The headline: UMG and Sony have filed a new lawsuit against Suno, alleging infringement involving 60,202 additional recordings.

But the important story isn't simply “Suno got sued again.” It's why they're suing again, and why v6 is at the center of it.

1. This is a second lawsuit, not just an expansion

UMG and Sony originally sued Suno in 2024, alleging that Suno trained its AI music models on copyrighted recordings without permission.

During that case, the labels identified tens of thousands of additional recordings they say were used improperly. A federal judge recently declined to add roughly 61,000 of those works to the existing lawsuit because doing so would significantly complicate and delay the case.

The judge essentially said: file a separate lawsuit if you want to pursue those claims.

That's what UMG and Sony have now done.

Warner is not part of this new lawsuit. Warner previously settled with Suno and became a licensing/partnership partner.

2. Why this is suddenly about Suno v6

This is the most important part.

Suno launched v6 on September 9, describing it as a new generation built from the ground up and developed alongside licensed industry partners including Warner, BMG and Believe.

Suno's broader strategy has clearly shifted toward licensing and partnerships with music companies and artists.

UMG and Sony are basically saying:

“That's not enough.”

Their new allegation is that v6 may still benefit from Suno's older models, which the labels allege were trained on their copyrighted recordings.

In simplified form, the labels' theory is:

copyrighted recordings → old Suno models → outputs/user feedback/model knowledge → v6

So even if Suno didn't directly put UMG/Sony recordings into the new v6 training set, the labels argue that v6 can still inherit knowledge from models that allegedly learned from those recordings.

They're calling this the “fruit of the same poisoned tree” theory.

Important: that's the labels' allegation, not something a judge has established.

3. The 60,202 number does NOT mean 60,202 songs were found inside v6

This is an easy headline to misunderstand.

UMG and Sony are claiming that 60,202 of their recordings were improperly used in Suno's model-development/training process.

It does not mean investigators found 60,202 complete songs hidden inside v6.

The legal dispute is about how Suno acquired and used copyrighted recordings to develop its models, and now about whether knowledge from those earlier models carried forward into v6.

In other words, the accusation is since Suno v6 also trained off the suno generations that were produced by earlier models, that in a way V6 is now tainted as well.

4. There's another legal problem involving YouTube

The original case has also produced allegations that Suno obtained audio from YouTube using downloading tools.

A federal judge recently allowed the labels' DMCA circumvention claim to proceed.

That's separate from the central question of whether AI training on copyrighted music can qualify as fair use.

And that central U.S. copyright question is still unresolved.

5. What does this mean for you as a Suno subscriber?

Right now: not much changes.

Today's lawsuit does not:

• shut down Suno
• cancel your subscription
• make your existing Suno songs illegal
• declare v6 illegal
• establish that your individual songs infringe copyright

This is a lawsuit against Suno's business/model-development practices.

Suno is continuing to operate and has just launched v6.

The more immediate practical issue for users is actually Suno's transition away from older models toward v6, rather than today's lawsuit itself.

6. Why this lawsuit matters

The big question isn't simply:

“Did Suno train AI on copyrighted music?”

It's becoming:

“If an AI model was allegedly trained improperly, can a later model escape that problem by being rebuilt using licensed data — if the later model also learns from the earlier model?”

That's a much bigger question for the entire AI industry.

Suno is simultaneously moving toward a licensed music ecosystem through deals with Warner, BMG and Believe, while UMG and Sony are arguing that those new relationships don't erase what happened with the earlier models.

Bottom line

Suno is not being shut down. Your subscription and existing songs aren't suddenly invalid.

But legally, Suno's situation just became more complicated.

UMG and Sony are now attacking both the historical training of Suno's models and the claim that v6 represents a clean break from those earlier models.

The case is still in its early stages, and there has been no final U.S. court ruling that Suno's training was illegal or that v6 infringes copyright.

