Voice Cloning

Copyright cannot be claimed in a voice. Copyright law protects only expression, not a person’s corporeal attributes.

Nipper, painting of dog listening to phonograph, by Francis Barraud (1898-1899)
Painting of Nipper by Francis Barraud (1898-99); subsequently used as a trademark with “His Master’s Voice.”

Lehrman v. Lovo, Inc.

On July 10, 2025, the federal district court for the Southern District of New York issued an Order granting in part and denying in part a motion to dismiss a putative class action lawsuit that Paul Lehrman and Linnea Sage commenced against Lovo, Inc. The lawsuit, Lehrman v. Lovo, Inc., alleges that Lovo used artificial intelligence to make and sell unauthorized “clones” of their voices.

Specifically, the complaint in Lehman v. Lovo, Inc. alleges that the plaintiffs are voice-over actors. For a fee, they read and record scripts for their clients. Lovo allegedly sells a text-to-speech subscription service that allows clients to generate voice-over narrations. The service is described as one that uses “AI-driven software known as ‘Generator’ or ‘Genny,'” which was “created using ‘1000s of voices.'” Genny allegedly creates voice clones, i.e., copies of real people’s voices. Lovo allegedly granted its customers “commercial rights for all content generated,” including “any monetized, business-related uses such as videos, audio books, advertising promotion, web page vlogging, or product integration.” (Lovo terms of service.) The complaint alleges that Lovo hired the plaintiffs to provide voice recordings for “research purposes only,” but that Lovo proceeded to exploit them commercially by licensing their use to Lovo subscribers.

This lawsuit ensued.

The complaint sets out claims for:

  • Copyright infringement
  • Trademark infringement
  • Breach of contract
  • Fraud
  • Conversion
  • Unjust enrichment
  • Unfair competition
  • New York civil rights laws
  • New York consumer protection laws.

The defendant moved to dismiss the complaint for failure to state a claim.

The copyright claims

Sage alleged that Lovo infringed the copyright in one of her voice recordings by reproducing it in presentations and YouTube videos. The court allowed this claim to proceed.

Plaintiffs also claimed that Lovo’s unauthorized use of their voice recordings in training its generative-AI product infringed their copyrights in the sound recordings. The court ruled that the complaint did not contain enough factual detail about how the training process infringed one of the exclusive rights of copyright ownership. Therefore, it dismissed this claim with leave to amend.

The court dismissed the plaintiffs’ claims of output infringement, i.e., claims that the “cloned” voices the AI tool generated infringed copyrights in the original sound recordings.

Copyright protection in a sound recording extends only to the actual recording itself. Fixation of sounds that imitate or simulate the ones captured in the original recording does not infringe the copyright in the sound recording.

This issue often comes up in connection with copyrights in music recordings. If Chuck Berry writes a song called “Johnny B. Goode” and records himself performing it, he will own two copyrights – one in the musical composition and one in the sound recording. If a second person then records himself performing the same song, and he doesn’t have a license (compulsory or otherwise) to do so, that person would be infringing the copyright in the music but not the copyright in the sound recording. This is true even if he is very good at imitating Berry’s voice and guitar work. For a claim of sound recording infringement to succeed, it must be shown that the actual recording itself was copied.

Plaintiffs did not allege that Lovo used Genny to output AI-generated reproductions of their original recordings. Rather, they alleged that Genny is able to create new recordings that mimic attributes of their voices.

The court added that the sound of a voice is not copyrightable expression, and even if it were, the plaintiffs had registered claims of copyright in their recordings, not in their voices.

The trademark claims

In addition to infringement, the Lanham Act creates two other potential bases of trademark liability: (1) false association; and (2) false advertising. 15 U.S.C. sec. 1125(a)(1)(A) and (B). Plaintiffs asserted both kinds of claims. The judge dismissed these claims.

False association

The Second Circuit court of appeals recently held, in Electra v. 59 Murray Enter., Inc. and Souza v. Exotic Island Enters., Inc., that using a person’s likeness to create an endorsement without the person’s permission can constitute a “false association” violation. In other words, a federally-protected, trademark-like interest in one’s image, likeness, personality and identity exists. (See, e.g., Jackson v. Odenat.)

Although acknowledging that this right extends to one’s voice, the judge ruled that the voices in this case did not function as trademarks. They did not identify the source of a product or service. Rather, they were themselves the product or service. For this reason, the judge ruled that the plaintiffs had failed to show that their voices, as such, are protectable trademarks under Section 43(a)(1)(A) of the Lanham Act.

