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The 0,000 fee for H-1Bs is causing all sorts of problems

The $100,000 fee for H-1Bs is causing all sorts of problems

Last fall, President Donald Trump’s executive order raising the fee for H-1B visas to $100,000 — like many of his immigration policies — led to near-immediate chaos. Thousands of workers who had flown overseas to renew their visas ended up stranded abroad. Details about who would be affected only emerged after the fact. Six months later, the disorder from the initial announcement has mostly subsided. The H-1B registration season for the next fiscal year has just begun. With H-1B applications open until March 19th, it’s unclear what effect, if any, the new rules will have on hiring, immigration, and the workforce, but experts are warning the effects will reverberate far beyond the tech industry.

Trump’s transition team was divided between a nativist bloc led by longtime adviser Stephen Miller and the president’s powerful new tech allies, Elon Musk and Vivek Ramaswamy chief among them. These factions were split on the subject of H-1B visas, which let skilled foreign workers come to the US to fill specific jobs. The visa category is most commonly associated with Big Tech, and for good reason: Amazon, Meta, and Microsoft are the three biggest employers of H-1B workers. Musk’s ouster and the dissolution of his Department of Government Efficiency were the death knell for the tech-MAGA alliance, setting the stage for the H-1B fee hike.

But while H-1Bs might bring to mind lucrative software engineering jobs, the policy change has affected other industries more drastically. In fact, firms like Amazon can easily absorb the cost of the increased fees and have figured out workarounds to paying it. Instead, the H-1B fee increase is disproportionately affecting rural schools and hospitals already plagued by labor shortages. Put simply, Trump’s attempt to punish Big Tech is actually hurting underfunded schools and hospitals, many of them in deep-red rural districts that supported his candidacy.

There are two major changes: the fee hike, which generated the most attention, and a new prioritization system that favors high-earning applicants. Since there are more petitioners than there are open slots, H-1B visas are issued by lottery. But now, new applications will be weighted by income, and those with higher-paying jobs will have better odds of getting a visa. Applicants will now be divided into four wage levels: Those at Level 1 will be entered into the lottery one time, while those at Level 4 receive four entries. Immigration attorneys say that under this system, a tech worker earning a high salary would likely be prioritized over a teacher who earns less money. US Citizenship and Immigration Services, the federal agency that handles H-1B and other visa applications, did not respond to The Verge’s request for comment.

Margaret Stock, an Anchorage-based immigration lawyer, says the fee increase is already affecting public schools in her state. “We have a big labor shortage in Alaska,” she said, and that shortage extends to the school system. Stock represents several school districts that have hired foreign teachers on H-1B visas. The teachers, Stock said, are hired under union contracts that determine their salaries.

Partly because teachers are so hard to come by, Alaska is one of the highest-paying states for teachers. Some counties even offer signing bonuses and moving allowances. But these resources can only go so far. “The state doesn’t have the money to pay $100,000 per teacher for an H-1B worker,” Stock said. “It would be millions of dollars they’d be paying the federal government for teachers.”

Alaska has nearly 600 international teachers, 341 of whom are on H-1B visas, according to the Alaska Council of School Administrators. That’s a tiny percentage of the total H-1B workforce — per Pew, 400,000 applications were approved in 2024, the majority of which were renewals — but makes a huge difference in Alaska, the most sparsely populated US state. Alaska’s international teachers largely come from the Philippines, Ghana, and India — countries with large English-speaking populations. Last year, before the fee hike, the Nome, Bering Strait, and Kenai Peninsula school districts even organized a recruiting trip to the Philippines.

Stock said the fee increase won’t just affect prospective immigrants.

“Alaska is losing population, and one of the reasons we’re losing population is because people don’t want to live here when they can’t put their kids in a good school,” she said. “If the class sizes are too big, or there are no teachers, or there’s no activities, or there’s no healthcare, then people won’t want to live here. It’s not just an H-1B issue. There’s downstream effects on the whole economy.”

State and federal officials are hoping to receive exemptions for the fee increase. After the fee increase was announced, the administration clarified that the Department of Homeland Security will grant exceptions in “extraordinarily rare” circumstances where hiring foreign workers “is in the national interest,” and only when American workers aren’t available to fill those roles. Exemptions will only be granted in cases where the employer’s inability to pay “would significantly undermine the interests of the United States.”

The only way to apply for exemptions is via email, and Stock hasn’t heard of any being granted.

