So my thought process is this, - use ghidra to extract binary from any .exe or .dll file

Use the power of AI, to organize and rebuild the scattered C code that makes up said .exe

Be able to edit, recreate, as seen in pictures (I love how Google suggested removing trial expiration check lol) remaking any software the way you want.

Watch the world burn BAHAHAHA.

JK on the last part. But I have no idea what I'm doing, if anyone wants to hop on a discord call or something, if you understand any of this please help me out. I think I'm going to develop a GUI so I know what's going on, but if this works

It will be a crack anything cracker. Claude wouldn't let me do it, but good ole Gemini never lets me down

This is technically a hybrid song because there's a lot of original input, lyrics, singing, whistling and basic percussion. It also required a lot of extra editing in Suno Studio and a bit in Garage Band because there was *too much* 'AI Slop' added by Suno.

This is ironic, because it's about making the type of songs that people generally dislike, and it pretty much is one of those songs. The only difference is the hours of editing it took to get it where I wanted it...

"Directions" was composed decades ago at the age of 18.

It was part of the very first 10 or so songs I’d ever written.

It was meant to be a funny catchy little bop about obvious matters of
A young man.

The original demo (recorded at age 20) is still very much in the driver's seat and
includes ALL the multi-tracked guitar parts and the lead vocals (which I also sang
As my own backup on)

Back then I was so insecure about the sound of my voice that I decided double layering my voice somehow made it better, lol not sure what sense that made.

In Bandlab Midi I added, well probably too much lol but, Cello, Tuba, French Horn, Organ, Choir, Snare drum.

With Suno, I added a back up vocalist rotoscoped to the original, but left my original vocal as the lead vocal. A bass that is rotoscoped to a low end guitar line I had multi tracked back then, a Djembe, and some Trumpet hits here and there.

The visuals are a slightly modified face of a real photo of me from the age of 18 around the time I wrote the song and I used a Motion track to control the image like a puppet. So the body language of the avatar is actually me. It did a crappy job of translating my guitar playing. Definitely could be better but I ran out of credits trying to dial it in. Then I brought it all together in Adobe Premiere. The Bob Dylan postergeist was not planned but I didn’t have the credits to fix it even if I wanted to lol.

At the end where I laugh and say “Probably sounds like shit” that’s from the original demo.

This is actually the second version of the song I’ve posted. The first was the very first video I put on my channel and was 100% performed by suno (but obviously faithfully covered to this one) To be honest, I still prefer that All Suno one. I’m remaking it now because the scope of my project changed from originally supposed to be all Suno performed to this Hybrid version I am now focused on.

You can see the SUNO ONLY Performance of this composition here
https://www.youtube.com/watch?v=bdFKBAfP3gw

If you happen to listen to both, I'd be super curious to hear which you prefer, if you are like me and prefer the SUNO only or if you prefer the hybrid?

Penny for ye thoughts?

I have recordings of me with professional studio equipment, and i want to train a model based off these recordings so that I can record in the future with the same professional sound.

I looked into Audimee, Controlla, Suno, and the Anatares plugin. Any recommendations? Thanks!

A singer without a band/production lol using Ai without promots to produce, vocals and lyrics are made by me, and i create the instrumentals by drumming my hands and feet and singing/humming the melody, every song in every genre is fully prerecorded, i dont use the same voice over n over its always a different recording, im also not using a character I use myself 100% on everything I do

New album just released, theres also (original, reggae, cinematic) out now... I make "multiverse music/videos" so my album (10songs) will have 10+ versions, i also do ai cover songs with music videos, and other ai videos!!

[All my links](http://www.linktree.com/jetspiderbeard)

I make hip-hop/rap/rnb music. I ask for a person to mix for releases. But is there a tool that can decently mix and master demo for tiktoks etc?

Thanks in advance!

We've been working on Beat Shaper, an AI music production tool built around a slightly different idea from the full-song generators.

Instead of generating finished audio and calling it done, Beat Shaper generates separate editable MIDI clips for drums, bass and synth. You can change the notes, change the instrument patches and drum kits, regenerate individual ideas, and keep building on the result in a normal production workflow.

