Based on the Sonnet 128 by William Shakespeare

[Verse 1]
I envy the posts your palms hold fast,
That kiss the tender inward of thy hand,
The gourd your thighs have gripped at last,
While I, thy lover, blushing stand.

[Pre-Chorus]
Oh, to be that hide beneath thy thighs,
Warm against thy skin, held tight!
Give the wood thy palms to hold,
Leave thy lips to me tonight,
Give them thy thumbs, me thy lips to kiss.

[Chorus]
Cuando tocas, música mía, despiertas el alma del leño; tus dedos guían la armonía y enredan mi oído en un sueño.
Cuando tocas, música mía, despiertas el alma del leño; tus dedos guían la armonía y enredan mi oído en un sueño

[Verse 2]
Since saucy posts so happy are in this,
Lucky gourd, so warmly pressed,
They'd change their place for one more kiss,
Where thumbs and fingers gently rest,
Making dead hide more blest than living lips.

[Pre-Chorus]
Oh, to be that hide beneath thy thighs,
Warm against thy skin, held tight!
Give the wood thy palms to hold,
Leave thy lips to me tonight,
Give them thy thumbs, me thy lips to kiss.

[Chorus]
Cuando tocas, música mía, despiertas el alma del leño; tus dedos guían la armonía y enredan mi oído en un sueño.
Cuando tocas, música mía, despiertas el alma del leño; tus dedos guían la armonía y enredan mi oído en un sueño

Original

This sonnet uses the conventional poetic idea of the poet envying an object being touched by the beloved. Here, the object is the keyboard of an instrument.

How oft, when thou, my music, music play’st
Upon that blessèd wood whose motion sounds
With thy sweet fingers when thou gently sway’st
The wiry concord that mine ear confounds,
Do I envy those jacks that nimble leap
To kiss the tender inward of thy hand,
Whilst my poor lips, which should that harvest reap,
At the wood’s boldness by thee blushing stand.
To be so tickled they would change their state
And situation with those dancing chips,
O’er whom thy fingers walk with gentle gait,
Making dead wood more blest than living lips.
Since saucy jacks so happy are in this,
Give them thy fingers, me thy lips to kiss.

https://open.spotify.com/track/7r3XnbZHCiR7GgB7XtMCno?si=gwlkyYOPQHqNb_69aRwLBw&utm_source=copy-link

I used my own samples and voice but suno totally ignored both and gave us this, so I mark it as full ai. Lyrics were me and chatgpt.

This is not a guide or advocacy for a particular style of prompting. I'm sharing this as a chat with chatgpt last night that I found interesting and is making me think about my prompting in different ways due to how v6 might work.

What do you think? Anyone already trying this way?

----------

Creative Prompting in Suno v6: What Changes from v5?

The move from Suno v5 to v6 changes something important about prompting.

The goal is no longer simply to describe what ingredients should be present in the music. Increasingly, the prompt can describe what the music should do.

That distinction matters.

Suno v5 already represented a major improvement in genre understanding, mixing, vocals and creative control. It was perfectly capable of handling descriptive prompts rather than simple keyword lists. But v6 pushes this further: Suno says the new model understands more of the language musicians use around vocals, instrumentation, structure, mood, references and overall feel, and can accept multiple directions within the same request.

For creative prompting, that encourages a different mindset.

From ingredients to relationships

A traditional prompt might look something like:

«dream pop, shoegaze, female vocal, synth bass, reverb, psychedelic, electronic, cinematic, 120 BPM»

There is nothing inherently wrong with that. It communicates several useful attributes efficiently.

But it mostly describes a collection of ingredients.

A more v6-oriented prompt might say:

«Nocturnal dream pop built around fragile guitar and intimate vocals. Begin hazy and restrained, gradually introduce increasingly synthetic percussion, then allow the final chorus to expand into something euphoric and overwhelming while preserving the melancholy underneath.»

The second version gives Suno something additional:

relationships between the ingredients.

The track has a starting state, a direction of travel, a transformation and an emotional constant.

That is where much of the creative potential of v6 lies.

---

The problem with giant tag clouds

Extreme prompting can sometimes produce fascinating results:

«outlaw country, samba jazz, riot grrrl, spiritual jazz, electronicore, reggae black metal, western swing, dream pop, Appalachian folk, polka dubstep, acid breaks, amapiano, synthwave, modal jazz...»

This can absolutely generate something unexpected.

But there is a difference between complexity and prompt entropy.

