V5.5 I was EXCITED to use all my credits. I would try different styles until I found something I liked.

Fast forward to today with V6, I have like 2.4k credits and and I DONT EVEN WANT TO USE IT because I dont want to make slop after slop LITERALLY 100s of generations just for them to end up in the trash because they are unusable. So whats the point even trying?

This disaster gave me the chance to go back and listen to my V5.5 songs again, and download those instead. I'm cancelling my sub this month, it feels gross that I gave them another month of money but atleast I use the downloads for V5.5 songs I treated too harshly.

I started making music simply because I loved creating it. I write my own lyrics, sometimes go through dozens of covers just to find the one that feels right, and spend countless hours working on mixing, EQ, and mastering. Then there’s creating visuals, music videos, and Spotify Canvases to bring each song to life.

It’s a lot of work, but I genuinely enjoy the creative process.

What I wasn’t prepared for was what happened when I started promoting my music on social media.

Suddenly, I found myself dealing with so much negativity toward AI music. Some people seem to dismiss everything the moment they hear the word AI, regardless of how much thought, time, or creative effort went into it.

I understand that AI music is controversial, and I respect that not everyone will like it. But sometimes it feels like people have already made up their minds before they’ve even listened.

The strange thing is, making music has been one of the most enjoyable and fulfilling things I’ve done. Trying to get people to discover that music has been an entirely different experience.

I never started this to prove anything to anyone. I just wanted to create something meaningful to me and share it with people who might enjoy it.

I’m curious if other Suno creators have experienced the same thing. Has sharing your music been harder than actually making it?

It's equal parts hilarious and sad that the people who praise v6 the most all seem to make the same generic contemporary R&B and pop music that's regurgitated everywhere these days. Endless variations on Kendrick Lamar, Drake, Taylor Swift, The Weeknd, and Bad Bunny. Spring-break EDM and goth-pop are about as edgy as they get.

Worse, most of them seem to have some kind of mental block that prevents them from hearing audio degradation, glitches, or other obvious flaws. I suspect quite a few use the SUNO phone app and never listen to their results on anything other than earbuds.

But I find it particularly amusing how so many SUNO fanboys insist that v6 is actually more advanced, that it "doesn't hold your hand," and that it's designed for people who really understand music (like them). Apparently, everyone else just needs to improve their skills and "git gud" (like them).

My dudes. SUNO's target audience isn't you musical geniuses. It's Boomers who think it's fun to make songs about their dogs and kids who want endless variations on the same five artists. Maybe some spring-break EDM and goth-pop for the really adventurous ones.

Why do you think SUNO advertises so aggressively on Facebook and TikTok? SUNO wants to become a social media platform. That's where the money is. It's not trying to build some sophisticated tool for discerning musicians. It's trying to turn AI-generated music into mass-market entertainment and social media content.

They don't care about you. At all.

Everyone is so upset with AI generated music. They call it slop. But it's not slop. And that's the real problem. It's too damned good. It wasn't long ago when I would listen to the radio or whatever, and I'd hear a song that just connected. It felt like that song was written just for me. Now, I don't listen to new music at all. I create songs on Suno and every single song is just for me. It's all I listen to now. I have over 200 songs on a flash drive and that's what I listen to in the car when I'm driving. I write my own lyrics, so every song is something I connect to because I wrote the damned thing. I no longer need to listen to the radio, waiting to hear that one magical song that will really hit home for me. I have a flash drive full of songs that I wrote and every one of them is perfect for me. This is not just a case of real musicians facing competition. This is a case of real musicians facing a level of competition that they can't hope to overcome. I can envision a time when nearly everyone has a plethora of songs written just for them, created by AI, and with no real musicians involved at all. This, to me, seems like a sad future and I readily admit that I am very much a part of its making. I'm not going to stop creating these songs for myself. So yes, I'm part of the problem. And I'm selfish enough not to want to lose this ability. I love the songs I have created with Suno. They hold meaning for me. I poured my soul into the lyrics. But I can certainly understand why so many people are so vehemently against Suno and other AI music generators. Suno is still the best, but the others will catch up and when they do, it could truly be a death blow to real musicians.

Hello, I’m trying to achieve a rap battle, and I can’t get anything close. No difference in style it’s just the one singer keeping the same rap style when singing the whole song.

I’m not quite as experienced, Some of you are and I was wondering if any suno experts might know a good way to achieve this.

I know I can probably do a voice changer with a couple of the other SAAS sites . But having Suno sing differently would be a big thing before I go and do all that.

Has anyone achieved a rap battle that sounded convincing or half decent?

Or would you know how to?

