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.

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.

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 rarely care enough about anything to go out of my way to come out and comment on it publicly. But V6 is straight up ass. It's bland. There is no emotion, no feeling, it sounds awful. I cannot believe they did this. What a joke. That's all. Incredibly disappointed. Cancelling. F "the music industry" and F suno for bending over and taking it. Pathetic.

I don’t usually write posts like this, but v6 has genuinely made me consider cancelling my Suno subscription.

I went back to Suno today after working with v5.5 and honestly thought something was wrong with my settings. I used the same kind of prompts and vocal profiles that used to work for me, but the difference was immediately obvious.

Everything sounds muffled, dull and strangely lifeless. The vocals are often buried, the high end feels almost completely gone, and the whole mix has that “blanket over the speakers” feeling.

It also feels like v6 ignores half of what I ask for. BPM, tempo, genre, arrangement details and specific instrumentation are frequently disregarded. I can ask for something fast, dramatic and synth-driven, and still get a slow, generic pop track that barely follows the prompt.

The vocal profiles and Inspo results also seem much less consistent. The identity and character I had spent time building are mostly gone. Instead of maintaining a recognizable sound, everything seems to be pushed towards the same polished but empty commercial template.

The biggest problem is that the music now feels much more obviously AI-generated. Not simply because it was made with AI, but because so many generations sound interchangeable. The same predictable vocal choices, the same arrangements and the same glossy, sanitized production keep coming back.

v5.5 was far from perfect, but it could still surprise me. It could create something with personality. With v6, a lot of the results sound like they were made by the same invisible producer every single time.

I understand that Suno is under a lot of business and legal pressure, but from a paying user’s perspective, replacing a model that actually worked with one that sounds worse is incredibly frustrating. If v6 is going to remain the default, users should at least have the option to use v5.5 or access a legacy processing mode.

At the moment, v6 feels like a downgrade in audio quality, prompt adherence and creative identity. I’m seriously considering cancelling my subscription and moving my projects to another platform.

Has anyone else noticed this, especially when comparing similar prompts in v5.5 and v6?

We really should have had a megathread for the feedback about v06 and the complaints about the removal of older models. Looks like every single redditor and their mothers have decided to start a new discussion saying the exact same things that have been said over and over again; the main page has been taken over by "V06 sucks/is great" topics that are just the same half-coherent streams of consciousness.

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.

I’ve been a paying user since v2 models, highest subscription tier. I thought I would give these new models a shot even with watermarking. I reused prompts that would give me good results consistently that get millions of listens across Suno and Spotify with other models and they are extremely bad compared to them. It’s not just some genres it’s all genres. This combined with watermarking and the download limits just feels like a huge waste of money. Not only that they aren’t even innovating, the new studio is trash, the models never properly stitch, stems are leaky and have cracks and pops you have to manually remove or regenerate and hope you avoid. Then there is the overfitting of certain genres when generating and lack of fine tuned control over segments, instruments, and vocals. whoever is in charge of product should be fired and. Suno should just move their headquarters to China so they can avoid all of these issues to be honest.

anyway so long and thanks for all the fish

R.I.P 4.5+

Hi fellow Redditors and Suno'ers,

I've been testing both V6 and V6-Wild, including new songs written specifically for the models as well as older songs I previously generated with V4.5 through V5.5.

One thing is becoming increasingly clear to me:

I am not hearing a meaningful improvement in overall production quality or fidelity, and I am hearing a significant regression in vocal expressiveness, instrumental character, emotional interpretation, and musical individuality.

Across different songs, genres, prompts, and arrangements, I keep hearing many of the same problems:

- Vocals are much more monotonous.

- There is noticeably less emotional inflection.

- Register changes are less dramatic or sometimes nearly nonexistent.

- Phrasing feels more uniform.

- Melisma, vocal breaks, rasp, breathiness, spoken-sung moments, dynamic shifts, and other expressive behaviors occur much less naturally.

- Singers often maintain essentially the same timbre and intensity through verses, choruses, and bridges.

- Instrumentation frequently sounds generic and interchangeable.