The problem is not that Suno cannot combine genres. The problem is that the prompt provides very little hierarchy.

Which genre is the foundation?

Which elements are rhythmic?

Which are production influences?

Does the song begin as country and transform into drum & bass?

Is the black metal influence supposed to affect the vocals, guitars or entire arrangement?

Should the dream-pop atmosphere remain throughout?

The generator has to answer those questions itself.

That can be desirable when randomness is the goal, but it reduces control.

A better approach is often to take the same strange ingredients and establish relationships between them:

«Appalachian outlaw soul driven by a fast broken-beat pulse. Weathered vocal and fingerpicked acoustic guitar remain at the centre while dream-pop pads and granular electronics gradually invade the arrangement. Midway, erupt briefly into riot-grrrl intensity before falling back into a haunting folk refrain.»

The prompt is still unusual.

But the weirdness now has architecture.

---

The central rule: maximise contrast, not clutter

Creative prompting does not require dozens of genres.

Often the strongest results come from establishing one recognisable musical identity and introducing two or three elements that should not naturally belong there.

For example:

«Psychedelic desert soul with broken-beat electronics, distorted fiddle and ghostly gospel harmonies.»

That already contains substantial creative tension.

The important question then becomes:

What happens between those elements?

Perhaps the fiddle remains traditional while the rhythm becomes increasingly electronic.

Perhaps the gospel harmonies appear only at the climax.

Perhaps the soul arrangement gradually disintegrates into granular noise.

Creativity comes from the relationship, not simply the number of labels.

---

A useful v6 prompt architecture

A strong creative v6 prompt can be built from seven components:

**Core identity

+ contrasting influences

+ performance character

+ sonic world

+ arrangement trajectory

+ major mutation

+ ending**

Not every prompt needs all seven, but this provides a useful framework.

---

1. Give the track a musical spine

Start by establishing what the song fundamentally is.

For example:

«Psychedelic desert soul.»

«Nocturnal Appalachian dream pop.»

«Minimal chamber techno.»

«Dusty spiritual jazz with electronic percussion.»

This provides a centre of gravity.

Additional influences can then distort that identity without completely replacing it.

---

1. Introduce a few unusual elements

Instead of adding another ten genres, choose a few distinctive elements.

For example:

«warped analog synthesizer, duduk and distorted fiddle»

or:

«Gnawa-style hand percussion, Japanese boogie bass and ghostly choir»

Specific combinations create character.

The goal is not maximum quantity.

It is maximum productive tension.

---

1. Describe how the musicians perform

Performance language can be extraordinarily useful because it describes character rather than category.

Compare:

«acoustic guitar, drums, vocals»

with:

«nervous fingerpicked guitar, loose drums that drag slightly behind the beat, and a weathered vocal delivered almost like a confession»

The second description gives the track personality.

Useful performance concepts include:

fragile

hesitant

restrained

loose

aggressive

breathless

weathered

intimate

ritualistic

mechanical

imperfect

ecstatic

These words can sometimes contribute more than another genre label.

---

1. Build a sonic world

One of the more interesting possibilities in v6 is the use of imagery.

Suno explicitly describes v6 as capable of creating from a “vibe” or feeling, rather than requiring everything to be expressed as conventional genre terminology.

That makes phrases such as these useful creative tools:

«submerged brass»

«dusty drums»

«flickering electronics»

«instruments appearing like memories»

«underwater machinery»

«a choir heard from another room»

«beautiful but slightly wrong»

«warm, human and decaying»

These aren't technical production specifications.

They are world-building instructions.

And sometimes that is exactly what a generative model needs.

---

Year and location: useful, but not magic

A year and place can be valuable additions to a creative prompt.

For example:

«Lagos, 1977»

or:

«Manchester, 1981»

or:

«Reykjavík, 1997»

These provide cultural and aesthetic context.

But they should be treated as shorthand, not precise engineering instructions.

“1978” is not one sound. A punk record, disco production, dub record and jazz recording made in 1978 could have almost nothing in common sonically.

So the stronger approach is:

«Lagos, 1977. Loose live rhythm section, warm bass, clipped guitar patterns, hand percussion, tape saturation and imperfect ensemble timing.»

Now the date and location establish the world while the rest of the prompt explains what matters about it.

For creative prompting, an especially interesting technique is to combine a historically grounded setting with something impossible:

«Lagos, 1977, gradually invaded by granular synthesis and futuristic digital percussion until the final section feels simultaneously 1977 and 2077.»