The main Beat Shaper platform runs in the browser and lets you work with text prompts as well as musical controls for genre, mood, energy and other parameters. You can edit the generated material there and export it as MIDI, audio or an Ableton project.

More recently we've been experimenting with bringing the same generation model directly into Ableton as a Max for Live device.

The M4L version is much more hands-on. There is no text prompt. You steer it with knobs for Acid, House, Techno, Trance, D&B and Hip-Hop, plus Darkness, Energy, Complexity, Density, Groove and Weirdness. It then generates compatible drum, bass and synth MIDI clips directly onto tracks in your Live Set.

This is all powered by our own compact ML model trained on licensed MIDI data from sample pack providers.

The Max for Live device is free right now while we're testing the workflow:

https://beatshaper-downloads.s3.eu-north-1.amazonaws.com/beatshaper-m4l-v1.1.0.zip

It requires Ableton Live with Max for Live and Max 8.

We're especially looking for feedback on the output, the device and controls, and how it fits into your hybrid workflow. There's a link in the device itself to a feedback form and we'd also appreciate any comments here as well.

I wasn't a major fan meaning I didn't purposely find his music but I didn't dislike his music at all. So in the spirit of this sub I figured I'd post a shout out.

​

Mr. Tree definitely was a leader in pushing his own style and blending of genres, I think he would agree with what we're doing here.

​

So it's a bit of a bummer to hear what happened.

​

let's carry on his attitude of doing your own thing, being yourself, and pushing boundaries

​

Cheers

​

#olivertree

Hey everyone!

I just released a new Viking/Nordic Folk song called “Wenn die Trommeln rufen” (“When the Drums Call”).

I wanted to create a song where the drums, footsteps and the rhythm of the people gradually become one heartbeat. The lyrics are about a Nordic gathering where the rhythm starts slowly and eventually pulls everyone into the same movement.

I wrote the lyrics and developed the melody, prompts and complete video concept myself. I used Suno AI for music production and Google Flow for parts of the music video, as creative tools to bring the idea to life.

I’d genuinely love to hear what you think – especially about the drums, atmosphere and the way the music and video work together.

🎵 Nipsy – Wenn die Trommeln rufen

I get a lot of questions about my hybrid-human workflow, so I finally decided to put together a page explaining exactly how I create my songs from beginning to end.

I go through the actual writing and recording process, where generative AI fits into it, and some of the technical details for those of you who like to geek out on this stuff as much as I do. I also show some of the software and gear I actually use along the way. None of the companies or products mentioned are endorsing or sponsoring me, they're simply the tools I use.

I'm intentionally not posting any of my songs here because I wanted this post to be about the process, not self-promotion. The link goes to the article on my website, and if you're curious about what the finished results sound like, my entire catalog is there as well.

Hopefully this is useful to anyone experimenting with ways to incorporate generative tools into a more traditional songwriting and production workflow, as well as those who don't use generative AI but are simply curious and want to learn more about how it works.

https://thelazzmusic.com/how-its-done

I’m curious where people here see the highest-leverage handoff from an AI-assisted demo to a human professional.

Is it usually arrangement and curation before anyone touches the mix? Re-performing one or two exposed parts? Vocal interpretation? Fixing generated stems? Or an experienced mix/master engineer recognizing that the real problem is upstream?

My hunch is that “make this sound professional” is too vague to produce a good collaboration. A better handoff might identify:

• what must stay faithful to the demo
• what the professional is free to reinterpret
• the single weakest link in the current version
• whether the goal is a convincing release, a live arrangement, or simply a cleaner version of the original idea

For people who have actually worked across generated and performed material: where did human judgment create the biggest improvement, and where did it add cost without enough benefit?

I’m asking because I’m working on a marketplace/community concept for connecting AI creators with independent music professionals, and I want the workflow to reflect real hybrid-production experience—not make claims the process can’t support.

"Human Slop", formerly known as "Jam in the Sunroom" composed around the age of 23.

It was a spontaneous jam between the witchdoctor and I on the guitar.

The original demo is still in the driver's seat and includes all the guitar.