The fee hike also affects Alaska Native corporations, 13 regional companies across the state whose shareholders are Indigenous Alaskans. These companies, Stock said, often hire H-1B workers for specialized roles. “I know of an H-1B worker who’s working on hazardous waste management related to military bases in Alaska,” Stock said. “There are all kinds of workers: engineers, healthcare workers, doctors, teachers at the university and in public schools. In Alaska, most H-1B workers are not tech workers.”

Alaska isn’t the only state facing a dire labor shortage. Rural clinics across the country have increasingly relied on immigrant workers. Since the fee change was announced, some jobs have gone unfilled entirely. Last September, the National Rural Health Association and National Association of Rural Health Clinics asked the Trump administration to implement a “blanket exception for healthcare providers.” They didn’t hear back. (The National Rural Health Association did not respond to The Verge’s request for comment.)

Global Nurse Force, a nurse recruiting firm, sued the Trump administration over the fee hike last October. It’s one of three federal lawsuits that have been filed since the change went into effect.

In a February hearing in the Global Nurse Force case, government attorneys said about 70 employers have paid the fee so far. The low number of applicants, the administration claims, proves that the increase “is not a tax because it’s not raising revenue.” It could also signal that employers have figured out ways to get around paying the fee.

Fariba Faiz, an immigration attorney based in San Francisco, said the fee has changed companies’ hiring practices — but it hasn’t stopped them from hiring immigrant workers. “What we are seeing in practice is a shift in employer strategy rather than a complete abandonment of the H-1B program,” Faiz said.

The $100,000 fee only applies to first-time petitioners applying from outside the United States. Someone in the US on a student visa who applies for an H-1B, for example, wouldn’t be subject to the increased fee. This workaround means that some companies “are prioritizing cases that can be filed as stateside changes of status,” Faiz said, while others are hiring foreign workers remotely rather than bringing them into the country.

“The practical effect is that companies are adjusting hiring models to avoid the fee rather than eliminating the need for highly skilled workers,” Faiz said. “In many cases, the talent is still being hired, the job however is simply no longer located in the United States.”

Even with these workarounds, the Trump administration’s broader immigration policies have made some companies more hesitant to hire immigrant workers. Some employers don’t understand the new regulations.

“The questions that I’ve answered about the $100,000 tax, so to speak, have been endless,” said Matt Maiona, a Boston-based immigration attorney. Maiona said he often speaks to clients who don’t realize there are ways to get around the fee. “But it’s not necessarily the $100,000 that’s making companies not want to hire; it’s the environment, it’s the economy, and it’s the uncertainty of how their employees may or may not get into the country even if they’re doing everything right.”

Beyond going after so-called “criminal aliens,” the Trump administration is also cracking down on nearly all forms of legal immigration. The administration recently reduced the length of asylum seekers’ work permits to 18 months. Before the change, asylum seekers’ work authorizations lasted five years. The administration also announced last August that it’s reviewing the records of all visa holders — including those with H-1Bs — for any violations that could render them deportable. Since December, H-1B applicants have also been subject to enhanced vetting, and petitioners who have worked in content moderation may have their requests denied.

“The $100,000 is something you can get an answer on,” Maiona said. “You can call an immigration attorney and we’ll say, ‘We don’t really think you have anything to worry about. It looks fine, you’re in good shape.’ But the other things we can’t really promise. That’s really what’s driving a lot more of this. It’s that fear.”

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The long-awaited sequel to the cult movie Spaceballs now has a release date: April 23, 2027.

Spaceballs was released on June 24, 1987, making the Spaceballs 2 premiere nearly 40 years later.

Original writer-director Mel Brooks officially announced Spaceballs 2 last year, with Bill Pullman, Rick Moranis, and Daphne Zuniga reprising their roles. Now, Amazon MGM Studios has announced the actual release date ahead of CinemaCon 2026, exclusively for Deadline.

From there, we really only know the details that were released last year, like that Josh Greenbaum (Will and Harper) is directing, and the script is written by Josh Gad, Benji Samit, and Dan Hernandez. Gad is also expected to star, along with Keke Palmer.

#Spaceballs #sequel #release #date">The ‘Spaceballs’ sequel has a release date
                                                            The long-awaited sequel to the cult movie Spaceballs now has a release date: April 23, 2027.Spaceballs was released on June 24, 1987, making the Spaceballs 2 premiere nearly 40 years later.
        
            Mashable Top Stories
        
        
    
Original writer-director Mel Brooks officially announced Spaceballs 2 last year, with Bill Pullman, Rick Moranis, and Daphne Zuniga reprising their roles. Now, Amazon MGM Studios has announced the actual release date ahead of CinemaCon 2026, exclusively for Deadline. 

