Hell all, I've finally gotten around to building a website.. I was wondering what everyone thought as far as what is 'industry standard content' for cinematic/trailer music? I have just a big hero image with some music samples and contact form/socials. IS this good enough for a start? I'd like to see other's sites if they are working out for you. Thanks! Here's my site so far: EARTH OCTAVES P.S. Sorry if I mis-categorized this post. I figured music websites are business related?

Hello everyone! I've been working on the brand redesign of my group "Aether Audio" and the website redesign just went live yesterday so I wanted to get some opinions on it whether design oriented or if there are some issues in the links, or if there are some things I need to add. https://aetheraudiopro.com/

Hello fellow Audio Artists 🔥 I ve been producing a body of tracks throughout the past year and I think its tome for me to start sharing my work online, plan being to release original music as parts of albums on a regular basis with some performance/making off content. Was thinking on doing that via a dedicated youtube channel, also to do it via bandcamp in order to sell tracks Which SM Platforms, have proven most viable for you in the past? Which ones do you combine for maximum effect? Which ones would you rahter avoid since anyone can download those tracks? Any general recommendations for streamlining effort or avoiding mistakes? Curious what your experiences have been 🙏

I have been working on my website for a while now, and would like some feedback on it: https://desmondthompson.com I already know some things that I could add (like credits of projects that I have worked on) but I would like to hear what you guys think. Is my website too bloated? How could I improve my reel?

Hi everyone, I saw with this youtube post: https://youtu.be/u9lnUyXsAIE?si=x51i3gW1OA-QXHQl So to sum up what’s going on: Context of the lawsuit : - Warner (plus its labels) sued Suno in June 2024, accusing them of training their AI on Warner’s catalog (decades of masters) without permission or payment. - Suno’s defense was the usual AI line: “it’s transformative, it’s fair use, we’re not copying, we’re teaching a model.” - Everyone in the industry watched this case because it could become the “can AI train on our music for free?” precedent. What the settlement actually does : 1-Artist opt-in for training: Warner artists can now choose whether their voice/name/likeness/catalog is used to train Suno’s models. That’s huge symbolically: it introduces consent-based training at a major label level. But he points out the power imbalance: will smaller/younger artists really feel free to say “no” to their label? 2- New licensed models from scratch: Suno will build new models (aiming for 2026) trained only on licensed Warner material. The old “possibly trained on everything without permission” model still exists in the wild, and Warner doesn’t get retroactive compensation for that. 3-New usage rules / monetization caps: Free users can generate/stream/share. Paid users can download with new limits on how much they can generate and how they can use it commercially. But it’s not clear whether a paid user can safely generate music and license it for a TV show, ad, game, etc. That lack of clarity is a nightmare for music supervisors trying to clear rights. 4-Lawsuits dropped, no one admits fault Warner drops all claims, Suno doesn’t admit guilt. Classic settlement. Why this matters for musicians / sync people It proves that labels can force AI companies into licensing deals. So the “scrape everything and claim fair use” era is getting pushed back, at least politically and commercially. For composers and libraries, this is partially good: it shows AI companies can’t just hoover up your catalog with zero consequences.