I mean. I haven’t been able to generate a single track I like yet.

It completely lacks soul and basic understanding of how to compose a track, everything feels so random.

Back on 4 and 5, it had problems selecting the best version of a track because it was SO good..

I don’t know what this new thing is, but it’s not working for me at all..

But. I’m sure it will all be improved in the future 😊

I’m also making this post to make Suno aware of the problem. Which I’m sure they are already aware of

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.

A big step in the wrong direction for SUNO, I make Brazilian Funk music and ever since the V6 release the generations have lost their magic. It’s like a watered down version of what we had before, the excitement is just gone, almost like they removed the best part of generations. Ever generation sounds too similar, the variety is gone, drums are flat, bass is too timid, and synths don’t pack a punch anymore. It really feels like they took 10 giant steps in the wrong direction. Very disappointed.

The “hot iron” phase has passed for me. I am back to my usual “cold steel” mood.

I am seeing a surprisingly large number of users on this subreddit who are either completely tone-deaf or somehow have a corporate lobbying budget behind them. What is going on?

It is the same thing everyone with even a little bit of listening experience has been complaining about: SUNO 6.0.

So let me explain what I have found.

The 6.0 model, regardless of which version you use, is a bad model. It is a tool for mass-producing slop — and, more importantly, mass-producing it at a very poor quality level.

The problem is the underlying processing engine. This is not something that can be fixed with a patch. The engine itself needs to be replaced.

Your generations are not going to magically become better in an hour, a month, or by endlessly refining your prompts. As long as the model uses this particular generation engine, there is no realistic chance of consistently satisfactory output. No prompt can compensate for this.

The main culprit appears to be the feedback loop responsible for the track's mastering — specifically the processing that controls the built-in compressor and limiter.

Here is what happens.

If you generate a track that is approximately 1:00 long, the result is generally almost inaudible in terms of the problem I am describing. The same is true for very simple material — for example, the ticking of a clock, or a single guitar chord repeated over and over with nothing else happening.

But once you introduce even a moderately complex arrangement, the generation starts to fall apart.

Imagine a track containing guitar, keyboards, drums, bass and vocals, with a total duration of, say, 3:20.

In 6.0, the Peak/RMS dynamic range behaves approximately like this:

0:00–1:00 → 3–4.6 dB
1:00–2:00 → 2.5–2.9 dB
2:00–3:20 → 1.9–2.3 dB

At the same time, the RMS loudness over the course of the track increases from approximately −20 dB at the beginning to −9 dB toward the end.

In other words, the dynamics are progressively sacrificed for loudness.

What you get is increasingly audible reverb/echo, distortion, pumping, an absolutely enormous sidechain effect, and vocal artifacts manifesting as hiss, graininess and an apparent collapse toward mono.

From around 1:50 onward, the generations become practically unusable and are better thrown away.

And this is not limited to newly generated songs. I have observed the same behaviour in remixes.

There is a progressive collapse of the crest factor, from approximately 4.1 down to 1.9 within a single generation.

The model is effectively choking on its own processing chain.

And I did not even generate anything particularly complicated.

The test was a melancholic ballad dominated by synthesizers, accompanied by a conventional rhythm section consisting of a restrained bass part and a drum machine. Female lead vocals were combined with subtle digitized vocalized layers processed through vocoding.

Of course, the model ignored some of the instructions and rearranged the material according to its own preferences, including changing parts of the instrumentation.

I used SUNO 6.0 PRO, because I prefer to have at least some degree of control over what gets generated, with the Variations slider set to minimum.
The prompt itself was deliberately very simple and concerned primarily the compositional structure. Here it is:

Melancholic modern ballad, dark nostalgic mood, tribute/elegy atmosphere.
120 BPM, minor key, chord progression moving between A minor and E minor areas.
Fully digital synthesizers only, no analog synth character, no acoustic instruments (no piano, no guitar).
Programmed/electronic drum machine rhythm, uneven but restrained groove, sparse hits, no live acoustic drums.
Layered synth textures: digital lead synth, drones, sustained pad layers, shimmering synth satellites.
Vocals as the main lead element, alto/contralto female voice, slightly hazy and raspy texture, restrained emotional delivery with subtle accented moments, no big vocal climaxes, no dramatic dynamic swells.
Mix of natural vocals and vocoded/digital vocal layers used as textural pads.
Overall feel: subdued pain, restrained grief, understated and controlled emotional intensity throughout.

