The old Sonos app won’t be making a return to replace the buggy new version. According to Sonos CEO Patrick Spence, rereleasing the old app would make things worse now that updated software has already been sent out to the company’s speakers and cloud infrastructure. The Verge reports: In a Reddit AMA response posted Tuesday, Sonos CEO Spence says that he was hopeful “until very recently” that the company could rerelease the app, confirming a report from The Verge that the company was considering doing so. […] Since the new app was released on May 7th, Spence has issued a formal apology and announced in August that the company would be delaying the launch of two products “until our app experience meets the level of quality that we, our customers, and our partners expect from Sonos.” “The trick of course is that Sonos is not just the mobile app, but software that runs on your speakers and in the cloud too,” writes Spence in the Reddit AMA. “In the months since the new mobile app launched we’ve been updating the software that runs on our speakers and in the cloud to the point where today S2 is less reliable & less stable then what you remember. After doing extensive testing we’ve reluctantly concluded that re-releasing S2 would make the problems worse, not better. I’m sure this is disappointing. It was disappointing to me.”

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AI music generators Suno and Udio responded to the lawsuits filed by the major recording labels, arguing that their platforms are tools for making new, original music that “didn’t and often couldn’t previously exist.”

“Those genres and styles — the recognizable sounds of opera, or jazz, or rap music — are not something that anyone owns,” the companies said. “Our intellectual property laws have always been carefully calibrated to avoid allowing anyone to monopolize a form of artistic expression, whether a sonnet or a pop song. IP rights can attach to a particular recorded rendition of a song in one of those genres or styles. But not to the genre or style itself.” TorrentFreak reports: “[The labels] frame their concern as one about ‘copies’ of their recordings made in the process of developing the technology — that is, copies never heard or seen by anyone, made solely to analyze the sonic and stylistic patterns of the universe of pre-existing musical expression. But what the major record labels really don’t want is competition.” The labels’ position is that any competition must be legal, and the AI companies state quite clearly that the law permits the use of copyrighted works in these circumstances. Suno and Udio also make it clear that snippets of copyrighted music aren’t stored as a library of pre-existing content in the neural networks of their AI models, “outputting a collage of ‘samples’ stitched together from existing recordings” when prompted by users.

“[The neural networks were] constructed by showing the program tens of millions of instances of different kinds of recordings,” Suno explains. “From analyzing their constitutive elements, the model derived a staggeringly complex collection of statistical insights about the auditory characteristics of those recordings — what types of sounds tend to appear in which kinds of music; what the shape of a pop song tends to look like; how the drum beat typically varies from country to rock to hip-hop; what the guitar tone tends to sound like in those different genres; and so on.” These models are vast stores, not of copyrighted music, the defendants say, but information about what musical styles consist of, and it’s from that information new music is made.

Most copyright lawsuits in the music industry are about reproduction and public distribution of identified copyright works, but that’s certainly not the case here. “The Complaint explicitly disavows any contention that any output ever generated by Udio has infringed their rights. While it includes a variety of examples of outputs that allegedly resemble certain pre-existing songs, the Complaint goes out of its way to say that it is not alleging that those outputs constitute actionable copyright infringement.” With Udio declaring that, as a matter of law, “that key point makes all the difference,” Suno’s conclusion is served raw. “That concession will ultimately prove fatal to Plaintiffs’ claims. It is fair use under copyright law to make a copy of a protected work as part of a back-end technological process, invisible to the public, in the service of creating an ultimately non-infringing new product.” Noting that Congress enacted the first copyright law in 1791, Suno says that in the 233 years since, not a single case has ever reached a contrary conclusion.

In addition to addressing allegations unique to their individual cases, the AI companies accuse the labels of various types of anti-competitive behavior. Imposing conditions to prevent streaming services obtaining licensed music from smaller labels at lower rates, seeking to impose a “no AI” policy on licensees, to claims that they “may have responded to outreach from potential commercial counterparties by engaging in one or more concerted refusals to deal.” The defendants say this type of behavior is fueled by the labels’ dominant control of copyrighted works and by extension, the overall market. Here, however, ownership of copyrighted music is trumped by the existence and knowledge of musical styles, over which nobody can claim ownership or seek to control. “No one owns musical styles. Developing a tool to empower many more people to create music, by scrupulously analyzing what the building blocks of different styles consist of, is a quintessential fair use under longstanding and unbroken copyright doctrine. “Plaintiffs’ contrary vision is fundamentally inconsistent with the law and its underlying values.” You can read Suno and Udio’s answers to the RIAA’s lawsuits here (PDF) and here (PDF).

