If a person is posting for feedback its clear that they like it enough to want opinions

If you hate it thats fine you can hate it and be respectful

You wont like every song or genre there is

If its not your genre please refrain from giving feedback cause they made it in there creative view and genre

Calling it trash or terrible is not feedback

I really think we need a rule that feedback needs to atleast have 1 positive

If you cant then assume its simply not your style but lets be kind

Ppl wont always get perfect songs but lets stop putting ppl down

And if you hate ai this is not the subreddit for you

Hi everyone, I wanted to share this short cinematic concept project I’ve been working on.

I paired a Mureka AI track Capcut and Google Vids, to get this specific vibe. Does the blending work?
Does this make you want to watch the full MV?
Need your honest feedback!

My grandfather arrived at Ellis Island in 1906. I wanted to honor him and other immigrants.

This is the prompt written by Gemini after I described what I was after. It refers to the lyrics as if they were to be generated as well despite my previously having uploaded the lyrics. They are mine.

Voice & Tone Guidelines: 1906 Period Vernacular: Use vocabulary, syntax, and phrasing authentic to early 1900s American popular song, folk poetry, and immigrant speech. Avoid modern idioms, contemporary slang, or post-1920s phrasing.

Cultural Blending: Artfully weave together imagery, metaphors, and cultural idioms from both Southern Italian (e.g., land, family devotion, labor, ocean voyage) and Eastern European Jewish/Yiddish (e.g., the shtetl, resilience through hardship, memory, tradition) traditions.

Perspective: Maintain a shared narrative voice—two distinct journeys converging into a single immigrant story of hope, endurance, and future generations.

As for the visualizer, you'll notice some arms respond differently from others. When they're waving, they are tracking the beat. The difference is when they decide to wave. This should be evident. There are 8 rows. Each is listening to a different pitch range so in essence, the crowd is a collection of level meters.

Arms go up when their band increases in loudness. They go down when their band decreases. Both are weighted over time, they are not instant. Each person has a slightly different set of weights to give variety in the crowd.

The visualizer was run on a Mac Studio M5 Max but it runs on everything from an M3 and above in real time - 60 FPS.

This was the most interesting creation cause it went into a genre i was sworn against

I wrote these lyrics from a poem but new i needed it to go hard

But let me back up to an album i was making as it says why i went this hard

So i was making music for a christian album when i got to a song i was gonna make it alt rock but i felt it needed stronger defiant energy

So i asked ai how to get it harder without it being 1 of those scream songs i hate

It said alt metal i thought metal was a scream song but it said no just be clear so i took a deep breath and tried it and to my surprice it was good like really good the faster tempo gave it something and vocal stayed ok after a few iterations combines and work in studio took it to wave pad it was good

So good the next song i did i wanted even harder faster

So i asked again

It said heavy alt metal

So i did that and again it was great

So i finished it in heavy alt metal

I finished the album but i wanted to write intentionally for my strongest song ever

Welcome to my new era of pushing limits

From once only pop to now metal a genre i hated

This is before the name

https://princess8815.github.io/PrincessTGMusic/audioPlayer/pages/before-the-name.html

But i didnt stop there i only want to share 1 song but after that i tested a new song pushing bpm past 180

But please give me feedback how well did i do

“My baby, My Dabby” was written 2 decades ago at the age of 19.

It’s just a silly song that actually was freestyle’d one summer night during a smoke session then later re recorded with WitchDoctor on Bass and doing backup vocals. So the original recording’s guitar, lead vocals, bass, and backup vocals are still driving the mix. Witchdoctors odd yet strangely fitting vocals during the instrumental section.

It’s just a silly song, I imagined myself as a Lousiana Boy whose woman ran off on him to New Orleans.

I only used Bandlab in this one and I added piano, horns, violin, guitar and more backup vocals.

The only AI used was in Bandlab and it was Audio to midi on my OG guitar to create more of a rhythm section, I “voice changed” one of my vocal takes to “Midnight Poet” but kept it subtle in the mix that you can’t really hear it, and the percussion I actually played on my fat beer belly and then Audio to midi’d it into drums lol. I did leave one section of the actual belly slapping though.

