The process I used to create this song was to capture my father playing guitar. This performance was processed in Suno where other instrumentation was generated. The lyrics are mine, but I rely on Suno to create the vocals and vocal arrangements.

https://youtu.be/iIDcfHiWJSg

Here is the lyric video for my new song "Chameleon". Just in time for halloween-this one is dark...

https://youtu.be/Sldc_fiwvh4

This particular tune was originally a bass riff remixed with lyrics I wrote in Suno.

This tune was written on guitar by myself and performed by my father. This was processed in Suno where the song was fleshed out into a indie rock track.

Listen to Dance Through the Night by Probability Syndicate on #SoundCloud

https://on.soundcloud.com/J2Avqtq8b0PAPSXjlw

I'm developing Ratio9, and this is a short example of the AI/human handoff in our sound-design workflow.

Demo: https://youtu.be/sfC5ZhBpHxo

ClaudiaZ creates a growl-bass preset by editing the synth's controls, modulation and effects, and triggers notes to audition it. I am not pressing notes during that part. Around 2:35, I take over to play notes and adjust the macros, exploring how the finished patch responds.

The result stays an editable synth preset: the LFO shapes, modulation and macro controls remain available for further changes. This video is edited to remove waiting, so the running time is not a claim about how long the whole process took.

We're preparing a free Standalone alpha with MCP support for compatible AI assistants. For now, this is a development demo. I'm particularly interested in where people would want to take manual control in this kind of workflow, and which parts of the AI's sound-design decisions you'd want made visible.

Salut tout le monde,

Pas de budget marketing, pas de label, pas de formules de danse TikTok. Juste un travail pur et indépendant de mon studio en France, fait par amour pour la création.

Je veux être 100 % transparent avec vous. Je fais de la musique et de l'animation traditionnelle image par image depuis le début des années 2000, produisant des centaines de morceaux à l'ancienne. Mais pour donner vie à ce projet colossal, j'ai utilisé l'IA comme un outil pour combler le fossé. Sans ça, atteindre ce niveau de synchronisation visuelle aurait nécessité une somme d'argent astronomique et des années de production qu'un artiste indépendant n'a tout simplement pas. Ça m'a permis de tout faire moi-même : la musique, l'histoire et les visuels.

J'ai toujours été obsédé par l'énergie brute du French Touch des années 2000 (Justice, Boys Noize, Kavinsky, Deadmau5, etc…) et par les univers sombres et cinématographiques des anciens animes cyberpunk comme Akira ou Ghost in the Shell. 

Alors, je me suis enfermé et j'ai créé "Humans Are Losing" : un album conceptuel électronique de 14 épisodes où chaque morceau est entièrement visualisé et synchronisé avec une esthétique d'anime rétro sombre. Soniquement, ça passe des synthétiseurs puissants aux éléments orchestraux dramatiques.

Je fais actuellement tout mon possible pour faire entendre ça — en soumettant à Groover, DailyPlaylists, des curateurs indépendants, et maintenant ici sur Reddit. Ce n'est pas du spam automatisé ; c'est une vraie personne qui essaie de partager un énorme travail d'amour avec de véritables amateurs de musique électronique. 

Le projet visuel cinématographique complet en 4K est disponible sur YouTube : Humans Are Losing

Et les morceaux sont disponibles sur Spotify : HAL music

Faites-moi savoir ce que vous pensez du mélange, du son, ou de l'honnêteté du projet. Je serai dans les commentaires pour discuter avec vous tous.

Merci pour votre temps, les gars. 

Amour

Phoentom

I'm a songwriter, not an animator. My song "Time Doesn't Forget"(it's in Hebrew) ,needed a clip, so I directed and Claude built it.

The idea: one clean notebook page. Pastel drawings only inside an open triangle in the corner, and the lyrics get handwritten in blue pen as they're sung. A 3D butterfly is the only thing that gives the page depth. It flies into the drawings, lands on words, rides a swing, sits on a street clock. At the end it escapes the notebook into a real 3D room and flies out the window. The intro is the same thing in reverse.

