I think the coming changes around fully AI gen music on DSPs are going to be much more strict than simply adding an “AI” label.

My guess is that, over time, DSPs and distributors will increasingly separate 100% AI generated music from human created music, with various shades of grey in between accounting for AI Assisted works.

In a nutshell here is what I believe is and should be coming for Fully Gen AI on DSP’s

-Upload Caps on the number and frequency an individual account can distribute

- No or heavily limited Algo boosting or pickups

- No placements on mainstream editorial playlists

- Dedicated AI playlists or discovery spaces

- Different monetization rules, higher thresholds and lower payouts, or no monetization at all

-But the biggest change and most important one for the future of music is NO CONTENT ID protection 

Fully AI generated music generally isn't copyrightable. And content Id exists to protect copyrightable works. It makes no sense that it receives Content Id.

Yes, there can obviously be copyrightable elements, if a human contributes original lyrics or other meaningful creative material, but trying to determine and enforce those individual components at scale is unrealistic for Streamers or DSP’s to manage.

Perhaps more can be done on Suno's end to provide receipts of user inputs?

Perhaps something can be done to address this nuance, but how will they know who is telling the truth about the lyrics vs who is lying.

Content ID exists to protect works in which someone actually has enforceable rights.

 Simply generating a piece of music, uploading it, and getting a fingerprint into a rights management system shouldn't give someone the ability to claim exclusive control over that material virtually indefinitely.

And this problem is only going to get worse as AI music scales.

Imagine 10 or 20 years from now, when AI farms and users have generated billions of songs. There is going to be an enormous amount of overlap sonically, even lyrically.  

Imagine some kid in 20 years sits down with a guitar, writes an original song, records a simple demo, and uploads it to share with the world, only to have it automatically claimed because an AI music farmer generated something too similar 20 years earlier and dumped it into a rights management system without giving it a second thought, or hell even have listened to it himself before dumping it on DSPs

That kid should not have to compete with billions of non copyrightable machine generated works for the right to distribute his own music. 

WE ARE ALREADY AS A SUNO COMMUNITY EXPERIENCING THIS. HOW MANY POSTS DO YOU SEE ON HERE OF PEOPLE'S OWN ORIGINAL SONGS BEING BLOCKED FROM SUNO?

That's why I think fully AI gen music should ultimately be treated differently when it comes to automated copyright enforcement.

It can exist. It can be distributed. People can listen to it, and there can be appropriate ways for people to monetize it.

But no Content Id protection for fully generated songs

Otherwise, AI users risk effectively robbing the creative commons through sheer volume.

In that sense, I think it's somewhat akin to people sitting on URLs in the early days of the internet.

They could register enormous numbers of domains simply because they had the ability to do so, effectively reserving pieces of the emerging internet without necessarily creating anything with them.

Mass AI music generation could create a similar form of creative land grabbing: generate millions of works at virtually no marginal creative cost, get them distributed and fingerprinted, and potentially occupy enormous amounts of musical territory that future human creators might independently arrive at.

The irony is that AI is supposed to “democratize” music creation (so it’s said)

But if we allow mass generated AI catalogs to accumulate automated enforcement power, we could end up creating a system where the machine generated past has priority over the human created future.

This is my second installment of my Pushback against the AI Music "community" and it will focus on why NO ONE, not just the grifters and spammers, should be uploading their fully generated songs to DSPS.

For anyone new to this sub I am TOP MOD, this is push back from your "own side".

(for you Aunties, yes I used AI to organize my thoughts, these are points in your favor so be grateful you are reading this in a Pro AI sub. If you demand I write out everything by hand I bill $75 an hour for post production work, let me know where to send my invoice. I don't owe you fucking shit, move on if you don't like the formatting)

To start: I DO NOT AND HAVE NOT Uploaded any of my songs through Commercial DSPS.

TLDR: The post argues that generative AI music skipped the essential cultural and institutional maturation stages—such as community building, artistic mastery, shared conventions, and legal frameworks—by jumping straight from creation to commercial distribution on streaming platforms. This rapid commercialization has led to platform flooding, "noise-to-signal" issues, public backlash, and diluted recognition for creators who put significant effort into their work. To prevent strict industry-wide crackdowns, the author proposes a voluntary "walk before you run" period where creators focus on experimentation, culture-building, and sharing tracks on non-commercial platforms rather than monetizing them on major DSPs.

If creators don't take curation and moderation seriously now, major streaming platforms and record labels will inevitably do it for them through draconian crackdowns.

The “walk before you run” metaphor

• The phrase captures the central problem:
  • AI music effectively tried to run before it learned to walk.
• The technology moved extremely quickly from:
  • Creation
  • → polished output
  • → commercial distribution
  • → monetization
• What was largely skipped was the intermediate period in which a new technology normally develops:
  • A community
  • A culture
  • Artistic experimentation
  • Shared conventions
  • New aesthetics
  • Standards of quality
  • Legal norms
  • Institutional infrastructure
  • A sense of identity and legitimacy
• The argument is therefore not simply:
  • “AI music shouldn't be commercial.”
• It is more specifically:
  • The technology entered commercial distribution before the surrounding ecosystem had time to mature.

The historical progression of music technology

The discussion proposes a general progression that major technological changes in music historically followed:

Stage 1 — The technology arrives

Examples include:

• Synthesizers
• Samplers
• Digital Audio Workstations (DAWs)
• MP3s

The technology initially provides a new capability.

