Edward Balassanian

Steven J. Vaughan-Nichols’ recent column in The Register, “AI model collapse is coming for generative content,” describes models that keep retraining on their own output until every iteration becomes a blur—a photocopy of a photocopy. Long before that piece, Aimi had already built its product thesis around the same threat. Our 2023 post “Why Is AI Music

Last week U.S. District Judge Vince Chhabria issued a set of 12 razor-sharp questions ahead of the summary-judgment hearing in Kadrey v. Meta—a lawsuit that claims Meta trained its Llama language model on “pirated” e-books. His order signals that courts are no longer asking whether AI training implicates copyright, but how deeply it cuts. Key

Splice’s surprise purchase of Spitfire Audio this week isn’t just another gear-company headline—it’s a flashing sign that the sample-library gold rush is winding down and the age of real-time, AI-generated soundtracks is here. Splice reportedly paid about $50 million for the British maker of high-end orchestra libraries, hoping to fold those sounds into its AI discovery engine and

The first time you click a YouTube clip labelled “8-D AUDIO – USE HEADPHONES,” the music seems to swirl behind your eyes. That sensation is produced by nothing more exotic than rapid left-to-right panning, a splash of reverb, and some tone-shaping that mimics the way your ear flaps colour sound. The effect went mainstream in

Creating music with AI is tough due to its technical complexity and strict copyright laws. Aimi’s got a fresh take, generating original tunes legally by using licensed sounds and collaborating with real artists. This approach not only avoids legal troubles but also adapts dynamically, making AI music more viable and exciting.