Category: Audio Production

The Pomodoro technique for music production means working on one music task in a timed focus block, traditionally 25 minutes, then taking a 5-minute break, with a longer break of 15 to 30 minutes after every four blocks. For producers it does two jobs at once: it stops sessions from drifting into endless tweaking, and the breaks rest your ears so you judge the mix more accurately. The free Pomodoro timer for musicians runs the cycle for you in a browser tab.

How the Pomodoro technique works

The method was developed by Francesco Cirillo and named after a tomato-shaped kitchen timer. The core loop is simple:

1. Choose one task.
2. Start a timer for one focus block.
3. Work on that task only until the timer ends.
4. Take a short break.
5. After four blocks, take a longer break.

The value is not in the exact numbers. It is in deciding what you will work on before you start, protecting that time from distractions, and stopping regularly enough that you can step back and assess.

Why it suits music work

• Ear fatigue is real. After long stretches of listening, especially at higher volume, your perception of brightness, bass and balance shifts. Short breaks help you come back with fresher ears and catch problems you were starting to ignore.
• Producing invites endless options. There is always another plugin, preset or sound to audition. A timer with a single task attached keeps you moving toward a finished track.
• Creative and technical tasks need different modes. Splitting a session into blocks makes it easier to separate writing from mixing so one does not stall the other.
• Progress becomes visible. Counting completed blocks shows how much focused time a song actually takes, which helps you plan future projects.

Good tasks for one focus block

A block works best when the task is specific enough to finish or clearly advance in one sitting:

“Work on the song” is too vague. “Finish the bridge chords” is a good block.

A sample session plan

Here is one way to structure a four-block session on a mix in progress:

1. Block 1: Static balance with faders and panning only.
2. Short break: Leave the room or sit in silence. Avoid headphones.
3. Block 2: EQ and compression on the drums and bass.
4. Short break.
5. Block 3: Vocal processing and effects.
6. Short break.
7. Block 4: Reference check against a level-matched commercial track and write a list of fixes.
8. Long break: Step away for a longer stretch before deciding on the list.

Adjusting the lengths

Twenty-five minutes is the traditional block, but it is not a rule. Many producers prefer longer blocks for writing, when ideas take time to build, and shorter ones for detailed mixing, when ears tire faster. In the Pomodoro timer you can set the focus, short break and long break lengths in minutes and choose how many focus sessions come before a long break. You can also start sessions automatically, mute the chime, or turn on optional desktop notifications. The countdown shows in the browser tab, and your daily and all-time session counts are saved only on your device.

What to do in the breaks

• Rest your ears: silence is better than switching to music on headphones.
• Stand up, stretch and look at something far away to rest your eyes from the screen.
• Drink water.
• Do not start a second task “just for a minute”; the break is part of the method.

Use your block count to plan projects

After a few songs, your saved session counts become a planning tool. If a mix usually takes you around a dozen focus blocks, you can estimate how many days an EP needs and spot when a song is eating far more time than usual, which is often a sign the arrangement, not the mix, needs work. Our article on how long mixing an album takes covers the bigger picture of scheduling a full project. Your own numbers will always be more useful than a general rule, because they reflect your speed, your gear and your genre.

Protect your hearing as well as your time

Breaks help with fatigue, but listening level matters too. Mix at moderate volume most of the time and turn up only briefly for checks. Use our dB meter to see roughly how loud your room is, and take an occasional hearing test to keep track of changes.

Common mistakes

• Starting a block without a task. Decide what “done” looks like before you press start.
• Skipping breaks when it is going well. That is exactly when ear fatigue sneaks up. Note your next step and take the break.
• Spending breaks on headphones. Your ears need silence to recover.
• Mixing and writing in the same block. Switching modes kills momentum.
• Treating the timer as a judge. An unfinished block is still progress; carry it into the next one.

FAQ

Find more ways to finish tracks faster in our workflow and productivity guide, and read about the method’s background in the Pomodoro Technique overview. Ready for your next session? Start the free Pomodoro timer and pick one task.

