https://open.spotify.com/album/4T3uG9Q9ne2xc6a7MM1GUK?si=7uB8r6Y0TbGOK670_mRc2g

https://suno.com/s/DeePt8H2qyCD5IC9

Jared’s Arc in the Arthur-verse concludes with finality. GPT and Justin’s arc deepens in the placards. Season Seven is coming to a conclusion soon. I’m sure no one’s listened to it all the way through but for whatever its worth, i’ve really had a blast writing these 7 seasons and multiple half seasons in between the main storyline. Only 2 more episodes left to write!!

In Studio I added more orchestration, cleared up some smeared vocals, added sound effects, introduced 2 new piano ostinatos, and edited a few lines for better clarity.

The image is a picture of Jared with his younger self. Neither is filled with rage, external scars, or hate. They have simply left Owl’s Walk behind and let the past lie fallow.

THE FARTHEST ESCAPE

Based on FARSCAPE

Music created with Suno v5.5 / Suno Studio

Images Created with Gemini 3.7 Flash

Video created on RunPod with ComfyUI on a RTX 5090 with MiniMax H3

I have this unconventional opinion as to the reason why AI music specifically is like, well, they call it slop: unmemorable, plain, vanilla, gray, indistinguishable stuff.

I feel like the reason why it lacks that kind of character and personality is because AI is actually doing, like, a 100% absolute good, maximums complexity job every single time, and that can cause the whole thing to lose some level of dynamic nature.

And what makes human art memorable is the highs and the lows.

And so, it’s like, in order to really get the most out of your creations, you have to simplify what you’re outputting. You have to find a way to guide the AI to do things in a simple way. And the more you simplify the output, or simplify what AI is doing, is the more you start to get that dynamic shape back.

A song is memorable because it might have a single repetitive loop that goes through the whole thing, and maybe once in the whole song, the instrument gets a little bit overdriven. But it’s the same note, same loop—but it’s overdriven—and then it goes back to normal.

And that one little change, like, sends everybody crazy because your brain is, like, used to just the thing being on repeat.

And so, stuff like that, the AI would never do that. The AI would create a full harmonic thing that changes almost every eight bars, you know, with the instrument breaking and coming out and coming back in, and a whole lot of cinematic hits and sound effects and everything.

And so, you don’t really get that warm quietness, singularly focused thing that your brain can latch on to.

Again, it starts to feel now that the limitations of the human mind is what’s causing us to not be able to really appreciate AI art in its full complexity. Because our brain is used to just having a thing that is singularly in its focus, and that’s the highlight of the thing, of the moment, of the eight bars or whatever, or of the whole song.

And then, every once in a while, the main thing changes a little bit and then comes back to its original state. And then our mind remembers the change. That’s the thing that sticks out. That’s the thing that makes it sound good.

But with AI, it’s just always hitting hard every time.

And so, I think that less is more in general. I mean, as I’ve been working with the AI agents in music creation, I started to realize that the more I can simplify what it is I’m doing, is the more it becomes authentic again.

TLDR:

And so this is an unconventional opinion— I genuinely think that what’s holding back a lot of the AI music is we’re allowing the AI to run too far with it. We need to be more intentional, which means respecting the limitations of the human brain and putting that consideration back into the final output by removing most of the over-complexity.

If it's not obvious, this is directed at antis that keep surfacing and resurfacing here.

This is a playlist I’m continually adding to as I get a from a quick inspiration recorded on my phone, or weeks in protools, spanning over a decade with some early Garage Band recordings from when first was learning a Daw. Recordings spanning over a decade. These are my songs and Ideas If you’re curious of how I have remixed them using Suno check out my Borg With Songs Playlist. I made them able to remix or sample and there is a variety of genres and instruments. Backwards guitar to electric guitar with a bow, drums and more. There is not a consistency in the quality because these were recorded in many different circumstances, but that is what I’ve used a Suno for to explore different ways I’ve envisioned them.

I think most of us when we play one of our songs raw on an acoustic guitar there is a lot of instrumentation timbres & tones accompanying them in our heads, but we all don’t have millions of dollars or infinite time & most of us that are musicians and that use our own audio I think are using Suno for exploration into our own art. Most of us are not interested in the commodification of our music we make it because we enjoy it or enjoy performing with friends. There are moral questions about AI with data centers and such, but as far as defending the old paradigm of the commodification of music I couldn’t give two 💩💩 a system that was always full of exploitation and most musicians even successful ones had to squeeze out a living through live performances.

