Are Founders Of AI Music Services Being Disingenuous When They Tell Human Music Creators Not To Worry Or Are They Just Clueless?

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Several founders of artificial intelligence (AI) music creation applications have stated that human music creators need not fear their AI programs, which can turn out a massive amount of computer-generated compositions every week.
 
These AI services have used, and continue to use, human-created compositions to improve upon the AI program’s ability to algorithmically create music compositions.
 
Recently, we’ve seen AVIA become the first AI to be recognized as a composer represented by the French performing rights society SACEM (I have bigger concern over the implication of recognizing AI as a composer and what that could mean to the legal definition of an author under copyright law) and Endel recently became the first AI to land a major label record deal with Warner Music Group.

If AVIA is a composer and Endel is a recording artist, and they can produce massive volumes of content (WMG is releasing 20 albums by Endel this year alone), what does this mean for the quality and pace of human-created music?

 
The founders might be telling human music creators not to worry, but until I see a portion of the royalties earned by AI platforms being distributed to the humans whose works are used as source material for the machine learning processes, I believe the statement at best demonstrates a cluelessness as to how industrialization works or at worse the statement is blatantly disingenuous.

ASCAP Expo & Music Biz 2019 – Are You Going?

ascap i create music expo music biz 2019 dae bogan

On May 3rd, I will be moderating a panel on the Music Modernization Act at the ASCAP “I Create Music” EXPO 2019 and on May 7th, I will be giving a presentation on innovation in the music industry at the Music Biz 2019. Let’s connect!

• ASCAP “I Create Music” Expo – The Music Modernization Act’s Impact On Music Creators And Who Gets Paid (https://www.facebook.com/events/362222397967522/)

• Music Biz 2019 – Music 2020: The Next Era of Innovation in the Music Industry (https://www.facebook.com/events/2255967711328528/)

Dae Bogan’s ‘Music Industry Entrepreneurship and Innovation’ Class To Return To UCLA Summer 2019

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UCLA Summer Sessions​ has confirmed that my Billboard​-recognized course, “Music Industry Entrepreneurship and Innovation,” will be offered this Summer during Session A.

UCLA, UC, and non-UC students (including individuals who are not enrolled in college anywhere) are welcome. Enrollment is now open at summer.ucla.edu.

The class will meet on Thursdays (June 27 – August 1) from 6pm to 9:50pm at UCLA Herb Alpert School of Music​ with the exception of Thursday, July 4th (there will be a total of 5 class meetings).

Course Description:

From digital-first record labels and music messaging apps to AR/VR (augmented reality / virtual reality) music experiences and blockchain-based music startups, entrepreneurs have been disrupting and innovating across the music industry since the launch of Napster in the early 2000’s. In this course, you will learn and apply principles of entrepreneurship and fundamental business strategies to the music industry. We will analyze case studies and current events and participate in critical discussions around music industry entrepreneurship. Course work will consist of developing business plans, workgroup labs, and building out infrastructure for start-ups that focus on technology and innovation in the music industry; all culminating in the pitch of a fictitious music industry company at the end of the quarter. You will also take away cautionary tales and lessons for success from founder stories presented by guest speakers of music industry start-ups and executives from established music industry companies.

 

Student Testimonial:

Without a doubt one of the most useful classes I have taken in my undergraduate career at UCLA. Professor Bogan has so much real world knowledge and knows how to convey that knowledge in a classroom setting immensely well. All the course material was invaluable to my progression and aspirations of being in the music industry. Every lecture was extremely well-prepared, with amazing guest speakers and information that I will be using for the rest of my life. Professor Bogan did a phenomenal job and I will be recommending this class to all my friends interested in music or starting their own company. Can’t say enough good things about this class. – Anonymous, Student Course Evaluation

Class Detail: https://sa.ucla.edu/ro/Public/SOC/Results/ClassDetail?term_cd=191&subj_area_cd=MSC%20IND&crs_catlg_no=0124%20%20%20%20&class_id=434415110&class_no=%20001%20%20

[Podcast] Dae Bogan Appears On Music Tectonics To Talk About Los Angeles’ Music Tech Scene

I was recently invited by host Dmitri Vietze to appear on his new podcast Music Tectonics for the episode “The Shifting LA Music Tech Scene.” It was a fun discussion about the various ecosystems and hubs of innovation, creation and thought-leadership that is taking place in Los Angeles right now.

