From April 26-28, approximately 1,300 delegates from sectors of the dance music industry descended on the Destino Pacha Ibiza resort with the theme of the 14th annual IMS Ibiza summit. artificial intelligence (Get).
consensus? “Pandora’s box is definitely open,” said Daouda Leonard, CEO and co-founder of Create Safe, during a discussion touted by conference programs as “possibly the most important IMS discussion of the 2023 event” (“Understanding the Unstoppable: Artificial Intelligence and Music” ) Unresolved, Potential, Threats, Future”).
To put it in Web3 terms, while generative AI is currently in “stage 1.0” in the music ecosystem, its implications for asset generation, differentiation, rights, ownership, and artist-fan engagement deserve discussion. At IMS, “my heart is in my mouthA deep fake “collaboration” using artificial intelligence that simulates the voices of two of music’s biggest stars, drake And Weekendserved as a case study in the time of artificial intelligence as it pertains to music creation and intellectual property (IP). Sounding realistic enough to support its transition from artificial intelligence experiment to viral sensation, the song had more than 11 million views on TikTok before withdrawing from digital streaming platforms (DSPs) and social channels on April 17 following Universal Music Group’s call. Copyright infringement.
“Heart in My Heart” is proof that talk about the potentials and pitfalls of generative AI in music is less than a preliminary exercise as it is an attempt to keep pace with the rapid evolution of technology. IMS delegates, including artists, representatives, lawyers, record label owners, promoters and other industry professionals, grappled with this reality throughout the three-day programming of more than 130 keynotes, panels, discussions, workshops and other education and networking focused events. . . Overall, they agreed that artificial intelligence, “undoubtedly the most controversial topic of 2023” as music technology reporter and consultant Declan McGlynn attests, is far ahead of the law and poses unprecedented legal challenges.
As the music industry and the legal system struggle to keep up, unlike the Napster era, one can expect an increase in lawsuits filed by various organizations seeking to protect music-related IP. “New evolutionary technology [comes about] “And something gets common, and then the lawsuits start, and we have to wait a few years for the first lawsuits,” said Martin Rüssmann, managing partner at Germany-based Alba Patera Law Firm.
Meanwhile, concerns about the capacity of AI-generated music to replace production music, proliferate in DSPs, and disrupt streaming revenue will continue amid positive views on the technology’s positive aspects. While major labels represent an entity interested in protecting assets (and therefore unsurprisingly timid about AI), artists seem more optimistic about the role they can play in the music industry in the future and could benefit from an ownership standpoint.
During IMS’s “Understanding the Unstoppable” discussion, panelists agreed that artists should have the power to decide whether their IP is open or closed source, or whether to “join” or “disable” AI. According to Grimes’ director, Daouda Leonard, the open source approach has the power to foster “next generation creativity.” In a tweet dated April 23, Grimes expressed his support for productive artificial intelligence. to claim He said he would “split 50% of royalties to any successful AI-generated song that uses my voice.”
As well as providing a wider network of people to do productive AI can enable fans to interact with artists’ music in a new and unconventional way. This may involve using a player’s open-source IP to create a single featuring a player’s voice, similar to “Heart on My Sleeve”. For some artists, AI may represent a more authentic tool for audience engagement than, say, a TikTok video.
It can also involve fans more directly – a feature that’s particularly appealing in the dance space right now. This 2023 IMS Business Reporthighlights the rise in the “creative culture” presented at the summit, a phrase that describes the growing number of fans turning the cashier from passive listeners to active creators.
“Creative-fan [is] preparing to be at the center of the dance music world of tomorrow,” says the report. According to the report, the global dance music industry grew up In 2022, it will reach a value of 11.3 billion dollars, an increase of 34%, an increase of 16% compared to the pre-pandemic period.
Overall, the possibilities of AI-mediated fan-artist interaction are appealing and likely to encourage more creator-fans to actively create, but these can come with use cases that conflict with an artist’s identity, such as the creation of songs with lyrics. hateful or generally unethical speech. In addition, IP used without an artist’s approval (similar to “Heart on My Arm”) can create a new revenue stream based on artist rights abuse.
While AI is the mainstay of IMS Ibiza’s 2023 programming, the summit’s partnership with the digital download platform beatport represented another way in which the core element of the dance calendar was future-oriented. The Beatport Group, led by CEO Robb McDaniels, purchased a 51% majority stake in IMS in January, making this year’s IMS the first company to be produced in partnership with Beatport.
Over the weekend, the company talked to creators, including an interview with TuneCore CEO Andreea Gleeson, which coincided with the April 26 announcement of Beatport’s partnership with TuneCore, which will allow TuneCore users to distribute their tracks to Beatport. hosted various face-to-face discussions and workshops. Beatport also did a live broadcast of IMS’ closing party in Dalt Vila. CamelPhat was broadcast live on Beatport alongside Pete Tong and Kölsch’s sets. YouTube And twitch as well as channels beatport.com
“Our involvement is an investment; It’s passive to keep the conference going and have the resources it needs to continue putting something great together,” said McDaniels. Variation.
In their keynote address to delegates, the IMS founders confirmed that “IMS having a partner is very necessary, especially after the pandemic.”
In the coming months, McDaniels anticipates that Beatport’s partnership with IMS will evolve into short but focused pop-up events using the IMS brand name in dance music emerging markets. “This is a global community we work in, and I think historically, Beatport Berlin has looked through techno-tinted glasses,” McDaniels added. “One of the key reasons we invested in this conference and the IMS vision is that we aim to take what we’re doing in the Americas and Europe and bring it to other markets around the world to inspire speech and education. ”
Beatport and IMS are currently targeting Dubai, Mexico City, and a city in Southeast Asia to be selected as the first locations for pop-up events, which are projected to exist as “much smaller versions” of IMS Ibiza feedback to the annual conference. . According to McDaniels, a configuration will also be planned for the United States and will likely land in New York.