tech
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Source: NurPhoto / Getty / Elon Musk
It’s beginning to sound like Elon Musk is regretting buying Twitter.
Elon Musk has successfully made Twitter a dumpster fire, and rightfully longtime users of the app have been taking Phony Stark to task for ruining the platform.
In a recent sit-down interview with BBC North America tech reporter James Clayton at Twitter HQ, Musk called the acquisition “quite painful,” From what it sounded like; he is expressing some buyer’s remorse after dropping $44 billion on Twitter.
“I’ve been under constant attack, Musk said. “It’s not like I have a stone-cold heart or anything. If you’re under constant criticism or attack and that gets fed to you, including through Twitter – it’s rough, you know. Now at the end of the day, I think if you do lose your feedback loop that’s not good so I think it is important to get negative feedback. I don’t turn replies off, and I removed my entire block list, so I don’t block anyone either. So I get a lot of negative feedback.”
“If the media is writing non-stop stories about why you’re a horrible person, I mean, you know, it’s hurtful, obviously,” Musk continued.
Awwww, poor Elon.
Musk Admits To Having An “Odd” Relationship With The News Media
Clayton then asked Musk if his relationship with the news media is “odd.” “It is somewhat of a love-hate relationship, although it might be [going] a little more towards the hate,” Musk told Clayton.
“This is part and parcel of having a free media situation. I do take heart in that the media is actually able to trash me on a regular basis in the U.S. and the U.K. and whatnot. Whereas in a lot of places, the media cannot say mean things to powerful people. But I think it’s better that we have a situation where the media can say mean things to powerful people.”
Elon Musk Admits To Enjoying Taking Away NYT’s Legacy Verification Badge
When the hot topic of taking away legacy verification badges from media companies like the New York Times and whether or not it would lead to a misinformation problem on the platform, Musk pretty much confirmed how much of a jerk he is.
I must confess to some delight in removing the verification badge from the New York Times,” Musk said. “Anyway, they’re still alive and well, so they’re doing well.”
Word on the e-streets is that Elon Musk is preparing to snatch away the blue checks and companies who will not pay the money to keep their verification badges.
He also claims if he can find someone willing to buy Twitter, we are hoping someone steps up to the plate to take Twitter off his hands because he sucks at this job.
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Photo: NurPhoto / Getty
National Public Radio is quitting Twitter after the social media platform owned by Elon Musk stamped NPR’s main account with labels the news organization says are meant to undermine its credibility.
“NPR’s organizational accounts will no longer be active on Twitter because the platform is taking actions that undermine our credibility by falsely implying that we are not editorially independent,” NPR said in a statement Wednesday.
Last week, Twitter labeled NPR’s main account as “state-affiliated media” on the social media site, a label also used to identify media outlets that are controlled or heavily influenced by authoritarian governments. Twitter later changed the label to “government-funded media” and gave it to at least one other public news organization, the BBC.
“We are not putting our journalism on platforms that have demonstrated an interest in undermining our credibility and the public’s understanding of our editorial independence,” NPR’s statement said.
The Public Broadcasting Service said Wednesday it has also stopped tweeting from its main account because of its new label and has no plans to resume. PBS said: “We are continuing to monitor the ever-changing situation closely.”
NPR’s main account had not tweeted since April 4. On Wednesday, it sent a series of tweets listing other places to find its journalism.
The company said NPR journalists, employees and member stations can decide on their own if they want to keep using the platform.
NPR’s chief communications officer, Isabel Lara, said in an email that “NPR journalists and employees will decide on their own if they wish to remain on the platform, same for NPR member stations as they’re independently owned and operated.”
NPR does receive U.S. government funding through grants from federal agencies and departments, along with the Corporation for Public Broadcasting. The company said it accounts for less than 1% of NPR’s annual operating budget.
Twitter’s new labels have often appeared arbitrarily assigned. It tagged NPR with the “state-affiliated” label after Musk participated in a public conversation about NPR on Twitter, and then deleted mention of NPR, but left up BBC, on a web page where it described why they should not get that label.