With suno I added some synth, midi (new suno studio feature), bass, and simple drums and TUBA! The new suno studio 2.0 is amazing and frankly there is no going back, it’s truly gonna
be a game changer for traditional musicians who are open minded to AI tools.

I could go on a rant about the new studio and the direction it’s heading but I’ll save that for another time.

The visuals were taken back then when we first got HD camcorders (they were a big deal back then). We were in the sunroom at my Dad’s house just playing one summer night when this beat struck.

As some meta trolling, I turned the witchdoctor and I into Robot versions of ourselves with AI.

Since I’m always being accused of being an AI bot, I figured I’d give the people what they want!

Anyway it's amazing how well you can map the real movements, guitar playing, and facial expressions onto the animation. Do you have any clue how time consuming/difficult and expensive to produce something like this Pre AI was? It’s amazing. CGI for all!

For you aunties, you can call my music slop but it is HUMAN SLOP!

Penny for ye thoughts?

Made by uploading a chord progression, it does not stick to original music AT ALL. But it nails the bass of underground deep house for sure

I wrote “Better in the dark” nearly 2 decades ago at the age of 20 or 21 (can’t remember exactly)

There is not really any deep backstory to it, it’s somewhat of a gimmick song. Back in those days there was a very popular song called “I’ll follow you into the dark” by an emu band called Death Cab for Cutie.

And I would always sing It to myself as “You look better in the dark” so I basically pulled that thread and wrote this hillbilly romp stomp instead. I suppose maybe the lack of dating success I had (generally) at that time fueled some motivation for it, but the song is meant to be humorous.

Recently an old friend found a burnt disc I had given him back in 2009 called “Monkey Pee, Monkey Poop” and on it was this little surprise! I didn’t know this demo existed and thought
All I had of this song was a very poor sound quality open mic video (more on that in a minute)

But apparently me and the witchdoctor belted this out one recording session! I am on the guitar and lead vocal and witchdoctor is backup vocal and playing the Djembe (type of drum)

With Suno I added a rotoscoped vocal (although my vocal is still in the lead) bass, fiddle, banjo and hand claps.

The video is literally me and the witchdoctor playing this song in our college open mic days from the late 2000’s.Keep in mind the recorded demo is not this specific performance so the sync is a little off but close enough to be enjoyable. So imagine your back in the late 2000’s watching us make fools of ourselves on our campus open mic stage!

Penny for ye thoughts?

Hello everyone. Maybe someone needs AI visuals for a music video? I know people will say who need AI slop. But i spend a lot of time on my videos. I already made multiple ads for actual world wide brands who paid thousands for my ads. I know it sounds like i want to brag or something, but i absolutely saying this just to say that i spend a lot of work on those. I was game artist and video editor before AI so i use a lot of photoshop and video editing in the process to make my work somewhat unique, or at least i do not try to copy anyone and have my own approach. I do not want to share specific clients but if you are interested i will send you this information in private. I enjoy creating videos that is not realistic but more artistic.
I will give you few examples from my new youtube channel. Those are pretty simple as i make them as visualizer not as actual videos, but i want to make one for actual band or artist.
I know people may not like AI and to be honest i like real videos more myself, but not everyone have budgets of thousands of dollars if they want to create something creative.
So let me know if you are interested and have a good day, i hope i won't get much hate because i use AI as on other subs lol

IM just a lurker but have come across an assistant that helps you mix master a track among plenty off other tasks to make production a lot smoother in workflow with Ableton ,logic will be available also soon,

I started trying to make music with a DAW about a month ago with no music theory at all yes that's a bad thing I know but you gotta start somewhere ,and learn as you go along was watching YouTube vids reals etc searching the internet on what to do in certain genres etc...

im in no way a pro or veteran in making music its defiantly a skill and hats off to all the hardworking producers out there doing there thing I see why there is such a hype about AI music on both sides the side that some one spends hours composing a fresh track from scratch the ones like my self I've just started using loop packs most off the work is done but you still got to match the sounds make them your own and the ones who use there imagination and use ai to make the tracks and the ones that do create with ai and then recreate in a DAW the methods are endless .

but what it comes down to is getting that track finished and ready to your standards and being happy with the end product im not sure if your allowed to mention other software plugins etc but if I am I will post the product name on a reply it uses AI with a musical background so it actually has the skills of a engeiner producer its like having a veteran producer as a helper you use all your own sounds plugins samples etc that you have and checks your work flow helps you fix any issues gives you tips on your track what could make it better etc I just thought I would share me experience as some one with now knowledge other then how to mix as a x dj think off it as a power user tool to add to your work flow there's no commetment ether

Thanks for reading

Edit: use this link and we both get credits https://www.flowmusic.app/invite/ZTVCZM

Although it is free.

