WinterMute

So, the class action against multiple LLM's by authors who had their work ripped to train AI's is now open to authors outside the USA and is gathering pace, there are a number of ways to sign up for the action. A few commentators who are over this think that this may bankrupt the developers entirely as the penalties for IP theft are high. I wonder if such a class action could be brought over music that has been used to train AI music compositional algorithms, those Record labels and publishing boys sure do love a lawsuit...

Same issues came up when sampling became commonplace, and the courts had to rule on where the law drew the line. However, in the case of sampling there was an existing copyright owner to make a claim and a record company to pursue it, with an AI system, there is no copyright license as the LLM isn't a legal entity (they may well become legal entities in the future), so if I use one to create a song that goes on the make a pile of cash, who is going to claim the copyright infringement? In the case BigRedX supposes, an AI based song with original (human) elements, it's almost entirely the same as the sampling cases, except there is no legal entity to claim the copyright or IP on the "original" work. Who is going to sue you? There is also an argument to say that the LLM's base their output on other peoples work in any case and cannot create "original" work. You'd be well advised to check the small print on the end user agreement for any LLM you use for creative purpose, as I suspect there will be copyright and IP claims in there somewhere.

They said the same things about Dylan going electric, synthesisers, MIDI, Non-linear recording systems, Autotune... They were all the death of music at one point or other. AI will end up being a tool in the hands of people making music, and if it ever gets to the point where it comes up with anything as good a While My Guitar Gently Weeps or Tom Sawyer or Birdland or Beethoven's 5th by itself, then all the better, more good music to listen too. Frankly, there is too much chaos and random chance in the creation of masterworks, I don't think AI will ever come close to rivalling that.

One of the first gigs I played in around 1980 I think, Polesworth Working Mens Club. Last gig I played, charity event for Capital 1 in a big tent in Nottingham somewhere around 2020.

Warwick Thumb NT 5 string without a doubt, ACG Krell is very close, with MM SR5 as a very decent runner up. The Thumb is definitely "thunderous" but you'll need backline/PA support capable of accurately reproducing that low fundamental. I had a Barefaced Big Twin T that was absolutely brilliant. All of these are 34" scale and I tend to use 130 B strings, I've played 125 too, doesn't seems to make much difference. Alan Cringean quite rightly identifies rigidity of construction as being vital for sustain and clarity, which jibes with what many people are saying about build quality and construction. That said, I played a 5 string Steinberger which didn't sound great, but had huge rigidity. I'd go play some good 2nd handers, you can't afford to get into Fodera, Alembic etc territory, but there are plenty of very good old basses around for £2500 ish, my thumb was about that I think. In theory, any decent luthier's work should produce a B string of quality, but there's more to a great 5 string than a big B.

New Birkins start around £23K, and head North, very, very quickly... Bass prices don't compete... Be careful what you wish for gents.

yeah £7,000,000 for the original Birkin bag If you can afford £20k for a bass, why would you deny your wife the same for something that makes her happy? Sorry, this was supposed to be funny, getting a bit philosophical now.

Surely one of the criteria for being a keeper is tolerance of said wood-based purchases...?

That's called a win-win isn't it?

You can always get another wife...

Some lovely basses there fella. I have 2 fretted and 2 fretless currently, my main fretless is a beautiful ACG Krell 5 string Alan built to my spec a few years ago, it's a work of art, seen here with it's fretted brethren.

Off to the recycling centre in the morning, please lock tomorrow.

It lives...!

It's perfectly capable as a buss comp, I had it on the master buss for years, but it also works as a pair of tracking comps, which is now its main function, maybe as a drum or guitar buss comp in the mix. It's a very versatile unit, sounds great.

Chased the power in for the rack and the desk, used some extra sticky gel tape to secure the annoying PSU's to the underside of the top shelf, very useful stuff that. Re-ran all the signal for the main interface and the summing mixer, then re-did the patch-bay. A slight redesign needed a new patch-bay template, came from Printographic who do custom labels for a range of patch-bays, a very good service. Checked the power for the desk and rack, all good. I'll put the desk back in position tomorrow and run the interconnects, the UAD comms cabling and all the USB stuff, then testing.