Since then, it has given NPR, BBC and some other groups a “government-funded” label but hasn’t done the same for many other public media outlets, such as their counterparts in Canada and Australia.
In an interview Tuesday with a BBC technology reporter at Twitter’s San Francisco headquarters, Musk acknowledged that the British news organization “is not thrilled” about the state-affiliated labels and asked the reporter for feedback.
“Our goal was simply to be as truthful and accurate as possible,” Musk said. “So I think we’re adjusting the label to be ‘publicly funded,’ which I think is perhaps not too objectionable. We’re trying to be accurate.”
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Source: EA / EA Sports FC
All good things eventually come to an end. When it comes time for EA to roll out its annual soccer video game, it will have a new name.
After 30 years, EA Sports, the video game studio, has moved on from FIFA and unveiled its soccer video game franchise’s new name, EA Sports FC.
The new black and white logo is simple with an EA Sports bubble next to FC, which is in the shape of a triangle, a symbol synonymous with the sport of soccer as it is the makeup of the formations on the soccer pitch and the pixels that make the game come to life.
The new logo is a product of EA and FIFA failing to reach a new licensing agreement to extend their 30-year partnership. As a result, EA will no longer use the FIFA branding in its video games.
The iconic video game studio has been using the FIFA branding since the release of the inaugural FIFA video game for the Sega Mega Drive and Genesis console in 1993.
When Will The New Logo Officially Debut?
In a press release, EA says the rebrand is “a new Football Club for the future of football we want to build together.”
“From passing techniques to set plays, the [triangle] shape has also been woven into the DNA of EA Sports football experiences for decades,” EA wrote. “From the isometric angles of our very first 8-bit experiences and the triangular polygons that make up every pixel of our most modern games, as well as the iconic player indicator symbol that appears above every athlete in every match.”
The new branding will debut this weekend during matches from the biggest soccer leagues, including the Premier League, La Liga, German Bundesliga, Ligue 1, the Women’s Super League, and the National Women’s Soccer League.
We hope this rebrand does not affect the quality of the games. EA’s soccer video games are a model of consistency.
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Photo: EA / EA Sports FC
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Source: FabrikaCr / Getty / Bowie State
Getting into the tech space is difficult, especially if you don’t have the right skin tone. One HBCU, Bowie State, has a cheat code for its students to achieve that goal.
A New York Times report highlights Bowie State and how it is helping Black computing students get their foot in the Silicon Valley door by bypassing its strict vetting process.
Bowie State University, located in Bowie, Maryland, has created an internship placement program that does not require the typical Silicon Vally dog and pony show undergraduates have to deal with, like enduring high-pressure technical assessments. At the same time, an interviewer looks on or hours of studying for a company coding test.
Rose Shumba, the chair of Bowie State’s computer science department, describes it as “a brutal process” when referring to the internship application process at large tech firms, adding, “We see things very differently here at Bowie.”
So How Does The Internship Placement Program Work?
Per the NYT’s piece, Bowie’s computer science department has its own internship placement program, which it set up last year in partnership with numerous companies and government agencies.
The program focuses on “matching students directly with employers seeking interns.” Students in the program also work on their interview skills in training sessions, while workshops will touch on topics like machine learning.
Bowie’s program gives its students an alternative to the massive, impersonal system that would see them throw in an application and hope to be chosen out of tens of thousands of college students submitting their resumes through a portal system that is typically sorted and ranked using resume reading software.
The companies and agencies part of Bowie’s program often come to the campus to meet the students, mentor them, interview and directly recruit them for internships making the process more intimate.
How Successful Is Bowie’s Program?
According to the New York Times, 60 Bowie computing students interned at federal agencies like NASA, companies like Deloitte, and local startups last summer.
The story highlights Dejai Brown, who worked at a Chick-fil-A fast-food restaurant before applying for internships. After getting some encouragement from Dr. Shumba, she applied for security clearance and got an internship at the Marine Corps Forces Cyberspace Command.
Battelle, a nonprofit technology research company, also recruited Ms. Brown.