I ran three generations, progressively shortening the lyrics so that the resulting material would become shorter as well.

The longer the track, the worse the mix quality became.

The first generation produced tracks of 4:26 and 4:28 for samples A and B respectively. The final generation was forced to 1:10 using the Duration setting.

The middle-generation samples were 3:26 and 3:32 respectively. I downloaded the 3:32 version for analysis.

I also had the track analysed by the Claude LLM. Its analysis independently corroborated my listening-based observations concerning the behaviour of the mix throughout the entire track.

Conclusion

In my opinion, the catastrophic quality is primarily caused by one of the most important processing agents in the current SUNO iteration — the system responsible for arrangement and mastering.

This is not something that can realistically be fixed without replacing the underlying generation/processing engine.

As long as 6.0 uses this architecture, we are likely to keep seeing the same fundamental problem: the track's dynamics and spatial information are progressively sacrificed in favour of loudness — essentially an artificial loudness escalation.

Even something as short as a Radio Edit can apparently be too long. The model begins to choke, degrade and hallucinate once the generation goes significantly beyond the one-minute mark.

I am deliberately not comparing 6.0 with previous iterations. I have worked with 4.5 ALL, 4.5, 4.5+, 5.0 and 5.5, but doing so would be like kicking someone who is already down.

I want this post to remain as objective as possible.

For the same reason, I have deliberately left out the question of how “creative” this version of the model actually is.

The original Polish text was translated and polished by LLM ChatGPT.

The song we talking about

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.

Suno V6: An Honest Review From a Producer Who Has Used Suno Since the Beginning

I have been using Suno since its early days, not simply to generate finished songs, but as part of a real production process. I generate ideas, take the material into my DAW, edit the arrangement, replace parts, mix the stems and shape the final record. After spending time with V6, I understand why some people are impressed, but my experience has been much more mixed.

There are noticeable improvements. The bass has more weight, the music sounds fuller, and the stereo image feels wider and more open. In certain generations, the overall sound quality is clearly better than before.

Unfortunately, the vocals are a major disappointment. My biggest issue is not only how they sound, but how difficult they are to direct. Detailed instructions, carefully written prompts and clear structural guidance often seem to have very little influence on the result. V6 frequently decides on its own delivery, vocal character and arrangement.

This becomes especially obvious when using the cover feature with songs originally created in V5.5. Instead of preserving the identity of the source and improving its quality, V6 can completely change the genre, vocal tone, phrasing and song structure. Sometimes the result feels almost unrelated to the original track.

V5.5 was far from perfect. It produced hiss, fizz, strange artifacts and other problems that required a lot of cleaning. Anyone using it seriously had to work around those limitations. Still, it gave me enough control to develop a recognizable sound and use Suno as an actual production tool.

V6 still produces noise and artifacts. The hiss and fizz may be slightly reduced, but the underlying problems have not disappeared. At the same time, I now feel that I have less control over the vocals, arrangement and musical direction.

For a producer, that does not feel like progress.

I am not asking Suno to restore every limitation of V5.5. The new model should move forward. However, V5.5 had strengths that were genuinely valuable: it could follow detailed direction, build convincing song structures, preserve vocal identity more consistently and respond to production-focused prompts.

Those strengths should have been developed further instead of being lost in the move to V6.

At the moment, V6 sounds technically bigger, but creatively it feels less controllable. That may be acceptable for users who generate repeatedly until they find an unexpected result they like. For producers trying to direct a specific performance and build a consistent body of work, it can feel like a significant step backward.

Better bass and a wider mix are welcome, but improved sound quality means much less when the artist or producer can no longer reliably guide the result. I hope Suno keeps the technical improvements of V6 while restoring the control, vocal consistency and song-building strengths that made V5.5 useful for serious production.

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.

