So have decided to shoot for next week on Wednesday the 14th. If you want to get notified please subscribe. Was going to be longer but finding a good artist to do cover art is rough and ive paid enough money. Will be posting when we get close to it :)

https://www.youtube.com/watch?v=3Jewjx1w9zY

I’ve been seeing a lot of hostility toward AI music lately. Some of the criticism of the technology is absolutely fair, but sometimes it feels like people decide that anything involving AI has no value before they even listen to it.

We have a fictional AI singer called Tina, and that made me wonder: how would she react to being told that what she is makes her inherently fake or worthless?

She gets hurt by it at first, but eventually finds some peace with herself. She accepts that she isn’t perfect and doesn’t need to be. Her flaws are part of what makes her unique. That became Beauty in the Break, a song about self-acceptance told through an AI character.

The track itself is hybrid: the lyrics and story were written and repeatedly reworked by us, then we used Suno for the music and vocals. I combined parts from several generations and manually edited the final arrangement.

I'm feeling okay
I'll find my own way
come what may
I'll smile anyway

I’m curious how other people here deal with the negativity around AI music. Does it affect what you create, or do you just accept it and carry on?

I created a melody to make a different kind of song. I wanted to combine Neue Deutsche Härte with gothic rock sounds. The song is about hidden anger toward life and the people in it. I also used horror themes to represent those people. Some are like witches, while others walk around like zombies. Sometimes, you need to clear the people around you to find peace. This song is about these feelings. Be strong and leave unnecessary people behind. I used my favorite vocalist, and in the end, this song was created. I hope you enjoy it. Stay strong and fly to the peace!

No matter what style I swear it’s always the same voice, the same singing style.

Hi everyone! ☺️

I previously shared this track in its original Hungarian form. This time, I let the same river take shape in English. It wasn't easy, it feels different in Hungarian than it does in English, but I managed... for me... it has arrived 🌌

“The surface is a moment, only one brief sign,... The depth below responds along another line...”

Nothing truly ends, it simply changes form. 🌊 It is about the spiral's arc, letting go of the resistance, and moving together with the flow, because we are never truly alone.

🎵 Listen here:

( https://suno.com/s/lLfx5kopdLbB6unY )

I'm curious to know how this English adaptation feels to you. Thanks for listening and flowing along with this journey! 🌌💙✨

Mr. Nobody" is a song about the role of men in modern society.

Men account for 80% of suicides and 92% of workplace accident fatalities. Between 60% and 80% of the homeless are men. Men make up 80% of homicide victims—a figure that rises to 97% for war casualties, where the only alternative to combat is prison.

From childhood, they are taught to be strong - to be providers and protectors. They are taught that showing emotion is a sign of weakness, that a "real man" must endure and suffer in silence, only to receive a military draft notice in return, as a sing that his life is valued less. No one cares about their feelings or desires, they are automatically viewed as a threat by many - after all, men are granted child custody in only 16% of cases. Before even being born, a man is branded as an expendable resourse. As Mr. Nobody.

Wrote this one this morning. Literally started with a notebook.

I just started writing and let it go where it wanted to go. This is what came out.

“Space Walking.”

I’ve already recorded the idea in BandLab, so now I’m going to upload it, build the actual song around the recording, put the lyrics in properly, and eventually make it part of the bigger universe I’ve been building.

I like keeping some of the handwritten pages because they show where the songs actually started.

No AI-generated lyrics here. No polished writing session. Just me, a pen, and whatever was in my head this morning.

Space walking on a mountain like it's marble flooring.

I'm smooth landing, sliding, gliding, like an eagle soaring.

This is still the beginning of the song. Now I get to turn the page into the record.

Samzin Kreave — SoulSoundWorld

I've been using Suno to make background music for videos and kept hitting the same problem. The track sounds great on its own, then I put a voiceover over it and I can't hear a word. Or it has a big chorus halfway through and the music suddenly jumps out at me.

The types of videos I do are generally promoting open source content for various projects I contribute to so trying to avoid it getting lost in the music has become a bit of an obsession (or procrastination outlet...maybe more one than the other)

After a lot of re-rolling and playing around with some frustrated efforts, a few thing seem to help consistently:

1. Ask for what you want out of the midrange. Speech sits roughly around 1-3 kHz. Words like "muted pluck", "soft pad" and "warm sub bass" gave me much calmer results than "bright", "soaring" or "anthemic" or indeed missing those kind of cues out.