Head here to read more about Bowie State doing the lord’s work for Black computing students.
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Photo: FabrikaCr / Getty
March saw the launch of two Web3 record labels, a free NFT from Grimes and NFT streaming royalties tied to several viral hits. Overall, the crypto market has bounced back with Ethereum now 100% higher than its lows of last year, injecting some optimism back into the crypto economy.
However, it was a weaker month for music NFTs — a common symptom of the NFT market when crypto prices are trending higher as many buyers prefer to hold onto their ETH as it gains value. Volume across the 10 biggest projects netted 381 ETH compared to 1,016 ETH in February. In dollar terms, it’s $697,393 compared to February’s $1.6 million. Based on analysis of sales data from 19 different NFT platforms, independent releases combined with secondary sales volume on OpenSea, here are the 10 biggest-selling music NFTs and collections in March 2023.
1/ Helix Records Genesis PassMonthly trading volume: 137 ETH ($250,710)Primary sales (March): ~91 ETHSecondary sales: 46 ETHDrop date: March 10
Patrick Moxey, founder of PayDay and Ultra Records, has launched a new label with Web3 at its heart. Helix Records sold 3,333 NFT genesis passes in March, granting access to the inner workings of the label. Holders can pitch their music to Helix Records’ A&R team, get access to free tickets and claim a free NFT of Marshall Jefferson’s iconic house classic ‘Move Your Body.’ Moxey aims to onboard the label’s entire roster of dance artists into Web3.
View the collection on OpenSea.
2/ Grimes – Gen-1 AvatarsMonthly trading volume: 60.7 ETH ($111,081)Primary sales (March): 60.7 ETHSecondary sales: N/ADrop date: March 24
To celebrate a performance at Ultra Festival, Grimes dropped a free NFT on Web3 platform Zora in March. The Grimes Gen-1 avatars will unlock quests, exclusive music and other digital experiences. More than 78,000 were minted in a 7-day window. Although the NFTs were free, each edition was subject to a 0.000777 platform fee which generated a total of 60.7 ETH.
View the collection on Zora.
3/ Dreams Never Die – Founders PassMonthly trading volume: 46 ETH ($84,180)Primary sales (March): ~40 ETHSecondary sales: 6 ETHDrop date: March 15
Dreams Never Die is a record label founded by Chad Hillard, credited for discovering Billie Eilish and breaking “Ocean Eyes” through his music blog HillyDilly when the track had less than 1,000 plays on SoundCloud. Fast forward eight years and Hillard’s record label Dreams Never Die has established itself deeply in Web3 culture.
The label was the first to release a debut single as an NFT via their flagship artist Sloe Jack and last month launched a thousand Founders Passes. The NFT gives holders the opportunity to participate in the label as scouts and other roles, as well as get direct feedback on music.
View the collection on OpenSea.
4/ KINGSHIP – Key CardsMonthly trading volume: 37 ETH ($67,710)Primary sales (March): N/ASecondary sales: 37 ETHDrop date: July 2022
The Bored Ape supergroup launched a new initiative in March called Crowns. Members of the KINGSHIP community can earn Crowns by helping out new members, retweeting social posts, sharing music and engaging in the Discord server. The Crowns can then be redeemed for items in the upcoming KINGSHIP digital store.
View the collection on OpenSea.
5/ Violetta Zironi – Another Life Monthly trading volume: 30 ETH ($54,900)Primary sales (March): N/ASecondary sales: 30 ETHDrop date: Feb. 20
Italian singer-songwriter Violetta Zironi recently launched a new collection, Another Life — an EP encompassing five tracks and 5,500 unique profile picture illustrations. Holders get access to virtual shows, live concerts and the ability to use the songs for their own projects. The project launched in February but continued to generate strong secondary sales through March.
View the collection on OpenSea.
