which could be used for wild sound design, or simply to sample off a bunch of analogue hits so that you can reuse the more limited analogue resources elsewhere.
The Sequencer
Hardware sequencing has come a long way since the original TR drum machines. The basics are still present, allowing you to quickly lay down patterns for each sound and add accents and fills. However, many extra features make this the most advanced Roland drum sequencer yet.
You now have extra per trig features such as probability, nudge and parameter editing, plus parameter motion recording and, for the first time, a fully fledged Song Mode. Being able to work off the grid and to add a touch of unpredictability can help to make your patterns feel much more alive than with older drum machines.
Image: Press
Performance Controls
The 808 and 909 have always been very hands-on machines, as anyone who’s seen a Jeff Mills performance will know. But the TR-1000 dramatically expands on this concept, allowing you to set up macros and assign any parameter to its many dials. Each sound can have up to 16 Snapshots that can be performed, and the incredibly fun Step Loop feature lets you loop any section of the sequence on the fly for instant glitch and stutter effects.
There’s also a mega macro that’s controlled with the Morph crossfader. This can control multiple parameters that completely transform the whole pattern for engaging live transitions and switch-ups. The vast array of options allows you to experiment with new ways to perform your beats.

Software Editor
Plugins didn’t exist back in the 80s, but these days, we’ve become accustomed to editing sounds on beautiful GUIs. Although it’s entirely possible to navigate the TR-1000 using its small screen, some may find it easier to do the bulk of the editing using the included software editor.
You simply connect via a single USB-C lead, and you’re good to go. This makes accessing the parameters much quicker, and can also be used to back up projects and transfer samples from your computer.
TR-1000 with companion app. Image: Press
Audio Over USB
Perhaps even more useful, though, is the ability to send audio over USB-C. You no longer need to have a wild spaghetti of leads connected to be able to stream high-quality audio for each of the 10 tracks. There are individual audio outs available should you prefer to go the old school way, or to process certain sounds through outboard gear.
However, if you have limited studio space or an interface with just a single stereo input, then having all the audio in one USB lead is a godsend.
Lots of Effects
Although there’s something to be said for the raw sound of an analogue drum machine, most modern tracks will include some kind of processing to get everything sitting right and sounding its best. Whether you’re looking to simply refine a sound or give it more character, Roland really pushed the boat out with the range of post-processing and effects that can be added.

Every track has its own filter or EQ, compressor, and insert effects slot, plus there are high-quality reverb and delay send effects, and an array of creative, sound-mangling master effects.
Finally, if you’re looking to beef up the output and give it some final weight and polish, then there’s an analogue state-variable filter and an analogue drive circuit. The end result is that you can get a balanced, characterful and production-ready sound straight out of the box.
Visit Roland.com to find out more about the TR-1000.
The post How Roland’s TR-1000 revives analogue drum machines for modern producers appeared first on MusicTech.

Strymon announce the Fairfax Inspired by a little-known valve device from the 1960s, the Fairfax is said to take an altogether different approach to overdrive, and marks the introduction of a new Series a line-up that contrasts the company’s DSP-based offerings.

Cast Your Vote in the AllMusic 2025 Readers' PollAs we review our favorite albums of the year, we turn it over to you to vote in our annual readers' poll. ​Each of you has five votes to spend in our annual year-end poll, with a ballot built from our readership's best-rated albums of 2025.

Jim "Kimo" West Earns Global Grammy Nod with "Sounds of Kumbha"Pictured standing is Jim West and (seated L-R) are Siddhant Bhatia, Kala Ramnath, Charu Suri.

According to news on Thursday, "Jim 'Kimo' West, well known as the versatile guitarist for 'Weird Al' Yankovic, is also recognized as a Grammy-winner who brings his own unique musical perspective to world music, nominated for the 2026 Global Album Sounds of Kumbha."

"Sounds of Kumbha is an historic 12 track / 12 video 'sonic memoir' that celebrates this year's Maha Kumbh, the world's largest-ever spiritual gathering, and features seven producers and over fifty world-class artists."

"Being there in India at the Kumbh was truly an unforgettable experience," says West. "As a co-producer and featured artist I'm really proud of this - both the sonics and the cinematography are top notch."

"West utilized his TELEFUNKEN ELA M 260 Stereo Set, which features two small diahragm matched condenser mics and a custom dual power supply."

"I've been doing all my own recording as long as I've played guitar," says West. And the instrument, the player and the microphones are equally important. I've always loved great mics and especially Telefunken." 

"Sounds of Kumbha is a 12-song and 12 music video living memoir of the Mahakumbha, the world's largest gathering of humanity devoted to peace, prayer, and spiritual unity, led by Indian classical singer, composer and producer, Siddhant Bhatia."

"With seven creative producers, Jim 'Kimo' West, Ron Korb, Madi Das, Charu Suri, Raghav Mehta, Siddhant Bhatia, Devraj Sanyal; and over 50+ global artists, Sounds of Kumbha is an unforgettable immersive experience."