The Music Tectonics podcast goes beneath the surface of the music industry to explore how technology is changing the way business gets done. The podcast includes news roundups, interviews, and more.

Listen to the episode here or on Spotify, Stitcher, or Google.

WHY FAKE BEYONCÉ MUSIC ON SPOTIFY AND APPLE MUSIC HIGHLIGHTS STREAMING’S WIDER LICENSING TROUBLES

I shared my thoughts on the Beyonce fake album controversy in this piece by Amy X. Wang for Music Business Worldwide.

The various checks that are supposed to be in place are not working or being followed,” says Dae Bogan, a music licensing expert who founded TuneRegistry, a management platform that deals with song metadata.

It’s concerning not only that fake albums are passing, but that they’re presumably affecting the overall value of other streams that day. Because there’s no per-stream rate in royalties — royalties are based on cumulative performance of total music releases — people could assume Beyoncé has released a new project, flock to her account and dramatically affect the royalties for other people’s streams.

Read the full story here: https://www.musicbusinessworldwide.com/why-fake-beyonce-music-on-spotify-and-apple-music-highlights-streamings-wider-licensing-troubles/

House of Blues Music Forward Foundation’s Bringing Down the House Seeks Young Emerging Artists

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House of Blues Music Forward Foundation‘s Bringing Down the House is a chance for talented musicians, ages 14-20, to connect with music industry insiders through interactive workshop sessions and showcase your talent on legendary stages.
 
Six to eight Bands or Solo Artists in four cities will be selected to participate.
 
This opportunity is being offered free-of-charge to musicians in: Chicago, Las Vegas, Los Angeles, New Orleans
 

Hello 2019! A Few Updates & Announcements from Dae Bogan

I hope you had a wonderful holiday break. I enjoyed time with family and friends for two weeks, but now I am back full swing!

I wanted to share a few exciting updates and make several announcements regarding my various projects and involvements:

1. TuneRegistry announces new clients Nettwerk Music Group and Jammber. Last year was a pivotal moment for TuneRegistry as we went through the legal battle to re-acquiring our business. We succeeded. In Q4, we launched our enterprise edition and have been working hard to on board new clients such as Repost Network, Vydia, and Create Music Group. Today we announced the addition of Nettwerk Music Group and Jammber (among many others). We are expanding the platform to offer new services in Q1 2019. Here’s the official press release.

nettwerk and jammber

 

2. The website for my consulting firm is now live. Through Rights Department, I provide consulting, coaching, and advisory services to founders of music, tech, and digital media companies. I also provide career coaching and advice to music entrepreneurs (DIY musicians, artist managers, indie label owners, music publishers, etc.). Visit www.RightsDepartment.com for details.

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3. I return this week to UCLA Herb Alpert School of Music. I am so excited to return to UCLA to teach “Music Industry Entrepreneurship and Innovation.” The course has grown in popularity within the department, so I believe it will be offered in the Spring as well. This class is very special to me because I get to help bright young future entrepreneurs and business leaders realize their potential as entrepreneurs.

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4. My speaking engagements are starting to solidify. I will be speaking at the Digital Entertainment World on Feb. 4th, Balanced Breakfast Music Summit on Feb. 9th, and SXSW on Mar. 14th. More on speaking engagements can be found here.

6. Webinar for A2IM Members. I will be conducting a webinar on neighboring rights royalties for A2IM members on February 6th at 1pm EST. More details to come on this.

5. SoCal Music Industry Professionals Music Industry Happy Hour 13th Edition. I will be hosting the next meetup in February on the 20th or 27th. Stay tuned at www.meetup.com/scmiponline or www.facebook.com/groups/scmiponline.

 

Thank you for following my blog. I am looking forward to a busy 2019. I’ll be sure to keep this community updated from time-to-time.

Another Online Music Industry Entrepreneurship Course?

I’ve been considering developing a series of online courses around entrepreneurship and innovation within the music industry, including and expanding on what I’ve taught in music industry and marketing undergraduate programs at UCLA Herb Alpert School of Music and Emerson College, in the music business graduate program at California State University, Northridge, in the business module of the advanced audio engineering program at SAE Institute Los Angeles, and in my workshops at USC Marshall School of Business, Los Angeles Recording School and College of the Canyons, but I’m starting to reconsider this.

