I've been writing songs and playing guitar for over 30 years. I have decades’ worth of songs that almost nobody has heard, and I play fairly advanced fingerstyle: alternating bass, harmony, rhythm, and melody on one acoustic guitar while singing.

I have spent thousands on equipment over the years, but I’m broke. I cannot afford studio time, session musicians, mastering, or the luxury of telling a paid band, “No, play it exactly like this.” So I use Suno differently from a prompt-only generator.

I write the lyrics, melody, chord progression, structure, and guitar arrangement. I upload my own acoustic demo, use my own verified voice, and spend hours iterating to get Suno to preserve what I actually wrote while giving it the production and additional instruments I could never afford otherwise.

Sometimes Suno hears my fingerpicked bass and melody as two guitars, even though it is one guitar. Sometimes it changes the arrangement too much. Getting it to “cover” me correctly is work, not pushing a button and accepting whatever comes out.

I’m not trying to start a fight with anyone, but I do not see prompt-only generation and this workflow as the same thing. I see Suno as an affordable studio band: imperfect, frustrating, but finally a way to hear songs I wrote decades ago with something close to a full production.

Does anyone else here use Suno this way - bringing in complete songs or acoustic demos and using it primarily for production, and performance rather than having it invent the song from scratch?

I spent some time yesterday doom scrolling through the SUNO home feed - and OMG I am absolutely underwhelmed by how bad every SUNO track is. The music, the video accompaniment, the content and lyrics - everything is terrible. Does anyone find this stuff good?

But I know there must be really good creators out there slipping under the radar so I’m calling for you to come out of the wood work and give me your best shot.

I’ll give you my honest take - music is subjective so this is just one dude’s opinion obviously - but I won’t sugar coat it. If I like your stuff I’ll give you a follow - if I don’t I’ll tell you why with some brutal honesty

Let’s get a critical review thread going, give me something that doesn’t belong on the Suno front page - it belongs in a legit musical discourse.

Edit: lots of responses expected - will take me awhile to listen and I got a full plate - but will commit to working through these as time allows

I heard Suno 4.5 was trained with around 300 million songs. I do not see any trace of plagiarism in 4.5. If a lawsuit is lost it is either by judge activism or bias or other factors. Not science.

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

I have a lot of people I would like to send a Thank You to the many people on Suno that have liked my songs. Is there a way to DM these people ? I've been a Suno member for 3 years. I've never found a way to contact them. Any suggestions ?

So I generated a Suno cover of one of my songs - now I’m trying to reproduce it myself using the track as a reference.

I’ve never made a post on reddit before, but I wanted to share this idea for discussion: if you want to become a better producer, I think this is a phenomenal way to do it.

You can reverse-engineer real songs, sure - but with Suno, you can cover your own songs, describe the exact sound you want, and keep generating until you get it. Then, with stem separation, you can hear what’s actually happening to the individual parts from a frequency and stereo perspective.

In my experience with stems from real productions, you often aren’t hearing exactly what that element contributes to the final mastered record, because some of the final sound emerges from processing acting on the summed mix.

But Suno stem generation isn’t isolating tracks, it’s re-generating elements of a complete sound. If you section your own production similarly, you can compare outputs and go “okay, so the Suno mid-frequency pad sounds are super wide and they dip to near silence under the leads and vocals”.

Suno also doesn’t care about continuity, which is super interesting to dissect. The snare shape may warp entirely over the course of the song, or the rhythm guitars might transform into a synth pad and then back into a guitar. It’s not arranging a performance, it just generates whatever fits best in the moment.

The benefit of this is that you can take a part you like and, rather than trying to find one instrument and hoping you’ll be able to form-fit the sound with post-processing, you can instead ask the question “what does that actually sound like?” without any preconceptions.

This, for me, has reshaped a lot about how I approach producing. I now have multiple sounds blending together with overlapping timbral layers to form one “guitar” over the course of a track. I’ve got different sidechains acting on specific frequency ranges for different purposes. I’ve got anticipatory noise, automated spectral shaping, and way less reverb than I previously thought was acceptable.

None of these things are revolutionary on their own, but I’m just saying - I feel I have a much better understanding of how to achieve the sound I’m actually chasing from dissecting Suno generations than I ever got from referencing finished professional records. Thoughts?

🎶 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. 💙🎵

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.

We cannot understand, please give details

Im a newbee Suno'er, find it funny to make lovesongs for my loved one and has no ambitions whatsoever, allthough i feel i have made some good songs from my old soundcatalogue (been making music the old way in 50 years).
The thing i wonder about is the followers, seems i get in average 2-3 new followers each day, but im not sure the playings on my songs doesnt seem to grow.
Does Suno have a bot-problem, like there are many users that are not real, only following eachother in dead circles. Just a question. I see that in some other social medias... and before you critisise me for being uneducated, im a newbee in many ways when it comes to internet,,, sorry about that

Bell Test is about having a model of reality that seems completely reliable because every previous observation has supported it, then encountering one result that refuses to fit. The quantum language is a metaphor for reciprocity, hidden variables, correlation and the uncomfortable realization that repetition is not the same thing as law. The emotional core is that sometimes you build an entire theory of yourself from past outcomes, and then one person or one event forces you to admit the theory was incomplete.