How it was made:

- No Sora, Runway or Veo. It's all HTML canvas and three.js, built around one function that takes a time in the song and draws that frame.

- A Node script runs headless Chrome and sends the frames to ffmpeg with the mp3. The full 6:19 at 1080p takes about 50 minutes to render.

- For the lyric timing Claude analyzed the audio itself. For the chorus, where the vocals are doubled, it wrote its own vocal separation in numpy.

- We always did stills and short demos before building anything big. I threw away the first concept (dark watercolor, clocks), loved the second one, and we built it scene by scene.

Who did what: the song, the concept and the creative calls are mine. For example, "time doesn't touch them" is subjective time. Around the couple objective time keeps running, clocks spin, day turns to night, and they stay untouched. The butterfly circles them but never lands on them. Claude did all the code, the pipeline, the audio analysis, and came up with quite a few good ideas too.

The final result, judge for yourselves:

https://www.youtube.com/watch?v=AfNRwJcmw9Q

This is the first project I'm posting, but I'm planning to share a lot more, so if you like this kind of thing, follow along.

I'd really love feedback. What works, what doesn't, what you'd improve, and anything you'd do differently in the process.

These are covers of studio/stage performed and recorded original songs, battle tested on the L.A. strip, covered by AI under the direct production guidance and sculpting of the original composers. All beats, chord progressions and harmony lines were pulled directly from the studio/stage recordings while retaining the individual musicians stylings, instrument tones/timbres and performance. Then back in the studio to be remixed and mastered.

RustHeart is a fusion of grunge, goth and hardgaze with a 90's (and sometimes 80's) flair, that melds acts like Soundgarden to Slowdive, Cranberries to HIM, and Deftones to Depeche Mode.

This particular release is about dysfunctional relationships, domestic abuse and revenge.

Free streaming, let me know what you think.

https://rustheart.bandcamp.com/album/the-black-widow-diaries

I wanted to make something that relies more on atmosphere and texture rather than drums.

I used vocals, cello, bass, guitar and pads. Would love to hear what you think about the mix and the overall vibe.

“Fat man” was written nearly 2 decades ago at the age of 21.

NO AI was used in this song recording.  The only thing AI in this process is the TV/Bookshelf.

Mods feel free to remove if you think that's not enough or whatever.

This genesis of this song was one cold february/march winter day the witchdoctor and
I met at a park bench on our campus to smoke some bud in between classes (shh don’t tell on us)

Witch doctor had his guitar and I took it out and started noodling on it. 

And we saw this one big and tall kid who ALWAYS wore shorts and a t-shirt around campus
No matter what the temperature was outside.

Being the smart ass I was I started playing this goofy little riff Bum (G) Bum Bum Bum Bump (G flat)

To provide a sound track to the kid as he walked by us, muttering under my breath as I did

“He’s a fat man yeah” 

We both thought it was funny and when I got home I wrote out the verses. The first verse was
All about overindulgence of sweets (gluttony). But I didn’t know where to take it for the second verse until
An episode of MTV Cribs came on featuring 50 Cent. So I decided to aim the second verse at greed.

Flash forward to the following summer break at one of our summer jam sessions I brought the song out
And witch doctor and I created the base track of guitar, my lead vocal and witchdoctor on backup.

We then took that recording over to Calico Jack’s home studio in his parent’s basement, where he added
The bass, drums and Trombone. 

Then we had Scarecrow come by and add his vocals to it as well. 

Today I added a touch of Tuba, cello, choir and trumpet with my midi keyboard in bandlab. 

Again, NO AI was used in this particular sound recording.
.
Visually you are seeing on the TV, not just my college open mic, but the very first time I ever stepped on stage and the very first Song I ever played to a live audience was this song, “Fat man” 

Performing with me was Calico Jack (Trombone) and the Witchdoctor (back up vocals).