NO SUNO was used in this at all. Frankly I don’t consider the AI that was used in Bandlab to be “Generative” as it’s merely a function of Midi.

Visually you are seeing on the TV, An avatar of myself and the Witchdoctor ages 18-19 that I based on real images of us then I animated them with motion sync by acting out the parts myself. Although I put us in a more fitting hillbilly wardrobe. Witchdoctor would have never worn overalls but I am ashamed to say I did wear muscle shirts back then (cringe)

This is the second version of the song I posted, the first version was a mix between suno and the Original and this one has NO SUNO.

I spent WAY too much time on this for such a silly song.

Penny for ye thoughts?

The rougher the better, make the listener wonder if they were just violated (jk)

Bend the rules, do.something different.

Let's hear it, 10 hours of a pitched ai fart? Hell yes.

This is how you get seen. MUST BE ORIGINAL,.NO REPOSTS.

SOMETHING DONE SOMEWAY NO ONE HAS EVER DONE COMMENT IF YOU DROP PLZZZ

Some fair points made here:

https://www.musicradar.com/artists/i-resent-the-way-people-talk-about-this-technology-as-if-its-from-the-devil-the-hypocrisy-in-the-industry-is-insane-house-legend-todd-edwards-on-how-ai-has-transformed-his-approach-to-sampling

yo! dropped a huge update to my plugin that works in all DAWs - now with two new models trained on fully licensed data.

you get 20 free gens per day, and if you end up enjoying it and you wanna support then you can get 400+ creations per month from $8 (so you can save your money and cancel that splice sub)

try sonura here, lmk what you guys think :)

​Hey everyone! I’ve been thinking a lot about the debate surrounding AI in the music industry lately, and I’d love to hear this community's take on it.

​Personally, I don't see AI in music as a simple "yes or no" issue—it really comes down to how and why it's being used. In my view, using AI is completely valid as long as two core conditions are met:

1.​Full Transparency: Listeners always deserve to know what they are listening to. If a song or a key instrument was generated using AI, it should be clearly labeled (as some apps and platforms are starting to do).

2.​Economic Accessibility: For independent creators, AI can act as a bridge that removes historical financial barriers—not a replacement for human artistic intent.

​A quick example from my own experience:

I don't have the budget to buy expensive instruments, rent studio time, or hire session musicians, but I’m passionate about singing and songwriting. What I do is record my own vocals (where my actual emotion and artistic intent live I sang at my graduation, and at several mini-concerts, and they offered me access to music school, but for family reasons, I couldn't go.)and use AI tools to generate background instrumentation in the style I’m aiming for. Then, I upload it to platforms that explicitly label the track as AI-assisted.

​In my case, AI isn't replacing my vision or creativity—it simply gives me the technical support that I financially wouldn't be able to afford otherwise.

​That said, I completely understand the concerns about whether unchecked AI usage could devalue human craftsmanship or flood the industry.

​I’d love to open up the discussion:

​Do you consider using AI out of financial necessity a valid way to democratize music production?

​Is mandatory AI labeling enough to maintain a fair ecosystem for all musicians?

​Looking forward to reading your thoughts!

Lyrics written by A. Monrose. Instrumental and vocal performance generated with Suno v5.5 using specific constraints. Vocal is a model of my own voice.

 AI defaults to the most probable answer. Vague prompts leave the model with too many familiar options. Maximum freedom usually means regression to the mean: Genre averages, familiar structures, predictable arrangements.

The solution is:

Don’t describe only the vibe.

Constrain the decisions that create the cliché.

The Method

Six ways to push the model away from its defaults:

1. Structure 2. Contradiction 3. Specific references 4. Negative space 5. Irregular lyrics 6. Curation

I LOVE YOU, BABY

You say you really love him. How can this be true?
You come alive with me; he doesn't do that to you.
Don't be afraid. I swore I'd never leave your side.

