Category Archives: Digital Economy

AI & Music

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In a recent episode of a TV detective show, an AI tech dude tries to outsmart an old school musicologist by re-creating the missing part of a vintage blues recording. The professor is asked to identify which is the “real” track, compared to the AI versions. The blues expert guesses correctly within a few beats – much to the frustration of the coder.

“How did you figure it out so quickly?”

“Easy – it’s not just what the AI added, but more importantly what it left out.”

The failure of AI to fully replicate the original song (by omitting a recording error that the AI has “corrected”) is another example showing how AI lacks the human touch, does not yet have intuition, and struggles to exercise informed judgement. Choices may often be a matter of taste, but innate human creativity cannot yet be replicated.

Soon, though, AI tools will displace a lot of work currently done by composers, lyricists, musicians, producers, arrangers and recording engineers. Already, digital audio workstation (DAW) software easily enables anyone with a computer or mobile device to create, record, sample and mix their own music, without needing to read a note of music and without having to strum a chord. Not only that, the software can emulate the acoustic properties of site-specific locations, and correct out-of-tune and out-of-time recordings. So anyone can pretend they are recording at Abbey Road.

I recently blogged about how AI is presenting fresh challenges (as well as opportunities) for the music industry. Expect to see “new” recordings released by (or attributed to) dead pop stars, especially if their back catalogue is out of copyright. This is about more than exhuming preexisting recordings, and enhancing them with today’s technology; this is deriving new content from a set of algorithms, trained on vast back catalogues, directed by specific prompts (“bass line in the style of Jon Entwistle”), and maybe given some core principles of musical composition.

And it’s the AI training that has prompted the major record companies to sue two AI software companies, a state of affairs which industry commentator, Rob Abelow says was inevitable, because:

“It’s been clear that Suno & Udio have trained on copyrighted material with no plan to license or compensate”.

But on the other hand, streaming and automated music are not new. Sound designer and artist Tero Parviainen recently quoted Curtis Roads’ “The Computer Music Tutorial” (2023):

“A new industry has emerged around artificial intelligence (AI) services for creating generic popular music, including Flow Machines, IBM Watson Beat, Google Magenta’s NSynth Super, OpenAI’s Jukebox, Jukedeck, Melodrive, Spotify’s Creator Technology Research Lab, and Amper Music. This is the latest incarnation of a trend that started in the 1920s called Muzak, to provide licensed background music in elevators, business and dental offices, hotels, shopping malls, supermarkets, and restaurants”

And even before the arrival of Muzak in the 1920s, the world’s first streaming service was launched in the late 1890s, using the world’s first synthesizer – the Teleharmonium. (Thanks to Mark Brend’s “The Sound of Tomorrow”, I learned that Mark Twain was the first subscriber.)

For music purists and snobs (among whom I would probably count myself), all this talk about the impact of AI on music raises questions of aesthetics as well as ethics. But I’m reminded of some comments made by Pink Floyd about 50 years ago, when asked about their use of synthesizers, during the making of “Live at Pompeii”. In short, they argue that such machines still need human input, and as long as the musicians are controlling the equipment (and not the other way around), then what’s the problem? It’s not like they are cheating, disguising what they are doing, or compensating for a lack of ability – and the technology doesn’t make them better musicians, it just allows them to do different things:

“It’s like saying, ‘Give a man a Les Paul guitar, and he becomes Eric Clapton… It’s not true.'”

(Well, not yet, but I’m sure AI is working on it…)

Next week: Some final thoughts on AI

Unstructured Hours

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Since I left my last corporate role more than 10 years ago, I have not had a full-time, permanent job; instead, I have worked as a freelance, independent consultant and contractor, for a variety of organisations, and in multiple roles. I’ve not had a “regular” 9 to 5, Monday to Friday job, so it’s meant some adjustments and compromises: I don’t get a regular salary, or sick leave, or holiday pay, or employer pension contributions; but I have flexibility as to where/when/how I work, who I work for, and what projects I take on.

Talking to a business associate recently, who is in a similar position, he defined his current status as “unstructured hours”. I think this applies to my own situation, and it made me think that more and more people are in the same boat, but for different reasons.

First, the gig economy has flourished in the last 10 to 15 years (a trend that began well before ride share and food delivery services came along), with the growth of tech-based freelance work in the software industry and creative services, thanks to on-line market places and accessible productivity tools. So, people are less likely to have fixed hours.