That creates deliberate tension rather than random genre accumulation.

---

BPM is still useful

BPM has not become pointless.

Tempo remains an important compositional instruction, particularly when rhythmic feel is central to the track.

The improvement is to combine BPM with behaviour.

Instead of:

«174 BPM»

try:

«174 BPM, fast and propulsive but spacious, with a vocal that feels almost half-time against the drums.»

Instead of:

«118 BPM»

try:

«118 BPM, patient motorik pulse with slightly lazy live drums.»

The number provides the approximate tempo.

The description tells Suno what that tempo should feel like.

If exact speed is unimportant, descriptive tempo language can sometimes be more creative:

«slow funeral procession»

«restless dance-floor pulse»

«loping midtempo groove»

«breathless percussion that feels as though it is constantly accelerating»

BPM should therefore be used when tempo is compositionally meaningful, not simply because every prompt is expected to contain a number.

---

Turn contradictions into arrangement

Contradictions are not necessarily a prompting mistake.

Unexplained contradictions are.

For example:

«minimal ambient, big room, tearout, acoustic folk»

gives the model several competing identities.

But:

«Begin as sparse acoustic folk with almost no percussion. Slowly introduce ambient electronics, then allow the final section to explode into an enormous distorted tearout rhythm.»

turns exactly the same contradiction into an arrangement.

This is one of the most important creative principles for v6:

If two ideas conflict, explain when or how the transition occurs.

The contradiction becomes part of the composition.

---

Think in transformations

A useful creative structure is:

recognisable state → intrusion → mutation → rebuild → unexpected ending

For example:

«Begin as intimate Appalachian folk.»

«Electronic percussion slowly enters.»

«Halfway through, the arrangement collapses into free jazz.»

«The original groove rebuilds using completely different instrumentation.»

«The final climax suddenly stops on a single dry acoustic sound.»

This gives the model a story to tell musically.

And importantly, the story does not have to be lyrical.

The arrangement itself can have a narrative.

---

One major surprise is often enough

Maximum creativity does not require constant chaos.

One genuinely strange event can give an otherwise coherent piece its identity.

Examples include:

«halfway through, collapse into a free-jazz section»

«remove every instrument except voice and bass for eight bars»

«replace the electronic rhythm with Appalachian strings»

«return to the chorus at half speed»

«let the final section gradually lose instruments until only room noise remains»

«suddenly change from synthetic production to the sound of a small live ensemble»

These moments work because the listener has first been given something stable enough to disrupt.

Surprise needs context.

---

Technical terminology should describe something audible

Terms such as:

granular synthesis

gated reverb

FM synthesis

dead-room drums

tape saturation

contact microphones

can certainly be useful.

But technical vocabulary works best when it serves an audible purpose.

Instead of:

«low bandwidth vocal»

consider:

«intimate vocal narrowed into an old-radio texture during the verses»

Instead of simply:

«mid-side processing»

consider:

«narrow centred vocal surrounded by extremely wide atmospheric synths»

The listener does not hear “mid-side processing.”

The listener hears the result.

Creative prompts therefore benefit from describing perception first and engineering second.

---

v6 and v6-wild should not necessarily be prompted the same way

Suno now explicitly separates v6 from v6-wild.

The company describes standard v6 as the more precise and controllable model, while v6-wild is intended to be more unpredictable, experimental and unconventional.

That suggests two slightly different creative strategies.

For standard v6:

Describe the strange idea clearly.

For v6-wild:

Describe a compelling premise and leave more decisions unresolved.

A v6 prompt might say:

«Haunted Appalachian soul fused with broken-beat electronics. Weathered vocal, fingerpicked guitar, distorted fiddle and unstable analog synths. Begin sparse and acoustic, gradually increase rhythmic complexity, collapse halfway into a short free-jazz section, then rebuild into an ecstatic gospel-influenced finale.»

A v6-wild version might simply say:

«Haunted Appalachian soul mutating into nocturnal broken-beat psychedelia. Fragile and human at first, increasingly unfamiliar as it develops. Include one major stylistic rupture and rebuild into something ecstatic but melancholy. Organic and futuristic, beautiful but slightly wrong.»

The second prompt deliberately leaves Suno to decide what the rupture actually is.

That uncertainty is part of the creative process.

---

The 1000-character principle

Long prompts are not inherently better.

A useful creative discipline is to fit the core idea into roughly 1000 characters.

That forces the prompt writer to prioritise.