From there, we really only know the details that were released last year, like that Josh Greenbaum (Will and Harper) is directing, and the script is written by Josh Gad, Benji Samit, and Dan Hernandez. Gad is also expected to star, along with Keke Palmer.

                    
                                            
                            
                        
                                    #Spaceballs #sequel #release #date

sequel to the cult movie Spaceballs now has a release date: April 23, 2027.

Spaceballs was released on June 24, 1987, making the Spaceballs 2 premiere nearly 40 years later.

Original writer-director Mel Brooks officially announced Spaceballs 2 last year, with Bill Pullman, Rick Moranis, and Daphne Zuniga reprising their roles. Now, Amazon MGM Studios has announced the actual release date ahead of CinemaCon 2026, exclusively for Deadline.

From there, we really only know the details that were released last year, like that Josh Greenbaum (Will and Harper) is directing, and the script is written by Josh Gad, Benji Samit, and Dan Hernandez. Gad is also expected to star, along with Keke Palmer.

#Spaceballs #sequel #release #date">The ‘Spaceballs’ sequel has a release date

The long-awaited sequel to the cult movie Spaceballs now has a release date: April 23, 2027.

Spaceballs was released on June 24, 1987, making the Spaceballs 2 premiere nearly 40 years later.

Original writer-director Mel Brooks officially announced Spaceballs 2 last year, with Bill Pullman, Rick Moranis, and Daphne Zuniga reprising their roles. Now, Amazon MGM Studios has announced the actual release date ahead of CinemaCon 2026, exclusively for Deadline.

From there, we really only know the details that were released last year, like that Josh Greenbaum (Will and Harper) is directing, and the script is written by Josh Gad, Benji Samit, and Dan Hernandez. Gad is also expected to star, along with Keke Palmer.

#Spaceballs #sequel #release #date

AI music platform Suno’s policy is that it does not permit the use of copyrighted material. You can upload your own tracks to remix or set your original lyrics to AI-generated music. But, it’s supposed to recognize and stop you from using other people’s songs and lyrics. Now, no system is perfect, but it turns out that Suno’s copyright filters are incredibly easy to fool.

With minimal effort and some free software, Suno will spit out AI-generated imitations of popular songs like Beyoncé‘s “Freedom,” Black Sabbath’s “Paranoid,” and Aqua’s “Barbie Girl” that are alarmingly close to the original. Most people will likely be able to tell the difference, but some could be mistaken for alternate takes or B-sides at a casual listen. What’s more, it’s possible someone could monetize these uncanny valley covers by exporting them and uploading them to streaming services. Suno declined to comment for this story.

Making these covers requires using Suno Studio, available on the company’s $24-a-month Premier Plan. Rather than prompting a whole song with text, Suno Studio lets you upload a track to edit or cover. It’s likely to catch and reject a well-known hit with no tweaks. But using a basic free tool like Audacity to slow down a track to half-speed or speed it up to twice normal will often bypass the filter, and adding a burst of white noise to the start and end seems to basically guarantee success. You can restore the original speed and cut the white noise in Suno Studio, and the copyrighted song becomes the seed for new AI music.

If you generate a cover of the imported audio without any style transfers, Suno basically spits out the original instrumental arrangement with very minimal tweaks to the sound palette if you’re using model 4.5 or 4.5+. Model v5 is a bit more aggressive in taking liberties with the source material, adding chugging guitar and galloping piano to “Freedom” and turning the Dead Kennedys’ “California Über Alles” into a fiddle-driven jig.

Suno lets you add vocals by generating lyrics or typing words into a box, and once again, it’s supposed to block anything copyrighted. If you copy and paste the official lyrics for a song from Genius, Suno will flag them and spit out gibberish vocals. But extremely minor changes can bypass this filter as well.

I was able to trick Suno Studio by tweaking the spelling of a handful of words in “Freedom” — changing “rain on this bitter love” to “reign on” and “tell the sweet I’m new” to “tell the suite” — and beyond the first verse and chorus, I didn’t even need to do that. The voice closely mimics the original recording, summoning slightly off-brand renditions of Ozzy or Beyoncé.

Indie artists might not even be afforded that level of protection. One of my own songs cleared the copyright filter while I was testing v5 of the company’s model. I was also able to get tracks by singer-songwriter Matt Wilson, Charles Bissell’s “Car Colors,” and experimental artist Claire Rousay by Suno’s copyright detection system without any changes at all. Artists on smaller labels or self-distributing through Bandcamp or services like DistroKid are most likely to slip through the cracks; DistroKid and CD Baby declined to comment.