How big are audio files? An uncompressed stereo WAV at CD quality (44.1 kHz, 16-bit) takes about 10.6 MB per minute, a 24-bit 48 kHz stereo WAV about 17.3 MB per minute, and a 320 kbps MP3 about 2.4 MB per minute. The size depends on sample rate, bit depth, channel count and length, plus the format. The free audio file size calculator works out WAV, FLAC and MP3 sizes for any settings.

The formula for uncompressed audio

WAV and AIFF files store every sample, so their size is simple to predict:

bytes = sample rate × (bit depth ÷ 8) × channels × seconds

Divide the result by 1,000,000 for megabytes. For one minute of CD-quality stereo: 44,100 × 2 × 2 × 60 = 10,584,000 bytes, or 10.58 MB. The same calculation gives the bit rate: 44,100 × 16 × 2 = 1,411,200 bits per second, the familiar 1,411 kbps.

WAV sizes per minute

Doubling the sample rate doubles the size, and going from 16-bit to 24-bit adds half again.

Compressed formats: FLAC and MP3

• FLAC is lossless: it decodes back to exactly the same audio as the WAV. It usually ends up around 50 to 60% of the WAV size, depending on how dense the music is. Quiet, sparse material compresses more; loud, dense masters compress less. Details of the format are published by the Xiph.Org FLAC project.
• MP3 is lossy and set by bit rate, so its size is fixed regardless of the content: bit rate × seconds ÷ 8. At 320 kbps that is 2.4 MB per minute; at 128 kbps, 0.96 MB per minute.

Worked example: a full session

Imagine a 4-minute song recorded at 48 kHz / 24-bit with 24 mono tracks. Each mono track is 8.64 MB per minute, so 24 tracks for 4 minutes is 24 × 8.64 × 4 ≈ 829 MB of raw audio, before any extra takes, comps or bounces. Record three takes of everything and the session passes 2.4 GB. A stereo master of the same song at 44.1 kHz / 16-bit is about 42 MB, a FLAC of it roughly 21–25 MB, and a 320 kbps MP3 about 9.6 MB.

Use the calculator to plug in your own session: choose a sample rate from 44.1 to 192 kHz, a bit depth of 16, 24 or 32-bit float, mono or stereo, and the length. It shows the size per minute, the total and the bit rate, with FLAC and MP3 estimates next to it.

MB vs MiB: why Windows shows a smaller number

A megabyte (MB) is 1,000,000 bytes; a mebibyte (MiB) is 1,048,576 bytes. Windows uses MiB but labels it “MB”, so the same file looks about 5% smaller there than on macOS or in the calculator. One minute of CD audio is 10.58 MB, which Windows shows as 10.09.

Why file size matters for musicians

• Drive space. Multitrack sessions at high sample rates fill drives quickly. Plan storage and backups before a big recording day. Our guide on how to back up audio files covers the backup side.
• Upload limits. Email attachments, some sharing links and some distribution or contest platforms cap file sizes. Knowing the size in advance tells you whether to send a WAV, a FLAC or a link.
• Mastering deliveries. Send mix files for mastering as WAV or AIFF at the session’s sample rate and bit depth, not as MP3. Our track preparation guide lists what to send.
• Streaming and transfer. Bit rate tells you how much data playback uses and how long a transfer takes.

Does a higher sample rate sound better?

Higher sample rates capture higher frequencies and can help some processing, but they also multiply file size and CPU load. Many producers work at 44.1 or 48 kHz with 24-bit depth for a good balance. Bit depth mostly affects noise floor and headroom while recording; 24-bit gives plenty of room for home and project studios. Choose settings for your workflow, then let the calculator tell you what it will cost in space.