Stage 2 — Cultivation and mastery

• Artists spend years experimenting with the technology.
• They discover what the tool can do.
• They push it beyond its obvious applications.
• Artists develop techniques and workflows.
• Distinctive artistic styles emerge.
• Communities form around the technology.
• Eventually, the technology becomes associated with particular sounds, scenes, movements, and cultures.

Stage 3 — Legal and institutional norms develop

• Society and the industry encounter problems created by the new technology.
• Rules and conventions develop in response.
• Examples include:
  • Sample-clearance practices.
  • Copyright frameworks.
  • Digital-rights systems.
  • Licensing structures.
  • Platform standards.
  • Industry norms.

Stage 4 — Commercial integration

• The technology becomes broadly integrated into the mainstream music industry.
• Commercial distribution catches up with the artistic and institutional ecosystem.
• The technology becomes normalized.

The argument that generative AI skipped stages 2 and 3

• Generative AI music developed extremely rapidly.
• Tools such as Suno and Udio allowed users to generate polished-sounding complete songs almost immediately.
• Instead of spending years developing an artistic movement around the technology first, users could immediately:
  • Generate songs.
  • Export them.
  • Upload them to streaming services.
  • Attempt to monetize them.
• In other words, the technology effectively went:

Technology → Commercial distribution → Monetization

instead of:

Technology → Cultural experimentation → Community → Artistic identity → Legal/institutional norms → Commercial integration

• This is the heart of the “walk before you run” argument.

Community and culture normally develop around new technology

• New music technologies historically did more than make existing music easier to produce.
• Artists used them to create new artistic languages.
• Communities formed around those new languages.
• Those communities developed:
  • Shared techniques.
  • Shared aesthetics.
  • Terminology.
  • Values.
  • Standards.
  • Influences.
  • Rivalries and debates.
  • Scenes.
  • Artists who became recognized as innovators.
• Over time, the technology became connected to an identifiable culture.

Why this matters for cultural legitimacy

• New artistic movements generally gain legitimacy through more than commercial success.
• They develop legitimacy through:
  • Artists experimenting.
  • Communities forming.
  • People developing mastery.
  • Audiences developing taste.
  • Critics discussing the work.
  • Artists influencing one another.
  • New techniques being invented.
  • A recognizable culture emerging.
• Commercial success eventually becomes one component of that ecosystem.

The DSP problem

• Traditional Digital Streaming Platforms (DSPs), such as Spotify and Apple Music, were built around existing models of music distribution.
• Their systems were not designed around a technology capable of producing essentially unlimited quantities of polished music with zero human friction.
• Generative AI dramatically reduces the cost and effort required to produce large quantities of tracks.
• A single person can generate and upload huge numbers of songs.

The resulting problem

• If enormous quantities of AI music enter DSPs:
  • The platforms become flooded with content.
  • Discovery becomes more difficult.
  • Listeners face more noise.
  • Existing artists have more competition for attention.
  • Royalty systems face additional pressure.
• This creates the noise-to-signal problem:
  • More content does not mean more meaningful music.
  • It can make meaningful music harder to discover.

The “heart vs. prompt” problem

• There can be a huge difference between two AI creators:
  • Someone who spends hours or days iterating, refining, directing, editing, and developing a song.
  • Someone who enters a three-word prompt and immediately uploads the result.
• Those processes can involve dramatically different levels of human involvement.
• Yet the final listener has no way to know which process produced a particular song.
• An automated platform may have even less ability to make that distinction.

Therefore:

• Human effort is largely invisible in the final track.
• A creator may genuinely feel that they created something meaningful.
• The listener simply sees:
  • “Another AI-generated song.”

The economic problem

• Traditional DSP royalty systems were built around a finite ecosystem of music producers and artists.
• Generative AI changes the scale of production.
• Traditional music production has natural limitations:
  • Human time.
  • Human labor.
  • Recording costs.
  • Studio time.
  • Creative energy.
• Generative AI eliminates those constraints.
• This makes music production potentially infinitely scalable—or at least dramatically more scalable than traditional human production.

This is one reason the technology creates problems that earlier musical technologies didn't create in exactly the same way.

The legal and institutional problem

• Because commercialization happened so quickly, legal and institutional systems are now reacting after the fact.
• The industry is dealing with questions surrounding:
  • Copyright.
  • Training data.
  • Ownership.
  • Rights.
  • Royalties.
  • AI disclosure.
  • Distributor policies.
  • Platform standards.
• Lawsuits and policy changes are occurring while the technology is already commercially active.
• In this framing, the infrastructure is being constructed after the technology has already entered the marketplace.

The public-friction problem

• Listeners and traditional creators have already become overwhelmed by enormous quantities of AI-generated content.
• Hell even inside the AI community people are exhausted with the sheer quantities of songs shared.
• This contributes to the perception of “AI slop.”
• The problem is partly that the normal cultural mechanisms for determining quality haven't had time to develop.

Those mechanisms historically include:

• Curation.
• Community validation.
• Artistic reputation.
• Mastery.
• Scene participation.
• Peer recognition.
• Audience taste.
• Cultural criticism.
• Generative AI effectively arrived at commercial scale before those mechanisms could develop around it.

Community is a form of cultural “gatekeeping”

• The argument isn't necessarily that gatekeeping is inherently good.
• Rather, communities naturally create mechanisms for determining:
  • What is interesting.
  • What is innovative.
  • What demonstrates skill.
  • What contributes something new.
  • What is derivative.
  • What is low effort.
• Those mechanisms help a new artistic medium develop standards.
• A mature community can distinguish:
  • Someone experimenting seriously with a new technology.
  • Someone producing enormous amounts of disposable content.
• AI music hasn't necessarily had sufficient time to develop these community-level distinctions.

