PROMOTE YOUR MUSIC
Promote your music: the advice is settled, the execution is not
Ask Google how to promote your music and you get a remarkably consistent answer: set up a smart link, pitch curators ahead of release, and post short-form clips consistently on TikTok and Instagram. That advice is correct. It is also never followed by instructions, and the last item — post consistently — is handed over in a single line despite being the part that takes weeks. This page is about that line.
TuneSprint builds your release from your track: one full video and 30 short ones, published on YouTube, Instagram and TikTok — one a day, the same one on all three networks. Paid once, per release.
Take my spot among the first 100−30% on your first release
REAL RENDER — AUTO EDIT, CUT ON THE BEAT
The short answer
- The advice is unanimous and it is right: several short pieces around a release, on a rhythm, beats one perfect object. Knowing it was never the problem.
- Most of what ranks for this term sells access — pitching to curators, press relations, paid campaigns. Those are introduction services, not production tools.
- We promise no outcome, on purpose. An audience cannot be guaranteed. What can be committed to is the work: the volume produced, the pace, the networks covered.
- The only honest measurement is comparing your own videos against each other. Across a set, you can see which openings hold. Across one, you can see nothing.
What page one actually offers you
Two groups share this result page. The first sells access: platforms that forward your track to curators, blogs and radio, agencies that run press campaigns, services that place your song with content pages. Several are genuinely useful. But they all answer the same question — how do I get this heard — and none answers the one that comes first: what do I post alongside it.
The second group is guides, and they are strikingly consistent with one another. Claim your streaming profiles. Build one link that gathers every platform. Pitch editors ahead of the date. Post short-form content consistently. Keep a release cadence rather than dropping one track and waiting.
That list is correct, and it always stalls in the same place. Posting consistently gets one bullet point, when it is the item that costs weeks of evenings. There is a simple reason: it is the only step nobody can do for you without actually producing content. Pitching can be outsourced. Buying attention can be outsourced. Feeding three networks with videos about your song could not — until recently.
Why consistency almost always collapses
The pattern is nearly universal. The release approaches, energy is high, you make one good video and two or three clips. They go out within the week. Then the stock is empty, the fatigue has arrived, and the account goes quiet while the track is still new — which is exactly the window where it had a chance.
This is not a motivation problem. It is a unit-of-work problem: making one video takes a full session, and a session yields one video. As long as that ratio holds, keeping a rhythm means several evenings a week for weeks, on top of making music.
The only way out is to decouple production from the calendar: build the stock once, then let it unfold. Ordinary practice in corporate communication, and strangely rare among independent artists — because until now nothing produced that stock from a song.
What we will not promise you
Most pages competing for this term announce an outcome: more streams, more followers, guaranteed feedback, assured visibility. We will not, and it is not legal caution.
Nobody can guarantee that an audience forms. Too much depends on it, starting with the song itself, and artists who spend time in the relevant forums have seen enough inflated screenshots to recognize an empty promise instantly. Announcing a number would discredit us with the only people this site is written for.
What can be stated is the work: a volume of assets, a publishing rhythm, the networks covered, and the fact that you see the plan before paying. Those are checkable commitments. The rest depends on your music, which is how it should be.
The only measurement that teaches anything
A single published video produces no usable information. If it does not land, you cannot tell whether it was the song, the visuals, the first second, the day, or luck. All you retain is that it did not work, which teaches you nothing for next time.
A set of videos sharing one track and differing by their opening, on the other hand, becomes readable: some entry points hold attention and some do not, and the gap is obvious. That is an internal comparison, not a performance dashboard — but it is the only genuinely actionable information for the next release.
Which is why the review happens at the end of a campaign, across all the videos together. Judging one asset in isolation is drawing a conclusion from a single roll of a die.
Three families of promotion, and what each solves
They are not competitors. They answer different questions.
→ swipe the table
| Family | What it does | What it does not do | What it assumes |
|---|---|---|---|
| Curator and press pitching | Gets your track in front of editors and playlisters | Produces nothing for you to publish | A finished track, presented properly |
| Paid advertising | Buys attention immediately, at a chosen volume | Does not create the video it distributes | A budget, and content that already exists |
| Content production | Makes what you publish, at volume | Guarantees no audience whatsoever | A finished song, nothing else |
TuneSprint sits in the third column. The first two remain useful — they simply assume the third is already handled.
Preparing a release
The order matters more than the number of tools.
Lock the track before anything else
While the mix is still moving, any content you make will need remaking. A release is prepared from a final file.
Decide where the song will live long term
A long version on YouTube gives you a stable address everything else can point to, including long after release week.