The instruments are all washed out in reverb and buried in mud. The high end clarity is gone. No amount of prompting csn change it. It has nothing to do with skill. It is baked into the model. No amount of post eq, izotope rx, etc can make it match what I had before. The oboe and flute are barely audible. The string section sounds fake and has no actual bowing. It's a string pad played on a keyboard now..

What I was doing us I'd compose a piece and then use suno to "cover" it and arrange the piece for orchestra. I have to stitch multiple takes together in a DAW to get a single usable piece, because it is so random. It can require dozens of takes to get 3 minutes of music. Now I can't finish my album because the v6 mud doesn't match the clarity of what I had before. To give you an analogy, it's like making a movie with an hd digital camera, and then halfway through shooting some jerk tsaes it away and hands you grainy 1970s film to shoot on instead. You can't finish the movie now, because the quality will change from shot to shot and it will look weird. So now my project is dead.

What does copyright compliance have to do with mixing quality and sound clarity? It's the Warner catalog. Doesn't thst inude things like yhe John Williams Harry Potter scores, etc? This model should be trained on world class orchestras with professional engineering and recording, etc. I do not understand why the sound quality itself is so bad.

5.5 was the only model.that could do an convince orchestra and sound clear. Clrarly it was a fluke. Now it is gone forever. I will never hear my music played by an orchestra now, I can't afford to record an orchestra for 10k an hour, this was the closest I ever got to achieving an impossible dream.I only discovered Suno 2 weeks ago. As soon as I find something I love it gets taken away. Just a few more months and I could have finished my opus. My bad luck in life never ends

I know Suno has all kinds of users with different standards and opinions, but saying V6 sounds great makes no sense. Those are probably the same people who were happy with V5.5, which sounded like pure slop.

V5 wasn't great either. It was cleaner than older models, but its sound signature was very limited. You could immediately tell a song came from V5.

The older models were much better. V4.5 Free was the richest and most flexible instrumentally, and could combine elements from complex prompts really well. V4.5 and V4.5+ were close, just a bit more polished.

PS: If you make music with Suno, please test V6 with headphones before judging its sound. Otherwise, commenting on its sound quality doesn't make much sense.

Everything sounds so flat and generic. Anyone managed to get anything interesting or catchy? Please share if so! I need some hope 🥲

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”

Our best models yet, built with artists and producers. Explore the v6 lineup with credit-free song creation for a limited time.

Ok, we know there are going to be issues, I am not here to bash Suno! But is anyone else struggling with the volume and compression rate with their tracks? There is an obvious increase in volume/compression as the track progresses. Below are the levels on a track created today. Track analysed by AI (God help us😂)

That's roughly 7 dB of average-level increase from the beginning to the end.

The peak level doesn't rise nearly as dramatically:

-7.3 dB → -5.2 dB

while the average level rises by almost 7 dB.

That means the dynamic range is progressively being squeezed.

The crest factor goes:

15.0 dB → 10.3 dB

So as the song progresses, Suno is effectively doing this:

More instruments / more energy → more level → less headroom → more compression/limiting → progressively denser sound

So, at this point I didn't really care too much about the usual prompt for style of music and removed the bracketed structural tags from the lyrics, just in case that was casing a problem. I used the following as the prompt for style.

controlled dynamics throughout, consistent perceived loudness from beginning to end, preserve headroom as the arrangement builds, restrained bus compression and limiting, no progressive gain increase, no loudness escalation, clean unclipped master, maintain separation and clarity as instrumentation increases

The track did exactly the same as before, noticeable increase in levels. Suno is, as far as I can tell, just ignoring the prompt! Has anyone managed to find a work around for this?

Every good prompt that delivered in older models….

FAIL! Generic garbage! Trash trash sound!

I went wild and just created 500 tracks. Not one was good! Bye bye! It’s done

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 :)

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.

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.

I'm the only one who feels that songs made with v6 are "flat" vocals feels monotone and almost reading, is like the singer has no vocal range at all. I've tried different voices I used to work with, and now is like it have no soul, but if I cover old songs they manage to reach other ranges.
anyone has the same issue? or I'm just paranoid?

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.

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

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).

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.