SoundCloud has fast become a go-to community for artists and bands looking to upload audio for promotion or critical analysis. Since promoters frequent the site looking for fresh talent you can often be picked up for DJ gigs on the strength of your posted productions. The results can be promising, but how can they be achieved? Here are 7 basic steps anyone can follow to drastically increase the size of your audience:
1. Make good music
This may sound obvious but your content must be of the highest quality; there are more people competing for creative acclaim than ever before and you can’t afford to pull any punches. The best way to do this is to be very strict about what you publically post: stop putting works in progress on your SoundCloud profile until they’re completely finished. SoundCloud is fantastic for sharing audio privately, so if you are seeking feedback before publically posting a song or you want to collaborate with other artists, features such as private sharing, secret links and timed comments can be really helpful.
2. Share your tracks by giving some away
When you are in a position to release your tracks, try letting one go for free because, by their nature, free downloads create a large web of free promotion, often achieving a larger play count and trending more than their unavailable counterparts.
SoundCloud Says: Sharing is important! If you have a new track, share it across your networks. Such as posting onto your Facebook wall, embedding a player onto your site, or inviting blogs to embed a widget of your track. How about linking in your social networks and using the sharing note?
3. Categorize your tracks correctly
No matter how good your song is, it can be always be seen as bad if it’s being listened to by the wrong people. The best way to avoid this is to accurately label the song’s genre and tag your track appropriately, try to avoid popular tags such as ‘Daft Punk’ and ‘Skrillex’ – these won’t help your cause. If you are unsure of the potential tags your song could require, try asking a friend who would know to listen to it privately before it’s made available for public consumption. This is important because a lot of SoundCloud users often have something particular in mind when searching for new music and having the correct subgenre tags can really help you find your audience.
SoundCloud Says: If you churn out a lot of content you can select the best tracks to put in front of your audience with the spotlight feature.
4. Share your tracks effectively with groups
Join groups that legitimately reflect your interests, but don’t limit yourself with musical genre, try submitting to groups based on your locale or the program in which you’ve made your production. Additionally, try ‘unsigned artist’ groups if you haven’t signed a record contract with anyone because there are a lot of people out there specifically looking to support underground music. If you think about what groups you join in a strategic fashion you can start to pull in listeners in interesting ways.
5. Interact with other users
There are two main methods of interaction with users: commenting and directly sharing tracks. When commenting, try to offer something more than blind intelligible compliments (or insults); appropriate descriptive and constructive criticism is better when trying to forge connections. People are likely to notice when you comment on other people’s music and will possibly check you out.
To directly share your material with other people, you use the dropbox on their user profiles. It may seem like a good idea to share your song with everyone this way but whoever you share that song to will receive a message saying “___ shared this track to you and 203,122 other people” and no one is likely to give you the time after seeing that.
6. Follow similar users
One of the strongest ways to interact with other users is to pay attention to who starts following you and don’t be afraid to follow users back (especially if they are creating similar content or music you enjoy)! Following users on SoundCloud creates a cycle of interest: if other users see you’re following them then they are likely to check out your musical endeavours and interact with you, increasing your exposure!
SoundCloud Says: Your dashboard can be an RSS feed of new music from your followers, check out their updates in your dashboard and start a conversation over the next awesome track they upload, or reply to one of their comments. You never know, you may find someone to collaborate on a new track or be asked to remix one of their tracks in the future.
7. Be patient
Your success will not happen overnight but applying these steps is a nearly effortless way to increase exposure and your fan base. The rise won’t be meteoric at first but any increase of attention will be indicative of a trend that can only continue. If you are doing this for all the right reasons then you should end up interacting, collaborating and engaging with a community who wants to create as much as you do. As a result, you’ll discover new music and help support other artists as you go!
The internet is one of mankind’s greatest achievements, and it enriches all our lives with instant access to more information than a human being could digest in a thousand lifetimes.
The downside is that for the less tactful among us, it can be a highway to infamy and vilification. The impulsive online musician is only a few keypresses away from destroying their career with a rude comment, tasteless joke, or casual hate speech.
So then, here’s MusicRadar’s guide to the 10 worst ways musicians troll themselves online. Read on to discover how you can avoid falling into the potholes that litter the information superhighway.
