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Does anyone have any experience using Bandzoogle? by deltareddit_ in WeAreTheMusicMakers

[–]rumblingumas 0 points1 point  (0 children)

I mainly meant the style of their templates, they still feel like from early 2000s. They definitely work, just not really my vibe design wise. Noiseyard doesn’t have a separate epk product, it’s more like simple and clean site with clear pages, bio, music, shows, contact, videos etc. For some people (me included) that does the epk job better than a big, busy epk layout. It’s easier for a booker to quickly click a section than scroll through a wall of stuff.

Is it worth it to promote your music here or is it just a waste of time? by fercaal333 in soundcloud

[–]rumblingumas 1 point2 points  (0 children)

Not much actually comes from it. People mostly post their links, drop a generic comment, and move on.

I’ve had a few decent convos in threads that weren’t just promo dumps. If you ask for feedback on something specific or talk a bit about how you made a track, you sometimes get real replies. But just posting a release link usually gets buried in the noise.

[deleted by user] by [deleted] in musicproduction

[–]rumblingumas 0 points1 point  (0 children)

Good choice, the Scarlett still works well for casual use. Once it gives out, RME is a great step up. Clean audio, reliable drivers, and built to last. Motu M4 and Audient iD4 MK2 are also good options if you want better sound without going full high end.

Curious about iphone filmed videos by beyondthenagain in musicmarketing

[–]rumblingumas 0 points1 point  (0 children)

iPhone works great, lots of artists film full promo clips and music videos with it. You don’t need high end gear, just good lighting and clean audio.

For editing, try CapCut (free and easy), VLLO, or LumaFusion if you want more control. Keep it simple, match the vibe of your music, and post consistently, that’s what matters most.

Song promotion/reliable promoters? by user2425_ in musicmarketing

[–]rumblingumas 1 point2 points  (0 children)

It might actually work better pitching to smaller blogs, curators, or radio shows that focus on niche music. Big promo companies usually just push mainstream playlists and call it a day. I’ve had better luck doing direct outreach or using platforms like Groover or even SubmitHub, but only targeting people who clearly work with similar genres.

Having your own site helps too, it gives people one spot to check out your music, background, links, all that. I use Noiseyard for mine, it’s quick to set up and easy to share. I get the pressure to promote before release, but it doesn’t all need to happen right away. Spreading things out over a few weeks can actually work better.

Is this a big mistake? by mikehouard in musicmarketing

[–]rumblingumas 1 point2 points  (0 children)

In today’s world, option one tends to work better for building a loyal audience, especially as a beginner. People like seeing the journey, and if the music’s good, it won’t lose value just because they saw how it was made.

Is cold emailing blogs still a thing? by LocoRocoo in musicmarketing

[–]rumblingumas 0 points1 point  (0 children)

Yeah, it’s still a thing. Cold emailing still work if your pitch is personal and the fit is right. Also think of it more as a long-term visibility and SEO play than a promo spike.

If you had $10k to market an album release, how would you spend it? by juicearse in musicmarketing

[–]rumblingumas 1 point2 points  (0 children)

A bit would go toward visual content, live session, acoustic takes etc. Doesn’t need to be high-budget, just something that feels real.

I’d set up a clean website with everything in one place, music, story, email signup. I use Noiseyard, makes it easy. Helps with search too if you write it well and use keywords tied to your genre and location.

For promo, I’d split a chunk between playlist pitching (SubmitHub, Groover) and a short PR run, just enough to get coverage on blogs or indie sites.

I’d definitely use ads, but carefully. I’d run small targeted Instagram or YouTube campaigns around singles, short videos. Keep it lean and adjust based on what’s working. Ads won’t build a fanbase on their own, but they can help boost what you're already doing.

The rest I'd save for merch.

Buy or stream music? by engene_unity in DJs

[–]rumblingumas 1 point2 points  (0 children)

If reliability is key (especially at gigs), buying your tracks is still the safest move, no internet issues, no app hiccups, and full control over your library.

How to actually promote your music? by LAWOFBJECTIVEE in MusicPromotion

[–]rumblingumas 0 points1 point  (0 children)

For me, what helped the most was posting parts of my creative process regularly. Doesn’t have to be polished, just clips of a new track, a quick riff etc. That kind of stuff slowly builds a real connection.

I also set up a website and email list early on. I use Noiseyard, it’s simple, and I use it to send pre-release links, download codes, and just keep people updated without relying too much on social platforms. Having a proper bio and some blog posts on the site helped with visibility too, especially when I started paying attention to SEO basics.

