A few days ago Chris from Airwindows processed a drumkit loop that he recorded himself with the plugin he was demonstrating on a video. The video took automatic DMCA for a Rammstein song. I mean, he did literaly EVERYTHING, recorded the drums, did the processing (even created the plugin that did the processing lol) and still the algorythm interpreted his work as Rammstein. The point about those automatic shuts are not the samples, are the average of similarity of a sound with another one. If you're not using samples thinking you're safe, maybe you could end up with problems if you don't know how those robots reads music. And if you know, very probably you also knows how to avoid those issues, working or not with samples.

 

Great discourse, thanks

I get why some things seem to be funny/peculiar, and that's a logical feeling if you grew into a music industry that had a sense of normality, where being a composer, performer or arranger was a legitimate profession that could make anyone dedicated a decent living. Now, some people are almost fighting for scraps (which is a decent metaphor), and a pittance to scrape from streaming because someone told them that is the only way. Add A.I into the mix and being a musician, composer or songwriter has almost been relegated as entertainment only unless you are a content provider or streaming producer that uses A.I or randomly hires musicians if A.I cannot do it, or you write/or resample EDM for DJ dance club circuits.

It is the way it is now I suppose. I doubt anyone wants to tell someone that loves music starting out, that they'll make more money as a plumber, doing a trade, a business or I.T degree, but it is true unless they can be in the 0.01%.

 

Royalty free isn't enough because the labels/distributors are using algorithms that are claiming ownership for things they don't own (use of royalty free samples) and are vexatiously claiming copyright over other people's work.

 

Solid grounding on your part recognizing discourse, instead of thinking I was coming at you.

I'm in that awkward zone where I'm not old enough to be pining for the days of exclusionary studio time or having to walk three towns over to listen to new artists' releases on a victrola, but I'm also not young enough to think that anything over ten years old is "vintage," or that everyone now having the ability to create effortlessly or mix automatically means that we're in some utopian period of music, since the trade-off is that we end up wading through a pool of half-assed music to find anything worthwhile, no matter the genre.

It's wild to me that some kids have never owned a guitar amp or a drum kit or anything with knobs that can fall off or strings that can break, or anything that they name because they spend so much time practicing on it, but it's also strange to me the oldheads on that trip where they've got a bunker full of trans-conduct-ing widgets and tube-driven cogs to patch up some failing sixteen-track board from the eighties that sounded like ass then and still does today, but now it reeks of stale beer and flop sweat from one too many gigs, praying all the while to pagan gawds it will never die. Again, awkward. I'm an outlier on both sides of the fence.

Word. I knew that the chances of living and dying a broke musician/writer/artist were wicked high, but I'm an odd marriage of the streets and a hopeless bohemian, sacrificing most everything to make music because it keeps me sane... ish... er. I've played and created most genres over the years because I listen to most genres, and started mixing because it fits my nature; a million small moves to make a whole is an enjoyable challenge, a puzzle, tho it's all admittedly escapism as well. Everything about music is therapy, but it's also its own brand of insanity.

Maybe that's the raw static between actual musicians and A.I., its ability to make music without having to endure the catastrophic storm of emotions that surround it like we do, the hope, the fear, the uncertainty, the perfectionism, the whole package. I know I don't trust anything that can write a song that sounds emotionally deep, if it doesn't even have the ability to spiral into an existential crisis.

 

I would like to add something that i noticed,for example the case of this song by Madonna which directly took up the famous organ arpegio of a song by the group Abba and strangely it passed without any problem until the Abba record company intervened!

 

You're mistaken, I downloaded this yesterday from Loopmasters

https://www.loopmasters.com/genres/...YzNTM3MjEkbzEkZzAkdDE3NDYzNTM3MjEkajAkbDAkaDA.

scroll down an you will see cleary stated that: All content is 100% Royalty-Free, so you can use the sounds in commercial productions with no extra cost.

This is true of all packs on Loopmasters or Producer Loops, others too, unless cleary stated that there are conditions are attached.

However, i'm prob gonna use her on next EP, i only do EPs, single and three club mixes, and it might get flagged on Soundcloud as three others of mine have, only because of the vocal though, but I provided a link to the site with the above royalty free notice and it was reinstated, not ideal but nowt I can do about it, no doubt detection will improve.

 

Last edited: May 4, 2025 at 11:57 AM

never trust AI, he wants you to quit so he can steal your shit and sell it as his own. Ask me how I know????

I was taking Lawerence Welk Samples and tweaking them by doubling the tempo and rolling off the high end and then dropping in some base notes, from the WillyWonka SuperBass Shakeyour mama's ass sample pak and then do some high end production worker with DJ hightech, Dj Lowtech, and DjNoTech, the TechBros as they is known in the scene..

We had some rollin tracks goin and were getting a major vibe from a lotta big people (mostly over 500lbs, which is really really reallly big) and shit was starting to break for us.

Then i axed the ChatGPA bout some directions to a festival and he heard our trax droppin in the background and he was like "oh no you ddiddn't" and we was all "oh yeas I did" and he was I all like I'm gonaa drop the 911 on your 411 and get your ass in a 302, and we was like "juss give me some damn directions" and then Interpol rolls up and steals our master tapes which was on an ssd hangin around DJNotech's Austrian PooDane (which is a poodle/great dane mix and really friendly and stuff and cute as a button when you dress him up like a pimp)

and shit that shit was gone and we was back to delivering pizza and shit..

so yeah don truss the AI'zz..

 

No, you shouldn't send it to attorney, but he/she should send it to you. Ok, in previous post I (by memory) revived my experience with session musicians 15 years ago...
now to get it right I asked perplexity.ai about nowadays situation on the subject...so. what it proposes:

"Expert Legal Services for Creative Industries

The Law Office of Adam C. Freedman is a New York City-based boutique firm specializing in entertainment, IP, and media law. We provide creative and entrepreneurial clients with strategic legal and business counsel at every stage of their projects. Let us help you protect your vision and build your success."

they have a lot of templates with entertainment contracts, and this one is exactly what we are talking about (but they want $10 for this):

https://shop.acfreedmanlaw.com/products/session-musician-agreement-flat-fee-buyout


But, perplexity.ai found exactly Release form for free, and you can download that in PDF:

https://www.davidbawiec.com/wp-content/uploads/2018/08/Session-Player-Release-Form.pdf

Summary, note, the titles could be vary: contract, release form, session musician agreement etc., but the aim is the same.

PS. Of course, if your attorney isn't that experienced, you can send them those templates , free or paid ones.