1. Being a bigot on social media
Sure, you’ve got a beef with people of particular race, or maybe transgendered folk give you the willies. Don’t worry, it’s probably more to do with your socio-economic circumstances than inherent evil. However, you’re going to need to keep any bigoted views to yourself rather than post them online.
Without naming and shaming, it’s not too hard to think of certain misguided artists who’ve done this, followed by fallout that was nothing short of catastrophic.
So if the volleyball scene in Top Gun made you feel confused and angry, try to avoid getting up in the internet’s face. Maybe just buy a ticket to Magic Mike XXLand see how you feel after that?
2. Posting work in progress tracks
When you’re starting out with production, posting up WIPs can be a good way to get feedback. However, once you’ve reached a level of competence you’ll probably want to avoid releasing unfinished music.
New music is everywhere, so it’s a consumer’s market. Maximise your chances of getting a like or follow by ensuring that your tracks are only available once they’re up to a decent standard.
An alternative way of looking at it is that digital music is so common now as to be utterly worthless, so you might as well throw caution to the wind and upload your unfinished 27-track folk dubstep album about how much you miss your ex-partner’s dog Alan.
3. Posting awful cheesy remixes
Hurriedly producing a trap remix of Dolly Parton’s 9 to 5 and putting it on your SoundCloud account might seem like a good idea at the time, but is that the sort of thing you want to associate your good name with?
The best case scenario – getting a load of plays from novelty-seeking squares who probably don’t even own working TR-606s – might not sound too bad, but then you run the risk of becoming addicted to easy plays. This can only end with you posting a new future bass remix of Shania Twain every week to satisfy your cravings.
Communication over social media isn’t perfect: tone can be hard to convey, and innocuous comments can be misinterpreted. Also, the internet is full of people who won’t think twice before opening their big laptops and posting something rude about your latest YouTube video.
Even if you were legitimately engaged in a brief romantic relationship with their mother, it’s best to keep these kinds of details off social media. It’s rare for anyone involved in an online altercation to come off looking good, so the next time haters are giving you grief, simply ignore them and continue looking at pictures of fat baby animals.
Unless you use your computer for something boring like making music occasionally, there’s no justification for having a top of the range MacBook Pro to ogle capybaras on.
5. Wasting time
Given that you’re reading this, you already know how big a problem wasting time on the internet is for the modern musician. Did you know that, in the developed world, the average adult spends approximately eight hours browsing pictures of fat baby animals every day?
We all wish this could be more, but unless you use your computer for something boring like making music occasionally, there’s no justification for having a top of the range MacBook Pro to ogle capybaras on.
Remember that time some noob jacked your best Shania Twain bootleg? It was pretty annoying, and since then you’ve clashed on a mutual friend’s Facebook wall. From his profile picture he looks like he probably can’t throw a punch to save his life, so you’ll probably be safe discretely badmouthing him to a select four dozen or so acquaintances.
It’s tempting, but you’d just be mugging yourself off much like you were mugged off in the first place. The resulting double-mugging is the least dignified of fates, and should be avoided at all costs. Planning an elaborate, anonymous revenge instead is a smart PR move.
7. Being associated with un-PC social media pages
Your socio-economic background is letting you down again, and you find you have a strong emotional response when you see far-right propaganda on Facebook. It’s tempting to click ‘Like’ and let the world know that you’re not exactly onboard with multiculturalism, but hold your horses there cowboy.
Did you ever stop to consider that this ace fusion of cultures is what makes popular music so vibrant and exciting? Plus, everyone is going to assume you’ve got the critical thinking abilities of a parsnip, so stick to posting radio station memes and quizzes to determine which Harry Potter character you’d go Airbnb-ing with.
Stick to posting radio station memes and quizzes to determine which Harry Potter character you’d go Airbnb-ing with.
If there’s one thing people don’t like, it’s excessive entitlement. So, if you’re a superstar DJ, try to remember that not getting fluffy enough towels in your hotel room isn’t on a par with waterboarding, and your predicament is unlikely to solicit sympathy from your legion of fans who are lucky enough to work in the service industry or clean chimneys or whatever it is they do.
Though some might find hubris entertaining, for most it’s an unattractive trait. No one cares about how awesome you think your own productions are, or how attractive your partner’s toned young torso is, so keep your fabulous lifestyle to yourself thanks buddy.
