When it is not trying to remove the cases from the major record label, Suno is still working on refining its AI music building equipment. The latest model, Suno V5, is a clear technical improvement on its previous version, V4.5+. But it may still not seem to avoid the defect that causes most AI art.
There are some cross-the-board upgrade in audio quality that are undisputed, such as clear separation between low artifacts and equipment. Some of the tracks produced using v4.5+ smoage all melodic parts simultaneously, where the lines between the guitar, bass and syntha are the best dirty. But with V5, the mix is very cleaner.
During a demo, Henry Fips, a Sano Product Manager, pointed to a song, which included a model, which included a flute-like synt, which looked like a ping-pong delayed effect on it: “I never heard that in the previous model … which is a different sound that needs to affect different parts.” Since Suno is not actually implementing the impact in the traditional sense, it means that the model is identifying a particular device and anticipating the sound of a stereo delay because it is certain what it looks like.
There is no edge for any Suno Vocals. Everything is bathed in Reverb, layered with harmony, and completely on the pitch. Even if you clearly ask not to do these things, the model just ignores you.
Sano also claims that V5 has a better understanding of style, although this claim seems suspicious from my test. With some of my signs such as “modern avant r&B with glitter, but funky drums, atmospheric melodious parts, and breath tone,” Neither V5 or V4.5+ feel that whatever I did, it was a clear winner in fulfilling what I had done Take me apartBoth of them came closer, giving me a downtampo track with some Moody Sink, but they had a lack of strange that I expected.
Neither Sano could have suggested that I was recorded on a 4-track cassette recorder with a 90s low-Fi Indy Rock, which was with major vocals and slightly out of the tune guitar “with either with either, but V5 was definitely more target. Despite what I have tried, I did not get to spit anything, which seemed from a distance like a pavement. Loose slacker noise pop associated with i Slant and fascinated It was not found anywhere. Instead, I got the “Indie” rock bombing with Chunky Refs and Clean Driving Power Cord. Suno V5 continued to serve songs that looked like Arctic monkeys compared to anything released before the turn of the century.
Similarly, in my test, V5 seemed to struggle several times to struggle with era-decade or decade-specific signs. When I asked for “Crotrocrock in the late 1970s”, v4.5+ originally the nails out of the vocals (later). But V5 often distributes the tinged syntapops and tracks of the 80s that are specific to look more modern, even if they have some classic croutock DNA.
What I would say is that the system of making Suno’s V5 models is very complicated. Compared to v4.5+, more uniformly musical fruits that prevent things from obtaining a lot of repetition and more diverse song structures. Where v4.5+ usually contains material for sticking with a basic poem-cores-wave structure (with a bridge for good measures), V5 often has pre-post-currents, several bridges or breakdowns, and typically manufacture over the course of a track that offers more arcs than only in different classes.
Sometimes interesting results are given while remixing existing tracks. I uploaded a song from an EP released a few years ago (which probably should have been tripped to my copyright filter) and look, I am not lying, I liked it in the way that the way it moves parts of my guitar to a recurring synthesis shape and turned its large cord pads into arpeggios driving.
But what was missing in all these covers of my song, which I asked to make Suno Recorded in my living room at 3 o’clock About six years ago. And this is a kind of running subject. While Suno can mimic some superficial characteristics of human performance such as an old recording or tape back or breath, it always seems inhuman.
PHIPPS assumes that they have not heard the unique flaws of a real human performance to the vocal model. In his initial message about V5, Suno postponed its “emotionally rich vowel” and “human-like depth”, but that Phraasing is now absent from any public-related material. Instead, the company has now chosen to describe the vocals as “natural, authentic,”, which is pursuing changes in a “stylistic choice”.
But even looks like a stretch. Whereas, yes, vowels feel more human than v4.5+, they are still harsh. PHIPPS reported that “When we consider a vocal from Suno (V4.5) as emotionally flat, I think it’s just because it is just a few details missing that gives it to the edge,” and that the high allegiance of the V5 model distributes that details.
It is difficult to argue with the technical aspects of that claim – vocal performances are more wide – but they are still painful. Every rock seems to look like Vocal Imagine Dragon or Mamford & Sons, every R&B Song like Sleepwalking Edel or an attractionless Ariana Grande.
There is no edge for any Suno Vocals. Everything is bathed in Reverb, layered with harmony, and completely on the pitch. Even if you clearly ask not to do these things, the model just ignores you. I asked V5 “unprocessed emotional solo with a capele female vocal performance without any reverb, no harmony, no effect, just asked for dry tone.” The two songs given to it were bathed in Reverb, involving additional singers recommending with the first, and a single one looked like a bass sangat. (Although, it can be a bass estimating voice.) But the PHIPPS was not surprised. “Models do not yet understand the details of specific impacts and recording techniques. The way the vocal performance is most affected by the song and the normal mood,” he said.
So, I fed the songs that were Now! Different from rolling stone “Gimme Shelter, Copyright to avoid flagged for violations. In the first brush it seemed that there are all elements that make the origin so destructive. A powerful female singer shouts at a full, sad system, but it was all of the emotional effect of a dental textbook.
When I listen to “Gimme Shelter”,, This is the way of Mary Clayton Cracks of voice As she “rape and murder” during the bridge, which causes me to choke me. This is Robert Smith’s completely out -of -the -out -waters.Why can’t you be“And just before she gave the last line in the last line” “just before Kurt Cobain’s breath tired in the breath”where did you Sleep Last Night“It tells you that it is a man who is struggling with real demons.
In general, Suno is trying to make the sound “bad” – out of the tune, raw, closed key, dirty – was fruitless. All the things of the company about how the “natural” new model sound sounds lack of flaws that often lead to the emotional weight of a performance. Sano’s virtual singers are still different. The model V5 can understand that a particular song must be unhappy, but has no real emotional relationship for words, as it is a pile of code, not artist.