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Several users on Reddit have noticed that Spotify has started hiding song lyrics behind a paywall. “This means you won’t be able to sing along unless you know the lyrics already, or are willing to look them up in another app,” reports Android Police. From the report: Still, you lose the convenience of real-time sync with the track and automatic scrolling. Like skips per hour, it appears Spotify will implement a limit system and accessing lyrics will count against the user’s limit, which should ideally reset after a stipulated time.

Spotify usually requests lyrics from songwriters, publishers, and independent artists. However, in most other cases, the company has a working relationship with MusixMatch to provide lyrics, and perhaps Spotify isn’t willing to absorb the costs of this partnership. That would explain why lyrics are now paywalled, but as a free-tier user, such changes are chipping away at the service’s appeal.

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Maker Roni Bandini developed a Raspberry Pi project to address his neighbors’ loud reggaeton music by creating an AI-driven system that distorts audio on nearby Bluetooth speakers when reggaeton is detected. Tom’s Hardware reports: Powering this Bluetooth jamming device is a Raspberry Pi 3 B+. It’s connected to a DFRobot OLED display panel, which has a resolution of 128 x 32px. Audio is observed using a USB microphone, while a push button handles when the system will perform a check to listen for any potential reggaeton. According to Bandini, the Pi is running Raspberry Pi OS. The AI system driving the machine learning aspects of the design is Edge Impulse. With this, Bandini was able to train the Pi to listen for music and more specifically identify whether the song playing is classifiable as reggaeton or not. The official project page is available at Hackster.

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The world’s largest music company, Universal Music Group, is asking major streaming services like Spotify and Apple Music to block artificial intelligence companies from using its music to “train” their technology, according to a recent report in Financial Times. Variety reports: Confirming the report, a UMG spokesperson told the FT: “We have a moral and commercial responsibility to our artists to work to prevent the unauthorized use of their music and to stop platforms from ingesting content that violates the rights of artists and other creators. We expect our platform partners will want to prevent their services from being used in ways that harm artists.” The process involves the AI companies uploading copyrighted music from the platforms into their technology and thus enabling the bots to digest the lyrics and music and then essentially create songs or melodies in those styles. […]

UMG has been sending takedown requests to the streamers “left and right,” FT quoted an unnamed source as saying. “We have become aware that certain AI systems might have been trained on copyrighted content without obtaining the required consents from, or paying compensation to, the rightsholders who own or produce the content,” the company said in an email from last month, according to the report. “We will not hesitate to take steps to protect our rights and those of our artists.” The website drayk.it delivered users a custom Drake song, although it has since been shut down.

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Apple is launching a new music streaming service focused on classical music. TechCrunch reports: Based on its 2021 acquisition of Amsterdam-based streamer Primephonic, the new Apple Music Classical app will offer Apple Music subscribers access to more than 5 million classical music tracks, including new releases in high-quality audio, as well as hundreds of curated playlists, thousands of exclusive albums and other features like composer bios and deep dives on key works, Apple says.

However, while the app is being announced today, it’s only available for preorder on the App Store for now. The release date will be later this month, on March 28. In addition, the app will only support iOS devices running iOS 15.4 or newer at launch. Apple Music Classical will present a simple interface for engaging with classical works. Users will be able to search by composer, work, conductor or even catalog number, to locate recordings. These can be streamed in high-quality audio of up to 192 kHz/24-bit Hi-Res Lossless. And thousands of recordings will be available in Apple’s immersive spatial audio, as well.

The app will also let users dive into the recordings to read editorial notes about the composers and descriptions of their key works. Famous composers will have their own high-resolution digital portraits available, which Apple commissioned from artists. These were designed with color palettes and artistic references from the relevant classical period, Apple notes, and more will be added in time. At launch, portraits will be available for Ludwig van Beethoven, Frederic Chopin and Johann Sebastian Bach. The service will continue to be updated with new music over time, too. There’s no additional charge for Apple Music Classical if you’re an Apple Music subscriber. Android support is coming “soon.”

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The new 2024 Ford Mustang is losing its AM radio receiver, reports The Drive. A Ford spokesperson confirmed the feature’s deletion, citing that “countries and automakers globally are modernizing radio by offering internet streaming through mobile apps, FM, or digital.” From the report: The availability of AM radio in new cars has declined over the last decade with shifts in media consumption habits, with AM radio’s audience evaporating in Europe and accounting for only a small minority of the U.S. population. […] It’s a trend of concern to current and former U.S. emergency officials, who recently wrote the Secretary of Transportation a letter advising action on AM radio’s disappearance. AM radio is a crucial component of the U.S.’s national alert network, with just 75 stations reaching more than 90 percent of the country’s population. Officials are concerned that AM receivers’ decreasing availability in new cars could compromise their ability to reach citizens during emergencies.