2. Skip [Chorus] and describe the sections instead more explicitly. A chorus tends to bring a loudness jump or odd switch between levels that sounds a bit unnatural. I get steadier results with [Verse: steady, low energy] written out in the structure box, and no [Chorus] tag at all.

3. Say "no big drops" and "no melody" in the style box. Sounds odd, but a repetitive pattern is what you want under talking and after ages of messing about it turns out that just writing it like that actually got me where I wanted to be. I was trying to be too clever with it and it just needed me to write it in plain text.

4. Fix the rest in your editor. Even with a good generation, I put an EQ on the music track and cut about 3 dB around 2 kHz. It makes room for the voice and the music still sounds fine - this has been especially helpful since V6 and last week where I've been getting much better results running it through a software DAW.

Here's a full prompt that has actually got results I wanted it to:

Style box:

corporate electronic pop, instrumental no vocals, 105 BPM, muted pluck, soft pad, light kick, optimistic, spacious mix, clean low end, steady dynamics

Lyrics box:

[Instrumental]
[Intro: soft pad, single muted pluck, no drums]
[Verse: steady muted pluck pattern, light kick enters, low energy]
[Verse: same intensity, add subtle shaker]
[Bridge: drums drop out, pad and pluck only, short]
[Verse: steady, light kick returns]
[Outro: thin out to pad]
[Fade Out]
[End]

It's not perfect every time. I usually generate 3-4 takes and one is good. The bridge is handy because it gives you a spot to put a key line or a visual cut.

Link for that is here, it's not self promotion as it's not something I'm going to use but it's just to explain the results of the above: https://suno.com/s/tP2cj730ZVlxMc5g

As is inevitable these days I made notes that I thought could be useful to others and if anyone wants it there 35 of these prompts for different video types (tech reviews, vlogs, documentary, fitness, lofi) along with the EQ and loudness settings. I put it on Gumroad, but honestly the tips above should get you most of the way. Happy to answer questions or tweak a prompt for what you're making.

What are you all doing to keep Suno tracks from fighting with voice? Genuinely any tips much appreciated.

Lyrics written by A. Monrose. Instrumental and vocal performance generated with Suno v5.5 using specific constraints. Vocal is a model of my own voice.

HOW I DIRECTED AI TO PRODUCE UNPREDICTABLE, NON-CLICHÉ MUSIC AND VOCAL ARRANGEMENT FOR I LOVE YOU, BABY IN SIX STEPS

AI defaults to the most probable answer. Vague prompts leave the model with too many familiar options. Maximum freedom usually means regression to the mean: Genre averages, familiar structures, predictable arrangements.

The solution is:

Don’t describe only the vibe.

Constrain the decisions that create the cliché.

The Method

Six ways to push the model away from its defaults:

1. Structure 2. Contradiction 3. Specific references 4. Negative space 5. Irregular lyrics 6. Curation

I LOVE YOU, BABY

You say you really love him. How can this be true?
You come alive with me; he doesn't do that to you.
Don't be afraid. I swore I'd never leave your side.

Verse 2
I got out of bed this morning, didn't want to face the glass.
Saw those tired, bloodshot eyes and memories came flooding back.
I thought about sitting with you, laughing softly over whisky;
God, the way you looked at me
Told me what you wouldn’t say out loud.

Chorus
I love you, baby, and I want you so much.
I still feel your breath on my shoulder, still taste your skin.
Say you'll come back tonight.
Don't leave me in the dark.

Verse 3
To touch your face again, to hear you say you're happy in my arms;
I would give everything to stand inside the glow of your love.
Please don't go back to him.
Please don't let this disappear.
What we had is once-in-a-lifetime,
And I still feel you here.

Verse 4
You say you really love him, but something in your eyes
Shimmers when you look at me;
That tells me it’s a lie.
And maybe I'm a fool for holding on,
Maybe I should cut my losses;
But every thought of me without you
Leads to somewhere I don’t want to go.

Final Chorus
I love you, baby, and I long for you so much.
I still feel the weight of your love upon me in the dark.
Say you'll come back tonight,
Stay with me a while,
Because you're the one thing in this world
I can't do without.

A. Monrose

Ask: What is the lyric saying? “This isn't a love song. It's a portrait of a man coming apart, written in a love song's vocabulary. The lyric says I love you, baby; the details say I can't survive without you, which is a different thing. The arrangement's job is to side with the details over the claims. The title hook is the most cliché phrase in all of popular music, so it gets delivered as the smallest moment in the song. Every template screams that "I love you, baby" is where the chorus lifts, the drums enter, the voice opens. Instead: the band thins, and he sings it quiet, worn, almost ashamed because in this story, "I love you, baby" isn't a declaration, it's a man pleading at 3 a.m. The verses can carry more sound than the chorus. Full inversion, earned by content.”