6/ Maddix – Heute NachtMonthly trading volume: $36,990 Primary sales (March): $36,990Secondary sales: N/ADrop date: March 15
Producer Maddix released Heute Nacht in October of last year and it quickly turned into a viral hit, racking up 20 million Spotify streams in five months. In March, the track was released as a collection of 260 NFTs via Royal, offering a percentage of streaming royalties in the hit song. 250 ‘Gold’ tokens give holders 0.0295% of royalties while 10 ‘Diamond’ NFTs offer 0.262% ownership.
7/ David Guetta, Martin Garrix, Romy Dya, Jamie Scott – So Far AwayMonthly trading volume: $30,781Primary sales (March): $28,000Secondary sales: 1.52 ETH ($2,781)Drop date: March 28
With 352 million streams, So Far Away dropped as a collection of 200 NFTs in March, each offering 0.01% ownership in the track. The NFT was released via Anotherblock which unlocks streaming royalties in major hits, usually via a producer or songwriter’s share rather than the lead artist. In this case, the NFT is released through featured artist Romy Dya.
8/ Reo Cragun – SpentMonthly trading volume: 15.6 ETH ($28,548)Primary sales (March): ~7.5 ETHSecondary sales: 7.9 ETHDrop date: March 28
Rapper and producer Reo Cragun has been at the forefront of independent Web3 music for the last 18 months, previously appearing in this chart for his EP Criteria with Daniel Allan in December. Cragun returned in March with a new single “Spent.”
The track was the first to use a new drop format on Web3 music platform sound.xyz called Sound Swap. The mechanism begins with a familiar 24-hour mint period where fans can buy as many editions of the song as they want for 0.005 ETH (~$7). However, when the 24 hour period ends, the price rises steadily for each additional purchase.
If there is sufficient demand and the price rises, existing collectors can instantly sell at the current price — an innovative upgrade from trying to trade or sell NFTs on a secondary market like OpenSea. The track generated 1,500 mints in the first 24 hours and an additional 350 mints using the Sound Swap mechanism.
View the collection on OpenSea.
9/ Illenium – Phoenix Family Founders PassMonthly trading volume: $28,000Primary sales (March): $28,000Secondary sales: N/ADrop date: March 29
DJ and producer Illenium launched a Web3 fan club in March called The Phantom Family, powered by tech platform Medallion. Once inside, fans could mint the Phoenix Family Founders Pass for $25 each, giving them access to a digital jersey, fast-track access to merchandise and exclusive content. Illenium sold 1,132 in a two-day window.
View the collection on OpenSea.
10/ Wes Ghost – SleepwalkingMonthly trading volume: 12.6 ETH ($23,058)Primary sales (March): 10.7 ETHSecondary sales: 1.9 ETHDrop date: March 16
Wes Ghost exploded onto the Web3 music scene in March with a debut single “Sleepwalking” — a pop-punk electronic crossover anthem. Using an NFT character from the “Kid Called Beast” NFT collection to front the project, Wes Ghost sold 2,351 editions of the track by tapping into dozens of different NFT communities through giveaways and cross-collaboration.
View the collection on OpenSea.
Methodology: The chart was compiled using data from primary music NFT sales across 19 different NFT platforms, independent releases and combined with secondary volume data from OpenSea. Data was captured between March 1 – March 31, 2023. Conversion rates from crypto to US dollars were calculated on March 31.
Disclaimer: the author owns NFTs from Reo Cragun and Dreams Never Die, however, the above list is based purely on sales data.
President Joe Biden said Tuesday it remains to be seen if artificial intelligence is dangerous, but that he believes technology companies must ensure their products are safe before releasing them to the public.
Biden met with his council of advisers on science and technology about the risks and opportunities that rapid advancements in artificial intelligence pose for individual users and national security.
“AI can help deal with some very difficult challenges like disease and climate change, but it also has to address the potential risks to our society, to our economy, to our national security,” Biden told the group, which includes academics as well as executives from Microsoft and Google.
Artificial intelligence burst to the forefront in the national and global conversation in recent months after the release of the popular ChatGPT AI chatbot, which helped spark a race among tech giants to unveil similar tools, while raising ethical and societal concerns about technology that can generate convincing prose or imagery that looks like it’s the work of humans.