Also be careful to avoid humblebragging – eg, “so bummed my juke remix of Vonda Shepard’s Searchin’ My Soul – AKA the theme tune to Ally McBeal – only got 10,000 plays on its first day, I’m such a loser LOL!?”
Pro tip: everyone loves schadenfreude. Play the underdog card (‘my audio interface is broken and my partner is a sea donkey’ etc) and get some sympathy likes. You’ll soon forget about how much you miss your dignity when you’re the undisputed king of social media!
10. Pestering and harassment
After spending hours upon hours on a project, the last thing you want to have to do is wait days for a DJ, label or another artist to give you feedback. You’d probably better Tweet them, post on their Facebook wall, and write them a message on SoundCloud on the hour every hour until they confirm your worst fear: your kick drum does indeed have slightly too much sub.
Harassment of this nature is a sure-fire way to alienate a potentially useful source of criticism, so please try to remember that some of these people are very busy searching for new ghost producers.
Native Instruments has unveiled a new file format that enables DJs, producers, and live performers to mix with a track’s different musical elements. The format, which is called “Stems,” was announced at Miami’s Winter Music Conference on Friday.
Their press release says:
“A Stem file allows DJs and live performers to interact with different musical elements of a track independently by accessing four different ‘stem’ parts such as the bass, drums, melody, or vocals. This type of mixing introduces new performance possibilities and enriches the listening experience for music lovers. As a premium file format, Stems can also create new revenue streams for music labels and online retailers to grow their business. Developed by software and hardware DSP specialists Native Instruments, Stems is an open file format designed to benefit the entire music industry.”
Stems is open format, which means anyone will be able to create, perform with, and distribute them. Producers, DJs, and labels will be able to author their own Stem files using a free standalone application. Additionally, developers will have full access to format specifications and code examples so they can integrate Stem support into their products.
Select artists, labels, production companies and Native Instruments will begin supporting Stems in coming months. A website containing all technical specifications, source code, tutorials, and downloads will launch in June.
Here’s what some DJs have said about Stems so far:
DJ Craze “The Stems format is very exciting to me because I come from the generation where records have 1/Instrumental/Acapella and Dubapellas, so now I’ll be able to get way more creative with my sets and have fun combining elements from tunes I like.”
MK “Stems is just what the industry needed. It will change the way music is mixed down from a producer’s standpoint. It will make producers think more about what they are actually doing when they make music for DJs to play.”
This is a 2015 re-boot of one of the first, and most popular “memes” I created for Dynamic Range Day
And the information it gives is just as crazy as it ever was.
Especially since none of these “loudness” differences will be audible in all the most popular places we listen to music.
Not on iTunes Radio.
Not on Spotify.
Not even on Youtube, any more !
And certainly not on radio or TV.
So if you’re wondering – “why do people still bother?” – you’ve got a point !
It’s not all bad news
Take another look at that infographic, though.
There are some interesting features.
Look at the 2015 releases.
As well as ridiculous results like Taylor Swift being as loud as Oasis, and Nicki Minaj being almost as loud as Metallica – there are two massively successful pop albums by Daft Punk & Mark Ronson that have great dynamics.
And D’Angelo’s critically acclaimed album “Black Messiah” measures DR8. In a genre like R&B where almost everything is clipped and crushed by default, that’s a serious result ! And it’s not alone – in an interview on NPR’s Hip Hop show, J. Cole described how he and producer Juro “Mez” Davis deliberately chose not to compete in the loudness war – and his fans loved the decision.
(To hear the right section of the interview, click here)
And there have been a host of other great-sounding, dynamic releases in the last year, too – some of them are nominated for the Dynamic Range Day Award 2015. Check them out, your ears will thank you…
It ain’t over yet…
Of course these are the exceptions, rather than the rule.
For every great-sounding success, there are ten more that have been smashed. As I said in my interview for CE Pro, the situation is getting more polarised, and will probably keep getting worse, before it gets better.
But loudness normalisation is a fact, now – and gradually, the music world will wake up to the new reality. Just as U2 and Pharrell and D’Angelo and Daft Punk and J.Cole and Opeth and Aphex Twin and Mark Ronson and Jack White and Paulo Nutini and The War On Drugs and many other already have.
With the Winter NAMM trade show set to take place from January 22nd, we take a look at the most exciting products due to be unveiled. This article will be updated over the course of the coming weeks as we receive more information on new releases.
