内容来源：https://www.theverge.com/ai-artificial-intelligence/906896/sunos-copyright-ai-music-covers

内容总结：

AI音乐平台Suno版权过滤机制存漏洞，独立音乐人或成最大受害者

近期测试显示，知名AI音乐生成平台Suno的版权保护系统存在明显缺陷，用户可轻易绕过其过滤机制，利用受版权保护的歌曲生成高度相似的AI翻唱版本，并可能将其上传至流媒体平台牟利，对音乐创作者权益构成严重威胁。

尽管Suno明确禁止用户使用受版权保护的材料，并声称其系统能识别和阻止此类行为，但实际操作中，只需使用免费音频编辑软件对原曲进行简单变速或添加短暂白噪音，即可成功欺骗其检测系统。生成内容虽与原版存在细微差异，但旋律、编曲辨识度极高，普通听众难以分辨。

更令人担忧的是，平台对独立音乐人的保护尤为薄弱。测试中，多位独立艺术家的原创歌曲未经任何修改即通过了版权检测。这意味着，小众创作者的作品被AI擅自模仿并传播的风险更高。

此类AI仿制歌曲不仅侵犯原创者权益，还可能通过DistroKid等发行服务上传至Spotify等流媒体平台，窃取本应属于原作者的版税。已有案例显示，有独立音乐人在不知情的情况下，发现疑似AI仿制的歌曲出现在其官方艺人页面，甚至引发第三方公司对其原创内容提出错误的版权主张。

尽管Spotify等流媒体平台表示已建立包括人工审核在内的多重防护机制，但面对AI生成内容的海量涌入，彻底遏制的技术挑战依然巨大。截至目前，Suno平台对此问题尚未作出公开回应。

业内观察指出，Suno仅是当前音乐版权保护链条中一个出现故障的“齿轮”，但其漏洞凸显了AI技术滥用对音乐产业，尤其是资源有限的独立艺术家所带来的不公平冲击。在相关法规与技术防护尚未完善的背景下，如何有效保护创作者权益已成为整个行业亟待解决的严峻课题。

中文翻译：

AI音乐平台Suno的政策明确禁止使用受版权保护的内容。用户可以上传自己的曲目进行混音，或将原创歌词配以AI生成的音乐。平台本应识别并阻止用户使用他人的歌曲和歌词，但现实是——没有任何系统是完美的——Suno的版权过滤机制竟能轻易被绕过。

Suno正成为音乐版权的噩梦
它让AI仿制的"山寨碧昂丝"作品轻易泛滥流媒体平台。

只需投入极少精力并借助免费软件，Suno就能生成与热门歌曲惊人相似的AI仿制品——无论是碧昂丝的《Freedom》、黑色安息日乐队的《Paranoid》还是水叮当乐队的《Barbie Girl》。多数人或许能听出差异，但随意聆听时，部分仿作可能被误认为是原曲的替代版本或B面作品。更严重的是，有人可能将这些诡异仿作导出并上传至流媒体服务以牟利。Suno对此拒绝置评。

制作这类仿作需要使用Suno Studio功能，该功能仅向每月24美元的尊享计划用户开放。与通过文字提示生成整曲不同，Suno Studio允许用户上传曲目进行编辑或翻唱。未经修改的知名热门歌曲通常会被识别拦截，但若使用Audacity这类基础免费工具将曲目速度放慢一半或加快一倍，往往就能突破过滤机制；若在音频首尾添加突发白噪声，则基本能确保成功。用户可在Suno Studio中恢复原始速度并剪除白噪声，受版权保护的歌曲就此成为AI新音乐的生成种子。

若使用4.5或4.5+版本模型对导入音频生成无风格转换的翻唱，Suno基本会输出与原版编曲高度相似的器乐版本，仅对音色进行极细微调整。而v5版本模型对原素材的改动更为大胆：为《Freedom》加入急促的吉他和奔腾的钢琴声，将死肯尼迪乐队的《California Über Alles》改编成小提琴主导的吉格舞曲。