Second, the pandemic and associated lock downs revealed a significant divide between those who are able to work from home (WFH), and those who can’t. For those employees who continue to WFH, the separation of work and non-working hours has become increasingly blurred, with the proliferation of remote working and accompanying tech that means we are “always on”. Add to this the global nature of remote working (and “work from anywhere” policies) it means that even different time zones are no longer a barrier to cross-border employment and collaboration.

On the other hand, WFH has meant that some employees have become more efficient and/or productive, especially when commuting time is reduced. More companies are experimenting with remote working, hybrid working (a mix of WFH and on-site), and even a shorter working week. Parkinson’s law states that a given task expands to fill the time available – something that can become pervasive with enforced on-site office hours, so if employees are effectively choosing the hours they work, they may be incentivised to work smarter, and free up their time for other pursuits.

Third, for employees who still need to attend their place of work to perform their duties in person (health care, hospitality, retail, logistics, manufacturing etc.) many of them work shifts, which in itself requires some significant restructuring of daily and weekly routines, albeit not totally “unstructured” hours. And given our voracious appetite for on-line shopping, all-day deliveries, and access to 24/7 services, shift workers are having to respond to employer demands for a flexible and on-demand workforce.

Fourth, the “always on” phenomena means that it’s easy to erode the boundaries between work and personal life, with the consequence that we are now seeing the introduction of “Right to Disconnect” legislation. This will require careful navigation. What about employees who are required to be on call, even if they are not on site? How will this legislation be reflected in client contracts and service level agreements, especially when there may be penalty clauses and similar provisions? Who determines what is “reasonable”?

When I was in corporate roles, there were always requirements for weekend and over night travel, early morning and late night conference calls, lengthy overseas business trips, and deadlines outside the 9 to 5 routine. Even early on in my career, working in the public sector, I was required to attend evening council meetings and public events. So perhaps I’ve always experienced an element of unstructured hours?

Achieving and maintaining a work-life balance means setting time-based boundaries, managing expectations with clients, and above all, prioritising tasks and projects. It also means establishing routines, so that when we are “off”, we don’t feel any guilt.

Finally, the notion of working within “unstructured hours” may become second nature as more and more people embark on portfolio careers. The ability to juggle multiple roles, as well as remaining flexible to changing demands on our time, will be a prerequisite for anyone working outside the “traditional” 38 hours a week schedule.

Next week: Triennial? Could try harder!

Defunct apps and tech projects

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In the early days of this blog, I featured many new tech projects and start-ups that I came across by attending pitch nights and meet-ups in Melbourne. I also signed up to beta test numerous apps, and I contributed to quite a few crowd-funding exercises. In doing some research for a recent blog on music streaming, I realised that many of these ventures are no longer with us.

Here’s a random selection of projects and products that I either used, subscribed to, funded, or covered in my blog:

1. Klout – launched in 2008, this app used data from social media profiles to create individual “Klout Scores”, designed to calculate how “influential” your content was. Nice idea, but there was probably no money in the business model, because as far as I can recall, it was a free service. It was purchased in 2014 for $200m by the company that eventually became Khoros, who then closed Klout in 2018, as it was not seen as core business. Khoros itself is a customer engagement, social media and content management solution for corporate clients and consumer brands – obviously, there is more money to be made from capitalising on customer behaviour…

2. Do.com – founded in 2014 as a productivity tool, focused on making meetings more efficient. Acquired by Amazon Web Services (amount undisclosed) and folded into its Chime web-meeting and conferencing application. From my personal experience, the only company using Chime for external-facing calls is Amazon itself, but perhaps it’s more of a white label solution, or it’s mainly used by internal teams to communicate among themselves (especially if these teams are using AWS?).

3. Paper.li – launched in 2010, and grew to 2 million users within 6 months, this was a neat product that enabled users to curate their own “newspapers” from Twitter and other online content. Closed in April 2023 – probably too much noise and competition in this space, and too hard to monetise?

4. Pandora – one of the earliest internet radio and music streaming services, Pandora launched in 2000 – and as recently as 2019, had a market valuation of US$3.5bn, based on a stock acquisition by SiriusXM. But by 2017, Pandora had already decided to exit the Australian market, so I have no idea about the current content or service quality.

5. Twitter Music – as featured in my previous blog, this “service” was launched in 2013, and closed within a year. But watch this space – since re-branding his new toy as “X”, not only has Elon Musk taken back the @X handle from a Twitter user, he’s also just claimed @Music from another customer.

6. 8tracks – another early-ish player in the internet radio and music streaming service (launched in 2008), 8tracks is primarily a social media app that allows users to share their favourite playlists. Despite industry accolades, and various integrations with Android, Windows and Soundcloud, 8tracks ran into problems, including a copyright and licensing issue which meant it could no longer stream music outside of the US and Canada (instead, having to rely on content from YouTube). In 2019, the company announced it was shutting down. Then, in early 2020, the brand was relaunched under new ownership, but is only available in the USA.

