music

Spotify has spent months deleting music made with AI. Now he wants to sell it as a premium product

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In just a few weeks, Spotify has been changing its position on AI-generated music: months ago it removed more than 75 million fraudulent tracks, launched a distinctive seal so listeners knew when there were human hands on the other side, and tightened its filters against synthetic spam. But the turn came in the talk for investors on May 21, where it became clear that what worries Spotify is not AI, but generating income with it. The precedents. Let’s start with the moves Spotify has made to control the rampant presence of AI on the platform. In September 2025 the company revealed that had removed more than 75 million fraudulent leads of its platform in the previous twelve months. Many of the AI ​​actions were malicious: massive raises designed to steal royaltiesunauthorized voice clones and content which the company’s own executives called “slop.” By then Deezer had detected that it received more than 30,000 AI-generated tracks per day, and that up to 77% of its reproductions were fraudulent. Just a few weeks before the meeting with investors, on April 30, Spotify launched the “Verified by Spotify” seal, a verification mark that distinguishes human artists from the artificial ones, which are increasingly proliferating on the platform. To achieve it, musicians must demonstrate authentic activity, have linked social media accounts and concerts on the agenda (something that, as we have said over the last few months, does not guarantee anything, given the latest successes of AI-generated music, which have their following on networks and their continuous stream of releases). Deals with Universal. The main news before shareholders is a licensing agreement with Universal Music Group, the largest record label in the world, which will allow Spotify Premium subscribers create covers and remixes with generative AI of songs from the artists participating in the agreement. The tool will arrive as a paid add-on to the usual subscription. It was already known that Spotify was considering charging up to an additional $5.99 per month for a “Music Pro” tier with superfan features. Co-CEO Alex Norström said that with this tool, “one song would become 10,000 songs.” The agreement contemplates a revenue sharing model with participating artists, and it was made clear that participation will be completely voluntary by the musicians. This announcement is no surprise: we already knew that Spotify was working on AI products with Universal, Sony, Warner, Merlin and Believe, but without a closed legal framework. Universal had previously licensed its catalog to smaller AI platforms, such as Udio, Klay Vision and Stability AI, but here it is already we enter in the 761 million monthly active users and 293 million paying subscribers. Long live AI. In an interviewNorström made it clear that, faced with multiple tools that allow songs to be manipulated without permission, they want to be the “legal” and “controlled” option. Norström affirms that the synthetic music market already exists and that trying to stop it would be useless, so he proposes regulating it from within, with agreements between labels and platforms, and turning it into a source of income for all actors. To combat AI content that “makes you feel good in the moment” but ultimately leaves the user feeling like they’ve “wasted their time,” Spotify offers verified authors and artists who charge for it. High tension. The announcement comes at a time when many powerful players are beginning to understand the extent of what they are risking. On May 13, a week before the investor meeting, famous producer Jack Antonoff (he has worked with Taylor Swift, Lorde and Lana Del Rey) posted on Instagram against those who use AI to make music. Norström acknowledged in the interview that there is “some negativity out there” regarding AI and called it “reasonable,” although he added that it is due to “poorly aligned AI.” swerve I mean, potify has spent months arguing that the problem with AI in music was fraud, spam, and impersonation. Now it announces that the same synthetic content, controlled and profitable, may be desirable. As we said in our analysis of the algorithmic model that Spotify has built for years linked above, the platform has been encouraging listening that prioritizes the state of mind over the identity of the artist for some time. That is, the ideal breeding ground for synthetic music. All that was left was monetization. In Xataka | We put Spotify, Apple Music and YouTube Music to the test: music streaming has changed and there is no longer an obvious winner