Following the surprise introduction of the AIRA range last year, we’re cautiously optimistic about Roland’s new NAMM offerings for 2015. The one confirmed new product so far is the JD-Xi, a new synth revealed in the photo above, posted on Facebook by Japanese artist Daisuke Asakura.
The JD in the synth’s name is a nod to the JD-800, a digital synth produced by Roland in the early 90s which was notable for its knob-laden front panel. Details of the synth are unclear at the time of writing, but an anonymous WordPress site has published what it claims to be details of the specification:
At Winter NAMM Show 2015 Roland will show a new synthesizer. First info:
• analog synthesis with TRI, SQUARE & SAW waveforms + SUBoscillator PULSE/SQUARE • digital analog modeling synthesis from Roland SYSTEM-1 • analog LPF • digital filters from SYSTEM-1 • vocoder with MIC input • TB-303 style sequencer • LFO with TRI, SQUARE, SAW & SH waveforms • 37 Keys keyboard (mini-keys, keyboard has Velocity) • 2-part digital synthesis, 1-part analog synthesis, 1-part Vocoder
Former software specialists and now – thanks to the MiniBrute, MicroBrute and Beatstep – major players in the hardware world, Arturia will be introducing a “high-end” audio interface at NAMM.
In a video clip from their keynote speech at the company’s 15th anniversary celebration late last year, Arturia CEO Frederic Brun and Product Manager Glen Darcey make a series of bold claims about the performance of the product, hinting at class-leading low latency, ultra-flexible connectivity and smoother workflow than rival devices.
Check out the video below.
The long-awaited Korg reissue of the classic ARP Odyssey is set to be unveiled at NAMM. Korg have teased a couple of shots of the synth, which looks like it’ll be a very faithful replica of the black and orange mkIII Odyssey. There’s also a new ARP webpage at arpsynth.com
CASIO TRACKFORMER XW-PD1
Casio might not be the first name that comes to mind when you think of pro audio gear, but they’ve made some interesting kit over the years, from the CZ synths to the cheap-and-cheerful RZ-1 drum machine with its primitive sampling features. They’ll be unveiling their latest offerings at NAMM. The Trackformer XW-PD1 is a groovebox based on the sound engine of the XW synth series, while the XW-DJ1 DJ Controller is an unusual DJ device with a 7-inch platter to replicate the feel of vinyl, cue points, tempo syncing, effects and looping. The XW-DJ1 is compatible with Algoriddim’s djay2 app, and will also work in tandem with the XW-PD1 for live remixing.
The XW-DJ1 DJ Controller will be priced at $299 and available in January. The XW-PD1 Groove Center will be available from March, priced at $399.
Here we are again at the end of another year and it’s time to gaze into the crystal ball to see what 2015 might have in store for the music business. I hit on about half of my predictions last year, with most of the others still pending as the story lines developed slower than anticipated. Here are 10 music business predictions for the upcoming year. 1. Apple launches a new music service. Beats Music doesn’t have a huge number of subscribers so it can be retired without fear of killing a well-liked brand. In its place Apple will launch a new on-demand streaming service that’s cheaper than the competition and features high resolution audio.
2. High resolution audio becomes a standard streaming feature.TIDAL and Deezer set the precedent, and soon all streaming services will offer at least one tier of hi-res audio. Of course, the definition of high resolution will continue to be a moving target, as some services equate the term with CD quality while others offer higher sampling rates and/or 24 bit depth.
3. The digital pie gets larger. As consumers become more comfortable with on-demand streaming, larger numbers of them register for the various platforms. More of them than ever are willing to pay for their service of choice than ever before.
4. Downloads continue to slide. Downloads fall below $1 billion in total revenue as music consumers find that having access to millions of songs is a lot better than owning just a few.
5. Vinyl soars again. Once only a blip on the radar of the industry, vinyl sales continue to grow to the point where they make a very small but significant contribution to the bottom line of many record labels. For the first time in 40 years, new vinyl production gear is produced to meet the demand.
6. Artists find the right villain. Numerous artists see the various streaming platforms as the ones responsible for their tiny royalty payments, but many begin to see the light that it’s really the record label middle man that enjoys the majority of that income. As a result, artist’s attorneys negotiate new agreements with record labels to make the split a bit more equitable, but the record labels still continue to be favored.
