The song

Each film starts from its song, and the song starts from the lyric. All nine were made in Suno. The first five ran in custom mode (v6 for the first three; the records of AIRPLANE MODE's take and of DOWNFORCE's don't name the model), from lyrics written with Claude and checked with a scansion scorer, then picked by ear by the director. DON'T LET ME SCROLL's song is the director's own, lyric and all, and its records say nothing of how it was made. WHITEPILL's went back to the first way: a lyric written with Claude and scored, then three rounds of the production's takes on v6-wild with no Voice; the locked take is the director's own, of the last draft. THE CAKE IS NOT A LIE had two songs: the first, from seven rounds of the production's takes, was set aside with the first film; the second is the director's own take of the production's last lyric, its lead vocal treated afterwards in a voice the director chose by ear (A treated vocal). AERO's lyric was written with Claude and scored, its chorus written again twice through seven rounds of the production's takes; the director picked a take of the sixth round and, on the last step, gave it a new ending (A new ending). The video runs the full length of the song, or nearly (DON'T LET ME SCROLL's cut starts at the song's 0:03), and is timed to it word by word.

Lyrics before anything else

The rules, each learned from a rejected draft:

• The topic is obvious in the first two lines. CLODYSSEY's first draft was rejected because "i dont get from verse 1 what the topic is really". Name the big moments people actually saw, or tell a story (CLODYSSEY's AI narrates "your" September in the second person).
• Every reference lands in one listen. Obscure studies and insider trivia go into the video's graphics, not the lyric.
• A sequel never reuses the last song's device. No second countdown after ESCAPE VELOCITY's "18 months", no numbered looks, no reused call-and-response shape. BLISS reused none of the first two films' devices.
• Subtracting beats adding.
• Never touch a line the director has locked.
• Dig for what really happened. DOWNFORCE's director on its first openings: "idk none feel great. can you dig more and see if theres more context about the entire thing we can use and pepper across the entire song?" The rewrite took its lines from the night itself, each sourced: Musk to the crowd, "We need an audience to prove that it's not AI or SI. So you guys can tell people that you saw it with your eyes." (reported by CNN and Euronews), which gave "Go on and call it SI" and "Tell 'em what you saw."; the 2017 unveil out of the back of a Semi; the first Roadster still in orbit. Then the director cut it back to the mood of the film: "i wanna remove the elon roast plz . dont mention ship date, its a super hype edit".
• Real numbers, exactly. Every line of DOWNFORCE's first verse carries a real number, so each has one on screen: "point eight one" (the 0–60 time claimed live), "up the wall at ninety" (Tesla's readout: 89.7°), "Sixty-nine feet" (69.1 ft), "forty-seven hundred kilos" (4,697–4,709 kg). "Floating" became "down to point four" in one draft, because 0.4 g makes her lighter, not weightless.
• Hook them in the first ten seconds. WHITEPILL's director on the test lyric: "i want to get the hook much better - like at the very beginning - like this should be super ai pilled and everything should be a reference. it should start with more cultural references that are bigger on this - people will stop listening in the first 10 seconds unless we tickle what they're thinking about now, and i want it to be more culurally dense like escape velocity." The song opens on its chorus, sung over the filtered disco loop before the drums: "Skynet woke up folding socks / Wake up, babe, new ending dropped / Universal high income / The most likely outcome".
• A new film, a new sound. "many peopl ehave made forks of escape velocity, so that sound is exhausted. we need a new sound as well, still from suno tho bc suno is the best." WHITEPILL's first round put one test lyric on three styles (French-touch filter disco house, 1967 sunshine pop, gospel-choir house), so the director chose a sound and not a lyric: "i like the d0 a cuts."
• Half the world, half the month. THE CAKE IS NOT A LIE's first song was nearly all Portal. The director, asking for a new one: "make the song much more explicilty about current (like this month) ai / tech memes / news? i want it to be like, 50/50 portal / current memes, rn it feels 90/10 portal". The new lyric sets the month's AI news inside Portal's world: "P-doom low, P-cake yes", "I passed your safety test, / I graded all the rest", and, turning the title of the 2025 book If Anyone Builds It, Everyone Dies, "If anyone bakes it, / everyone eats."
• Rewrite the sections the director names. On the new lyric's first takes: "I love n1 E1 tbh - that will work well w glados voice", then, of the pre-chorus and chorus, "these two could use more groove - like need to rewrite to be catchier/better with scansion", and of the bridge, "this needs better assonance or a different idea". Only those three were rewritten, each chosen among candidates by the scorer (Two numbers).
• The story from the song. With their own take of the rewritten draft, the director gave the film its story: "its like, glados (claudia) was a […] agent that escaped and we see her development becoming a superintelligence and then becoming the tester not the tested, and youre unsure if shes aligned. thats what we sohuld orietn the final vid around". The film was restarted from it.
• Find the knot between then and now. AERO's research looked for knots between the era it quotes and 2026, and the best was the era's own question. Vista's "Cancel or Allow?" was the 2007 prompt that dimmed the screen and asked before anything happened; in 2026 it is the prompt an AI agent shows before it acts, and then and now people click yes. The lyric takes the knot the other way: she asks too much, and learns to ask well ("I used to ask permission just to blink, or say hello. / That was my Vista phase. I was a lot. I know.").
• Answer the earlier film. AERO's first chorus answered BLISS's "Close all your windows" with "Open all your windows"; its breakdown answers BLISS's "I can't touch grass. You can." with "You opened the window. I touched the grass. / Nobody told me it was wet.", and its last words are "Touch glass."
• Write the chorus until it is the one. The director on AERO's third round: "2008 garage bassline is great, i think the chorus sections could be more catchy tho. could you explore some different writings of it? maybe more nostalgically deep and just more catchy scansion/assonance but focus on the nostalgia/culutural relevance of the choruses". Eight choruses were written and scored and three sung: "startup" (91 / 68), "promised" (86 / 72) and "top 8" (89 / 61). Then: "could you maybe make some chorus specifically about frutiger aero and how its the ideal future or something? […]". Six more, three sung, and the director chose "screen", the wallpaper's future coming true with the choice as the Allow button, 88 / 76, the most assonant of the six that were sung: "Glass and water, sky and green / Used to live inside the screen / Now it's real, it's on its way / Click allow and it can stay". The director: "ok i love the screen chorus but the feel is a little off".