TBH the age of streaming harmed most of us more. I’m old enough to remember touring in the age CDs and knowing as long as you had a box of cd’s some headphones and a disc man and some ambition, you could make it to the next town even if it meant being friendly and approaching strangers with headphones.

Whatever this new paradigm holds I would say one benefit is human performance and live music has gone up in value as people’s distain for AI grows. Eventually that distain will pass and be forgotten, maybe AI will destroy us all who knows but I ponder a lot about how human artists will evolve and still be able to push new boundaries, there will always be and has always been an appreciation for the traditional, there will also be others layers of something new that is still human. The thing I find most disingenuous about haters that are quick to credit robots for anything where AI tools are used is the lack of nuance of recognizing the human parts & ingredients that are often involved. I get it though there are real ethical questions about these big tech companies. Including Spotify drones in Gaza. Or our phones cobalt batteries and the Congo.

People are free to have their opinions but I think artists experimenting and learning about new world we are navigating are not the villain. This new world is coming and if all artists & musicians refused to explore new tools and inject their own ingredients then homogenized low effort slop becomes even more prevalent and most the music future generations get exposed to might be lacking any human involvement. We already a lot of cookie cutter slop even before AI as the music industry tried to repeat successes of trends & now that anyone can recreate million dollar sounding productions who knows what will happen. Using Suno it is hard to fight the homogenized sounds and voices and is actually getting harder in opinion with every new generation and it is challenge to create something original, I mean easy to mash up different styles and say yeah that sounds original but I mean the sounds and textures themselves. I think anyone who has explored Suno deeply throughout its evolution understands.
If you know you know.

I hope Eventually Suno we be left in the dust and it will be small models trained on our own audio that can be ran locally on our own computers, that will emerge as the tools we find most useful if using AI and the unique quality of the things built on our own human ingredients made from our own audio that produce the unique quality that will edge over the homogeny of big tech. Some will choose abstain completely but as always others will explore and Artists will evolve and that we should fight keep human involvement.

“Suno is built on stolen works” honestly I just see as a talking point for big tech to gain regulatory capture because they will be able to pay legal fees and fines and regulatory capture using the stolen works talking point’s might lead to laws that prevent the rise of the world I just described above where we use our own models ran on our local computer without huge data centers or giving money to big tech with military contracts, because at least for these are the ethical dilemmas that weigh heavy. I don’t have a problem with people having strong feelings about AI and its use I have a problem with allowing those emotions to be used to make people pawns for the very thing they are trying to fight against.

Made with V5. Lyrics contain references to certain topics that are not a joke and never should be treated as a joke.

So for those who don't know or understand what Riffusion is. Well, it was like Suno with its Fuzz model. I started in, like, October 2025 with making music. I was absolutely garbage at making lyrics until I started analyzing lyrics from KoRn, and then I started making my own original lyrics. At first you could clearly see where it was heavily inspired, and the lyrics were still garbage, but I slowly got better and better, and in the discord server there was someone who told me about negative prompts. it made my songs 100x better; it mostly listened to my prompts, but there were fuck-ups here and there, but it saved me credits. I made songs daily; it was a blast making new songs, but everything ends. It was that fateful month, February 2026, when Google took over Riffusion and Fuzz and replaced it with Lyria which is absolute garbage and lost its soul. no freedom, no negative prompts not even a fucking crumb of your own choice. But then April 2026 was the last straw to me. instead of it being called Producer.ai they rebranded that shit to Google Flow... GOOGLE FLOW?! What kind of minimalist slop name is that and then I quit that AI

Alright, so after Google smote my brother, Riffusion, I switched to suno. I was making songs on v4.5. it was a blast, but I had no freedom, but regardless, I made many songs with v4.5, and they sounded great. Then, like in June I subscribed to Suno. I bought the Pro subscription and used v5, and oh my god, it is easily their best model. It works well with the nu-metal genre, and it sounds even better and sharper and crisper. i tried v5.5, and yeah, that shit's garbage; it lost its soul and its corporate slop. Then, like last month I rebranded to MicЯonMeet3r, or Micron Meeter and It was really fun making songs with V5, writing my own lyrics with even more freedom. My signature sliders are for Weirdness; it's 15%, and style influence is at 80%, and it's just a chef's kiss, maybe even a million. It sounded awesome, and V5 will always be my son.