I’ve seen dozens of online courses developed by so-called marketing, business, and entrepreneurship experts that promise to take your business from stagnant to 7 figures in just a few weeks. Often times these experts only verifiable accomplishments tend to be their ability to get others to sign-up for their online courses. Or, at best, they’ve had one lucky break and somehow parlayed that into a facade of serial success, from which real strategy and knowledge can be shared.

We’ve all heard the saying that “those who can’t do teach.” I do not agree with this ugly notion as a generalization, but I do believe that it is actually quite easy to take bits and pieces of advice, common sense, and lessons from others’ case studies and weave these concepts into curriculum padded with superficial “proven strategies” and outdated yet widely adopted business modeling techniques, which the instructor has never put into practice himself, and charge naive entrepreneurs hundreds of dollars to access this material as a life-changing course.

And we wonder why there is such a high rate of failure amongst students who’ve completed these courses.

I enjoy teaching. And I am honored to have been acknowledged in Billboard “15 Top Music Business Schools of 2017” and have been reviewed highly among the students in the programs in which I currently teach.

But even more thrilling, I enjoy doing.

I enjoy transforming business ideas into investible businesses within the music industry; especially when those ideas create real value for its target customers — music creators, music industry professionals, and music fans. And I enjoy helping entrepreneurs do this for themselves.

I don’t know if it makes sense for me to create a standalone online course.

I believe entrepreneurs who seek help seek mentorship and an open channel of communication. I provide this in the classroom where the ability to ask a question can unlock meaningful insight for an entrepreneur struggling with a decision or a challenge. Nuance matters. Nuance is what makes the difference between reading a lecture and experiencing a lecture. I also provide this through consulting and mentorship.

Over the last 7 years, I’ve had the pleasure of being a consultant, advisor, or mentor to nearly 50 founders of music, tech and digital media start-ups, including current clients Baserock (achieved over 300% Kickstarter launch goal), Weeshing (has earned over $10M in revenue), RoadNation (has helped indie artists raise tens of thousands of dollars to fund touring) and mydiveo (acquired for over $7.4M after my consultation to develop a go-to-market strategy and intellectual property compliance strategy).

I’ve provided mentorship and coaching through programs such as SXSW Music, Capitol360 gBeta MusicTech Accelerator, recommendations for founders to attend Project Music Nashville and Techstars Music Los Angeles, and will be continuing this work in 2019 at The Rattle Los Angeles and 2112 Chicago.

Over the last 2 years, I’ve contributed to the acquisition of or investment in 5 music tech startups including 3 companies that I founded.

I don’t know if any of this work could have been achieved by uploading 10 course videos and some downloadable worksheets. If so, I highly doubt the success rate would be very high. I do believe there is some perfect balance and that is what I am setting out to achieve in 2019.

In the meantime, if you’re an entrepreneur struggling to get your music industry businesss idea off the ground, reach out to me for a free consultation to see how me and my team can help.

http://www.rightsdepartment.com

Dae Bogan To Provide Mentorship To Music Makers And Tech Founders At The Rattle Los Angeles

RattleCCPitch2018 from The Rattle on Vimeo.

 

I’m excited to announce that I will be providing mentorship to music makers and tech founders at The Rattle when it launches in Spring 2019 in Chinatown, Los Angeles

WHAT IS THE RATTLE?

The Rattle is a members-only studio space and music incubator shared by a collective of independent artists, producers, tech makers, film makers, startups and people hacking careers in music.

 
WHAT DO MEMBERS RECEIVE?

As well as shared music studios, venue, writing rooms, film locations and a coworking space, Rattle members can enjoy top tier mentorship, production support and advice, tech incubation, workshops, events and concerts.

 
PRELAUNCH SIGNUP

The Rattle LA prelaunch signup page & form is LIVE, there is no financial commitment at this time – but as we have just opened the virtual doors to our LA community – I encourage anyone/everyone interested in joining the Rattle to sign up right away.

 
The first 50 superhumans to put their names down, lock in their spot at the founding member rate of $350 per month vs $500. (Includes full membership and 45htrs of monthly studio time)
 
 
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