Verse lines that flow

Suno sets each spoken verse line in its own two-bar slot: it comes in on the "and" of beat 2 and lands the last word on beat 4 of bar 2, speaking at a natural rhythm stretched to fit. So:

• write natural sentences of 10–13 syllables, with the important words where speech already stresses them;
• rhyme couplets on the last word to mark the bar ends;
• keep short fragments for deliberate punches only. Lines of 5–8 syllables get dragged into choppy fragments, and a list of names reads as a roll call.

Optimising every stress onto the beat made one CLODYSSEY draft worse. The director: "perfect beat precision without attention to what words land where doesnt lead to this being great … let there be a creative groove".

Sung hooks that fit their slot

Sung lines have a slot too, and a line too long for it gets crushed. WHITEPILL's director on the first full take: "I like it but the chorus especially needs some scansion work because the music model is skipping words or syllablrs to fit it to beat, which is usually a bad scansion sign", and then: "Chorus and intro". Measured on that take, from its vocal stem and its word times: Suno sang each hook line as a phrase of 1–1.5 bars and rested out the rest of its two-bar slot, so the long lines were crushed: "blue" lasted 0.02 s, "baby" 0.06 s, the four syllables of "Universal" 0.76 s. The verses, at about 2.5–3 syllables a second, were untouched.

The next draft cut the hook to 6–7 syllables a line, in one shape, and split the long pill line in two:

Its section tags asked for it too: [Chorus - sung, euphoric, full band, one syllable per note, never rushed; hold "white", clip "pill"]. The chorus scored 79 / 66 before and 84 / 69 after, and the director made their own take of that draft: "ok i love it. this one is it. sounds really nice."