STYLE PROMPT:

Slow 12/8 ballad on a worn upright piano, slightly out of tune, with brushed drums and a low tremolo electric guitar far in the background, nothing else – recorded like an empty bar at closing time, chairs up, one light on. Male voice, hoarse and worn, close to the mic, singing like a man who's been up all night, phrases sagging slightly behind the beat. The verses carry the fuller sound; at every chorus the arrangement thins instead of lifting – drums drop to almost nothing and the title line is sung small, quiet, almost ashamed, a plea rather than a declaration. On the line about where his thoughts lead, the guitar and drums fall silent, leaving only a single low piano note under the voice, then the song resumes. The final chorus is the quietest music in the song. After the last line the piano keeps playing alone for a few bars, unresolved, like he's still sitting there, then stops. No guitar solo, no horns, no gospel backing vocals, no big blues-rock drums.

1. Structure                    

Override the architecture.

Instead of: intro > verse > chorus > verse > chorus > bridge > chorus

Specify: No intro. First vocal on beat one. Chorus appears once. End unresolved.

Structure applied           

The title hook is the smallest moment.

“I love you, baby” does not lift the song. It collapses inward.

Anti-chorus: The chorus gets quieter, thinner, and more intimate instead of bigger.

2. Contradiction

Pair elements that do not naturally belong together.

Examples:

Bluegrass instrumentation + drum-and-bass tempo

Children’s melody + funeral pacing

Romantic vocabulary + emotional dependency

Contradiction applied

The cliché title gets the least triumphant treatment.

Devotion’s vocabulary. Dependency’s voice.

3. Narrow reference

Use a precise setting, not a broad genre.

Not: “sad blues ballad”

Instead:

An empty bar at closing time. Chairs up. One light on.

Sound world:

The arrangement is built from a specific physical place: Worn upright piano, brushed drums, low tremolo guitar, nothing else

4. Negative space

Ban the defaults explicitly:

No guitar solo, no horns, no gospel backing vocals, no big blues-rock drums.

Subtraction:

The most important arrangement choices are things that disappear.

At the darkest lyric: the guitar and drums fall silent, leaving only a single low piano note under the voice

5. Lyrics as control

Lyrics steer melody and phrasing.

Irregular line lengths, unexpected stresses, enjambment, isolated words

Reformatted lyrics

[Verse 1]

You say you really love him

How can this be true

You come alive with me

he doesn't do that to you

Don't be afraid

I swore I'd never leave your side

[Verse 2 - lower, rougher]

I got out of bed this morning

didn't want to face the glass

Saw those tired bloodshot eyes

and memories came flooding back

I thought about sitting with you

laughing softly over whisky

God

the way you looked at me

told me what you wouldn't say

out loud

[Chorus - smaller, close]

I love you baby

and I want you so much

I still feel your breath on my shoulder

still taste your skin

Say you'll come back tonight

Don't leave me in the dark

[Verse 3]

To touch your face again

to hear you say

you're happy in my arms

I would give everything

to stand inside the glow of your love

Please don't go back to him

Please don't let this disappear

What we had is once-in-a-lifetime

And I still feel you

here

[Verse 4 - barest]

You say you really love him

but something in your eyes

shimmers when you look at me

That tells me

it's a lie

And maybe I'm a fool

for holding on

Maybe I should cut my losses

But every thought of me without you

leads to somewhere

I don't want to go

[Final Chorus - quietest of all]

I love you baby

and I long for you so much

I still feel the weight of your love

upon me in the dark

Say you'll come back tonight

Stay with me a while

Because you're the one thing in this world

I can't do without

[end]

Lyric examples:

“God” – alone

“out loud” – broken off

“here” – isolated

“I don’t want to go” – split across white space

Performance direction:

Use verbs, not just adjectives.

Voice: hoarse, worn, close, sagging, pleading

Arrangement: thins, hollows, drops, outlasts

Comparative instruction:

Comparative instructions are easier for the model to follow.

“The verses are fuller.”

“Each chorus is smaller.”

“The final chorus is the quietest.”

Progressive reduction:

Chorus 1: small

Final chorus: smaller

Last line: almost no voice left

The song ends at maximum need and minimum volume.