Suno允许用户通过生成歌词或输入文字添加人声，同样声称会屏蔽受版权保护的内容。若从Genius网站复制粘贴官方歌词，系统会标记并输出混乱的人声。但极其微小的修改就能突破这道防线——笔者仅将《Freedom》中少量单词拼写稍作调整（如将"rain on this bitter love"改为"reign on"，"tell the sweet I'm new"改为"tell the suite"），从第二段主歌开始甚至无需修改即可通过。生成的人声高度模仿原版录音，营造出稍显变调的奥兹或碧昂丝演绎效果。

独立艺术家可能连这种程度的保护都无法获得。测试v5模型时，笔者个人创作的歌曲竟通过了版权过滤。歌手兼创作人马特·威尔逊的作品、查尔斯·比塞尔的《Car Colors》以及实验艺术家克莱尔·劳西的曲目，均能在未经任何修改的情况下通过Suno的版权检测系统。小型厂牌旗下艺人或通过Bandcamp、DistroKid等平台自主发行的音乐人最易成为漏洞牺牲品（DistroKid与CD Baby均拒绝置评）。

这些AI仿作深陷"恐怖谷"困境：被模仿的歌曲特征鲜明——《Paranoid》的连复段清晰可辨，《Freedom》从行进小军鼓敲响瞬间就显露原曲本质。但它们始终缺乏生命力：即使AI生成的奥兹嗓音惊人地准确，仍缺失细腻层次与动态变化，让人感觉是在模仿人类而非真实演绎。

器乐编排同样摒弃了原作的独特艺术选择，或仅进行呆板克隆。非吉格舞曲版的《California Über Alles》磨平了所有粗粝棱角，听起来像婚礼乐队演绎的温吞版本；平克·弗洛伊德《Another Brick in the Wall》从厄运迪斯科实验曲沦为空洞的舞池填充物。虽然勉强复现了大卫·吉尔摩的吉他音色，却完全丧失乐句编排与推进感，将独奏变成一串无意识的音符流。

制作未授权翻唱既违反Suno明示的宗旨，也违背其服务条款。更甚的是，Suno似乎仅在上传时扫描曲目，既不会重新检测输出内容是否侵权，也不会在导出前二次审核。由此，将Suno生成的仿作变现易如反掌——AI垃圾内容制造者可通过DistroKid等发行服务上传作品，利用他人歌曲获利却无需支付常规翻唱版税，而独立艺术家正是最脆弱的群体。

民谣艺术家墨菲·坎贝尔近期就遭遇此类事件：有人将她发布在YouTube的歌曲制成AI仿作上传至其Spotify主页（生成途径不明）。随后发行商Vydia竟对她的YouTube视频发起版权主张并开始收取版税——极具讽刺的是，Vydia成功主张版权的歌曲均属公共领域作品。直到坎贝尔发起社交媒体运动后，Spotify才下架AI仿作，Vydia也撤回了版权主张。Vydia声称两起事件无关，否认与坎贝尔作品的AI仿作有关联。

其他艺术家同样深受AI仿作之害。实验作曲家威廉·巴辛斯基、独立摇滚乐队King Gizzard and The Lizard Wizard都遭遇过仿作突破多重过滤登陆Spotify等平台的情况。有时这些假歌甚至会从艺术家官方页面分流播放量——在Spotify需累计至少1000次流媒体播放才能获得微薄收益的体系下，名气较小的音乐人承受着最沉重的打击。

破碎系统中的齿轮
Deezer、Qobuz、Spotify等服务商已采取措施打击垃圾AI内容和仿冒者。Spotify发言人克里斯·马科夫斯基向The Verge表示："我们严肃对待艺术家权益保护，通过多重机制推进：既设置防护措施阻止未授权内容上传，也建立识别重复或高度相似曲目的系统，并由人工审核确保判断准确。"但他也承认："没有任何系统是完美的，应对Suno等平台催生的AI垃圾内容洪流确实存在挑战。这是一个我们持续投入和演进的领域，尤其需要应对新兴技术。"

Suno只是这个明显破碎系统中的一环，但艺术家却对其几乎无计可施。乐队可以联系Spotify下架其主页的AI仿作，却难以追溯仿作的生成途径，更无法证实是否源于Suno过滤机制失效。而迄今为止，Suno的回应只有沉默。

英文来源：

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.
Suno is a music copyright nightmare
It makes it easy to flood streaming with AI Beyoncé ripoffs.
Suno is a music copyright nightmare
It makes it easy to flood streaming with AI Beyoncé ripoffs.
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.