Here's my one time Suno experience.  I signed up for the paid middle tier where supposedly you retain commercial rights, etc., etc.  I did lots of research before I used it for a song I had written.  I had completed the chords, and the arrangement, melody and even the lyrics - all mine, created with no Ai.  I kept everything private in Suno and never published the song there.  I also tuned off remix and comment options.  I had read that I could use Ai like Suno to make suggestions to improve the song which it did.  It changed the arrangement, while the essential arrangement structure was still mine and it changed the melody some as well - both changes I accepted.  It did added a more complex string arrangement (violins, etc) which I also used.  I did not use any of the suno created music or stems - not a one.  I went back to my DAW recorded and performed and sang all parts on my own.  I read if I did that, even if the parts mirrored what Suno suggested, as long as I didn't copy the stems from Suno and put them into the recording I was good.  The song turned out really good.  I then submitted it to the copyright office for registration and because I'm an honest person, mentioned the Ai assist, but noted all parts of the main song were conceived and written by me.  Long story short, my registration was denied and they kept my money.  So now I have no idea where the song sits in terms of rights.  Honestly, I don't know how that kind of assistance is any different that songwriters using apps like Master Writer for lyric creation which has been done by major artists for years.  Or artists who use apps like Klimper, or Addictive Drums or Addictive Keys to create parts for their songs, or use Splice -- and the list goes on and on and on.   I will never use Ai again for a song - it's just not worth it.  (At least until the rules change around this.)  BTW - you said you would only use Suno for ideation - but isn't that what I did above?  and if you do get an "idea" from Suno that you like and use, aren't you right back to square one with the rights question?

I am posting this on a few different videos about Suno as a warning to users. I write my own lyrics and they are very personalized songs, stupidly I uploaded all of them to Suno. I have a paid account and keep everything private, I don’t publish, I use it as a tool and work on recording the song with real musicians and artists.  I knew that my creativity might be used to train the AI, but I never thought my personal lyrics would be regurgitated out to other users. I turn off comments and Remix options on every song generated, even if I don’t use them. I was notified by Suno that a user made a song similar to my taste. I wrote my song back in March and I have documented the creation of it, from its beginning in notes, to its completion. This user has the same song, same title with my lyrics just slightly altered. So either the user stole my lyrics and regenerated a song or Suno Ai was promoted by this user and spat out a tweaked version of my lyrics. I checked this user, and 5 of their songs are reworked versions of the songs I personally wrote on my album. As an example, let’s pretend that my song is titled “Lay Your Worries Down”, this other Suno users song is titled “Lay Down Your Worries” with each line, verse and chorus just slightly tweaked like this. They made 3 versions of this song, one with female vocals in a country style, the other with male vocals in a rock style and another version titled “Lay My Worries Down”. This person is claiming to be the author of these songs and has released them to DK, Spotifty etc. The crazy part is that I never published my songs because I only use Suno as a tool and I am working on recording it with real musicians, I sing and have preformed locally. I was super excited about this. To get feedback, I did share my unpublished album on Suno with a few friends and family through private messages, perhaps my songs were leaked through this link. However I only shared the link with 4 very trusted people, so I really believe that my lyrics were most likely remembered by AI churned out when prompted by the woman using Suno. This user may have no idea the song is stolen lyrics although it is really suspicious that 5 songs of my album have been reworked by this same user. She seems to be churning out new songs sometimes several a day, so I imagine that I am not the only person whose song has been copied by her. She even copied my style directions for the songs. People should not put their lyrics into suno.

Well, The strongest analogies are not “AI is just like X”—because it isn’t. They are examples where new technology became part of the creative process, yet the human creator remained the author.

Examples:

* Photography. People argued the camera did the work. Today, the photographer owns the copyright because of their creative choices—composition, lighting, timing, editing.
* Digital cameras. When film became digital, copyright didn’t suddenly belong to Canon or Nikon.
* DAWs and music software. Artists use Logic, Ableton, Pro Tools, Auto-Tune, Melodyne, virtual instruments, drum machines, and synthesizers. The software doesn’t own the song.
* Word processors. Nobody says Microsoft Word owns a novel because it helped write and edit it.
* CAD software. Engineers and architects use powerful software, but they still own their designs.
* Photoshop. The software can perform remarkable transformations, but the artist retains authorship.