the largest streaming music service is not working

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It’s Tuesday afternoon. You probably just finished the work day and are on your way home. Good time to listen to your favorite music, right? Well, if you are trying to do it with Spotify, we have to tell you no: it is not a matter of your mobile phone or your Internet connection. The largest streaming music platform on the planet is down. She has been my companion Amparo Babiloni who gave the alert. Your app has stopped responding when trying to play music online, while songs included in playlists downloaded for offline listening continue to work. So this drop can be an especially annoying problem if you don’t have a Premium plan or if you haven’t previously downloaded music to your device. 27 SPOTIFY TRICKS – Control all your MUSIC like no one else! Spotify also has a web player, a practical option if you don’t want, or can’t, use its application, available on computers, televisions, consoles and, of course, mobile phones. In our case, when trying to access the service from the browser, we have encountered the message “Error 503 first byte timeout”. For now, Spotify has not offered an official explanation for the crash, although the error message gives you an idea of ​​what may be happening. The warning appears when the server receives the request, but takes too long to return the first response. In other words: it is usually related to temporary saturation, a partial outage, maintenance tasks or an internal server failure. If we look at Downdetectoranother good way to follow in real time what is happening with popular services, we see that the problems with Spotify began around 5:52 p.m. this Tuesday and were growing rapidly. After 6:00 p.m., there were already hundreds of reports from users indicating problems with the service. In development. Images | Spotify + Nano Bana | Screenshot In Xataka | What is Cloudflare, how it works and why a crash or block causes half the Internet to fail

Vevo was all over the internet in the 2000s. Today is just another forgotten episode of the old music industry

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In December 2009, two of the biggest record labels on the planet organized a party in New York with Bono as the guest of honor to celebrate the launch of something that, according to them, was going to give them back control of the music business on the Internet, which, as we will now see, was not going through its best moment. It was called Vevo, an acronym for “Video Evolution.” The (r)evolution lasted less than a decade: the fundamental changes in the business and the arrival of a different way of understanding music videos relegated it to the secondary level of nostalgia for millennials which is today. Bad times. In the late 2000s, The music industry was collapsing.. Income from record sales had been falling for years due to the combined effect of piracy and chaotic digitalization, unbeknownst to the labels, and which was very far from the orderly and official moment that it is experiencing today thanks to streaming platforms. For example: YouTube (which had already been bought by Google in 2006) accumulated hundreds of millions of video clip views without the labels seeing a single euro in compensation. Attempts were made to renegotiate the terms of that relationship, without success: Warner Music was the first to withdraw their entire catalog from YouTube in 2008. Ideaca. Doug Morris, then CEO of Universal Music Group and a central figure in the creation of Vevo, envisioned a way to enter the internet and video clip business when he saw his grandson consuming online video clips with advertising, which led him to ask how much money Universal was generating with those reproductions… The answer was obvious: zero. From that point on, Morris pressured companies like Yahoo and MTV to compensate him for playing his videos. He did end up reaching an agreement with Google. Q: Are We Not Men? A: We Are Vevo! Vevo officially launched on December 8, 2009 following an agreement between Universal Music Group, Sony Music Entertainment and EMI, with Warner Music Group joining years later, in August 2016. Vevo would provide the official catalog in high definition, YouTube would serve as a mass distribution platform, and both parties would sell advertising on that inventory. In October 2009, the Abu Dhabi Media Company already had invested about 300 million dollars to operate in the United States and Canada. Immediate result? Spectacular. In its first month it was already the most visited music site in the United States, surpassing Myspace Music. The economic impact was also rapid: according to Vevo’s CEO at the time, the average CPM of an online music video went from $3 before launch to more than $30 in 2013. In 2012, Vevo accumulated 41 billion views annually across its network, with a catalog of around 75,000 videos. By August 2013, Vevo had surpassed MTV in terms of digital viewership: 609 million video views versus MTV’s 261 million that month. Vevo Certified for artists who surpassed 100 million streams became an indicator of cultural relevance comparable to a number one on sales charts. Issues. However, Vevo’s structural problem was not the audience, but your delivery model. Although the company had a turnover of $250 million in 2013, more than 90% of that income was shared between labels, Google and music publishers. Universal and Sony captured 55% of the total and Vevo operated at a loss. It was, in practice, an advertising inventory manager without its own capital: it generated value for its shareholders, the labels and Google, but not for itself as an independent operating entity. In 2014, the company hired Goldman Sachs and The Raine Group to find a buyer willing to pay nearly $1 billion for the company. None appeared. Vevo ruled out the sale and announced that it would seek profitability through its own means. Change of course. In April 2015, Erik Huggers (creator of the famous BBC iPlayer) arrived as the new CEO. Vevo then wanted build your own applications for mobile and connected TV, reduce its dependence on YouTube and eventually launch a paid subscription service. They began developing apps for iOS, Android and connected TV platforms, but it was short-lived: the paid subscription project was canceled in February 2017, and Huggers left the position. Sizes and layoffs took place and the commitment to technological autonomy ended. Coup de grace. In January 2018, YouTube automatically migrated subscribers from Vevo-branded channels (such as “RihannaVEVO” or “JustinBieberVEVO”) to YouTube’s new Official Artist Channels. That same week, YouTube relaunched YouTube Music as a paid subscription service, directly competing where Vevo had tried to enter. Paradoxically, Vevo had broken even that year for the first time. But the proprietary model had never caught on, and without it, there was no reason to maintain the infrastructure. What’s left of Vevo. Vevo has not completely disappearedlike other projects of the time. The company pivoted to the connected television business and FAST channelsthe free shelves with advertising. Its library exceeds 900,000 video clips and generates approximately 25,000 million monthly views. The model is, ironically, the one that MTV never managed to make happen: a free music network supported by advertising, although in the case of Vevo, distributed over the Internet instead of cable. Vevo’s footprint is not entirely negative: it set the standard for the official high-definition music video on YouTube, created the monetization infrastructure that allowed video clips to become a business again, and demonstrated that the recording industry could negotiate on an equal footing with technology platforms. But the fact that the video clips have ended up becoming amateur choreographies on TikTok is something that, of course, the CEO of Universal could not foresee. In Xataka | MrBeast created an extreme survival challenge with the goal that no one could overcome it. Until ‘Juan the Mexican’ arrived

