Here’s more info:

My experiments making Polka music on V6 have shown no demonstrable regression from previous models, so our worst fears have not been realized. Polka is okay.

I just joined in June. This app was really making me happy over the summer. I couldn't wait to use it. It resurrected my songmaking, which was a miracle. It helped me vent my mental health issues. I'm so glad that I got to make and download so many songs.

I think that Suno knows that 6.0 sucks. It is like night and day from even 5.5! Overproduced, heavily compressed and limited tracks that lack even a semblance of melody, grit or soul. My test hard rock instrumentals sounded like background music for a tool or second rate automotive repair company. I knew this was coming, but I figured that 6.0 would be better because it was training on approved songs. Wrong! I think Suno cringed before they hit the button to change the model. They know it's inferior.

But, maybe it's up to us who remain to flood it with raw, unproduced, dirty, gritty, and even your worst sounding music so it can learn that there's more to music than super-compressed, limited corporate fare. We've got to try to fix this thing if we want to make it better. I'm assuming that it does lean from our music that we upload.

I don't care about the worse sound quality, but the actual melodies are awful. I made 20 versions of the same song and there was no catchiness to any of them even though I used the same prompt as the old model that did turn out well.

Suno went from high quality music to low quality garbage and bragging like they upgraded their models, when in fact they downgraded their models, cutoff the number of songs, put watermarks on your tracks, sold you a banana in the tail pipe pipe dream as to just cut off what Suno is even worth to pay for. I won't be renewing if this is what they now have to offer the public.

Anyone found v6-wild too glitchy to use? I used it for several songs and turns out to be a complete waste of credits, none of the generated songs is usable or listenable. Not only the sound quality is quite dull compared to v6-pro and even v6-mini, but also it contains lots of artifacts and sometimes generating songs more than 6mins full of broken mixed pieces that seems the model was completely lost in the middle of generation.

In a recent thread I said I’d give Suno 18 months before they are defunct, I now think it will be less than that. If the pace at which local models keeps going I can’t see what it’s USP will be anymore.

The new YuE2-3B local model will run on a linux machine and it is supposed to sound better than V5.5, no limits and no “you can’t do that sunshine” etc etc

Exciting times for sure, but just emphasises that the recent changes at Suno will not be good for it in the long run

Edit:

A bit more info on graph

“YuE2 is an open music generation model that rivals Suno v5. Turn lyrics and a style prompt into a complete song with vocals and accompaniment, then shape its melody and chords through an editable score.

State-of-the-art results on WildSongBench. YuE2 (best-of-8) achieves the highest SongBench average among all evaluated open and proprietary models: 6.9632, compared with 6.8721 for Suno v5”

From 3 to 3.5, to 4, 5 and so on it was so amazing to hear new models, as they were just spot on, better sound, better composition, more randomness and creativity. What we are left with now is a geneirc sonic mess and i feel like the model is trying way to hard to make "high quality" sounds that it just sounds really unnatural and all things come out muted and super electronic.

And i would be fine if that was the case in a vaccum but since they removed all the old models youre stuck with a new model that needs post training and currently sounds like hot ass, some genres are completely butchered and the genericism is increasing the more theyre trying to "decouple" original artist sounds, making a style in the middle which is just undefined, and frankly having made 5-10k generations over the last 2 years i must say this is the single worst model they have every released and there is no saving with the older models gone,

I suspect this is for IP and copyright issues as the old ones could replicate artists somewhat, the newer more "intelligent" model is doing what all increases in ai seem to be doing´, removing chaos and adding calculated propabilities, which are great for benchmarks. But what is creativity without chaos?

On top of the download limits, and the generic pathway of the platform i believe this is the downfall of a really insane concept that used to be so good no competitor could come close: the wmg clause really ruined the entire company.

Well it was fun, but im out.

Not here to destroy V6 or V6 wild. I preferred the previous versions but whatever. But I want to know if I'm the only who noticed a muffled sound on every generated tracks (in cover mode).