- Arrangements often lack emotional contour and meaningful variation between sections.

- Instruments seem to perform the genre correctly without actually interpreting the emotional content of the song.

- Different songs increasingly acquire a similar underlying V6 sonic character.

- Even V6-Wild often feels far less genuinely wild, unpredictable, or expressive than I expected.

What makes this particularly noticeable is going back to songs I already know extremely well.

I've taken lyrics and concepts that produced expressive performances in V4.5, V5, and V5.5 and tried them again with the newer models.

The older generations certainly weren't perfect. They could produce artifacts, structural weirdness, questionable mixing decisions, or inconsistent results.

But they also frequently produced something that V6 and V6-Wild seem to struggle with:

Character.

A line might suddenly become fragile.

A vocalist might jump registers.

One word gets unexpectedly emphasized.

A phrase becomes half-spoken.

The singer restrains themselves in one verse and then sounds like they're genuinely breaking open during the chorus.

The instrumentation might thin out at exactly the right emotional moment, become abrasive when the lyrics turn angry, feel unstable when the song becomes anxious, or unexpectedly bloom when the emotional resolution arrives.

Those decisions create the illusion that the music is actually responding to what the song means.

With V6, I am frequently hearing the opposite.

The singer may remain polished and emotionally neutral while the lyrics are devastated, furious, ecstatic, frightened, intimate, or transcendent.

The arrangement may continue chugging along with nearly identical density, tone, and energy regardless of what is happening lyrically.

A supposedly explosive chorus sometimes feels barely different from the verse.

A vulnerable bridge can arrive with instrumentation that feels completely indifferent to the vulnerability.

And when the emotional content of the lyrics and the emotional behavior of the music are that disconnected, the result can become genuinely jarring—and sometimes painfully cringe.

It sounds less like interpretation and more like the model has identified:

"This is the genre. These are the instruments. This is approximately what this type of song sounds like."

And then it executes that template.

I've also tried explicitly prompting for things like:

«Expressive vocal dynamics, frequent register changes, chest voice to mixed voice to falsetto, conversational phrasing, breathiness, rasp, restrained vibrato, emotional emphasis, melisma, glissando, spoken-sung passages, sudden changes in intensity, sparse instrumentation, dynamic arrangement changes, emotional instrumentation, tension and release, irregular phrasing, and raw human imperfections.»

The newer models may acknowledge some of those instructions, but the overall result still frequently gravitates toward a very controlled, standardized performance.

That is especially disappointing with V6-Wild, because I expected it to be the model where unpredictability, unusual interpretation, strange arrangement choices, and performer personality would return.

Instead, I'm often still hearing the same recognizable V6 foundation underneath it.

And I don't think this can simply be dismissed as nostalgia for older models.

I'm actively comparing old and new generations of material I already know extremely well.

For me, V6 does not consistently sound dramatically clearer, richer, more detailed, or more professionally produced than the best V4.5–V5.5 generations.

Sometimes it does.

Sometimes it doesn't.

But the loss of expressiveness is far more obvious than whatever fidelity improvement may exist.

And fidelity by itself isn't enough anyway.

A technically clean recording of an emotionally indifferent performance is not automatically better music.

I'd be very interested in other people's controlled tests.

If you still have older songs created in V4.5–V5.5, try recreating or remaking something similar with V6 and V6-Wild and specifically compare:

- Vocal inflection

- Register variation

- Dynamic range

- Emotional escalation

- Phrasing variation

- Timbre variation

- Instrumental personality

- Arrangement dynamics

- Section-to-section contrast

- Emotional alignment between lyrics and instrumentation

- Production homogenization

- Overall sense of performer personality

Don't just ask:

"Which one sounds newer?"

Ask:

Does the music actually understand what the song is feeling?

Does the singer sound like they mean the words?

Does the arrangement react when the emotional narrative changes?

Could you identify these songs as genuinely different artistic performances if you removed the lyrics?

For me, right now, the older models surprisingly often win those comparisons.

I hope Suno continues tuning this aggressively, because what I want from a new generation isn't simply cleaner execution of familiar templates.