It’s time you had a button that allows you to filter AI-generated music

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Music created by AI is generating millions of dollars on platforms like Spotify, making royalties from real artists decrease. The platforms More than 75 million songs have already been uploaded of this type in the last year, and rivals such as Apple Music acknowledge that more than a third of the songs currently uploaded They are generated by AI. You can’t put doors on the field, but putting your hand in the matter seems inevitable. The new step. Spotify is starting to add verification badges for real artists, a badge that guarantees that the artist profile has been reviewed and is an “authentic” musician. The platform explains that those profiles that generate music using AI cannot be verified. The platform takes into account recent concerts, social networks, fan activity and profile behavior to determine whether or not it is real, a fairly fallible method. The world upside down. Spotify has decided to take the opposite path to rivals like Deezer. Their solution to stopping songs created with AI is to verify real artists, while Deezer is betting on a much more aggressive solution AI Music Detection Tool from Suno AI and Udio Removal of AI songs from recommendations Labeling of all songs created with AI According to Deezer, 44% of the total daily music delivery on the platform corresponds to songs created with AIstating that 97% of users are not able to detect between AI-generated music and human-generated music in a blind test. The underlying problem. Spotify’s approach reverses the burden of proof: instead of detecting fake content, it tries to certify authentic content. An independent artist without many numbers, without recent concerts or intensive activity on social networks has a hard time achieving verification, even if his music is completely human. The badge does not measure authenticity, it measures the relevance of the artist, and Spotify is also home to emerging artists. Furthermore, the criteria that Spotify explains are metrics that can be easily modified in AI times, precisely. The system has holes from day one. The damage to artists. The structural problem is not that there are users generating songs with AI, but rather the proportional distribution model that these platforms use. Each artist charges based on their number of plays over the total: the more AI songs accumulate listens, the more diluted what a real musician can earn. Cases like that of ‘Walk My Walk’or how a song generated by AI became the most listened to in the United States, make it clear that the phenomenon is here to stay, and raises the debate of whether AI itself should learn from what it knows: It is the artists who have taught her to compose. In Xataka | You make music with AI, one day you go to download your songs and you discover that you can’t anymore. That’s what just happened with Udio

