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.
Technology
Suno is a music copyright nightmare
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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In the days since this year’s White House Correspondents’ Dinner was cut short when shots were fired at the event, there has been a boom of conspiracy theory videos created by people who insist that the entire situation was a false flag operation. These kinds of theories are nothing new, but the way they’re spreading now is a reflection of how reaction video culture is reshaping our social media landscape. And even though the initial chaos around the shooting has started to die down, content creators are still posting about what “really” happened.
There is still much we do not know about Cole Allen, the 31-year-old suspected shooter who allegedly traveled from Los Angeles to Washington, DC, ahead of the WCHD and was staying in the same Hilton where the event was held. But that has not stopped content creators from flooding platforms like YouTube, TikTok, Instagram, and X with videos purporting to have more insightful takes on the situation than what’s being reported by the mainstream media.
None of these videos reveal anything that hasn’t already been reported out via traditional media outlets. But each of them speaks to the way that this brand of content has become a normal part of people’s media consumption habits and something that creators see as a viable way to capture attention. In the US, trust in traditional media outlets is at a historic low and more people are turning to social media to stay informed about world events. And that shift has given conspiracy-minded content creators a choice opportunity to influence the way people understand reality.
All of this is similar to what happened in 2024 when Donald Trump survived an assassination attempt while campaigning for the presidency. Then, creators rushed to capitalize on the event while also writing it off as a false flag designed to garner sympathy for the Republican nominee. That news cycle and subsequent discourse dragged on for weeks, both because it was a significant moment in an election year and because it was difficult to understand how Trump could have been shot in his ear without sustaining any visible damage afterward.
Many of the newer videos about the WHCD shooting suggest that we should look at these events as a response to the Trump administration’s propensity for spreading misinformation. And while there is no evidence to suggest that the WHCD shooting was, in fact, orchestrated with Trump’s approval, one could argue the administration is at least partially responsible for the way that this idea has gained traction across the internet.
As easy as it is to laugh at the constant barrage of shitposts coming out of the president’s social media accounts and other official governmental channels, they have undoubtedly had an impact on the way that the public thinks about the current administration. By sharing ugly, immature memes and AI-generated images of Trump as a Christlike figure, the White House has told people that nothing is to be taken seriously and everything can be turned into a crude joke. And at a time when all of the internet’s biggest social media platforms have begun encouraging their users to upload videos of themselves while chasing engagement, it makes sense that many would see this past weekend’s shooting as a chance to boost their profiles.
Trump has made nonsensical “jokes” a significant part of his political brand, and people are responding with very similar energy.
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For years, getting anything into space has been slow and expensive. You prepare for months, sometimes years, and you often get one shot to run your experiment. If something does not work, you wait again. That model is starting to change.
A new U.S. competition called the Runway-to-Space Spaceplane Challenge is opening the door to a different way of doing space research. Instead of relying on traditional rocket launches, teams will be able to fly payloads on a reusable spaceplane that takes off and lands on a runway. It sounds simple, but it could reshape how innovation happens.
SPACE CAPSULE MARKS MILESTONE FOR BRINGING CARGO BACK FROM ORBIT
The Aurora spaceplane from Dawn Aerospace is designed to take off and land like an aircraft, enabling rapid turnaround between missions. (Dawn Aerospace)
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How the Runway-to-Space Challenge changes space testing
The program is built around the Aurora spaceplane from Dawn Aerospace, operating out of the Infinity One Oklahoma Spaceport. This vehicle can reach the edge of space, traveling at speeds above Mach 3.5 and climbing to altitudes of about 62 miles. During each flight, payloads can experience a short window of microgravity that lasts just over two minutes.
On its own, that may sound similar to other suborbital missions. What makes this different is how often it can fly. The Aurora is designed for rapid turnaround, which means it can land, be prepared again and return to flight much faster than a traditional launch system. That shift removes one of the biggest bottlenecks in space research.
A closer look at how this spaceplane works
The Aurora spaceplane has already completed more than 60 missions, with a focus on making access to the edge of space more routine and scalable.
“Meaningful access to microgravity typically means going to orbit, which is expensive, slow, and often out of reach for early-stage ideas,” said Stefan Powell, CEO of Dawn Aerospace. “Aurora changes that by giving teams a fast, lower-cost way to access microgravity and iterate within months. It’s not a substitute for long-duration missions, but it enables experiments that would otherwise never leave the ground, turning ideas that might never have flown into viable missions that can ultimately progress to orbit.”
That idea of faster iteration is what makes this program stand out. It gives researchers a way to test concepts, adjust them and return to flight without long delays.
Former NASA Administrator Jim Bridenstine also sees the bigger picture.