7. Google’s YouTube Music Key initial acceptance is subdued, but gradually gains marketshare. Consumers used to getting their music for free on YouTube don’t initially see a reason for changing to the payed tier offered by Music Key when it’s initially launched, but begin to see the benefits of the service over time. The platform may take a full year to hit its stride, but it will eventually get there.
8. Spotify and Pandora take a hit. With the new entrants from Google and Apple in the marketplace, the growth of both Spotify and Pandora is stunted. Pandora is especially hurt, as consumers find they’d much rather pay for on-demand streaming than just a digital radio.
9. Revenue from traditional music distribution channels decays, but still continues to roll. Terrestrial radio still plays a major role in breaking acts, and listenership remains high despite the increase in streaming music consumption. Likewise, CD sales continue to fall, but at a slower pace than predicted. They’ll die eventually – it just won’t be this year.
10. The next new trend in music finally surfaces. The charts have been dominated by EDM-flavored dance music and country music for too long as consumers begin to tire of the genres. A new trend emerges that sets the music world on its ear. This is one that I predicted last year, but missed on. Hopefully it was just a year too early.
These predictions are some educated guesses about what may happen in the coming year, but if history tells us anything, it’s that there’s always something unexpected that will change everything. A year is a long time and a trend that begins the year aiming one way can completely change its course by year’s end.
That’s what makes these predictions so much fun. You never know what’s waiting around the next month’s bend. I can’t wait until this time next year to see which ones actually came to pass.
– Bobby Owsinski is the author is 24 books on recording, music, the music business and social media. Read excerpts at bobbyowsinski.com
Ahead of its now confirmed launch at the 2015 NAMM Show in January, Arturia has revealed a little more about the audio interface that it’s working on.
We still don’t have a name or specs, but the company says that the device will be “a high-end solution, competing in the top-tier market segment”. We’re guessing that also means that it won’t be cheap.
Arturia also confirms that this will be a portable interface that’s easy to use and will be “the best-sounding, and most well-connected device with the lowest-latency on the market today.”
Bullish talk, certainly – you can find out more about why Arturia thinks that the market needs this interface in the video above and on its website. The big reveal will be on 22 January.
1. The music recording is failing. Across the board, artists are experiencing serious problems monetizing their audio releases.
2. Recording revenues have been declining for more than 10 years, and they continue to decline precipitously year-over-year. This has dismantled the label system, once the most reliable form of artist financing.
3. Digital formats continue to grow, but not enough to overcome broader declines in physical CDs.
4. Even worse, the evolution of formats keeps pushing the value of the recording downward. Streaming pays less than downloads; downloads paid less than CDs. And the next thing after streaming will probably be even worse.
5. There is little evidence to suggest that this downfall is being made up by touring, merchandising, or other non-recording activities.
6. Streaming is rapidly becoming the dominant form of music consumption. It also pays artists the worst of any formats before it.
7. Post-album, artists and labels have failed to establish a lucrative, reliable bundle to monetize their recordings.
8. Most consumers now attribute very little value to the recording itself, and most consumption (through YouTube, ad-supported piracy, or BitTorrent) happens at little-to-zero cost to the listener.
9. A generally uncertain economic climate only adds to consumer resistance against paying for music.
10. A massive, decades-long shift towards free (or near-free) music means that entire generations have never paid anything for recordings. And will continue to resist any requirements to pay for music.
Google Android to support class-compliant USB audio interfaces
When it comes to audio performance, Android mobile devices have been a few steps behind their Apple counterparts. Android’s audio engine wasn’t initially optimised and latency figures were markedly higher than for iOS. Certain companies like Sonoma Wire Works have written software or worked around the limitations of the OS so you can now do audio based things like play synths, use DJ tools etc. without crippling latency. That’s the first hurdle cleared. The second, and more vital limitation with Android, especially for recording, was its inability to play nicely with third-party audio interfaces, which you’d need to get higher quality audio in and out of the device.
There are loads of these accessories available that increase the number and quality of your audio inputs and outputs. Take, for instance, something like the RME Fireface UCX. This is a serious piece of audio hardware that can operate in class-compliant mode. In this mode, no extra drivers are required. A lot of companies offer this functionality so that mobile recording and editing is possible from a tablet. But, up until now, Apple users have been having all the fun; Android OS hasn’t had any way of using class-compliant devices because the routines hadn’t been built into the OS at a level that allowed the functionality to exist.
