Suno AI Song Maker – Make Songs from Text

Yes — that's who this online song maker is built for. You write a plain-language brief describing style, mood, instruments, and singer, and the virtual studio performs and records it. You stay the creator; you're simply directing musicians who never miss a note.

A first take typically arrives 30 seconds to 2 minutes after you press Make. Expect a 30-second piece fastest and a full 3.5-minute song to need the longest rendering time.

Whatever you can put into words. Makers here write pop, rock, metal, reggae, lo-fi, jazz, classical, country, electronic, film-score, and world-music briefs, and they also invent blends — "reggae verses into a bluegrass chorus" works far better than picking from a menu.

You can use songs you make here for both personal and commercial projects — streaming releases, paid ads, films, games, and client work — with no extra license fee. Once you export the WAV, it's ready to publish under your own name.

The maker outputs one stereo WAV file — uncompressed and studio-friendly. It imports cleanly into CapCut, Premiere, Audacity, GarageBand, or any DAW you want to finish in. MP3 files and separate stems aren't produced.

You're not locked to one length. Make anything from a 30-second sting up to a 3.5-minute full song by putting the target in your brief — for example, "two-minute loop" — and structuring the rest of your notes around it.

Treat it like a rehearsal — that's the normal maker workflow. Rewrite the brief with the changes you want ("softer verse, add horns, female instead of male vocals"), make a new version, and keep editing line by line. Exported WAVs also trim cleanly in any free audio editor.

Absolutely; that call belongs in your brief. Write "instrumental only" for a backing track, or direct the vocal yourself — male or female, solo or choir, gentle or powerful — and the maker records that lineup.

Start with one sentence about the vibe you want and press Make. When the draft comes back, listen as its producer and ask what you'd change. Rewrite that detail into your brief, make another version, and repeat — most makers land on their song in two or three rounds before exporting the WAV.

Use the Download button under the player to export the WAV to your computer or phone. Download each version you like as you go, since earlier takes aren't kept stored separately for you.

Nothing at all. This is an online song maker that opens in Chrome, Safari, Edge, or Firefox on any device — no DAW to install, no plugins, no sample packs. The whole studio lives on the web page.

Brief it like you'd brief real musicians: genre, emotion, lineup, singer, and pace. Compare "make something upbeat" with "upbeat 2000s pop-punk, gang-shouted vocals, distorted guitars, fast drums" — the second leaves your players no room to guess.

You do, whenever you want. Put your own lyric lines or a topic in the brief and the singer performs them; or ask the maker to invent lyrics about your chosen theme and revise them in the next take like any other part of the arrangement.

Yes — direct it in your brief, such as "bossa nova with Portuguese lyrics" or "male vocals singing in Korean." You can even mix languages between sections; the maker follows what you wrote.

Test voices in words. Add gender, range, and character details — "powerful soulful female lead" versus "soft indie male voice" — and make a take with each to hear which one fits your track.

They change one element per take so each edit stays audible: swap the lead instrument, move the tempo ±10 BPM, switch singers, or add a section request. A short note recording which brief produced which take makes building the final mix much easier.

As precise as you like. Put "90 BPM" or "slow ballad tempo," plus "key of D major," straight into your brief — handy when the song has to match video cuts or your own singing range.

The maker takes written direction rather than audio uploads. Translate your reference into words — era, genre, instruments, production feel. "Sounds like an 80s synthwave title sequence" often communicates more than the file itself would.

Yes — your lineup goes into the brief. You might write "driving acoustic guitar, kick on one and three, vinyl crackle throughout, harmonica solo." The maker records exactly that instead of choosing for you.

The maker can't listen to audio yet, so hum it into words instead: up/down shape, rhythm, where it repeats, syllables like "da-da-dum." Put those notes in your brief, make a take, and adjust the wording until the melody moves like yours.

Produce the mood yourself through instrumentation in your brief. For tension: minor key, low strings, ticking percussion. For joy: major key, horns, claps, fast tempo. Writing both the emotion and its ingredients gives the studio a clear target.

You can. Add loop instructions to the brief: the length, no intro or outro, and "last bar connects back to the first." Make a couple of versions — something you'll hear repeated for an hour deserves careful listening for awkward joins.

Direct the same building blocks rather than asking for a clone: era, instrumentation, vocal character, production style. "70s soft-rock, hushed male vocal, Rhodes piano" gets you the feel — important when you plan to release the song under your own name.

There are no fixed presets — your words replace the template because you're the maker. If a blank box feels hard, click an example above to load its description, then customize it line by line until it reflects your idea.