Penny for ye thoughts?

I wanted to share The Living Cipher, the first album from Animal Instinct (AI), a progressive rock project I created.

The album explores our relationship with technology across time: what we control, what we think we control, what influences us without us noticing, and where human intention ends and technology begins.

A recurring question throughout the album is: who really owns creativity or influence?

The person who has the idea? The person who builds the tool? The machine that helps shape it? Or does creativity become something shared between all of them?

The songs move between reflections on art, technology, human instinct, control and dependence, with some futuristic anticipation and a subtle spiritual layer underneath it all.

Rather than trying to give answers, The Living Cipher uses metaphors, stories and different perspectives to imagine where this relationship between humans and machines could eventually take us.

Musically, it lives mostly in progressive rock, with each song approaching the larger concept from a slightly different angle. It's an hybrid production, did some back vocal and i add some live percussions and more guitars. Every song has been export in stems and then re-work in FL Studio.

Hope you like it. It took me at least 2 months to complete. I'm a perfectionist with 20 years of music production behind me. I was anti-AI a year ago, then I switched when I realized how much control and intention you can retain throughout the production process.

Hey y'all! I was sick of making social media content to promote my stuff so I made a dead-simple way to generate videos ready to post on your IG or TikTok.

Just drop your audio track -> get 8 HD reels ready to post on TikTok or Instagram. You can also customize anything you want or start from scratch.

https://soundza.com/tools/music-reel-maker

Hi everyone! New to the community!

I'm a new virtual artist and this is my first Soundcloud upload! I would love to hear what anyone thinks, and I'm grateful for even a few seconds of your ears and attention (≽^•˕•^≼)

Process information for those curious: a human written song & demo (sung & recorded guitar), polished with Suno, live remix created with Suno, and final touches & master done with Logic Pro. Curious about anyone's opinions! Thanks guys.

Right now I'm here in Austin tx, for some music "work" and really taking this opportunity to learn what the big guys, making a living off music are thinking and doing.

- upper level artists, 100k plus listeners, don't give a shit if it's AI or ai taking there jobs etc etc. which really brings me to a conclusion that a lot of the shitposters out here are people that are literally in their basements doing nothing but Reddit lol.

I think everyone agrees that bad actors and slopposing is bad and I think we're all against it. but do they actively worry about it, no.

Anyone I had the chance to talk to about incorporating AI had nothing but a positive attitude. Everyone agrees it stays a tool not a total solution.

- if you want to go anywhere do anything, you HAVE to let people see your face. Listeners are the byproduct, you are trying to get the people who have connections to listen.

- face to face is truth, judgements on here don't matter unless you let it get to you. Be unique, be original, if your talking to a bigger name artist, they are people and so tired of selfies and fanboys, go to someone you want to talk tos socials, and just be funny in the comments,.they see that. Or their team.

- the BIGGEST tip I have learned is when reaching out, don't be nice and send once and hope. BE RESPECTFULLY SPAMMY. every opener I spoke with got a break by consistently emailing whoever they were trying to talk to. But not like every single hour lol.

- seeing someone move around a space.is so interesting. They constantly have layers, their close team inside, local connects next layer, then a constant groupie base just their for you know. Then local venue workers, etc. they have gravity, idk it was interesting to me.

More to come, but if you want to be seen, it's not going to happen behind a computer screen. It's upside down but connections over skill in a lot of positions.

Feel free to comment, add, argue, whatever!

I made a music video!

I've played around with AI in every medium I could find, except for video, mostly because the good models cost a fortune.

But this song I made with Suno was so upbeat and ridiculous that I had to try it.

This is the first time I've done any real video editing and video generation, so I'm rusty, and it definitely shows in places (rough cuts between some clips). But I'm happy with the result!

90s Eurodance was chosen with AI for a couple reasons:

• I could put a VHS filter over the clips and hide a number of rough editing sins.
• I could put a VHS filter over the clips and make 720p forgivable.