"Acoustic guitar is a complex instrument and you have to be very careful of boominess, and sometimes it can just be too big sounding," West explains. "So mic placement is really important. You want to make sure you stay away from the sound hole. There's something about small diaphragm condenser mics that makes them really responsive. I like all the little nuances, and things really pop out with a small diameter condenser. With the shape of the 260 plus the tube there's a richness there. These mics just sound really natural."

Looking back, West remembers, "I was at a Weird Al session a few years ago and the engineer was using a pair of these Telefunken M 260 mics on different instruments and I really thought they sounded great. I've always loved the idea of tubes in the chain somewhere, especially for acoustic guitar, because it adds a really nice harmonic richness. When I redesigned my studio I thought it was time to get a pair of new mics. These 260s were my first choice, and they are really spectacular sounding."

"Sounds of Kumbha" is entered in the Best Global Album category. Learn more: https://soultraxstudios.com/sokfyc/    

The post Jim "Kimo" West Earns Global Grammy Nod with "Sounds of Kumbha" first appeared on Music Connection Magazine.

1X struck a deal to send its ‘home’ humanoids to factories and warehousesDespite launching as a humanoid robot designed to help consumers around the house, 1X's Neo robots are heading to industrial use cases.

Terraform co-founder sentenced to 15 years in prison after guilty pleaA federal judge heard statements from some of Terraform Labs’ and Do Kwon’s victims for hours before deciding on the co-founder’s sentence.

Amiibo Emulator Becomes Pocket 2.4 GHz Spectrum AnalyzerAs technology marches on, gear that once required expensive lab equipment is now showing up in devices you can buy for less than a nice dinner. A case in point: those tiny displays originally sold as Nintendo amiibo emulators. Thanks to [ATC1441], one of these pocket-sized gadgets has been transformed into 2.4 GHz spectrum analyzer.
These emulators are built around the Nordic nRF52832 SoC, the same chip found in tons of low-power Bluetooth devices, and most versions come with either a small LCD or OLED screen plus a coin cell or rechargeable LiPo. Because they all share the same core silicon, [ATC1441]’s hack works across a wide range of models. Don’t expect lab-grade performance; the analyzer only covers the range the Bluetooth chip inside supports. But that’s exactly where Wi-Fi, Bluetooth, Zigbee, and a dozen other protocols fight for bandwidth, so it’s perfect for spotting crowded channels and picking the least congested one.
Flashing the custom firmware is dead simple: put the device into DFU mode, drag over the .zip file, and you’re done. All the files, instructions, and source are up on [ATC1441]’s PixlAnlyzer GitHub repo. Check out some of the other amiibo hacks we’ve featured as well.

2Rule TugMoveEffectTugMoveEffect is an audio fx plugin that brings 2D positioning to audio effects processing. Core Concept: Place mulltiple effects instances on a 2D workspe and control their influence through distance-based mixing. A movable control point determines how much each effect contributes to the final sound based on its proximity. Adding Effects: Drag & drop an effect from the right-side panel onto the black 2D workspace window. Moving the Listener Point: Move the orange listener point manually with your mouse inside the workspace. Or choose movement modes: Sinusoidal or Bouncing for automatic motion. Sequential Movement (Step-Sequencer Mode): Hold Ctrl (or Cmd on Mac) + drag an effect from the workspace into one of the boxes in the Sequentialsection. When your DAW playback is running, the listener point will move between these assigned effect positions in the sequence. Sequence options: Forward, Backward, Mirror, Random. Main Features: 13 Effect Types: Distortion, Reverb, Delay, Chorus/Flanger, Filter, Compressor, Pitch Shifter, Decimator, Phaser, Vibrato, Tremolo, Repeater, Ring Modulator, and related many parameters. Up to 10 Effect Instances: 3 slots per effect type, each with independent parameters. Spatial Mixing: Distance-based volume control via adjustable coverage areas. Movement Automation: Manual, Sequential (step sequencer), Sinusoidal, or Bouncing control point motion. 16-Step Sequencer: Automate effect switching and create rhythmic patterns. Preset Management: Save/load configurations with custom folder support. Real-time Visual Feedback: Volume meters, coverage visualization, and effect highlighting. https://youtu.be/9jkZaPd7MKg https://youtu.be/87OBqjeKRdU Notable Effects: Repeater: Musical tone generation with MIDI note/octave control and triggering modes. Pitch Shifter: Phase vocoder-based pitch manipulation for creative sound design. Ring Modulator: Frequency modulation for metallic, bell-like, and experimental timbres. Decimator: Bit-depth and sample-rate reduction for lo-fi, retro digital textures. Read More

10cc’s Graham Gouldman sues ex-manager for allegedly ignoring copyright terminationsGouldman says ex-manager Harvey Lisberg has ignored termination notices on the copyrights of 13 compositions
Source

Arturia unveil the MiniFuse 2 OTG As its name suggests, the MiniFuse 2 OTG includes USB OTG (On-The-Go) connectivity that allows audio from a computer connected via its main USB port to be passed directly to a phone or tablet.

