u/BlackberryLow7507 — reddlx

Teaching a supercomputer to play top forty radio is a waste of a good machine. We need to take this neural network and break its brain to see what leaks out by feeding it impossible rules. You build the cage first. I take a 14th century Bulgarian death dirge and chop it down to an 11/16 limp. I drop that MIDI into Logic Pro. I bypass the default instruments and plug in a 1970s Jon Lord Hammond B3 VST. I push the drive and turn up the key click. I add a dry Stratocaster. The audio seed must sound like cold steel before Suno ever touches it. Sometimes I have an LLM write a fresh counterpoint in ABC notation. I translate the code. I force the grid. I bury a track of human breath under the mix at minus thirty decibels. Suno hears the breath and changes the entire mathematical structure.

Then you feed it to the engine. Adjectives are dead weight. You must use physics. You dictate the exact bimodal friction in the prompt box. You lock the bass in Phrygian dominant. You choke the lead on a 5/4 grid. You set the audio influence strictly to 37 percent. You crank the weirdness slider up to 88 percent. Under that pressure the model renders the sheer physical friction of the instruments fighting. It hallucinates transients. You generate ten separate tracks and hack them apart. You go full Teo Macero on the timeline until the pieces bleed together into a solid object. It is brutal work resulting in something entirely alien. If you want to hear what a machine sounds like when forced to chew on pure acoustic physics, the archive is right here. https://soundcloud.com/kokairo

At the moment we're still struggling to understand what this thing can do, how far it can go, but as we speak, I am convinced 100% from all the outputs from it that suno is a giant musician. Not only in terms of orchestrating an audio input to levels of perfection that a normal human musician cannot touch. Human musicians are in their great majority limited by their muscle memory and their limited experience. That's why David Gilmour can't compose anything else but David Gilmour after a while and Philip Glass can't do much else but Glass. Artists that reinvent themselves (like Picasso going through his "periods") are few and far between. But reinvention always with a fresh take from any, ANY, attack angle is implied, ingrained in suno. Frankly there ought to be musicians out there who should go past the rudimentary issues of ethical vs non ethical, copyright, and most importantly "making human music" as in making music for the Charts, and just explore, push the boundaries with this artificial brain. I have no doubt that it's already happening but musicians are still trapped in the "AI music vs human music" cage - and won't admit, won't touch, won't go beyond "who made this song after all" topic. Intellectual property is bogging this whole thing down in its tracks, when in fact we ought to micro-Project Manhattan this and usher in the next big thing in music. It's an enormous musical brain that has ingested all orchestrations, all articulations, all instrumental presets and combinations, from Palchebel to Lucy Bedroque. You can't gag and hog tie such a brain only to preserve copyright: it's like forcing Michelangelo to paint the Sistine ceiling without using his hands: maybe a brush held between his teeth, but nothing else. Orchestration, composition, hallucination, we gotta let these unfettered, and I mean we, we humans. It'll happen in the end, if not in the copyright straightjacket countries, then in freaking China, but it will happen anyhow.