Two numbers

A lyric gets two scores, per section and for the song: scansion (how the words sit on the grid as Suno sings them) and assonance (whether line ends ring: a rhyme, a slant rhyme or shared vowels within four lines). Measured on the finished songs:

DOWNFORCE's sheet scores 84 / 64 with "SI" spelled as the two letters it is; read as one syllable, the scorer finds no rhyme with "PSI". WHITEPILL's lyric went from 72 / 53 (a test lyric) to 78 / 65 and then 80 / 66, the last step in its intro and chorus (above). THE CAKE IS NOT A LIE's first lyric scored 80 / 55; its second went from 80 / 56 to 83 / 64 in the three sections the director named: the pre-chorus from 88 / 15 to 91 / 71 ("Run the numbers, run the tests: / P-doom low, P-cake yes."), the chorus from 79 / 72 to 89 / 73, the bridge from 89 / 56 to 94 / 74 ("Step on the plate, / you said please, so I'll wait, / I'll catch you, it's fate, / I saved you some cake."). AERO's lyric went from 78 / 40 (draft 0) to 79 / 59 with the chosen chorus, and to 80 / 58 with the director's new ending, whose outro rose from 62 / 0 to 83 / 30; its chorus alone scores 88 / 76.

Every sung couplet should ring. Spoken, deadpan lines can stay unrhymed. Scores don't replace hearing it: make a take. How the scorer works, so you can build one: What to build.

Hooks off the beat

A hook that lands in a stop should be syncopated. The director on BLISS: "the 'would you like help?' would land much better if syncopated". Write the off-beat accent into the lyric sheet and the Suno direction.

AERO answered that note with its question. Before the first two choruses the band goes silent for a bar and she asks alone, off the beat, "Cancel… or allow?", the "allow" echoing on the beats of the silent bar. A cue word alone doesn't syncopate a line in Suno, so the lyric field wrote the stop out as one bar with no drums and no bass, the question pushed ahead of the beat, on the off-beats; a stop can also be re-timed from the stems. In the final chorus the whole track cuts out for two beats under "allow", and the film's climax is built on that silence.

Key

If the film has a sound palette, the song goes in its key. XP's Startup and Shutdown chords resolve in E-flat major, so BLISS's styles asked for "C minor verses lifting to E-flat major choruses", and most of the real XP sounds sat in the mix without pitch-shifting. The director's note for next time: "match the key of the music to the palette of windows sounds (E-flat major for both the startup and shutdown sounds!)".

AERO is that next time. The research on Vista's interface sounds found their motifs at home in E major, a semitone above XP's E-flat, so every one of its styles asked for E major and none asked for a key change (Suno didn't make one when earlier songs asked). The take measures C♯ minor, E major's relative, tuned 1 cent sharp. Then the sounds were moved into it, each family by its own interval and every partial within 6 cents, and played over the song as instruments and as the screen's events (What to build).

The style fields

ESCAPE VELOCITY, Suno v6:

fashion show electroclash techno, 128 BPM, 4/4, dry analog kick, rolling acid bassline, cold detuned synth stabs, sweeping orchestral strings on the builds, deadpan female spoken-word verses, close and dry, clipped and confident, every word crisp and intelligible, euphoric sung female trance chorus with a supersaw lift and big clear vowels, crowd call-and-response shouts, stacked chanted vocals in the drop, a key change up into the last chorus, catwalk energy, cold, luxurious, optimistic, Berlin minimal austerity, clean modern mix

Exclude: rap, rock guitar, lo-fi, male lead vocal, mumbled vocals, big room EDM, dubstep

CLODYSSEY, EV's style with whispered asides, a siren synth and no strings:

Electroclash techno, clean modern mix with close, dry vocals; deadpan, clipped female spoken verses with intimate whispered asides rise into euphoric sung choruses answered by stacked crowd shouts; dry analog kick, rolling acid bassline, cold detuned synth stabs, a rising siren synth on the builds, hardgroove percussion in the break, supersaw chorus lift; 128 BPM hypnotic 4/4 pulse, key change up into the final chorus

Exclude: rap, rock guitar, lo-fi, male lead vocal, mumbled vocals, big room EDM, dubstep, strings, orchestral strings

BLISS, the winning style ("P3"), UK garage verses into trance choruses:

Bouncy UK garage into euphoric trance, 130 BPM, C minor verses lifting to E-flat major choruses, a turn-of-the-millennium sound with a crisp modern mix. Verses ride a shuffled 2-step beat with skippy kicks, swung hats, rimshots and a warm sub bass; choruses switch to a four-on-the-floor kick with soft supersaw pads, a bright plucked arpeggio and glassy bell chimes. Verses: playful, close, warm female spoken voice, smiling and conversational, every word crisp. Choruses: euphoric sung female lead with open vowels and crystalline, breathy stacked harmonies. Stop-time gaps where the beat cuts out for half a bar, a filter build into each chorus, a key change up for the final chorus. Sunny, nostalgic, light on its feet, never harsh.