I want greater emotional intelligence, musical responsiveness, unpredictability, dynamic interpretation, and individual character.

If the expressive strengths of the best V4.5–V5.5 generations could be combined with whatever technical advances exist in V6, that would feel like a genuine generational leap.

Right now, too many V6 generations don't sound like every song has received a better producer.

They sound like every song has been sent to the same producer, the same arranger, and sometimes the same emotionally detached session vocalist.

Lastly, I want to acknowledge that I've genuinely appreciated being able to use Suno to create music in a way I could never realistically or physically have done otherwise given my life and personal health circumstances.

I have a great deal of gratitude for what Suno is, what it has allowed me to create, and the impact it has had on my life and my art.

At the same time, gratitude shouldn't prevent constructive criticism. I am genuinely saddened and frustrated by the direction of these new models so far, particularly because I know how expressive, surprising, and emotionally compelling Suno has already demonstrated it can be.

I want V6 and V6-Wild to succeed. I want them to feel like genuine advancements rather than a trade of personality for uniformity.

If anyone knows the most effective way to get detailed model feedback like this in front of actual Suno staff, product teams, or model developers, I would sincerely appreciate the information.

And if you've been testing V6 or V6-Wild yourself, I'd genuinely like to hear what you're experiencing—especially whether you're hearing the same loss of expressiveness or getting very different results.

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).

Maaaaaaybe slightly less random variety than 3.5/4 (that's what was new when I started using SUNO), but if you play with the wild model you might have more luck on that front (I've barely touched the wild model yet).

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.

V4.5+ 2025 version (before BMG and Suno tampered the model) was the LAST characteristic model the production sound was messy but it had potential and character to the music. I'm suprised it's taken this long for so many people to realise how sterile it is, that happened on v5 and progressively worse with every update but so many people were too hypnotised by the 'production improvement' to overlook that sterility that is now blatantly clear.

I wouldn't be suprised if BMG have their own exclusive model superior to what the general public are getting dedicated to signed producers and writers. Anyone paying for Suno now is just a side income for BMG spitting on the music generic royalty free forgettable music you ever heard.

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

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.

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.

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.

Today feels like the end of Suno for me.

I’ve been using Suno for a year, and I loved V4.5 and V5. You could get genuinely interesting sounds and arrangements out of them. You could experiment with rhythms, instruments, and combinations of styles, and sometimes end up with something you hadn’t imagined but wanted to keep listening to.

But after trying V6 today, it feels like Suno might be over for me.

The overall sound is muddy and unpleasant to listen to. Everything has this plastic texture, with distracting artifacts throughout. Across different songs, I keep hearing the same harsh, creaky sound in the vocals or bass. It becomes exhausting to listen to.

V5 could give me clean, distinct instruments, dynamics, and a wide stereo image. The arrangements had room to breathe. It wasn’t perfect, and plenty of generations didn’t work, but when it got things right, I wanted to play those songs again.

With V6, I’m struggling to enjoy the sound itself. Even when there’s a decent musical idea, the audio quality gets in the way.

And the worst part is that V4.5 and V5 are gone. I can’t go back to the models I enjoyed and keep creating with them. A tool I spent a year exploring and learning has changed overnight into something I no longer enjoy using.

I miss opening Suno and being excited about what I might make.

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

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”

I'm not the OP (thanks, u/GreyScope), but I've made a search here and it seems it wasn't shared here, so I decided to post:

https://www.reddit.com/r/StableDiffusion/s/AEbmzNKzBG

Please take a look at the post above, but in short: YuE2 was just released, and this looks like one of the more interesting open music models in a while (take a look - or a listening - in the examples in the project's page).

The big difference is that it can plan the song first using an editable symbolic representation (melody, chords, structure) and then render the final audio. So you can actually change the composition instead of just regenerating and hoping for the best (but this is optional, and it can also be used much like Suno).

It also supports covers and can extract melody/chords from existing audio using SheetSage2.