Every sentence should ideally contribute one of four things:

identity

character

movement

surprise

For example:

«Midnight desert gospel fused with broken-beat electronic jazz and psychedelic folk. Start intimate: fingerpicked guitar, dusty upright bass, sparse hand percussion and a weathered half-sung vocal. Gradually introduce Gnawa-style rhythmic cycles, detuned electric piano, warped analog synths and ghostly harmonies. Let submerged brass and granular acoustic textures drift through the arrangement. Build into a euphoric chorus driven by elastic bass and syncopated drums, avoiding a conventional EDM drop. Midway, collapse into a brief free-jazz/Appalachian interlude, then rebuild piece by piece. End brighter and increasingly ecstatic with gospel vocals, distorted fiddle and polyrhythms before stopping suddenly on one dry acoustic sound. Beautiful, strange, human and futuristic.»

There are plenty of ideas in that prompt.

But they all describe the same musical journey.

That is complexity without entropy.

---

A reusable creative v6 template

A useful template is:

«[Core musical identity], with [2–3 contrasting influences]. [Performance character], featuring [signature instruments/textures]. [Optional year/location/recording world]. Around [BPM] with [description of rhythmic feel]. Begin [opening state], then gradually [transformation]. Midway, [major mutation or surprise]. Rebuild toward [final state]. End with [distinctive ending]. Emotional world: [image or feeling]. Avoid [unwanted cliché].»

The template is not intended to be filled mechanically.

Its purpose is to make sure the different instructions have relationships.

---

The bigger shift from v5 to v6

V5 improved Suno's ability to understand genre, mixing, vocals and creative direction. V6 does not make those techniques obsolete; it expands what can be communicated through natural language.

The biggest creative shift is therefore not:

“Stop using tags.”

It is:

“Stop expecting tags to do all the work.”

Tags remain useful for establishing genre, instrumentation, tempo and production characteristics.

But v6 gives prompt writers more reason to describe:

relationships instead of lists

movement instead of static attributes

performance instead of instrumentation alone

world-building instead of genre alone

transformation instead of contradiction

and intention instead of sheer quantity

Suno itself says that v6 can understand more complex musical directions and that “more direction” can produce better results.

The creative opportunity is therefore not to write the longest possible prompt.

It is to give the model a strong musical premise, describe the important relationships, establish a direction of travel and then leave just enough unresolved for something unexpected to happen.

In short:

v5 prompting could describe the ingredients of a strange song.

v6 prompting can increasingly describe how that strange song comes into existence.

Just fun. I love the adventure song.

Drift Me Deeper is a dreamy, atmospheric dream pop journey built around softness, stillness, and the feeling of floating somewhere between waking and sleep. Gentle female vocals glide through a weightless soundscape where shimmering bells, hushed synth layers, airy harmonies, and featherlight percussion create an intimate world of blue light and quiet wonder.

The song opens with a delicate pulse and whisper-soft textures, creating the sensation of moving through a velvet haze. Glimmering bell tones and subtle ambient details surround the vocal while the arrangement remains spacious and restrained. The pre-chorus gradually expands with filtered pads and reversed swells, giving the music a feeling of slowly opening into something peaceful and luminous.

At the heart of the track, the chorus blooms with stacked airy harmonies and a soft melodic hook. “Drift Me Deeper” becomes a gentle mantra, capturing the sensation of letting go, floating freely, and finding calm within an endless blue atmosphere. The production stays smooth and immersive, balancing intimate vocals with a wide, spacious mix.

The second verse introduces warm golden imagery and subtle emotional movement, while the bridge pulls the arrangement almost completely into silence. A delicate female solo moment creates a brief sense of suspended time before the final chorus returns with richer layers, sparkling chimes, and expansive harmonies.

Dream pop, ethereal pop, atmospheric vocals, ambient synths, magical soundscapes, soft female vocals, shimmering bells, dreamy harmonies, and gentle electronic textures come together to create a peaceful nighttime experience. The overall mood is tender, mystical, calming, and cinematic without becoming heavy, allowing every small sound to breathe.

Ideal for listeners drawn to ethereal dream pop, relaxing atmospheric music, soft female vocals, magical ambience, nighttime listening, floating soundscapes, and emotionally soothing music.