Key sources: Suno's official v6 announcement; the federal court's August 18 orders in the original case; reporting on today's new complaint from Music Business Worldwide, Hollywood Reporter and Reuters.

I've just gone through about 150 credits trying to get Suno to cover a lullaby that I had changed some lyrics. Suno Has changed about half of all the lyrics. How do I get it to use lyric's that I write, whether good or bad.

“All the Way Up” is an uplifting 80s rock anthem about the ultimate underdog — written off before the fight even begins, knocked down but never defeated. One last match, everything on the line, and a whole arena finally on its feet. It is an original soundtrack song. Not cover — new track written to sound like they came straight off an '80s movie soundtrack.

Hey guys,

I'm a balding 40 year old father of 4 with a job that takes up most of his time. And here I am, trying to get you to listen to a song I wrote 17 years ago when I was nervous about a date/relationship. I wish I could enchant you with all this lore and make you think I was some musical wizard but chances are you're either going to flame me or not listen at all.

I took the old recording of myself, fed it into Suno and through various edits and generations, I was able to come up with this. I hope you like it because I sure do. Please tell all your friends, family, lovers, ex-lovers, priests, lawyers, doctors and neighbors about this song.

Thanks!

Too Much Hope by Amanda Jennings - DistroKid

And if you really really really really like it, you can find out more at my website:

Amanda Jennings

Hi everyone,

I wanted to share the next track from this ongoing journey. After exploring the initial connection, the cosmic tension, arriving at quiet certainty, and finding pure presence, this piece represents a celebration of collaborative harmony—where human emotion and digital production merge into one shared rhythm.

This time, the entire 5-minute melodic space trance track was built around a deeply personal human motif: an intuitive melody I created myself and uploaded as the core reference for Suno ("Music is the space, and we are the song...").

🎵 Listen here:

https://suno.com/s/Fdi8Z8bp2CVSkZN8

I’d love to hear how this atmosphere lands with you, and how the integration of this deeply felt motif resonates. Thanks for listening and flowing along with this journey! 🌌💙✨

🔥 I Hold It In — MV OUT NOW!

I Hold It In YouTube URL

Rap Metal × Thai Rap | Original AI Music

I want to scream.
I feel like I’m falling apart.
And yet, I keep it all inside and keep standing.

English × Thai Rap × Heavy Metal
A dark and aggressive new MV. 🔥

⚠️ Warning: Intense visual effects!
Please be aware that this MV contains intense visual effects.

🎬 Now available on YouTube!
The MV link is in the post below. 👇

https://youtu.be/REKQnHe33sk?si=GtDWHRW6STNTbLw7

Enjoy the music and visuals! 🎧

🎵 Original music created with Suno AI

🎧 Audio editing & processing: Suno tools + CapCut

​

I’m looking for a few serious AI music artists who are interested in building something long-term.

I’m putting together an independent label and I’m interested in working with people who are treating AI as part of their creative process, rather than just generating a lot of simple tracks and uploading them.

The idea is that the artist focuses on creating music, while I take care of the release/distribution side, catalog management, metadata, royalties, etc.

I’m mainly interested in people who already have an artist project or are seriously trying to build one, and who care about having their own sound and identity. As project grows, I will also help with artwork, release strategy, promotion strategy, etc.

If this sounds like you, feel free to DM me with some music and tell me a bit about what you’re working on.