How to keep session sizes under control

• Record mono sources as mono. A vocal, a bass DI or a single guitar mic does not need a stereo track, and recording it in stereo doubles the file for no benefit.
• Clean up unused takes. Most DAWs can list or remove audio files that are no longer used in the arrangement. Back up first, then tidy.
• Archive finished projects as FLAC. Lossless compression saves space on long-term storage without losing quality, as long as your DAW or converter can turn it back into WAV.
• Bounce heavy virtual instruments only when needed. Printing every synth to audio adds files; keep MIDI where it is light enough to run live.

Common mistakes

• Forgetting channels. Stereo is twice the size of mono at the same settings.
• Sending MP3s for mixing or mastering. Lossy files throw away information you cannot get back.
• Comparing MB and MiB. Different operating systems report sizes differently.
• Underestimating takes. Comps, alternate takes and bounces can multiply session size.

FAQ

Learn more about capturing clean audio in our recording guide. Planning a session or a delivery? Get exact numbers from the free audio file size calculator.

Here is how to name your song: pull a short, memorable phrase from the lyric or the main image of the track, test it out loud, then search the streaming services to make sure it is easy to find and not already a famous song in your genre. If you are stuck, the free Solar Heavy name generator builds song titles, artist names and playlist names from a genre, a mood and your own keywords.

Why a song title matters

A title is the first thing a listener reads in a playlist, a release radar or a search result. It is also how people find the track again after hearing it once. A good title does three jobs: it matches the feeling of the music, it is easy to say and spell, and it points listeners to your track rather than to ten others with the same name.

The title also shapes how the song is remembered. When the hook line and the title match, a listener who only remembers the chorus can still type it into a search bar and land on your song.

Step 1: Start with the lyric

The most reliable source of a title is the song itself. Read through the lyric and mark:

• The hook line. The phrase that repeats in the chorus is usually what listeners will search for.
• The strongest image. A concrete object or place (a street, a colour, a car, a room) is often more memorable than an abstract word like “love” or “pain”.
• An unusual phrase. A short combination of words that does not appear in many other songs is easier to find.

Write down every candidate, even weak ones. A list of ten to twenty options is a better starting point than one idea you feel you must defend.

Step 2: Match the title to the genre and mood

Titles carry genre signals. A one-word, all-caps title reads differently from a long, sentence-style title, and listeners pick up on that before they press play. Look at the titles in a few playlists your song could sit in and note the patterns: length, whether they use full sentences, whether they use names or places, and how often they use numbers or symbols.

You do not need to copy those patterns, but a title that fits the shelf it sits on helps a curator or listener understand what they are about to hear.

Step 3: Generate options when you are stuck

For instrumentals and beats there is no lyric to borrow from, and that is where a generator helps. In the name generator:

1. Choose song title as the type of name.
2. Pick the genre and the mood that fit the track.
3. Add one or two keywords, such as an image from the lyric, a place, or the feeling of the drop. About half of each batch is built around your keywords.
4. Press Generate more for fresh batches and star the names you like. Favourites stay in your browser on that device.
5. Copy your shortlist into your notes and run each one through the checks below.

The tool runs in your browser and nothing you type is sent to a server. Treat its output as raw material: changing one word of a generated title often gives you something that feels like your own.

Step 4: Say it out loud

Read each shortlisted title aloud, as if a radio host or a friend were introducing the track. Cut any title that:

• is hard to pronounce or has more than one obvious pronunciation;
• is easy to misspell when someone hears it (people will search for the spelling they guess);
• sounds like a different, more famous song;
• needs an explanation to make sense.

Step 5: Check that people can find it

Search your shortlist on the main streaming services and a search engine. You are looking for two things:

1. Is it a famous song already? Song titles are generally not protected by copyright, so many songs share a name. The practical problem is search: if a big hit in your genre already owns the title, your track will sit under it.
2. Is it searchable? Very common single words and titles built from symbols are hard to find. Adding a second word, or using the specific phrase from your hook, makes the title more distinct.

If you plan to use a name commercially beyond a song title, such as an artist name, a label name or merch, check your country’s trademark register as well. The name generator filters out well-known artist and brand names, but it cannot check every one.