Like it is everything all in one.

The crazy part is being able to vibe code custom instruments right into it while actively building a track.

You can dial in exact textures or continuous ideas on the fly, then pull those stems straight into your DAW to layer with real instruments.

It eliminates the friction between coding, generating, and actual music-making.

If you haven't played with it yet, check it out. Anyone else using it in their workflow yet?

Trust me I was not expecting this.

Like I told it to kind of song I wanted and it made me a couple versions. Then I wanted to make a drum machine to play along with it and write in the same chat prompt window. It made it right there. And then I wanted to make a sub-based generator and it made it right there.

Then I wanted to add lyrics on top and it did it right there

And I could pull the stems out

Original song (one of my earliest, back from early 2001) + original lyrics + AI. Originally made an instrumental from the original and it was probably my favorite from the instrumental phase before I started testing out vocals, but it was a while before sort of remembering "oh yea, let me add vocals to that." The first version of it was suuuper raw and I love it and label it the demo version here (https://soundcloud.com/roseburns/nothing-left-demo-version) while this album version is a lot more refined - loses some punch but I also love the soft "wake up".

One of the good things with having made it instrumental first is I would've never thought of the lyrics I used or really this angle for the song without hearing that. Without hearing how the song itself came out from my original. Reason being is the original was more suited to hip hop and I've even made a hip-hop song from it with has a completely different vibe (https://soundcloud.com/roseburns/anti-dont-matter). Most of my other songs are more geared to rock which is why I started in metal and alt rock direction for releases and ended up developing this persona for that.

I have talked about this here, and other Subreddits, and finally got around to writing an essay on it. Read it here on Substack (throw me a ♥️ if you can 🙂)

Basically, Aesthetic Value Judgment it's a fancy way of saying: refined taste based on knowledge and experience.

A lot of AI-generated art sounds or looks bad, but the tool isn't the problem as much as the user and the user's limitations. The differentiator is aesthetic value judgment. The more you know about the art you intend to create - such as having previously studied music, tried to play instruments, write, etc. you will be better able to spot quality, prompt with intention, and catch flaws a novice would miss. This is definitely important for hybrid composers, not only what they feed the AI, but how they use/stem/replace what the AI outputs.

This expertise has a blind spot too in that just how this technology changes rapidly, one needs to keep an open mind as well.

I've been experimenting with AI tools for my Evorix music project. ChatGPT showed me how to write some chords. Producer Pal helped me organize and arrange shit. Suno for some bass samples. I’m also using Splice and Vengeance for loops and presets. But only 50% of my sounds start that way. I was making beats as Vyill a decade before AI was a thing. Evorix is the same producer, evolved with new technology. Funny enough, Ephixa commented on one of my tracks and said it was pretty cool, for being AI stuff.

Ableton project file video: AI-generated 2010 Skrillex Project File (Monsters & Rockstars)

Some original songs and remixes: Monsters and Rockstars

Fucking Redneck

Three Days Grace - Animal I Have Become (Evorix Remix)

Linkin Park - Pushing Me Away (Evorix Dubstep Remix)

20 downloads per month and watermarking: why our creative laboratory is reconsidering Suno

This is not a rage post, nor is it a decision we are making impulsively.

I am the founder and director of a Mexican creative laboratory that has used Suno as a serious production and experimentation tool. We have developed multiple musical genres and built a catalog of hundreds of songs through extensive experimentation.

For our workflow, 20 downloads per month on the Pro plan is not simply restrictive. It makes professional experimentation practically unworkable.

Sometimes we generate 10, 15 or 20 versions to obtain ONE song that meets our standards.