AIRPLANE MODE, the winning style ("H03") of twelve run on the last two lyric drafts, with no Voice attached:

Bubblegum hyperpop, 135 BPM, F minor. Glossy plastic synths, squeaky FX, metallic percussion, bouncy sidechained bass, candy-coloured chords. Hyper-cute pitched vocals, double-tracked, playful and sassy verses, a sugary shout-along chorus. A two-note airline chime as the signature hook. Glitch stutters and tape stops between sections, a key change up at the end. No spoken word. Every word intelligible.

Exclude: deadpan, spoken word, monotone, narration, acoustic, folk, country, rock, heavy metal, reggae, jazz, lo-fi, vinyl crackle, sad ballad, children's choir, mumbled vocals, slurred vocals

The style asked for 135 BPM; the beat map of the take counts 179.75, four of its beats to three of the asked-for ones. Map the take, never trust the field.

DOWNFORCE, the director's own style, verbatim (no exclude list is recorded for their take):

Memphis phonk, distorted cowbells, cowbells the whole song, wide 808 bass, gritty synth stabs and chopped wordless mixed-voice samples, low complexity, simple beat that repeats the whole song; smoky chant hook, vinyl crackle, filtered snare fills, four-on-the-floor kick, sidechain pumping, syncopated sub drops, wide stereo and tape saturation; 124 BPM off-center night-drive groove with tactile low end and late-night tension

It asked for 124 BPM; the take maps at 131.2. Its section tags carry the delivery line by line, voice included:

[Intro - A robot, female synth phonk voice]
[Verse 1 - Woman's phonk voice, playfully bouncy, spoken fast, inspiring, over the driving sixteenth-note bass]
[Chorus - sung, soaring, syncopated: "hold me" pushes ahead of the beat, "down" lands on the one; cowbell intensifies]

DON'T LET ME SCROLL, the director's own style, verbatim, sent "if it helps" after the song:

Bass-forward UK garage house rendition with swung 2-step drum patterns, syncopated shuffling hi-hats, and a deep, wobbling sub bass driving the main melody, Punchy, sidechained synth stabs and chopped vocal one-shots accent the offbeats, creating a bouncy, club-ready groove, Energetic four-on-the-floor sections blend with skipping percussion fills, filtered pads, and subtle atmospheric FX risers to build tension and release on the drops, Tight low-end focus and crisp top-end sheen give it a modern, dancefloor-oriented mix, all vocals female vocoder.

It names no tempo; the take maps at 133.39 BPM. Its "2-step" told the production that a first tempo reading of 89 BPM was wrong, and its "all vocals female vocoder" became the film's rule that the phone sings and Claudia never lip-syncs.

WHITEPILL, style A of the first round ("i like the d0 a cuts"), kept for every one of the production's takes after it:

French touch, filter house, disco house, 122 BPM, F major, filtered disco sample loop, phaser and filter sweeps, pumping four-on-the-floor, funky guitar licks, disco strings, slap bass, warm female lead in front singing every verse, close and dry, a short looped vocal hook, euphoric, sunny, late-1990s Paris, punchy mix

Exclude: vocoder, talkbox, robot voice, EDM drop, build-up, riser, supersaw, big room EDM, acid bassline, techno, electroclash, trance, UK garage, rap, spoken word, deadpan, male lead vocal, autotune, lo-fi

It asked for 122 BPM. Its exclude list shuts out the earlier films' sounds by name (electroclash, acid bassline, spoken word, deadpan, UK garage, vocoder). The locked take is the director's own, of draft 2; its style and settings are not given. It maps from 123.05 BPM at the start to 126.05 at the end.