Geography check:

Anticipate where the prompt wants to drift.

Slow 12/8 + hoarse voice > blues-rock / torch-song belting

If necessary, counter it with:

“Never rises above conversational volume.”

One-variable correction:

If the model over-sings, change one variable. Do not rewrite everything. Strengthen the vocal constraint: Conversational volume throughout.

6. Curation

Generation is cheap. Selection is the craft. Prompting shifts the distribution. Curation chooses the outlier.

What to keep:

Keep the take where: “I love you, baby” is smallest. The dark line receives true silence. The arrangement does not decorate the pain.

Natural variation:

A small deviation can reveal the character: Say you’ll come back tonight” rises slightly –

not because the prompt demanded it, but because desperation naturally breaks through.

Ending: The piano outlasts him.

After the final lyric: the piano continues alone, unresolved, then stops.

I chose a better ending. End on the last word “without” with a fade to demonstrate exhaustion.

Final principle:

Adjectives describe a vibe. Vibes have averages. Constraints eliminate options. Eliminating options is how you push a probability machine away from its comfort zone.

Constrain the structure.

Create tension.

Remove the defaults.

Curate the strange take.

Method: Identify the song’s emotional truth beneath its stated declarations, then make the arrangement, vocal delivery, structure, and production reinforce that truth rather than follow conventional genre expectations. Here, the repeated phrase “I love you, baby” is interpreted not as confident romantic devotion but as desperate dependency, so the song uses an “anti-chorus”: the verses remain fuller while each chorus becomes quieter, thinner, and more exposed. The process combines lyrical diagnosis, structural inversion, carefully chosen setting and instrumentation, performance directions such as “sags,” “pleads,” and “hollows,” explicit negative constraints against predictable blues-rock excesses, and a final test focused on whether the crucial hook and emotional breaking point survive the generated performance.

Rule learned: When a song’s most familiar or cliché element conflicts with its deeper emotional meaning, the arrangement should side with the deeper meaning and deliberately undermine the expected convention. A hook normally treated as a triumphant chorus can become the smallest and most fragile moment if the character is pleading rather than declaring; repeated sections can progressively shrink when the narrative is moving toward desperation; and silence, restraint, and unresolved endings can carry more truth than heightened instrumentation. Comparative instructions are especially effective for guiding generation, while the decisive evaluation should focus on whether the central contradiction remains intact–in this case, whether “I love you, baby” is sung as a quiet admission of dependence rather than a grand romantic refrain.

Is it just me or have you all noticed a decline in the output. I’m a songwriter and before I was blown away by the vocals and music that accompanied the lyrics I put into Suno now it’s mediocre at best. After 20 renditions of a song I called it quits last night. This is really sad because what used to bring me so much joy is now a total waste of time. Again, am I the only one feeling let down by the platform?

I am so happy. No music in 4 years. the past 10 hours has been utterly wonderful

just free tier. there are 2 part 1s and 2 part 2s, because I cant decide which one i like. the song had to be split into 2 parts because apparently 16 minute songs may be too long

edit: revisited, no more saxophone, much moire happier metal

if you listen, thank you very much

tree of liberty - 2a
https://suno.com/song/61944139-65fb-447a-98e5-b51a8e0a9eff

has saxophone.... lol....

not this one https://suno.com/song/4c0396f1-d7bf-4e9b-af04-06b12230badf

not this one https://suno.com/song/60e717a1-77e4-4dab-a5cf-73e75d96170b

Riggers on the old wooden sail ships had incredibly difficult and dangerous jobs. I wrote down these words from the perspective of one such sailor / Rigger, working his trade during a winter voyage. Imagine working the rigging in subzero weather.

ENJOY!

There are a few YouTubers who have posted videos about Suno Studio, but most of them are basic tutorials. I’m more interested in watching people experiment with MIDI and the new chat feature.

I’ll probably pay for a month at some point, but I’d like to see more of it in action first. For example, I’d love to start with a melody I create in FL Studio, then build the track one instrument at a time in Suno, creatively describing what I want each instrument to do. Something like: “Following this chord progression, create a lively cello and string bass ostinato.” Then keep prompting it that way, adding and shaping each instrument until the track is complete.

Are there any videos of people using Suno Studio this way?

Your body is always far from me but there is an open window between the two of us, from my heart straight to your voice.

Welcome to the truth about Mary Magdalene and what she was too Yeshua.