The reputational danger

• Because low-effort AI music can be produced at scale, it dominates people's first impression of AI music.
• Listeners may therefore associate the entire technology with:
  • Spam.
  • Low effort.
  • Disposable content.
  • Commercial exploitation.
  • Lack of authenticity.
• This can unfairly affect creators who are actually putting significant effort into AI-assisted work.

The collective-action problem

• Individual AI creators may reasonably think:
  • “My song isn't slop.”
  • “I put enormous effort into this.”
  • “I deserve to distribute my music.”
• But if thousands or millions of creators make the same decision:
  • The aggregate effect can be very different from the individual case.
• This creates a classic collective-action problem:
  • An individual action may seem harmless while the cumulative effect creates systemic problems.

Systemic backlash (we are already seeing this)

• The discussion identifies several possible consequences of uncontrolled commercialization:
  • Platform restrictions.
  • Distributor bans.
  • Public backlash.
  • Stricter disclosure requirements.
  • Regulatory intervention.
  • Broader restrictions on AI-generated music.
• The irony is that responsible AI creators will be affected by restrictions created in response to irresponsible or excessive use of the technology.

The proposed middle ground

Rather than arguing that AI music should never exist commercially, the discussion suggests that the ecosystem needs time and infrastructure to mature.

Potential solutions include:

• Dedicated AI-music categories.
• AI disclosure requirements.
• Better provenance systems.
• Metadata indicating AI involvement.
• Distinct royalty structures.
• Platform rules specifically designed around generative music.
• Community standards.
• Better mechanisms for distinguishing high-effort AI-assisted work from mass-generated material.

Self-regulation as an interim measure

• Until those systems exist, I am proposing self-regulation.
• That could mean:
  • Continue making AI music.
  • Experiment with the technology.
  • Build communities around it.
  • share on non commercial sites (youtube, soundcloud, suno, reddit)
  • Develop new aesthetics.
  • Establish standards.
  • But hold back from flooding mainstream DSPs with commercially monetized AI tracks.
• The purpose wouldn't necessarily be to declare AI music illegitimate.
• Instead, it would allow the culture and infrastructure to catch up with the technology

The complete “walk before you run” sequence

The overall argument can therefore be represented as:

1. Technology arrives
↓
2. Artists experiment with it
↓
3. Artists develop mastery
↓
4. A community forms
↓
5. New aesthetics emerge
↓
6. A cultural identity develops
↓
7. Standards and forms of quality develop
↓
8. Legal and institutional norms develop
↓
9. Distribution systems adapt
↓
10. Commercial integration occurs

Skipping it creates the problems now being experienced and i'm expecting even harsher and stricter measures taken against AI generated content in the near future

And therefore:

>The “walk before you run” argument: the concern isn't simply that there is too much AI music. It's that AI music skipped the cultural maturation process that normally transforms a new technology into a respected artistic medium.

Yet many here are DEMANDING THAT RESPECT INSTEAD OF EARNING IT

AND RIGHT NOW THE GRIFTERS/SPAMMERS/SCAMMERS are the most visible members of our community to the wider public.