The important distinction is that current copyright law in many countries still requires sufficient human creative authorship. Simply pressing “generate” may not qualify, whereas substantial human creative control, selection, arrangement, editing, or transformation often can. The legal boundary is still evolving

Great breakdown! The secret is treating AI as a high-speed scratchpad. Using it for initial vocal ideas or melodic hooks, then rebuilding the track in a DAW with proper heavy drums and synths isn't 'cheating'—it's just working smart in 2026.🎉🎉

Go old school. I use to work for ASCAP in Nashville and many songwriters used to MAIL (like real paper mail) themselves the lyrics and sheet music, which would put a federal stamp/date on the mail, which in turn would protect your IP. Yes, really. I don’t care what any SE says. It does the job if you’re in a fix. If someone challenged it in, say, 2020, then the writer could pull out their marked envelope (sealed) and say “Sorry, this was my IP in 1995 (or whatever year).” If you go to google ai right now and ask, it will say it’s not possible. But, if you tell it it’s wrong and to F all the way off, it admits it’s true. No, it’s not a copyright. But, it does protect you in the interim. I don’t care what anyone says. I’ve seen in too many times to count. Better to have a hardcopy of something than to have nothing but 1s and 0s in the ether. And as to the “faking” thing. I hear that all the time, “it can be faked,” but the hard truth is, that has never been an issue. You know who DOES tell songwriters it’s an issue? Entertainment attorneys b/c $$. Unless you can prove they DID fake it, the court will accept it. Sorry, but it’s true.

Instant IP is not real IP registration, it is at best a record that can be used as evidence of registering it somewhere at somepoint at some company or organization.

You can copyright your lyrics after they are used. A legal copyright only extends legal grounds to include statutory losses and damages.

If you email yourself your lyrics, that is valid proof. You can't alter googles email credentials. You can also get your lyrics notarized, which involves a "third party legal witness".

This channel has been so informative. Thank you.

Yes! I’m also a magician and the magic exposure specials actually brought more attention to the profession and increased bookings.

A model could be found to have been trained unlawfully, yet still generate an original song.

Conversely, even if training were ultimately found lawful, a particular output could still infringe if it is substantially similar to a protected work. The key point is that it does not automatically mean every song users have generated becomes illegal. Courts generally distinguish between: whether the company trained the model lawfully; and whether a particular output infringes copyright.

Those are separate legal questions.

My, how she's changed from "just put it in your daw and it's yours!!!!" to "yeah, no, you don't own the copyright." You only own a song that YOU write 100 percent of lyrics and melody of.  You're going to need to prove you wrote and thankfully in a digital era, meta data is date and time stamped and Suno is also forced to keep records due to all the lawsuits

When using f.e. Suno
Isn‘t it just that you‘re the producer. Suno is the Artist.
If you wanna be the Artist - do the Music.

According to the law if you write your own lyrics, for a song, you own a copyright.  REGISTERING is merely a means if collecting restitution for infringements.  If not registered collecting money for infringement is hard.  No, I've listened to thousands of songs on Suno and never have I ever heard anything remotely close to the music I grew up listening to.  Fact is it's NOT "spitting those songs out for somebody else".   All this asinine boo-hoo is about is "gatekeeping".   Controlling that which the music industry did not produce.  Right now, AI is training vastly more on it's own user's creation than it has ever trained on human celebs' music.  What the music industry doesn't understand is they've damaged their reputations with the public and are going to have to spend AT LEAST as much money to repair the people's trust in them as they did filing lawsuits.  Right now, people are not happy with the industry.  So how do they draw us back into the record stores?  How do they propose to do damage control?  How are they going to compensate the lyricists, singers and musicians that have been harmed by the (AI GENERATED) tags the industry is forcing on works they did not produce?  Many of us are harmed because our "Samples" are now tagged as (AI GENERATED).  Completely cutting us out of the picture.  I think the industry owes me $500,000 for catalog I can no longer sell.  All 50+ songs' lyrics are original.  (AI GENERATED) has made them as undesirable on platforms like Spotify, Amazon, and Apple.

Electro-Theremin, a theremin-like instrument.