The White House said the Democratic president was using the AI meeting to “discuss the importance of protecting rights and safety to ensure responsible innovation and appropriate safeguards” and to reiterate his call for Congress to pass legislation to protect children and curtail data collection by technology companies.
Italy last week temporarily blocked ChatGPT over data privacy concerns, and European Union lawmakers have been negotiating the passage of new rules to limit high-risk AI products across the 27-nation bloc.
The U.S. so far has taken a different approach. The Biden administration last year unveiled a set of far-reaching goals aimed at averting harms caused by the rise of AI systems, including guidelines for how to protect people’s personal data and limit surveillance.
The Blueprint for an AI Bill of Rights notably did not set out specific enforcement actions, but instead was intended as a call to action for the U.S. government to safeguard digital and civil rights in an AI-fueled world.
Biden’s council, known as PCAST, is composed of science, engineering, technology and medical experts and is co-chaired by the Cabinet-ranked director of the White House Office of Science and Technology Policy, Arati Prabhakar.
Asked if AI is dangerous, Biden said Tuesday, “It remains to be seen. Could be.”
Marshall Amplification, known for furnishing amps to a who’s who of rock stars, is being acquired by the Swedish tech company Zound Industries, Zound announced on Thursday (March 30). Zound had previously licensed the Marshall name for more than a decade and helped spread it around the world through popular headphones and speakers.
The new combined company will be dubbed the Marshall Group. Zound’s press release trumpeted that “on day one, Marshall Group revenues will be over $360 million with double-digit profitability.”
“Combining our strengths and unique positioning… will fuel our ambition to create premium, innovative, products and experiences for musicians and music lovers around the world,” Zound CEO Jeremy de Maillard said in a statement. “Zound has proven itself as a global, fast growing, and progressive company. With the Marshall Group, we are set to accelerate our profitable growth in a $100 billion market.”
“I am proud that this deal has finally been completed,” added Konrad Bergström, founder and board member of Zound Industries until 2018. “The success that we have achieved with the Marshall brand over recent years is soon going to be seen as having been the warm-up to a new British-Swedish headline act that is going to shake the tech and music industries to their foundations.”
Jim Marshall and his son Terry created the first Marshall amp in 1962, and the gear was subsequently popularized by rockers like Jimi Hendrix and The Who. “We have always looked for ways to deliver the pioneering Marshall sound to music lovers of all backgrounds and music tastes across the world,” Terry Marshall said in a statement. “I’m confident that the Marshall Group will elevate this mission and spur the love for the Marshall brand.”
The Marshall Family will be the largest shareholder of the Marshall Group, holding on to 24%.
Zound first started licensing the Marshall name back in 2010. “We brought the Marshall brand to over 90 countries through the headphones and the speakers,” de Maillard told The Verge. “So it became a much more known brand by the masses than it was before. Before it was the in-the-know, the musicians, people who were really into music who knew about the brand. But through this partnership, we’ve managed to touch a lot more people.”
“We’re very complementary to each other and this deal will enable us to bring together the full range of products and the entire consumer experience under one roof,” de Maillard added in a separate interview with Forbes. “It will allow us to be quicker with innovation and to have a deeper and more holistic connection with musicians and music lovers.”
In a new open letter signed by Elon Musk, Steve Wozniak, Andrew Yang and more on Wednesday (March 29), leaders in technology, academia and politics came together to call for a moratorium on training AI systems “more advanced than Chat GPT-4” for “at least 6 months.”
The letter states that “AI systems with human-competitive intelligence can pose profound risks to society and humanity,” including the increased spread of propaganda and fake news as well as automation leading to widespread job loss. “Should we develop nonhuman minds that might eventually outnumber, outsmart, obsolete and replace us? Should we risk loss of control of our civilization?” the letter asks.
