What this page is for
Euphona processes audio that its users give it. Most of that audio belongs to the person uploading it. Some of it does not, and this page is how that gets dealt with — by you, if something of yours is here without permission, and by us, promptly.
It covers two different rights that a person often has in the same recording, and it is worth knowing which one you are exercising. Copyright is a right in the recording or the composition, and it usually sits with a label, a publisher or whoever made it. Voice and likeness is a right in you as a person, it does not depend on owning any recording, and it can be infringed by audio nobody else has a copyright in either. Both are handled here.
Where to send a notice
Send copyright notices to our designated agent at copyright@euphonaai.com. A person reads that address, and it is monitored for this purpose specifically rather than being a general inbox someone checks.
We have not yet registered a designated agent with the United States Copyright Office. Until we do, we cannot claim the safe harbour that section 512 of the US Copyright Act provides, and we are not claiming it. That is a filing we owe rather than a right we have, and an earlier version of this page said otherwise — wrongly. The agent’s name and address as filed will be printed here, and the entry will be public in the Copyright Office’s Designated Agent Directory, before these documents are offered as binding.
None of that changes what happens to your notice. We act on notices now, on the terms set out below, because a rightsholder is entitled to have infringing material dealt with whether or not our paperwork earns us a defence.
You do not have to use email. A notice sent by post to our registered office works, and if it is easier to telephone first — the support number is on our contact page — we will tell you what to send. We would rather you reached us clumsily than not at all.
What a copyright notice must contain
US law sets out what a notice needs before we can act on it. These are not our requirements and we cannot waive them, but they are less forbidding than they look:
- Your physical or electronic signature.
- Identification of the work you say has been infringed — if there are many, a representative list is enough.
- Identification of the material you want removed, with enough detail for us to find it. A link, a job identifier, or a filename with the date. We cannot act on “my songs are on your site somewhere”.
- How to reach you — address, telephone, email.
- A statement that you believe in good faith the use is not authorised by the owner, its agent, or the law.
- A statement that the information in the notice is accurate, and — under penalty of perjury — that you are the owner or authorised to act for them.
If your notice is missing something, we will tell you what and give you the chance to fix it rather than discarding it silently.
If it is your voice rather than your recording
Tell us at the same address and say so. A voice complaint does not need the copyright elements above — you may not own any copyright in what you are complaining about, and that is precisely the point. What we need is enough to identify the material, enough to satisfy ourselves that the voice is yours, and a statement that you did not consent to its use.
We will act on a credible complaint that audio here reproduces an identifiable person’s voice without their consent, whether or not any copyright is involved, and whether or not the law in your state has caught up yet. Several already have. A performer’s estate has the same standing as a living performer.
What our tools do and do not do, since it bears on what you are likely to find here. Euphona separates and adjusts recordings that already exist; it does not synthesise a voice from nothing, and it will not clone a voice onto new words. Vocal tuning corrects the singer who is already on the track. That is a design decision, not a gap we intend to fill — so a complaint here is much more likely to be about a real recording of you having been separated or altered than about a fabricated performance.
What we do when one arrives
- We acknowledge it, to a person rather than to an auto-reply, normally within one working day.
- We act expeditiously on a valid notice — removing or disabling access to the material.
- We tell the user what was removed, why, on whose complaint, and what they can do about it — because someone who cannot see the case against them cannot answer it. We forward the substance of your notice. We do not pass on your postal address or telephone number unless you tell us to, or unless the process reaches a point where the law requires it: a counter-notice is served on you, so filing one puts the two of you in contact. Takedown is a powerful instrument and being on the receiving end of one should not hand a stranger your home address.
- We record every notice and every action in an audit log that cannot be edited afterwards. That record is what makes “we act on notices” a checkable claim rather than an assurance.
- Because audio here is private by default and never publicly reachable, removal usually means the material stops being processable and stops being downloadable by its uploader — not that a public page comes down, since there was not one.
If we took down something of yours
You can challenge it, and you should if you believe the notice was wrong — a great many are, and the process exists because Congress expected that. Send a counter-notice to the same address containing your signature; identification of the material and where it was; a statement under penalty of perjury that you believe in good faith it was removed as a result of mistake or misidentification; your name, address and telephone number; and your consent to the jurisdiction of the US federal court for your district — or, if you are outside the United States, of any district in which we may be found — and that you will accept service from the person who sent the notice.
We pass your counter-notice to them. If they do not tell us within ten to fourteen business days that they have gone to court, we put your material back. We will not quietly decline to restore it, and we will not require you to ask twice.
If what was disabled was disabled on a voice complaint, none of the paragraph above fits — there is no statute behind that process, so there is no statutory form to fill in, no oath to swear and no US court to submit to. Write to the same address, say the material is yours and why the complaint is wrong, and give us whatever shows it: a release, a session agreement, a credit, a raw take, the fact that the voice is your own.
We will put it back unless the complainant gives us a reason not to that survives being looked at, and we will tell you which way it went and why. This route exists because our voice policy is deliberately broader than the law — we act on a credible complaint without waiting for a statute — and a standard that low on one side needs a real answer on the other. Otherwise anyone can silence anyone by asserting a voice is theirs, and we would have built exactly the instrument this page is meant to keep in check.
Repeat infringement
Accounts that infringe repeatedly are terminated. That is a legal requirement for a service like ours rather than a discretion, and a policy that exists on paper but is never applied is worth nothing — to us or to you.
How it actually runs:
- First valid notice — material removed, a strike recorded, and a plain explanation of what happened and what a second one means.
- Second — material removed, uploading suspended for a period, and a requirement to acknowledge the policy before it resumes.
- Third — the account is terminated and its workspaces closed.
- A strike successfully reversed by counter-notice, or withdrawn by the sender, does not count. Strikes are reviewed by a person before the third one, because an automated third strike on a bad notice ends someone’s account over a mistake.
- Terminated users are told, and get a reasonable window to export work that was never the subject of a notice. Losing your account should not mean losing your own music.
Egregious cases — deliberate, commercial-scale infringement — skip the ladder. That is judgement rather than counting, and it is exercised by a person who records why.
False notices
A notice sent under penalty of perjury by someone who knows the material is not infringing carries real liability under US law: the person harmed can recover damages and costs, including their legal fees. This applies to counter-notices exactly as it applies to notices.
We mention it because takedown is a powerful and easily abused instrument, and because a platform that recites the perjury warning to users while never mentioning it to rightsholders has picked a side. We have not. Notices we assess as sent in bad faith are refused, recorded, and — where the same sender does it repeatedly — rejected on sight, with the reason given.
Questions about any of this that are not themselves a notice can go to legal@euphonaai.com, or to support@euphonaai.com if you are not sure which you need.