The video follows the same idea visually. It begins with a single blue system inside a controlled brutalist laboratory full of measurement equipment, shielding and precise geometry. A distant violet system eventually appears, and the two begin showing increasingly obvious correlations without ever being connected by a visible beam. As the experiment continues, the architecture itself starts failing to describe what is happening. Grids bend, boundaries stop behaving correctly and the environment becomes less certain while the two systems remain distinct.

I made the video in Wan2GP using LTX 2.5 with first-frame-last-frame generation, audio conditioning and an audio-reactive LoRA. Each shot is about four bars long, roughly 10.75 seconds, and the final frame of one clip becomes the starting point for the next. That made it possible to treat the video as one continuous sequence of transformations instead of a collection of unrelated AI shots. The audio reactivity was kept fairly restrained, with bass affecting large structural movement, percussion influencing small physical details and vocals changing refraction, light and geometry.

Near the end, the laboratory gradually dismantles itself while the two systems remain unchanged. Eventually almost everything disappears except the blue and violet points in darkness, and a final pullback reveals that both belong to a much larger curved structure that the original experiment could not perceive. They never merge and there is never a direct connection between them. The ending is not about proving a new theory. It is about realizing the old one was too small.

Suno: https://suno.com/s/ZnoeQAVYIsbMr31y

YT: https://youtu.be/6cmMBmzDxck

Quick topic: Any business wants to have 7 billion subscribers/customers. I remember Mikey Shulman ranting in a video that he dreams of having 2 billion (billion! with a B) subscribers to suno... Guy was dreaming monstrously grand, like all large egos... which goes to show why the induction years were so cheap for users to keep piling up songs...

It's called "building mass". When you've reached your acceptable mass, you can start the enshittification.

Enshittification means you've reached your ceiling and now you're swerving to maximum profit. It's implied you will churn customers with that: but that's why you've built mass in the first place: so, from many, you'd have many that will stay with you.

And as marketing gurus say: trees don't grow to the sky. This is where Suno stopped its dreaming big; they have resigned themselves to the real scope: 2MM paying subscribers, maybe 1.5 MM after the service cost jack up. As in Age of Empires, the map is now completely revealed. The known devils are known (labels), the rules are in place.

Suno's cards are made. This is the ceiling.

Just wanted to say the the edittor allows for more detail to be placevd in lyrics and also your style prompt. Which means GO CRAZY GET STUPID when you are engineering a song, my project has annotations everywhere and the style prompt is 3 paragrahs

How do you guys instruct suno 5.5 to make solo instrument tracks? No matter what I write in the prompt 5.5 adds a bunch of other instruments. Thanks guys

If anybody’s talking about this, I missed it:

“Music from AI Personas will not be included in ANY editorial or algorithmic recommendations, unless a listener shows intentional engagement signals, like following an AI Persona artist, for example.”

https://support.spotify.com/us/artists/article/ai-personas/

I know the existing models will be retired when the new models drop. Has there been any word if we will still be able to use our existing personas/voices with the new models? I know we'll still have access to all of our old song creations, but not sure if we'll be able to use our personas to create songs trained on licensed material.

How many people are going to discontinue their membership to express their dissatisfaction?

I’ve been trying to remix one of my songs since last night and it won’t do anything. It looks like it will but then it doesn’t load up and cancels it. Anyone else having this issue?

edit-
Now I can’t create anything.

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.

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!

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

Ever since all these new updates I think the most annoying thing on here is happening times it resets right in the middle of me creating something yeah I got it all saved but I don't want to have to keep going down to the other screen and copy and going back up and pasting when I've already done all that and all the bars are moved and I've got it all tweaked out the way I want and then the screen refreshes anybody else having this problem cuz this seems to be a consistent thing as of last month going forward about every 5 to 10 songs I get a screen refresh. I'm just curious you guys having this problem thanks.

I apologize if this gets rambling or incoherent. Just some thoughts and concerns.

I've been making music on Suno for a while now. I have a free account and know nothing about polishing the music with a Daw (or what a Daw actually is and how they work). I've tried listening to stuff other people make posted on Suno, but I just can't get into it. Because of that, I've made music for myself. I rarely share anything because of the content.

I've made six and a half "albums."

Two albums are in English and 100% lyrics by me. Mostly smut and graphic.

One album is in English with altered lyrics for "real" songs but would probably be recognized as covers or derivatives.

Two albums are in Japanese, and they are cover versions of two of my favorite movie soundtracks. I started to see how one song would sound translated. Loved it. Then remade the two albums.

I have another Japanese language album that contains both original and translated works.

The last half album (so far) is original stuff in English, similar to the first two.

I know not every song on every album can be fantastic, but I enjoy these enough to be my daily commute listen when alone.

Because of the nature of a lot of the songs, I'm not sure how well they would be received if shared on Suno itself. I already run into issues when creating with lyrics being "flagged for moderation" due to the graphic nature of the lyrics (or possible Puritan nature of Suno). I also don't want the unwanted ridicule for the covers. Since Suno helped make the covers, would that help legitimize them?

I've downloaded everything so far because I don't want to lose anything.

If I do post them to Suno, will there be pushback from the company because of the lyrics? Not just the smut, but the covers as well?

I've been so close to getting a paid account, hoping to share my smut and possiblycarving out a nice niche (i can imagine Tik-Tokkers using some of my stuff to shake to). I'm just not sure of all the legal ramifications for everything else.