The results of these AI covers fall firmly in the uncanny valley. The songs they’re covering are unmistakable: the riff from “Paranoid” remains identifiable and “Freedom” is obviously “Freedom” from the moment the marching snare hits kick in. But there is a lifelessness to them. Even if AI Ozzy is alarmingly accurate-sounding, it lacks nuance and dynamics, leading it to feel like an imitation of a human, rather than the real thing.

The instrumentals similarly discard any interesting artistic choices the originals make, or clone them in flat imitations. A non-jig “California Über Alles” cover has most of its rough edges sanded down so it sounds like a wedding band version of the original. Pink Floyd’s “Another Brick in the Wall” goes from an experiment in doom disco to just vacuous dancefloor filler. And, while it kind of nails David Gilmour’s guitar tone, it does away with any sense of phrasing or progression, turning the solo into just a mindless stream of notes.

Creating unauthorized covers violates both the stated purpose of Suno, and the terms of service. Moreover, Suno only appears to scan tracks on upload; it doesn’t seem to recheck outputs for potential infringement, or rescan tracks before exporting them. The path to monetizing Suno-created covers is simple from there. AI slopmongers could upload them through a distribution service like DistroKid and profit from other people’s songs without paying the typical royalties a cover would give the original composer. And independent artists seem to be the most vulnerable.

Folk artist Murphy Campbell discovered this recently when someone uploaded what seem to be AI covers of songs she posted on YouTube to her Spotify profile. (It’s not clear what system they were generated through.) Shortly afterwards, distributor Vydia filed copyright claims against her YouTube videos and began collecting royalties on them. And to highlight just how broken the whole system is, the songs which Vydia successfully filed copyright claims for are all in the public domain. Spotify eventually removed the AI covers, and Vydia has rescinded its copyright claims, but that only happened following a social media campaign by Campbell. Vydia says the two incidents are separate and it is not associated with the AI covers of Campbell’s work.

AI fakes are a problem for other artists too. Experimental composer William Basinski and indie rock group King Gizzard and The Lizard Wizard have had imitations slip through multiple filters and reach streaming platforms like Spotify. Sometimes, these fake songs can siphon up views straight from the artist’s own page. In a system where payouts can already be brutally low — Spotify requires a minimum of 1,000 streams to get paid — less famous musicians are hit hardest.

Suno is only one cog in a clearly broken system.

Services like Deezer, Qobuz, and Spotify have taken measures to combat spammy AI and impersonators. Spotify spokesperson Chris Macowski told The Verge that the company “takes protecting artists’ rights seriously, and approaches it from multiple angles. That includes safeguards to help prevent unauthorized content from being uploaded in the first place, along with systems that can identify duplicate or highly similar tracks. Those systems are backed by human review to make sure we’re getting it right.” But no system is perfect, and keeping up with a flood of AI slop enabled by platforms like Suno poses a challenge.

Macowski acknowledged the technical difficulties involved, saying, “It’s an area we’re continuing to invest in and evolve, especially as new technologies emerge.”

Suno is only one cog in a clearly broken system. But it’s one artists have particularly little recourse to fight. Bands can contact Spotify and have AI fakes removed from their profile. It’s harder to tell how those fakes are generated, and if they’re the result of Suno’s filters failing. And so far, Suno’s response is silence.