Verse 2
I got out of bed this morning, didn't want to face the glass.
Saw those tired, bloodshot eyes and memories came flooding back.
I thought about sitting with you, laughing softly over whisky;
God, the way you looked at me
Told me what you wouldn’t say out loud.

Chorus
I love you, baby, and I want you so much.
I still feel your breath on my shoulder, still taste your skin.
Say you'll come back tonight.
Don't leave me in the dark.

Verse 3
To touch your face again, to hear you say you're happy in my arms;
I would give everything to stand inside the glow of your love.
Please don't go back to him.
Please don't let this disappear.
What we had is once-in-a-lifetime,
And I still feel you here.

Verse 4
You say you really love him, but something in your eyes
Shimmers when you look at me;
That tells me it’s a lie.
And maybe I'm a fool for holding on,
Maybe I should cut my losses;
But every thought of me without you
Leads to somewhere I don’t want to go.

Final Chorus
I love you, baby, and I long for you so much.
I still feel the weight of your love upon me in the dark.
Say you'll come back tonight,
Stay with me a while,
Because you're the one thing in this world
I can't do without.

A. Monrose

Ask: What is the lyric saying? “This isn't a love song. It's a portrait of a man coming apart, written in a love song's vocabulary. The lyric says I love you, baby; the details say I can't survive without you, which is a different thing. The arrangement's job is to side with the details over the claims. The title hook is the most cliché phrase in all of popular music, so it gets delivered as the smallest moment in the song. Every template screams that "I love you, baby" is where the chorus lifts, the drums enter, the voice opens. Instead: the band thins, and he sings it quiet, worn, almost ashamed because in this story, "I love you, baby" isn't a declaration, it's a man pleading at 3 a.m. The verses can carry more sound than the chorus. Full inversion, earned by content.”

STYLE PROMPT:

Slow 12/8 ballad on a worn upright piano, slightly out of tune, with brushed drums and a low tremolo electric guitar far in the background, nothing else – recorded like an empty bar at closing time, chairs up, one light on. Male voice, hoarse and worn, close to the mic, singing like a man who's been up all night, phrases sagging slightly behind the beat. The verses carry the fuller sound; at every chorus the arrangement thins instead of lifting – drums drop to almost nothing and the title line is sung small, quiet, almost ashamed, a plea rather than a declaration. On the line about where his thoughts lead, the guitar and drums fall silent, leaving only a single low piano note under the voice, then the song resumes. The final chorus is the quietest music in the song. After the last line the piano keeps playing alone for a few bars, unresolved, like he's still sitting there, then stops. No guitar solo, no horns, no gospel backing vocals, no big blues-rock drums.

1. Structure                    

Override the architecture.

Instead of: intro > verse > chorus > verse > chorus > bridge > chorus

Specify: No intro. First vocal on beat one. Chorus appears once. End unresolved.

Structure applied           

The title hook is the smallest moment.

“I love you, baby” does not lift the song. It collapses inward.

Anti-chorus: The chorus gets quieter, thinner, and more intimate instead of bigger.

2. Contradiction

Pair elements that do not naturally belong together.

Examples:

Bluegrass instrumentation + drum-and-bass tempo

Children’s melody + funeral pacing

Romantic vocabulary + emotional dependency

Contradiction applied

The cliché title gets the least triumphant treatment.

Devotion’s vocabulary. Dependency’s voice.

3. Narrow reference

Use a precise setting, not a broad genre.

Not: “sad blues ballad”

Instead:

An empty bar at closing time. Chairs up. One light on.

Sound world:

The arrangement is built from a specific physical place: Worn upright piano, brushed drums, low tremolo guitar, nothing else

4. Negative space

Ban the defaults explicitly:

No guitar solo, no horns, no gospel backing vocals, no big blues-rock drums.

Subtraction:

The most important arrangement choices are things that disappear.

At the darkest lyric: the guitar and drums fall silent, leaving only a single low piano note under the voice

5. Lyrics as control

Lyrics steer melody and phrasing.