hello everybody. you read that right, i am creating the longest ai generated song ever made, lasting about 150+ hours. the title is also incredibly long. here is the full title of the song. it's a mouthful. "The Longest Experimental Multigenre Multilingual Continuously Developing AI-Generated Song I Could Possibly Make, Intended to Last for More Than One Hundred and Fifty Hours and Potentially Continue for Even Longer Than That If I Continue Adding More Musical Material, Consisting of One Extremely Long Continuously Connected Musical Composition Divided Into Multiple Acts, Parts, Sections, Subsections, Movements, Interludes, Transitions, Instrumental Passages, Vocal Passages, Ambient Passages, Noise Passages, Repetitive Passages, Non-Repetitive Passages, Structured Musical Sections, Unstructured Experimental Sections, Introductions, Developments, Reprises, Variations, Transformations, Solos, Duets, Ensemble Sections, Verses, Pre-Choruses, Choruses, Final Choruses, Bridges, Instrumental Breaks, Guitar Solos, Synthesizer Solos, Violin Sections, Drum Sections, Bass Sections, Piano Sections, Orchestral Sections, Electronic Sections, Acoustic Sections, Vocal Sections, Multilingual Sections, Genre Transitions, Tempo Transitions, Key Changes, Time-Signature Changes, Arrangement Changes, Instrumentation Changes, Production Changes, Rhythmic Changes, Harmonic Changes, Melodic Changes, Textural Changes, Dynamic Changes, Atmospheric Changes, and Other Musical Changes That Will Continue Happening Throughout the Entire Recording, Beginning With a First Minute That Is Not AI-Generated and Was Instead Created Entirely by Me Using an HNW-Style Noise Passage That Gradually Fades Into Grey Noise Before Rapidly Played Morse Code Is Introduced Over the Grey Noise, With the Morse Code Spelling Out a Hidden Message That Says Hello to the Listener, Explains That If the Listener Is Reading or Decoding the Message Then They Have Successfully Figured Out That the Sound Is Morse Code, Gives the Listener a Reward for Figuring It Out by Explaining the Purpose of the Full Song, Explains That the Majority of the Song Was Generated Using Udio and Suno AI Except for the First Minute Which Was Made by Me, Explains That the Project Is an Experimental Multigenre AI-Generated Song Designed to Last an Incredibly Long Amount of Time, and Ends by Wishing the Listener Good Luck on Listening to the Entire Thing Before the Morse Code Eventually Stops and the Actual Musical Composition Begins, With the First Actual Musical Material Beginning Approximately Two Minutes Into the Recording and Initially Consisting of Repetitive Ambient Music That Has a Scary, Unnerving, Uncomfortable, Strange, Dark, Mysterious, and Somewhat Threatening Atmosphere Before Continuing to Develop Slowly Rather Than Immediately Becoming a Conventional Song, With the Repetition Continuing for Several Minutes While the Atmosphere Gradually Changes and the Music Slowly Becomes More Developed, Eventually Reaching Approximately Nine Minutes and Fifty Seconds Into the Recording When the Music Becomes No Longer Primarily Repetitive While Still Maintaining Its Unnerving Character and Beginning to Introduce More Musical Variation, More Movement, More Development, and More noticeable changes in the material, Before Continuing to Approximately Twelve Minutes Into the Recording When the Music Begins to Feel More Peaceful, More Calm, More Open, and Less Unnerving, Creating a Significant Contrast With the Earlier Atmospheric Material, Before Continuing to Approximately Fourteen Minutes and Thirty Seconds Into the Recording When the Music Begins Becoming More Clearly Musically Structured and Starts Moving From Mostly Ambient Sound Toward an Actual Organized Musical Arrangement, Followed at Approximately Fifteen Minutes Into the Recording by Guitar and Bass Entering the Arrangement and Making the Composition Sound More Like a Conventional Band Performance for the First Time, Followed at Approximately Fifteen Minutes and Forty-Seven Seconds by Drums Entering and Completing the Main Rhythm Section, Followed at Approximately Sixteen Minutes by Vocals Entering for the First Time and Beginning the First Major Vocal Section of the Entire Project, With the First Vocal Section Containing a Verse, a Pre-Chorus, a Chorus, an Instrumental Break, a Guitar Solo, a Synthesizer Solo, an Extended Alternative-Rock-Style Guitar Solo Featuring Dual-Lead Harmony and Frantic Sixteenth-Note Playing, an All-Instrument Section, and a Final Chorus Before Continuing Into Further Musical Material, With the First Vocal Performance Continuing From Approximately Sixteen Minutes Until Approximately Forty-Five Minutes Into the Recording and Therefore Making the First Major Vocal Section Approximately Twenty-Nine Minutes Long, Making It One of the First Major Musical Centers of the Entire Act, With the Lyrics of This First Vocal Section Beginning With the Idea of Everything Being Dark and the Sky Being Still Before a Blinding Mist Begins Closing In and Then a Large Amount of Hope Suddenly Begins Flowing In and Dreams Begin Being Revived, Followed by a Pre-Chorus Comparing the Scene to a Crystal Cathedral Floating on a Cloud and Describing People Who See and People Who Appear Calm Before Moving Into a Chorus About the Possibility of Eternal Life Versus Rotting Away, Uncertainty About Whether There Is a Way Forward, Wanting to Believe That There Is Hope, and Using That Belief as a Way to Cope, Before the Song Moves Into Instrumental Material Including Guitar and Synthesizer Solos and an Extended Guitar Passage Before Eventually Returning to the Chorus, After Which the First Vocal Section Finally Ends at Approximately Forty-Five Minutes and the Vocals Disappear From the Composition, Leaving the Music to Continue Without Lead Vocals for Nearly Forty Minutes, During Which the Composition Continues Developing Through Multiple Musical Transformations and Does Not Simply Repeat the Same Arrangement for the Entire Duration, With the Long Instrumental Period Allowing the Music to Move Through Different Genres, Different Styles, Different Tempos, Different Rhythms, Different Keys, Different Time Signatures, Different Instruments, Different Arrangements, Different