Song Sleuth is a new technology platform that uses AI and Machine Learning technology to identify live music user-generated content (UGC) online.
- New technology platform identifies user generated live music content
- Ushering in a new era for rights holders and royalty collection
- ‘Finding the unfindable’
Using its advanced proprietary algorithm, Song Sleuth scans digital platforms such as YouTube to find user-generated live music recordings which are currently undetected, allowing rights owners to claim undiscovered royalties.
It is clear that the current system is broken. The economics of streaming have rightly been scrutinised over recent years, and questions have been raised over whether artists, songwriters and other rights holders are receiving fair payment.
In ‘finding the unfindable’, Song Sleuth is ushering in a new era for rights holders, and redefining the way in which rights holders can effectively monetise their content. In 2020, Music Week estimated that UGC will be worth $6 billion by 2022. Song Sleuth sees this as the ‘loose change’ down the back of YouTube and other platforms’ proverbial sofas.
Song Sleuth identifies live music UGC (and other music not identifiable by existing products) that is unclaimed through automated detection and filtration, via powerful AI and machine learning built specifically to mine platforms for UGC. All potential opportunities are reviewed, before Song Sleuth submits the monetisation claim on behalf of the rights holder.
Song Sleuth operates from Chicago, Lisbon and London. Led by CEO Jordan Gross, the team includes COO Lucas Bleeg(The Orchard, Studio71) and CTO Ibrahim Maali (Head of Finance Analytics and FP&A for Finance.org). Prior to Song Sleuth, Gross served as CEO of karaoke start-up Sing King, and founded East London venues Oval Space and The Pickle Factory.
Jordan Gross, Song Sleuth CEO said: ‘The status quo when it comes to fair and correct payment of royalties has been broken for a long time. Rights holders have long been crying out for a simple and effective way to manage their revenue streams – and rightly so. It’s about time that artists, songwriters, producers are reunited with revenue that they’re owed.’
