Topic
A sample usually touches two copyrights, the recording and the song, and each has its own owner and its own yes or no. Here is who those owners are, the order to approach them in, how fees tend to be structured, and why the "a few seconds is fine" rule you heard in a forum is not the law.
Workflows
A sync placement pays for two separate rights, and a music supervisor has to clear both before your track goes anywhere near a picture. Here is what those rights are, why owning both of them makes you easier to license, how library deals differ, why nobody can quote you a standard fee, and the paperwork that gets you paid after the cheque.
Workflows
Indian law has a clause for computer-generated works, but the first court to look at a Suno-made song was not convinced it is protected at all. Here is how ownership splits between lyrics, composition, recording and voice, what the Delhi High Court actually ordered on 25 Mar 2026, and what to do before you release.
Workflows
So far, every deal that pays for training AI on music runs through an intermediary (a label, publisher, distributor, collecting society or sample marketplace), and almost none publishes a rate. Here is how the four deal structures work, what the law says in the EU, UK, US and India as of 23 Oct 2026, and what an independent artist can actually claim.
Workflows
Three gatekeepers now ask about AI, and each asks a different question. The US Copyright Office wants to know which parts a human made, PROs want a human writer, and distributors increasingly care which tool you used and how it was trained. Here is what each rule says as of 23 Oct 2026, a checklist that covers all three, and the mistakes that cost artists money.
Workflows
One email a week: the music-tech and AI-in-music news that mattered, and what we think about it.