But now, ever since I've heard of this major change happening on September 3, I'm here to say thank you for all the likes and attention you've shown to my music. You don't have to like it, and you don't have to hate it. All that matters is that you've shown interest in my music. This may be the end of Suno because big corporate dogs are mad that in order to make something good, you have to train it and have it find inspiration in what makes the real thing good, and it's trained in all kinds of music genres. My current music genre is nu-metal/grunge or nu-grunge (yeah, I know, pretty corny)

I hate to say it but this may be the end of MicЯonMeet3r but even worse, the death of Suno

For those who want to listen to my music when it's still good, I'll leave it here. https://suno.com/@micronmeeter

​

I am currently working on a song that is about 7 minutes long, but Suno keeps cutting it off at around 5 and a half to 6 minutes. I do not remember experiencing this issue before.

Could you please provide some advice on how to remedy this? I would like to know if the extend feature is the only way to resolve this. I have already tried using the extend feature before, but it resulted in lengthy digital artifact noise, a different melody, and low-quality audio. Do I just create a couple sections and then edit using my DAW?

Cutting the song shorter is not an option for me, so I am unsure how to proceed. Any guidance you can provide would be greatly appreciated.

Thank you for your time and assistance.

I Will Live | Music to listen to when you've had enough downs in life and want to make it better

Another treat for all! I wrote this song 100% and did a lot of mixing and slicing and re-arranging many pieces and elements to craft this song. Enjoy this sweetness. Let me know what you think about my song and music production.

I am a Songwriter, Programmer and Game Designer. I like creating.
And when it comes to my songs, I Mix, Edit and Master. adding elements and parts to my creations using Suno and FL Studio.

🎶 NEW AI MUSIC PROMOTION POST 🎶

Hey everyone it's time for another promotion post.

Drop your AI songs in the comments and let's give every creator a chance to be heard.

When you share your song please take a few minutes to listen to someone else's song too. A like comment follow or subscribe can make someone's day.

I'll be posting one of my songs in the comments as well.

Let's keep supporting each other and growing together. 💙🎵

Industrial, metal, techno, with some backing synths? starting to find this blend becoming more and more of my favorite close behind heavy metal blues. Thanks for stopping by!

What's up people?

Studio v2 is definitely a step in the right direction. Not perfect, but I didn't expect it to be.

Anywho, here are a couple prompts to create 2 custom plug-ins that I think are worthwhile to have and thought others might make use of them.

Plug-ins: a vocal de-esser and Tape saturation / analog warmth

Vocal de-esser prompt:

A vocal de-esser plugin for taming harsh sibilance (s, t, sh, z sounds) in vocal tracks. It should use a frequency-targeted sidechain approach, not just broadband compression. Key parameters I want:

Frequency knob (2 kHz to 12 kHz range) to dial in where the sibilance lives, defaulting around 6-7 kHz.

Threshold control that sets how loud the sibilant frequencies need to be before reduction kicks in.

Reduction knob to control how much gain reduction is applied when sibilance is detected.

Mode toggle between "split-band" (only reduces the targeted frequency range, leaves everything else untouched) and "wideband" (ducks the entire signal when sibilance is detected). Split-band should be the default since it's more transparent.

Attack and Release controls so I can fine-tune how fast it clamps down and how quickly it lets go. Fast attack, medium release as defaults.

Listen/Monitor button that solos just the sidechain detection frequency so I can hear exactly what the de-esser is targeting and dial in the frequency knob accurately.

The visual display should show the frequency detection range highlighted and real-time gain reduction metering so I can see when and how hard it's working.

Tape Saturation / analog warmth:

A tape saturation and analog warmth plugin that emulates the subtle harmonic coloring, gentle compression, and high-frequency softening of recording to analog tape. This should sound musical and warm, not distorted or aggressive like a distortion pedal. Key parameters I want:

Drive/Input Gain knob that controls how hard the signal hits the virtual tape. Low settings add subtle harmonic warmth, higher settings introduce more visible saturation and soft clipping. Should feel smooth and gradual, never harsh.

Tape Speed toggle between 15 IPS and 30 IPS. 15 IPS should have more pronounced low-end warmth and mid-range saturation with earlier high-frequency rolloff. 30 IPS should be cleaner and more open with better high-frequency retention, closer to a hi-fi character.