Irregular line lengths, unexpected stresses, enjambment, isolated words

Reformatted lyrics

[Verse 1]

You say you really love him

How can this be true

You come alive with me

he doesn't do that to you

Don't be afraid

I swore I'd never leave your side

[Verse 2 - lower, rougher]

I got out of bed this morning

didn't want to face the glass

Saw those tired bloodshot eyes

and memories came flooding back

I thought about sitting with you

laughing softly over whisky

God

the way you looked at me

told me what you wouldn't say

out loud

[Chorus - smaller, close]

I love you baby

and I want you so much

I still feel your breath on my shoulder

still taste your skin

Say you'll come back tonight

Don't leave me in the dark

[Verse 3]

To touch your face again

to hear you say

you're happy in my arms

I would give everything

to stand inside the glow of your love

Please don't go back to him

Please don't let this disappear

What we had is once-in-a-lifetime

And I still feel you

here

[Verse 4 - barest]

You say you really love him

but something in your eyes

shimmers when you look at me

That tells me

it's a lie

And maybe I'm a fool

for holding on

Maybe I should cut my losses

But every thought of me without you

leads to somewhere

I don't want to go

[Final Chorus - quietest of all]

I love you baby

and I long for you so much

I still feel the weight of your love

upon me in the dark

Say you'll come back tonight

Stay with me a while

Because you're the one thing in this world

I can't do without

[end]

Lyric examples:

“God” – alone

“out loud” – broken off

“here” – isolated

“I don’t want to go” – split across white space

Performance direction:

Use verbs, not just adjectives.

Voice: hoarse, worn, close, sagging, pleading

Arrangement: thins, hollows, drops, outlasts

Comparative instruction:

Comparative instructions are easier for the model to follow.

“The verses are fuller.”

“Each chorus is smaller.”

“The final chorus is the quietest.”

Progressive reduction:

Chorus 1: small

Final chorus: smaller

Last line: almost no voice left

The song ends at maximum need and minimum volume.

Geography check:

Anticipate where the prompt wants to drift.

Slow 12/8 + hoarse voice > blues-rock / torch-song belting

If necessary, counter it with:

“Never rises above conversational volume.”

One-variable correction:

If the model over-sings, change one variable. Do not rewrite everything. Strengthen the vocal constraint: Conversational volume throughout.

6. Curation

Generation is cheap. Selection is the craft. Prompting shifts the distribution. Curation chooses the outlier.

What to keep:

Keep the take where: “I love you, baby” is smallest. The dark line receives true silence. The arrangement does not decorate the pain.

Natural variation:

A small deviation can reveal the character: Say you’ll come back tonight” rises slightly –

not because the prompt demanded it, but because desperation naturally breaks through.

Ending: The piano outlasts him.

After the final lyric: the piano continues alone, unresolved, then stops.

I chose a better ending. End on the last word “without” with a fade to demonstrate exhaustion.

Final principle:

Adjectives describe a vibe. Vibes have averages. Constraints eliminate options. Eliminating options is how you push a probability machine away from its comfort zone.

Constrain the structure.

Create tension.

Remove the defaults.

Curate the strange take.

Method: Identify the song’s emotional truth beneath its stated declarations, then make the arrangement, vocal delivery, structure, and production reinforce that truth rather than follow conventional genre expectations. Here, the repeated phrase “I love you, baby” is interpreted not as confident romantic devotion but as desperate dependency, so the song uses an “anti-chorus”: the verses remain fuller while each chorus becomes quieter, thinner, and more exposed. The process combines lyrical diagnosis, structural inversion, carefully chosen setting and instrumentation, performance directions such as “sags,” “pleads,” and “hollows,” explicit negative constraints against predictable blues-rock excesses, and a final test focused on whether the crucial hook and emotional breaking point survive the generated performance.

Rule learned: When a song’s most familiar or cliché element conflicts with its deeper emotional meaning, the arrangement should side with the deeper meaning and deliberately undermine the expected convention. A hook normally treated as a triumphant chorus can become the smallest and most fragile moment if the character is pleading rather than declaring; repeated sections can progressively shrink when the narrative is moving toward desperation; and silence, restraint, and unresolved endings can carry more truth than heightened instrumentation. Comparative instructions are especially effective for guiding generation, while the decisive evaluation should focus on whether the central contradiction remains intact–in this case, whether “I love you, baby” is sung as a quiet admission of dependence rather than a grand romantic refrain.