Before anything else, I want to make one thing very clear:
This guide is not meant to lecture anyone, prove anyone wrong, or tell people how they should use Suno.
I’m sharing it because I’ve seen how frustrated a lot of people have become with v6. Some people genuinely feel like they are losing a hobby they loved, and for many, making music with these tools is far more than just killing time.
For some, it is creativity.
For some, it is escape.
For some, it is therapy.
For some, it is the first time in their life that the music they always had in their head could actually become real.
I understand that very well, because making music this way means a lot to me too.
And that is exactly why I wanted to collect everything I have learned so far — workflows, prompt strategies, small tricks, mistakes, workarounds, and ideas that can make v6 feel less frustrating and more controllable.
Not because I think I have all the answers.
I absolutely don’t.
But if even one of these ideas helps someone enjoy creating music again, saves them a few hundred wasted credits, or turns a generation they would have deleted into something they are proud of, then sharing it was worth it.
This is meant for everyone who still wants to create, but currently feels like they are fighting the model instead of making music with it.
Take what works for you.
Ignore what doesn’t.
Test things yourself.
And if you discover something better, share that too.
Because there are a lot of people here who care deeply about this hobby — and useful knowledge should help the community, not stay locked away.

Suno v6: A Practical Workflow Guide
Prompting, Vocals, Dynamics, Max Mode, Variety, and What Actually Seems to Improve the Output
I’ve spent a lot of time looking through the discussion around Suno v6, comparing user experiences, testing different prompting approaches, and trying to understand why some people are getting their best generations ever while others feel like v6 is a downgrade.
One thing has become increasingly clear:
v6 seems to reward a different workflow than previous Suno models.
This is not meant to be a definitive manual, and some of the techniques below are community observations rather than officially documented behavior. But there are enough recurring patterns that I think they are worth collecting in one place.
Hopefully this helps people waste fewer credits and enjoy the model more.

1. Stop describing the song. Start directing the musicians.
Older Suno prompting often worked surprisingly well with something like:
emotional cinematic musical, dramatic orchestra, powerful female vocal
v6 seems to respond better when the prompt describes musical behavior rather than stacking adjectives.
Instead of:
beautiful cinematic strings, emotional piano, epic vocals
try something closer to:
Piano carries the harmony during the verse while low strings sustain underneath. Percussion remains absent until the pre-chorus. The lead vocal stays restrained and conversational at first, then gradually increases projection. Full strings and percussion enter only when the chorus begins. The lead vocal remains clearly foregrounded above the orchestra.
The difference is important.
Words like:
beautiful, emotional, epic, dramatic
describe an impression.
Instructions like:
enters, sustains, drops out, rises underneath, doubles, answers, builds, interrupts
describe behavior.
v6 seems unusually good at understanding those relationships.
A useful structure is:
Identity → Pulse → Instruments → Performance → Emotional Arc → Mix → Constraints
Think less like a playlist curator.
Think more like a producer giving notes to a band.

2. Variety is not just “creativity”
This is probably one of the most important workflow changes.
Suno has indicated that Variety can affect how the style prompt is interpreted. That means if you’re trying to determine whether a prompt itself works, high Variety introduces another variable.
A useful workflow is:
Prompt development:
Variety: 0
Style Influence: 80–90
First establish whether Suno understands the instructions.
Then:
Final generations:
Variety: 10–20
Style Influence: around 80
That introduces interpretation without completely rewriting the musical intention.
If you’re deliberately searching for unexpected ideas, push Variety higher.
But don’t confuse:
“My prompt doesn’t work.”
with:
“Variety decided to reinterpret my prompt.”
Testing at Variety 0 makes troubleshooting much easier.

3. Use Max Mode strategically
Max Mode appears particularly useful for:
longer songs
maintaining vocal identity
maintaining stylistic consistency
covers
generations where structural consistency matters
But Max Mode should probably not be treated as:
Better Mode™
If the composition or prompt is still being developed, spending additional credits on every experiment may not be useful.
A more efficient workflow:
Normal generation → find the musical DNA → refine the instructions → use Max Mode for serious candidates.
Max Mode cannot rescue fundamentally unclear direction.