Famous synthesizers and electronic keyboards
Instrument Approx. era Famous song / artist
Electro-Theremin 1960s The Beach Boys – “Good Vibrations”
Moog Minimoog 1970s–80s Gary Numan – “Cars”
Polymoog 1970s Gary Numan – “Cars”
ARP Odyssey 1970s–80s ABBA – “Gimme! Gimme! Gimme!” / Ultravox-era synth music
Yamaha CS-80 1970s–80s Vangelis – “Chariots of Fire” / Blade Runner
Sequential Prophet-5 late 1970s–80s Peter Gabriel – “In Your Eyes” era / many 1980s records
Roland Jupiter-8 1980s Duran Duran – “Hungry Like the Wolf” era
Roland Juno-60 1980s A-ha / Eurythmics / 1980s synth-pop
Roland Juno-106 1980s Pet Shop Boys / house and synth-pop
Yamaha DX7 1980s A-ha – “Take On Me” era / Whitney Houston / Tina Turner
Roland D-50 late 1980s Enya – “Orinoco Flow” era
Korg M1 late 1980s–90s Robin S – “Show Me Love” style house organ sound
Roland JD-800 1990s Jean-Michel Jarre / 1990s ambient and electronic music
Roland JV-1080 1990s Countless 1990s pop, film and dance records
Korg Wavestation 1990s Ambient, soundtrack and New Age music
Clavia Nord Lead 1990s The Prodigy / electronic dance music
Roland JP-8000 late 1990s Trance — famous Super Saw sound
Access Virus late 1990s–2000s ATB / trance / industrial / EDM
Korg Triton 1999–2000s Neptunes, hip-hop, R&B and pop
Yamaha Motif 2000s R&B, gospel, pop and touring bands
Roland Fantom 2000s–present Pop, hip-hop, gospel, soundtrack production
Korg Kronos 2010s–present Dream Theater / Jordan Rudess live and studio work
Yamaha Montage 2010s–present Modern pop, soundtrack and live performance
ASM Hydrasynth 2020s Modern wavetable/sound-design music

Gary Numan’s “Cars” is a particularly good example because both Minimoogs and a Polymoog were part of that record’s sound.

Great arranger keyboards

These are different from ordinary synthesizers because they can generate drums, bass, guitars, accompaniment styles, intros, endings and full backing arrangements in real time.

Arranger keyboard Era Known for
Korg i3 1990s One of Korg’s early serious arranger workstations
Korg i30 late 1990s Professional arranger/performance keyboard
Korg Pa80 early 2000s Major step in Korg’s PA arranger line
Korg Pa1X Pro 2000s Professional arranger workstation
Korg Pa2X Pro 2000s Powerful live arranger
Korg Pa3X 2010s One of Korg’s best-known professional arrangers
Korg Pa4X 2010s Very strong realistic accompaniment styles
Korg Pa5X 2020s Korg’s current flagship Professional Arranger
Yamaha Tyros early 2000s High-end home/pro arranger
Yamaha Tyros 2 2000s Famous Super Articulation sounds
Yamaha Tyros 3 late 2000s Very realistic orchestral/acoustic voices
Yamaha Tyros 4 2010s Vocal and ensemble sounds
Yamaha Tyros 5 2010s Final Tyros generation
Yamaha Genos 2017 onward Yamaha’s flagship arranger successor to Tyros
Yamaha Genos2 current One of the top modern arranger keyboards
Roland G-800 1990s Classic professional Roland arranger
Roland G-1000 late 1990s Major Roland arranger workstation
Roland VA-76 early 2000s Variable Arranger technology
Roland G-70 2000s One of Roland’s great flagship arrangers
Roland E-80 2000s Flagship arranger with built-in speakers
Roland BK-9 2010s High-level lightweight arranger
Roland E-A7 current/recent Expandable arranger with over 1,500 tones
Ketron SD1 2000s Famous for realistic live-band accompaniment
Ketron Audya 2000s–2010s Real audio drums and guitars
Ketron Event 2020s One of today’s top professional arranger systems
The ones I would call genuine landmarks

If I had to reduce the whole history to a “Hall of Fame”, I would pick:

Electro-Theremin — Good Vibrations
Minimoog — Gary Numan / prog / funk / electronic music
Yamaha CS-80 — Vangelis
Prophet-5 — 1980s pop
Roland Jupiter-8 — 1980s synth-pop
Roland Juno-60 — synth-pop and dance
Yamaha DX7 — the defining digital synth of the 1980s
Roland D-50 — late-1980s atmospheric pop
Korg M1 — house/pop of the late 1980s and 1990s
Roland JV-1080 — massive 1990s studio workhorse
Roland JP-8000 — trance Super Saw
Access Virus — trance and electronic music
Korg Triton — 2000s pop/R&B/hip-hop
Yamaha Motif — 2000s songwriting/workstation
Korg Pa5X — modern professional arranger
Yamaha Genos2 — modern professional arranger
Ketron Event — modern live-style arranger

And one important thing: Pa5X and Genos2 are not famous because one particular hit record was made on them. Their fame comes from being among the finest one-man-band/song-arranging keyboards ever produced. Korg explicitly describes the Pa5X as its flagship Professional Arranger, with thousands of sounds and hundreds of styles.