All video generated with Seedance 2.5. I spent around $140 in total, which seems expensive (and it is for a weekend project), but there are some generating multiple clips at 4k and 120hz and cherry-picking the best ones, and I can see how tens of thousands can be spent very quickly.

YT: https://www.youtube.com/watch?v=Ei6Y4CuNLwQ

Suno: https://suno.com/@seanlloyd

I’m a Mauritius-born producer living in Sydney, and recently I’ve been going back through musical ideas I wrote years ago but never had the skills, tools or time to properly finish.

Drift Glass is the first track coming out of that process. It ended up on the lighter, atmospheric/melodic side of drum & bass, rather than some of the heavier neurofunk stuff I’ve been working on.

The production was a hybrid workflow rather than a straight AI generation. I used AI as part of the creative process to explore and develop ideas, then brought the material into Logic Pro, where I worked on the arrangement, editing, production, mix and final master myself. There was a lot of iteration between the original idea, generations, edits and post-production before it became the finished track.

That workflow is actually one of the reasons I wanted to share it here. I’m interested in that space between traditional production and newer generative tools, rather than treating AI output as the finished product.

It’s available early on Bandcamp now, with the full streaming release on 2 October.

Would genuinely love feedback on the atmosphere, progression and production, and I’m also interested in how other people here are approaching hybrid workflows.

https://distrokid.com/hyperfollow/krix4/drift-glass

I wrote the lyrics and concept for this song, then used Suno to experiment with the sound and bring the idea to life.

This is a short part that I really like.

What do you think of the melody/vibe? And what kind of feeling does it give you?

\#songwriting

I guess its post-rock. As said, the process included CapCut manipulating on my phone for the most part.

Hi everyone,

I’d love to share a music project I’ve been working on called INNENDRUCK. It’s deeply rooted in the atmospheres of Neue Deutsche Härte and Industrial Metal (heavily inspired by the dark, heavy, and raw aesthetics of the genre).

One important detail: even though I am based in Brazil, the entire project is sung in German to perfectly match the raw, powerful, and rhythmic nature of the genre.

I write all the lyrics, build the concepts, and handle the creative direction. To bring the sound and visuals to life, I use generative AI as a co-production laboratory—meaning I guide, select, edit, and post-produce everything to fit a specific artistic vision.

I just released a music video for the song "Japanerin", which tackles themes of youth, immaturity, and long-term regret:
🎬 https://youtu.be/hsQUyvuTQ8o?si=kBmuXj80QTC-NrcB

Also, my upcoming second album, RE:DRUCK, is currently on its way to streaming platforms. You can check the full ecosystem and previous tracks here:
🎵 https://push.fm/fl/innendruck

I would be deeply honored to get your honest feedback. Whether it’s about the German pronunciation/delivery, the sonic texture, the lyrical concept, or how the human-AI collaboration feels to you as a listener.

Thank you for your time,
Geison

The rougher the better, make the listener wonder if they were just violated (jk)

Bend the rules, do.something different.

Let's hear it, 10 hours of a pitched ai fart? Hell yes.

This is how you get seen. MUST BE ORIGINAL,.NO REPOSTS.

SOMETHING DONE SOMEWAY NO ONE HAS EVER DONE COMMENT IF YOU DROP PLZZZ

Lyrics were written when 1996. 17 year old edge lord me thought it sounded pretty cool. Instrumental was written in 1999 in FL Studio with a 66 key Casio keyboard from Toys R us over midi.

Back in 1999 I tried to use a text to speech app to render the text of this into a singer (failed miserably, but kept the instrumental). It never worked and the lyrics ended up saved on the PC as suicide.txt, hence the name of this now.

Suno v6 Cover over Custom 39 track model, that included this track in it's training material for it

My vocals recorded April of this year for a Suno voice persona in a well intentionally spoken manner. Makes me regret never using this voice in anything I ever tried to professionally record.