Step 6: Lock it into your metadata

Once you choose the title, use it the same way everywhere: the DAW project, the bounced file name, the distributor upload, the cover art and your social posts. Consistent spelling and capitalisation stop the same song from appearing as two different titles in stores. Our guide to adding the artist and song name to a file covers the tagging side.

Title checklist

Naming artists and playlists

The same process works for artist names and playlist names, with one difference: they need to last. A song title only has to work for one song, but an artist name has to work for every release and for your social handles. For a deeper look at choosing a performing name, read how to choose a musician name. The name generator has separate modes for artist or band names and for playlist names.

Common mistakes

• Naming the project file “final_v3” and never deciding. Pick a working title early and replace it later; a placeholder that sticks is worse than a deliberate choice.
• Choosing a title that only makes sense to you. Inside jokes rarely help a stranger remember the track.
• Ignoring search. A title that is identical to a big hit makes your song hard to find.
• Changing the spelling between platforms. Inconsistent metadata splits your plays and confuses listeners.
• Using a generated name without checking it. Always search a name before you print it or release it.

FAQ

For more on the craft behind the lyric, see our songwriting guide and the US Copyright Office’s notes on what copyright protects. When you need a title now, open the free name generator and build a shortlist in a minute.

A music release checklist covers everything from the final master to the weeks after release day: masters, cover art, metadata and credits, ISRC and UPC codes, distribution, pitching, pre-saves, promotion and follow-up. Working through it in order stops last-minute mistakes that delay a release or put wrong information in stores. The free release checklist builder gives you an editable, printable version that saves your progress in your browser.

How to use this checklist

1. Open the release checklist builder and give the list your release name.
2. Work from top to bottom, ticking items as you finish them; the progress bar updates as you go.
3. Add your own tasks to any section and remove ones you do not need.
4. Press Print checklist for a clean, printer-friendly copy to keep by your desk.

Your ticks and custom items are saved in that browser on that device. Nothing is uploaded, and clearing the browser’s site data removes the list, so print a copy for anything you cannot afford to lose.

Stage 1: The master

• Final mix approved, with no clicks, pops or cut-off tails.
• Mastered file delivered in the format your distributor asks for, usually WAV at 16- or 24-bit.
• Loudness checked with a reference and a meter; our LUFS meter measures integrated loudness in your browser.
• Mono compatibility checked so the track holds up on phones and speakers.
• Start and end silence trimmed consistently across every track.
• Explicit or clean version decided, and a clean edit made if needed.

Our guide on preparing your track for release goes deeper on this stage.

Stage 2: Cover art

• Square image, at least 3000 × 3000 pixels in RGB, which most stores ask for.
• No web addresses, prices, store logos or social handles on the artwork.
• Artist name and title, if shown, match the metadata exactly.
• You own or have licensed every image, font and photo used.
• Readable as a small thumbnail.

Stage 3: Metadata and credits

• Track titles spelled and capitalised exactly as you want them to appear.
• Primary artist, featured artists and remixers entered correctly.
• Songwriter, composer and producer credits collected and confirmed by everyone involved.
• Genre, language and explicit flags set.
• Lyrics prepared, if your distributor or platforms support them.
• Splits agreed in writing before release, not after.

Stage 4: Codes

• ISRC for every track. An ISRC identifies a specific recording; reuse the same code for the same recording on every release it appears on. See the International Standard Recording Code overview.
• UPC (or EAN) for the release as a whole.
• Many distributors can issue both; note them in your records either way.

Stage 5: Distribution and release date

• Distributor chosen and account set up.
• Release date picked with enough lead time. Aim to upload 3 to 4 weeks before release day, so stores can process it and you have time to pitch and run a pre-save.
• Upload completed and every field reviewed before submitting.
• Store and territory selections checked.
• Release format correct: single, EP or album. Our explainer on how many songs are on an EP covers the common rules.