Build the stock before the date
Producing during the release is the surest way to stop after a week. The stock is built beforehand and spent during.
Publish on a rhythm, review at the end
A steady pace gives each video room to exist. The review reads across the set, never on one isolated post.
The most expensive mistakes
Betting everything on release day
A release is a period, not an event. Concentrating all your content into one day makes your own posts compete with each other.
Paying for ads without solid content
Advertising amplifies what exists. Pushed behind weak content, it mostly buys confirmation that the content was weak.
Believing results screenshots
The space is saturated with them and many do not survive checking. The only reliable number is the one measured on your own account.
Waiting for an audience before posting consistently
That is the wrong order. Consistency precedes an audience; it does not reward one.
AND IF YOU'D RATHER NOT DO IT BY HAND
Everything above is the work. TuneSprint does it for you.
You drop your finished track as MP3 or WAV, with your lyrics. We produce the full video and the 30 short ones, cut to your record, and publish them on YouTube, Instagram and TikTok — one a day, the same one on all three networks. You see every piece before it goes out.
What TuneSprint takes off your plate
- 01
You drop your track
An MP3 or WAV file and your lyrics. The song is analyzed: tempo, structure, hook, energy peaks.
- 02
You get a full video and 30 shorts
The full video in 16:9, the shorts in 9:16, opening on different strong moments of the track.
- 03
Publishing runs on its own
YouTube, Instagram and TikTok, one video a day, the same one on all three networks. You approve, the rest unfolds.
Real renders, not promises
Clips from real TuneSprint campaigns.
Doing it alone, a video maker, or a release studio
TuneSprint
- The videos
- The full spread, synced to your lyrics
- The plan
- Your release calendar, from tease to upkeep
- Publishing
- Automatic, right format, right time
- Measurement
- What hooks, across the whole campaign
- The model
- Paid once, per release
Clip generator
- The videos
- One file, then good luck
- The plan
- None
- Publishing
- Still you
- Measurement
- None
- The model
- Subscription + credits
All by yourself
- The videos
- Weeks of editing
- The plan
- Gut feeling
- Publishing
- Every post by hand
- Measurement
- Scattered stats
- The model
- Your free time
WHAT YOU GET
1 full music video + 30 shorts
- A music video up to 4 minutes, built from your track
- 30 shorts synced to your lyrics, posted on YouTube, TikTok and Instagram
- Never more than one video a day, the same one on all three networks — we grow your account instead of burning it
- Nothing goes out without your approval. One payment, no subscription.
Les 100 premiers — −30 %
€273€390
on your first order, whichever package
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FAQ
Is TuneSprint a music promotion agency?
No. An agency gets your track heard by editors and curators. We produce the content you publish yourself on your own channels. The two complement each other, but they are different jobs and we do not claim to do the first.
How many streams can I expect?
We do not give that number and we will not. Nobody can honestly guarantee it — it depends first on the song. What we commit to is checkable: the volume produced, the publishing rhythm, the networks covered, and seeing the plan before you pay.
Do I also need to pay for ads?
Not necessarily, and almost certainly not at the start. Advertising amplifies what already works; it does not rescue content nobody stops for. It is more useful to first see which openings hold attention on their own.
Does this work for a track that is already out?
Yes. An older track can restart with new content — arguably one of the most rational uses, since the song already exists and costs nothing more.
Which audio files are accepted?
MP3 and WAV. Importing your own images or footage is not available today.
Who owns the videos?
You do, entirely. The music video, the shorts, the visuals: you own them and you can use them commercially, on any platform, without paying us anything afterwards. We take no rights on your music, no percentage of your revenue, and we claim nothing on what the engine builds from your track. TuneSprint is a tool you pay for once, not a label.
Do I approve everything before it goes out?
Yes, and that part is not negotiable. Every piece waits for your approval before it is published. You can remove one, ask for another render, or rewrite a caption. Nothing is posted to your accounts before you have seen it and said yes — not the music video, not a single short.
Is my music used to train an AI?
No. Your audio file does one thing: it lets us analyse your track — tempo, structure, hook, lyrics — to build YOUR release. It feeds no model training, it is not resold, it is not shared. You can ask for it to be deleted whenever you want.
Am I allowed to monetise a video made from an AI track?
That depends on the tool you made the music with and the plan you were on. With Suno for example, the terms differ between the free and the paid tiers — check yours before you publish. On the platform side: YouTube may apply Content ID if your track resembles a registered work, and asks you to disclose AI-generated content; Spotify and the others follow similar rules. We publish what you have the right to publish — the video side is yours without reservation.
You already have the advice. What is missing is the stock.
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