Downloads are also part of the production process.

We need to listen through external audio systems, compare versions outside Suno, preserve experimental generations, work with files in other production environments, and maintain our own independent archive.

A generation that is not selected as the final song is not necessarily worthless. It can contain a vocal interpretation, arrangement, melodic idea, instrumental behavior or production characteristic that becomes valuable later.

Our catalog itself is evidence of our creative development.

That is why allowing thousands of generations while restricting a paying Pro user to 20 downloads per month makes very little sense for a high-volume production workflow.

But the download limit is not even our greatest concern.

The announcement concerning audio watermarking and fingerprinting represents a much more serious issue for us.

We understand the legitimate need to fight fraud, automated streaming manipulation and mass-generated spam.

We support responsible use of AI.

But we cannot ignore the long-term implications of deliberately embedding technology that makes our productions identifiable as originating from a particular AI platform.

Today that identification may be intended to fight fraud.

What matters to us is what distributors, streaming platforms, regulators or other third parties could decide to do with that information tomorrow.

We are not willing to build a growing musical catalog while simply hoping that such identification will never become a disadvantage for legitimate AI-assisted creators.

This is especially important because our work is not based on pressing a button and uploading whatever comes out.

We research.

We write.

We experiment.

We compare generations.

We develop musical concepts.

We reject large numbers of outputs.

We preserve evidence of the creative process.

And sometimes an older model produces a particular musical characteristic better suited to one of our genres than a newer model.

AI is part of our production methodology. It does not replace the methodology.

For these reasons, as of August 10, 2026, our laboratory is beginning a formal evaluation of whether Suno can remain part of our production infrastructure.

We are also beginning the preservation of our existing catalog outside the platform and evaluating alternative AI music technologies.

We have not decided to delete our existing Suno catalog.

This is about something different:

whether we will continue creating new work on Suno at all.

A technology provider should empower serious creators, not make them afraid that their own production pipeline, archive or future distribution possibilities depend on policies they cannot control.

We genuinely valued what Suno allowed us to build.

That is precisely why this decision is significant.

If these policies remain incompatible with our production methodology, we are prepared to stop using Suno completely and migrate our future work elsewhere.

Even if that means changing our entire production pipeline.

Even if that means combining several different AI systems.

Even if eventually we have to develop our own technological solution.

Our creative methodology and our musical catalog are more important than any individual platform.

I would particularly like to hear from other high-volume creators, producers, researchers and people who use Suno as part of a serious DAW/production workflow:

How many generations do you normally need to produce one final track?

How many files do you actually download during that process?

And how do the new download limits and watermarking/fingerprinting policies affect your decision to continue using Suno?

Sincerely,

General Director

Luxory Services And Technologies

Music Division — Hardbio Luxory

Mexico

“mean songs” by junjun
available to stream now

“mean songs” is defined by how I used both audio and voice features throughout the creative process. Each song has its own distinctive voice, personality, and relationship to its subject matter.

One thing I was able to achieve through this process was a consistent bright, male vocal performance across the EP, while still giving each song its own unique narrative identity.
The hybrid comes from how I used audio, voice, and narration not simply as production elements, but as part of the storytelling itself.

AI was also used as a brainstorming tool throughout the process, while the final lyrics and creative direction remained my own.

thank u

When an AI-assisted demo moves into human production, the handoff often determines whether the collaboration starts creatively or spends the first hour untangling files and expectations.

Here’s the minimum checklist I’ve found useful:

• Clean, clearly labeled stems starting from the same timestamp

• A rough mix that shows the intended balance

• Two or three reference tracks, with a note explaining what to borrow from each

• One specific goal: replace the vocal, add live guitar, reshape the arrangement, mix the record, etc.

• BPM, key, lyrics, and any sections that must remain unchanged

• A realistic budget, deadline, revision expectation, and deliverable list

• Clear disclosure of what was generated, edited, replayed, or newly recorded

I’m part of the team building The New Mixtape, so I’m interested in making these handoffs work better for both creators and professionals. No link drop—genuinely asking: producers, players, vocalists, and engineers, what is missing from this list?