Somerville Sounds releases Christmas Percussion, all the FREE sleigh bells you can handle
It’s that time of year again, when you’re going to hear some of the cheesiest music ever recorded, whether you like it or not. With that in mind, Somerville Sounds released Christmas Percussion for all the free sleigh bells you can handle! Christmas is a time of year when everyone gets a free pass to [...]
View post: Somerville Sounds releases Christmas Percussion, all the FREE sleigh bells you can handle

DJs and producers are now marketing their music as “not AI slop” on YouTubeI listen to a lot of music mixes on YouTube, particularly passively while working — I’ve always found it an invaluable platform for music discovery. In the past year, I’ve noticed more curators, DJs and producers being forced to label their music as “human-made” or “not AI slop” as proof that it’s not part of the swarm of generative AI music flooding the platform.
Arcologies, a d’n’b artist with millions of views on mixes of his self-produced music, leaves this disclaimer in his YouTube description: “This is NOT AI music…Many of these songs were made with hardware samplers, synths, and mixers. The songs in this video were recorded to cassette.” They follow this with a list of production notes for each song.
Meanwhile, gesus8, a DJ uploading to YouTube, titled his latest mix “real deep house mix (no AI slop)”, and lists the artists and tracks in the mix. Another channel, Orion, is uploading an hour’s worth of original music every day, which is admittedly much more dubious, but claims that a group of nine friends are responsible for the tracks, with notes on the tools they use to produce.

Their reasoning is genuine. Countless channels have erupted alongside the advancement of AI apps like Suno and Udio, with their content blurring the lines between music made with a text prompt versus music made with hours of human toil. MusicMagpie estimated earlier this year that there are 1.63 million AI cover songs on YouTube. Meanwhile, mood mixes have surged in popularity — that is, hour-long mixes on YouTube with titles such as time stopped about three hours ago and Alone Tonight — Jazz for the Quiet Soul — which are track after track of generated music.
‘Just Thinking…Retro Jazz’ is a three-hour playlist of mellow, reflective jazz with soft piano, guitar, sax, double bass and brushed drums. The songs themselves are unidentifiable, replete with digital artefacts, and — at the very end of the video’s description — come with a label: “How this was made: Altered or synthetic content.” This doesn’t even disclose to the millions of viewers that the music is made with artificial intelligence; it instead uses more ambiguous language.
The top comment reads: “I’m 73 years young. My daughter and I had a fantastic day together. I got home, and a few minutes after, she texted me to say she had arrived. She then sent me the link because I’m a big fan of jazz. I’ve been listening to it for the past 3 hours.”

Shouldn’t we be more concerned that listeners are being hoodwinked into thinking they’re hearing authentic musicianship in the music they come to love?
Interestingly, some of YouTube’s audience seem undeterred by AI-created content. Many celebrate the ‘artistry’ of the AI used to make said music, and pass it off with comments such as “music is music as long as it is good and fun to listen to, that’s all there is to it.”
On the AI-focused channel, Hyperdrive Sound, you’ll find a slew of charming comments. Here’s one in response to a user pointing out that the music is generative AI: “For most of us, it was obvious that this was AI from the moment we clicked. If you lack the pattern recognition to identify AI, then you aren’t entitled to an explicit warning. Maybe start paying a little closer attention.”
Where do we go from here? One next step is obvious: force a more visible label on any AI-generated content. Across most major platforms, the ‘made with AI’ label (if it’s there at all) feels tucked away, as if to intentionally deceive users that they’re consuming AI-made content. It must be front-and-centre to prevent 7-year-olds and 73-year-olds believing they’re listening to genuine human musicianship.
As MusicTech writer Clovis McEvoy said earlier this year: “Record labels, and even some artists, might baulk at the prospect of having to disclose whether a song was produced using AI mixing and mastering tools, but professionals at all levels of the industry – not just those at the top – deserve some protection from AI counterfeiting their work.”
A hopeful prediction is that we start to see smaller, human-focused platforms arise to push against the major services offering up AI content. Dystopian as it may seem, the opposite already exists in OpenAI’s Sora, which is a social media-style app delivering solely AI content, and attracted a million users in just five days. If giant corporations are to continue rolling out such material in the pursuit of increasing shareholder value, we must have independent entities platforming only the opposite, with a blanket ban on anything that’s AI-generated. Disappointingly, the reality is likely that these businesses would not prove as popular, but it’s possible they could flourish with a dedicated, proactive community.
In any case, the burden of proof should not lie on independent artists who are painstakingly crafting and marketing their music. And listeners should not be forced to seek out “not AI slop” labels when discovering new music.
Read more music production news. 
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Exposing the Normalized Harm and Safety Issues for Youth in the Live Music IndustryRead about the Youth Music's new report exposing harmful practices affecting young musicians and audiences in live music culture in the UK.
The post Exposing the Normalized Harm and Safety Issues for Youth in the Live Music Industry appeared first on Hypebot.