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26200 | Sony Music has issued nearly 10,000 deepfake takedowns… and other things we learned from Dennis Kooker’s speech about AI
Google was just one of various tech giants and AI companies that submitted responses to the USCO, amongst them, Anthropic and Stability AI.
Anthropic, in its submission to the USCO, also argued that training (large language models) LLM’s on copyrighted material is fair use.
Stability AI made a similar argument. Its position on the issue of “Fair Use” concerning AI and copyrighted content resulted in the resignation of prominent generative AI executive Ed Newton-Rex from the company.
As reported by MBW last week, Universal Music Group submitted its response to the USCO. Unsurprisingly, amongst the highlights of UMG’s submission was the rejection of the notion that using copyrighted material to train LLMs is “fair use”.
In his speech on Wednesday, Kooker commented directly on the flurry of submissions to the USCO from the tech industry at the end of October. |
26201 | Sony Music has issued nearly 10,000 deepfake takedowns… and other things we learned from Dennis Kooker’s speech about AI
Google was just one of various tech giants and AI companies that submitted responses to the USCO, amongst them, Anthropic and Stability AI.
Anthropic, in its submission to the USCO, also argued that training (large language models) LLM’s on copyrighted material is fair use.
Stability AI made a similar argument. Its position on the issue of “Fair Use” concerning AI and copyrighted content resulted in the resignation of prominent generative AI executive Ed Newton-Rex from the company.
As reported by MBW last week, Universal Music Group submitted its response to the USCO. Unsurprisingly, amongst the highlights of UMG’s submission was the rejection of the notion that using copyrighted material to train LLMs is “fair use”.
In his speech on Wednesday, Kooker commented directly on the flurry of submissions to the USCO from the tech industry at the end of October.
In what may have been a nod to Google’s filing and “fair use” position, Kooker told Senators that “based on recent Copyright Office filings it is clear that the technology industry and speculative financial investors would like governments to believe in a very distorted view of copyright”. |
26202 | Sony Music has issued nearly 10,000 deepfake takedowns… and other things we learned from Dennis Kooker’s speech about AI
Stability AI made a similar argument. Its position on the issue of “Fair Use” concerning AI and copyrighted content resulted in the resignation of prominent generative AI executive Ed Newton-Rex from the company.
As reported by MBW last week, Universal Music Group submitted its response to the USCO. Unsurprisingly, amongst the highlights of UMG’s submission was the rejection of the notion that using copyrighted material to train LLMs is “fair use”.
In his speech on Wednesday, Kooker commented directly on the flurry of submissions to the USCO from the tech industry at the end of October.
In what may have been a nod to Google’s filing and “fair use” position, Kooker told Senators that “based on recent Copyright Office filings it is clear that the technology industry and speculative financial investors would like governments to believe in a very distorted view of copyright”.
He added: “[That view is] one in which music is considered fair use for training purposes and in which certain companies are permitted to appropriate the entire value produced by the creative sector without permission, and to build huge businesses based on it without paying anything to the creators concerned.”
Kooker also openly discussed Sony Music’s efforts to get unauthorized AI content removed from platforms online – including the fact that the firm has already issued close to 10,000 separate takedowns. |
26203 | Sony Music has issued nearly 10,000 deepfake takedowns… and other things we learned from Dennis Kooker’s speech about AI
In his speech on Wednesday, Kooker commented directly on the flurry of submissions to the USCO from the tech industry at the end of October.
In what may have been a nod to Google’s filing and “fair use” position, Kooker told Senators that “based on recent Copyright Office filings it is clear that the technology industry and speculative financial investors would like governments to believe in a very distorted view of copyright”.
He added: “[That view is] one in which music is considered fair use for training purposes and in which certain companies are permitted to appropriate the entire value produced by the creative sector without permission, and to build huge businesses based on it without paying anything to the creators concerned.”
Kooker also openly discussed Sony Music’s efforts to get unauthorized AI content removed from platforms online – including the fact that the firm has already issued close to 10,000 separate takedowns.
Kooker further discussed Sony Music’s optimism about AI’s potential for enhancing creativity, as well as key principles the company has adopted around generative AI. |
26204 | Sony Music has issued nearly 10,000 deepfake takedowns… and other things we learned from Dennis Kooker’s speech about AI
In what may have been a nod to Google’s filing and “fair use” position, Kooker told Senators that “based on recent Copyright Office filings it is clear that the technology industry and speculative financial investors would like governments to believe in a very distorted view of copyright”.
He added: “[That view is] one in which music is considered fair use for training purposes and in which certain companies are permitted to appropriate the entire value produced by the creative sector without permission, and to build huge businesses based on it without paying anything to the creators concerned.”
Kooker also openly discussed Sony Music’s efforts to get unauthorized AI content removed from platforms online – including the fact that the firm has already issued close to 10,000 separate takedowns.
Kooker further discussed Sony Music’s optimism about AI’s potential for enhancing creativity, as well as key principles the company has adopted around generative AI.
Here are three things that stood out from Kooker’s speech…
1. |
26205 | Sony Music has issued nearly 10,000 deepfake takedowns… and other things we learned from Dennis Kooker’s speech about AI
In what may have been a nod to Google’s filing and “fair use” position, Kooker told Senators that “based on recent Copyright Office filings it is clear that the technology industry and speculative financial investors would like governments to believe in a very distorted view of copyright”.
He added: “[That view is] one in which music is considered fair use for training purposes and in which certain companies are permitted to appropriate the entire value produced by the creative sector without permission, and to build huge businesses based on it without paying anything to the creators concerned.”
Kooker also openly discussed Sony Music’s efforts to get unauthorized AI content removed from platforms online – including the fact that the firm has already issued close to 10,000 separate takedowns.
Kooker further discussed Sony Music’s optimism about AI’s potential for enhancing creativity, as well as key principles the company has adopted around generative AI.
Here are three things that stood out from Kooker’s speech…
1. Sony Music has issued close to 10,000 takedowns for unauthorized deep fakes of artists
Kooker argued in his speech that, while “the music industry sees great potential with various forms of AI technology in this early phase of AI,” so far, “the available generative AI products are not delivering on the expected promise of new products in creative industries”. |
26206 | Sony Music has issued nearly 10,000 deepfake takedowns… and other things we learned from Dennis Kooker’s speech about AI
Kooker further discussed Sony Music’s optimism about AI’s potential for enhancing creativity, as well as key principles the company has adopted around generative AI.
Here are three things that stood out from Kooker’s speech…
1. Sony Music has issued close to 10,000 takedowns for unauthorized deep fakes of artists
Kooker argued in his speech that, while “the music industry sees great potential with various forms of AI technology in this early phase of AI,” so far, “the available generative AI products are not delivering on the expected promise of new products in creative industries”.
He clarified that point by explaining that some generative AI platforms “are not expanding the business model or enhancing human creativity”.
Kooker suggested that the “more dire outputs of early generative AI technology are deep fakes and unauthorized voice clones” of artists and that in the United States, “artists are not adequately protected from these deepfakes”. |
26207 | Sony Music has issued nearly 10,000 deepfake takedowns… and other things we learned from Dennis Kooker’s speech about AI
Kooker further discussed Sony Music’s optimism about AI’s potential for enhancing creativity, as well as key principles the company has adopted around generative AI.
Here are three things that stood out from Kooker’s speech…
1. Sony Music has issued close to 10,000 takedowns for unauthorized deep fakes of artists
Kooker argued in his speech that, while “the music industry sees great potential with various forms of AI technology in this early phase of AI,” so far, “the available generative AI products are not delivering on the expected promise of new products in creative industries”.
He clarified that point by explaining that some generative AI platforms “are not expanding the business model or enhancing human creativity”.
Kooker suggested that the “more dire outputs of early generative AI technology are deep fakes and unauthorized voice clones” of artists and that in the United States, “artists are not adequately protected from these deepfakes”.
“An artist literally makes their livelihood from their voice,” he said. |
26208 | Sony Music has issued nearly 10,000 deepfake takedowns… and other things we learned from Dennis Kooker’s speech about AI
Here are three things that stood out from Kooker’s speech…
1. Sony Music has issued close to 10,000 takedowns for unauthorized deep fakes of artists
Kooker argued in his speech that, while “the music industry sees great potential with various forms of AI technology in this early phase of AI,” so far, “the available generative AI products are not delivering on the expected promise of new products in creative industries”.
He clarified that point by explaining that some generative AI platforms “are not expanding the business model or enhancing human creativity”.
Kooker suggested that the “more dire outputs of early generative AI technology are deep fakes and unauthorized voice clones” of artists and that in the United States, “artists are not adequately protected from these deepfakes”.
“An artist literally makes their livelihood from their voice,” he said. “Deep fakes intentionally exploit an artist’s talent and reputation to steal that income stream. |
26209 | Sony Music has issued nearly 10,000 deepfake takedowns… and other things we learned from Dennis Kooker’s speech about AI
Here are three things that stood out from Kooker’s speech…
1. Sony Music has issued close to 10,000 takedowns for unauthorized deep fakes of artists
Kooker argued in his speech that, while “the music industry sees great potential with various forms of AI technology in this early phase of AI,” so far, “the available generative AI products are not delivering on the expected promise of new products in creative industries”.
He clarified that point by explaining that some generative AI platforms “are not expanding the business model or enhancing human creativity”.
Kooker suggested that the “more dire outputs of early generative AI technology are deep fakes and unauthorized voice clones” of artists and that in the United States, “artists are not adequately protected from these deepfakes”.
“An artist literally makes their livelihood from their voice,” he said. “Deep fakes intentionally exploit an artist’s talent and reputation to steal that income stream.
“Every stream of a deep fake takes streams and royalty payments away from the legitimate artist. |
26210 | Sony Music has issued nearly 10,000 deepfake takedowns… and other things we learned from Dennis Kooker’s speech about AI
Sony Music has issued close to 10,000 takedowns for unauthorized deep fakes of artists
Kooker argued in his speech that, while “the music industry sees great potential with various forms of AI technology in this early phase of AI,” so far, “the available generative AI products are not delivering on the expected promise of new products in creative industries”.
He clarified that point by explaining that some generative AI platforms “are not expanding the business model or enhancing human creativity”.
Kooker suggested that the “more dire outputs of early generative AI technology are deep fakes and unauthorized voice clones” of artists and that in the United States, “artists are not adequately protected from these deepfakes”.
“An artist literally makes their livelihood from their voice,” he said. “Deep fakes intentionally exploit an artist’s talent and reputation to steal that income stream.
“Every stream of a deep fake takes streams and royalty payments away from the legitimate artist. Deepfakes are also misleading and confusing to consumers and music fans who are not typically interested in supporting fake versions of their favorite artist.”
“Every stream of a deep fake takes streams and royalty payments away from the legitimate artist.” Dennis Kooker, Sony Music
Kooker reported that to date, Sony Music Entertainment has sent “close to 10,000 takedowns to a variety of platforms hosting unauthorized deepfakes that SME artists asked us to take down.”
He added that “platforms are quick to point to the loopholes in the law as an excuse to drag their feet or to not take the deepfakes down when requested.”
