Suno Future bass prompt
Future bass in Suno lives at 130–160 BPM, usually around 150. Below is a Styles prompt that passes our Styles checker, the Exclude list that stops v6 drifting toward acoustic guitar strumming, live drums, lo-fi tape hiss, a 2:46 arrangement in bars and the cued lyric headers. Copy it, change the mood and the parts you hear differently, paste.
Styles
future bass, 150 BPM, euphoric. 2010s festival main stage, sidechained supersaws. Chopped, pitched, rhythmically sliced vocal phrases used as an instrument. Wobbling detuned supersaw chords with heavy sidechain, a pitch-bent vocal chop melody as the drop lead, half-time hats with snare rolls, sparkly arps. Arrangement: intro 16 bars, verse 16 bars, build 8 bars, drop 16 bars, breakdown 16 bars, build 8 bars, drop 2 16 bars, outro 8 bars. Kick and sub own the center, supersaws and pads very wide and pumping with the kick, the drop lead loud in the mids, vocal bright and in front in the verse and build, risers and impacts out at the edges. Ends on the outro's last downbeat.
Exclude styles
acoustic guitar strumming, live drums, lo-fi tape hiss, country twang, rap verses, jazz chords
Lead tag: open Styles with future bass, word for word. It’s the wording Suno’s own tags use, so it carries more weight than a description.
Vocal: vocal chops by default. Variety at 0 keeps Suno from rewriting the prompt on a final take.
What makes it Future bass
Name the parts, not the vibe.
Suno plays what you name. “Future bass vibes” gets you its idea of the average future bass track; the parts below are what make the genre itself, so they go in the prompt as instructions to the band.
- wobbling detuned supersaw chords with heavy sidechain
- a pitch-bent vocal chop melody as the drop lead
- half-time hats with snare rolls
- sparkly arps
Production colour: 2010s festival main stage, sidechained supersaws. One phrase like this sets the era better than a list of adjectives.
Why the Exclude list matters. v6 leans toward pop and toward whatever the neighbouring genres share. For future bass that means acoustic guitar strumming, live drums and lo-fi tape hiss creeping in. Put those in Exclude, never as “no …” in Styles: a negative in Styles names the thing and often adds it.
Mix placement beats quality words: “kick and sub own the center” tells Suno where things sit. “Radio-ready” or “professional” tells it nothing.
Song structure
A 2:46 radio edit at 150 BPM.
| Section | Bars | Starts | What plays |
|---|---|---|---|
| Intro | 16 | 0:00 | filtered chords and a riser, the vocal hook teased through a low-pass |
| Verse | 16 | 0:26 | plucked chords, kick on the quarter, vocal close and dry |
| Build | 8 | 0:51 | snare roll speeding up, white-noise riser, the hook sung alone |
| Drop | 16 | 1:04 | full kick and sub, supersaw lead or wobble bass, chopped vocal hook |
| Breakdown | 16 | 1:30 | kick out, piano and pads, the hook sung soft |
| Build | 8 | 1:55 | snare roll, pitch riser, a one-beat gap before the drop |
| Drop 2 | 16 | 2:08 | switch-up: a new bass pattern, heavier |
| Outro | 8 | 2:34 | drums strip away, chords filter out |
| End | — | 2:46 | last chord hit with a reverb tail |
Lyric headers
[Intro | filtered chords and a riser, the vocal hook teased through a low-pass] [Verse | groove only, no vocal] [Build | snare roll speeding up, white-noise riser, the hook sung alone] [Drop | hook over the full groove] [Breakdown | kick out, piano and pads, the hook sung soft] [Build | snare roll, pitch riser, a one-beat gap before the drop] [Drop 2 | hook over the full groove] [Outro | drums strip away, chords filter out] [End | clean ending]
Every header carries a direction after the bar, [Section | how it’s performed]. A bare [Verse] leaves the delivery to chance. The last line, [End | clean ending], is what stops the fade-out and the bonus minute of noodling.
Lyrics
Writing words for future bass.
Festival and bass vocals serve the drop: a short topline in the verse and build, then one hook phrase the drop can chop into syllables, so build it on open vowels (oh, ay, I) with a hard consonant to cut on. The last line before each drop is short, unresolved and sung word for word both times: it is the countdown. Verses are 2 to 4 lines of one concrete moment, said plainly, never a slogan; the drop itself is instrumental or the chopped hook. Echoes of the hook's last word go in parentheses.
Keep verse lines to about 8 syllables and hook lines to about 6. Longer lines get rushed or swallowed; our lyric checker counts them for you.
Phrases that make it sound generated
- lose control
- lose myself
- losing control
- feel the beat
- feel the music
- feel the rhythm
- hands up
- hands in the air
- all night long
- move your body
- take me higher
- on the dance floor
Every one of these turns up in thousands of AI songs. Swap each for the specific thing it stands in for: a place, an object, what someone actually said.
Borrowing
Use future bass as an influence.
Want a touch of future bass in another genre? Don’t put “future bass” in the lead tag of a different song: Suno will switch genres. Borrow one part and say where it goes:
- wobbling, sidechained supersaw chords under the final chorus
- a pitch-bent vocal chop melody in the post-chorus
- sparkly arps over the breakdown
Pairs well with future bass
Get the whole future bass package.
This page is the starting point. Session Sheet writes the full song for your idea — Styles in your own sound, cued lyrics, Exclude and the settings card — and checks every line before you paste.
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