If you want, I can next make you a much bigger “Top 50 Keyboards That Changed Music” list from 1960–2026, with Keyboard → Song → Artist → Year, in chronological order.( Now take away all these Electronic Drum machines and all the arrangers and Synthesizers and the artist that used them to create the songs they made it your going to remove all ai Human created music as well ,, they are the same things No different at all ..

I'm not worried. I agree that AI learns similarly to a human who listens to Elvis and other pros to learn from.  AI does it much faster and better. That is what really worries self-developing artists.

This is 100% why I export & down load my stems to all my songs. Along with MIDI files & Aiff / wave files - it they ban my song I can just import it into reaper & RemYx it & release it

I honestly don't understand. Everyone complains about the music industry. That the need to make something commercial with mass appeal makes music very superficial and artistically poor. All artists complain that they lose creative autonomy by having to submit to the will of producers at major labels; producers who always prefer something in the mold of instant consumption over artistic quality and authenticity.

Then platforms like Suno emerge, giving creative independence to composers/artists. Now composers won't need to submit to producers and major labels; they'll be able to produce their own material independently. They will no longer be limited by financial issues that kept them from accessing studios for good-quality recordings; they can produce music at home, at a fair cost within reach of a middle-class citizen; they can finally bring to life what until now existed only in their imagination. From what perspective is this bad? Is it bad to democratize music production? Is it good for the capacity to produce and distribute music to be the monopoly of a few labels; for a few to decide what many will produce and listen to?

Look at my case. I'm a middle-class citizen from a third-world country: Brazil. I'm a composer and instrumentalist, I can read and write sheet music, I play several instruments, but I can't afford a home studio, nor can I hire musicians for recording sessions (to play orchestral parts in a song, for example). I have many ideas written in MuseScore; recorded as voice and guitar or voice and piano. I write lyrics, melody, do the harmonization, the arrangement, but I had no way to produce my music beyond MIDI sounds or low-quality recordings of my bad voice. Suno made it possible to bring my compositions to life with a quality that's worth showing and that listeners take seriously. In what way is this bad?

That the giants of the music industry want to censor Suno is understandable: they don't want to lose the monopoly they hold over the music that gets produced. But for artists and composers themselves to campaign against these incredible tools of musical democratization — that is truly incomprehensible. They do an enormous disservice to composers and artists who, like me, would have no other way to bring their creations to life.

From information based on the NDA that Suno and WWG signed, WWG has "First Rights" to any and all generated songs, thus meaning if you DO NOT copyright your lyrics before you submit your lyrics to Suno, you lose your rights on output. If you look carefully, Suno generates a time/date stamp on all output songs, thus they protect themselves from lawsuits. Suno does give you limited rights, such as monetizing output, but from what I know, this will be voided and revoked in the future. Poor mans copyright is not valid in Federal Court, and thus any other services that promise otherwise, even blockchains.