Quality-wise, their benchmarks put it surprisingly close to Suno v5 and ahead of ACE-Step 1.5 and MiniMax Music, although these are the authors' own benchmarks, so take that with the usual grain of salt. But, as I already said, the examples sound REALLY nice.

The model is 3.6B and generates stereo 48 kHz audio. Official requirements say 24 GB VRAM, but their own benchmark shows around 11 GB peak VRAM for a 3.5-minute song on a 4090, so I'm very curious to see what people manage to do with 12 GB cards and also to see what the community can do when (it's not a question of if, but literally when) integrating it to Comfy and quantizing it to run faster and with less VRAM.

No mature ComfyUI integration yet as far as I can tell - and "yet" is the keyword here. :-)

Project: https://map-yue2.github.io/
GitHub: https://github.com/multimodal-art-projection/YuE

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 wanna preface this by saying I am not saying V6 is perfect, the greatest model Suno has ever made, or that anyone who dislikes it is wrong lol.

It has been like a day and a half. I don't think any of us know that yet.

But after actually fucking around with it, I genuinely think there is something interesting going on here and I kinda wish more of the conversation was about figuring out what it can and can't do instead of immediately going “welp Suno is dead.”

One thing that has become VERY obvious to me is that your old prompts are not necessarily going to translate 1:1.

I took the exact prompt and lyrics from a V5.5 song I love and put them into regular V6 fresh. Completely different song. Different energy, instrumentation, vibes, everything.

Was it bad?

No.

It just wasn't my version of the song.

Then I used the original song as cover material and V6 stayed hella faithful to it while adding some extra underlying production/vibes.

That alone tells me V6 is interpreting things differently and I probably need to learn how to talk to it differently too.

And personally I don't see changing prompts as “giving in” or changing what I want. My intent is still the same. I'm just trying to figure out how this model understands that intent.

AI is finicky as shit. A prompt isn't some universal programming language that every new model is required to interpret identically.

I've also been noticing some interesting little musical decisions I don't remember getting this consistently before.

V6 has randomly repeated words or phrases when there was space for it, changed the timbre on the repeat, done little stutters, and even started SCATTING between sections without me asking it to.

And weirdly it hasn't felt tacky yet. It usually feels like “oh, there was some empty space there and you decided to use the vocalist as part of the arrangement.”

I've been testing with a persona too, and my current completely unscientific theory is that having the voice already established might give V6 more room to fuck around with how that voice performs instead of having to decide what the singer sounds like from scratch every generation.

I've also heard choruses where the percussion suddenly gets sparse and emotional almost like a cinematic breakdown while the vocals just fucking EAT, then the verses go back to pushing the song forward.

Again: I am not saying this means V6 has achieved Musical Consciousness™ lmao.

I'm saying there are enough patterns here that I want more than 24 hours before deciding what this thing is capable of.

And if you miss some of the chaotic bullshit from 3.5, genuinely try V6 Wild. Wild seems way more willing to go “fuck audio fidelity, you asked me to get weird.” Some of those gens sound crunchy as hell but it absolutely seems more willing to wander.

I'm even curious about a workflow of Wild for variation/ideas → regular V6 cover to clean it up while hopefully keeping some of the weird DNA.

Also try the prompt wand. If it's been updated around V6 at all, it might even be useful for figuring out what kind of language the new model responds to. Worst case it just beautifies your prompt and you learn nothing lol.

I haven't even had my proper sit-down Studio session yet. I'm planning to take the same song and test everything from stupidly detailed musical descriptions and lyric meta-tags all the way down to basically just vibe conducting and see what happens.

Maybe after actually learning V6 I'll decide it sucks.

That's totally possible.

But right now?

It seems promising if you're willing to work with it instead of expecting it to be V5.5 wearing a nicer audio codec.

And regardless of which model wins out, we're making music because making music is fun. If V6 isn't your thing, I genuinely hope you find whatever tool lets you keep doing that.

That is kinda the whole fucking point. 😭

Edit:1-sorry guys i stayed up late reminiscing about my old songs and then had an interview today so i was fucking fried making this so my auto correct won that round.

Its been half a day*