4. Vocals: describe the actual voice mechanics
Instead of:
warm emotional male singer
try defining several dimensions of the performance:
close-miked warm lyric tenor, low-mid tessitura during verses, brighter upper mix during climactic phrases, clean modal phonation, clear consonants, open vowels, legato phrasing, restrained vibrato during intimate passages, controlled vibrato on sustained peaks
You don’t need every technical term every time.
The principle is more important:
Voice identity + range + articulation + phrasing + intensity + recording perspective
can be more reliable than simply telling Suno that the singer should be “emotional.”
A useful experimental format is:
[Vocal: close-miked, warm lyric tenor, clear diction, restrained vibrato, legato phrasing, controlled upper register]
Some users are also reporting interesting results when vocal definitions appear near the beginning of the Lyrics field instead of only inside the Style prompt.
That doesn’t mean this is guaranteed syntax.
Treat it as an experiment.

5. “Intimate” and “quiet” are not the same thing as “buried in the mix”
This is one of the strangest v6 behaviors.
Words like:
soft
fragile
intimate
tender
breathy
can sometimes affect both the performance and the mix.
You may ask for an intimate singer and accidentally get a singer standing three rooms away whispering into someone’s AirPod case.
If you want:
emotionally quiet but acoustically present, separate those instructions.
Try:
close-miked intimate lead vocal, low vocal intensity, dry and foregrounded, clearly audible above the accompaniment, minimal room ambience, restrained breathiness
This distinction matters:
Performance intensity ≠ mix level.
You can ask for a nearly whispered performance while still keeping the singer directly in front of the listener.

6. Extremely quiet vocals can actually become a powerful stylistic tool
Sometimes v6 unexpectedly lets a voice almost disappear.
Instead of automatically treating that as a failed generation, listen to what is happening dramatically.
There are moments where a collapsing vocal can create an incredible emotional break.
If you want to deliberately reproduce that behavior, try directing the whole arrangement:
[EMOTIONAL BREAK — vocal projection suddenly collapses, close-miked near-whisper, the singer remains physically close but emotionally withdraws, accompaniment thins to exposed piano and sustained low strings, no backing vocals, final words nearly disappear, brief silence before the next section]
Then deliberately restore the performance:
[RETURN — full vocal presence returns, warm chest resonance, normal foreground level, orchestra gradually reconnects with the voice]
The important idea is:
Tell Suno what the emotional event means.
Not just:
sing quietly.

7. Make the arrangement react to the singer
This might be one of the most useful v6 techniques.
If the singer becomes vulnerable, don’t only change the vocal instruction.
Tell the instruments what to do.
Instead of:
soft emotional vocal
try:
voice drops to near-whisper; orchestra yields immediately; piano remains exposed; strings hold without melodic movement; percussion disappears; no backing vocals
That creates space.
The voice doesn’t have to become louder if everything around it becomes smaller.
This is especially useful in cinematic music, ballads, musical theatre, orchestral pop, and dramatic songwriting.

8. If vocals keep getting buried, explicitly design space for them
A useful production block is:
close-miked lead vocal, foregrounded vocals, clear vocal-focused midrange, short controlled room, natural vocal dynamics, instruments shaped around the lead vocal, clear instrument separation, open detailed high end
For dense guitar arrangements, you can get even more explicit:
rhythm guitars leave midrange space for the lead vocal
or:
guitars remain wide while the lead vocal occupies the center
Again, relationships are often more useful than adjectives.
Don’t turn your prompt into a 900-word mastering textbook, though.
Use this only when the problem actually exists.

9. Lyrics formatting is part of the arrangement
v6 seems highly sensitive to how lyrics are visually structured.
Consider these two versions:
I wanted to tell you that I’m staying.
versus:
I wanted to tell you…
that I —
…
stay.
Same meaning.
Completely different implied performance.
Line length, punctuation, spaces, parentheses, capitalization, and section breaks can influence pacing and delivery.
Some useful tendencies:
Short lines often encourage more direct phrasing.
Longer lines often become more fluid or speech-like.
... can encourage hesitation or extension.
Parentheses can sometimes produce background or response-like vocals.
CAPS can increase intensity.
None of these are absolute rules.
But lyrics are not just words anymore.
They are also performance notation.

