Send a music demoas a link that plays

It plays on click, and that is the whole pitch

The real reason a demo goes unheard is almost never the music. It is that the link you sent opens a file-storage page with a download button on it, and the person you sent it to is on a phone, between things, and not about to download a 40 MB file from a stranger to their work laptop.

A page with a player on it removes that entire decision. They tap, it plays, they hear the first eight bars — which is all you were ever going to get anyway. The file streams from our end with byte-range support, so pressing play starts audio in a second and dragging the scrubber to the chorus does not re-download the track from the beginning.

Same reason it works for a collaborator: a producer checking a rough mix on their phone on a train wants to hear it, not to manage a file.

MP3 or WAV — what actually fits, with the arithmetic

This is the question artists actually have, and it is answerable with one number. Uncompressed 16-bit, 44.1 kHz stereo audio runs at 176,400 bytes per second — about 10 MB per minute. Bump to 24-bit/48 kHz and it is roughly 16.5 MB per minute.

The practical rule: send MP3 unless someone has specifically asked for the WAV. Nobody has ever passed on a demo because it was 320 kbps, and a file that plays instantly on mobile data gets heard more often than one that takes thirty seconds to buffer. Keep the WAV upload for the mastering engineer and the sync brief that demands it.

FLAC is the useful middle if you genuinely need lossless: roughly half the size of the WAV, plays in the browser, and no quality argument. It is a good format for sending a mastered track to a collaborator.

• Free covers up to 100 MB per file: about 9 minutes of 16-bit/44.1 kHz WAV, or roughly 40 minutes at 320 kbps MP3.
• Pro raises it to 200 MB — about 19 minutes of CD-quality WAV, which covers a full-length track with room to spare and most EP-length MP3 bounces.
• Lifetime goes to 250 MB per file.
• A 320 kbps MP3 is about 2.4 MB per minute; 192 kbps is about 1.4 MB per minute. A four-minute song at 320 is under 10 MB.
• An album (several tracks under one link) is capped at 500 MB in total — comfortably a whole EP as MP3, and a stems folder if you are careful.

Unreleased material: what you can lock, and what you cannot

If the track is not out yet, you have three real controls and one hard truth. The controls: a password on the link, an expiry date, and view-only so the download button is gone. All three are Pro, all three take a few seconds, and together they make casual leaking meaningfully harder.

The hard truth is that audio cannot be protected by a link. Anything that plays through a speaker or a headphone jack can be recorded — from the system's own audio output, in software, at full quality, with no watermark and no trace. That is true of every streaming service, every private SoundCloud link and every proofing platform, and anyone selling you otherwise is selling a feeling.

So use the controls for what they are: friction that stops a forwarded link from working, and a record of who you gave access to. If a track is genuinely leak-critical, the protections that work are the boring ones — send it to fewer people, send it later, and keep a note of who had it.

Stems, an EP, and everything else that is more than one file

Upload several files at once and they become one album with a link per track inside it. That covers the three cases that otherwise turn into a mess.

For stems specifically, be realistic about size: a set of 16 WAV stems for a four-minute song is several hundred megabytes and will bump the album cap. FLAC stems roughly halve it, and most engineers are happy to receive them.

• A whole EP as one link, with the tracks in order — number the filenames (01, 02, 03) and they stay in your running order.
• Stems for a producer or a mixer: upload the folder, send one link, and they pull the individual files they need from their own links rather than a 900 MB ZIP.
• A demo plus the artwork plus a one-page bio PDF in the same link, which is what a label actually wants and almost nobody sends.
• One track that needs to be sent on its own later? Use that file's individual link — the album stays intact.

Knowing it was played — and reading that honestly

Every link records opens with timestamps, and on Pro you can be emailed the moment one is opened. For anyone sending demos into silence, that is the difference between guessing and knowing.

Read it carefully, though, because audio makes it easy to over-interpret. An open means the page was loaded. It does not mean they pressed play, and it certainly does not mean they listened past the intro — there is no playback tracking here, no completion rate, no 'they stopped at 0:47'.

What it is genuinely good for: three opens and no reply is a real signal (they are considering it, or they played it to somebody), and zero opens two weeks after a warm conversation means the email did not land or was never seen — which is a completely different problem from being turned down, and one you can actually fix by sending it again another way.

What this is not

This is a way to get a track in front of someone in one tap. It is not a music platform, and the gaps are specific.

If you need waveform comments and versioned mix revisions with a client, a dedicated audio-review tool is the right purchase. If you need a demo to be heard by somebody who is not going to download anything, this is a link and it takes a minute.

• No waveform player. It is the browser's own audio player — play, scrub, volume. No visual waveform to click into.
• No timestamped feedback. Comments (Pro) attach to the link, not to a moment in the track. There is no 'the snare at 1:12' annotation — a collaborator has to type the timestamp themselves.
• No distribution. Nothing here submits to Spotify, Apple Music, DDEX or any aggregator, and no ISRC or metadata is written.
• No playback analytics. Opens are recorded; plays, skips and completion are not.
• No private social feed, no followers, no reposts. If you want the community layer, that is what SoundCloud is for.