Stage 6: Pitching and pre-release

• Track pitched to editorial playlists through the platforms’ artist tools where available.
• Pre-save or pre-order link created and shared.
• Short bio and release description written.
• Press and blog contacts listed and pitched.
• Social content planned: teasers, behind-the-scenes clips, lyric snippets.
• Artist profiles updated with new photos and links.

Stage 7: Release day

• Check that the release is live and correct on each major store.
• Share the links on every channel and with everyone who worked on it.
• Thank collaborators and early supporters publicly.
• Fix any metadata errors with your distributor straight away.

Stage 8: After release

• Register the songs with your performing rights organisation and any other collection societies you belong to.
• Track early streams and saves in your artist dashboards.
• Keep posting content about the song for several weeks, not just on day one.
• Save every final file, code and credit in one archive for the future.
• Review what worked and add new tasks to your checklist for next time.

A sample release timeline

Checklists work best when each stage has a deadline. Count backwards from your release day:

If you release often, the early stages can overlap: finish the next master while the current song is in its promotion window. Print each release’s checklist once it is complete and file it with the masters, artwork and codes, so you have a record of exactly what went out and when. Before starting the next release, untick the builder’s items or remove and re-add custom tasks so the list reflects the new project.

Worked example: a single on a tight schedule

An artist finishes a single five weeks before their chosen date. The master is approved in week one, and the artwork, metadata and codes are completed in week two. The upload goes in at four weeks out, leaving room for the distributor to process it and for a playlist pitch. Pre-save links go out with the first teaser three weeks before release. On the day, the artist checks the release on each store, spots a featured artist’s name misspelled on one platform and asks the distributor to correct it immediately. Working down a list makes that kind of check routine rather than something remembered by chance.

Plan the budget alongside the checklist

Most checklist items have a cost: mixing, mastering, artwork, distribution, codes and promotion. Put your own quotes into the release cost calculator to see the total, the cost per track and a rough break-even stream count, then check potential earnings with the royalty calculator.

Common mistakes

• Uploading a week before release. You lose the time needed for processing and pitching.
• Mismatched names. An artist name spelled differently on the art and in metadata can cause rejections or split profiles.
• New ISRCs for an existing recording. Reuse the original code when the same recording appears again.
• Unagreed splits. Settle credits and percentages before the song is out.
• Stopping promotion after day one. Most songs need weeks of attention.
• Logos or URLs on the cover. Stores commonly reject artwork with them.

FAQ

For more on getting paid and getting heard, see our music business guide. Start your next release with the free release checklist builder and tick it off one task at a time.

Here is how to build chords from a scale: start on any note of the scale and stack every other note on top of it (root, third and fifth), using only notes from that scale. Doing this from each of the seven notes gives you the seven diatonic chords of the key, the chords that naturally fit together. The free chord and scale reference shows the notes, intervals, piano keys, guitar shapes and MIDI numbers for any chord or scale, and lets you download it as a MIDI file.

Step 1: Write out the scale

Pick your key and list the seven notes, numbering them 1 to 7. In C major:

Not sure what key your song is in? Our guide on how to find the key of a song walks through it.

Step 2: Stack thirds on each note

Take a scale note, skip one, take the next, skip one, take the next. From C you get C, E and G. From D you get D, F and A. Continue up the scale, wrapping round to the start when you run out of notes. Each result is a triad: a root, a third and a fifth.

Step 3: Name each chord by its intervals

The quality of each triad depends on the distance in semitones between its notes:

• Major: 4 semitones from root to third, 7 from root to fifth.
• Minor: 3 semitones to the third, 7 to the fifth.
• Diminished: 3 semitones to the third, 6 to the fifth.

The chord and scale reference shows the intervals and semitone counts for every chord, so you can check your spelling as you go.