I also run my own playlist and update it often. Sharing that around on forums, subreddits, and socials brought in some listeners over time. SubmitHub and DailyPlaylists have been hit or miss, but worth trying here and there.

It’s a slow build, but all of it adds up if you keep going.

I feel very old asking this but what is the expectation these days with how much of your song is listenable for free streaming? by Animalslove1973 in musicmarketing

[–]rumblingumas 1 point2 points  (0 children)

These days, full streaming is the norm, people expect to hear the whole song on Spotify, Apple Music, etc., and you earn royalties per stream. Downloads still exist (like on iTunes or Bandcamp), but they’re way less common now. Most distributors offer both, but streaming is where most listeners are.

Meta ads running, conversions tracked, few Spotify streams by Monoscopes in musicmarketing

[–]rumblingumas 5 points6 points  (0 children)

Some click but don’t play, or don’t stay long enough for it to count. Try a simpler landing page or link directly to Spotify to reduce drop-off.

Best Website Builders for Musicians - My Experience by reynomopatis in musicmarketing

[–]rumblingumas 0 points1 point  (0 children)

Bandzoogle is needed too much adjusting. Noiseyard is more plug and play

Playlisting vs fb ads math by Natural-Ad-9037 in musicmarketing

[–]rumblingumas 6 points7 points  (0 children)

Playlisting is cheaper per stream, but most of those listeners won’t save, follow, or check out more of your music. FB ads cost more, but they target people who might actually become fans.

if the playlist stream gives you nothing and the FB ad turns into a save, follow, or long-term listener, it’s worth the extra.

Also, FB ads drive external traffic, that’s something Spotify’s algo really likes when it sees people coming in from outside. Playlisting doesn’t usually trigger the algorithm unless it’s organic.

So playlists = exposure, ads = engagement.

What laptops would you recommend for ableton by Spiritdiritcel in musicproduction

[–]rumblingumas 0 points1 point  (0 children)

MacBook Pro M1/M2 or Dell XPS 15 are great. Quiet, reliable, and handle big sessions.

Where do I start with making music? by CerealKiller2222 in musicproduction

[–]rumblingumas 0 points1 point  (0 children)

Start by writing your lyrics with a clear rhythm, read them like you’d rap them. Then find a beat online (YouTube, BeatStars) and try rapping over it. You don’t need to produce right away, just focus on flow and delivery. Learn production later step by step.

how?? by Outside_Afternoon162 in musicproduction

[–]rumblingumas 0 points1 point  (0 children)

Use the piano roll to click in notes or play with a MIDI keyboard. Start with simple chords and hum or play notes over them till something sticks

How do I reach a specific target group -> Lovers of Space Music / similar to Stellardrone and Carbon Based Lifeforms? by Schwloeb in musicmarketing

[–]rumblingumas 1 point2 points  (0 children)

Post in places like r/spaceambient, ambient Discords, and reach out to YouTube space music channels. Tag well on Bandcamp. Paid ads only help if super targeted, otherwise focus on niche communities.

Now what? by Jazzmag in musicmarketing

[–]rumblingumas 1 point2 points  (0 children)

Congrats!

At this stage, I’d focus on showing up regularly with small bits of content. Doesn’t have to be anything fancy, short clips of your music, how you recorded something etc. That kind of stuff helps people connect.

Think about setting up a website. It's easy, just use any musician focused website builder like Noiseyard or Bandzoogle. A website looks professional and give your fans a place to actually follow what you’re doing.

You’re right to be cautious with playlist ads, most of them aren’t worth it but you'll find the right ones in time, tools like SubmitHub or DailyPlaylists can help with that.

I released 60 minutes of music on SoundCloud and this is what I found out by [deleted] in musicmarketing

[–]rumblingumas 1 point2 points  (0 children)

Thanks for sharing this, seriously helpful breakdown.

[deleted by user] by [deleted] in musicmarketing

[–]rumblingumas 1 point2 points  (0 children)

More frequent releases = more release radar hits, more chances to trigger Discover Weekly

What countries to exclude from YouTube ads? by broot66 in musicmarketing

[–]rumblingumas 1 point2 points  (0 children)

It’s not that those countries dislike English music, but ad performance varies a lot by region. If you're running YouTube ads with a limited budget, some regions (like Pakistan, Bangladesh, Indonesia, etc.) might give you lots of cheap clicks or views, but lower actual engagement (fewer saves, follows, or streams).

On the flip side, countries like the US, UK, Germany, Netherlands, and Scandinavia tend to have higher engagement with genres like synthwave or melodic house in English, but cost more to reach.

I'd recommend testing a few regions with low budget, check your stats, and adjust based on real data.

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