All the latest in AI ‘music’

Suno is releasing Studio 2.0 with significant upgrades that push it closer to an actual digital audio workstation (DAW), rather than a bare-bones audio editor with generative AI features. The biggest addition is undoubtedly MIDI support. Suno says that MIDI was its most requested feature, and it’s basically a prerequisite for any modern DAW. Unfortunately, Suno Studio doesn’t appear to support third-party plugins or VSTs yet, so you’re stuck using its proprietary built-in synth. That synth appears to be a basic two-oscillator wavetable plugin with three envelopes and four LFOs.

The point is less about using your favorite Arturia vintage synth emulation, though, and more about using that MIDI data as a prompt. You can play in some chords, then ask Suno to turn that MIDI into audio, extend a melody, or write a B-part based on what you played. Another standard DAW feature being added in Studio 2.0 is automation. So now you can pan or change the volume of individual tracks across the arrangement.

After weeks of controversy and speculation, music company D’Addario has admitted that AI, specifically Suno, was used as part of a recent promotional video. For nearly two weeks, the company has denied the allegations, even as evidence piled up against it. It offered various explanations, from low-quality exports, to combinations of plug-ins like Autotune introducing digital noise, and the use of AI-assisted mastering tools from LANDR and Logic. But now the company has edited its original Instagram post denying the use of generative AI to say it was wrong.

In a lengthy update to its post from July 29th (embedded at the bottom), it said:

Spotify will soon label AI artists and remove their music from your recommendations. The change, which will start rolling out in mid-September, means you’ll see an “AI Persona” badge on an artist’s profile across the app if they do “not represent a real person.”

The music streaming platform will allow artists to disclose that they’re an AI persona starting today, but it won’t rely solely on self-identification. Spotify says it will use human review and AI tools to determine whether someone’s profile, including their name and image, “appears to represent photorealistic AI-generated identities.” If Spotify determines that an artist’s identity may be AI-generated, it will apply a “Likely AI Persona” badge. Spotify will review artists who meet “defined audience thresholds” first to cover the profiles people listen to the most.

It took long enough, but now LA rapper Fenix Flexin appears to have admitted using AI for the 80s synth pop-themed song “Rubberz.” His comments follow the producer Medasin’s videos claiming that an AI tool called Treblo (formerly Sonauto) was used to make the song, and the company releasing an AI detector that identifies it as Treblo AI-created.

In a reply to a comment pointing out that Tyga admitted to relying on AI for his own controversial ’80s-influenced album $tarface, on one of his Instagram posts, Fenix said:

Suno announced plans to implement a new watermarking technology and download policy to limit the spread of spammy AI tracks and increase transparency. In a lengthy blog post, CEO and co-founder Mikey Shulman laid out the company’s principles and the next steps for the company as it seeks legitimacy.

The company is rolling out new transparency tools, along with new watermarking and fingerprinting tech. Shulman says it aligns with “emerging industry standards” that will make it easier to identify Suno-generated content. He also says the company is aiming to partner with “distribution platforms on combatting fraud and misuse.”

We were pretty sure that Fenix Flexin’s “Rubberz” was made using AI, but musician Medasin was confident that it was made using Treblo specifically. Now the company and a new detection tool seem to confirm it.

On Monday, the company announced the open-source Treblo AI Music Classifier, which detects when a song was generated using Treblo, though not other AI tools. According to a blog post, it has a false positive rate of less than 1 in 10,000. That’s not unimpeachable, but it’s notable that the company’s own Classifier determined that “Rubberz” was “very likely Treblo” with “high confidence,” adding more fuel to the PR nightmare for Fenix.

Fender CEO Edward “Bud” Cole gave an interview to T3 in May celebrating the 75th anniversary of the Telecaster with comments on AI and music that initially flew under the radar. But it has started making the rounds recently, pouring more fuel on an already raging fire of bad PR following the company pissing off basically the entire guitar-playing community by sending cease-and-desist letters to builders, claiming copyright of the Stratocaster body shape.

Some influential guitar YouTubers have even said they’re done buying Fender gear in the wake of the controversy. And Cole’s resurfaced comments comparing cover songs and bandmates to a sort of “analog AI” have only sunk the company’s standing further among the loudest of its fans online.