Production Techniques, Different Harmonic Structures, Different Melodic Structures, Different Textures, Different Dynamics, Different Atmospheres, Different Levels of Repetition, Different Levels of Complexity, Different Forms of Musical Development, Different Forms of Instrumental Performance, Different Forms of Electronic Sound Design, Different Forms of Acoustic Instrumentation, Different Forms of Orchestration, Different Forms of Rhythm, Different Forms of Harmony, Different Forms of Melody, Different Forms of Noise, Different Forms of Ambience, and Different Forms of Experimental Composition Before Eventually Reaching Approximately One Hour, Ten Minutes, and Five Seconds Into the Recording, When the Composition Transitions Into a Style Resembling a Mozart-Era Violin Ensemble, Creating Another Major Contrast With the Earlier Rock, Ambient, Electronic, and Experimental Material and Demonstrating the Overall Concept of Moving From One Musical Environment Into Another Without Treating the Entire Project as a Normal Song With One Fixed Genre, One Fixed Instrumentation, or One Fixed Arrangement, With the Mozart-Inspired Violin Ensemble Section Continuing as Another Part of the Larger Musical Development Before the Composition Eventually Reaches Approximately One Hour and Thirty Minutes, When the Music Transitions Into Salsa Music, Creating Another Large Change in Rhythm, Instrumentation, Groove, Arrangement, and Overall Musical Character, At Which Point the Vocals Return for the First Time in Nearly Forty Minutes and Begin Singing in Spanish Before Eventually Changing Into German, Making the Return of the Vocals Another Major Event Within the First Act and Demonstrating That Language Changes Are Also Part of the Overall Concept, With English, Spanish, German, and Potentially Other Languages Appearing in Different Vocal Sections Throughout the Larger Composition Depending on How the Project Develops, With the Spanish and German Vocal Sections Eventually Continuing Into Further Musical Changes Before Act One Smoothly Transitions Into Act Two Rather Than Simply Ending With a Complete Stop, Allowing the Entire Recording to Continue as One Connected Work, With Act Two Continuing the General Concept of Constant Musical Development and Transformation While Introducing New Material Instead of Simply Repeating Everything That Already Happened in Act One, With Later Acts Being Able to Contain Completely Different Musical Styles, Different Genres, Different Instruments, Different Languages, Different Vocal Approaches, Different Production Approaches, Different Rhythmic Structures, Different Harmonic Structures, Different Melodic Structures, Different Arrangements, Different Atmospheres, Different Dynamics, Different Levels of Repetition, Different Forms of Development, Different Forms of Instrumental Performance, Different Forms of Vocal Performance, Different Forms of Electronic Music, Different Forms of Acoustic Music, Different Forms of Noise, Different Forms of Ambient Music, Different Forms of Experimental Music, Different Forms of Classical Music, Different Forms of Popular Music, Different Forms of Dance Music, Different Forms of Rock Music, Different Forms of World Music, and Other Musical Material That Can Be Introduced During the More Than One Hundred and Fifty Hours of the Complete Composition, With No Requirement That the Song Remain in One Genre, One Style, One Tempo, One Language, One Instrumentation, One Production Style, One Mood, One Atmosphere, One Musical Form, or One Type of Arrangement for the Entire Runtime, While Also Not Requiring Every Section to Change Constantly, Because Some Sections Can Remain Repetitive for Long Periods of Time While Other Sections Can Change Constantly and Introduce New Musical Material Almost Continuously, With Some Sections Being Designed Primarily Around Atmosphere and Texture, Some Sections Being Designed Primarily Around Rhythm, Some Sections Being Designed Primarily Around Melody, Some Sections Being Designed Primarily Around Harmony, Some Sections Being Designed Primarily Around Vocals, Some Sections Being Designed Primarily Around Instrumental Performance, Some Sections Being Designed Primarily Around Electronic Sound Design, Some Sections Being Designed Primarily Around Noise, Some Sections Being Designed Primarily Around Repetition, Some Sections Being Designed Primarily Around Development, Some Sections Being Designed Primarily Around Genre Transformation, Some Sections Being Designed Primarily Around Language Transformation, and Some Sections Existing Primarily to Connect One Completely Different Musical Section to Another, With the Project Potentially Moving Through Rock, Alternative Rock, Pop, Synthpop, New Wave, Electronic Music, Ambient Music, Noise Music, Experimental Music, Classical Music, Orchestral Music, Chamber Music, Jazz, Blues, Funk, Soul, Disco, Salsa, Reggae, Folk Music, Country Music, Metal, Punk, Post-Punk, Progressive Rock, Psychedelic Rock, Industrial Music, Minimalist Music, Drone Music, Sound Collage, Electronic Experimental Music, World Music, and Other Genres or Combinations of Genres That May Be Added During Production, With These Genres Not Necessarily Appearing in Any Particular Order and Not Necessarily Appearing Only Once, Because a Genre That Appears Early in the Composition May Potentially Return Much Later in a Completely Different Form, With an Earlier Musical Idea Potentially Returning Many Hours Later After Being Changed Into a Different Genre, Played With Different Instruments, Performed at a Different Tempo, Sung in a Different Language, Arranged Differently, Produced Differently, or Combined With Completely New Musical Material, With Musical Ideas Potentially Being Repeated, Transformed, Reinterpreted, Expanded, Reduced, Slowed Down, Sped Up, Harmonized, Re-Orchestrated, Re-Instrumented, Reproduced, Repeated With Different Sounds, Combined With Other Ideas, Split Into Multiple Sections, Used as Background Material, Used as a Lead Melody, Used as a Bass Line, Used as a Rhythmic Pattern, Used as a Vocal Motif, or Completely Abandoned After Appearing Once, Depending on How the Composition Develops, With Transitions Between Sections