False Advertising

Section 43(a)(1)(B) of the Lanham Act (codified at 15 U.S.C. sec. 1125(a)(1)(B)) prohibits misrepresentations about “the nature, characteristics, qualities, or geographic origin of . . . goods, services, or commercial activities.” The plaintiffs claimed that Lovo marketed their voices under different names (“Kyle Snow” and “Sally Coleman.”) The court determined that this was not fraudulent, however, because Lovo marketed them as what they were, namely, synthetic clones of the actors’ voices, not as their actual voices.

Plaintiffs also claimed that Lovo’s marketing materials falsely stated that the cloned voices “came with all commercial rights.” They asserted that they had not granted those rights to Lovo. The court ruled, however, that even if Lovo was guilty of misrepresentation, it was not the kind of misrepresentation that comes within Section 43(a)(1)(B), as it did not concern the nature, characteristics, qualities, or geographic origin of the voices.

State law claims

Although the court dismissed the copyright and trademark claims, it allowed some state law claims to proceed. Specifically, the court denied the motion to dismiss claims for breach of contract, violations of sections 50 and 51 of the New York Civil Rights Law, and violations of New York consumer protection law.

Both the common law and the New York Civil Rights Law prohibit the commercial use of a living person’s name, likeness or voice without consent. Known as “misappropriation of personality” or violation of publicity rights, this is emerging as one of the leading issues in AI law.

The court also allowed state law claims of false advertising and deceptive trade practices to proceed. The New York laws are not subject to the “nature, characteristics, qualities, or geographic origin” limitation set out in Section 43(a) of the Lanham Act.

Conclusion

I expect this case will come to be cited for the rule that copyright cannot be claimed in a voice. Copyright law protects only expression, not a person’s corporeal attributes. The lack of copyright protection for a person’s voice, however, does not mean that voice cloning is “legal.” Depending on the particular facts and circumstances, it may violate one or more other laws.

It also should be noted that after the Joe Biden voice-cloning incident of 2024, states have been enacting statutes regulating the creation and distribution of voice clones. Even where a specific statute is not applicable, though, a broader statute (such as the FTC Act or a similar state law) might cover the situation.

Images and references in this blog post are for illustrative purposes only. No endorsement, sponsorship or affiliation with any person, organization, company, brand, product or service is intended, implied, or exists.

Joe Biden portrait
Official portrait of Vice President Joe Biden in his West Wing Office at the White House, Jan. 10, 2013. (Official White House Photo by David Lienemann)

 

What Is In the Public Domain?

How to determine what is in the public domain in the United States, explained by attorney Thomas B. James

Mickaey Mouse in "Steamboat Willie" illustration for Thomas B James article on "Public Domain"

Creative expressions generally are protected by copyright law. Sometimes, however, they are not. When that is the case, a work is said to be in “the public domain.”

The rules specifying the conditions for copyright protection vary from country to country. In the United States, they are set out in the Copyright Act, which is codified in Title 17 of the United States Code. The fact that a work is or is not in the public domain in the United States, however, is not determinative of its public domain status in another country. A work that is in the public domain in the United States might still be protected by copyright in another country.

This blog post focuses on the public domain rules set out in U.S. copyright law.

The 3 ways a work enters the public domain

There are three reasons a work may be in the public domain:

  • It was never protected by copyright. Some kinds of expression do not receive copyright protection. Federal government publications created by federal employees, for example, are not protected by copyright.
  • Failure to comply with a formal requirement. At one time, it was possible to lose copyright protection by failing to comply with a legal requirement, such as the requirement to display a copyright notice on a published work.
  • Expiration of the copyright term. Unlike trademarks, copyrights are time-limited. That is to say, the duration of a copyright is limited to a specified term. Congress has altered the durations of copyrights several times.

It is important to keep in mind that once a work enters the public domain, the copyright is gone. This is true even if copyright was lost only because of failure to comply with a formal requirement that has since been abolished. For example, if a work was published in 1976 without a copyright notice, it entered the public domain. The elimination of the copyright notice requirement in 1989 did not have the effect of reviving it. A few very limited exceptions exist, but in general, the elimination of a formal requirement does not have the effect of reviving copyrights in works that have already entered the public domain.

Guidelines for determining the copyright term

The following rules may be used for determining whether a work of a kind that is protected by copyright is in the public domain or not.