Kooker commended the No FAKES Act policy drafted by senators earlier this year, which he explained “would create a federal property right in one’s voice or visual likeness and protect against unauthorized AI-generated replicas”. |
26211 | Sony Music has issued nearly 10,000 deepfake takedowns… and other things we learned from Dennis Kooker’s speech about AI
“Every stream of a deep fake takes streams and royalty payments away from the legitimate artist. Deepfakes are also misleading and confusing to consumers and music fans who are not typically interested in supporting fake versions of their favorite artist.”
“Every stream of a deep fake takes streams and royalty payments away from the legitimate artist.” Dennis Kooker, Sony Music
Kooker reported that to date, Sony Music Entertainment has sent “close to 10,000 takedowns to a variety of platforms hosting unauthorized deepfakes that SME artists asked us to take down.”
He added that “platforms are quick to point to the loopholes in the law as an excuse to drag their feet or to not take the deepfakes down when requested.”
Kooker commended the No FAKES Act policy drafted by senators earlier this year, which he explained “would create a federal property right in one’s voice or visual likeness and protect against unauthorized AI-generated replicas”.
2. |
26212 | Sony Music has issued nearly 10,000 deepfake takedowns… and other things we learned from Dennis Kooker’s speech about AI
“Every stream of a deep fake takes streams and royalty payments away from the legitimate artist. Deepfakes are also misleading and confusing to consumers and music fans who are not typically interested in supporting fake versions of their favorite artist.”
“Every stream of a deep fake takes streams and royalty payments away from the legitimate artist.” Dennis Kooker, Sony Music
Kooker reported that to date, Sony Music Entertainment has sent “close to 10,000 takedowns to a variety of platforms hosting unauthorized deepfakes that SME artists asked us to take down.”
He added that “platforms are quick to point to the loopholes in the law as an excuse to drag their feet or to not take the deepfakes down when requested.”
Kooker commended the No FAKES Act policy drafted by senators earlier this year, which he explained “would create a federal property right in one’s voice or visual likeness and protect against unauthorized AI-generated replicas”.
2. Sony has ‘roughly 200 active conversations taking place’ with AI startups that “include potential equity investments”
Kooker explained that despite the negative impacts of AI, including unauthorized clones and low-quality AI music, there are still “many positive and optimistic developments to highlight”. |
26213 | Sony Music has issued nearly 10,000 deepfake takedowns… and other things we learned from Dennis Kooker’s speech about AI
2. Sony has ‘roughly 200 active conversations taking place’ with AI startups that “include potential equity investments”
Kooker explained that despite the negative impacts of AI, including unauthorized clones and low-quality AI music, there are still “many positive and optimistic developments to highlight”.
He highlighted legitimate AI startups and established firms “with music ideas that want to partner with the industry”.
According to Kooker, Sony Music has “roughly 200 active conversations taking place with startups and established players” right now about building new AI-related products and tools.
These products range from tools for “creative or marketing assistance”, to tools that “potentially give us the ability to better protect artist content or find it when used in an unauthorized fashion” as well as “brand new products that have never been launched before”.
Kooker said that some of these conversations “also include potential equity investments which would accelerate the development of these companies”. |
26214 | Sony Music has issued nearly 10,000 deepfake takedowns… and other things we learned from Dennis Kooker’s speech about AI
2. Sony has ‘roughly 200 active conversations taking place’ with AI startups that “include potential equity investments”
Kooker explained that despite the negative impacts of AI, including unauthorized clones and low-quality AI music, there are still “many positive and optimistic developments to highlight”.
He highlighted legitimate AI startups and established firms “with music ideas that want to partner with the industry”.
According to Kooker, Sony Music has “roughly 200 active conversations taking place with startups and established players” right now about building new AI-related products and tools.
These products range from tools for “creative or marketing assistance”, to tools that “potentially give us the ability to better protect artist content or find it when used in an unauthorized fashion” as well as “brand new products that have never been launched before”.
Kooker said that some of these conversations “also include potential equity investments which would accelerate the development of these companies”.
The Sony Music exec cited, as an example, a recent generative AI-powered project around a reissue and remix of an album. |
26215 | Sony Music has issued nearly 10,000 deepfake takedowns… and other things we learned from Dennis Kooker’s speech about AI
He highlighted legitimate AI startups and established firms “with music ideas that want to partner with the industry”.
According to Kooker, Sony Music has “roughly 200 active conversations taking place with startups and established players” right now about building new AI-related products and tools.
These products range from tools for “creative or marketing assistance”, to tools that “potentially give us the ability to better protect artist content or find it when used in an unauthorized fashion” as well as “brand new products that have never been launched before”.
Kooker said that some of these conversations “also include potential equity investments which would accelerate the development of these companies”.
The Sony Music exec cited, as an example, a recent generative AI-powered project around a reissue and remix of an album. Although Kooker didn’t name it specifically, SME did recently announce a generative AI project with The Orb and David Gilmour, which was a partnership between Sony Music Entertainment, Legacy Recordings AI company Vermillio
“These artists are known for their cutting-edge experimentation in music,” said Kooker. |
26216 | Sony Music has issued nearly 10,000 deepfake takedowns… and other things we learned from Dennis Kooker’s speech about AI
These products range from tools for “creative or marketing assistance”, to tools that “potentially give us the ability to better protect artist content or find it when used in an unauthorized fashion” as well as “brand new products that have never been launched before”.
Kooker said that some of these conversations “also include potential equity investments which would accelerate the development of these companies”.
The Sony Music exec cited, as an example, a recent generative AI-powered project around a reissue and remix of an album. Although Kooker didn’t name it specifically, SME did recently announce a generative AI project with The Orb and David Gilmour, which was a partnership between Sony Music Entertainment, Legacy Recordings AI company Vermillio
“These artists are known for their cutting-edge experimentation in music,” said Kooker.
“About the time that we started the discussion with this artist, we had begun informal talks with a generative AI start-up company whose business model focused on working with IP rightsholders the ‘right way’. |
26217 | Sony Music has issued nearly 10,000 deepfake takedowns… and other things we learned from Dennis Kooker’s speech about AI
Kooker said that some of these conversations “also include potential equity investments which would accelerate the development of these companies”.
The Sony Music exec cited, as an example, a recent generative AI-powered project around a reissue and remix of an album. Although Kooker didn’t name it specifically, SME did recently announce a generative AI project with The Orb and David Gilmour, which was a partnership between Sony Music Entertainment, Legacy Recordings AI company Vermillio
“These artists are known for their cutting-edge experimentation in music,” said Kooker.
“About the time that we started the discussion with this artist, we had begun informal talks with a generative AI start-up company whose business model focused on working with IP rightsholders the ‘right way’.
“In other words, they respect intellectual property rights and want to work with rights holders in ways that enhance and protect the copyrighted works.”
3. |
26218 | Sony Music has issued nearly 10,000 deepfake takedowns… and other things we learned from Dennis Kooker’s speech about AI
Kooker said that some of these conversations “also include potential equity investments which would accelerate the development of these companies”.
The Sony Music exec cited, as an example, a recent generative AI-powered project around a reissue and remix of an album. Although Kooker didn’t name it specifically, SME did recently announce a generative AI project with The Orb and David Gilmour, which was a partnership between Sony Music Entertainment, Legacy Recordings AI company Vermillio
“These artists are known for their cutting-edge experimentation in music,” said Kooker.
“About the time that we started the discussion with this artist, we had begun informal talks with a generative AI start-up company whose business model focused on working with IP rightsholders the ‘right way’.
“In other words, they respect intellectual property rights and want to work with rights holders in ways that enhance and protect the copyrighted works.”
3. SME has asked Congress to embrace a set of principles around generative AI
Kooker told the lawmakers during his speech on Wednesday that “if copyrights are protected and enforced appropriately, we are at the beginning of a multi-decade marathon that will change the creative and commercial landscape for music”. |
26219 | Sony Music has issued nearly 10,000 deepfake takedowns… and other things we learned from Dennis Kooker’s speech about AI
Although Kooker didn’t name it specifically, SME did recently announce a generative AI project with The Orb and David Gilmour, which was a partnership between Sony Music Entertainment, Legacy Recordings AI company Vermillio
“These artists are known for their cutting-edge experimentation in music,” said Kooker.
“About the time that we started the discussion with this artist, we had begun informal talks with a generative AI start-up company whose business model focused on working with IP rightsholders the ‘right way’.
“In other words, they respect intellectual property rights and want to work with rights holders in ways that enhance and protect the copyrighted works.”
3. SME has asked Congress to embrace a set of principles around generative AI
Kooker told the lawmakers during his speech on Wednesday that “if copyrights are protected and enforced appropriately, we are at the beginning of a multi-decade marathon that will change the creative and commercial landscape for music”.
With that in mind, Kooker explained that Sony Music has established a set of principles to guide the company’s decision-making around generative AI. |
26220 | Sony Music has issued nearly 10,000 deepfake takedowns… and other things we learned from Dennis Kooker’s speech about AI
“About the time that we started the discussion with this artist, we had begun informal talks with a generative AI start-up company whose business model focused on working with IP rightsholders the ‘right way’.
“In other words, they respect intellectual property rights and want to work with rights holders in ways that enhance and protect the copyrighted works.”
3. SME has asked Congress to embrace a set of principles around generative AI
Kooker told the lawmakers during his speech on Wednesday that “if copyrights are protected and enforced appropriately, we are at the beginning of a multi-decade marathon that will change the creative and commercial landscape for music”.
With that in mind, Kooker explained that Sony Music has established a set of principles to guide the company’s decision-making around generative AI.
“If copyrights are protected and enforced appropriately, we are at the beginning of a multi-decade marathon that will change the creative and commercial landscape for music.” Dennis Kooker, Sony Music
Kooker added later in the speech: “Music is a tremendous driver for AI technology, and AI technology presents a tremendous opportunity for the creative development of music. |
26221 | Sony Music has issued nearly 10,000 deepfake takedowns… and other things we learned from Dennis Kooker’s speech about AI
“In other words, they respect intellectual property rights and want to work with rights holders in ways that enhance and protect the copyrighted works.”
3. SME has asked Congress to embrace a set of principles around generative AI
Kooker told the lawmakers during his speech on Wednesday that “if copyrights are protected and enforced appropriately, we are at the beginning of a multi-decade marathon that will change the creative and commercial landscape for music”.
With that in mind, Kooker explained that Sony Music has established a set of principles to guide the company’s decision-making around generative AI.
“If copyrights are protected and enforced appropriately, we are at the beginning of a multi-decade marathon that will change the creative and commercial landscape for music.” Dennis Kooker, Sony Music
Kooker added later in the speech: “Music is a tremendous driver for AI technology, and AI technology presents a tremendous opportunity for the creative development of music.
“But these opportunities must be grounded by the human creators’ vision with the machine assisting, not with the machine replacing the human creator.”
To achieve this, Kooker said that SME wants Congress to embrace the following principals:
Assure Consent, Compensation, and Credit. |
26222 | Sony Music has issued nearly 10,000 deepfake takedowns… and other things we learned from Dennis Kooker’s speech about AI
With that in mind, Kooker explained that Sony Music has established a set of principles to guide the company’s decision-making around generative AI.
“If copyrights are protected and enforced appropriately, we are at the beginning of a multi-decade marathon that will change the creative and commercial landscape for music.” Dennis Kooker, Sony Music
Kooker added later in the speech: “Music is a tremendous driver for AI technology, and AI technology presents a tremendous opportunity for the creative development of music.