The diatonic chords of a major key

Every major key follows the same pattern of qualities: major, minor, minor, major, major, minor, diminished. Roman numerals show it, with upper case for major and lower case for minor:

The diatonic chords of a natural minor key

A natural minor key uses the same notes as its relative major, starting from the sixth degree, so the pattern shifts: minor, diminished, major, minor, minor, major, major.

Many songs in minor keys raise the seventh note to make the v chord major (E instead of Em in A minor), which gives a stronger pull back home. That raised note comes from the harmonic minor scale, one of the scales you can view in the reference.

Step 4: Add sevenths for richer chords

Stack one more third on top and each triad becomes a seventh chord. In C major: Cmaj7, Dm7, Em7, Fmaj7, G7, Am7 and Bm7♭5. Seventh chords sound smoother and jazzier, and they are common in R&B, neo-soul, lo-fi and house. The reference covers 7th, maj7, m7, 6th, 9th, sus2, sus4, diminished and augmented chords, so you can compare their colours.

Step 5: Get the chords into your DAW

1. Open the chord and scale reference and choose Chords.
2. Pick the root note and the chord type.
3. Check the correctly spelled notes, the MIDI note numbers and the keys on the piano diagram, or the guitar chord shapes if you play guitar.
4. Press Download MIDI for a standard MIDI file containing a one-bar chord block.
5. Drag it into any DAW and copy it to the bars you need.

Switch to Scales to download the scale going up to the octave, a handy guide track for writing melodies. The MIDI files use the standard where middle C (C4) is note 60; some DAWs label that note C3, but the pitch is the same.

Chords from modes

The same stacking method works on any seven-note scale, including the modes. Each mode is a major scale started from a different degree, so it has its own pattern of chord qualities and its own character:

• Dorian (D to D using C major’s notes) has a minor home chord but a major IV chord, giving minor songs a brighter, soulful lift. In D Dorian the chords include Dm and G.
• Mixolydian (G to G) has a major home chord with a flat seventh, so the chord a whole step below home is major. In G Mixolydian that is F, a sound common in rock and funk.
• Lydian (F to F) has a major II chord, which gives a floating, dreamy feel often heard in film music.

Choose Scales in the reference to view every mode with its notes and intervals, then stack thirds exactly as you did for the major scale.

Voicing and inversions

The notes of a chord do not have to be played in root position. Moving the lowest note up an octave gives an inversion: C, E, G becomes E, G, C. Inversions let you move between chords with smaller hand or note movements, which sounds smoother and keeps parts in a comfortable range. When you drag a downloaded chord into your DAW, try shifting individual notes up or down an octave to find the voicing that fits your arrangement.

Worked example: a progression from the scale

In C major, the chords I, V, vi and IV give C, G, Am and F, one of the most used progressions in pop. Because all four come from the same scale, they share notes and move smoothly. Swap the vi for a ii (Dm) for a softer feel, or replace G with G7 for a stronger pull back to C. To audition more combinations quickly, try the chord progression generator, and read how to make chords for voicing tips.

Why spelling matters

Each scale uses every letter name once. That is why F# major contains E# rather than F: the seventh note must be some kind of E. Correct spelling makes chord names consistent and stops theory from getting confusing in sharp and flat keys. The reference spells every chord and scale this way.

Common mistakes

• Using notes from outside the scale by accident. Count from the scale, not from the chromatic keyboard.
• Forgetting the diminished chord. vii° in major and ii° in minor sound tense; use them as passing chords.
• Mixing up relative keys. C major and A minor share chords; the home chord decides the key.
• Ignoring octave labels. If a MIDI file seems an octave off, check whether your DAW calls middle C “C3”.
• Stopping at triads. Sevenths and suspended chords add colour from the same scale.

FAQ

Go deeper with our music theory guide and the overview of diatonic harmony. Pick a key and build your first set of chords in the free chord and scale reference.

How many songs on an EP? Under the guideline most distributors use, an EP has 4 to 6 tracks with a total running time under 30 minutes, or 1 to 3 tracks where at least one runs 10 minutes or longer. Fewer, shorter tracks make a single, and 7 or more tracks or 30+ minutes usually make an album. Add your track lengths to the free song length and release cost calculator and it tells you which format your release falls into.