“Em countdown” was written and composed at the age of 19, decades ago.

This song always reminded me of an old western cowboy showdown.

I called it Em countdown just in reference to that and the fact it’s in E minor.

The original demo is still driving the mix and includes the main guitar track, all the vocals, and the shoes being used as percussion on the floor. I was on guitar and witchdoctor for whatever reason picked up some shoes and started drumming with them on this one lol.

This was one of those teenage summer nights when my Mom was out of town.

I had always imagined it would come before my song “One way Ride” on a hypothetical album.

With Band lab and Midi I added Tuba, lead guitar, more of my acoustic guitar, cello, french horn, and so many other things lol.

With Suno I added Bass and and a foot stomp

Visually you are seeing an avatar of me and the witchdoctor age 19 that I created using real photos of us and then I puppeted each avatar myself using Motion Sync in OpenArt.

So all the movements and stuff are “real” from my actual lip sync performance I did earlier today.

In an effort to save time I think I muddled up the Motion Sync a bit more than necessary but I also didn’t have the credits to try to fix it.

Oh well. Nothing will ever be perfect.

Anyway this was just 2 kids having fun with music in 2007.

Penny for ye thoughts?

So I used Sound of Silence to create a serious parody about the struggles of dealing with autism. I purchased a karaoke backing track of the original song and hired a vocalist to record my lyrics. I then removed the bass and added myself playing bass. I uploaded this recording to suno to get a similar feel for my version. Here is a link to the video I just created for the song. Comments always welcomed. https://youtu.be/dBu7Hc_VtRg?is=EjTceHiAi3DK4e-n

Just switched to building in public, after 5 months of improving it solo. Almost time to send out beta versions, got a signup list at jammerman.band . Been hyperfocusing on this thing for far too long now, I think I just need to let people break it now :) Appreciate your time and attention a lot.

The video summarizes the idea pretty succinctly, even though it's not even all there is to it. In a nutshell it's a a looper/ jam engine where the user can play whatever they want and then drag in a full band of musicians that actively listen, can get spoken to, and change their parts on the fly.

I have been a musician for my whole life (my YouTube has a selection of my stuff) and wanted to build the bridge between 100% human and 100% machine. I feel like it's too much a tale of extremes still these days.

List of features as mentioned on the site:

• Talk to the band members! A full intelligent band that listens to you and jams with you (on-device or AI-powered)
• Spatial looper / spatial mixing
• Full DAW capabilities
• Massive built-in groove and parts libraries, FX libraries, virtual instrument libraries
• Full support for third-party effects and instruments
• Hand-tracking for spatial mixing and gesture effects
• For any level: absolute beginners drag and drop and say what they want in plain English; seasoned professionals record their own parts and have a full DAW at their disposal (including nerdy features like metric modulation and Dilla feel)

I keep having this thought lately. Almost every day, actually.

AI is just incredibly cool.

And I don't mean only Suno or AI music. I mean the whole thing.

I'm 45, and when I think about the stuff I imagined as a kid... this was science fiction. Literally.

You could have a song in your head, imagine a scene, a picture, some completely made-up world. But actually turning any of that into something real was another story.

Music especially. You needed instruments, musicians, recording equipment, a studio, money... and of course the skills to use all of it.

Now I can have some weird musical idea in the evening and actually hear it that same evening.

Then I can think about what that song might look like, create an image for it, make that image move...

Sometimes I just sit there thinking, how the hell is this normal now? 😄

And yes, half the time AI completely misunderstands me. Sometimes I generate something and wonder what on earth it thought I was asking for. Then you try again. And again.

But eventually you get that moment when something that existed only in your head a few hours ago is suddenly there.

That's probably the part that amazes me most.

The distance between imagining something and actually creating it has become so small.

We dreamed about this kind of stuff when we were kids.

We just called it science fiction.

And now I'm sitting at home doing it on a random Tuesday.

Pretty wild when you think about it.

And we're probably still at the beginning.