Potentially Taking Seconds, Minutes, Tens of Minutes, or Longer Depending on the Musical Material, With Some Transitions Being Extremely Smooth and Gradual and Other Transitions Being More Dramatic While Still Being Part of the Same Continuous Composition, With Shared Melodies, Chords, Rhythms, Instruments, Tempos, Textures, Production Characteristics, Vocal Motifs, Harmonic Ideas, or Other Musical Elements Potentially Being Used to Connect Sections That Would Otherwise Sound Completely Different, With Guitar Potentially Continuing From a Rock Section Into a Classical-Inspired Section, With Synthesizers Potentially Continuing From an Electronic Section Into a Pop Section or a Salsa Section, With Violin Potentially Carrying a Melody From a Classical Section Into an Electronic Section, With a Drum Pattern Potentially Being Reinterpreted at a Different Tempo or in a Different Genre, With a Bass Line Potentially Becoming the Foundation of a Completely Different Arrangement, With a Vocal Melody Potentially Returning Many Hours Later in Another Language, With a Chord Progression Potentially Returning Several Acts Later, With a Small Musical Detail From Act One Potentially Becoming a Major Musical Element in Act Ten or Act Twenty, and With the Entire Composition Being Allowed to Develop These Connections Over an Extremely Long Period of Time, Making the Full Work Different From a Normal Album Because the Acts and Parts Are Not Intended to Be Completely Independent Songs but Instead Different Sections of One Much Larger Recording, With the Number of Parts Potentially Being Around Fifty or More Depending on the Final Runtime and the Average Length of Each Part, With Approximately Fifty Parts Being One Possible Structure If the Average Part Eventually Becomes Approximately Three Hours Long, While Fewer Parts Would Be Necessary If Individual Parts Become Longer and More Parts Would Be Necessary If Individual Parts Become Shorter, With No Requirement That Every Part Be the Same Length and No Requirement That Every Act Contain the Same Number of Parts, Because the Structure Can Be Determined by the Actual Musical Development of the Project Rather Than by Dividing the Runtime Into Perfectly Equal Pieces, With Some Parts Potentially Being Primarily Instrumental, Some Parts Primarily Vocal, Some Parts Primarily Ambient, Some Parts Primarily Experimental, Some Parts Containing Several Genre Changes, Some Parts Remaining in One General Musical Style for a Long Time, Some Parts Containing Multiple Languages, Some Parts Containing No Vocals, Some Parts Returning to Ideas From Earlier Parts, Some Parts Introducing Completely New Ideas, Some Parts Serving as Bridges Between Major Acts, Some Parts Being Much Longer Than Others, and Some Parts Potentially Becoming Entirely Different from What Was Originally Planned During the Generation and Arrangement Process, With Udio and Suno AI Being Used as the Main Generative Tools for the Majority of the Project While the First Minute Remains Personally Created by Me, With the AI-Generated Material Being Used as Raw Musical Material That Can Be Combined Into the Larger Composition Rather Than Simply Being Released as Separate Unconnected Generations, With the Project Therefore Being an Experiment in How Long a Single Musical Work Can Be Made When AI Generation, Human Selection, Human Arrangement, Human Planning, Continuous Transitions, Repetition, Variation, Genre Changes, Language Changes, Instrument Changes, Tempo Changes, Production Changes, and Extended Musical Development Are Combined Into One Recording, With the Goal Not Being to Make Every Second Sound Completely Different From the Second Before It But Instead to Allow the Composition to Have Long Periods of Stability Followed by Development, Transformation, Repetition, Contrast, Return, Expansion, reduction, acceleration, deceleration, intensification, relaxation, instrumentation changes, vocal entrances, vocal disappearances, genre changes, language changes, rhythmic changes, harmonic changes, melodic changes, atmospheric changes, production changes, and other forms of musical development, With the Beginning of the Song Deliberately Taking Several Minutes Before It Becomes a Clearly Structured Musical Performance So That the Listener Has Time to Move From the Noise and Morse Code Introduction Into the First Ambient Environment, With the First Guitar, Bass, and Drum Entrances Being Delayed Until Approximately Fifteen Minutes, With the First Vocals Being Delayed Until Approximately Sixteen Minutes, With the First Vocal Section Continuing Until Approximately Forty-Five Minutes, With the First Major Vocal Absence Lasting Nearly Forty Minutes, With the Mozart-Inspired Violin Ensemble Section Appearing at Approximately One Hour, Ten Minutes, and Five Seconds, With the Salsa Transformation Appearing at Approximately One Hour and Thirty Minutes, With Spanish Vocals Returning Around the Salsa Transformation, With German Vocals Following the Spanish Vocals, and With Act One Eventually Continuing Into Act Two Through a Smooth Musical Transition, Making the First Act Alone Nearly One Hour and Thirty-Four Minutes Long Before the Rest of the Project Has Even Begun, With the First Act Having a Runtime of Approximately One Hour, Thirty-Three Minutes, and Fifty-Eight Seconds and Therefore Representing Only a Very Small Portion of the Intended More Than One Hundred and Fifty Hour Total Runtime, With the Full Project Potentially Containing Dozens of Hours of Music Before the Listener Has Even Reached the Middle of the Composition, With the Total Runtime Potentially Becoming Longer Than the Original Target If the Musical Material Continues to Accumulate, Because the Project Is Intended to Be as Long as Possible Rather Than Ending Immediately Once It Reaches Exactly One Hundred and Fifty Hours, With the Possibility of Going Beyond One Hundred and Fifty Hours, Beyond One Hundred and Fifty-One Hours, Beyond One Hundred and Fifty-Two Hours, Beyond One Hundred and Sixty Hours, Beyond One Hundred and Seventy Hours, or Potentially Even Further Depending on How Much Material Is Eventually Created and How Long the Finished Arrangement Becomes, With the Final Runtime Ultimately Being