Follow topics and authors from this story to see more like this in your personalized homepage feed and to receive email updates.
#Suno #music #copyright #nightmareAI,Entertainment,Music,Report,Tech">Suno is a music copyright nightmareAI music platform Suno’s policy is that it does not permit the use of copyrighted material. You can upload your own tracks to remix or set your original lyrics to AI-generated music. But, it’s supposed to recognize and stop you from using other people’s songs and lyrics. Now, no system is perfect, but it turns out that Suno’s copyright filters are incredibly easy to fool.With minimal effort and some free software, Suno will spit out AI-generated imitations of popular songs like Beyoncé‘s “Freedom,” Black Sabbath’s “Paranoid,” and Aqua’s “Barbie Girl” that are alarmingly close to the original. Most people will likely be able to tell the difference, but some could be mistaken for alternate takes or B-sides at a casual listen. What’s more, it’s possible someone could monetize these uncanny valley covers by exporting them and uploading them to streaming services. Suno declined to comment for this story.Making these covers requires using Suno Studio, available on the company’s -a-month Premier Plan. Rather than prompting a whole song with text, Suno Studio lets you upload a track to edit or cover. It’s likely to catch and reject a well-known hit with no tweaks. But using a basic free tool like Audacity to slow down a track to half-speed or speed it up to twice normal will often bypass the filter, and adding a burst of white noise to the start and end seems to basically guarantee success. You can restore the original speed and cut the white noise in Suno Studio, and the copyrighted song becomes the seed for new AI music.If you generate a cover of the imported audio without any style transfers, Suno basically spits out the original instrumental arrangement with very minimal tweaks to the sound palette if you’re using model 4.5 or 4.5+. Model v5 is a bit more aggressive in taking liberties with the source material, adding chugging guitar and galloping piano to “Freedom” and turning the Dead Kennedys’ “California Über Alles” into a fiddle-driven jig.Suno lets you add vocals by generating lyrics or typing words into a box, and once again, it’s supposed to block anything copyrighted. If you copy and paste the official lyrics for a song from Genius, Suno will flag them and spit out gibberish vocals. But extremely minor changes can bypass this filter as well.I was able to trick Suno Studio by tweaking the spelling of a handful of words in “Freedom” — changing “rain on this bitter love” to “reign on” and “tell the sweet I’m new” to “tell the suite” — and beyond the first verse and chorus, I didn’t even need to do that. The voice closely mimics the original recording, summoning slightly off-brand renditions of Ozzy or Beyoncé.Indie artists might not even be afforded that level of protection. One of my own songs cleared the copyright filter while I was testing v5 of the company’s model. I was also able to get tracks by singer-songwriter Matt Wilson, Charles Bissell’s “Car Colors,” and experimental artist Claire Rousay by Suno’s copyright detection system without any changes at all. Artists on smaller labels or self-distributing through Bandcamp or services like DistroKid are most likely to slip through the cracks; DistroKid and CD Baby declined to comment.The results of these AI covers fall firmly in the uncanny valley. The songs they’re covering are unmistakable: the riff from “Paranoid” remains identifiable and “Freedom” is obviously “Freedom” from the moment the marching snare hits kick in. But there is a lifelessness to them. Even if AI Ozzy is alarmingly accurate-sounding, it lacks nuance and dynamics, leading it to feel like an imitation of a human, rather than the real thing.The instrumentals similarly discard any interesting artistic choices the originals make, or clone them in flat imitations. A non-jig “California Über Alles” cover has most of its rough edges sanded down so it sounds like a wedding band version of the original. Pink Floyd’s “Another Brick in the Wall” goes from an experiment in doom disco to just vacuous dancefloor filler. And, while it kind of nails David Gilmour’s guitar tone, it does away with any sense of phrasing or progression, turning the solo into just a mindless stream of notes.Creating unauthorized covers violates both the stated purpose of Suno, and the terms of service. Moreover, Suno only appears to scan tracks on upload; it doesn’t seem to recheck outputs for potential infringement, or rescan tracks before exporting them. The path to monetizing Suno-created covers is simple from there. AI slopmongers could upload them through a distribution service like DistroKid and profit from other people’s songs without paying the typical royalties a cover would give the original composer. And independent artists seem to be the most vulnerable.Folk artist Murphy Campbell discovered this recently when someone uploaded what seem to be AI covers of songs she posted on YouTube to her Spotify profile. (It’s not clear what system they were generated through.) Shortly afterwards, distributor Vydia filed copyright claims against her YouTube videos and began collecting royalties on them. And to highlight just how broken the whole system is, the songs which Vydia successfully filed copyright claims for are all in the public domain. Spotify eventually removed the AI covers, and Vydia has rescinded its copyright claims, but that only happened following a social media campaign by Campbell. Vydia says the two incidents are separate and it is not associated with the AI covers of Campbell’s work.AI fakes are a problem for other artists too. Experimental composer William Basinski and indie rock group King Gizzard and The Lizard Wizard have had imitations slip through multiple filters and reach streaming platforms like Spotify. Sometimes, these fake songs can siphon up views straight from the artist’s own page. In a system where payouts can already be brutally low — Spotify requires a minimum of 1,000 streams to get paid — less famous musicians are hit hardest.Suno is only one cog in a clearly broken system.Services like Deezer, Qobuz, and Spotify have taken measures to combat spammy AI and impersonators. Spotify spokesperson Chris Macowski told The Verge that the company “takes protecting artists’ rights seriously, and approaches it from multiple angles. That includes safeguards to help prevent unauthorized content from being uploaded in the first place, along with systems that can identify duplicate or highly similar tracks. Those systems are backed by human review to make sure we’re getting it right.” But no system is perfect, and keeping up with a flood of AI slop enabled by platforms like Suno poses a challenge.Macowski acknowledged the technical difficulties involved, saying, “It’s an area we’re continuing to invest in and evolve, especially as new technologies emerge.”Suno is only one cog in a clearly broken system. But it’s one artists have particularly little recourse to fight. Bands can contact Spotify and have AI fakes removed from their profile. It’s harder to tell how those fakes are generated, and if they’re the result of Suno’s filters failing. And so far, Suno’s response is silence.Follow topics and authors from this story to see more like this in your personalized homepage feed and to receive email updates.Terrence O’BrienCloseTerrence O’BrienPosts from this author will be added to your daily email digest and your homepage feed.FollowFollowSee All by Terrence O’BrienAICloseAIPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All AIEntertainmentCloseEntertainmentPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All EntertainmentMusicCloseMusicPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All MusicReportCloseReportPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All ReportTechCloseTechPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All Tech#Suno #music #copyright #nightmareAI,Entertainment,Music,Report,Tech

