No. Fool’s Gold is not fully AI-generated.

All lyrics, songwriting, and creative direction are human-authored. Licensed AI-assisted tools were used during production to develop the final recordings, guided by my original vocal input and overall artistic direction.

As of early 2026, fully autonomous (AI-generated) music output is rare, if not impossible. Current tools still rely on human input like prompts, lyrics, or creative direction, so most music is better described as human guided, AI assisted.

Yes. Music from Vermillion + Co. is available on Spotify, Apple Music, and Amazon.

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You’re listening to songs written by a human. The lyrics, stories, emotions, and occasional life advice tucked into each track all come directly from lived human experience and human imagination.

In 2025, I paused my career in financial tech/software and decided to revisit the collection of song ideas that had been living in my head (and various MacBooks) for decades. Recording an entire album the traditional way was out of reach for me financially, so instead I turned to licensed composition software I already had on my computer to shape the songs that became Fool’s Gold.

Songs created with electronic and digital tools isn’t new. Electronic music has been part of the music scene since the 1960s. What’s radically different today is the expanding range of software that allows people to experiment more freely with sound.

I was able to layer instruments, reshape arrangements, and blend genres in new ways. I used my own vocal input to guide each track.

Ironically, no other humans were involved in the recording process, which is part of the joke behind the album title.

Yes and no… I can sing, and, I did use my own singing voice to make these songs. Everything was created and directed by me.

But, what you’re hearing isn’t my raw voice. The vocals were processed using licensed digital tools. Even though they don’t sound exactly like my natural voice, everything is built from my own recordings, lyrics, ideas, melodies, and creative direction.

For decades, artists have used advanced tools to transform vocals to the point where they are no longer naturally recognizable:

• Auto-Tune and pitch correction

• Vocoders and formant shifting

• Heavy digital processing and synthesis

For example, “Believe” (Cher) illustrates early mainstream use of the Auto-Tune effect to create a synthetic vocal. “Harder, Better, Faster, Stronger” (Daft Punk) is a great example of vocoder-driven vocals with a fully synthetic tone.

Regardless of audience preference for the sound, this didn’t establish any requirement to credit software as creators. The tools themselves were not listed as “main artists” or assigned revenue splits. They remained production tools under the control of the human artist.

Similarly, current generative AI vocal technology still relies on human input and control. A key consideration is how the tool or service provider sources and licenses its training data. As of the release of Fool’s Gold, artists are generally responsible for this due diligence, including reviewing terms of service and disclosures to confirm that datasets are properly licensed from relevant rightsholders.

The tool used in Fool’s Gold warrants non-infringement and represents that it has the necessary rights to provide its services, granting full, perpetual, worldwide ownership and usage rights.

Short answer: There is no single industry standard yet. As of early 2026, requirements vary by distribution platform and continue to evolve.

I’m pioneering a gray zone in music distribution using modern AI studio tools, and navigating conflicting platform policies designed to protect human artists (but in the fine print, I’m finding they ironically don’t always support creators).

Some distributors allow artists to release work under their own name, even when AI-assisted tools are used. Others are introducing stricter rules, especially for generative AI that contributes vocals or composition. As of the release of Fool’s Gold, there is still no universal definition of what qualifies as “AI contribution” versus “tool usage.”

Fool’s Gold is credited solely to the human artist and songwriter (me), although licensed digital/genAI tools were used in production.

One option I explored was TuneCore’s pilot collaboration with Grimes AI. That program requires listing the AI as a main artist with a fixed 50% revenue share. This treats the tool as a co-creator, which didn't align with my perspective or broader industry views that AI should support, not replace, human creativity and authorship.

Until standards stabilize, I'll prioritize transparency. This includes adding clear disclaimers about tool usage, publishing support pages like this to explain my process, and confirming that all tools used are licensed and support human authorship.

It’s hard to pin to one category, but folk is the thread running through the album. A few songs carry strong bluegrass and Appalachian influences. I have my dad to thank for introducing me to this genre early in life and for instilling an appreciation for simplicity and strong storytelling.

I’ve always been fascinated by instruments used in traditional mariachi and Middle Eastern music, so those sounds found their way into a few tracks.

Nope.

I have sensory processing disorder (SPD), which makes it very difficult for me to process speech (lyrics) while singing live, let alone play piano or guitar and sing at the same time. (Did you know that speech is one of the most complex motor activities in the human body, coordinating hundreds of muscles in seconds to control breath, pitch, and sound?)

Add in the noise and sensory input of a typical live environment, and it becomes more overwhelming than enjoyable for me.