Spotify and Apple Music have a problem with AI-generated music. And the real musicians are paying for it

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Music generated by AI has flooded the large platforms of streaming without anyone having asked for it. Deezer says it detects 75,000 AI tracks uploaded every day, and the number is growing. Spotify has uploaded 75 million songs of that type in the last twelve months. And Apple Music recognizes that more than a third of everything that comes to it is “100% AI”. Why is it important. It is not only a quality problem for the catalog or the reputation of the platform, but also an economic problem. Spotify, Apple Music and most platforms operate with a proportional distribution model (pro-rata): each artist receives a percentage of the total pool royalties equivalent to your reproduction quota. The more AI songs that accumulate listeners (even if they are fraudulent, generated by bots) the more it dilutes what a real musician earns. Between the lines. Although more and more music of this type is uploaded, almost no one listens to it, at least on purpose (sometimes AI songs sneak into algorithmic discovery lists). The problem is not the demand, which does not exist, but the brutal and increasing amount that distorts the algorithms and erodes the income of real artists even though their songs are still the ones that people do want to hear. Someone is uploading music that no one asks for to collect money that they do not deserve because the listeners arrive via bots. And that is money that the real artist stops earning. The background. The most extreme case, at least documented so far, has been that of Michael Smith, an American businessman who between 2017 and 2024 generated more than 10 million dollars in royalties wearing Suno and other tools to create hundreds of thousands of songs and armies of bots to play them automatically. That was the first case of fraud streaming with AI criminally prosecuted in the United States. According to the accusation, it accumulated 660,000 views a day. One billion views and zero fans. Yes, but. The platforms are already facing this wave. Deezer has been the most aggressive: it has implemented AI automatic detection, excludes those songs from algorithmic recommendations and has demonetized 85% of its views. Bandcamp has outright banned AI-generated music. Apple Music has begun to roll out its ‘Transparency Tags‘ (optional for now), and Spotify has released a verification stamp ‘Verified by Spotify‘ to ensure there is a human behind every artist profile. The problem is that both Spotify and Apple have opted for voluntary systems: it is the labels and distributors who must declare whether they have used AI. Nobody who lives off fraud is going to do it. There is an important distinction: It is one thing for a musician to use AI as a tool within their creative process (to refine a lyric, generate a base, experiment with sounds…) and quite another for an entire song to come out of Suno or equivalent with a pair of prompts and without real human intervention. The platforms, at the moment, do not distinguish between one thing and another. And Spotify has also left a door open by noting that “the concept of artistic authenticity is complex and rapidly evolving,” which in practice means that AI artists could end up being verified one day. Featured image | Xataka In Xataka | Science has measured how music impacts us during exercise: choosing the right Spotify list is essential

How to link Apple Music or Spotify to TikTok to save the music you discover in the social network’s videos there