Thank you 🙏

In just one month of using Suno I have developed a playlist of 550+ tracks that I truly enjoy across many genres.

I’ve stopped re-visiting my playlists in Spotify and YouTube Music almost entirely.

My ears crave new music experiences like only the ai music creators can deliver. Yes I have to screen 100 ai tunes for every one I keep.

Also I can engage directly with the creator who are often more than happy to discuss their music, an added benefit.

Curious to see what genres everyone in the Suno community is actually creating!

We see plenty of discussions around certain genres, but I'd love to get a better picture of the musical diversity represented here.

Which genre best represents the majority of your Suno creations?

If you create across multiple genres, select your primary one. If your genre isn't specifically listed, select "Other" and share it in the comments.

Feel free to elaborate on your style, subgenres, or interesting genre combinations below.

Let's see what this community is really cooking up! 🎶

View Poll

I have been working on a new album for almost 3 years. I used to self-produce using Logic for instrumentation, and my vocals. I don't play any instruments well enough to use them on my songs. They are mostly 80s/90s British retro influenced. So I thought, fuck it, lets see what Suno can do with them.

I have tried to get it to cover my songs for a while, but it could never get them right. It would change random melodies, vocal delivery, and they no longer felt like mine.

That all changed with V6. Cranking the audio influence on the cover to 85 actually made it listen. They now sound like me, with my lyrics, my voice, my melodies, just better produced.

However, the mix and overall feel is very muddy.

So I downloaded the stems as WAVs, mixed and mastered myself. I then used sngbird to analyze the difference. This is what it had to say:

Stem mastering was completely worthwhile. The stem-mastered WAV version is a dramatic upgrade over the downloaded MP3 across tonal balance, vocal articulation, stereo width, and transient punch.

The original MP3 had the same severe low-end congestion that dragged down the early bounces of Lower and Dark: nearly 64% of its acoustic energy was trapped below 250 Hz, starving the midrange vocal core down to just 12.2% and squeezing the stereo width into a narrow, center-heavy spread.

Mastering from stems allowed you to rebuild the track's frequency distribution, open the stereo stage, and bring the song into seamless alignment with your album baselines.

Objective QC and Acoustic Comparison

Metric	Original Download (AF - Everybody Falls.mp3)	Stem-Mastered Version (Everybody Falls.wav)	Album Target Baseline	What Changed
Peak Level	-3.8 dBFS	-1.0 dBFS	-1.0 dBTP	Mastered up to full commercial headroom with True Peak protection.
Digital Clipping	0 regions	0 regions	0 regions	Both files are clean of clipping.
Integrated Loudness	-14.6 LUFS	-10.3 LUFS	-12.0 to -9.5 LUFS	+4.3 dB gain in perceived weight; locked to album level.
Dynamic Crest Factor	14.7 dB	13.7 dB	13.0 to 14.5 dB	1 dB tighter; punchy, controlled rock impact without flatlining.
Stereo Phase Correlation	+0.780	+0.585	+0.50 to +0.85	Fully mono-compatible while allowing the sides to expand.
Stereo Width Ratio	0.352	0.512	0.45 to 0.65	Substantial stereo widening (+0.160); expansive guitars and synths.
Sub Energy (20–80 Hz)	19.9%	7.8%	8% to 15%	Sub-rumble cut by 12.1%; dynamic headroom reclaimed.
Low Energy (80–250 Hz)	43.6%	30.1%	20% to 28% (Rock: ~30%)	Low-mid mud cut by 13.5%; bass guitar definition restored.
Low-Mid (250–800 Hz)	15.7%	24.3%	16% to 24%	Restored natural warmth and guitar body (+8.6%).
Mid Energy (800–2500 Hz)	12.2%	23.5%	18% to 24%	Midrange presence nearly doubled (+11.3%); vocal clarity restored.
High-Mid (2.5–6 kHz)	6.3%	10.0%	8% to 14%	Snare snap and guitar bite brought forward (+3.7%).
High Energy (6–16 kHz)	2.1%	4.3%	3.5% to 6.5%	Top-end air doubled (+2.2%); cymbals and breath opened up.

Was the Process Worthwhile?