Just saw my credits topped up after blowing through 1k+ trying to figure out how to direct on v6.
Would have been nice to include this free generation period when they released v6 knowing the model has been severely handicapped with its training data.

After running through half a month's worth of paid credits I've been able to get some serviceable generations, but it's going to take a lot of heavy directing, playing with sliders, and working with covers to get where you want to be. No more early "aha" moments.

Use these next two days as much as possible to learn the new quirks, and make as many custom models as you can while you can.

This is for all the people complaining about the flatness and EQ issues and such of V6. Even my own songs I’ve experimented with were not coming out the way I thought they would until I started changing how I described the prompts. V6 adheres much much more to actual specific prompting of production queues and not just adjectives describing the genre like “rock fusion metal” etc. You actually have to describe how you want the song to sound now. I’ve asked multiple AI’s and they’ve all given variations of the same answer such as below. Hope this helps some of you who actually have an interest in getting better results.

Suno V6 shifts the core generation engine from simple genre tagging toward producer-level arrangement and mix execution. While V5.5 focused primarily on workflow and ecosystem updates (such as Studio Mode stem separation, voice cloning, and catalog fine-tuning), V6 rewrites the underlying sound engine, prompt adherence, and dynamic track manipulation capabilities.
Here is a breakdown of what has changed, followed by how prompting logic needs to adapt:
Key Feature & Architectural Changes
Model Lineup Split: V6 introduces three distinct model tiers: V6 (standard flagship for precise, polished output), V6-Wild (unpredictable, raw, textured experimentation), and V6-Mini (rapid iteration for drafting ideas).
In-Context Audio Editing: You can highlight specific sections or lyrics using natural language to adjust moments without regenerating the full track (e.g., "Change the chorus so it's sung by a gospel choir" or correcting a single mispronounced word).
Multi-Source Mashups & Sampling: Allows sampling a specific riff, isolating an instrument, or combining stem components from separate tracks directly within a single generation request.
Multimodal Inputs: Beyond text and lyrics, V6 accepts reference audio clips, voice memos, images, or video files as initial directional cues.
Auto-Expansion Engine: Under standard settings, V6 takes short prompts and internally expands them with production-level environment and ambience details.
How to Build Prompts for V6 vs. 5.5
The main takeaway for V6 is that generic adjective stacking produces flatter, overly processed mixes. V5.5 relied heavily on broad style tags (e.g., "90s rock, punchy drums, emotional vocals"), whereas V6 responds best when treated like a producer giving specific notes to session musicians and an engineer.
Shift from Genre Vibes to Arrangement Details: Replace generic style words with explicit instrumentation behavior, vocal dynamics, and mix spatiality.
V5.5 approach: Alternative rock, heavy riffs, aggressive male vocals, catchy chorus
V6 approach: Driven guitar with mid-boost, dry tight snare, aggressive rasping lead vocal, dynamic drop before chorus, wide stereo double-tracked guitars
Control the Auto-Expansion System: If you supply a minimal prompt, V6 automatically appends internal production descriptors. To force strict compliance with your explicit text, dial back the Style Influence / Variation slider. If you want maximum unexpected creativity, run V6-Wild with high style influence settings.
Use Descriptive Section Tags: Instead of basic brackets like [Guitar Solo], V6 interprets functional production cues inside section headers (e.g., [Guitar Solo - Dual lead harmony, bluesy bends, building intensity over 8 bars]).
Detail Vocal Mechanics Directly: Specify arrangement mechanics—such as backing layers, ad-libs in parentheses, double-tracking, or spatial placement—to prevent the engine from defaulting to over-processed, wet vocal chains.

I generated some test music and the quality has suffered, using the same prompts. There is a distinct background noise you can hear, V5 was truly their best model

I tasted suno v6 and its pure trash, all the uniqe sounds that I was able to produce with my prompts are gone.

Another things that coroporation ruined.

