Intellectual Property Management

I just published a new, members-only analysis on Water & Music on one of the hottest and most complex topics in the music business right now: Music AI content and copyright detection. When it comes to the value of music AI, data is like oil — and rights holders are determined to control the pumps. Over 350 music industry organizations have signed ethics statements on music AI, emphasizing the importance of data transparency and artist consent in the model training process. Meanwhile, lawsuits and cease-and-desist letters against music AI startups are piling up, involving every major rights holder. The next six months will define the future of the music business, as we move beyond philosophical and ethical debates to practical solutions for IP protection in an AI-led market. In my analysis, I break down: - How each step of the music AI detection supply chain works, from auditing training data for copyrights to detecting AI-generated deepfakes. - Who the key players are at each stage, and how their detection models work. - Why these developments matter for the future of music, and have a direct tie to the latest lawsuits against Suno and Udio. This piece was several weeks in the making — involving background conversations with several kind people at Audible Magic, BMAT Music Innovators, Pex, Deezer Research, MatchTune, Ircam amplify, and more, along with meticulous fact-checking and research help from my team (Yung Spielburg & Alex Flores). While my resulting analysis only scratches the surface on the topic from a technical and legal standpoint, I'm quite proud of how it turned out, and I hope it helps you make sense of an otherwise quite complex and noisy landscape. Let me know what you think in the comments! 😊 #music #musicindustry #musicai #copyright #legal #ai #futureofmusic https://lnkd.in/eaMB4AQm

The ultimate power move in music isn't a chart-topping hit—it's re-recording your entire catalog. When Taylor Swift's masters were sold against her wishes, she didn't just complain—she headed back to the studio. "When something says (Taylor's Version)," she explained, "that means I own it." Four albums in, her strategy has paid off spectacularly. Music copyright is multi-layered: composition rights (melody/lyrics), master recording rights (the actual audio), and performance rights (for public playback). Artists often control some but not all—which is why re-recording creates new masters they can fully own. Crucially, Swift retained her publishing rights for her early albums, making the re-recording strategy feasible in the first place. Swift isn't the first to play this card. JoJo re-recorded her early albums after a label dispute left them unavailable on streaming services. Def Leppard created "forgeries" of their hits to gain leverage in digital royalty negotiations. Frank Sinatra founded his own record label and re-recorded his classics for creative freedom. The financial impact is staggering—Swift's re-recordings consistently outperform the originals. Red (Taylor's Version) broke Spotify's record for most-streamed album in a day by a female artist, effectively devaluing the original masters. This strategy has contributed significantly to Swift becoming a billionaire in 2023—largely through music revenue, a rare achievement in the industry. Meanwhile, music catalogs have become hot investment properties, with over $5 billion spent on acquisitions in 2021 alone. Investors view music rights as stable assets that generate reliable returns. The industry has noticed. Labels are now extending re-recording restriction periods from 5-7 years to 10-30 years in new contracts. Musicians should consider strategic pushback: leveraging existing fanbase data in negotiations, pushing for shorter contract terms, and seeking reversion clauses that return masters after a certain period. If full ownership isn't possible, joint ownership structures with labels offer an alternative—even partial control provides a seat at the table for future decisions. As Brendan Brown of Wheatus, who re-recorded "Teenage Dirtbag," bluntly advised: "Never give away your publishing or your masters... there's no excuse not to hoard your s*** and keep it under your bed." If you could see any artist reclaim their back catalog through re-recordings, who would it be and which album deserves the "(Artist's Version)" treatment first? #IPidity #copyright #WorldIPday #MastersOfTheirDomain P.S. Interested in how IP supports investment in the music industry? Tune in to WIPO's IP Finance Dialogue on May 13. We'll be discussing ongoing research we're conducting on this topic. Register here: https://lnkd.in/eD9cXSak