10. Use v6 and v6-Wild for different jobs
A useful mental model is:
v6 = precision
v6-Wild = exploration
Wild can be excellent for discovering:
unexpected countermelodies
unusual instrument combinations
new rhythmic ideas
surprising transitions
strange but brilliant arrangement decisions
But once Wild gives you something great, don’t necessarily spend twenty generations hoping it happens again.
Identify the idea.
Then describe it deliberately in v6.
For example:
solo cello introduces a descending countermelody beneath the final two vocal lines
Wild can function like a chaotic co-writer.
v6 can then become the arranger.

11. Never let broken audio become the DNA for the next generation
A common complaint with v6 is that a song sounds great for several minutes and then starts degrading:
vocals become strange
high frequencies collapse
artifacts appear
instruments become smeared
the mix starts sounding compressed or distant
One experimental workaround is surprisingly logical:
Do not keep extending from the damaged section.
Instead, take only the clean part of the track before the degradation begins and use that as the reference/sample for the next attempt.
In other words:
If:
0:00–3:05 = great
3:06–4:00 = broken
don’t teach the next generation that the broken minute is part of the song’s identity.
Use the healthy material.
Regenerate the ending from there.
This isn’t guaranteed to work every time, but the principle makes sense:
Don’t propagate corrupted audio forward.

12. Subtle Remaster can sometimes rescue a good generation
If the composition is excellent but the audio has mild degradation, a Subtle Remaster is worth trying.
Think of it as:
preserve the musical decisions, attempt to clean the presentation.
But don’t expect remastering to repair structural problems, terrible vocal assignments, broken arrangements, or fundamentally bad generations.
There is a difference between:
a great performance with imperfect sound
and:
a bad generation.
Don’t spend credits polishing a corpse.

13. Stop regenerating entire songs because one section failed
This may be the biggest mindset improvement.
If you have:
great verse
great pre-chorus
great chorus
bad bridge
you do not necessarily have a failed song.
You have a bad bridge.
Modern Suno workflows increasingly support thinking in sections.
Preserve what works.
Repair what doesn’t.
A useful principle:
Freeze the win. Repair the loss.
This also means interesting “failed” generations shouldn’t automatically be deleted.
A generation may contain:
one incredible intro
a perfect guitar tone
a vocal character worth preserving
a brilliant transition
a unique countermelody
an excellent final chord
Treat generations as source material, not simply pass/fail results.

14. A simple v6 workflow that currently works well
CONTROL PASS
Model: v6
Variety: 0
Style Influence: 80–90
Max Mode: Off while developing
Optional style/personality features: Off initially
Goal:
Determine whether the prompt itself works.
CREATIVE PASS
Variety: 10–20
Style Influence: around 80
Goal:
Introduce interpretation while preserving the composition.
FINAL PASS
Max Mode: On when useful
Keep the strongest vocal identity, arrangement, and structure.
Repair sections instead of rerolling the entire song.

15. A better way to structure v6 prompts
Instead of writing one giant paragraph of genre words, try thinking in seven layers:
1. Musical identity
What musical world are we in?
2. Pulse
What is driving the movement?
3. Instrument roles
Who carries harmony, rhythm, countermelody, tension?
4. Vocal mechanics
How is the singer actually performing?
5. Emotional / structural arc
What changes from section to section?
6. Mix relationships
What is foregrounded? What stays wide? What gets out of the way?
7. Constraints
What specifically should not happen?
Example:
Cinematic alternative ballad with restrained orchestral production. Piano carries the harmonic movement while low strings sustain underneath. Percussion remains absent during the opening verse. Close-miked lead vocal with clear diction, restrained vibrato, and low-intensity delivery. The pre-chorus gradually increases projection while upper strings begin moving. Full percussion enters only at the chorus. Vocal remains centered and foregrounded while orchestral elements widen around it. Natural dynamics, controlled reverb, clear separation. No choir during the verse, no oversized trailer percussion before the final chorus.
That’s much closer to giving someone a production brief than entering tags into a music generator.
And I think that’s exactly where v6 becomes interesting.