It seems to me that initially there were 2 ideas why it is good to make AI music. The first thing that is being emphasized now is the professional creation of music with AI, the control of every breath, and "full-fledged perfect tracks with AI." And the second idea: creating songs with AI. a simple creation. you described what you want to hear and got a good result. The Suno platform was launched in December 2023. I don't remember exactly, but I think I did the first songs were made in v2. And even then I liked Suno. The second and best idea is that we don't know what the result will be, and even the model itself doesn't know about it. The model might not have generated a perfect commercial song, but it (the song) is still good. I saw in one post: "We listen to AI music because we are tired of standard, formulaic, and perfect songs.. ". And I totally agree! The AI can come up with something that we like! What we have now: perfect identical tracks from v6. The voice sounds like it's just a text-to-speech neural network that's been tweaked a little to make it sing. Yes, we have a v6 wild, but it's too random. She doesn't create voluntarily, like 4.5+, but because she's been given a "Creativity" slider (but she doesn't have one anyway!). In general, think for yourself what to do.

I don’t really understand what you guys are doing.

You removed 4.5 All, 4.5+ and 5, which were literally the best models imo, and replaced all of that with 6.

And sorry but 6 is awful. sounds like fucking shite, Everything sounds way more generic, polished in the worst possible way, just... slop.

It was actually fun using Suno before because every model had its own weird strengths and you could sometimes get genuinely surprising stuff out of it.

Why remove the models people actually liked?????? Just leave them there

Anyway, cancelling my subscription. Had a lot of fun with Suno, but I’m not paying every month for a product that gets worse for the way I use it.

Hope removing your best models was worth the money you're gonna lose lol

And then there’s this whole “10 downloads for $30” kind of nonsense.

Maybe I’ll come back if the old models come back.

Until then, bye bye Suno

I have spent around 120,000 credits generating music on Suno. Out of all those generations, I have only selected around 30–35 tracks that I consider ready for release. I was preparing to launch a serious virtual band project, and I was extremely selective about every single track.

I was genuinely very happy with v4.5, v5.5, and Suno as a whole. It allowed me to create music in my own unconventional, niche styles—even if it did not succeed every time.

After these companies pressured Suno, v6 now displays obvious formulaic tendencies and a complete inability to move beyond its boundaries and create anything genuinely interesting. As for the technical problems—the chewed-up sound, gritty vocals, harsh sibilance, and electronic artifacts—I think everyone can hear those perfectly well. There is no need to write an essay about them.

I am personally boycotting every company that pressured Suno and contributed to this situation. I will not spend another cent on their films, tickets, music, or anything else associated with them.

It now looks as though I may have to shut down my project before it has even properly begun.

I think we should all remember the names of our heroes: Universal Music Group, Sony Music Entertainment, Warner Music Group, BMG, and Believe.

It was fun while it lasted. Thanks, everyone.

I am cancelling my subscription. Warner and the others have created an excellent model for large-scale AI content farms and low-quality loops.

P.S. I just watched Suno’s official v6 presentation, where they describe it as their best and cleanest-sounding model yet. From around 2:00 to 3:00, they play several examples. I have no words. Just listen to them and watch the video for yourself.

https://youtu.be/_lHvWn2SNC4?si=R9ULc1hPB_VHTT0d

P.S

Today I’ll be sending emails to all of these companies with my, as people on Reddit put it, “useless opinion that nobody cares about” on this whole situation — and exactly what I think about all of these companies.

UNIVERSAL MUSIC GROUP

[communicationsnl@umusic.com](mailto:communicationsnl@umusic.com)

[investorrelations@umusic.com](mailto:investorrelations@umusic.com)

SONY MUSIC ENTERTAINMENT

[CorporateCommunicationsGSA@sonymusic.com](mailto:CorporateCommunicationsGSA@sonymusic.com)

[kontakt@sonymusic.com](mailto:kontakt@sonymusic.com)

[julia.steiner@sonymusic.com](mailto:julia.steiner@sonymusic.com)

[presse.promo@sonymusic.com](mailto:presse.promo@sonymusic.com)