“But these opportunities must be grounded by the human creators’ vision with the machine assisting, not with the machine replacing the human creator.”
To achieve this, Kooker said that SME wants Congress to embrace the following principals:
Assure Consent, Compensation, and Credit. “New products and businesses built with music must be developed with the consent of the owner and appropriate compensation and credit. |
26223 | Sony Music has issued nearly 10,000 deepfake takedowns… and other things we learned from Dennis Kooker’s speech about AI
With that in mind, Kooker explained that Sony Music has established a set of principles to guide the company’s decision-making around generative AI.
“If copyrights are protected and enforced appropriately, we are at the beginning of a multi-decade marathon that will change the creative and commercial landscape for music.” Dennis Kooker, Sony Music
Kooker added later in the speech: “Music is a tremendous driver for AI technology, and AI technology presents a tremendous opportunity for the creative development of music.
“But these opportunities must be grounded by the human creators’ vision with the machine assisting, not with the machine replacing the human creator.”
To achieve this, Kooker said that SME wants Congress to embrace the following principals:
Assure Consent, Compensation, and Credit. “New products and businesses built with music must be developed with the consent of the owner and appropriate compensation and credit. It is essential to understand why the training of AI models is being done, what products will be developed as a result, and what the business model is that will monetize the use of the artist’s work. |
26224 | Sony Music has issued nearly 10,000 deepfake takedowns… and other things we learned from Dennis Kooker’s speech about AI
“If copyrights are protected and enforced appropriately, we are at the beginning of a multi-decade marathon that will change the creative and commercial landscape for music.” Dennis Kooker, Sony Music
Kooker added later in the speech: “Music is a tremendous driver for AI technology, and AI technology presents a tremendous opportunity for the creative development of music.
“But these opportunities must be grounded by the human creators’ vision with the machine assisting, not with the machine replacing the human creator.”
To achieve this, Kooker said that SME wants Congress to embrace the following principals:
Assure Consent, Compensation, and Credit. “New products and businesses built with music must be developed with the consent of the owner and appropriate compensation and credit. It is essential to understand why the training of AI models is being done, what products will be developed as a result, and what the business model is that will monetize the use of the artist’s work. Congress and the agencies should assure that creators’ rights are recognized and respected.” Confirm That Copying Music to Train AI Models is Not Fair Use. |
26225 | Sony Music has issued nearly 10,000 deepfake takedowns… and other things we learned from Dennis Kooker’s speech about AI
“But these opportunities must be grounded by the human creators’ vision with the machine assisting, not with the machine replacing the human creator.”
To achieve this, Kooker said that SME wants Congress to embrace the following principals:
Assure Consent, Compensation, and Credit. “New products and businesses built with music must be developed with the consent of the owner and appropriate compensation and credit. It is essential to understand why the training of AI models is being done, what products will be developed as a result, and what the business model is that will monetize the use of the artist’s work. Congress and the agencies should assure that creators’ rights are recognized and respected.” Confirm That Copying Music to Train AI Models is Not Fair Use. “Even worse are those that argue that copyrighted content should automatically be considered fair use so that protected works are never compensated for usage and creators have no say in the products or business models that are developed around them and their work. |
26226 | Sony Music has issued nearly 10,000 deepfake takedowns… and other things we learned from Dennis Kooker’s speech about AI
“But these opportunities must be grounded by the human creators’ vision with the machine assisting, not with the machine replacing the human creator.”
To achieve this, Kooker said that SME wants Congress to embrace the following principals:
Assure Consent, Compensation, and Credit. “New products and businesses built with music must be developed with the consent of the owner and appropriate compensation and credit. It is essential to understand why the training of AI models is being done, what products will be developed as a result, and what the business model is that will monetize the use of the artist’s work. Congress and the agencies should assure that creators’ rights are recognized and respected.” Confirm That Copying Music to Train AI Models is Not Fair Use. “Even worse are those that argue that copyrighted content should automatically be considered fair use so that protected works are never compensated for usage and creators have no say in the products or business models that are developed around them and their work. Congress should assure and agencies should presume that reproducing music to train AI models, in itself, is not a fair use.” Prevent the Cloning of Artists’ Voices and Likenesses Without Express Permission. |
26227 | Sony Music has issued nearly 10,000 deepfake takedowns… and other things we learned from Dennis Kooker’s speech about AI
“New products and businesses built with music must be developed with the consent of the owner and appropriate compensation and credit. It is essential to understand why the training of AI models is being done, what products will be developed as a result, and what the business model is that will monetize the use of the artist’s work. Congress and the agencies should assure that creators’ rights are recognized and respected.” Confirm That Copying Music to Train AI Models is Not Fair Use. “Even worse are those that argue that copyrighted content should automatically be considered fair use so that protected works are never compensated for usage and creators have no say in the products or business models that are developed around them and their work. Congress should assure and agencies should presume that reproducing music to train AI models, in itself, is not a fair use.” Prevent the Cloning of Artists’ Voices and Likenesses Without Express Permission. “We cannot allow an artist’s voice or likeness to be cloned for use without the express permission of the artist. |
26228 | Sony Music has issued nearly 10,000 deepfake takedowns… and other things we learned from Dennis Kooker’s speech about AI
It is essential to understand why the training of AI models is being done, what products will be developed as a result, and what the business model is that will monetize the use of the artist’s work. Congress and the agencies should assure that creators’ rights are recognized and respected.” Confirm That Copying Music to Train AI Models is Not Fair Use. “Even worse are those that argue that copyrighted content should automatically be considered fair use so that protected works are never compensated for usage and creators have no say in the products or business models that are developed around them and their work. Congress should assure and agencies should presume that reproducing music to train AI models, in itself, is not a fair use.” Prevent the Cloning of Artists’ Voices and Likenesses Without Express Permission. “We cannot allow an artist’s voice or likeness to be cloned for use without the express permission of the artist. This is a very personal decision for the artist. |
26229 | Sony Music has issued nearly 10,000 deepfake takedowns… and other things we learned from Dennis Kooker’s speech about AI
It is essential to understand why the training of AI models is being done, what products will be developed as a result, and what the business model is that will monetize the use of the artist’s work. Congress and the agencies should assure that creators’ rights are recognized and respected.” Confirm That Copying Music to Train AI Models is Not Fair Use. “Even worse are those that argue that copyrighted content should automatically be considered fair use so that protected works are never compensated for usage and creators have no say in the products or business models that are developed around them and their work. Congress should assure and agencies should presume that reproducing music to train AI models, in itself, is not a fair use.” Prevent the Cloning of Artists’ Voices and Likenesses Without Express Permission. “We cannot allow an artist’s voice or likeness to be cloned for use without the express permission of the artist. This is a very personal decision for the artist. Congress should pass into law effective federal protections for name, image, and likeness.” Incentivize Accurate Recordkeeping. |
26230 | Sony Music has issued nearly 10,000 deepfake takedowns… and other things we learned from Dennis Kooker’s speech about AI
Congress and the agencies should assure that creators’ rights are recognized and respected.” Confirm That Copying Music to Train AI Models is Not Fair Use. “Even worse are those that argue that copyrighted content should automatically be considered fair use so that protected works are never compensated for usage and creators have no say in the products or business models that are developed around them and their work. Congress should assure and agencies should presume that reproducing music to train AI models, in itself, is not a fair use.” Prevent the Cloning of Artists’ Voices and Likenesses Without Express Permission. “We cannot allow an artist’s voice or likeness to be cloned for use without the express permission of the artist. This is a very personal decision for the artist. Congress should pass into law effective federal protections for name, image, and likeness.” Incentivize Accurate Recordkeeping. “Correct attribution will be a critical element to artists being paid fairly and correctly for new works that are created. |
26231 | Sony Music has issued nearly 10,000 deepfake takedowns… and other things we learned from Dennis Kooker’s speech about AI
“Even worse are those that argue that copyrighted content should automatically be considered fair use so that protected works are never compensated for usage and creators have no say in the products or business models that are developed around them and their work. Congress should assure and agencies should presume that reproducing music to train AI models, in itself, is not a fair use.” Prevent the Cloning of Artists’ Voices and Likenesses Without Express Permission. “We cannot allow an artist’s voice or likeness to be cloned for use without the express permission of the artist. This is a very personal decision for the artist. Congress should pass into law effective federal protections for name, image, and likeness.” Incentivize Accurate Recordkeeping. “Correct attribution will be a critical element to artists being paid fairly and correctly for new works that are created. In addition, rights can only be enforced around the training of AI when there are accurate records about what is being copied. |
26232 | Sony Music has issued nearly 10,000 deepfake takedowns… and other things we learned from Dennis Kooker’s speech about AI
“Even worse are those that argue that copyrighted content should automatically be considered fair use so that protected works are never compensated for usage and creators have no say in the products or business models that are developed around them and their work. Congress should assure and agencies should presume that reproducing music to train AI models, in itself, is not a fair use.” Prevent the Cloning of Artists’ Voices and Likenesses Without Express Permission. “We cannot allow an artist’s voice or likeness to be cloned for use without the express permission of the artist. This is a very personal decision for the artist. Congress should pass into law effective federal protections for name, image, and likeness.” Incentivize Accurate Recordkeeping. “Correct attribution will be a critical element to artists being paid fairly and correctly for new works that are created. In addition, rights can only be enforced around the training of AI when there are accurate records about what is being copied. Otherwise, the inability to enforce rights in the AI marketplace equates to a lack of rights at all, producing a dangerous imbalance that prevents a thriving ecosystem. |
26233 | Sony Music has issued nearly 10,000 deepfake takedowns… and other things we learned from Dennis Kooker’s speech about AI
Congress should assure and agencies should presume that reproducing music to train AI models, in itself, is not a fair use.” Prevent the Cloning of Artists’ Voices and Likenesses Without Express Permission. “We cannot allow an artist’s voice or likeness to be cloned for use without the express permission of the artist. This is a very personal decision for the artist. Congress should pass into law effective federal protections for name, image, and likeness.” Incentivize Accurate Recordkeeping. “Correct attribution will be a critical element to artists being paid fairly and correctly for new works that are created. In addition, rights can only be enforced around the training of AI when there are accurate records about what is being copied. Otherwise, the inability to enforce rights in the AI marketplace equates to a lack of rights at all, producing a dangerous imbalance that prevents a thriving ecosystem. This requires strong and accurate record keeping by the generative AI platforms, a requirement that urgently needs legislative support to ensure incentives are in place so that it happens consistently and correctly.” Assure Transparency for Consumers and Artists. |
26234 | Sony Music has issued nearly 10,000 deepfake takedowns… and other things we learned from Dennis Kooker’s speech about AI
“We cannot allow an artist’s voice or likeness to be cloned for use without the express permission of the artist. This is a very personal decision for the artist. Congress should pass into law effective federal protections for name, image, and likeness.” Incentivize Accurate Recordkeeping. “Correct attribution will be a critical element to artists being paid fairly and correctly for new works that are created. In addition, rights can only be enforced around the training of AI when there are accurate records about what is being copied. Otherwise, the inability to enforce rights in the AI marketplace equates to a lack of rights at all, producing a dangerous imbalance that prevents a thriving ecosystem. This requires strong and accurate record keeping by the generative AI platforms, a requirement that urgently needs legislative support to ensure incentives are in place so that it happens consistently and correctly.” Assure Transparency for Consumers and Artists. “Transparency is necessary to clearly distinguish human-created works from AI-created works. |
26235 | Sony Music has issued nearly 10,000 deepfake takedowns… and other things we learned from Dennis Kooker’s speech about AI
This is a very personal decision for the artist. Congress should pass into law effective federal protections for name, image, and likeness.” Incentivize Accurate Recordkeeping. “Correct attribution will be a critical element to artists being paid fairly and correctly for new works that are created. In addition, rights can only be enforced around the training of AI when there are accurate records about what is being copied. Otherwise, the inability to enforce rights in the AI marketplace equates to a lack of rights at all, producing a dangerous imbalance that prevents a thriving ecosystem. This requires strong and accurate record keeping by the generative AI platforms, a requirement that urgently needs legislative support to ensure incentives are in place so that it happens consistently and correctly.” Assure Transparency for Consumers and Artists. “Transparency is necessary to clearly distinguish human-created works from AI-created works. The public should know, when they are listening to music, whether that music was created by a human being or a machine.”