Different sets of rules apply to sound recordings, architectural works, and works first published outside the United States by a foreign national or a U.S. citizen living abroad. They are not covered in this blog post.

Note that the term of a copyright runs through the end of the calendar year in which it would otherwise expire. That is to say, a work enters the public domain on the first day of the year following the expiration of its term.

Unpublished and unregistered works

General rule: Life of the author + 70 years. If the author’s date of death is not known, then the term is 120 years from the date of creation.

Anonymous or pseudonymous works: 120 years from the date of creation.

Works made for hire: 120 years from the date of creation.

Works registered or first published in the US

Before 1929

All works registered or first published in the United States before 1929 are in the public domain now.

1929 to 1963

  • Published without a copyright notice: In the public domain.
  • Published with a copyright notice, but not renewed: In the public domain.
  • Published with a copyright notice, and renewed: 95 years after the first publication date.

1964 to 1977

  • Published without a copyright notice: In the public domain.
  • Published with a copyright notice: 95 years after the first publication date.

1978 to March 1, 1989

  • Created before 1978 and first published, with a copyright notice, between 1978 and March 1, 1989: Either 70 years after the death of the author or December 31, 2047, whichever occurs later. (For works made for hire, it is (a) 95 years after the date of first publication or 120 years after creation, whichever occurs first, or (b) December 31, 2047, whichever occurs later.
  • Created after 1977 and published with a copyright notice: 70 years after the death of the author (For works made for hire, it is 95 years after the date of first publication or 120 years after creation, whichever occurs first.)
  • Published without a copyright notice, and without subsequent registration within 5 years: In the public domain.
  • Published without a copyright notice but with subsequent registration within 5 years: Life of the author + 70 years (For works made for hire, it is 95 years after first publication or 120 years after creation, whichever occurs first.)

March 1, 1989 to 2002

  • Created before 1978 and first published between March 1, 1989 and 2002: The greater of (a) The life of the author + 70 years (For works made for hire, it is 95 years after first publication or 120 years after creation, whichever occurs first); or (b) December 1, 2047.
  • Created after 1977: Life of the author + 70 years (For works made for hire, it is 95 years after first publication or 120 years after creation, whichever occurs first.)

after 2002

  • Life of the author + 70 years
  • Works made for hire: 95 years after the date of publication or 120 years after the date of creation, whichever occurs first.

Sound recordings, architecture, and foreign works

The foregoing rules do NOT apply to sound recordings, architectural works, and works that were first published outside the United States by a foreign national or a U.S. citizen living abroad. Special sets of rules apply when determining the public domain status of those kinds of works.

To learn about other works that have entered the public domain, read Newly Public Domain Works. To learn about the other kinds of legal developments in traditional areas of the law that are occurring in the shadow of the AI issues, read Enuring (Non-AI) Legal Issues.

Contact attorney Tom James

Visit my extensive Copyright FAQs page.

Contact Tom James (“The Cokato Copyright Attorney) for copyright help.

A copyright win in the Internet Archive lawsuit

Book publishers have won their lawsuit against the Internet Archive. What does it mean for copyright owners? Cokato Copyright Attorney Tom James explains.

New York Public Library shelves of books available for fair use

 

In a previous post about the Internet Archive lawsuit, I explained that  book publishers Hachette Book Group et al. prevailed in a lawsuit against Internet Archive (“IA”) et al. The lawsuit alleges that IA scans copyright-protected printed books into a digital format, uploads them to its servers, and distributes these digital copies to members of the public via a website – all without a license and without paying the authors and publishers. The lawsuit asserts claims of copyright infringement.

A permanent injunction

Judge John Koeltl has now approved a consent judgment providing for a permanent injunction that prohibits Internet Archive from scanning and distributing copyrighted books. It applies only to books that copyright owners have already published and made available in e-book format. As Judge Koeltl put it: “The Court has narrowly tailored the injunctive relief in this case to cover only copyrighted works, like the Works in Suit, that are available from the Publishers in electronic form.”

IA reportedly plans to appeal.

A new lawsuit

This month, Sony Music Entertainment et al. filed a similar copyright infringement lawsuit against IA. This complaint alleges that IA digitized and distributed digital copies of 78 rpm records by Frank Sinatra, Billie Holiday, and other recording artists in violation of the rights of copyright owners.

Visit my extensive Copyright FAQs page.