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Let’s tell you how to link Apple Music or Spotify to TikTokand thus be able to save the music you find in the videos in your music library. When you do this, the service you choose will become the one TikTok uses by default. The operation is simple. Once you have linked them, when you are watching TikTok and a video with a song appears, an indicator will appear that tells you what the topic is. Then, by clicking on the name you can open it directly in your music streaming application. Link Apple Music or Spotify to TikTok The first thing you have to do is enter TikTok and click on the options button to open the side tab. When you do it, click on the option Settings and privacy to enter the social network settings. Once you are in the TikTok settings, go to the section Content and screen. in here, click on the section Music that will appear to you. Within the Music section, click on the option Link within the option of Add to music app. You will go to a screen where you will be able choose the default music app to add songs from TikTok. Here, you can click on one of them, the one you use. When you choose one of the options, you will go to the application or website of this music service, and you will be able to accept that you connect to TikTok and both services are linked. TikTok will be able to see data from your account and perform actions for you, such as adding songs. Add TikTok music to Spotify Once you have linked a streaming service, simply browse as normal. When there is a song in a TikTok video, you will see that there is an indicator of the topic it containsand you can click on it. You can also click on the round icon at the bottom right. When you click on the song nameyou will go to a screen where you can have your information, the publications that use it, and options to use it yourself or save it to favorites. Here, you will also have a button to add it to Spotify or Apple Musicdepending on which one you have chosen. This will add the song to your playlist of songs you like on Apple Music or Spotify, the one created when you “Like” any of the songs. In Xataka Basics | Alternatives to TikTok: the main social video networks to go to if you are thinking of changing

Apple Music will come to the app to offer the next step

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TikTok has become more than just a platform for short videos: for millions of people it is the place where they discover new music. Songs that appear in “Para ti” can go from being a viral fragment to becoming a global hit in a matter of hours. That role as a great musical showcase has redefined how songs are released and promoted in the industry. Apple Music seems to have taken note of that dynamic and is now committed to going one step beyond discovery. The novelty. “Play Full Song” seeks to shorten the journey between the moment someone discovers a song on TikTok and the moment they decide to listen to it in its entirety. From now on, Apple Music subscribers will see a dedicated button on their “For You” or sound details page, from which they can open an Apple Music player to listen to the full track. By tapping it, the user can play the track and continue listening to recommendations within the service. TikTok also adds that users will be able to save songs in “Your Music” and add them directly to their Apple Music lists. An agreement that goes through Apple Music. Although the button appears within TikTok, the complete playback is not done on the social network itself. The function uses MusicKit, Apple’s technology that allows you to integrate your catalog into other applications, so the song is played in Apple Music and listens are counted in that service. The important detail is that the integration is linked only to Apple Music. According to TechCrunchother streaming services, including Spotify, do not currently have an equivalent option to listen to full songs from TikTok. This integration does not appear in a vacuum. TikTok has been incorporating tools designed to connect the virality of its videos with streaming platforms for some time. One of them is “Add to music app”, a function that allows you to save songs discovered on TikTok directly to music services to listen to later. In parallel, the company has also explored other paths, such as its attempt to launch its own streaming service, an initiative that ended up closing. Since then, the strategy seems to focus on reinforcing its role as a discovery point that connects with other platforms. Music is also heard in community. The announcement also includes a feature called “Listening Party,” designed to bring artists and fans together for a shared listening session. During these sessions, fans can listen to songs in real time while interacting with each other and the artist themselves. TikTok describes the initiative as a new social way to experience music within the platform. Together, these tools aim at the same objective: reinforcing TikTok’s role as a meeting point between musical discovery, reproduction and direct relationship between artists and audience. Images | TikTok In Xataka | Netflix spends 17 billion on producing content and YouTube does it for free. And that’s why YouTube is winning the game

In 1997 Winamp forever changed the way we listen to music. This is his story 30 years later