7. Sensel Morph – this tech business began life as a Kickstarter project in 2015. The product was a touch-sensitive computer interface that allowed users to run various applications, such as graphic design, video editing, gaming, digital audio workstations, MIDI devices and coding (e.g., for Arduino and Raspberry Pi). Despite a successful funding campaign, the Morph devices did not start delivering until 2017 – and some of the promised features never appeared, or were scaled back (or support was dropped soon after development). In early 2022, Sensel announced it was discontinuing support for Morph – instead, the company is focused on providing touch-sensitive and pressure pad technology to third party developers and OEMs. I can’t help feeling that the Kickstarter campaign was really a way for Sensel to fund its early R&D (especially given the 2-year time line to deliver the first physical devices).

8. Swatchmate – a Melbourne-based startup, this optical device for scanning colours, surfaces and patterns had a big future when it launched in 2011. Aimed at designers, illustrators, printers, textile manufacturers and paint companies, initially, there appeared to be significant interest from major brands. Yet, within a few years, and following a name-change to Palette, the product (and the company behind it) have disappeared – although the device can in theory be ordered online. I suspect that as mobile phones’ own optical quality has improved (along with AI-trained apps to handle colour-matching), the standalone Swatchmate cube was doomed to failure.

9. Broadcastr – this was an interesting angle on audio content creation and curation. It was designed to bring location-based stories, travelogues and events to remote audiences and visitors via streaming. It only ran for 2 years (2011-13), and simply ran out of money, in the face of Soundcloud and the emerging podcast industry.

10. iTunes Ping – a cross between a social media platform and a playlist sharing app, this was Apple’s attempt to help fans discover/recommend new music, and for artists to engage with their fans. Launched in 2010, it survived for 2 years, before Apple decided to integrate iTunes within Facebook and Twitter…

11. MySpace – despite reaching its 20th birthday earlier this month, and after much hype and a one-time over-inflated price tag, MySpace has failed to deliver on so many counts. It’s a wonder how it has survived, although I’m not sure how “active” this former darling of social media actually is. Scrolling through it’s clunky UI, it’s easy to get the impression MySpace is nothing more than a digital scrapbook of a by-gone era, forever preserved in virtual aspic (and slowly decaying for lack of attention or maintenance). Nothing works on this platform, so it was interesting to see a recent fan message on Justin Timberlake’s page: “1.Get off TikTok. 2.Fix MySpace. 3.Launch App.”

12. Friends Reunited – finally, the OG of SoMe, which launched in 2000 (4 years before Facebook, 6 years before Twitter, 3 years before LinkedIn, 10 years before Instagram…). Designed to help people re-connect with their schoolmates, work colleagues, college friends and other community groups, it was actually more of a research resource, and ended up like a huge directory of your past associations. Gave up the ghost in 2016, just as TikTok was unleashed on the world (although I’m sure that was purely a coincidence).

Next week: Ballarat International Foto Biennale (BIFB)

Digital Identity – Wallets are the key?

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A few months ago, I wrote about trust and digital identity – the issue of who “owns” our identity, and why the concept of “self-sovereign digital identity” can help resolve problems of data security and data privacy.

The topic was aired at a recent presentation made by FinTech advisor, David Birch (hosted at Novatti) to an audience of Australian FinTech, Blockchain and identity experts.

David’s main thesis is that digital wallets will sit at the centre of the metaverse – linking web3 with digital assets and their owners. Wallets will not only be the “key” to transacting with digital assets (tokens), but proving “identity” will confirm “ownership” (or “control”) of wallets and their holdings.

The audience felt that in Australia, we face several challenges to the adoption of digital identity (and by extension, digital wallets):

1. Lack of common technical standards and lack of interoperability

2. Poor experience of government services (the nightmare that is myGov…)

3. Private sector complacency and the protected incumbency of oligopolies

4. Absence of incentives and overwhelming inertia (i.e., why move ahead of any government mandate?)

The example was given of a local company that has built digital identity solutions for consumer applications – but apparently, can’t attract any interest from local banks.

A logical conclusion from the discussion is that we will maintain multiple digital identities (profiles) and numerous digital wallets (applications), for different purposes. I don’t see a problem with this as long as individuals get to decide who, where, when and for how long third parties get to access our personal data, and for what specific purposes.

Next week: Defunct apps and tech projects