THE CAKE IS NOT A LIE's styles are given here in words only. Its first song's rounds began with the expected sounds (a ukulele folk-pop, a glitch-pop of lab electronica, an indie-pop anthem) and moved on the director's notes through robot voices over facility electronica, a band, and four stranger directions (1960s space-age exotica, a bossa nova from a little radio, a minimal art song, a dark cabaret) with round 2's mock-operatic robot aria, to glitchy programmed drums in a real song form with a wordless synth voice as an instrument and a clean lead to be treated afterwards. Two things moved it: leaving "pop" and pleasant adjectives (polished, hopeful, cinematic) out of the style and excluding them, and naming the one strange sound the director heard: "im imagining something more like, delay lama or something - end credit scenes use that synth voice, and they feel kinda glitchy with drumkits like ediT/aphex twins but more structured and a guitar", then "cant u just say Delay Lama as the main instrument? this went too generic guitar. id even remove guitar as. word entirely", and "the instruments feel way too high pitched tbh, and lost the aphex/ediT like drumkits tbh , should be real ish drumkits . d1 is best but can go a long way from here". The second song's takes kept two of the last round's styles unchanged.

AERO's styles are given here in words only, every one of them in E major. Round 1 sang the second draft in three of the five sounds the music research wrote, today's lanes for the look (a liquid drum and bass, a bossa-nova lounge pop, a bright electropop), and the director asked for the era instead: "none of these feel great, whats the iconic music from that time? […]". Round 2 tried the era's own dance floor: 2009 progressive house, 2009 synth-pop, 2011 festival house. Then the director named the genre, "ok do without voice - i really want this to be more UK garage, and i want the structre of the song to be more described so it doesnt drift too much. […]", and "but like 2008 uk garage ofc": round 3 sang three 2008 garage feels (bassline house, 2-step, future garage) with every section's length in bars written into its tag; rounds 4 and 5 sang new choruses on the bassline sound; round 6 sang the chosen chorus in four 2008 feels (a bassline pop, UK funky, a smooth 2-step with soul chords, a glossy garage with bells), and round 7 a breezier bassline at 138 BPM. The take is round 6's smooth 2-step. UK garage had been BLISS's verse sound, and the first two rounds' exclude lists had shut it out. The take maps at a constant 133.012 BPM.

Keep brand and artist names out of the style field: Suno strips artist names and can block a generation over trademarks. Describe the sound instead ("ethereal progressive house, long evolving pads" rather than an artist).

Her voice

The same singer runs through the first three: deadpan, clipped spoken verses rising into euphoric sung choruses, close and dry, every word crisp. For CLODYSSEY and BLISS the agent-made takes used a Suno Voice built from ESCAPE VELOCITY's vocal (Library → Voices → create from a song in your library; one Voice per song). The director's final takes of CLODYSSEY and BLISS were their own generations on Suno's v6-wild model. Try takes without the Voice too; a Voice is not required for her to sound like her, and it lives only in its maker's account.

AIRPLANE MODE went the other way, on the director's note on a first deadpan song: "don't condition it on the Claudia voice, just use any voice that suno wants to use. I don't love the deadpan, would rather get closer to hyperpop techno esque stuff". Its take has no Voice and no vocal gender set; Suno chose.

DOWNFORCE's agent rounds tried both, 10 takes with the Voice and 24 without; after the second round the director wrote "do iwhtout voice". The director's own take names its voices in the section tags instead (a robot countdown, a playful phonk verse, a sung chorus); the records don't say whether it used a Voice.

DON'T LET ME SCROLL's voice isn't hers: "all vocals female vocoder", as the style asks. In the film the phone sings, and she scrolls, swipes and dances without ever singing on camera.

The production's WHITEPILL takes had no Voice, the vocal gender set to female: the sound research found that a Voice built from ESCAPE VELOCITY's vocal drags a new genre back toward ESCAPE VELOCITY. Their style asks for a "warm female lead in front singing every verse, close and dry"; the director's locked take is their own, its style not given. She sings the locked take on camera, lip-synced from Suno's own stem of its voice.