Added Kooker: “While these principles are simple and basic, they require a new level of commitment and investment from generative AI platforms. |
26236 | Sony Music has issued nearly 10,000 deepfake takedowns… and other things we learned from Dennis Kooker’s speech about AI
“Correct attribution will be a critical element to artists being paid fairly and correctly for new works that are created. In addition, rights can only be enforced around the training of AI when there are accurate records about what is being copied. Otherwise, the inability to enforce rights in the AI marketplace equates to a lack of rights at all, producing a dangerous imbalance that prevents a thriving ecosystem. This requires strong and accurate record keeping by the generative AI platforms, a requirement that urgently needs legislative support to ensure incentives are in place so that it happens consistently and correctly.” Assure Transparency for Consumers and Artists. “Transparency is necessary to clearly distinguish human-created works from AI-created works. The public should know, when they are listening to music, whether that music was created by a human being or a machine.”
Added Kooker: “While these principles are simple and basic, they require a new level of commitment and investment from generative AI platforms.
“If established early on, they will result in an even playing field for all participants so there will not be an unfair competitive advantage for a few at the expense of future innovators. |
26237 | Sony Music has issued nearly 10,000 deepfake takedowns… and other things we learned from Dennis Kooker’s speech about AI
Otherwise, the inability to enforce rights in the AI marketplace equates to a lack of rights at all, producing a dangerous imbalance that prevents a thriving ecosystem. This requires strong and accurate record keeping by the generative AI platforms, a requirement that urgently needs legislative support to ensure incentives are in place so that it happens consistently and correctly.” Assure Transparency for Consumers and Artists. “Transparency is necessary to clearly distinguish human-created works from AI-created works. The public should know, when they are listening to music, whether that music was created by a human being or a machine.”
Added Kooker: “While these principles are simple and basic, they require a new level of commitment and investment from generative AI platforms.
“If established early on, they will result in an even playing field for all participants so there will not be an unfair competitive advantage for a few at the expense of future innovators.
“The principles will ensure that intellectual property businesses can succeed in this new world alongside tech partners, further advancing investment and expanding economic opportunities. |
26238 | Sony Music has issued nearly 10,000 deepfake takedowns… and other things we learned from Dennis Kooker’s speech about AI
This requires strong and accurate record keeping by the generative AI platforms, a requirement that urgently needs legislative support to ensure incentives are in place so that it happens consistently and correctly.” Assure Transparency for Consumers and Artists. “Transparency is necessary to clearly distinguish human-created works from AI-created works. The public should know, when they are listening to music, whether that music was created by a human being or a machine.”
Added Kooker: “While these principles are simple and basic, they require a new level of commitment and investment from generative AI platforms.
“If established early on, they will result in an even playing field for all participants so there will not be an unfair competitive advantage for a few at the expense of future innovators.
“The principles will ensure that intellectual property businesses can succeed in this new world alongside tech partners, further advancing investment and expanding economic opportunities. “Music Business Worldwide |
26239 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
What’s happened?
MBW Explains is a series of analytical features in which we explore the context behind major music industry talking points – and suggest what might happen next. MBW Explains is supported by JKBX , a technology platform that offers consumers access to music royalties as an asset class.
As we said last week: Welcome to the future.
Seven days ago (November 16), YouTube unveiled a revolutionary new experiment – ‘Dream Track’ – enabling creators to clone the vocals, via AI tech and with official consent, of well-known stars.
Charlie Puth’s voice is on there. John Legend’s voice is on there. Demi Lovato’s voice is on there.
In fact, the voices of a number of well-known recording artists signed to Warner Music Group and Universal Music Group – or labels within each major – are on there. |
26240 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
What’s happened?
MBW Explains is a series of analytical features in which we explore the context behind major music industry talking points – and suggest what might happen next. MBW Explains is supported by JKBX , a technology platform that offers consumers access to music royalties as an asset class.
As we said last week: Welcome to the future.
Seven days ago (November 16), YouTube unveiled a revolutionary new experiment – ‘Dream Track’ – enabling creators to clone the vocals, via AI tech and with official consent, of well-known stars.
Charlie Puth’s voice is on there. John Legend’s voice is on there. Demi Lovato’s voice is on there.
In fact, the voices of a number of well-known recording artists signed to Warner Music Group and Universal Music Group – or labels within each major – are on there.
Yet something conspicuous is not on there: any endorsement whatsoever from the world’s second-biggest recording company, Sony Music Entertainment, or its artists. |
26241 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
MBW Explains is a series of analytical features in which we explore the context behind major music industry talking points – and suggest what might happen next. MBW Explains is supported by JKBX , a technology platform that offers consumers access to music royalties as an asset class.
As we said last week: Welcome to the future.
Seven days ago (November 16), YouTube unveiled a revolutionary new experiment – ‘Dream Track’ – enabling creators to clone the vocals, via AI tech and with official consent, of well-known stars.
Charlie Puth’s voice is on there. John Legend’s voice is on there. Demi Lovato’s voice is on there.
In fact, the voices of a number of well-known recording artists signed to Warner Music Group and Universal Music Group – or labels within each major – are on there.
Yet something conspicuous is not on there: any endorsement whatsoever from the world’s second-biggest recording company, Sony Music Entertainment, or its artists.
Why is Sony missing? |
26242 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
MBW Explains is supported by JKBX , a technology platform that offers consumers access to music royalties as an asset class.
As we said last week: Welcome to the future.
Seven days ago (November 16), YouTube unveiled a revolutionary new experiment – ‘Dream Track’ – enabling creators to clone the vocals, via AI tech and with official consent, of well-known stars.
Charlie Puth’s voice is on there. John Legend’s voice is on there. Demi Lovato’s voice is on there.
In fact, the voices of a number of well-known recording artists signed to Warner Music Group and Universal Music Group – or labels within each major – are on there.
Yet something conspicuous is not on there: any endorsement whatsoever from the world’s second-biggest recording company, Sony Music Entertainment, or its artists.
Why is Sony missing?
MBW understands that Sony Music (the recorded music arm of Sony Music Group) has, like Universal and Warner, been in discussions for months with YouTube over potentially licensing the ‘Dream Track’ experiment. |
26243 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
As we said last week: Welcome to the future.
Seven days ago (November 16), YouTube unveiled a revolutionary new experiment – ‘Dream Track’ – enabling creators to clone the vocals, via AI tech and with official consent, of well-known stars.
Charlie Puth’s voice is on there. John Legend’s voice is on there. Demi Lovato’s voice is on there.
In fact, the voices of a number of well-known recording artists signed to Warner Music Group and Universal Music Group – or labels within each major – are on there.
Yet something conspicuous is not on there: any endorsement whatsoever from the world’s second-biggest recording company, Sony Music Entertainment, or its artists.
Why is Sony missing?
MBW understands that Sony Music (the recorded music arm of Sony Music Group) has, like Universal and Warner, been in discussions for months with YouTube over potentially licensing the ‘Dream Track’ experiment.
During this period of discussion, YouTube has made a number of positive announcements regarding the biggest issue for any rightsholder regarding AI-driven voice replication of artists: their ability to police it. |
26244 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
Charlie Puth’s voice is on there. John Legend’s voice is on there. Demi Lovato’s voice is on there.
In fact, the voices of a number of well-known recording artists signed to Warner Music Group and Universal Music Group – or labels within each major – are on there.
Yet something conspicuous is not on there: any endorsement whatsoever from the world’s second-biggest recording company, Sony Music Entertainment, or its artists.
Why is Sony missing?
MBW understands that Sony Music (the recorded music arm of Sony Music Group) has, like Universal and Warner, been in discussions for months with YouTube over potentially licensing the ‘Dream Track’ experiment.
During this period of discussion, YouTube has made a number of positive announcements regarding the biggest issue for any rightsholder regarding AI-driven voice replication of artists: their ability to police it.
In August, YouTube and Universal Music Group jointly announced that the video platform was launching an ‘AI Music Incubator’ – a program by which new tools and innovations will be developed at YouTube in close conjunction with artists and the music biz. |
26245 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
In fact, the voices of a number of well-known recording artists signed to Warner Music Group and Universal Music Group – or labels within each major – are on there.
Yet something conspicuous is not on there: any endorsement whatsoever from the world’s second-biggest recording company, Sony Music Entertainment, or its artists.
Why is Sony missing?
MBW understands that Sony Music (the recorded music arm of Sony Music Group) has, like Universal and Warner, been in discussions for months with YouTube over potentially licensing the ‘Dream Track’ experiment.
During this period of discussion, YouTube has made a number of positive announcements regarding the biggest issue for any rightsholder regarding AI-driven voice replication of artists: their ability to police it.
In August, YouTube and Universal Music Group jointly announced that the video platform was launching an ‘AI Music Incubator’ – a program by which new tools and innovations will be developed at YouTube in close conjunction with artists and the music biz. To progress this ‘incubator’, YouTube said it was working behind the scenes with a number of UMG-affiliated artists;
and jointly announced that the video platform was launching an – a program by which new tools and innovations will be developed at YouTube in close conjunction with artists and the music biz. |
26246 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
Why is Sony missing?
MBW understands that Sony Music (the recorded music arm of Sony Music Group) has, like Universal and Warner, been in discussions for months with YouTube over potentially licensing the ‘Dream Track’ experiment.
During this period of discussion, YouTube has made a number of positive announcements regarding the biggest issue for any rightsholder regarding AI-driven voice replication of artists: their ability to police it.
In August, YouTube and Universal Music Group jointly announced that the video platform was launching an ‘AI Music Incubator’ – a program by which new tools and innovations will be developed at YouTube in close conjunction with artists and the music biz. To progress this ‘incubator’, YouTube said it was working behind the scenes with a number of UMG-affiliated artists;
and jointly announced that the video platform was launching an – a program by which new tools and innovations will be developed at YouTube in close conjunction with artists and the music biz. To progress this ‘incubator’, YouTube said it was working behind the scenes with a number of UMG-affiliated artists; Also in August, YouTube publicly committed to three principles/pledges behind its development of music-based generative AI tools . |
26247 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
During this period of discussion, YouTube has made a number of positive announcements regarding the biggest issue for any rightsholder regarding AI-driven voice replication of artists: their ability to police it.
