Isn't it all about content now?

We get told the same thing: post more. And we won't say organic reach doesn't work. It does, sometimes brilliantly. It's just unpredictable, and it rarely pays back the hours an artist puts in.

Chase trends, hooks and formats long enough and you start making what everyone else makes. Open any artist's feed — the same video, over and over. Views and followers are not the number of people who actually like your music.

We're not for more content or less content. We're for individuality, and against burnout. Want to shoot every day? Great. Have one idea for one really good video? Make one. The music shouldn't stop because you didn't come up with seven Reels this week.

So, no ads at all?

No — and it would be strange to promise that. A music project is a project you invest in, and advertising is part of it, like in almost anything else.

The real question is why launching ads still has to be this hard and this expensive. Either you learn Meta Ads and pick up a second profession, or you hire someone who sometimes costs more than your whole ad budget.

Most of that work is repetitive mechanics. That's what we automate. Not the creativity. The routine.

What does it actually do?

You connect your own Meta ad account. If you don't have one, you create it once, following our guide. It stays yours — the ads, the account and everything it learns belong to you, not to us.

Then you pick the date of your next release, and Remuzy builds the calendar: what to do, when, what to upload, when the ads start. A release page with a pre-save is created, the campaign is set up, and a minimal plan for socials appears in the calendar.

Our target is about fifteen minutes of setup per release. We're still building and testing that workflow, so it isn't a measured result yet.

Why do the ads go to Meta?

Because we want something more predictable. Organic reach can be huge — and gone tomorrow. Paid playlist pitching is similar: hundreds of dollars for a few replies, a few adds, some streams.

And a stream from a playlist is not a new fan. People often listen in the background without knowing who's playing. So we look at what we can actually see: did someone reach your release page, press play, stay, come back, leave an email.

We still use free Spotify pitching ourselves. We just stopped treating playlists as the strategy.

How much do I need for ads?

It varies with your release and audience. Start with a small test budget, learn what it tells you, and decide where to go next. We aren't promising a result from a particular amount.

And we don't take a percentage of your ad spend. If you put a hundred dollars into ads, we see no reason to keep a piece of it just because the ads went through our app.

Why your own release page and pre-save?

Because streaming platforms know more about your listeners than you do, and that's strange. Through your release page, people who like your music can leave an email.

Over time you have your own fan base. And it belongs to you — not to us, not to a platform.

What about my socials?

The release calendar suggests a minimum. Genuinely a minimum. Want to do more? Do more — talking to fans, shooting, building your visual world is the best part of social media.

We just won't tell you to shoot today's trend because everyone else is. We don't want to decide what kind of artist you are.

And then?

Keep releasing. Not one track and eight months of silence — roughly one release every one to two months. Not a law: there's summer, there's life, EPs and albums get their own plan. The point is a rhythm where each release continues the last one.

When you don't have to think about what to shoot today, where to pitch, when to switch the ads on and what to do three weeks before release — a surprising amount of time frees up. For music.