For now, you’ll find me chiming in with friends and family on informal jam sessions. I hold so much respect for gifted on-stage performers, and am certainly open to future collaborations and live studio recordings.

For me, making music has always felt more like a form of energy therapy. The only stage I’ve ever felt comfortable on is at my pole fitness dance recitals!

While touring isn’t my goal, I do hope to make a positive impact in the ethical and responsible commercial use of AI and automated software, and to use my (raw!) voice to advocate for more diversity in STEM careers.

I founded Vermillion Design + Co. in March 2009 with the intention of always keeping creative agency collaborations alive, whether as a hobby or as part- to full-time freelance work.

After working with some of the world’s most recognized brands including the Swoosh + the Three Stripes, I landed in commercial real estate where I helped pioneer the first technology enabling crowdfunded investing + AI chat tools, and was among the first creative directors in the U.S. to specialize in AI search optimization.

In 2025, I started experimenting with emerging SaaS and the music I’d written. Publishing under a project name felt more appropriate, so I borrowed my long-standing “Vermillion” name.

The “and company” in my design agency reflects the trusted (human) collaborators I call on to deliver award-winning work for clients, a mix of independent contractors and agencies. In the artist name, “and company” is a nod to the different personas my voice can take on when producing music through modern studio tools.

The word vermillion (alt: vermilion) describes a brilliant red with a hint of orange. I happen to be a natural redhead based in Orange County, California.

To be clear, I’m not in the music industry. This answer is very much “from the outside looking in.”

It’s also worth clarifying that Fool’s Gold was not an “entirely AI-generated” album, so I can’t speak to that experience directly.

Of course I’m adamantly against copying another artist’s likeness or exploiting someone’s voice or content without permission.

I’m also against misleading people by presenting an AI-generated voice as someone’s natural singing voice. Transparency and clear authorship matter to me, which is why I released Fool’s Gold under a project name rather than my personal artist name, and published this website to help explain the project.

As part of my modern studio tools, I intentionally selected a licensed GenAI platform that publicly represents it has the rights to operate, grants full commercial rights, and warrants non-infringement.

I acknowledge and share the concern in a rise of “fake” AI musicians releasing music. It’s unsettling to know that today, someone with no musical background can generate an album with just a few prompts and clicks, releasing it alongside work shaped by decades of lived experience, music training, and human songwriting efforts.

At the same time, I see how digital tools can remove barriers that have historically kept many people out of music. Recording in traditional professional studios and working with producers typically requires money, connections, or both.

I also think about people like my dad, who is sitting on a 40+ year collection of original songs and poetry but simply wasn’t born with a strong singing voice. Tools that create a digital AI voice can allow a Top 40-worthy song to be discovered, especially when the goal is pitching it to established artists and live performers.

There are also exciting accessibility possibilities. For people with speech challenges, mobility limitations, or other barriers to traditional music production, these tools open new paths for participation. Much like communication technologies have helped nonverbal autistic individuals publish books and give presentations for the first time, showcasing their brilliance in the face of stigma, AI music tools can allow more people to share their musical “voice” and talents.

Music follows the same supply-and-demand dynamics as any other commercial industry, so I think ultimately audiences will decide what shapes the future, what sticks, and what doesn’t. Only the years ahead can sort out questions around authorship, credit, award worthiness, and legal protections.

All of them…!

While bringing these tracks to life, I saw a funny viral video about the frustrating 1990s experience of buying an entire album only to discover one or two great songs. In the cassette and CD era, it seems like labels only focused on one or two singles that could become radio hits. The rest of the album felt like B-side filler.

That viral video was a reminder that, with today’s on-demand streaming and custom playlists, every track really has to stand on its own. The best part of self-publishing, for me, is that no matter what resonates with others, I included songs on Fool’s Gold that I wouldn’t skip myself.

You can feel when a song was cathartic or fun for the artist to make, and that’s the only kind of music I want to share.

Yes. While living in Nashville, Tennessee, “the” Hank Williams, Sr. appeared to me one night in a dream. He said, “I’m going to play a song for you, over and over, enough times that you’ll wake up and remember it.” Then he started playing.

I remember thinking, “hmm, this song doesn’t sound anything like his signature style. This is more modern, borderline pop.”

I woke up, grabbed my Yamaha Red Label acoustic guitar, the “poor man’s Martin.” (Fitting, since Hank played Martins.) The melody and lyrics were still in my head, and playing by ear I went straight to the chord progressions I’d heard Hank perform.

I wish I could give him songwriting credit, but since I can’t, I gave him the song’s title instead.

For press or speaking engagements related to AI-powered SaaS, head over to the Vermillion Design + Co. website Press page to submit your request.