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Perhaps the main topic of this article is a fond memory for you, perhaps you have not yet moved it to that section or perhaps you do not know what we are going to talk about, but if we think about keys in the history of the digitization of music and the mp3 format, we inevitably have to talk about Winamp’s own history. A software that came to your computer in one way or another to listen to your favorite mp3s and create your lists (eventually). Let’s forget the flat designhe material design and all the modern interfaces to remember this precedent of other players, which was not strictly the first either. Who created it and what motivations were there? Why was it losing prominence? If you know him, nostalgia will probably invade you for a little while; if you don’t know him, you may know some of the reasons for his decline. The original broth of Winamp and digital music The popularization of the Internet, the lowering of its rates and the digitization of music meant that the computer began to take on the role of source and player of our songs. Regarding this, it is impossible to ignore a chapter in this story in which piracy was the order of the day, with protagonists like KaZaA or eMule (perhaps more common and longer in time depending on the country). In any case, obtaining a significant number of songs in mp3 format made the players much more required and someone thought that what was offered so far (Windows Media Player, Real Player, etc.) did not satisfy the needs or did not give the option to do so, specifically Justin Frankel and Dmitry Boldyrev (former students of the University of Utah). They created the seed of the player, which was a very simple graphical interface to make the use of AMP more comfortable (Advanced Multimedia Productswhich is considered the first *.mp3 player) on Windows systems (a title bar and a menu bar with a few playback commands). In 1997, Frankel created Nullsoft, his company, and Winamp 1 was released. It was not the only alternative player created to listen to this music format, but it was the one that combined features such as creating playlists or random playback, all in an interface that used to be quite intuitive. It soon became popular, becoming among the most downloaded software in the last 10 years. What started out as free software ended with version 1.5, at which point the license freeware became sharewareso that users had a 14-day free trial after which they would be obliged to pay 10 dollars. The program became popular to the point that Frankel He earned $100,000 a month. And the success did not go unnoticed by what was a great company at the time, AOL, which bought the software from Nullsoft for $80 millionIn fact, the streaming service and the SHOUTcast protocol also remained. Versions 0.2 and 0.92 (right). Winamp version 2.0. Winamp version 3.0. The intention was to create a leading online radio platform like Pandora or Last.FM by unifying the catalogs of Winamp and Warner Music, but they did not achieve it (the existence of one and the absence of the other is the proof). This also coincided chronologically with the launch of the iPod and its song sales platform, iTunes, which although it was somewhat behind in the mp3 revolution, had its role in normalizing the purchase of mp3s to the detriment of piracy in the United States. AOL would eventually dismantle Nullsoft in December 2003, and Frankel left the new parent company in January 2004. In Rocknerd They quote Nullsoft’s Rob Lord regarding the AOL acquisition and what Winamp could have been if it hadn’t been managed by AOL the way it was. “There is no reason why Winamp is not where iTunes is now other than the mismanagement on AOL’s part that began immediately after the acquisition.” Rob Lord, Nullsoft A review of the versions Depending on how familiar Winamp is to you (whether you were a user from the beginning, a recent user or if you have never used it before), one interface or another will have remained in your retina, but the most popular ones may have been from 1.9 onwards, when many new functions and elements were added. on the blog Old Version (now disappeared) made their particular tribute to the app by showing some of the interfaces of these versions that allowed us to recover some images. As we mentioned before, the first version was 0.2 (April 1997), which already went beyond plain text to present an interface with the basic elements of a player (title, play buttons, bitrate, audio output mode, etc.). The dark gray background that would become a hallmark would come with 0.92, in addition to the top bar with yellow lines, and in 1.0 a graphic equalizer, the list editor, a frequency analyzer and the search bar would be added to this. Version 1.6 introduced another of the features that was best received: customization. In addition, they were expanding support for different formats, such as MIDI, *.wave and CDswhich arrived with version 1.91. This interface with the equalizer taking up much of it and the playlist screen may be quite familiar to you. With version 2.0 came the Advanced Visualization Studio (AVS) by default (until then it was a separate plug-in), which allowed you to create rhythm-dependent animations on demand. But it was** in 2002 when Winamp 3** arrived, after the purchase of AOL and completely rewritten at the code level, incorporating a multimedia library, a renewed interface and the only one adapted to Linux of all the existing ones (and video support since 2.9), although there was some rejection as it consumed too many system resources and was somewhat unstable. The interface of the latest version for Mac has nothing to do with those modules with gray backgrounds in versions starting from 2.0. With version 5 in December 2003, the … Read more