# Artist Synth / Keyboard Famous recording Year
1 The Beach Boys Electro-Theremin Good Vibrations 1966
2 The Beatles Mellotron Mk II Strawberry Fields Forever 1967
3 The Doors / Ray Manzarek Vox Continental Light My Fire 1967
4 Wendy Carlos Moog Modular Switched-On Bach 1968
5 The Who EMS VCS 3 / ARP synths Won’t Get Fooled Again 1971
6 Emerson, Lake & Palmer Moog Modular / Minimoog Lucky Man 1970
7 Pink Floyd EMS VCS 3 / Synthi AKS On the Run 1973
8 Stevie Wonder ARP 2600 Living for the City 1973
9 Herbie Hancock ARP Odyssey Chameleon 1973
10 Kraftwerk Minimoog / ARP Odyssey Autobahn 1974
11 Edgar Winter ARP 2600 Frankenstein 1973
12 Parliament / Bernie Worrell Minimoog Flash Light 1977
13 Donna Summer / Giorgio Moroder Moog Modular I Feel Love 1977
14 Jean-Michel Jarre ARP 2600 / EMS VCS 3 Oxygène Part IV 1976
15 Gary Wright Minimoog / ARP String Ensemble Dream Weaver 1975
16 Rush / Geddy Lee Minimoog Tom Sawyer 1981
17 Gary Numan Polymoog Cars 1979
18 The Cars / Greg Hawkes Prophet-5 Let’s Go 1979
19 Pink Floyd / Richard Wright Sequential Prophet-5 Run Like Hell / The Wall era 1979
20 Genesis / Tony Banks ARP Pro Soloist The Cinema Show 1973
21 ABBA Yamaha GX-1 The Visitors era 1981
22 Vangelis Yamaha CS-80 Chariots of Fire 1981
23 Vangelis Yamaha CS-80 Blade Runner 1982
24 Duran Duran / Nick Rhodes Roland Jupiter-8 Hungry Like the Wolf era 1982
25 Prince Oberheim OB-X / OB-Xa 1999 1982
26 Van Halen / Eddie Van Halen Oberheim OB-Xa Jump 1984
27 Eurythmics Oberheim OB-X / Roland gear Sweet Dreams 1983
28 Michael Jackson / Greg Phillinganes Yamaha CS-80 / Synclavier and other synths Thriller era 1982
29 Peter Gabriel Fairlight CMI Shock the Monkey 1982
30 Kate Bush Fairlight CMI Running Up That Hill era 1985
31 Art of Noise Fairlight CMI Moments in Love 1983–85
32 Jan Hammer Roland Jupiter-8 / Fairlight CMI Miami Vice Theme 1985
33 Jan Hammer Roland Jupiter-8 Crockett’s Theme 1986
34 A-ha Yamaha DX7 and other synths Take On Me 1985
35 Kenny Loggins Yamaha DX7 Danger Zone era 1986
36 Berlin Yamaha DX7 Take My Breath Away 1986
37 Whitney Houston Yamaha DX7 Greatest Love of All era 1980s
38 Phil Collins Yamaha DX7 One More Night era 1985
39 Brian Eno / U2 Yamaha DX7 Where the Streets Have No Name 1987
40 Enya Yamaha DX7 Watermark era 1988
41 Depeche Mode Emulator / PPG Wave / various synths People Are People era 1984
42 Pet Shop Boys Fairlight CMI / Emulator West End Girls era 1985
43 Ensoniq / various 1980s artists Ensoniq Mirage Early affordable sampling era 1984+
44 Madonna Korg M1 Vogue 1990
45 Robin S. / house producers Korg M1-style house piano era Show Me Love era 1990s
46 Snap! / Eurodance producers Korg M1 / Roland & sampled workstation sounds Rhythm Is a Dancer era 1992
47 ATB Roland JP-8000 9 PM (Till I Come) 1998
48 Darude Roland JP-8000-era supersaw sound Sandstorm 1999
49 Faithless / trance-dance era Roland JP-8000 / virtual analog synths Insomnia era 1990s
50 Modern electronic musicians Sequential Prophet, Moog, Roland, Korg & software hybrids Modern synth-pop/electronic production 2000s–2026

A few of these instruments really were watershed machines. Yamaha describes the 1970 Minimoog as a major breakthrough in making synthesizers practical for performing musicians; the ARP Odyssey followed in 1972 and was used by players including Herbie Hancock and George Duke.

The Yamaha DX7 was probably the single most important mass-market digital synth of the 1980s. Its electric-piano, bass and other FM sounds became nearly unavoidable in pop records; documented users include A-ha, Brian Eno, U2, Phil Collins and many others.

And the Roland Jupiter-8 was absolutely one of the monsters of that period. Jan Hammer used it for the arpeggiated bass foundation of “Crockett’s Theme,” alongside Fairlight technology in his Miami Vice work.

For the kind of music you make, I would especially put a star beside the Minimoog, Prophet-5, Yamaha CS-80, Fairlight CMI, Yamaha DX7, Roland Jupiter-8, Roland Juno series, Korg M1, Roland D-50 and Roland JP-8000. Those ten cover an enormous amount of the electronic vocabulary from the 1970s through trance and modern synth music.

I don't care one way or another. I make song videos to help people, and it helps me too, and they are fun to make. 🙂 Money is not a priority here. I have other channels and streams of income. I understand the pressure, but I am not focused on one thing only.