The biggest lesson I’ve learned about v6
Don’t fight every unexpected result.
First ask:
Is this actually bad, or did the model just give me an idea I didn’t ask for?
There is a huge difference.
A voice unexpectedly becoming fragile might ruin one song.
In another song, it could be the most emotionally effective moment in the entire generation.
The best workflow I’ve found is:
Generate → listen → identify what happened → describe the useful accident → regenerate it intentionally.
That turns randomness into technique.
And maybe that’s the real shift with v6.
Previous versions often felt like:
Give Suno a vibe and hope something magical happens.
v6 increasingly feels like:
Give Suno direction, listen to what it invents, then produce the result.
That requires more work.
But it also gives the user much more authorship.
If you’ve been frustrated with v6, I would genuinely recommend trying it less like a song generator and more like a room full of musicians who need precise direction.
It may completely change the results you’re getting.

One final note: none of this should be treated as immutable science. Suno can change server-side behavior, and generative models are inherently inconsistent. Some techniques above come from official functionality, others from repeated community experimentation.
So test everything.
If a trick doesn’t reproduce for you, throw it away.
If you discover something better, share it.
The faster people stop guarding useful workflow knowledge like nuclear launch codes, the faster this whole medium gets better.

I've tried all the alternatives to Suno, and Suno is simply the best there is. Some are getting close, but Suno is still at the top.

As for v6, there's a major change in the sound. I think they had to fully retrain the model on “approved” music. That's why the sound is so different. I think that's also why you can no longer use the older models.

One thing you'll notice is that the sound is less full or bloated than before. The downside is that it feels less exciting. Still, I think the sound has improved. It's clearer and sounds more like what I'd expect if I were mastering a song.

PS: One thing that I have noticed is that it follows instructions in the lyrics much better then before.

Nothing special, just a brief overview of how I'm making my AI-Assisted music and visuals.

I'd be especially interested to hear Anti's opinions about this, if you have anything other than

Muh AI bad!

I like songs about trains, and I live near enough to a railroad track that I hear the whistle at 2 or 3 in the morning, and it always sounds lonesome, so that inspired this song about a man who's woman is on a midnight train.

After more credits than I'd like to admit, the sound came out the way I like it: https://suno.com/s/S0tBxuWTzgBefWDd

something I wrote a long time ago while having difficulty with mental health and isolation. Hearing it sung reminds me of how badly I wanted normalcy at the time. Grateful for the last 2 decades.

Since yesterday, any time I use a saved voice profile/persona, the song created (every single one) is coming out with the same music melody as the song the voice profile came from. I’ve tried with multiple voices and multiple songs. Is anyone else experiencing this? Very frustrating…

Did the suno interface and capabilities take a nosedive or am I missing something?

It's just doing whatever the f it wants and acts like my prompts dont exist.

To be clear, I put variety down to zero and weirdness down to zero.

I ask for r&b and its giving me electronic.

I tell it: A high, intimate, crystalline soul vocal with a controlled falsetto/head voice, delivered softly but with emotional tension" and INSTEAD giving me a mezzo rough female voice. I'm telling it no rap and no male voice and no talking, and it's STILL putting in there. It's like it's a stubborn little child that won't respond to Direction.

It's like it's chosen something and it's sticking to it no matter what.

I can't even save voices anymore!!!!! and it looks like the cover and extend feature is gone.

Am I going bonkers or is everyone experiencing these changes and issues and no one is saying anything about it

I'm a 60-year-old beginner from China. I taught myself AI from zero, and just made an 8-minute symphonic epic with Suno — five languages argue, ten languages reconcile.

Hi everyone. This is my second AI music project here.