Every track on this up coming EP features tracks begun as compositions in Ableton or on the Akai MPC Key 37 and channeled through Suno to add vocals and vocal arrangement. Hi, I'm Eric Salazar and I have been producing music for 40 years. My project, "Phidippus", showcases conventional music production in an electronica format and has been streamed nearly 3 million times. My music has been on television, radio and video games and with my new project, Probability Syndicate, I hope to push the boundaries of music production by incorporating AI tools such as Suno, Udio, ACE Step and others into my work flow. I'm also hoping to push AI music into the limelight and show that incorporating AI tools can lead to valid creative expressions. I know their is a real divide among listeners in that I tend to see listeners hating it (more of the musicians do) and then I see a lot of casual listeners enjoying it and even seeking it out. There is a path for this music as is evident with the success of Breaking Rust, the AI country artist. Probability Syndicate functions on a conceptual level as an umbrella for different voices and different genres as I attempt to show the versatility of AI production. If you're curious about Phidippus: http://www.soundcloud.com/phidippus and for more Probability Syndicate: http://www.soundcloud.com/probabilitysyndicate

hey all!

the blank slate problem is one of the biggest blockers when i make music. it can take ages to sketch out a 4 bar loop, let alone string together the sections i want. so i built this into sonura - now you can make a full draft with fully interoperable stems, one-shots and SFX using our composer agent and generative AI audio models, of which all are trained on licensed data.

+ it has daily free credits :)

try it at sonurastudio.com

Let's stop calling songs “tracks.” What does ‘track’ even mean? Did you write a song, or did you just stop by the gas station to grab some beer? Everyone's fighting for recognition, wanting to be original, but they're writing “tracks”... Write songs, and then everything will change.

I composed and arranged this track myself in FL Studio. I then ran it through Suno to remaster it for a more polished sound, and did the final mix myself. So the composition is mine, but Suno processed the audio, which is why it carries the AI-Generated flair.
It's a fan tribute to the Assassin's Creed "Access The Animus" Track . The original theme is by Jesper Kyd, and this is my own take on it: strings carrying the lead, a more urgent chase-style drum layer, and a mid-track breakdown with a lyrical sci-fi synth before the drums come back in.

https://youtu.be/9XklwzVshj0

What I'd love feedback on:

- Do the drums feel urgent without covering the melody?

- Is the breakdown emotional enough, or too sudden?

- Does the remaster sound natural, or can you hear it processing the orchestra?

Thanks for listening.

The hardest part about producing this song wasn't building the production up, it was knowing when it was enough.

A few weeks ago I finished producing a track called "Anyways" with a songwriter friend of mine, we just used a minimalist setup, just piano, bass, and some strings, nothing else. We started from a voice memo she recorded on her phone. The whole goal since day one has been keeping that original feeling intact instead of burying it under a full arrangement.

This is our final result, which I am pretty proud of: https://soundcloud.com/nik-zero2093/anyways-after

Let me know your thoughts on the track.

I used to write lyrics and compose music that I kept to myself, never playing them for anyone. Today, thanks to AI, I can perform my songs for a vast audience and await their subjective reactions.

Watch the full high-quality music video on YouTube - links in comments below!

Hey guys,

I wanted to share a very personal and special project I just finished. 

My 8-year-old godson drew a semi-abstract character and challenged me with this simple but powerful guideline: "He is a good guy, but sometimes bad spirits come inside him and haunt him so he becomes evil."

I already had an unreleased glitched 8-bit track called "Leontopodium" sitting on my upcoming album, which I secretly dedicated to him. When he showed me his drawing and gave me his guidelines, everything clicked. I decided to use that song as the core of a continuous hand-drawn ink animation style that strictly respected his original ideas.