Only 17 hours ago, this changed.
Google’s Android Open Source Project released a patch for issue 24614: ‘Add support for USB Audio’. This functionality has been requested by thousands of Android users and in September 2013, a team was assigned to add the functionality. This morning, the development work was released to the main code base.
This code should start appearing in developer builds and, with any luck, should soon be a part of the main codebase releases. There is no timescale on this just yet. It could be an incremental update, it might come along with the planned October release of Android L, or it might not appear until the version after.
However, this is the clearest sign yet that the problem is close to being fixed, and when it is, the playing field will be levelled. Musicians with Android devices can finally start playing with all the mobile accessories that Apple users have been enjoying for the past few years.
We’ve long warned DJs that they should not upload DJ mixes to SoundCloud – the popular audio sharing platform – because of the risk that their mixes will be removed for alleged copyright violation/s. It seems things have just gone from bad to worse in this respect, with a shocking piece of evidence that further reinforces that the platform really is utterly unsuitable for sharing DJ mixes on.
This week it has emerged on Do Androids Dance that SoundCloud has apparently granted Universal Music Group (one of the “big three” record labels alongside Warner and Sony) the right to remove content that it believes infringes its copyrights, without any involvement from SoundCloud itself in the process at all. This was revealed in an email trail involving a DJ called Greg Morris (“Mr Brainz” on SoundCloud) and the “SoundCloud Copyright Team”, in which they revealed to him that Universal is blocking content as it sees fit without SoundCloud’s involvement at all. Here’s that part of the alleged email trail:
From: Do Androids Dance
What this reinforces, alongside years of evidence that DJ mixes are taken down regularly and without warning (everything from radio shows to amateur mixes, although curiously big names seem to get away with it more), is that increasingly SoundCloud simply isn’t a safe place to upload your DJ mixes to.
Now, let’s put aside arguments over copyright here for a second: After all, “mix tapes” have always been a grey area (are they exploitative or promotional for the artists featured?) and indeed, Warner (for example) actually uses SoundCloud itself, unlike Universal which conspicuously doesn’t. Plus, we’re not talking about DJs making moey from their mixes, after all; we’re simply talking about being able to share our work. Instead, let’s look at the problem for DJs and how they can solve this.
The problem is that you need a way to show the world what you bring to the table as a DJ, and DJs by definition play other people’s music. That means copyright issues, and we’ve hopefully shown you that SoundCloud does not have your back on this. At best, you’ll put a great mix up, share the link with your friends and DJs, promoters etc, and when they come to listen, it’ll be gone due to a dreaded copyright removal. At worst, you’ll lose your work, have no backup of it, and it’ll be gone forever.
The fact is that for material you own the copyright in or have permission to use, SoundCloud is a great platform (we use it for our artist interviews in courses like the Digital DJ Masterclass, for instance), but for DJ mixes, it really is a complete no-go zone.
Alternatives to SoundCloud
So what are you to do? As ever, we recommend services like Mixcloud. Mixcloud may look similar, but it operates on a different type of licence. One of the stipulations of Mixcloud’s licence is that mixes on the service aren’t downloadable (an option you don’t have to have switched on in SoundCloud either, and which removes one of the bugbears of the piracy argument, although as you can see, that won’t stop your mix being removed), and also it is harder to reach a big audience on Mixcloud than SoundCloud, but you’ve not really got much choice in that. Similar services include House Mixes and Mixcrate. Find one you like and rest assured they’re made for DJs, not producers, and so your work should be safer on one of these.
Alternatively, you could host your mixes on your own site. Of course, you’re still technically potentially breaking the law depending upon where you are and how / where you’re hosting your mixes, but if you’re doing it for artistic expression or promotional reasons (ie not offering or worse, selling, downloads) and you have both a bit of technical knowledge and a bit of cash for the bandwidth, this can be an effective way of getting your work out there. Respecting any copyright infringement requests that come in would likely be advisable (unless you want Universal’s lawyers on your back, for instance), but you are crumbs in their big pie and it’s my guess you’d never have an issue (Note: I am not a lawyer.)
For us? It has to be Mixcloud – worry removed from your shoulders and your mixes safely available on a smart, stable platform. But whatever you choose, please stay away from SoundCloud. They don’t want you and it’s getting worse.