Of course. Write "instrumental, no vocals" in your brief — for example, "instrumental post-rock build, 2.5 minutes." Use it to sing over later, under voice-over, or as a standalone track.

You're the arranger, so cast as many voices as your brief describes — "female lead with male harmony an octave below" or "children's choir on the final chorus" — then make the take and fine-tune the wording.

Definitely. Put the progression straight into your brief — "vi–IV–I–V throughout, key of C" — or request melodic patterns like "pedal-tone melody over moving chords." The studio plays what you wrote instead of choosing changes for you.

You don't have to — the maker prints a balanced, release-ready stereo mix automatically. Hands-on makers can still export the WAV and run their own EQ or mastering chain in a DAW. The export is one stereo mix; individual tracks aren't separated.

The studio performs with AI-generated instrument sounds modeled on real guitars, pianos, drums, and strings. No humans are recorded during your session, but the parts come back with human-like dynamics rather than mechanical loops.

Yes, without booking a studio. Brief the maker with your product, audience, and length — "20-second ukulele jingle for a dog-grooming shop, friendly whistle" — then make versions until the hook sticks. Commercial use is covered.

You can make the pieces of one: write separate briefs for menu, battle, exploration, and cutscenes using shared genre words so they match, and mark looping tracks as loops. Indie makers commonly assemble entire scores this way.

Direct the texture in your brief: drone or pad, nature elements, sparse melody or none, up to the full 3.5-minute length. Make several complementary pieces yourself and sequence them into one longer set.

Absolutely, as long as you describe them — name the scale (raga, maqam, slendro), the instruments, and the rhythm. Researching two or three instrument names before you write the brief goes a long way.

Not from a single take — what you export is one mixed stereo WAV. Makers get creative instead: make a vocal version and an instrumental version with near-identical briefs, then arrange both in an external editor.

Pass the brief around: each member edits the text, makes their own version, and brings the exported WAV to rehearsal. The site itself doesn't host shared projects, but text briefs share easily in a group chat.

Yes. Write the content type and energy into your brief — "upbeat groove under a travel montage" or "quiet piano for a tutorial voice-over" — then export the WAV into your edit. Commercial use is covered, with no fee per upload.

Put the show's theme in the brief and ask for sparse, vocal-free instrumentation — for example, "subtle lo-fi bed for a true-crime show, soft drums." Keeping it gentle keeps your speaking audio clear.

Make each cue from its own brief: name the moment (opening, chase, quiet goodbye), what it should make the audience feel, and roughly how long the scene runs. Drop the exported WAVs into your timeline and re-make any cue whose mood fights the picture.

Yes. Makers commonly keep the hook up front — put "strong hook in the first 5 seconds" in the brief — and cap the take around 15–30 seconds. Export, attach to your video, and post; your tracks are cleared for monetized social content.

You can write one intro theme and several neutral beds yourself. Brief them once with consistent words (same genre, similar tempo) so your lessons sound like one show, and export each as its own WAV.

Direct a few loopable beds at your stream's energy — calm for a talk show, driving for a gaming stream — and queue them behind you. Brief "no vocals, loops cleanly" keeps chat and speech audible all session.

Yes — make a short branded sting ("10-second brass fanfare for a sports talk show"), an intro theme, and transition beds from separate briefs. Keeping one shared instrument across them ties the station sound together.

You're the director: brief the maker with the business moment and tone — "confident, modern tech feel for a product launch, 90 seconds" — make two or three candidates, and present the take you like. No composer, session fees, or licenses involved.

That's exactly the point of the maker. Write your story as the brief — how you met, the mood, maybe your lyrics — make versions until it moves you, and walk into the reception with a song that genuinely belongs to you two.

Tempo is yours to dictate: make a warm-up at 90 BPM, a main set at 128, a cooldown at 70. Brief each section separately so the energy changes with the routine, then export a WAV for each.

Yes, cue by cue. Describe the visual world — "playful pizzicato strings for a 2D cartoon chase" or "dark synthwave for a stop-motion noir" — and make each scene its own take to match the cuts and characters.

You can make the music: brief the mood per scene and export stereo WAVs for the engine. What you get is standard stereo, not spatial 3D audio — position cues around the listener afterward in your audio middleware.

Yes. Make chapter-by-chapter beds with moods that follow the story — "tense, low drone for the confrontation chapter" — keeping them instrumental and uncluttered, then record your narration over them in any audio editor.

Yes — the exported WAVs import into Unity, Unreal, and app toolchains, where you convert or compress them to whatever the platform needs (OGG, AAC). The maker doesn't perform that conversion, but your source track is clean and yours to ship.