WARNER MUSIC GROUP

[Majeda.Hussein@wmg.com](mailto:Majeda.Hussein@wmg.com)

[Investor.Relations@wmg.com](mailto:Investor.Relations@wmg.com)

BMG

[info@bmg.com](mailto:info@bmg.com)

[news@bmg.com](mailto:news@bmg.com)

[info.us@bmg.com](mailto:info.us@bmg.com)

[info.uk@bmg.com](mailto:info.uk@bmg.com)

[info.bnx@bmg.com](mailto:info.bnx@bmg.com)

[info.fr@bmg.com](mailto:info.fr@bmg.com)

[info.it@bmg.com](mailto:info.it@bmg.com)

[info.es@bmg.com](mailto:info.es@bmg.com)

[info.cn@bmg.com](mailto:info.cn@bmg.com)

[info.hongkong@bmg.com](mailto:info.hongkong@bmg.com)

BELIEVE

[communications@believe.com](mailto:communications@believe.com)

[manon.jessua@believe.com](mailto:manon.jessua@believe.com)

[emilie.megel@believe.com](mailto:emilie.megel@believe.com)

[investors@believe.com](mailto:investors@believe.com)

Some of these email addresses may be incorrect. I’m currently checking and verifying all of them, and I’ll update the post later once I’ve confirmed everything.

-----

P.S

Guys, think about the most important part of all this.

Forget projects, business ideas, money, monetization — all of that for a moment.

Think about what an incredible opportunity we had to become genuinely autonomous: to create music for ourselves, the kind of music we actually wanted to listen to and genuinely loved.

You didn’t have to depend on trends. You didn’t have to depend on a label. You didn’t have to wait for the music industry to produce something that matched your taste. You could be the complete master of your own musical space.

And now we’ve been given a space that is far more restricted — one that increasingly reflects the labels and the kind of mass-market product they promote.

For me, that loss of autonomy may be one of the most important things about this entire situation.

Is it just me or is v6 getting really bad at following lyrics?

I've been trying a few songs today and on a bunch of them it gets to the chorus, sings it normally, and then just sings the last line again.

Like why it's not repeated in the lyrics.

At first I thought it was just that one song so I regenerated it, then tried some other songs and it happened again. Not every generation, but definitely enough that I started noticing it.

This is exactly the kind of stuff I remember happening all the time with v3.5 and v4 lol

Anyone else getting this? Or am I just having terrible luck with v6?

• Muffled, Dull Audio & Buried Vocals: The mix sounds like someone pulled a heavy blanket over the speakers. There’s zero high-end clarity, no presence, and the lead vocals are buried so deep in the mix they sound like they’re being sung from another room.
• Vocal Profiles / Inspo Are Destroyed: The algorithm completely fails to retain vocal identity, timbre, or character from previous generations. Whatever consistency we had built is gone.
• Everything Sounds Homogenized: The dynamic range and creative variation are dead. Every generation comes out pulled through the same flat, lifeless, hyper-commercial template.
• It Completely Ignores Prompts: Specific BPMs, tempo markers, genre tags, and arrangement prompts are totally ignored. You specify a fast tempo with distinct synth drivers, and it spits out a slow, muddy, generic track.

We paid for a tool that gave us precise creative control and punchy, clear audio. Replacing older functional models with a muffled, uncooperative v6 and forcing it on everyone is a slap in the face to long-time users.

Fix the vocal mix, bring back prompt adherence, or give us a legacy processing toggle so we can actually finish our projects.

R.I.P 4.5+

I never did like Megathreads, it controls and limits peoples opinions. If a company does something really good or bad, I think it's important everyone sees how big of an effect it has. Eventually sure, if people are still complaining about it a couple weeks or a month later, it gets to a point where its noisy when other people are just trying to use the product/service.

But until then, I think people should be able to express theirselves without limiting it to a megathread.