copyrighted material. You can upload your own tracks to remix or set your original lyrics to AI-generated music. But, it’s supposed to recognize and stop you from using other people’s songs and lyrics. Now, no system is perfect, but it turns out that Suno’s copyright filters are incredibly easy to fool.

With minimal effort and some free software, Suno will spit out AI-generated imitations of popular songs like Beyoncé‘s “Freedom,” Black Sabbath’s “Paranoid,” and Aqua’s “Barbie Girl” that are alarmingly close to the original. Most people will likely be able to tell the difference, but some could be mistaken for alternate takes or B-sides at a casual listen. What’s more, it’s possible someone could monetize these uncanny valley covers by exporting them and uploading them to streaming services. Suno declined to comment for this story.

Making these covers requires using Suno Studio, available on the company’s $24-a-month Premier Plan. Rather than prompting a whole song with text, Suno Studio lets you upload a track to edit or cover. It’s likely to catch and reject a well-known hit with no tweaks. But using a basic free tool like Audacity to slow down a track to half-speed or speed it up to twice normal will often bypass the filter, and adding a burst of white noise to the start and end seems to basically guarantee success. You can restore the original speed and cut the white noise in Suno Studio, and the copyrighted song becomes the seed for new AI music.

If you generate a cover of the imported audio without any style transfers, Suno basically spits out the original instrumental arrangement with very minimal tweaks to the sound palette if you’re using model 4.5 or 4.5+. Model v5 is a bit more aggressive in taking liberties with the source material, adding chugging guitar and galloping piano to “Freedom” and turning the Dead Kennedys’ “California Über Alles” into a fiddle-driven jig.

Suno lets you add vocals by generating lyrics or typing words into a box, and once again, it’s supposed to block anything copyrighted. If you copy and paste the official lyrics for a song from Genius, Suno will flag them and spit out gibberish vocals. But extremely minor changes can bypass this filter as well.

I was able to trick Suno Studio by tweaking the spelling of a handful of words in “Freedom” — changing “rain on this bitter love” to “reign on” and “tell the sweet I’m new” to “tell the suite” — and beyond the first verse and chorus, I didn’t even need to do that. The voice closely mimics the original recording, summoning slightly off-brand renditions of Ozzy or Beyoncé.

Indie artists might not even be afforded that level of protection. One of my own songs cleared the copyright filter while I was testing v5 of the company’s model. I was also able to get tracks by singer-songwriter Matt Wilson, Charles Bissell’s “Car Colors,” and experimental artist Claire Rousay by Suno’s copyright detection system without any changes at all. Artists on smaller labels or self-distributing through Bandcamp or services like DistroKid are most likely to slip through the cracks; DistroKid and CD Baby declined to comment.

The results of these AI covers fall firmly in the uncanny valley. The songs they’re covering are unmistakable: the riff from “Paranoid” remains identifiable and “Freedom” is obviously “Freedom” from the moment the marching snare hits kick in. But there is a lifelessness to them. Even if AI Ozzy is alarmingly accurate-sounding, it lacks nuance and dynamics, leading it to feel like an imitation of a human, rather than the real thing.