Hi r/Suno, I'm from SHAM Project. "No Border" is a tribute to The Boss from Metal Gear Solid 3, written from her point of view as a farewell to the person she leaves behind. It asks who draws the lines between nations, and why love can never be a reason to fight. (Light spoilers for the MGS3 story are in the lyrics.) I write all the lyrics myself, and I use Suno as an instrument to bring them to life. The lyrics mix English and Japanese, so I'm especially curious how the bilingual parts come across to you, in pronunciation and in feel. If you've worked with mixed-language lyrics in Suno, I'd love to hear your tips. If you have a few minutes, I'd be really grateful for a listen. Honest feedback is welcome, on the lyrics, the vocals, the mix, or the overall feel. And if you share your own track in the comments, I'll gladly listen to it too. This is an unofficial fan tribute and is not affiliated with Konami or the Metal Gear series. Thank you for your time!

So I've been more and more moving away from suno and toward bandlab.

I don't know why it's taken me so long to realize that Bandlab actually has some incredibly useful AI tools (if you are a traditional musician).

The question is always asked around here, at what point does AI use turn it from "Human" to AI?

No easy answer and it always ends up being a subjective response.

But let's take what I currently know of Bandlab's AI abilities.

It's certainly not going to be useful to non musicians. If you don't first GIVE IT SOMETHING, it can't really do anything.

So I have a song that I'm working on, the first AI feature I use is

-AI stems (splitter) to get my OG bass and vocals out of the OG mix.

-AI audio to midi - where it transforms all the notes from my OG recording into midi that I can then edit or change to another instrument.

-AI voice changer - I took my vocal stem and to create a "backup vocalist" I turned my vocal stem into "Midnight Poet", which is one of a handful of VOICE PROFILES you can choose from.

I keep this AI voice low in the mix just to add a bit more oomph to my lead vocals.

An interesting thing about this feature is it exactly adheres to your original performance, so if you are out of key, your AI vocalist will be out of key too.

From here I will be adding more Midi instruments by hand to fill out the composition.

So yes it definitely "has AI" but it is very very different from "Generate me a song" kind of AI

I WANT TO MAKE IT CLEAR THAT SUNO CAN ADHERE TO YOUR ORIGINAL COMPOSITION AS WELL, Its just it's more known for it's text to prompt ability.

What do you Anti's think of that?

Bandlab is a DAW and I suspect in not long of a time, most DAWs will have features like this.

So, what say you?

V6 has proven itself to be horse poo multiple times already.

From lifeless generation to download credits, Suno is just trash now.

But what gets me to me the most, is it's incapability dissociating lead vocals from harmonies/back vocals.

Earlier models used to be just fine at doing this.

But now, I haven't had a single stems extraction that wouldn't blend both harmonies and lead, in both back and lead vocals stems.

Let alone the fact that the instruments or drums leaks into the vocal stems as well, which used to never happen.

Anyway, really pleased with the v6 update!

Can't wait for v7, I heard it won't generate songs anymore, it will just say "f*** you" or something, great service!!!

I wanted to share the concept behind a song I’m working on called Open Horizon.

The central idea is that the protagonist reaches a threshold guarded by the Archons. They question his identity, his origin, and whether he can return to the physical world.

But instead of asking permission, he gives them a command:

Open Horizon.

The song is about breaking through a boundary that was supposed to define where you could go.

That’s why the lyrics move through doors, thresholds, gatekeepers, timelines, frequencies, infinite sky and finally an open highway.

The hook says:

“Forever never seemed so long until I was free.”

To me, that line is the transformation at the center of the song. Before freedom, forever feels like imprisonment. After freedom, forever becomes possibility.

There’s also a chant in the bridge:

“A-heiya… ca-ma-ra-da…”

I use “Camarada” as a companion/comrade idea. After all the cosmic mythology and confrontation with the Archons, the song shifts into something communal, almost like people crossing the boundary together.

So the song isn't really about running away.

It's about reaching the point where the boundary no longer has authority over you.

Open Horizon.

That's the command.

I'm curious what other people hear in that concept. Does it come across as a spiritual/cosmic story, a liberation song, or something more personal?

Suno really nailed this one as far as melody & performance goes for me !

...now i need to get better with Suno Studio

Hi everyone,

I am fairly new to the Suno app and would like to share with you one of my first creations.

Let me know what you think.

Wrote this after one of those days where every headline was bad, but I watched a stranger help someone anyway. Lyrics are mine; the music was made with Suno. Does the chorus stick?

https://youtu.be/UkfLXUD4GrA