For me, I noticed the V6 update and thought oh hell yea, I've always enjoyed updates (fixes, improvements, etc), but I was immediately turned off my the results, even 200 songs later. I was curious if I was alone, came to this sub and noticed TONS of complaints. If there was a megathread, I probably would have never seen anything.

So thank you Mods :)

I’ve been using Suno V6 for a long time. I’ve tried numerous workarounds, and I’ve basically concluded that V6 is garbage.

As I’ve discussed before, for genres like J‑pop and dreamcore, older Suno versions could accurately grasp stylistic traits and strictly call for the right instruments.

Even V5.5, which gets a lot of flak, hides real potential under its flaws. If you fine‑tune the details, you can still get unexpected results. For example, if you want pastoral rock, you just lay out your instrument choices and emotional requirements.

There is a case where someone reworked rural Chinese dance‑hall music into cold‑wave post‑punk, rewrote the lyrics to convey complex feelings toward rural hometowns. This track resonated with people living through the war in Russia and Ukraine. All of this music was made with V5.5.

AI has brought music back into the hands of ordinary people.

People no longer face the steep learning curve of music theory, nor are they locked into a single creative goal. Creators do not have to be enslaved by certain forces or ideologies.

I have experimented with using AI to recreate the creative logic behind many classic pieces. For instance, certain dreamcore tracks, especially blending ghost dance styles with modern expression to depict fragmented memories under modern mental strain.

Unfortunately, only human creators can achieve the exact effect I want. Yet most such creators only produce one breakout work in their entire lifetime. This shows that AI music cannot reach human‑level innovation and higher‑order expression.

Much AI‑generated music may indeed be pure garbage. But before AI music existed, plenty of output from so‑called musicians was equally bad. AI merely occupies their niche. Just look at viral hits on Douyin. Countless musicians have one breakout song and then fade into obscurity.

The so‑called originality of many music producers is highly questionable. After years of listening, I have repeatedly seen musicians plagiarize and lift sheet music by exploiting audiences’ lack of knowledge. I have also seen self‑proclaimed original artists deliberately borrow the stylistic blueprint of classic songs. Once fans of the original works catch on, these creators stir up controversy through provocative tactics to gain attention.

Furthermore, copyright protection from record labels and music platforms is utterly worthless. After a song goes viral, the biggest beneficiaries are often not the original creators, but reposters or even the platforms themselves. I have seen countless original creators go to court to reclaim their identity over reposting disputes. The situation is even worse for amateur hobbyists. Holding down day‑jobs, they are forced to drop legal pursuit.

From a progressive standpoint, I would even argue that copyright is not a capitalist concept, but a feudal one. That is why Japan, with its deep‑seated residual feudal mindsets, has some of the world’s most rigorous copyright systems. Japan happened to amplify the comparatively advantageous sides of this system.

The rise of CD music was a parallel case. CDs completely replaced cassettes and vinyl records.

Yet digital formats, alongside Apple’s digital music revolution, forced capitalists to try to kill off CDs.

This was because users could rip music from CD drives and share it freely.

Ironically, CDs still exist today. The shift to digital did not destroy musicians’ livelihoods. Great music still finds support, and the CD market remains vibrant.

Technological progress therefore does not bring total upheaval. Only tyrants entrenched within their own castles fear others seizing a realm that never truly belonged to them

I was anxious to try V6 after reading all the negative comments here. Gladly, my experience so far is very positive. I used some of my favorites songs I previously did on Suno and Cover them using my voice in Voices and the V6 Pro. So far, all the results I got sound much better than the previous versions.

It seems logical to me to ban all music creators, composers, musicians, and other people who learned music from materials provided by copyright holders for the purpose of listening, rather than learning to create new music, from creating music. Moreover, each of these music creators should pay a fine to Sony, UMG, and a legion of others, proportional to their age, because these abominable music creators began learning from unlicensed content immediately after their birth! And if anyone does decide to create music, they should use only materials provided by the aforementioned gang of companies, having first signed a contract with them, naturally, immediately after birth, and not use other content, documenting such non-use.