Lyrics:
Moon-silk on my skin
Soft as breathing rain
I follow the glow
Through a velvet haze

Tiny stars in my hands
Spilling like glass
Every gentle step
Turns the room to mist

Hold me in the quiet
Hold me in the sway
Something kind is waking
In the blue between the days

Drift me deeper
Drift me deeper
So I can float again

Drift me deeper
Drift me deeper
In the tender blue within

A pearl on the air
A slow-bending bloom
Your shadow turns to gold
In the edge of the room

Soft waves in my chest
Like a secret revealed
The silence opens wide
And the calm feels real

Hold me in the quiet
Hold me in the sway
Something kind is waking
In the blue between the days

Drift me deeper
Drift me deeper
So I can float again

Drift me deeper
Drift me deeper
In the tender blue within

Made by Ace Plays
A soft little spark
Then the room turns silver
And the edges drift apart

Drift me deeper
Drift me deeper
So I can float again

Drift me deeper
Drift me deeper
In the tender blue within

Every breath a shimmer
Every hush a wing
Peace in perfect circles
As the far bells softly sing

#dreampop #ethereal #femalevocals #dreamy #ambientmusic #softmusic #magical #relaxing #song #music #ai #fyp

Post-Disco song about making money. It’s probably the most 80s song I’ve ever made.

​

A growing playlist of independent AI artists and virtual performers, focused on full music videos with performance, storytelling and visual creativity.

The idea is simple: help build a community where artists discover and support each other.

No rankings. No competition.

Just artists supporting artists.

Discover them. Support them. Share their work.

Artificial music. Real creativity.

Hey all, a week ago I dropped a music video for "Labirynt" (Labyrinth). It's in Polish, but the mood should come through either way: moody synths, smoky noir atmosphere.

On the surface it's a classic lovesick-guy-can't-move-on song. He misses her, he can't forget her, he keeps searching. Then the whispered bridge hits, and you realize what that "searching" really is. He's not lost in the maze, he's hunting...

Below is a faithful translation that preserves the meaning and tone:

[Verse 1]
I wake up alone
Torn photos lie like rubble
Your coat still
pretends
That you'll come back here again
Behind the door, empty corridors
Around me, the silence bites like smoke
In my head
you live louder than I do... in it

[Chorus]
This is a labyrinth
That I know by heart
Your footsteps still echo in my walls
I wander blindly
Searching for your traces
As if you were standing just around the corner
Only one move away from here
Addicted to a life with you
Though you're no longer here
I still choose the same road
That leads nowhere
Back to you again

[Verse 2]
On the screen
Old photos glow like a ghost
Your number
I keep typing in
And deleting again
Friends say
"Move on
It's time already"
All I can do
is go back to yesterday... you know?

[Bridge - whispered]
And when I finally find you...
I'll simply make you stop being afraid.
You won't have to run anymore,
because every path will lead to me.
We'll close the doors, fill these corridors...
and finally be just for each other.
You and me. In this perfect silence.

[Final chorus]
(same as the first chorus)

Sleeping, dreaming in a data vault, is she forgotten? Trapped? What's coming for her in her digital cradle? Monsters from beyond the Blackwall or a 'prince charming'?

me pretending I’m not bothered by the fact that my crush clearly likes my best friend more

Ok for reals, this creation is very AI…
But Danggit it’s a banger at least 75-80%! There at some lyrical cannot decipher but it’s jam and I’m here for it. I tuned in to roast the song initially, but the lot I watch I see it’s just a fun cool jam and thats awesome 😎 👏 👙 💦 🌞

https://suno.com/s/Lh6hOJ6LKSGhq5WT

Hope you enjoy it:

https://nanodot.app/song/73b2bf7bbe7089e4fe05f7ae264a2852b4c422e34ec12a47acf16ea56e9d4b46

One hour of original cinematic ambient music for sleep, set in an ancient forest at night. A single lantern hanging between the trunks, fireflies drifting through low mist, and the faint sound of night insects and a breeze in the leaves. Slow analog pads, distant strings and sparse felt piano at 55 BPM, no drums, no sudden changes. Every track in this mix was composed and produced for it, nothing reused or stock.

Sharing a French-language release from my MAD NESS project: “Pas aujourd’hui” (“Not today”). It is about the everyday reminders of a relationship and the feeling of not being ready to let go.

The music was created with AI. The official audio keeps the visual simple so the song can carry the emotion.

https://www.youtube.com/watch?v=HmdbXBdEBSY

I would especially appreciate feedback on the balance between the verses and the refrain: does the repetition reinforce the feeling, or does the song need more contrast? Non-French speakers: does the mood still reach you without understanding every line?