In August, YouTube and Universal Music Group jointly announced that the video platform was launching an ‘AI Music Incubator’ – a program by which new tools and innovations will be developed at YouTube in close conjunction with artists and the music biz. To progress this ‘incubator’, YouTube said it was working behind the scenes with a number of UMG-affiliated artists;
and jointly announced that the video platform was launching an – a program by which new tools and innovations will be developed at YouTube in close conjunction with artists and the music biz. To progress this ‘incubator’, YouTube said it was working behind the scenes with a number of UMG-affiliated artists; Also in August, YouTube publicly committed to three principles/pledges behind its development of music-based generative AI tools . These pledges promised “appropriate protections… for music partners who decide to participate” in said tools. |
26248 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
In August, YouTube and Universal Music Group jointly announced that the video platform was launching an ‘AI Music Incubator’ – a program by which new tools and innovations will be developed at YouTube in close conjunction with artists and the music biz. To progress this ‘incubator’, YouTube said it was working behind the scenes with a number of UMG-affiliated artists;
and jointly announced that the video platform was launching an – a program by which new tools and innovations will be developed at YouTube in close conjunction with artists and the music biz. To progress this ‘incubator’, YouTube said it was working behind the scenes with a number of UMG-affiliated artists; Also in August, YouTube publicly committed to three principles/pledges behind its development of music-based generative AI tools . These pledges promised “appropriate protections… for music partners who decide to participate” in said tools. They promised “invest[ment] in the AI-powered technology” that, amongst other things, would help YouTube “protect our community of viewers, creators, artists and songwriters… [from] trademark and copyright abuse” . |
26249 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
To progress this ‘incubator’, YouTube said it was working behind the scenes with a number of UMG-affiliated artists;
and jointly announced that the video platform was launching an – a program by which new tools and innovations will be developed at YouTube in close conjunction with artists and the music biz. To progress this ‘incubator’, YouTube said it was working behind the scenes with a number of UMG-affiliated artists; Also in August, YouTube publicly committed to three principles/pledges behind its development of music-based generative AI tools . These pledges promised “appropriate protections… for music partners who decide to participate” in said tools. They promised “invest[ment] in the AI-powered technology” that, amongst other things, would help YouTube “protect our community of viewers, creators, artists and songwriters… [from] trademark and copyright abuse” . This all seemed to hint at a desire to build a ‘Content ID’-style system on YouTube to control and police content made by cloning artists’ voices;
publicly committed to three principles/pledges behind its development of music-based . |
26250 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
To progress this ‘incubator’, YouTube said it was working behind the scenes with a number of UMG-affiliated artists; Also in August, YouTube publicly committed to three principles/pledges behind its development of music-based generative AI tools . These pledges promised “appropriate protections… for music partners who decide to participate” in said tools. They promised “invest[ment] in the AI-powered technology” that, amongst other things, would help YouTube “protect our community of viewers, creators, artists and songwriters… [from] trademark and copyright abuse” . This all seemed to hint at a desire to build a ‘Content ID’-style system on YouTube to control and police content made by cloning artists’ voices;
publicly committed to three principles/pledges behind its development of music-based . These pledges promised in said tools. They promised that, amongst other things, would help YouTube . |
26251 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
To progress this ‘incubator’, YouTube said it was working behind the scenes with a number of UMG-affiliated artists; Also in August, YouTube publicly committed to three principles/pledges behind its development of music-based generative AI tools . These pledges promised “appropriate protections… for music partners who decide to participate” in said tools. They promised “invest[ment] in the AI-powered technology” that, amongst other things, would help YouTube “protect our community of viewers, creators, artists and songwriters… [from] trademark and copyright abuse” . This all seemed to hint at a desire to build a ‘Content ID’-style system on YouTube to control and police content made by cloning artists’ voices;
publicly committed to three principles/pledges behind its development of music-based . These pledges promised in said tools. They promised that, amongst other things, would help YouTube . This all seemed to hint at a desire to build a on YouTube to control and police content made by cloning artists’ voices; Then, earlier this month, YouTube announced it was developing a specific system for music partners that allowed them to request the removal of content on its platform that “mimics an artist’s unique singing or rapping voice”. |
26252 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
They promised “invest[ment] in the AI-powered technology” that, amongst other things, would help YouTube “protect our community of viewers, creators, artists and songwriters… [from] trademark and copyright abuse” . This all seemed to hint at a desire to build a ‘Content ID’-style system on YouTube to control and police content made by cloning artists’ voices;
publicly committed to three principles/pledges behind its development of music-based . These pledges promised in said tools. They promised that, amongst other things, would help YouTube . This all seemed to hint at a desire to build a on YouTube to control and police content made by cloning artists’ voices; Then, earlier this month, YouTube announced it was developing a specific system for music partners that allowed them to request the removal of content on its platform that “mimics an artist’s unique singing or rapping voice”.
Evidently, all of this was enough for Universal Music Group and Warner Music Group to dip their toe into the ‘Dream Track’ experiment – though not without caution. |
26253 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
This all seemed to hint at a desire to build a ‘Content ID’-style system on YouTube to control and police content made by cloning artists’ voices;
publicly committed to three principles/pledges behind its development of music-based . These pledges promised in said tools. They promised that, amongst other things, would help YouTube . This all seemed to hint at a desire to build a on YouTube to control and police content made by cloning artists’ voices; Then, earlier this month, YouTube announced it was developing a specific system for music partners that allowed them to request the removal of content on its platform that “mimics an artist’s unique singing or rapping voice”.
Evidently, all of this was enough for Universal Music Group and Warner Music Group to dip their toe into the ‘Dream Track’ experiment – though not without caution.
Sir Lucian Grainge, Chairman and CEO of Universal Music Group, said of UMG’s decision to offer a limited license to ‘Dream Track’: “We have a fundamental responsibility to our artists to ensure the digital ecosystem evolves to protect them and their work against unauthorized exploitation, including by generative AI platforms. |
26254 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
These pledges promised in said tools. They promised that, amongst other things, would help YouTube . This all seemed to hint at a desire to build a on YouTube to control and police content made by cloning artists’ voices; Then, earlier this month, YouTube announced it was developing a specific system for music partners that allowed them to request the removal of content on its platform that “mimics an artist’s unique singing or rapping voice”.
Evidently, all of this was enough for Universal Music Group and Warner Music Group to dip their toe into the ‘Dream Track’ experiment – though not without caution.
Sir Lucian Grainge, Chairman and CEO of Universal Music Group, said of UMG’s decision to offer a limited license to ‘Dream Track’: “We have a fundamental responsibility to our artists to ensure the digital ecosystem evolves to protect them and their work against unauthorized exploitation, including by generative AI platforms.
“At the same time, we must help artists achieve their greatest creative and commercial potential – in part by providing them access to the kind of opportunities and cutting-edge creative tools made possible by AI.”
“We have a fundamental responsibility to our artists to ensure the digital ecosystem evolves to protect them and their work against unauthorized exploitation, including by generative AI platforms. |
26255 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
Evidently, all of this was enough for Universal Music Group and Warner Music Group to dip their toe into the ‘Dream Track’ experiment – though not without caution.
Sir Lucian Grainge, Chairman and CEO of Universal Music Group, said of UMG’s decision to offer a limited license to ‘Dream Track’: “We have a fundamental responsibility to our artists to ensure the digital ecosystem evolves to protect them and their work against unauthorized exploitation, including by generative AI platforms.
“At the same time, we must help artists achieve their greatest creative and commercial potential – in part by providing them access to the kind of opportunities and cutting-edge creative tools made possible by AI.”
“We have a fundamental responsibility to our artists to ensure the digital ecosystem evolves to protect them and their work against unauthorized exploitation, including by generative AI platforms. At the same time, we must help artists achieve their greatest creative and commercial potential…” Sir Lucian Grainge on UMG’s decision to license YouTube’s ‘Dream Track’ experiment
Robert Kyncl, CEO of Warner Music Group – and an ex-high flyer at YouTube – commented: “With each major leap in technology, the music industry navigates a fresh set of challenges and opportunities. |
26256 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
“At the same time, we must help artists achieve their greatest creative and commercial potential – in part by providing them access to the kind of opportunities and cutting-edge creative tools made possible by AI.”
“We have a fundamental responsibility to our artists to ensure the digital ecosystem evolves to protect them and their work against unauthorized exploitation, including by generative AI platforms. At the same time, we must help artists achieve their greatest creative and commercial potential…” Sir Lucian Grainge on UMG’s decision to license YouTube’s ‘Dream Track’ experiment
Robert Kyncl, CEO of Warner Music Group – and an ex-high flyer at YouTube – commented: “With each major leap in technology, the music industry navigates a fresh set of challenges and opportunities.
“It’s not always the case that, from the outset, tech platforms partner with artists, songwriters, labels, and publishers to experiment, iterate, and find possible solutions.
“YouTube is taking a collaborative approach with this Beta. |
26257 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
“At the same time, we must help artists achieve their greatest creative and commercial potential – in part by providing them access to the kind of opportunities and cutting-edge creative tools made possible by AI.”
“We have a fundamental responsibility to our artists to ensure the digital ecosystem evolves to protect them and their work against unauthorized exploitation, including by generative AI platforms. At the same time, we must help artists achieve their greatest creative and commercial potential…” Sir Lucian Grainge on UMG’s decision to license YouTube’s ‘Dream Track’ experiment
Robert Kyncl, CEO of Warner Music Group – and an ex-high flyer at YouTube – commented: “With each major leap in technology, the music industry navigates a fresh set of challenges and opportunities.
“It’s not always the case that, from the outset, tech platforms partner with artists, songwriters, labels, and publishers to experiment, iterate, and find possible solutions.
“YouTube is taking a collaborative approach with this Beta. These artists are being offered the choice to lean in, and we’re pleased to experiment and find out what the creators come up with.”
Why, then, did Sony Music not join its rivals in granting YouTube and ‘Dream Track’ access to any of its active artists’ licensed voices? |
26258 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
At the same time, we must help artists achieve their greatest creative and commercial potential…” Sir Lucian Grainge on UMG’s decision to license YouTube’s ‘Dream Track’ experiment
Robert Kyncl, CEO of Warner Music Group – and an ex-high flyer at YouTube – commented: “With each major leap in technology, the music industry navigates a fresh set of challenges and opportunities.
“It’s not always the case that, from the outset, tech platforms partner with artists, songwriters, labels, and publishers to experiment, iterate, and find possible solutions.
“YouTube is taking a collaborative approach with this Beta. These artists are being offered the choice to lean in, and we’re pleased to experiment and find out what the creators come up with.”
Why, then, did Sony Music not join its rivals in granting YouTube and ‘Dream Track’ access to any of its active artists’ licensed voices?
Especially when SME has shown its own willingness to experiment with generative AI music platforms this week via this announcement about a project with David Gilmour, The Orb, and AI company Vermillio? |
26259 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
“It’s not always the case that, from the outset, tech platforms partner with artists, songwriters, labels, and publishers to experiment, iterate, and find possible solutions.
“YouTube is taking a collaborative approach with this Beta. These artists are being offered the choice to lean in, and we’re pleased to experiment and find out what the creators come up with.”
Why, then, did Sony Music not join its rivals in granting YouTube and ‘Dream Track’ access to any of its active artists’ licensed voices?
Especially when SME has shown its own willingness to experiment with generative AI music platforms this week via this announcement about a project with David Gilmour, The Orb, and AI company Vermillio?