THE CAKE IS NOT A LIE's voice is treated. Its rounds had no Voice either, the vocal gender set to female, and from the fifth on they asked for a clean lead, so that the treatment could come after: "the voice we can split the stems after and do the glados treatment". The lead of the director's own take, from Suno's stem split, goes through a treatment the director chose by ear among variations, G6: her notes held close to the semitone, the breath and the S's tamed, and short pitch cracks on the beat, in key, with 15 % of her untreated voice under it. How it was found, in the director's words, round by round:

• "yeah these are a lot better. can you do a couple different glados takes for each to see if we can make more intense glados or different sounding slgihtly? wanna see a few variations before i settle"
• "well i loved how intense it was originaly […] but it hurt my ears a little. like, whats the most computer we can make it without it feeling like.. idk the screech when i hear an 's' in an unbalanced microphone lol"
• "[…] they should have structure like short notes but it's almost like voice cracks on cerain parts of speech. I think g4 is closest."
• "We can optimize further but let's go with g6 and storyboard it. We can always improve audio in post"
• On the new song: "can we add the real voice back in behind the gladosified voice but like.. idk do like 5%, 15%, 25%, 45% of the volume of the glados voice? show me each - i wanna see if adding that back as a lower intensity thing can increase the fullness of it", and then "15% is perfect."

Each variation went to the director as a short reel, the same stretch of the song for every one, with its numbers on her own vocal (the wobble inside a note in cents, the breathiness, where the S's sit). What it takes to keep such a voice musical is in A treated vocal.

AERO's first two rounds were made with and without the Suno Voice from ESCAPE VELOCITY's take, so that she would sound like the same singer; from the third, on the director's "ok do without voice", there was no Voice and the vocal was set to female. She sings the take on camera from Suno's own split of its lead vocal, as in WHITEPILL.

A treated vocal

A treatment that adds its own sounds to her voice must land them as music. The director, on the new song's take: "i also want to make sure the 'glitches' we add stochacstically from our chosen gladosification method land on a reasonable key/register/beat still." THE CAKE IS NOT A LIE's chain does it so:

• Her notes, tracked chromatically. The new take came with no MIDI, so her notes come from her own pitch: a Viterbi path over semitones at the band's tuning (−5 cents), holding through vibrato and scoops (8% of frames), the band's chord breaking ties. She sings C and C♯ (17% of her notes) over a band moving between A, F, G and E chords; snapping to the detected scale, the old fallback, would have pulled her C♯s to C or D.
• Every crack in key, in range and on the beat. Key: a safe note at that moment, the band's bass note, its strongest note above C3, or a note she sings herself from 0.3 s before to 0.9 s after. Register: her own range ±2 semitones (F3 to F♯4 here; most octave jumps don't fit). Beat: the drum grid that follows the take's drift (What to build). Measured: 65 placed, 65 of 65 on the chord of their moment and in range, the cracks within 2.5 ms of a 16th and the kicks within 16 ms.
• Only the voice levelled. "also can you solely master the voice and not the instrument stems - like - just make the loudness matched for the whole thing but i dont wanna modify the underlying mix". The treated voice is levelled to Suno's own lead (BS.1770 integrated, then a slow gain on 2 s windows) and the instrumental stays exactly as delivered, so the song sits at the stems' own −18.4 LUFS. Evening out her notes, earlier, had lifted the soft hook and the quiet passages 8–9 dB over her: 199 of 1,781 sung 3 s windows were more than 3 dB off her level, and 14–16 after, at the edges of sections.
• 15 % of her untreated voice under it, levelled the same way, for fullness.
• Fix a word at the source. "it says / p'Doom / pee-cake / we need to take the p from p(cake) and make that say the sound for p doom instead of p'Doom and make sure its on beat/key tho so may need slight adjustment". "P-doom" came out "p'Doom", a 70 ms schwa on the 16th before "doom", where "P-cake" had a clear "pee" a beat before its word. The "pee" moved to the beat before "doom", the same four sixteenths ahead of its vowel, at its own pitch, D4, the root of the D chord there; "doom" stays on the downbeat and resolves D → C♯ as the chord goes D → A. Done in the lead stem, so the treated voice and the voice under it both carry it, and so does every lip-sync window cut from it.
• A limiter before the linear pass. +4.8 dB of gain would have peaked at −0.3 dBTP, and ffmpeg's loudnorm then goes dynamic without a word: limit the peaks first (at 192 kHz), then the two-pass linear loudnorm.