By drawing the line at AI models “more advanced than Chat GPT-4,” the signees are likely pointing to generative artificial intelligence — a term encompassing a subset of AI that can create new content after being trained via the input of millions or even billions of pieces of data. While some companies license or create their own training data, a large number of AIs are trained using data sets scraped from the web that contain copyright-protected material, including songs, books, articles, images and more. This practice has sparked widespread debate over whether or not AI companies should be required to obtain consent or to compensate the rights holders, and whether the fast-evolving models will endanger the livelihoods of musicians, illustrators and other creatives.
Before late 2022, generative AI was little discussed outside of tech-savvy circles, but it has gained national attention over the last six months. Popular examples of generative AI today include image generators like DALLE-2, Stable Diffusion and Midjourney, which use simple text prompts to conjure up realistic pictures. Chatbots (also called Large Language Models or “LLMs”) like Chat GPT are also considered generative, as are machines that can create new music at the touch of a button. Though generative AI models in music have yet to make as many headlines as chatbots and image generators, companies like Boomy, Soundful, Beatlab, Google’s Magenta, Open AI and others are already building them, leading to fears that their output could one day threaten human-made music.
The letter urging the pause in AI training was signed by some of AI’s biggest executives. They notably include Stability AI CEO Emad Mostaque, Conjecture AI CEO Connor Leahy, Unanimous AI CEO and chief scientist Louis Rosenberg and Scale AI CEO Julien Billot. It was also signed by Pinterest co-founder Evan Sharp, Skype co-founder Jaan Tallinn and Ripple CEO Chris Larsen.
Other signees include several engineers and researchers at Microsoft, Google and Meta, though it notably does not include any names from Open AI, the firm behind the creation of Chat GPT-4.
“This does not mean a pause on AI development in general, merely a stepping back from the dangerous race to ever-larger unpredictable black-box models with emergent capabilities,” the letter continues. Rather, the industry must “jointly develop and implement a set of shared safety protocols for advanced AI design and development that are rigorously audited and overseen by independent outside experts.”
The letter comes only a few weeks after several major organizations in the entertainment industry, including in music, came together to release a list of seven principles, detailing how they hope to protect and support “human creativity” in the wake of the AI boom. “Policymakers must consider the interests of human creators when crafting policy around AI,” the coalition wrote. “Creators live on the forefront of, and are building and inspiring, evolutions in technology and as such need a seat at the table.”
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Source: NurPhoto / Getty / Elon Musk
Another day, Elon Musk continues to make Twitter a very sh*tty experience for everyone.
If you open Twitter and see many people on your timeline, you don’t follow or care to follow. There is a good reason for that. There is this god-forsaken tab, “For You,” that shows you tweets from users that Twitter’s algorithm believes you will take an interest in.
It also hilariously is full of Elon Musk’s tweets after it was discovered that the Tesla chief had developers create a special system to flood our timelines with them after his Super Bowl tweet didn’t do the numbers President Biden’s tweet did.
Now, he’s desperately trying to ween the company off the ad-based revenue it heavenly relied on after his purchase of Twitter made everyone say I’m good beloved by introducing a subscription service nobody wants.
For either $8 a month or $84 annually, you will not only get a verification badge, which he is even making celebrities and notable people have to pay for, access to different features, and now have your tweets show up in the “For You” tab.
Musk made the announcement on his personal Twitter account, writing, “Starting April 15th, only verified accounts will be eligible to be in For You recommendations. The is the only realistic way to address advanced AI bot swarms taking over. It is otherwise a hopeless losing battle. Voting in polls will require verification for same reason.”
In the same breath, he also wrote, “That said, it’s ok to have verified bot accounts if they follow terms of service & don’t impersonate a human.”
Twitter Hates The For You Tab & Paying For Blue Checks
According to Musk, Twitter is worth half its value now at $20 billion. Musk acquired the social media company for $44 billion.
Twitter has been clowning the “For You” tab, and the idea of legacy verified accounts having to pay for the blue checks. In a back-and-forth with William Shatner, aka Captain Kirk, Musk told the iconic Star Trek actor, “It’s more about treating everyone equally. There shouldn’t be a different standard for celebrities.”
Riiiiiggght.
In the gallery below, you can see what Twitter thinks of Musk’s new stupid idea.