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Unlocking exclusive access has been a long-held promise of a lot of NFT-based communities. And now, Spotify is helping some of them realize that claim with token-gated playlists. TechCrunch reports: According to a series of tweets by Kingship, a metaverse band signed to Universal Music Group (UMG), the streaming company is piloting playlists that could be unlocked through NFTs in certain geographies. Under the pilot, Kingship has released a special playlist that could be accessed only by Kingship key card NFT holders. The group posted a series of steps that involves linking a crypto wallet like Metamask, Trust Wallet, Rainbow, Ledger Live, or Zerion to authenticate the NFT that unlocks the playlist. Kingship said that currently, this experience is only available to Android users in the U.S., the U.K., Germany, Australia and New Zealand. “At Spotify, we routinely conduct a number of tests in an effort to improve our user experience. Some of those end up paving the path for our broader user experience and others serve only as important learnings. We have no further news to share on future plans at this time,” a Spotify spokesperson said.

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Apple on Tuesday announced Apple Music Sing, a karaoke experience that will be built right into the Apple Music app. The Verge reports: With Apple Music Sing, you’ll be able to follow along with Apple Music’s real-time lyrics and adjust the volume of the vocals so that you can better hear your singing voice. There are a few features designed to make it easier to sing with others, too. Background vocals can appear independently of main vocals, according to Apple, and there will be a duet view as well if you want to sing along with a friend. Apple will have more than 50 “dedicated companion playlists” featuring karaoke-ready songs that you can pick from. Apple Music Sing is launching “later this month” for Apple Music subscribers.

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Ticketmaster provoked ire with a botched sale of tickets to Taylor Swift’s first concert in five years. NPR reports:
On Thursday afternoon, the day before tickets were due to open to the general public, Ticketmaster announced that the sale had been cancelled altogether due to “extraordinarily high demands on ticketing systems and insufficient remaining ticket inventory to meet that demand.” Taylor Swift broke her silence on Friday in statement on Instagram in which she said it is “excruciating for me to watch mistakes happen with no recourse.” She said there are many reasons people had a hard time getting tickets, and she’s trying to figure out how to improve the situation moving forward. “I’m not going to make excuses for anyone because we asked them, multiple times, if they could handle this kind of demand and we were assured they could,” she wrote, without naming Ticketmaster.

America’s Justice Department “has opened an antitrust investigation into the owner of Ticketmaster,” reports the New York Times. But the investigation “predates the botched sale” and “is focused on whether Live Nation Entertainment has abused its power over the multibillion-dollar live music industry.”

The new investigation is the latest scrutiny of Live Nation Entertainment, which is the product of a merger between Live Nation and Ticketmaster that the Justice Department approved in 2010. That created a giant in the live entertainment business that still has no equals in its reach or power…. The debacle involving Ms. Swiftâ(TM)s concert tickets this week has exacerbated complaints in the music business and in Washington that Live Nationâ(TM)s power has constrained competition and harmed consumers.
Or, as NPR puts it, “The frenzy has brought renewed scrutiny to the giant Ticketmaster, which critics have long accused of abusing its market power at the expense of consumers.”

Would-be concertgoers have complained vocally about recent incidents with near-instant sellouts and skyrocketing prices, and artists like Pearl Jam and Bruce Springsteen have feuded with it over the decades. One common complaint is that there doesn’t seem to be a clear alternative or competitor to Ticketmaster, especially after it merged with concert provider Live Nation in 2010 (a controversial move that required conditional approval from the U.S. Department of Justice).

Now Tennessee’s attorney general, a Republican, is opening a consumer protection investigation into the incident. North Carolina’s attorney general announced on Thursday that his office is investigating Ticketmaster for allegedly violating consumers’ rights and antitrust laws. And multiple Democratic lawmakers are asking questions about the company’s dominance â” not for the first time…. “Taylor Swift’s tour sale is a perfect example of how the Live Nation/Ticketmaster merger harms consumers by creating a near-monopoly,” tweeted Sen. Richard Blumenthal (D-Conn.), one of several lawmakers who has long called for investigation and accountability into the company, especially after becoming a subsidiary of concert behemoth Live Nation.

The article also cites a Thursday statement from Ticketmaster:
The company says that using Verified Fan invite codes has historically helped manage the volume of users visiting the website to buy tickets, though that wasn’t the case on Tuesday. “The staggering number of bot attacks as well as fans who didn’t have invite codes drove unprecedented traffic on our site, resulting in 3.5 billion total system requests â” 4x our previous peak,” it said, adding that it slowed down some sales and pushed back others to stabilize its systems, resulting in longer wait times for some users.

It estimates that about 15% of interactions across the website experienced issues, which it said is “15% too many.”

The Tuesday sale also broke Ticketmaster’s record for most tickets sold for an artist in a single day,” reports People, “selling two million tickets.”
Thanks to long-time Slashdot reader SpzToid for submitting the story.

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