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.

Lately I’ve been thinking a lot about style. Most days, I live in the world of cinematic and orchestral scores. But it’s not just my hard drive that’s mixed: my released songs and the artists I’ve worked with are all over the map too. I’ve done pop songs, synth-driven tracks, trap or gospel vibes, and I still do them alongside my orchestral work. As a composer or producer, I often feel like genres are "fake" borders. At the end of the day, it’s just music. But the industry doesn’t always see it that way. So I wanted to open this up as a discussion here: Is it better to focus on one main style your whole career, or is it okay to split yourself across many? There are solid reasons people say “pick a lane”: - Clarity for clients & listeners: If you’re “the orchestral guy” or “the dark synth person,” people know when to think of you. It’s easier to market, easier to pitch, easier to brand. - Deeper mastery: Sticking to one style lets you go really deep. You learn every nuance of that sound world: voicings, tempo ranges, sound design tricks, what works emotionally, what doesn’t. - Stronger signature: When you live in one style long enough, your fingerprints start to show in a recognizable way. That “oh, this sounds like X” effect is powerful. I totally get this. When I do cinematic scores, I feel like I’m coming my home. That language is natural to me now. But here’s the other side: I don’t only want one home. When I’m writing pop, or sculpting a synth track, or building a trap-gospel groove, I’m using different parts of the same musical brain. And those experiences bleed into each other in useful ways: - Cross-pollination of ideas: A synth arpeggio might become a strings ostinato. A gospel chord move might sneak into a moody game score. A pop topline might teach you how to write stronger main themes. - More emotional colors: Different genres are like different emotional toolkits. If you write for games, movies, or stories, being able to move between “epic,” “intimate,” “modern,” “retro,” “spiritual,” etc. is a huge advantage. - Creative sanity: Staying in one style 100% of the time can become a cage. Jumping into another genre for a while can reset your ears and keep you excited about music in general.

Just dropped a comprehensive video on the complete outreach system I teach my Rise students - and honestly, this is the stuff that separates hobbyists from professionals. Here's the brutal truth: If you're just sitting around writing music and hoping someone discovers you, you're doing this wrong. Period. In this video, I break down: ✅ Building a professional brand that doesn't scream "amateur" (yes, your Gmail address matters) ✅ Creating demo reels that actually convert (hint: stop sending 100 random tracks) ✅ Company research and LinkedIn strategies that work ✅ Email outreach + follow-ups (this is where most conversions happen) ✅ Social media content you can create in 5 minutes with your phone ✅ Why most composers fail at targeting (and how to fix it immediately) The real kicker? Consistency. Contact 5 people a day on LinkedIn. That's 1,500+ contacts in a year. Something WILL happen. Stop using "saturated market" as an excuse. The market isn't saturated - your strategy just sucks. Watch the full video and let me know which part hit you the hardest. 👇 Drop a comment if you have questions or if you're finally ready to treat this like the business it is.

Alright, so I just finished building something pretty cool and wanted to share it with you all. For years, we've all struggled with the same problem - how do you actually GET IN TOUCH with game developers? You find a cool indie game on Steam, want to reach out, but... no website, no contact info, everything stays locked inside Steam's ecosystem. Well, I built an automation that solves this. Here's what it does: - Scrapes Steam for games based on YOUR filters (genre, release date, etc.) - Uses AI (Perplexity) to find the actual company domains - Runs those domains through an email finder tool to get contact info - Delivers you a list of emails in literally 20-30 seconds I just ran a test - picked "survival games from last week" - and got 2 verified emails in under a minute. Then tried "adventure games from last month" and got even more. The point? There's literally no excuse anymore to say "I can't find game developers to contact." The leads are there. The tools exist. The only thing stopping you is... not doing it. Now, this is just one approach (and yes, it costs a bit for the tools), but the principle applies everywhere - if you're serious about landing game audio work, you need to get proactive about finding and reaching out to devs. What's YOUR biggest challenge with finding game dev contacts? Drop a comment below 👇

Hey Community! I would love to see your logo designs for your brand/ business etc. and hear about they came to be. Evidently, I'm not a graphic designer. I spent a day learning Adobe Illustrator and mocking this up, after wasting a lot of money on Fiverr. I would love your feedback too. The treble clef is my Initials. For context, I'm a recording, mixing, mastering engineer & sound designer and multi-media composer. Many thanks. 🙃✌️