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Photo: NurPhoto / Getty
Generative AI is hot right now. Over the last several years, music artists and labels have opened up to the idea of AI as an exciting new tool. Yet when Dall-E 2, Midjourney and GPT-3 opened up to the public, the fear that AI would render artists obsolete came roaring back.
I am here from the world of generative AI with a message: We come in peace. And music and AI can work together to address one of society’s ongoing crises: mental wellness.
While AI can already create visual art and text that are quite convincing versions of their human-made originals, it’s not quite there for music. AI music might be fine for soundtracking UGC videos and ads. But clearly we can do much better with AI and music.
There’s one music category where AI can help solve actual problems and open new revenue streams for everyone, from music labels, to artists, to DSPs. It’s the functional sound market. Largely overlooked and very lucrative, the functional sound market has been steadily growing over the past 10 years, as a societal need for music to heal increases across the globe.
Sound is powerful. It’s the easiest way to control your environment. Sound can change your mood, trigger a memory, or lull you to sleep. It can make you buy more or make you run in terror (think about the music played in stores intentionally to facilitate purchasing behavior or the sound of alarms and sirens). Every day, hundreds of millions of people are self-medicating with sound. If you look at the top 10 most popular playlists at any major streaming service, you’ll see at least 3-4 “functional” playlists: meditation, studying, reading, relaxation, focus, sleep, and so on.
This is the market UMG chief Sir Lucian Grainge singled out in his annual staff memo earlier this year. He’s not wrong: DSPs are swarmed with playlists consisting of dishwasher sounds and white noise, which divert revenue and attention from music artists. Functional sound is a vast ocean of content with no clear leader or even a clear product.
The nuance here is that the way people consume functional sound is fundamentally different from the way they consume traditional music. When someone tunes into a sleep playlist, they care first and foremost if it works. They want it to help them fall asleep, as fast as possible. It’s counterintuitive to listen to your favorite artist when you’re trying to go to sleep (or focus, study, read, meditate). Most artist-driven music is not scientifically engineered to put you into a desired cognitive state. It’s designed to hold your attention or express some emotion or truth the artist holds dear. That’s why ambient music — which, as Brian Eno put it, is as ignorable as it is interesting — had its renaissance moment a few years ago, arguably propelled by the mental health crisis.
How can AI help music artists and labels win back market share from white noise and dishwasher sounds playlists? Imagine that your favorite music exists in two forms: the songs and albums that you know and love, and a functional soundscape version that you can sleep, focus, or relax to. The soundscape version is produced by feeding the source stems from the album or song into a neuroscience-informed Generative AI engine. The stems are processed, multiplied, spliced together and overlaid with FX, birthing a functional soundscape built from the DNA of your favorite music. This is when consumers finally have a choice: fall asleep or study/read/focus to a no-name white-noise playlist, or do it with a scientifically engineered functional soundscape version of their favorite music.
This is how Generative AI can create new revenue streams for all agents of the music industry, today: music labels win a piece of the the market with differentiated functional content built from their catalog; artists expand their music universe, connect with their audience in new and meaningful ways, and extend the shelf life to their material; DSPs get ample, quality-controlled content that increases engagement. Once listeners find sounds that achieve their goals, they often stick with them. For example, Wind Down, James Blake’s sleep soundscape album, shows a 50% listener retention in its seventh month after release. This shows that, when done right, functional sound has an incredibly long shelf life.
This win-win-win future is already here. By combining art, generative AI technology and science, plus business structures that enable such deals, we can transform amazing artist-driven sounds into healing soundscapes that listeners crave. In an age that yearns for calm, clarity, and better mental health, we can utilize AI to create new music formats that rights holders can embrace and listeners can appreciate. It promises AI-powered music that not only sounds good, but improves people’s lives, and supports artists. This is how you ride the functional music wave and create something listeners will find real value in and keep coming back to. Do not be afraid. Work with us. Embrace the future.
Oleg Stavitsky is co-founder and CEO of Endel, a sound wellness company that utilizes generative AI and science-backed research.