, sidelined its own lead singer in favor of AI-modulated vocals from Oasis singer Liam Gallagher, who approved of the gambit. “Heard a tune it’s better than all the other snizzle out there” Gallagher said on Twitter, about “AISIS.” “Mad as f— I sound mega.”
Even a more radical artists-rights activist like Kevin Erickson, director of the Future of Music Coalition, is skeptical that AI could outright replace artists, or will inevitably learn on the backs of protected work. When she talks to peers about AI, “The mood is negative because we’re already scared as it is,” she said. “We don’t have a union, and we’re deep in our own struggles with streaming. The economics of music are already not sustainable.”
“Even before AI came on the scene, the economics of the music industry weren’t working for the vast majority of artists,” says Gavin Mueller, a professor of new media at the University of Amsterdam and the author of “Alongside all the peril, some artists and executives wonder how AI could also be used to their advantage, or at least relieve some of the drudgery of making music.
AI’s magic is evident. After director Peter Jackson and dialogue editor Emile de la Rey used voice-separation AI to clarify the dialogue in the Beatles documentary series “,” and producer Giles Martin used AI to separate tracks on a “Revolver” reissue, Paul McCartney resurrected a demo of John Lennon singing and playing piano. The original 1978 composition was recorded shortly before Lennon’s death, onto a muddy cassette labeled “For Paul” with several other demos that were later released.