The truth nobody tells indie artists: catalogues aren’t just about how good the music is. They’re about how clean, structured, and monetisable the rights are. Investors don’t buy vibes, they buy cashflow and if your catalogue isn’t set up to generate income consistently, it’s not ready to work for you yet. There are five things every serious investor, publisher, or acquirer looks for: First, rights clarity. Who owns what? Is it registered with a PRO? Are the splits documented and signed? Second, metadata hygiene. Do the songs have correct ISRCs, ISWCs, and IPIs? Are they tagged, searchable, and trackable? Third, earnings history. Is the catalog generating revenue? From where? Streaming, sync, or publishing? Fourth, sync potential. Has it been licensed before? Does it have instrumental versions? Is it cleared for one-stop licensing? And fifth, deal-readiness. Are your contracts centralised and digitised? Can a buyer complete due diligence in a week instead of a month? Most artists fail at three out of five, and that is where the problem starts. Metadata, in particular, is the invisible backbone of your catalog. The Verge once called it “the biggest little problem plaguing the music industry,” estimating that billions in royalties go unclaimed every year because songs aren’t properly tagged or credited. Every ISRC, IPI, and songwriter detail is how performance rights organisations like IPRS identify and pay you. If your metadata is missing or incorrect, your song might still play everywhere, but the royalties could be going anywhere. Messy splits lead to royalty disputes. Missing metadata means lost income. No sync prep means no high-margin placements. No earnings track record means no valuation benchmark. You can’t raise capital, sell equity, or pitch your catalog if you don’t even know what you own, or worse, if you co-own something you can’t monetise. This isn’t about being perfect, it’s about being prepared. If you’re serious about turning your music into long-term value, get your house in order. Build a clean catalogue, and it becomes a business. Keep it messy, and it stays a hobby. Streams are great, but splits, syncs, and structure are what make a catalogue valuable. The next wave of music wealth isn’t going to the loudest, it’s going to the most organised. #musicbusiness #musicindustry #metadata #rights #tips #fairplay

Reclaiming Copyrights: What Every Songwriter Needs to Know If you’re a songwriter with works published after 1978, U.S. copyright law gives you a powerful tool: The ability to reclaim ownership of your copyrights. This is your chance to regain control over your songs and potentially open new revenue streams. Here’s what you need to know to take action. The Basics of Copyright Termination Under the U.S. Copyright Act, songwriters can terminate prior transfers of their copyrights (e.g., publishing deals) starting 35 years after the transfer or publication of the work. This applies to most works published after January 1, 1978. The law recognizes that creators deserve a second chance to own their work, even if they signed away rights early in their careers. However, the process requires careful planning, as it’s time-sensitive. The Timing Window To terminate a copyright transfer, notice must be given 2 to 10 years before the effective termination date. This creates a specific timeline: • 35 years after publication: The window to reclaim begins. • Notice period: You must notify the copyright holder between 25 and 38 years after publication or transfer. • Termination date: The effective date of termination falls exactly 35 years after the original transfer or publication. Example Timeline: • Song published: 1989 • Termination eligible: 2024 (1989 + 35 years) • Notice period: 2014–2022 (2–10 years before 2024) If you miss the notice window, you lose the opportunity to reclaim the copyright. How to Take Action 1. Identify Eligible Songs: Review your catalog for songs published or transferred after 1978. Look for original contracts or publishing agreements to confirm the transfer dates. 2. Calculate the Termination Timeline: Determine the 35-year mark for each song and ensure you are within the 25- to 38-year notice window. 3. Send Proper Notice: Copyright termination requires formal, written notice sent to the current rights holder. This must include specific details about the work, the original transfer, and the effective termination date. A copyright attorney can ensure your notice complies with legal requirements. 4. File with the Copyright Office: To formalize the process, file your notice with the U.S. Copyright Office. This step adds an official record to protect your claim. Why This Matters For songwriters, this is a unique chance to regain ownership of valuable works and renegotiate deals. With the rise of streaming and new licensing opportunities, owning your copyrights can lead to significant financial gains.

Artists & managers - before you release a track, make sure ownership is super clear. The music can be incredible, but if the paperwork isn’t completed correctly it can block major opportunities later down the line. ✔️ Finalise & sign producer splits ✔️ Confirm who owns what (masters + publishing) ✔️ Correctly list everyone involved on registrations If this isn’t sorted, you’ll run into issues when you try to: • License your music for sync opportunites • Sell your music • Collect royalties • Work with partners who need clean ownership Don’t wait until it's too late!