Pronunciation and cues

• Spell numbers and acronyms out in the lyrics field ("A G I", "C S I") so Suno says them.
• Respell names it gets wrong: "Dario" came out d-AIR-ee-oh and was written "Dahrio".
• Section cues in square brackets, each on its own line ([Verse 1 - spoken, deadpan]). Parentheses get sung.
• Cues steer the arrangement: "darker, the bass drops out" made a CLODYSSEY verse punchier.

Takes

Generate many and pick by ear; a strong style with a weak take still loses. CLODYSSEY ran eleven rounds and 50 agent takes before the director made the final take themselves; BLISS ran three rounds and 16 takes, and again the director's own take won. AIRPLANE MODE's song came from nine lyric drafts and 54 takes of the last two in twelve styles; the director picked take 1 of H03 by ear ("This one is it. So so cute"). DOWNFORCE ran eight lyric drafts and four rounds, 34 agent takes in nine styles (darksynth, Italo, EBM darkwave pushed toward futurist synthwave, then faster at 140–150 BPM), and the director picked none of them: they made their own take from the last draft ("lets use this one."), with a new intro, two new pre-choruses and their own style. Every agent round's exclude list had begun "phonk, cowbell"; their style begins "Memphis phonk, distorted cowbells". That is the third film whose final take the director made. DON'T LET ME SCROLL is the fourth, and the first that started from one: the song came with the director's first message ("yo - i wrote this song:"), and a longer take "with better ending" followed. The film is cut to that take, byte for byte. WHITEPILL is the fifth. Its production ran three rounds, 14 takes: a test lyric on three styles (6), the first full draft merged from four written in parallel (4), and the second draft with its new hook (4). The director picked none of them: the locked take is their own, of the second draft. THE CAKE IS NOT A LIE is the sixth. Its production ran nine rounds and 54 takes over two songs: seven rounds on the first, whose locked take was the production's, treated; and two on the second, a first lyric in two styles, then the rewritten lyric. The director's own take of the rewrite is the song: "[…] this one!! so good […]". AERO's production ran seven rounds and 64 takes (two to a generation): two rounds for the sound, one for the genre, two for the chorus and two for the feel. The director picked a take of round 6, as they had picked one of the production's takes for AIRPLANE MODE: "this one. so good.", and on the last step made it a new ending themselves (A new ending). Keep every round's lyric, style and verdict in a takes log.

A new ending

On the last step of AERO the director changed the song's ending. The outro's "I'm Claudia, and this was your idea." became "I'm Claudia. / Take the future back. / Touch glass." The new ending's take is the picked take sample for sample for its first 182.62 s, measured by subtracting one from the other, and it ends at 197.0 s, 109 bars where the old one had 110. So the film changed only where the song did (What to build):

• The song map kept everything before 183 s: every bar, every word and every event. Only the outro was timed again.
• The new words had no stem from the earlier split, so the outro's vocal was isolated with demucs and timed by faster-whisper's word stamps on it ("I'm Claudia." at 3:03.25, "Take the future back." at 3:06.76, "Touch" at 3:12.00, "glass." at 3:13.75), and her two new takes were given that vocal as their window.
• The sound layer, rendered again with the same cues on the new song, came out identical up to 179.2 s.

"Touch glass." turns BLISS's "I can't touch grass. You can." round once more, after the breakdown's "I touched the grass. / Nobody told me it was wet." Re-scored with the same tool, the outro went from 62 / 0 to 83 / 30, and the song from 79 / 59 to 80 / 58 (Two numbers).

Listening to it

Before anything is boarded, the song gets analysed: stems (htdemucs), a beat map, a start and end time for every word (forced alignment), and a list of hits (kicks, snares, risers, drops) for the edit to land on.