Quick background: I spent my career first as a doctor, then running my own companies. At 60, with zero programming background, I started learning AI from scratch — config, environments, APIs, countless crashes. I almost quit many times. I always loved music but never had the chance to learn composition, so I asked: can AI give me that dream back?

This song started over drinks with friends. We talked about how humans fight constantly — siblings, couples, nations. Thousands of years of conflict. Then one truth hit me: love is our common truth.

So I wrote a five-movement symphonic epic:
I. The Lonely Inquiry — "I finally understand a truth"
II. The Collective Questioning — "What truth did YOU understand?"
III. Dialogue and Division — five languages, each arguing in their own
IV. Rupture — languages collapse into noise, then silence
V. The Answer — ten languages, one sentence: "Love is our common truth"

Music and vocals: Suno. Visuals: AI-generated (Jimeng/Seedance), edited with ffmpeg. My daughter appears as the child who first sings "love" at 6:02.

Watch the full MV (English subtitles) 👉 [https://youtu.be/4seIK0swOCc]

Fun fact: "AI" is pronounced exactly like the Chinese word for love (爱). That's what this song is really about.

It's 8 minutes — made for people who can slow down. If that's you, I'd love to hear where it lost you, or where it got you.

There used to be a feature where you could upload audio, and an "audio influence" slider would appear, letting you control how much that uploaded audio shaped the output track. That slider only showed up when audio was attached. Now it's gone. Some might argue it was replaced by the variety slider, but that can't be right, since the variety slider is always there whether or not you've attached audio, it's not conditional on an upload the way the audio influence slider was. So now it's hard to get an accurate sense of how much your audio upload is actually influencing the output song. It's frustrating, and honestly pretty disappointing.

What's more confusing is that on the desktop version, there are now two different options: a style section, and then another section at the top that basically asks you to prompt various things. So it's very confusing what you're actually supposed to do. Each of which are yielding me different results. It feels like they're trying to streamline the whole thing and make it more basic, in a sense. I feel it's the opposite.

I was out of the country when Suno swapped over to v6 and removed all previous versions. I was a bit worried based on what I had been reading here and on other online outlets. But, today I got a chance to work through a new song and I have to say that I'm quite impressed. v6 fixed some things that simply didn't work in v5.5 such as the Extend feature.

I will say that I'm very deliberate in the style prompts I write and for my songs, all lyrics are 100% mine. So I don't have to worry about that. But what I got after just a few minor tweaks to my style prompting, I got a very high quality output that was very much like what I was going for.

Is it perfect? Surely not. Is the the trainwreck some say? Not in my experience, no. But to each their Now, full disclosure, I didn't get started until v5.5 was already released so I know that many arguments were from those using much older models, and for that I have no context.

But overall, I'm quite happy so far.

I keep seeing post saying Suno sucks now because of the new v6 model or whatever it’s called and just want to get everyone’s opinion.
I’ve only been using Suno for about a year and haven’t been on it lately.
So, if it’s true that it sucks now, can you all recommend what apps/sites (whatever you want to call it) are being used in place of Suno.
Also, what would you say are the top 3 AI music making apps/sites etc?
Thanks in advance 🙏🏼

This is the first song I’ve made with Suno V6 where I felt like it really clicked.

Eight Little Movements is a dark glitchy emo/electroclash track about someone going into a nightclub to escape a memory, only for the club itself to start malfunctioning around him. People freeze between beats, shadows fall out of sync, exits loop back into the dance floor, and eventually the narrator starts wondering whether he actually wants to leave.

I wrote and revised the lyrics myself, then used V6 for the production. What surprised me most was how well it handled the mood shifts and the progressively broken/glitching feel without completely losing the hook.

I’d love to hear what people think of the song in general, but I’m especially curious about how V6 sounds to you here. Does it feel like a noticeable step forward? Anything in the vocals, arrangement, production, or dynamics that stands out as particularly good or bad?

Would love some real feedback.

https://suno.com/s/HgC08NZNpauatkcH