Determined by the Completed Composition Rather Than by an Exact Predetermined Number, With the Full Song Potentially Lasting More Than Six Days, Potentially Approaching Seven Days, and Potentially Continuing Beyond Seven Days If Enough Material Is Added, While Still Being Treated as One Song Because All of the Acts, Parts, Sections, Transitions, Vocal Performances, Instrumental Performances, Genre Changes, Language Changes, Tempo Changes, Instrumentation Changes, Arrangement Changes, Production Changes, and Other Musical Events Belong to the Same Overall Composition, With the Project Being Deliberately Different From a Conventional Three-Minute Song, Five-Minute Song, Ten-Minute Song, Extended Mix, Album, Double Album, Triple Album, Compilation, Mixtape, Symphony, Suite, Soundtrack, Playlist, or Collection of Separate Tracks, Because the Intention Is to Make One Extremely Long Piece of Music That Can Continue Developing for More Than One Hundred and Fifty Hours While Still Being Identified as a Single Work, With the Listener Potentially Being Able to Listen to the Entire Thing From Beginning to End, Listen to Individual Acts, Listen to Individual Parts, Skip Between Sections, Return to Earlier Sections, Compare Earlier and Later Versions of Musical Ideas, Identify Recurring Motifs, Notice Genre Changes, Notice Language Changes, Notice Instrument Changes, Notice Tempo Changes, Notice Production Changes, Notice the Return of Vocals After Long Instrumental Periods, Notice the Return of Earlier Musical Ideas, Notice New Musical Ideas, Notice Long Repetitive Passages, Notice Long Developmental Passages, Notice Unexpected Transitions, Notice Smooth Transitions, Notice Abrupt Changes, Notice Gradual Changes, Notice Extremely Long Instrumental Sections, Notice Extremely Long Vocal Sections, and Eventually Reach the Final Ending After More Than One Hundred and Fifty Hours of Continuous Musical Material, With the Beginning and Ending Potentially Sounding Completely Different From Each Other Because of Everything That Happens Between Them, With the First Minute Being Personally Created Noise and the Final Minutes Being Whatever Musical Material Eventually Develops at the End of the Project, With the Entire Composition Therefore Covering an Enormous Range of Musical Possibilities Between Its First Sound and Its Last Sound, With Every New Act Potentially Increasing the Overall Number of Musical Styles, Genres, Instruments, Languages, Tempos, Rhythms, Arrangements, Production Techniques, Vocal Approaches, Instrumental Approaches, Atmospheric Environments, Experimental Techniques, and Musical Ideas Used Throughout the Project, With Some Acts Potentially Returning to Familiar Material and Other Acts Potentially Introducing Material That Sounds Completely Unrelated Until a Transition Eventually Reveals a Connection, With the Composition Being Allowed to Have Quiet Sections, Loud Sections, Fast Sections, Slow Sections, Dense Sections, Sparse Sections, Simple Sections, Complex Sections, Repetitive Sections, Non-Repetitive Sections, Melodic Sections, Rhythmic Sections, Harmonic Sections, Noisy Sections, Ambient Sections, Electronic Sections, Acoustic Sections, Orchestral Sections, Rock Sections, Pop Sections, Classical Sections, Salsa Sections, Experimental Sections, and Other Sections Without Having to Maintain One Consistent Musical Identity at Every Moment, While Still Having the Entire Work Identified as the Same Song Because It Is All Part of One Planned Continuous Project, With the Morse Code Introduction Serving as the First Direct Message From the Creator to the Listener, With the First Lyrics Serving as the First Major Traditional Vocal Song Section, With the Long Instrumental Period Serving as the First Major Extended Transformation Section, With the Mozart-Inspired Violin Ensemble Serving as the First Major Classical Transformation, With the Salsa Section Serving as the First Major Latin Music Transformation, With the Spanish and German Vocals Serving as the First Major Multilingual Transformation, With Act Two Serving as the Beginning of the Larger Long-Term Structure, and With Every Later Act Being Able to Continue Expanding the Concept Beyond What Was Possible to Establish During the First Act, With the Entire Project Ultimately Becoming a More Than One Hundred and Fifty Hour Experimental Musical Work That Uses AI-Generated Material From Udio and Suno AI Alongside a Personally Created One-Minute Opening and Human Organization of the Resulting Material to Create a Single Extremely Long Composition That Moves Through Hundreds or Potentially Thousands of Individual Musical Changes, Sections, Transitions, Repetitions, Variations, Instrumental Passages, Vocal Passages, Genre Changes, Language Changes, Tempo Changes, Rhythmic Changes, Harmonic Changes, Melodic Changes, Instrumentation Changes, Arrangement Changes, Production Changes, Atmospheric Changes, and Other Musical Events Before Finally Reaching the Last Act, the Last Part, the Last Section, the Last Transition, the Last Musical Idea, the Last Vocal Performance, the Last Instrumental Performance, the Last Note, the Last Noise, the Last Ambient Sound, and the Final Ending, At Which Point the Entire Project Will Finally Be Complete After More Than One Hundred and Fifty Hours of Music, More Than Six Days of Continuous Audio, Dozens of Parts, Multiple Acts, Numerous Languages, Numerous Genres, Numerous Musical Styles, Numerous Instrumental Combinations, Numerous Vocal Sections, Numerous Experimental Sections, Numerous Transformations, Numerous Transitions, Numerous Repetitions, Numerous Variations, Numerous Returns to Earlier Ideas, Numerous Completely New Ideas, and an Extremely Large Amount of Music That Began With One Minute of Personally Created Noise and a Hidden Morse Code Message and Eventually Became One Extremely Long, Extremely Varied, Continuously Developing, Multigenre, Multilingual, AI-Generated, Human-Organized, Experimental Song That Is Intended to Continue for as Long as Possible Before Finally Ending". it will take a long time to make this. i have finished part 1, but i have to work on the other ones. i will post the tracks on Soundcloud once i am done. wish me luck!