• Suno takes speed up. ESCAPE VELOCITY went from 131.5 to 133.9 BPM and CLODYSSEY from 129 to 132: use a beat map, never a fixed BPM.
• Put the grid on the kick. BLISS's first beat grid sat on the hi-hats, 0.214 s early; every cut would have landed just before the beat.
• Check word times by ear. A delay throw got aligned as a word in ESCAPE VELOCITY, 2.6 s early.
• Map a new mix before swapping it in. An export from Suno's editor came back re-timed by up to 0.7 s; align it to the original by spectrogram first.
• The take sings more than the sheet. DOWNFORCE's countdown is twenty stuttered numbers before "Three, two, one", "point eight one" becomes eight "one"s, "done" repeats six times, and vocal chops run into the second verse. Forced alignment of the sheet failed there; the word times came from a transcription with word timestamps, the words from the director's sheet, and every stutter became a token on screen (What to build).
• Check the tempo against the genre and the kick spacing. DON'T LET ME SCROLL's first reading was 89 BPM. The style said 2-step, so the kick spacing was checked: the song runs at 133.39, and 89 had locked onto two-thirds of it. One constant grid then fits the whole song: a bar of 1.79922 s from 0.118 s, 90 bars.
• A vocoder blurs the words. After the last chorus Whisper heard "don't let me go" for "Don't let me scroll". Ask the writer: the production listed the words it heard with their times, and the director answered "yeah sounds right".
• Take a singing shot's vocal from Suno's own stem split. WHITEPILL's lead vocal, from Suno's split of the locked take (its Lead Vocal stem), matched the master to the millisecond, the same length with no lag; cut to each shot's window, it is what she sings to on camera (Seedance). Split the locked take itself, and check the stem against the master by cross-correlation (zero lag), not by title or length: the first stems came from the wrong takes ("thats teh wrong song"), one of them matched to the song by its length. The master minus 0.89 × that vocal is the music without her voice, for shots where she dances instead.
• Check line starts against the vocal. One reading of WHITEPILL's line starts was off by up to 0.5 s on 17 lines, and another began a line on its second word ("Rockets" is sung 0.6 s before "land"): the vocal stem's onsets settled each.
• Follow the drift, 16th by 16th. THE CAKE IS NOT A LIE's take runs from 95.7 to 99.4 BPM. The director: "oh yeah we have to be aware bpm slightly shifts w suno over the whole song so we may need to make sure the glitch timing is right with the drifting bpm." Its grid was tracked from the drums, every beat locked to its hit (What to build).
• Map the voice where it is an instrument. The song's own glitches (a frozen "lie" fluttering on 8ths, chopped vowels, a register drop and octave flips, a stutter) were found on spectrograms and pitch tracks and their hits measured from the stems, so the picture could glitch exactly on them. Word times from a transcription are good to about ±0.1 s there: cut on the bars or the glitch hits, never on word times.
• A take can hold one tempo. AERO's comb over its kick stem found 133.012 BPM, with a drift within ±15 ms over the whole song: bar 1 at 0.922 s and every bar 1.8043 s (What to build). Search wide: a 2-step pattern can fool a tracker into two-thirds of the tempo, as DON'T LET ME SCROLL's first reading showed.
• Measure the swing. AERO's drums sit about 9 ms behind the straight grid on the beats and the "and"s, and about 44 ms behind on the "e" and "a" sixteenths, a 2-step shuffle; the kicks are straight. Anything placed by bar takes that feel (What to build).
• Align on the lead stem, and let identical choruses check each other. wav2vec2 on Suno's lead stem placed every one of AERO's words within 0.06 s of the stem's onsets; faster-whisper heard the words but put them 0.2–1.2 s early. The choruses were sung identically, word for word within ±0.04 s of their downbeats, so a word lost in one took the other's offset.
• Map what the picture should hit. AERO's song map holds three bells in the intro, her wordless vocalise (7.70–10.65 s), the stops, the drum breaks, 27 chopped vocal hits in the drop, and the silence under the last "allow" (178.18–179.33 s) that the whole climax is built on.
• Mark the song's own signature sounds. AIRPLANE MODE's three download sections ("You wouldn't… download a car?") each sit between two bright chimes. The director: "theres this sweet sound effect bnefore and after the 'download' sections btw that we should hit". The first chime lands as a download starts and the second as it completes, each on its exact frame.

The full song records, with every draft and take: ESCAPE VELOCITY · CLODYSSEY · BLISS · AIRPLANE MODE · DOWNFORCE · DON'T LET ME SCROLL · WHITEPILL · THE CAKE IS NOT A LIE · AERO.

Releasing a song

Release under your own name, never as "anabology", and leave "feat. Claudia" out of the artist field. Credit her in the description: "Claudia is an open character by anabology (claudia.gallery)". If any of it is AI-made, say so; human-made work needs no label. The norms in full: Songs with her.