The instrumentals similarly discard any interesting artistic choices the originals make, or clone them in flat imitations. A non-jig “California Über Alles” cover has most of its rough edges sanded down so it sounds like a wedding band version of the original. Pink Floyd’s “Another Brick in the Wall” goes from an experiment in doom disco to just vacuous dancefloor filler. And, while it kind of nails David Gilmour’s guitar tone, it does away with any sense of phrasing or progression, turning the solo into just a mindless stream of notes.

Creating unauthorized covers violates both the stated purpose of Suno, and the terms of service. Moreover, Suno only appears to scan tracks on upload; it doesn’t seem to recheck outputs for potential infringement, or rescan tracks before exporting them. The path to monetizing Suno-created covers is simple from there. AI slopmongers could upload them through a distribution service like DistroKid and profit from other people’s songs without paying the typical royalties a cover would give the original composer. And independent artists seem to be the most vulnerable.

Folk artist Murphy Campbell discovered this recently when someone uploaded what seem to be AI covers of songs she posted on YouTube to her Spotify profile. (It’s not clear what system they were generated through.) Shortly afterwards, distributor Vydia filed copyright claims against her YouTube videos and began collecting royalties on them. And to highlight just how broken the whole system is, the songs which Vydia successfully filed copyright claims for are all in the public domain. Spotify eventually removed the AI covers, and Vydia has rescinded its copyright claims, but that only happened following a social media campaign by Campbell. Vydia says the two incidents are separate and it is not associated with the AI covers of Campbell’s work.

AI fakes are a problem for other artists too. Experimental composer William Basinski and indie rock group King Gizzard and The Lizard Wizard have had imitations slip through multiple filters and reach streaming platforms like Spotify. Sometimes, these fake songs can siphon up views straight from the artist’s own page. In a system where payouts can already be brutally low — Spotify requires a minimum of 1,000 streams to get paid — less famous musicians are hit hardest.

Suno is only one cog in a clearly broken system.

Services like Deezer, Qobuz, and Spotify have taken measures to combat spammy AI and impersonators. Spotify spokesperson Chris Macowski told The Verge that the company “takes protecting artists’ rights seriously, and approaches it from multiple angles. That includes safeguards to help prevent unauthorized content from being uploaded in the first place, along with systems that can identify duplicate or highly similar tracks. Those systems are backed by human review to make sure we’re getting it right.” But no system is perfect, and keeping up with a flood of AI slop enabled by platforms like Suno poses a challenge.

Macowski acknowledged the technical difficulties involved, saying, “It’s an area we’re continuing to invest in and evolve, especially as new technologies emerge.”

Suno is only one cog in a clearly broken system. But it’s one artists have particularly little recourse to fight. Bands can contact Spotify and have AI fakes removed from their profile. It’s harder to tell how those fakes are generated, and if they’re the result of Suno’s filters failing. And so far, Suno’s response is silence.

Follow topics and authors from this story to see more like this in your personalized homepage feed and to receive email updates.

#Suno #music #copyright #nightmareAI,Entertainment,Music,Report,Tech">Suno is a music copyright nightmare

AI music platform Suno’s policy is that it does not permit the use of copyrighted material. You can upload your own tracks to remix or set your original lyrics to AI-generated music. But, it’s supposed to recognize and stop you from using other people’s songs and lyrics. Now, no system is perfect, but it turns out that Suno’s copyright filters are incredibly easy to fool.

With minimal effort and some free software, Suno will spit out AI-generated imitations of popular songs like Beyoncé‘s “Freedom,” Black Sabbath’s “Paranoid,” and Aqua’s “Barbie Girl” that are alarmingly close to the original. Most people will likely be able to tell the difference, but some could be mistaken for alternate takes or B-sides at a casual listen. What’s more, it’s possible someone could monetize these uncanny valley covers by exporting them and uploading them to streaming services. Suno declined to comment for this story.

Making these covers requires using Suno Studio, available on the company’s $24-a-month Premier Plan. Rather than prompting a whole song with text, Suno Studio lets you upload a track to edit or cover. It’s likely to catch and reject a well-known hit with no tweaks. But using a basic free tool like Audacity to slow down a track to half-speed or speed it up to twice normal will often bypass the filter, and adding a burst of white noise to the start and end seems to basically guarantee success. You can restore the original speed and cut the white noise in Suno Studio, and the copyrighted song becomes the seed for new AI music.

If you generate a cover of the imported audio without any style transfers, Suno basically spits out the original instrumental arrangement with very minimal tweaks to the sound palette if you’re using model 4.5 or 4.5+. Model v5 is a bit more aggressive in taking liberties with the source material, adding chugging guitar and galloping piano to “Freedom” and turning the Dead Kennedys’ “California Über Alles” into a fiddle-driven jig.