Sources close to Sony Music’s HQ in New York have suggested to MBW that the company is taking an “artist-led” approach to its experiments with any AI platform that can manipulate the work (or voice) of its roster. |
26260 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
“It’s not always the case that, from the outset, tech platforms partner with artists, songwriters, labels, and publishers to experiment, iterate, and find possible solutions.
“YouTube is taking a collaborative approach with this Beta. These artists are being offered the choice to lean in, and we’re pleased to experiment and find out what the creators come up with.”
Why, then, did Sony Music not join its rivals in granting YouTube and ‘Dream Track’ access to any of its active artists’ licensed voices?
Especially when SME has shown its own willingness to experiment with generative AI music platforms this week via this announcement about a project with David Gilmour, The Orb, and AI company Vermillio?
Sources close to Sony Music’s HQ in New York have suggested to MBW that the company is taking an “artist-led” approach to its experiments with any AI platform that can manipulate the work (or voice) of its roster.
In the case of YouTube’s ‘Dream Track‘, MBW understands, SME first offered the opportunity to participate to a number of its artists, but this group of acts did not show enthusiasm about participating. |
26261 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
“YouTube is taking a collaborative approach with this Beta. These artists are being offered the choice to lean in, and we’re pleased to experiment and find out what the creators come up with.”
Why, then, did Sony Music not join its rivals in granting YouTube and ‘Dream Track’ access to any of its active artists’ licensed voices?
Especially when SME has shown its own willingness to experiment with generative AI music platforms this week via this announcement about a project with David Gilmour, The Orb, and AI company Vermillio?
Sources close to Sony Music’s HQ in New York have suggested to MBW that the company is taking an “artist-led” approach to its experiments with any AI platform that can manipulate the work (or voice) of its roster.
In the case of YouTube’s ‘Dream Track‘, MBW understands, SME first offered the opportunity to participate to a number of its artists, but this group of acts did not show enthusiasm about participating.
(If one of these artists was Bad Bunny, signed to Sony’s The Orchard, you can see why: The Puerto Rican superstar expressed fury the other week about a popular track on TikTok that had cloned his vocal stylings via AI.) |
26262 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
Especially when SME has shown its own willingness to experiment with generative AI music platforms this week via this announcement about a project with David Gilmour, The Orb, and AI company Vermillio?
Sources close to Sony Music’s HQ in New York have suggested to MBW that the company is taking an “artist-led” approach to its experiments with any AI platform that can manipulate the work (or voice) of its roster.
In the case of YouTube’s ‘Dream Track‘, MBW understands, SME first offered the opportunity to participate to a number of its artists, but this group of acts did not show enthusiasm about participating.
(If one of these artists was Bad Bunny, signed to Sony’s The Orchard, you can see why: The Puerto Rican superstar expressed fury the other week about a popular track on TikTok that had cloned his vocal stylings via AI.)
But last month something else happened that, we hear, effectively scuppered any chance that Sony Music would get involved with ‘Dream Track’ at this juncture. |
26263 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
Sources close to Sony Music’s HQ in New York have suggested to MBW that the company is taking an “artist-led” approach to its experiments with any AI platform that can manipulate the work (or voice) of its roster.
In the case of YouTube’s ‘Dream Track‘, MBW understands, SME first offered the opportunity to participate to a number of its artists, but this group of acts did not show enthusiasm about participating.
(If one of these artists was Bad Bunny, signed to Sony’s The Orchard, you can see why: The Puerto Rican superstar expressed fury the other week about a popular track on TikTok that had cloned his vocal stylings via AI.)
But last month something else happened that, we hear, effectively scuppered any chance that Sony Music would get involved with ‘Dream Track’ at this juncture.
On October 30, Google – the parent of YouTube within Alphabet Inc. |
26264 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
Sources close to Sony Music’s HQ in New York have suggested to MBW that the company is taking an “artist-led” approach to its experiments with any AI platform that can manipulate the work (or voice) of its roster.
In the case of YouTube’s ‘Dream Track‘, MBW understands, SME first offered the opportunity to participate to a number of its artists, but this group of acts did not show enthusiasm about participating.
(If one of these artists was Bad Bunny, signed to Sony’s The Orchard, you can see why: The Puerto Rican superstar expressed fury the other week about a popular track on TikTok that had cloned his vocal stylings via AI.)
But last month something else happened that, we hear, effectively scuppered any chance that Sony Music would get involved with ‘Dream Track’ at this juncture.
On October 30, Google – the parent of YouTube within Alphabet Inc. – issued a filing with the US Copyright Office that outlined its core position on ‘Artificial Intelligence and Copyright’. |
26265 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
In the case of YouTube’s ‘Dream Track‘, MBW understands, SME first offered the opportunity to participate to a number of its artists, but this group of acts did not show enthusiasm about participating.
(If one of these artists was Bad Bunny, signed to Sony’s The Orchard, you can see why: The Puerto Rican superstar expressed fury the other week about a popular track on TikTok that had cloned his vocal stylings via AI.)
But last month something else happened that, we hear, effectively scuppered any chance that Sony Music would get involved with ‘Dream Track’ at this juncture.
On October 30, Google – the parent of YouTube within Alphabet Inc. – issued a filing with the US Copyright Office that outlined its core position on ‘Artificial Intelligence and Copyright’.
The contents of this document have caused some alarm at Sony Music HQ.
What was in the Google document? |
26266 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
In the case of YouTube’s ‘Dream Track‘, MBW understands, SME first offered the opportunity to participate to a number of its artists, but this group of acts did not show enthusiasm about participating.
(If one of these artists was Bad Bunny, signed to Sony’s The Orchard, you can see why: The Puerto Rican superstar expressed fury the other week about a popular track on TikTok that had cloned his vocal stylings via AI.)
But last month something else happened that, we hear, effectively scuppered any chance that Sony Music would get involved with ‘Dream Track’ at this juncture.
On October 30, Google – the parent of YouTube within Alphabet Inc. – issued a filing with the US Copyright Office that outlined its core position on ‘Artificial Intelligence and Copyright’.
The contents of this document have caused some alarm at Sony Music HQ.
What was in the Google document?
You may have read on MBW last week that Ed Newton-Rex – a generative AI pioneer, but also a published composer – decided to quit his role at Stability AI over concerns over the company’s position on “fair use” within its own recent US Copyright Office filing. |
26267 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
(If one of these artists was Bad Bunny, signed to Sony’s The Orchard, you can see why: The Puerto Rican superstar expressed fury the other week about a popular track on TikTok that had cloned his vocal stylings via AI.)
But last month something else happened that, we hear, effectively scuppered any chance that Sony Music would get involved with ‘Dream Track’ at this juncture.
On October 30, Google – the parent of YouTube within Alphabet Inc. – issued a filing with the US Copyright Office that outlined its core position on ‘Artificial Intelligence and Copyright’.
The contents of this document have caused some alarm at Sony Music HQ.
What was in the Google document?
You may have read on MBW last week that Ed Newton-Rex – a generative AI pioneer, but also a published composer – decided to quit his role at Stability AI over concerns over the company’s position on “fair use” within its own recent US Copyright Office filing.
‘Fair use’ is, as it sounds, the argument that there are cases where copyrighted material can be used and even replicated that are, well, fair enough. |
26268 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
But last month something else happened that, we hear, effectively scuppered any chance that Sony Music would get involved with ‘Dream Track’ at this juncture.
On October 30, Google – the parent of YouTube within Alphabet Inc. – issued a filing with the US Copyright Office that outlined its core position on ‘Artificial Intelligence and Copyright’.
The contents of this document have caused some alarm at Sony Music HQ.
What was in the Google document?
You may have read on MBW last week that Ed Newton-Rex – a generative AI pioneer, but also a published composer – decided to quit his role at Stability AI over concerns over the company’s position on “fair use” within its own recent US Copyright Office filing.
‘Fair use’ is, as it sounds, the argument that there are cases where copyrighted material can be used and even replicated that are, well, fair enough.
A clumsy example: I read a great book, then I meet you for breakfast, where I tell you about the story and quote a couple of my favorite passages to you. |
26269 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
On October 30, Google – the parent of YouTube within Alphabet Inc. – issued a filing with the US Copyright Office that outlined its core position on ‘Artificial Intelligence and Copyright’.
The contents of this document have caused some alarm at Sony Music HQ.
What was in the Google document?
You may have read on MBW last week that Ed Newton-Rex – a generative AI pioneer, but also a published composer – decided to quit his role at Stability AI over concerns over the company’s position on “fair use” within its own recent US Copyright Office filing.
‘Fair use’ is, as it sounds, the argument that there are cases where copyrighted material can be used and even replicated that are, well, fair enough.
A clumsy example: I read a great book, then I meet you for breakfast, where I tell you about the story and quote a couple of my favorite passages to you.
To suggest I’ve just committed copyright infringement wouldn’t only be silly – it would mean that copyright protections were getting in the way of the commercial furtherment of the author/rightsholder (i.e. |
26270 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
The contents of this document have caused some alarm at Sony Music HQ.
What was in the Google document?
You may have read on MBW last week that Ed Newton-Rex – a generative AI pioneer, but also a published composer – decided to quit his role at Stability AI over concerns over the company’s position on “fair use” within its own recent US Copyright Office filing.
‘Fair use’ is, as it sounds, the argument that there are cases where copyrighted material can be used and even replicated that are, well, fair enough.
A clumsy example: I read a great book, then I meet you for breakfast, where I tell you about the story and quote a couple of my favorite passages to you.
To suggest I’ve just committed copyright infringement wouldn’t only be silly – it would mean that copyright protections were getting in the way of the commercial furtherment of the author/rightsholder (i.e. you might go and buy the book on my recommendation). |
26271 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
The contents of this document have caused some alarm at Sony Music HQ.
What was in the Google document?
You may have read on MBW last week that Ed Newton-Rex – a generative AI pioneer, but also a published composer – decided to quit his role at Stability AI over concerns over the company’s position on “fair use” within its own recent US Copyright Office filing.
‘Fair use’ is, as it sounds, the argument that there are cases where copyrighted material can be used and even replicated that are, well, fair enough.
A clumsy example: I read a great book, then I meet you for breakfast, where I tell you about the story and quote a couple of my favorite passages to you.
To suggest I’ve just committed copyright infringement wouldn’t only be silly – it would mean that copyright protections were getting in the way of the commercial furtherment of the author/rightsholder (i.e. you might go and buy the book on my recommendation).
Google’s submission to the USCO contains a number of passages that posit a similar position… but for generative AI models. |
26272 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
‘Fair use’ is, as it sounds, the argument that there are cases where copyrighted material can be used and even replicated that are, well, fair enough.
A clumsy example: I read a great book, then I meet you for breakfast, where I tell you about the story and quote a couple of my favorite passages to you.
To suggest I’ve just committed copyright infringement wouldn’t only be silly – it would mean that copyright protections were getting in the way of the commercial furtherment of the author/rightsholder (i.e. you might go and buy the book on my recommendation).
Google’s submission to the USCO contains a number of passages that posit a similar position… but for generative AI models. The document argues that the ingestion of copyrighted material for the training of generative AI platforms shouldn’t be hampered by copyright law. |
26273 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
‘Fair use’ is, as it sounds, the argument that there are cases where copyrighted material can be used and even replicated that are, well, fair enough.