Single, EP or album: the common guideline

This guideline is widely used by stores and distributors, but each distributor applies its own rules. Always check your distributor’s help pages before you upload, because a release that is labelled wrongly may be reclassified or sent back.

Why the label matters

• How stores display it. The format appears next to the release on artist pages and in search.
• Release planning. Some artists release several singles first and then collect them on an EP or album. Knowing the rules helps you plan which tracks go where.
• Listener expectations. An EP signals a short, focused collection; an album suggests a fuller statement.

For a broader look at the formats and their history, read our explainer on singles, EPs, albums and LPs.

How to check your release with the calculator

1. Open the song length and release cost calculator.
2. List each track with its length in minutes and seconds (m:ss).
3. Read the total runtime, the average track length and the start time of each track.
4. Check the format label: single, EP or album, under the common distributor guideline.
5. If you are close to a boundary, try moving a track, adding an interlude or trimming an outro and see how the label changes.

Worked examples

• Three tracks of about 3:30 each. Total about 10:30, every track under 10 minutes: a single.
• Five tracks totalling about 18 minutes. An EP.
• Two tracks, one of them a 12-minute ambient piece. Because one track is 10 minutes or longer, this is an EP rather than a single.
• Six tracks totalling 31 minutes. Only six tracks, but over 30 minutes, so it is normally treated as an album.
• Seven short tracks totalling 20 minutes. Seven tracks, so normally an album.

How many songs should your EP have?

The rules give a range; the right number depends on your goal.

• Four tracks keep a tight, focused release and leave room to put the best song first.
• Five or six tracks give a fuller picture of your sound while staying short enough to hear in one sitting.
• Quality over count. A shorter release of strong songs usually serves a new artist better than padding with weaker tracks.

Sequence matters as much as count. Open with a track that represents the release, vary tempo and energy, and end on something that leaves listeners wanting more. The calculator’s track start times help you see how the running order flows.

EP or album: which should you release?

An EP is often the better choice for an artist still building an audience. It takes less time and money to finish, it is easier for a new listener to hear all the way through, and it lets you release again sooner. An album makes more sense when you have a body of songs that belong together, an audience waiting for a bigger statement, or a story that needs more room. If you are unsure, finish the strongest four to six songs first; you can always release them as an EP and keep the rest for later.

Budgeting the release

The same tool has a cost section. Fill in your own figures for distribution, mixing, mastering, artwork, ISRC and UPC codes, marketing and anything else, and it shows the total budget, the cost per track and roughly how many streams it would take to break even. The numbers already in the boxes are examples only, so replace them with your real quotes. Per-stream payouts vary by platform, country and deal, so use the rate from your own statements if you have one; our royalty calculator helps you explore earnings.

More tracks usually means more mixing and mastering work, so the cost section is a useful reality check when deciding between an EP and an album.

Before you upload

Once the format is settled, work through the release tasks: final masters, artwork, metadata and credits, codes and a release date with enough lead time for pitching. Our guide to releasing music walks through the process, and the release checklist builder gives you a printable to-do list.

Common mistakes

• Assuming four tracks always make an EP. If they run 30 minutes or more, most stores will treat the release as an album.
• Forgetting the 10-minute rule. One long track can turn a single into an EP.
• Not checking the distributor’s rules. The guideline is common, not universal.
• Padding to reach a format. Add tracks because they are good, not to hit a number.
• Leaving example costs in the budget. Use your own quotes.

FAQ

Learn more about the business side of releasing in our music business guide and the background on the extended play format. Planning your next release? Add your tracks to the free song length and release cost calculator.

Here is how to find the key of a song: collect the notes you hear in the melody, bass and chords, compare them with the major and minor scales that contain them, and then decide which note feels like home. The free key and scale finder does the comparison for you: tap the notes you hear and it ranks the most likely keys, shows the full scale and lists any notes that fall outside it.