Suno lets you add vocals by generating lyrics or typing words into a box, and once again, it’s supposed to block anything copyrighted. If you copy and paste the official lyrics for a song from Genius, Suno will flag them and spit out gibberish vocals. But extremely minor changes can bypass this filter as well.

I was able to trick Suno Studio by tweaking the spelling of a handful of words in “Freedom” — changing “rain on this bitter love” to “reign on” and “tell the sweet I’m new” to “tell the suite” — and beyond the first verse and chorus, I didn’t even need to do that. The voice closely mimics the original recording, summoning slightly off-brand renditions of Ozzy or Beyoncé.

Indie artists might not even be afforded that level of protection. One of my own songs cleared the copyright filter while I was testing v5 of the company’s model. I was also able to get tracks by singer-songwriter Matt Wilson, Charles Bissell’s “Car Colors,” and experimental artist Claire Rousay by Suno’s copyright detection system without any changes at all. Artists on smaller labels or self-distributing through Bandcamp or services like DistroKid are most likely to slip through the cracks; DistroKid and CD Baby declined to comment.

The results of these AI covers fall firmly in the uncanny valley. The songs they’re covering are unmistakable: the riff from “Paranoid” remains identifiable and “Freedom” is obviously “Freedom” from the moment the marching snare hits kick in. But there is a lifelessness to them. Even if AI Ozzy is alarmingly accurate-sounding, it lacks nuance and dynamics, leading it to feel like an imitation of a human, rather than the real thing.

The instrumentals similarly discard any interesting artistic choices the originals make, or clone them in flat imitations. A non-jig “California Über Alles” cover has most of its rough edges sanded down so it sounds like a wedding band version of the original. Pink Floyd’s “Another Brick in the Wall” goes from an experiment in doom disco to just vacuous dancefloor filler. And, while it kind of nails David Gilmour’s guitar tone, it does away with any sense of phrasing or progression, turning the solo into just a mindless stream of notes.

Creating unauthorized covers violates both the stated purpose of Suno, and the terms of service. Moreover, Suno only appears to scan tracks on upload; it doesn’t seem to recheck outputs for potential infringement, or rescan tracks before exporting them. The path to monetizing Suno-created covers is simple from there. AI slopmongers could upload them through a distribution service like DistroKid and profit from other people’s songs without paying the typical royalties a cover would give the original composer. And independent artists seem to be the most vulnerable.

Folk artist Murphy Campbell discovered this recently when someone uploaded what seem to be AI covers of songs she posted on YouTube to her Spotify profile. (It’s not clear what system they were generated through.) Shortly afterwards, distributor Vydia filed copyright claims against her YouTube videos and began collecting royalties on them. And to highlight just how broken the whole system is, the songs which Vydia successfully filed copyright claims for are all in the public domain. Spotify eventually removed the AI covers, and Vydia has rescinded its copyright claims, but that only happened following a social media campaign by Campbell. Vydia says the two incidents are separate and it is not associated with the AI covers of Campbell’s work.

AI fakes are a problem for other artists too. Experimental composer William Basinski and indie rock group King Gizzard and The Lizard Wizard have had imitations slip through multiple filters and reach streaming platforms like Spotify. Sometimes, these fake songs can siphon up views straight from the artist’s own page. In a system where payouts can already be brutally low — Spotify requires a minimum of 1,000 streams to get paid — less famous musicians are hit hardest.

Suno is only one cog in a clearly broken system.

Services like Deezer, Qobuz, and Spotify have taken measures to combat spammy AI and impersonators. Spotify spokesperson Chris Macowski told The Verge that the company “takes protecting artists’ rights seriously, and approaches it from multiple angles. That includes safeguards to help prevent unauthorized content from being uploaded in the first place, along with systems that can identify duplicate or highly similar tracks. Those systems are backed by human review to make sure we’re getting it right.” But no system is perfect, and keeping up with a flood of AI slop enabled by platforms like Suno poses a challenge.

Macowski acknowledged the technical difficulties involved, saying, “It’s an area we’re continuing to invest in and evolve, especially as new technologies emerge.”

Suno is only one cog in a clearly broken system. But it’s one artists have particularly little recourse to fight. Bands can contact Spotify and have AI fakes removed from their profile. It’s harder to tell how those fakes are generated, and if they’re the result of Suno’s filters failing. And so far, Suno’s response is silence.

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#Suno #music #copyright #nightmareAI,Entertainment,Music,Report,Tech

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