the Honor Robot Phone dances to your music as well as takes photos of you

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Over the years I have seen innovations that passed through mobile phones in a flash. The motorized cameras They were one of them: they became popular between 2018 and 2020 and then disappeared from the market as if they had not existed. Until Honor has arrived with his Robot Phonea phone that maximizes the bet of the original motorized cameras. The brand brought its latest innovations to Barcelona, ​​although the presentation had a bitter taste. The foldable Honor V6 It will still take a few months to arrive and the robotic mobile does not even have a date. Its state is experimental, it cannot be touched. It does allow you to invoke the camera using gestures. A gimbal tied to a smartphone Vivo has been including its gimbal mechanism in the X family for years, a three-axis stabilizer that simulates the stabilization accessory. But Honor’s bet is radically different, since the Robot Phone includes a authentic gimbal. And orchestrated with AI. The idea behind the phone is to offer automated photo and video taking without us having to worry about keeping the person in focus or following them. The Robot Phone can do all that without the need for extra accessories: the rear camera deploys when commanded. Either from the phone settings or by gestures: The front camera must recognize the palm of the hand, like the photo application does to take a selfie without touching the phone. Once the detection is made, an icon appears on the screen to notify you. At that moment you have to turn your hand so that the robot camera comes out. The robotic arm is activated by coming out of its rear socket and facing the user. The process between detection and the moment the camera is active takes about ten seconds. It’s not fast, it still needs some polishing. The gimbal of the robot camera consists of three axes with motors developed by Honor itself. The brand assures that they are the smallest in the world and that it has achieved reduce its size by 70% with respect to similar engines. The result of including this motorization is a very small, versatile and, according to Honor, very robust accessory. They use the experience and materials they already use in the hinges of the V-foldings. More than a camera Instantly attention-grabbing, you don’t expect a robotic arm to come out from behind a phone. That surprise ends up leading to empathy: Honor highlights the robot’s ability to interact with the user. For example, you can follow the rhythm of music by moving your head up and down. Or emphasize the conversation when we interact with the AI. Honor proposes different use cases for the phone. It is a camera that follows the action, that avoids shaking and that can pan without moving the mobile. In addition, it is capable of becoming a co-worker thanks to AI: it can become a work co-pilot. All thanks to Honor AI already Gemini. No specifications at the moment As a proof of concept, we still don’t know much more about its technical sheet other than that it has a Snapdragon 8 Elite Gen 5 as a processor and a 200 megapixel sensor for the robotic camera. The mobile has a solid construction (probably aluminum), straight edges and a screen that will not be far from 6.7 inches. It will be a premium range with all the law. It is a risky concept and I don’t quite see its more practical side, but the curious one. For video recording I think it’s an excellent idea, also for those who want to record everything: the Robot Phone can identify the environment and react to what it sees. AI action tracking is one of its best capabilities. It is still somewhat clumsy in practice, it is difficult to interact with the camera and You can see that the software is a bit green: The robotic camera did not always appear when making the hand gesture. And you had to close the capture application to try again. Live stuff. The return of motorized cameras under the protection of AI I remember having tested many mobile phones with cameras that were hidden in the phone to ensure that the entire screen surface was usable. He OPPO N3 He was one of the first, Asus Zenfone 6 It is another of the models that brings back the most memories: it allowed you to follow people taking advantage of the movement of the camera. The Honor Robot Phone has gone much further. It is a mobile phone that is unlike any other, at least for now. It offers different solutions to all those who use the phone to record video. And embrace the great presence that AI is having in all technological devices. Because, if robots are one step away from get to our housesthe advance could well be the Robot Phone. If the cell phone one day comes to make my bed, I’ll sign it. Images | Ivan Linares In Xataka | Best Honor phones in quality price. Which one to buy based on use and six recommended models

How to know if the music you listen to on Spotify or Apple Music is from a real artist or made by artificial intelligence