A clumsy example: I read a great book, then I meet you for breakfast, where I tell you about the story and quote a couple of my favorite passages to you.
To suggest I’ve just committed copyright infringement wouldn’t only be silly – it would mean that copyright protections were getting in the way of the commercial furtherment of the author/rightsholder (i.e. you might go and buy the book on my recommendation).
Google’s submission to the USCO contains a number of passages that posit a similar position… but for generative AI models. The document argues that the ingestion of copyrighted material for the training of generative AI platforms shouldn’t be hampered by copyright law.
You can read the full Google USCO submission here, but below are a few of the choicest sections on this topic:
“The doctrine of fair use [within existing US copyright law] provides that copying for a new and different purpose is permitted without authorization where — as with training Al systems — the secondary use is transformative and does not substitute for the copyrighted work .”
[within existing US copyright law] provides that copying for a new and different purpose is permitted without authorization where — as with — the secondary use is transformative and .” “If [AI] training could be accomplished without the creation of copies, there would be no copyright questions here. |
26274 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
you might go and buy the book on my recommendation).
Google’s submission to the USCO contains a number of passages that posit a similar position… but for generative AI models. The document argues that the ingestion of copyrighted material for the training of generative AI platforms shouldn’t be hampered by copyright law.
You can read the full Google USCO submission here, but below are a few of the choicest sections on this topic:
“The doctrine of fair use [within existing US copyright law] provides that copying for a new and different purpose is permitted without authorization where — as with training Al systems — the secondary use is transformative and does not substitute for the copyrighted work .”
[within existing US copyright law] provides that copying for a new and different purpose is permitted without authorization where — as with — the secondary use is transformative and .” “If [AI] training could be accomplished without the creation of copies, there would be no copyright questions here. Indeed that act of “knowledge harvesting”… like the act of reading a book and learning the facts and ideas within it , would not only be non-infringing , it would further the very purpose of copyright law. |
26275 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
You can read the full Google USCO submission here, but below are a few of the choicest sections on this topic:
“The doctrine of fair use [within existing US copyright law] provides that copying for a new and different purpose is permitted without authorization where — as with training Al systems — the secondary use is transformative and does not substitute for the copyrighted work .”
[within existing US copyright law] provides that copying for a new and different purpose is permitted without authorization where — as with — the secondary use is transformative and .” “If [AI] training could be accomplished without the creation of copies, there would be no copyright questions here. Indeed that act of “knowledge harvesting”… like the act of reading a book and learning the facts and ideas within it , would not only be non-infringing , it would further the very purpose of copyright law. The mere fact that, as a technological matter, copies need to be made to extract those ideas and facts from copyrighted works should not alter that result .”
could be accomplished without the creation of copies, there would be no copyright questions here. |
26276 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
Indeed that act of “knowledge harvesting”… like the act of reading a book and learning the facts and ideas within it , would not only be non-infringing , it would further the very purpose of copyright law. The mere fact that, as a technological matter, copies need to be made to extract those ideas and facts from copyrighted works should not alter that result .”
could be accomplished without the creation of copies, there would be no copyright questions here. Indeed that act of “knowledge harvesting”… like the , would not only be , it would further the very purpose of copyright law. |
26277 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
Indeed that act of “knowledge harvesting”… like the act of reading a book and learning the facts and ideas within it , would not only be non-infringing , it would further the very purpose of copyright law. The mere fact that, as a technological matter, copies need to be made to extract those ideas and facts from copyrighted works should not alter that result .”
could be accomplished without the creation of copies, there would be no copyright questions here. Indeed that act of “knowledge harvesting”… like the , would not only be , it would further the very purpose of copyright law. The mere fact that, as a technological matter, .” “Some might object to this logic in the context of generative Al systems, arguing that even if such a system produces content that is not substantially similar to any of the content it was trained on, the output of that model might compete in the marketplace with works used for training or, more broadly, with the authors of those works … This argument misunderstands both the nature of the fair use inquiry and the creative markets that copyright is intended to protect. |
26278 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
The mere fact that, as a technological matter, copies need to be made to extract those ideas and facts from copyrighted works should not alter that result .”
could be accomplished without the creation of copies, there would be no copyright questions here. Indeed that act of “knowledge harvesting”… like the , would not only be , it would further the very purpose of copyright law. The mere fact that, as a technological matter, .” “Some might object to this logic in the context of generative Al systems, arguing that even if such a system produces content that is not substantially similar to any of the content it was trained on, the output of that model might compete in the marketplace with works used for training or, more broadly, with the authors of those works … This argument misunderstands both the nature of the fair use inquiry and the creative markets that copyright is intended to protect. Even if generative-Al-assisted outputs do compete with existing works that were used in training, |
26279 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
The mere fact that, as a technological matter, copies need to be made to extract those ideas and facts from copyrighted works should not alter that result .”
could be accomplished without the creation of copies, there would be no copyright questions here. Indeed that act of “knowledge harvesting”… like the , would not only be , it would further the very purpose of copyright law. The mere fact that, as a technological matter, .” “Some might object to this logic in the context of generative Al systems, arguing that even if such a system produces content that is not substantially similar to any of the content it was trained on, the output of that model might compete in the marketplace with works used for training or, more broadly, with the authors of those works … This argument misunderstands both the nature of the fair use inquiry and the creative markets that copyright is intended to protect. Even if generative-Al-assisted outputs do compete with existing works that were used in training, or with future works by the authors of those works, |
26280 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
Indeed that act of “knowledge harvesting”… like the , would not only be , it would further the very purpose of copyright law. The mere fact that, as a technological matter, .” “Some might object to this logic in the context of generative Al systems, arguing that even if such a system produces content that is not substantially similar to any of the content it was trained on, the output of that model might compete in the marketplace with works used for training or, more broadly, with the authors of those works … This argument misunderstands both the nature of the fair use inquiry and the creative markets that copyright is intended to protect. Even if generative-Al-assisted outputs do compete with existing works that were used in training, or with future works by the authors of those works, the pro-competitive nature of copying for the purpose of “knowledge harvesting” has traditionally been a reason to favor a holding of fair use , not a reason to reject it. |
26281 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
Indeed that act of “knowledge harvesting”… like the , would not only be , it would further the very purpose of copyright law. The mere fact that, as a technological matter, .” “Some might object to this logic in the context of generative Al systems, arguing that even if such a system produces content that is not substantially similar to any of the content it was trained on, the output of that model might compete in the marketplace with works used for training or, more broadly, with the authors of those works … This argument misunderstands both the nature of the fair use inquiry and the creative markets that copyright is intended to protect. Even if generative-Al-assisted outputs do compete with existing works that were used in training, or with future works by the authors of those works, the pro-competitive nature of copying for the purpose of “knowledge harvesting” has traditionally been a reason to favor a holding of fair use , not a reason to reject it.”
the output of that model might … Even if generative-Al-assisted outputs do compete with existing works that were used in training, |
26282 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
The mere fact that, as a technological matter, .” “Some might object to this logic in the context of generative Al systems, arguing that even if such a system produces content that is not substantially similar to any of the content it was trained on, the output of that model might compete in the marketplace with works used for training or, more broadly, with the authors of those works … This argument misunderstands both the nature of the fair use inquiry and the creative markets that copyright is intended to protect. Even if generative-Al-assisted outputs do compete with existing works that were used in training, or with future works by the authors of those works, the pro-competitive nature of copying for the purpose of “knowledge harvesting” has traditionally been a reason to favor a holding of fair use , not a reason to reject it.”
the output of that model might … Even if generative-Al-assisted outputs do compete with existing works that were used in training, or with future works by the authors of those works, |
26283 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
Even if generative-Al-assisted outputs do compete with existing works that were used in training, or with future works by the authors of those works, the pro-competitive nature of copying for the purpose of “knowledge harvesting” has traditionally been a reason to favor a holding of fair use , not a reason to reject it.”
the output of that model might … Even if generative-Al-assisted outputs do compete with existing works that were used in training, or with future works by the authors of those works, the pro-competitive nature of copying for the purpose of “knowledge harvesting” has traditionally been a reason to , not a reason to reject it.” And then the kicker: “Any prohibition or limitation on the use of copyrighted materials for purposes of Al training would therefore undermine the purpose of copyright and foreclose the many opportunities that come with this technology.”
To be fair to Google, its submission does make note of the importance of US copyright law, |
26284 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
Even if generative-Al-assisted outputs do compete with existing works that were used in training, or with future works by the authors of those works, the pro-competitive nature of copying for the purpose of “knowledge harvesting” has traditionally been a reason to favor a holding of fair use , not a reason to reject it.”
the output of that model might … Even if generative-Al-assisted outputs do compete with existing works that were used in training, or with future works by the authors of those works, the pro-competitive nature of copying for the purpose of “knowledge harvesting” has traditionally been a reason to , not a reason to reject it.” And then the kicker: “Any prohibition or limitation on the use of copyrighted materials for purposes of Al training would therefore undermine the purpose of copyright and foreclose the many opportunities that come with this technology.”
To be fair to Google, its submission does make note of the importance of US copyright law, including when applied to generative AI, |
26285 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
or with future works by the authors of those works, the pro-competitive nature of copying for the purpose of “knowledge harvesting” has traditionally been a reason to favor a holding of fair use , not a reason to reject it.”
the output of that model might … Even if generative-Al-assisted outputs do compete with existing works that were used in training, or with future works by the authors of those works, the pro-competitive nature of copying for the purpose of “knowledge harvesting” has traditionally been a reason to , not a reason to reject it.” And then the kicker: “Any prohibition or limitation on the use of copyrighted materials for purposes of Al training would therefore undermine the purpose of copyright and foreclose the many opportunities that come with this technology.”
To be fair to Google, its submission does make note of the importance of US copyright law, including when applied to generative AI, striking “the right balance between the legitimate interests of rightsholders and the equally legitimate interests of the public and succeeding generations of creators”. |
26286 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
the pro-competitive nature of copying for the purpose of “knowledge harvesting” has traditionally been a reason to favor a holding of fair use , not a reason to reject it.”
the output of that model might … Even if generative-Al-assisted outputs do compete with existing works that were used in training, or with future works by the authors of those works, the pro-competitive nature of copying for the purpose of “knowledge harvesting” has traditionally been a reason to , not a reason to reject it.” And then the kicker: “Any prohibition or limitation on the use of copyrighted materials for purposes of Al training would therefore undermine the purpose of copyright and foreclose the many opportunities that come with this technology.”
To be fair to Google, its submission does make note of the importance of US copyright law, including when applied to generative AI, striking “the right balance between the legitimate interests of rightsholders and the equally legitimate interests of the public and succeeding generations of creators”. |
26287 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
the pro-competitive nature of copying for the purpose of “knowledge harvesting” has traditionally been a reason to favor a holding of fair use , not a reason to reject it.”
the output of that model might … Even if generative-Al-assisted outputs do compete with existing works that were used in training, or with future works by the authors of those works, the pro-competitive nature of copying for the purpose of “knowledge harvesting” has traditionally been a reason to , not a reason to reject it.” And then the kicker: “Any prohibition or limitation on the use of copyrighted materials for purposes of Al training would therefore undermine the purpose of copyright and foreclose the many opportunities that come with this technology.”