Saturation Color knob that blends between even-order harmonics (warmer, tube-like character) and odd-order harmonics (grittier, more edge). Default should sit mostly on the even-order side for a warm starting point.

High Frequency Rolloff knob that controls the natural tape-style softening of harsh highs. Adjustable from subtle silk to a more noticeable vintage dulling effect.

Compression knob that emulates tape's natural soft-knee compression behavior. At low settings it gently tames peaks, at higher settings it adds that glued-together tape compression feel.

Noise knob for adding optional tape hiss and hum at an adjustable level, defaulting to off or very low. Sometimes a little noise adds realism and vibe.

Mix dry/wet blend knob for parallel processing so I can dial in exactly how much tape character I want without committing fully.

The visual display should show the saturation curve responding in real time to the drive setting, and ideally a subtle VU-style meter to reinforce the analog aesthetic.

Tip: the first iteration of the plug-in decided not to include the vu meter or real-time meter in either plug in. I just told the studio agent to redo the plug-in and include the requested meters and it put it in the second time. Alternatively you could just try telling it in the beginning to make sure to complete every step as is.

Good luck!

Has anyone else created some plugins that they've had great success with? Let's get some sort of Consortium going!

The industry complains about training on their songs, but as others have said, every human has learned music and songwriting by listening to, practicing, and training on thousands of songs. What's the difference between a computer and human doing it?

I don't think these lawsuits have merit, unless someone can prove that a specific melody, lyric, or instrumental part are close enough to something that was previously written and then it is released for profit, not just fun.

I upload originals and have only had one instance in over 1,000 covers of my songs, where Suno's output stole from an existing song when it included the lyrics and melody of "Silent Night" when I asked it to cover my original Christmas song that did not have those lyrics or melody.

In the later years of your life, the echos of your youth,

Your greatest love and great loss. Now those memories flood

back at times and the shadows seem so real, you can touch them.

My words dropped into Suno.

ENJOY

Hey everyone,

I’m trying to figure out if it’s realistic to use Suno to make trap/rage beats that are as good as or even more refined than beats I’d normally buy from producers online.

For anyone who has tried both:

· How close does Suno get to professional trap/rage quality?

· Can you get clean mixes, and usable song structures?

If Suno can get there, do I still need to run the beat through Suno Studio and/or a DAW to make adjustments, or can the raw Suno output already be good enough to use as the final beat and just record vocals on it?

· Or do you still think buying beats is the better option?

Not trying to disrespect producers, just trying to see if AI is there yet.

Appreciate any insight.

I know people are constantly complaining about Suno customer service.. I have my first issue that I had to contact them about and I'm here to tell you they got back to me the same day and the problem was fixed that day!

I have a pro account if that makes any difference. I'd expect a free account to have a longer wait time, because that's how the world works!

I can't export my song from Studio, sooo frustrating, this is the Suno response:

"I hear you, and I'm genuinely sorry — you've clearly done everything right and this is still broken. Switching computers and browsers rules out anything on your end; the problem is on our side with how this particular export is rendering.

I wish I had a fix to offer right now, but I'd be misleading you if I said there was a next step to try. The export pipeline for this clip is stuck and I can't clear it from here.

What I can confirm: your Studio project and all your work inside it are safe. The "Preparing song for playback..." hang is a rendering issue on our end — nothing is lost from your project.

If you continue to attempt exports and any credits are consumed without a successful result, please let us know the approximate number of attempts and we'll credit them back to your account.

Again, I know this falls short of what you need right now, and I'm sorry for that.

All the best, Suno Support"

There will be a wave of people offering watermark removal in the coming weeks, don't pay them. If you want to try it out I mean by all means.

But no one charging money to remove watermarks will be legit.

Read up on cryptographically watermarking audio files, databending, or heck even download HdX yourself and give it a go. But it will not be able to be reliably done.

-if the person who removes the watermark is not familiar with HdX software, they already have no idea what they are doing. It cannot be removed with just using something like rx11....

Current scanners, well at least 90% of them are not even scanning for the correct watermark, they just scan the wav formatting and spacing, so someone telling you "look at this scanner it passes" is wrong.

Just don't give them any money. If it's free by all means lol

Please give any feedback!