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Let’s give you some clues about how to detect if the music you are listening to Is it by a real artist or is it made by artificial intelligence. We are going to focus on that music that is on streaming platforms like Spotify or Apple Music. The way to detect it is not by looking for things in the music itself, but looking at the artist who created the song. Music made by artificial intelligence does not stop flood streaming servicesand they are having enough trouble stopping it. Many times it is easy to detect, it is music without soul, but one way or another, they are there taking clicks and listens, and the money that should go to real musicians. Therefore, we are going to give you a list of things you should pay attention to to detect if what you hear is from a real musician or not. It is not that if one of these points is met it is music made by AI, but that the more of these red flags it raises, the more it will be pointed in that direction. Listen carefully to the music If you are going to check if an artist is real or if they are songs made by AI, it is possibly because you are noticing something strange in the music. Here, you will be able to notice it especially depending on the musical genre you listen to. This is because elements such as excessively clean voices or lack of natural breathing can be the first indication, although in some commercial genres you will also find this due to excess production. Ultimately, the music will sound artificial, soulless. The phrases in the case of singing will sound mechanical and without any emotion, and the lyrics will also be quite bad. Pay attention to how the instruments sound musicals, because if they sound too compact, like a mush where you can’t distinguish each one of them and their clean sound, it could also be due to AI… or again, due to bad production. Biography and photo of the artist If music has left you suspicious, play then Click on the artist’s name to enter their profile within the streaming platform. The first thing that may make you suspicious is that there is no photo of the artist or the bandand instead there is some landscape or generic image. The fact that the photo of the band is not a photo of the musicians or the soloist is something that should make us suspicious. In the case of a photo of people appearing, you can check if it is made by AI, if it looks unnatural or if there is an excess of processing of the image, but normally AI artists do not usually risk this. It is also worth checking the biography of the artist or band. Look out for some suspicious signs, like the fact that it doesn’t include names of the members, where they are from, or those biographical data that usually give you a little more context about the artists. Instead, “musicians” made by AI will give ambiguous descriptions, and there will be times when in a fit of honesty they will directly say that it is music made by artificial intelligence. Discography and volume of releases The next step would be to look at your albums. If you see that their first releases have been around for many years, this would indicate that they are a normal band, because the AI ​​that generates music has only been able to resemble real music for a couple of years or three. If the releases they have are all new, it could also be because they are a new artist. Then look at the volume of the pitches. Human musicians, those of flesh and blood, can take from one to five or six years to release each new record. If you see that the artist has 2 or 5 full albums released in two monthsthen this should set off all the alarms. It’s AI. And by this we mean albums, not singles or individual songs. you should also pay attention to how the music sounds. If all the songs seem too samey you should also be suspicious, and if the track titles are too generic and simple too. Real artists are not a donut factorythey are not going to release an album every two weeks or every two months, because this requires a process of composition, recording, mastering, and creation of physical formats. Nobody is going to release 40 songs to you in a year if they don’t cheat. Find information about the artist and his concerts If your suspicions are still there, then comes the next level, that of looking for information about these artists on other pages. The first thing could be search for photos or videos of live concerts on YouTube, Facebook or Instagram. Also look for news on music websites. You can also search for concert dates, if they appear at festivals, if they are mentioned on networks. Come on, there must be proof that they are artists that someone has seen or known, because the normal thing is that the objective of musicians is to play live, not simply record albums. You can also search for his name on specialized platforms. Discogs is the largest database of albums and music releases on the Internet, it is a good place to start, in addition to Wikipedia or All Music. Also look for specialized media, such as Metal Archives for rock and heavy metal, and those for other musical genres. In the end, If it seems as if the artist does not exist because there are no photos or any reference outside of streaming platforms… possibly because they don’t exist. There will be artists who use AI In short, if everything we have told you above points in one direction, you will have already located a fake musician who is really an AI algorithm. … Read more

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