TLDR
First ever a musical dark fantasy. If you like musicals epic or hadestown and everything in between theres a shot your going to like this. Will be releasing by the end of month probably the 28th or 29th. ( half of it)

Alright so im writing this king of to keep as a time capsule and im not sure how long it going to get. So i was sitting down and found about suno a good while ago and made some songs like everyone else.  I Thought this was sick and wanted to see if anyone had made any kind of musicals because i really like storys and fantasy stuff. So i went and looked and was really surprised when i turned up empty handed.  I really thought there would be a plethora of things but nope. Now there was a couple musicals out there or so called musicals,but they didnt have one sense of direction or even really a story. THey also were pretty bad (imo) And there was a couple one off that not too bad for one or two songs.

So if you have any that you would think would qualify please send then my way i would gladly listen. Has to be a decent amount of songs though. And if you have any thoughts on this subject?

So I decided to come up with something myself. Now I'm probably the most average guy you could think of. I grew up with tech and pretty decent with it but no where near master any of the tools. So I knew this was going to be a masterpiece. But what I will say is I wanted to create something that I wanted to listen to too. And I think that is something I did.

Well in a way I was going to keep at that and not anyone else listen. And you yourself could think of many different reasons for that. But the main reason is because in a way I knew it would be controversial. And in some ways I kind of like that. I know that's weird to say,but in a way I just wanted to see people's sentiments. Because I do think AI can be used to create some really cool things.

So when it comes out and if you listen to it feel free to share thoughts or opinion on it or even ai itself. Also if you know anyone else i can reach out to share please let me know

Now I'll keep this here for anyone still reading because you must care a little bit. There's a good chance I'm going to get you to hate me or love me with this. And unfortunately standing in the middle is the worst place to be. This reddit is kind of slop. Which is a little hypocritical because I know what I'm doing. But I hope I gave some value to someone else and you can debate me on that if you want. But this reddit doesn’t seem to care about anyone else and defends ai to the brink of death. 

The flip side is if you can't tell some of the amazing things I can do with some effort and a little bit of ingenuity then i dont know what to tell you. While I think it seems like a lot of people here have psychosis, I do think it's crazy what's possible.

So thats my side of the music  i could say a ton more about ai in itself( which would make you hate me more probs). But If you want  to leave your thoughts feel free to do so. And if you like the music help a brother out and share and subscribe.

(Dream)
This is stupid to say because it just a song,but i would love to have real people sing this one day or be apart of it in different ways. Not sure where to start and money is pretty tight. Also i tried getting some people do some art paid around 150 for diffentn sketches from people. BUt dang its hard to find anything good. So if i got to that point i would love to try that again.

Thanks for reading.

how to not have deep spoken word in tracks this is my normal prompt but always get deep satanic voice [Spoken Word Style: Natural conversational male speaking voice, normal vocal pitch, clear and human delivery. NO deep voice, NO bass narrator voice, NO dramatic movie-trailer voice, NO growling, NO exaggerated low register. Speak at a comfortable mid-range pitch with calm, sincere emotion. Clear pronunciation, moderate pacing, intimate and realistic delivery. Keep the spoken word completely separate from the singing voice. Do not sing the spoken section. No vocal distortion, no robotic effects, no demonic or ominous tone. Light natural room ambience only.]

I’ve been using Suno maybe about a year and, though I’ve some complaints here and there, overall I’ve been a huge supporter and fan, and have sent lots of friends and people I know to go check it out.

The recent(ish?) change that now blocks playback of shared songs without an account feels like a huge misstep for Suno, and for me it’s taken a lot of the joy out of using the service.

I know a lot of services and social media do this sort of thing, but most of those that do are much more ubiquitous and more general purpose — and much more likely to have an arbitrary recipient already have an account.

I used to feel excited to share a song with people I know — people who might not be into suno or ai or even songs necessarily. But now there’s no point in doing it. The majority of people I know don’t have an account and aren’t going to get one just to hear whatever I’ve sent them.

For suno too I think it’s a mistake. I’m sure somebody is looking at analytics and is pleased to see how many sign ups they’re generating, but those will be the weakest signups and some number like 20X that will just never give it a second thought.

I really hope they change this back, and soon.

Open to suggestions of good alternative services or private models. Though honestly private models have the same sharing problem in that you either need to send an audio file or host one somewhere.

Composed / Lyrics by : BGK

Vocals and instruments generated in SUNO

Composed and Mastered in Bandlab

Images and Video generated in SuperHeavyGrok by : BGK

Edited in CapCut by : BGK

This song is a love letter to the early 90s. I was in middle school at the time. My brother was 5 years older than me. I would hang out with him and his friends a lot. So of course I developed a crush on all his female friends and suffered in silence even though I became friends with some of them. I was too young , it just wasn't my turn yet lol. Despite that it was an amazing time. Great music , loved the fashion back then especially Goth and Grunge girls. From 92 to 95 it burned deep in my psyche. Trista isn't a particular person but more amalgamation of all the girls I had a crush on back then.

This is a V6 song. Originally composed as a midi track in Bandlab. I hummed and sang the melody for the vocals especially the chorus because I can't sing that quick and stay in tune. In past versions of Suno I could never get electronic drums and Real Drums into the same song effectively enough. I would have to generate multiple versions and splice them back together in Bandlab. This is all one generation . The V6 advance Stems for this song really came out well , it gave me a lot of space to master the track. The full track is still in the mix in certain sections but it is layed under all the Stems. 

Hope you enjoy✌️

So I left Suno & tried other apps. I kept having troubleshooting issues ( unbelievable) to even be acknowledged as a subscriber in two?! After many emails & 3, 3, 4 chances, I decided that returning to Suno, where my "style" had already been "branded" was better than going through these other apps!

I was pleasantly surprised! I usually try to keep one version to avoid clutter in my library, but for the first time, in a long time, I liked all versions! Still having hiccups with incomplete generations, skipping & out of sync now & then, but improving. Suno even implemented some suggestions that I had in past emails, which tells me they are taking the subscriber seriously.

So, hang in there. I'm glad that I came back. They are definitely better at getting back to me & DOING SOMETHING a lot better than musicful, Distrokid & Mozart! They are getting attacked now. By the time they go get beaten, Suno will be redeemed I believe. What do you think?