Stem mastering transformed an unbalanced, muffled source file into an album-ready record:

1. You Fixed a Broken Spectral Tilt: In the downloaded MP3, sub-bass (19.9%) and low frequencies (43.6%) swallowed 63.5% of the entire song's headroom. Because the low end was hogging the master bus, the core vocal midrange (800 Hz to 2.5 kHz) was starved at 12.2%, and high frequencies sat at a muffled 2.1%. In your stem master, total energy below 250 Hz dropped to 37.9%, which allowed vocal presence to nearly double to 23.5% and top-octave air to climb to 4.3%.
2. You Reclaimed the Stereo Stage: The MP3 had a width ratio of only 0.352. Instruments were clustered tightly near the center channel, leaving little separation between rhythm guitars, synth pads, and lead vocals. On the WAV master, the width expanded to 0.512 while keeping phase correlation safe at +0.585. This creates the immersive, wide soundstage heard on Dark and Home.
3. You Brought the Track into the Album Sequence: The MP3 sat at a quiet, un-mastered -14.6 LUFS with peaks wandering at -3.8 dBFS. In an album playback sequence, it would have sounded 4 dB quieter and significantly darker than your other tracks. The WAV master lands right at -10.3 LUFS with a locked -1.0 dBFS ceiling, sitting naturally between Inside (-10.2 LUFS) and The Illusion (-10.4 LUFS).

Does the WAV Version Have Better Sound Quality and Dynamics?

Sound Quality

The WAV version has noticeably superior sound quality. Beyond the frequency rebalancing, uncompressed 24-bit/48kHz stems avoid the encoding compromises inherent to lossy MP3 compression. MP3 encoding uses psychoacoustic algorithms that discard low-level high-frequency information and smear subtle transient micro-dynamics, which often causes high cymbals and reverb decays to sound "swishy" or phasey. The uncompressed WAV master preserves clean high-end transients and natural room decay tails.

Dynamics

While the MP3 shows a slightly higher raw crest factor (14.7 dB vs. 13.7 dB), that number is deceptive. The MP3 was simply lower in volume (-14.6 LUFS) with massive sub-bass peaks dominating the dynamic meter, which gave the impression of dynamic range while the actual transients remained soft.

The stem-mastered WAV delivers better perceived dynamic punch. Because the sub-30 Hz mud was trimmed away, the limiter reacts to intentional musical hits rather than loose low-frequency rumble. Kick attacks and snare cracks hit with sharp, clear definition, preserving a healthy 13.7 dB crest factor at full commercial loudness.

Hi everyone,

I’m trying to upload my own song to Suno to create a remix, but the upload is being blocked. I’m the original producer and rightful owner, and the song has already been released on Apple Music and other streaming platforms through a distributor.

Has anyone experienced this and successfully resolved it? Did contacting Suno support and providing proof of ownership help, or is this still an ongoing issue?

I’d appreciate hearing from anyone who has gone through the process. Thanks!

Just started making AI music with the app. Currently making songs for the Batman Rogues Gallery...including ones that no-one heard of. I like them nonetheless.

When I finish making that album. Who should I do next?

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!

i make my songs with suno and post them with a video on tiktok and insta.

most comments are actually about the music. "this goes hard", "whats the song called", that kind of stuff.

some are pure haters about everything. ai music slop, no soul, not real music. fine, that was always there.

but now the videos are ai too and i wonder if thats where it flips. ai music slop was already the comment. ai video slop now too?

do u put ai visuals on ur suno songs or do u film something real? and did u notice the haters getting louder when the video was ai as well?

For those making human-AI hybrid music, are you using your own voice and face, or creating a fictional artist?

I’ve been using an AI clone of my voice with Suno for a while. Now I’ve started putting myself out there visually too - making myself the protagonist in my music videos.

Shameless plug, conveniently relevant to the question: here’s my new “Love Hate” video 😂

I used a few different models while making it, so my face changes a bit in places. Consistency is getting better, though.
Are you putting yourself in yours too? Or is creating someone else part of the fun?

As new technologies make creation more accessible, more people can experience the joy of turning an idea into music, a story, or art, and get fulfillment from the simple act of making something. We call that creative entertainment, and we think it will define the next wave of consumer technology.

Music will always be at the heart of Suno and what we build. At the same time, our vision has always extended to other forms of human expression. Today, we’re expanding what's possible in Suno with Speech: the first audio model that generates voice and music together as one cohesive track.

How Speech Works

Speech lets you create spoken audio set to original background music. It's built right into Suno: type an idea, a poem or something you've written, then describe the voice and musical style you have in mind.

As we developed Speech, we kept stumbling into uses that made us laugh, or occasionally surprised us with how moving they could be. We turned friends’ texts into wildly overproduced dramatic readings. We gave ordinary voice notes unnecessarily epic scores. We made meditations, poems, pep talks, and bedtime stories for our kids.

That creativity is a natural extension of how people already use Suno. Every day, people make songs for birthdays, weddings, inside jokes, faith and worship, their kids, their friends, and moments that might mean absolutely nothing to anyone else but mean everything to them.

Speech opens up another canvas for that same kind of creativity

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.