To be fair to Google, its submission does make note of the importance of US copyright law, including when applied to generative AI, striking “the right balance between the legitimate interests of rightsholders and the equally legitimate interests of the public and succeeding generations of creators”.
Yet it could clearly be argued that Google’s take on copyright “harvesting” by generative AI models sits in odd contrast to the copyright-related reassurances that YouTube has been careful to make to the music industry during the pre-development, development, and trial launch of ‘Dream Track’. |
26288 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
or with future works by the authors of those works, the pro-competitive nature of copying for the purpose of “knowledge harvesting” has traditionally been a reason to , not a reason to reject it.” And then the kicker: “Any prohibition or limitation on the use of copyrighted materials for purposes of Al training would therefore undermine the purpose of copyright and foreclose the many opportunities that come with this technology.”
To be fair to Google, its submission does make note of the importance of US copyright law, including when applied to generative AI, striking “the right balance between the legitimate interests of rightsholders and the equally legitimate interests of the public and succeeding generations of creators”.
Yet it could clearly be argued that Google’s take on copyright “harvesting” by generative AI models sits in odd contrast to the copyright-related reassurances that YouTube has been careful to make to the music industry during the pre-development, development, and trial launch of ‘Dream Track’.
A final thought…
MBW’s sources close to Sony Music were keen to point out that the company’s general ongoing relationship with YouTube and YouTube Music is a harmonious one. |
26289 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
not a reason to reject it.” And then the kicker: “Any prohibition or limitation on the use of copyrighted materials for purposes of Al training would therefore undermine the purpose of copyright and foreclose the many opportunities that come with this technology.”
To be fair to Google, its submission does make note of the importance of US copyright law, including when applied to generative AI, striking “the right balance between the legitimate interests of rightsholders and the equally legitimate interests of the public and succeeding generations of creators”.
Yet it could clearly be argued that Google’s take on copyright “harvesting” by generative AI models sits in odd contrast to the copyright-related reassurances that YouTube has been careful to make to the music industry during the pre-development, development, and trial launch of ‘Dream Track’.
A final thought…
MBW’s sources close to Sony Music were keen to point out that the company’s general ongoing relationship with YouTube and YouTube Music is a harmonious one.
(YouTube is, after all, now the second largest commercial partner of the major record companies – with a stated ambition to catch up with Spotify in the years ahead. |
26290 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
”
To be fair to Google, its submission does make note of the importance of US copyright law, including when applied to generative AI, striking “the right balance between the legitimate interests of rightsholders and the equally legitimate interests of the public and succeeding generations of creators”.
Yet it could clearly be argued that Google’s take on copyright “harvesting” by generative AI models sits in odd contrast to the copyright-related reassurances that YouTube has been careful to make to the music industry during the pre-development, development, and trial launch of ‘Dream Track’.
A final thought…
MBW’s sources close to Sony Music were keen to point out that the company’s general ongoing relationship with YouTube and YouTube Music is a harmonious one.
(YouTube is, after all, now the second largest commercial partner of the major record companies – with a stated ambition to catch up with Spotify in the years ahead. YouTube says it paid out over USD $6 billion to music rightsholders in the year to end of June 2022, with around $2 billion of that coming just from ads on user-generated content.) |
26291 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
striking “the right balance between the legitimate interests of rightsholders and the equally legitimate interests of the public and succeeding generations of creators”.
Yet it could clearly be argued that Google’s take on copyright “harvesting” by generative AI models sits in odd contrast to the copyright-related reassurances that YouTube has been careful to make to the music industry during the pre-development, development, and trial launch of ‘Dream Track’.
A final thought…
MBW’s sources close to Sony Music were keen to point out that the company’s general ongoing relationship with YouTube and YouTube Music is a harmonious one.
(YouTube is, after all, now the second largest commercial partner of the major record companies – with a stated ambition to catch up with Spotify in the years ahead. YouTube says it paid out over USD $6 billion to music rightsholders in the year to end of June 2022, with around $2 billion of that coming just from ads on user-generated content.)
However, the October US Copyright Office filing from Google has definitely put the cat amongst the pigeons at Sony Music HQ. |
26292 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
Yet it could clearly be argued that Google’s take on copyright “harvesting” by generative AI models sits in odd contrast to the copyright-related reassurances that YouTube has been careful to make to the music industry during the pre-development, development, and trial launch of ‘Dream Track’.
A final thought…
MBW’s sources close to Sony Music were keen to point out that the company’s general ongoing relationship with YouTube and YouTube Music is a harmonious one.
(YouTube is, after all, now the second largest commercial partner of the major record companies – with a stated ambition to catch up with Spotify in the years ahead. YouTube says it paid out over USD $6 billion to music rightsholders in the year to end of June 2022, with around $2 billion of that coming just from ads on user-generated content.)
However, the October US Copyright Office filing from Google has definitely put the cat amongst the pigeons at Sony Music HQ. As we’re sure it has at the other two major record companies. |
26293 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
A final thought…
MBW’s sources close to Sony Music were keen to point out that the company’s general ongoing relationship with YouTube and YouTube Music is a harmonious one.
(YouTube is, after all, now the second largest commercial partner of the major record companies – with a stated ambition to catch up with Spotify in the years ahead. YouTube says it paid out over USD $6 billion to music rightsholders in the year to end of June 2022, with around $2 billion of that coming just from ads on user-generated content.)
However, the October US Copyright Office filing from Google has definitely put the cat amongst the pigeons at Sony Music HQ. As we’re sure it has at the other two major record companies.
“Any prohibition or limitation on the use of copyrighted materials for purposes of Al training would undermine the purpose of copyright and foreclose the many opportunities that come with this technology.” Google filing with the US Copyright Office, October 30
Witness Universal Music Group’s own filing with the US Copyright Office on the topic of AI. |
26294 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
(YouTube is, after all, now the second largest commercial partner of the major record companies – with a stated ambition to catch up with Spotify in the years ahead. YouTube says it paid out over USD $6 billion to music rightsholders in the year to end of June 2022, with around $2 billion of that coming just from ads on user-generated content.)
However, the October US Copyright Office filing from Google has definitely put the cat amongst the pigeons at Sony Music HQ. As we’re sure it has at the other two major record companies.
“Any prohibition or limitation on the use of copyrighted materials for purposes of Al training would undermine the purpose of copyright and foreclose the many opportunities that come with this technology.” Google filing with the US Copyright Office, October 30
Witness Universal Music Group’s own filing with the US Copyright Office on the topic of AI. It couldn’t offer a starker contrast to Google’s assertion that “prohibition or limitation on the use of copyrighted materials for purposes of Al training would undermine the purpose of copyright and foreclose the many opportunities that come with this technology”. |
26295 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
YouTube says it paid out over USD $6 billion to music rightsholders in the year to end of June 2022, with around $2 billion of that coming just from ads on user-generated content.)
However, the October US Copyright Office filing from Google has definitely put the cat amongst the pigeons at Sony Music HQ. As we’re sure it has at the other two major record companies.
“Any prohibition or limitation on the use of copyrighted materials for purposes of Al training would undermine the purpose of copyright and foreclose the many opportunities that come with this technology.” Google filing with the US Copyright Office, October 30
Witness Universal Music Group’s own filing with the US Copyright Office on the topic of AI. It couldn’t offer a starker contrast to Google’s assertion that “prohibition or limitation on the use of copyrighted materials for purposes of Al training would undermine the purpose of copyright and foreclose the many opportunities that come with this technology”.
(Example from UMG’s filing: “The wholesale appropriation of UMG’s enormous catalog of copyright-protected sound recordings and musical compositions to build multibillion commercial enterprises [in AI] is anything but fair use.”)
As well as part-explaining Sony Music’s refusal to be included in ‘Dream Track’ thus far, Google’s USCO filing also perhaps explains the careful words selected by Robert Kyncl and especially Sir Lucian Grainge in their respective comments endorsing YouTube’s AI experiment. |
26296 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
It couldn’t offer a starker contrast to Google’s assertion that “prohibition or limitation on the use of copyrighted materials for purposes of Al training would undermine the purpose of copyright and foreclose the many opportunities that come with this technology”.
(Example from UMG’s filing: “The wholesale appropriation of UMG’s enormous catalog of copyright-protected sound recordings and musical compositions to build multibillion commercial enterprises [in AI] is anything but fair use.”)
As well as part-explaining Sony Music’s refusal to be included in ‘Dream Track’ thus far, Google’s USCO filing also perhaps explains the careful words selected by Robert Kyncl and especially Sir Lucian Grainge in their respective comments endorsing YouTube’s AI experiment.
(Grainge’s statement, remember, began: “We have a fundamental responsibility to our artists to ensure the digital ecosystem evolves to protect them and their work against unauthorized exploitation, including by generative AI platforms…”)
One interesting final observation on the clutch of artists who agreed, with their record companies, to enter the YouTube ‘Dream Track’ trial? |
26297 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
(Example from UMG’s filing: “The wholesale appropriation of UMG’s enormous catalog of copyright-protected sound recordings and musical compositions to build multibillion commercial enterprises [in AI] is anything but fair use.”)
As well as part-explaining Sony Music’s refusal to be included in ‘Dream Track’ thus far, Google’s USCO filing also perhaps explains the careful words selected by Robert Kyncl and especially Sir Lucian Grainge in their respective comments endorsing YouTube’s AI experiment.
(Grainge’s statement, remember, began: “We have a fundamental responsibility to our artists to ensure the digital ecosystem evolves to protect them and their work against unauthorized exploitation, including by generative AI platforms…”)
One interesting final observation on the clutch of artists who agreed, with their record companies, to enter the YouTube ‘Dream Track’ trial?
They’re stars, for sure. |
26298 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
(Example from UMG’s filing: “The wholesale appropriation of UMG’s enormous catalog of copyright-protected sound recordings and musical compositions to build multibillion commercial enterprises [in AI] is anything but fair use.”)
As well as part-explaining Sony Music’s refusal to be included in ‘Dream Track’ thus far, Google’s USCO filing also perhaps explains the careful words selected by Robert Kyncl and especially Sir Lucian Grainge in their respective comments endorsing YouTube’s AI experiment.
(Grainge’s statement, remember, began: “We have a fundamental responsibility to our artists to ensure the digital ecosystem evolves to protect them and their work against unauthorized exploitation, including by generative AI platforms…”)
One interesting final observation on the clutch of artists who agreed, with their record companies, to enter the YouTube ‘Dream Track’ trial?
They’re stars, for sure. But in both the case of Universal Music Group and Warner Music Group, they’re – currently anyway – not the biggest megastars on either company’s books. |
26299 | Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.
(Grainge’s statement, remember, began: “We have a fundamental responsibility to our artists to ensure the digital ecosystem evolves to protect them and their work against unauthorized exploitation, including by generative AI platforms…”)
One interesting final observation on the clutch of artists who agreed, with their record companies, to enter the YouTube ‘Dream Track’ trial?
They’re stars, for sure. But in both the case of Universal Music Group and Warner Music Group, they’re – currently anyway – not the biggest megastars on either company’s books.
You might not expect, at this early stage, for the likes of UMG to put forward Drake, Taylor Swift, or The Beatles – or for WMG to put forward Ed Sheeran or Dua Lipa – to be guinea pigs in any early AI music experiments, even if they’re run by ‘friends’ of the music industry like YouTube. |
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