“This competition is about capturing the imagination of scientists, engineers and researchers, while also enabling a new way of working, where research can move faster, iterate more frequently, and strengthen U.S. leadership in space-enabled science and industry.”
US GENERAL WARNS RUSSIA MAY BE DEVELOPING NUCLEAR ANTI-SATELLITE WEAPON IN ORBIT
The uncrewed Mk-II rocket-powered spaceplane by Dawn Aerospace demonstrates its capability to reach high altitudes and speeds, advancing reusable spaceplane technology. (Dawn Aerospace)
Why spaceflight is starting to look more like aviation
Think about how commercial aviation works. Planes land, refuel and take off again in a matter of hours. That same rhythm is now being applied to space access. Instead of designing a perfect experiment for a single launch, researchers can test, adjust and fly again. That creates a more flexible process where ideas can evolve in real time.
This matters because many early-stage concepts never make it to space. The cost and complexity are simply too high. With a reusable system, smaller teams have a better chance to test bold ideas without waiting years between attempts. It does not replace long missions in orbit, but it fills a gap that has existed for decades.
How the US is pushing faster space innovation
The challenge is being led by the Oklahoma Space Industry Development Authority, which is working to expand the state’s role in the growing space economy. There is real investment behind that effort. The spaceport is undergoing major upgrades to support more advanced operations, including new infrastructure designed specifically for spaceplane missions.
Programs like this reflect a broader push to speed up space research and make it more responsive. When teams can test ideas more frequently, progress tends to follow. The timeline reflects that long view. Applications open in April 2026 and close in September, with flights expected to begin in 2027. That gives teams time to prepare payloads while the supporting infrastructure continues to expand.
Runway-to-Space Challenge details and how to apply
If you are wondering who can actually take part, the program is structured to center on Oklahoma institutions while still allowing broader collaboration. Applications must be led by an Oklahoma-based university or research institution, though out-of-state partners can join as collaborators. The application window opens April 16, 2026, and closes Sept. 25, 2026, at 5 p.m. CT.
Selected teams will be able to fly payloads weighing up to 33 pounds. Each mission can reach altitudes of about 62 miles, exceed Mach 3.5 and provide up to 127 seconds of microgravity. Flights are expected to begin in mid- to late 2027, giving teams about a year to prepare.
FIRST ELECTRIC PASSENGER PLANE LANDS AT JFK IN MILESTONE FLIGHT
Flying at the edge of space, these missions give researchers a short window of microgravity to test ideas and refine them quickly. (Dawn Aerospace)
What this means to you
Even if you are not working in aerospace, this shift could still affect you. When access to space becomes faster and more flexible, innovation tends to accelerate. Research that once took years can move forward in shorter cycles. That can influence everything from materials science to weather forecasting.
It also signals a broader change. Space is moving away from rare, high-stakes missions and toward a model that supports routine experimentation. That usually leads to more competition and more rapid breakthroughs. Over time, those breakthroughs often show up in everyday technology, even if the connection is not always obvious.
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Kurt’s key takeaways
Spaceflight has always pushed the limits of what is possible, but the process has remained slow for a long time. The Runway-to-Space Challenge points to a future where reaching the edge of space becomes more practical and repeatable. That alone could unlock ideas that have been sitting on the sidelines. If space starts to operate more like aviation, the pace of discovery could change in ways that ripple far beyond the aerospace industry.
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If spaceflight becomes routine enough for constant testing, how quickly should we expect new technologies to move from experiments to everyday life? Let us know by writing to us at CyberGuy.com.
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As with the Osmo Pocket 4 and recent Lito drones, DJI has no plans to release the Mic Mini 2 in the US, but it’s now available in most other markets. Pricing starts at €59 (around $69) for a bundle that includes a single mic transmitter, a compact USB-C wireless receiver, and a smaller charging case. There are several additional bundles available, including a €99 (around $116) option with two mic transmitters, a larger version of the wireless receiver that can be used with cameras, and a charging case large enough to accommodate them all. Obsidian black and glaze white magnetic covers are included, while 12 more colorful alternatives are sold separately.
The Mic Mini 2 transmitters are slightly larger and a gram heavier than the originals as a result of the redesign that accommodates the covers. But they’re much smaller than the Insta360 Mic Pro’s transmitters that will feature a customizable color E Ink screen. Battery life remains the same at 11.5 hours for the Mic Mini 2 with ANC turned off and 10.5 hours for the receiver, while the wireless transmission distance still maxes out at just over 1,312 feet. There’s still no redundant on-mic recording, but DJI teased a Mic Mini 2S version with that feature as part of today’s announcement that it claims will be announced this summer.
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