Fenix Flexin is best known as a member of Shoreline Mafia, a rap duo from Los Angeles. But he’s recently found solo success with the track “Rubberz,” which has climbed to number 58 on the Billboard Hot 100. Almost immediately, though, questions were raised about the song’s origins, with many speculating that it was largely, if not entirely, generated by AI. Fenix has denied those accusations, but done little to dispel them.

Part of the suspicion is certainly due to the fact that the song is a dramatic left turn. Fenix has primarily trafficked in trap-influenced West Coast rap. “Rubberz,” on the other hand, is heavily influenced by ‘80s UK synth pop. The vocal melody is clearly influenced by Morrissey, with Fenix even adopting a fake British accent. But artists are allowed to evolve and experiment. That alone doesn’t prove anything.

Several record labels, including the big three — Universal Music Group, Sony Music, and Warner Music Group — have proposed rules regarding chart eligibility for AI songs. In short, they wouldn’t be.

The proposal goes quite a bit further than a labeling proposal put forth by the RIAA, the International Federation of the Phonographic Industry (IFPI), SAG-AFTRA, and others. That would create a set of standardized labels for AI-generated and AI-assisted music. The labels’ proposal would require songs be clearly labeled, but it would also keep them off international charts unless they met specific criteria, including being “substantially human made.”

When The Atlantic published a searchable dataset of works used to train AI, Kirk Wallace Johnson, like a lot of artists, looked for his name out of curiosity. And, like a lot of artists, he found it. Essentially, his books, like The Feather Thief and The Fishermen and the Dragon — nonfiction tomes that he spent “five to six years researching, writing, and investigating” — had been pirated and fed to a chatbot. He says he felt a “cocktail” of emotions: “anger over the brazenness of the theft, worry over what this means for writers, and a healthy thirst for revenge on these massive corporations that have become galactically wealthy” using his intellectual property.

He proactively reached out to Susman Godfrey, the law firm already leading the case against Anthropic on behalf of authors, because he saw their suit as a “middle finger on behalf of everyone that has tried to create something.”

I would never go so far as to say there’s no place for AI in music (I’m a fan of Holly Herndon, after all). But I generally find music made with generative AI to be offensively boring, especially the outputs of Suno. So I’m having a bit of a tough time processing the fact that I actually quite enjoy 1010Benja’s “Semiramis’ Dream.”

Benja has been unapologetic about his use of generative AI on his latest EP, Time Has Nothing To Do With What You Choose… The other three tracks can’t quite hold a candle to what you find on 2024’s Ten Total. But the opener “Semiramis’ Dream” is infectious. It explodes out of the speakers with a jungle beat and Benja’s incredible, obviously human voice front and center.

Suno data obtained in a hacking incident has exposed that the AI music generator was trained by scraping millions of songs and lyrics from online audio platforms, including YouTube Music, Deezer, and Genius, 404 Media reports. Given that Suno has avoided revealing what’s in its training datasets and how they were acquired, this a rare glimpse into what Suno has actually been taking from online platforms.

That’s relevant because Suno has been the subject of several lawsuits that allege it used copyrighted materials to train its AI models. In a notable case filed by the Recording Industry Association of America (RIAA), Suno openly admitted that it does so, arguing that training on copyrighted materials and publicly available music files from the open internet is legally permitted under fair use doctrine. Whether or not a court agrees with that, an amendment filed by the RIAA last year also alleges that Suno unlawfully circumvented YouTube’s copyright protections by intentionally “stream ripping” tracks from the platform.

Atlantic reporter Alex Reisner recently uncovered four datasets of music being used to train AI models and made them fully searchable for the public. Two of the sets are absolutely enormous at 12 million and 9 million tracks. The other two are much smaller, but still represent a significant amount of training data at over 100,000 songs each.

According to Reisner, the sets have been downloaded thousands of times and, while it’s impossible to know exactly who has used them, Google and Stability have both confirmed they have in research papers. Some of the sources, like the Free Music Archive dataset, are free to stream for personal use but require licensing for commercial applications.