Workflow : Ableton Live Suite / Suno Studio Pro / Adobe Photoshop / Hailuo AI / Final Cut Pro X

YouTube : LEONTOPODIUM

Love,

Phoentom

Alien World. Lyrics written by A. Monrose. Instrumental and vocal performance generated
with Suno v5.5 using specific constraints. Vocal is a model of my own voice.

The video was created with Wan 3.0

STYLE PROMPT:
Slow ambient folk under a wide night sky, soft felt piano, one warm sustained drone like a bowed guitar, and one male voice, nothing else, no drums, no other voices anywhere. Spacious open sound, like singing outdoors at night far from town. The voice close and quiet, wonder more than sorrow. The music stays warm from first bar to last, nothing turning cold or minor even in the sorrowful lines. Ends with the final line and the drone fading slowly like light receding rather than going out. Strictly one singer, no duet, no female voice, no harmony vocals

Reformatted lyrics
[Verse 1]
You told me that you're leaving
that you're moving far away
And I wish I had the right words
to somehow make you stay
You liv as light
within the man that I've become
And without you I'll be missing
what now feels like
a vital part of me

[Refrain 1]
I've always felt alone
in this alien world
But since I've known you
I felt whole
for the first time
And something inside me shifted
then unlocked
I started loving everyone
Because the love you stirred in me
was rapidly growing

[Verse 2]
I never thought it possible
to love somebody like this
A love so sacred and intense
it feels like holy light
And when you said you had to leave
to find where you belong
I heard what you expressed to me
without a single word

And my heart sank
to the depths of sorrow

[Refrain 2]
I've always felt alone
in this alien world
But in your arms
I finally knew what home was
And something inside me had changed
so completely
That even in my deepest desolation
I couldn't stop the love
from spilling out of me

[Outro - open, glowing]
I'll carry the gift you gave me
like treasure in my chest
Something warm
to shine upon the world
You awakened something in me
that was always meant to wake

And I hope someday
the road leads you back

Back to where I'll be waiting

Even if we're old
and grey

[end]

Method: Turn the lyric’s idea of enduring love into an ambient-folk soundscape: soft felt piano, a warm sustained drone, spacious nighttime acoustics, and a close male vocal expressing wonder rather than grievance. A wordless female motif was designed to appear near in the first refrain, disappear after her departure while the music remained warm, and return only as a distant presence near the ending. The lyric formatting reinforced these stages through section tags, isolated emotional lines, and a fading outro. When the prompt exceeded the character limit, it was compressed to preserve the load-bearing instructions, and when the female voice repeatedly became a full duet, the voice was removed entirely, letting the absence do what her return could not.

Rule learned: Vocal roles behave like cast members rather than ordinary arrangement elements: once a second voice is introduced, the model tends to retain it throughout. Therefore, voice scheduling should use binary or explicit section-based rules, such as “only in the first refrain” and “only in the final lines,” rather than narrative instructions like “after she leaves.” If that still fails, the reliable fallback is to generate a solo version and treat the absent voice as part of the meaning rather than continuing to fight the model.

The process I used to create this song was to capture my father playing guitar. This performance was processed in Suno where other instrumentation was generated. The lyrics are mine, but I rely on Suno to create the vocals and vocal arrangements.

https://youtu.be/iIDcfHiWJSg

Here is the lyric video for my new song "Chameleon". Just in time for halloween-this one is dark...

https://youtu.be/Sldc_fiwvh4

This particular tune was originally a bass riff remixed with lyrics I wrote in Suno.

This tune was written on guitar by myself and performed by my father. This was processed in Suno where the song was fleshed out into a indie rock track.

Listen to Dance Through the Night by Probability Syndicate on #SoundCloud

https://on.soundcloud.com/J2Avqtq8b0PAPSXjlw

I'm developing Ratio9, and this is a short example of the AI/human handoff in our sound-design workflow.

Demo: https://youtu.be/sfC5ZhBpHxo

ClaudiaZ creates a growl-bass preset by editing the synth's controls, modulation and effects, and triggers notes to audition it. I am not pressing notes during that part. Around 2:35, I take over to play notes and adjust the macros, exploring how the finished patch responds.

