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556 points greenie_beans | 1 comments | | HN request time: 0s | source
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crazygringo ◴[] No.42472475[source]
I see absolutely no problem with this. Look, I love music, listening to an album through, learning about artists, etc.

But sometimes, I want to put something on in the background that doesn't call attention to itself, but just sets a mood. I don't want Brian Eno or Miles Davis because then I'd be paying attention -- I just want "filler".

And I have absolutely no problem with Spotify partnering with companies to produce that music, at a lower cost to Spotify, and seeding that in their own playlists. If the musicians are getting paid by the hour rather than by the stream, that's still a good gig when you consider that they don't have to do 99% of the rest of the work usually involved in producing and marketing an album only to have nobody listen to it.

The article argues that this is "stealing" from "normal" artists, but that's absurd. Artists don't have some kind of right to be featured on Spotify's playlists. This is more like a supermarket featuring their store-brand corn flakes next to Kellogg's Corn Flakes. The supermarket isn't stealing from Kellogg's. Consumers can still choose what they want to listen to. And if they want to listen to some background ambient music that is lower cost for Spotify, that's just the market working.

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dclowd9901 ◴[] No.42472631[source]
Is there nothing troubling about the fact that the company who _decides_ what you're listening to decides that you only listen to their music? I didn't sign up for that. I use Spotify to find new artists so I can follow their artistic journey and see them in concert. Perhaps some folks see music as shallow background filler but for people like me who value its contributions to my mental health and a big part of my social interactions, this kind of thing just scoops the soul out of it all. I'll be canceling my subscription.
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shams93 ◴[] No.42472957[source]
Not only this, but these music generation models were built with unlicensed content, not only do they bury the original artist they also just rip them off, not one dime no matter how much that artist spent on music lessons, music school, having a high quality instrument, studio gear to record, this is theft plain and simple.
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1. alwa ◴[] No.42473786[source]
I think TFA discusses mainly a program whereby Spotify hires production companies to pay working musicians to create new works in a particular style, compensated per song and licensed closer to a work-for-hire basis than a royalty basis. The musicians feel that the result is artistically unsatisfying compared to what they’d do of their own creative initiative, but it is real people actually being paid.

Incidentally the author also grumps that they avoid working with union artists for this purpose—I may be wrong but I thought part of the point of ASCAP and their lot was to require its artists to hew to a uniform, royalty-heavy compensation structure industrywide. So you can’t just go throw them $1700 a song (as Spotify is alleged to be doing in TFA) and call it a day.

It sounds like your critique might apply more squarely to the generative music startups. Suno for example has gotten completely surreal, sounding spookily “real” in no time at all. Insipid, but stunning as a simulacrum.

I imagine if we asked them, they’d counter that they’re expanding and democratizing access to creative tools, just as Snapchat filters satisfy dilettantes but don’t reduce pros’ need for Photoshop. And that to the extent they threaten to cannibalize any part of the status quo, it’s precisely the commoditized, sync/stock/“background music” end of the industry that needs to worry. That is, the ones who need to worry are the people doing the kinds of work that make this author uncomfortable.

So I don’t disagree with your basic point. But it seems to me that nobody has ever been putting their concert dollars toward the Bossa Nova stylings of Spotify’s Chill Jazzy Fireside, live at a corporate canteen near you…