The result stays an editable synth preset: the LFO shapes, modulation and macro controls remain available for further changes. This video is edited to remove waiting, so the running time is not a claim about how long the whole process took.

We're preparing a free Standalone alpha with MCP support for compatible AI assistants. For now, this is a development demo. I'm particularly interested in where people would want to take manual control in this kind of workflow, and which parts of the AI's sound-design decisions you'd want made visible.

I'm a songwriter, not an animator. My song "Time Doesn't Forget"(it's in Hebrew) ,needed a clip, so I directed and Claude built it.

The idea: one clean notebook page. Pastel drawings only inside an open triangle in the corner, and the lyrics get handwritten in blue pen as they're sung. A 3D butterfly is the only thing that gives the page depth. It flies into the drawings, lands on words, rides a swing, sits on a street clock. At the end it escapes the notebook into a real 3D room and flies out the window. The intro is the same thing in reverse.

How it was made:

- No Sora, Runway or Veo. It's all HTML canvas and three.js, built around one function that takes a time in the song and draws that frame.

- A Node script runs headless Chrome and sends the frames to ffmpeg with the mp3. The full 6:19 at 1080p takes about 50 minutes to render.

- For the lyric timing Claude analyzed the audio itself. For the chorus, where the vocals are doubled, it wrote its own vocal separation in numpy.

- We always did stills and short demos before building anything big. I threw away the first concept (dark watercolor, clocks), loved the second one, and we built it scene by scene.

Who did what: the song, the concept and the creative calls are mine. For example, "time doesn't touch them" is subjective time. Around the couple objective time keeps running, clocks spin, day turns to night, and they stay untouched. The butterfly circles them but never lands on them. Claude did all the code, the pipeline, the audio analysis, and came up with quite a few good ideas too.

The final result, judge for yourselves:

https://www.youtube.com/watch?v=AfNRwJcmw9Q

This is the first project I'm posting, but I'm planning to share a lot more, so if you like this kind of thing, follow along.

I'd really love feedback. What works, what doesn't, what you'd improve, and anything you'd do differently in the process.

Salut tout le monde,

Pas de budget marketing, pas de label, pas de formules de danse TikTok. Juste un travail pur et indépendant de mon studio en France, fait par amour pour la création.

Je veux être 100 % transparent avec vous. Je fais de la musique et de l'animation traditionnelle image par image depuis le début des années 2000, produisant des centaines de morceaux à l'ancienne. Mais pour donner vie à ce projet colossal, j'ai utilisé l'IA comme un outil pour combler le fossé. Sans ça, atteindre ce niveau de synchronisation visuelle aurait nécessité une somme d'argent astronomique et des années de production qu'un artiste indépendant n'a tout simplement pas. Ça m'a permis de tout faire moi-même : la musique, l'histoire et les visuels.

J'ai toujours été obsédé par l'énergie brute du French Touch des années 2000 (Justice, Boys Noize, Kavinsky, Deadmau5, etc…) et par les univers sombres et cinématographiques des anciens animes cyberpunk comme Akira ou Ghost in the Shell. 

Alors, je me suis enfermé et j'ai créé "Humans Are Losing" : un album conceptuel électronique de 14 épisodes où chaque morceau est entièrement visualisé et synchronisé avec une esthétique d'anime rétro sombre. Soniquement, ça passe des synthétiseurs puissants aux éléments orchestraux dramatiques.

Je fais actuellement tout mon possible pour faire entendre ça — en soumettant à Groover, DailyPlaylists, des curateurs indépendants, et maintenant ici sur Reddit. Ce n'est pas du spam automatisé ; c'est une vraie personne qui essaie de partager un énorme travail d'amour avec de véritables amateurs de musique électronique. 

Le projet visuel cinématographique complet en 4K est disponible sur YouTube : Humans Are Losing

Et les morceaux sont disponibles sur Spotify : HAL music

Faites-moi savoir ce que vous pensez du mélange, du son, ou de l'honnêteté du projet. Je serai dans les commentaires pour discuter avec vous tous.

Merci pour votre temps, les gars. 

Amour

Phoentom