What “key” actually means

A key is a set of seven notes (a scale) plus a home note, called the tonic, that the music keeps resolving to. C major uses C, D, E, F, G, A and B, with C as home. A minor uses exactly the same seven notes, but A feels like home. That is why finding a key always has two parts: which notes and which note is home.

Knowing the key lets you write parts that fit, choose samples that will not clash, tune vocals to the right scale, and talk to other musicians quickly.

Step 1: Find the home note

Play the song and hum one note that feels like it could end the song. This is usually:

• the last note of the melody, or the last bass note;
• the root of the first or last chord;
• the note the chorus keeps landing on.

Find that note on a keyboard, a guitar or an online piano by matching it until the two sound the same. This is your best guess for the tonic. Keep it in mind, but do not lock it in yet.

Step 2: Collect the notes you hear

Next, work out the other notes in the song. The bass line is a good place to start because it is usually simple and clear. Then add notes from the main melody and the chords.

Open the key and scale finder and tap each note as you find it. You do not need to enter them in order, and repeating a note does not count twice. After three notes the tool starts suggesting keys; five to seven distinct notes give a much more reliable answer.

Step 3: Read the ranked keys

The finder compares your notes with all 36 major, natural minor and harmonic minor scales. Keys that contain the most of your notes rank highest, with a bonus when the tonic chord and your chosen home note are in the set. For each suggestion you see the full scale and the notes you entered that sit outside it.

If the top result contains every note you entered, you are almost certainly in that key or its relative major or minor.

Step 4: Choose between major and its relative minor

Every major key shares its notes with one minor key. The finder will often show both near the top, because the notes alone cannot separate them. Use your ears and the home note:

Set the home note in the finder and it will favour the matching key. A song that sounds bright and settled on the home chord is usually major; a darker, heavier resolution usually points to minor.

Step 5: Handle notes that do not fit

Real songs borrow notes from outside their key all the time. The finder still shows the closest match and lists the outside notes, so you can judge whether they are passing colour or a sign that you have the wrong key.

• A raised seventh in a minor key, such as G# in A minor, usually points to harmonic minor. The finder includes harmonic minor scales for this reason.
• One odd note in a single chord is often a borrowed chord and does not change the key.
• Several outside notes in one section may mean the song modulates. Find the key of each section separately.

Worked example

Say the bass line uses A, C, D and E, the melody adds G and B, and the song keeps resolving to A. Entering A, B, C, D, E and G gives C major and A minor as the top matches, because both contain all six notes. Setting the home note to A puts A minor first. If a chorus chord adds G#, the finder lists G# as an outside note for A natural minor and ranks A harmonic minor highly, which tells you the song uses the raised seventh on that chord.

When you have a recording instead

Working by ear trains your hearing and works on any song, but if you have the audio file, our BPM and key finder analyses the file in your browser and estimates both the tempo and the key. Use it as a starting point and confirm the result by ear, especially on songs with heavy distortion, lots of drums or key changes.

What to do once you know the key

• Set the scale in your vocal tuner or MIDI scale tool so new parts stay in key. Our vocal tuner helps you check sung pitch.
• Build a progression from the scale’s chords with the chord progression generator.
• Use the circle of fifths to find closely related keys for a bridge or a modulation; our guide on how the circle of fifths is used explains how.

Common mistakes

• Guessing from the first chord only. Many songs start away from home. Check where the song resolves.
• Ignoring the relative minor. C major and A minor share notes; the home note decides between them.
• Entering too few notes. Three notes fit many keys. Aim for five to seven.
• Treating every outside note as a key change. Borrowed notes are common; look for a pattern before deciding the key has changed.
• Trusting audio detection blindly. Automatic detection can confuse relative keys. Always check with your ears.

FAQ

For the theory behind scales and keys, browse our music theory guide or the overview of musical keys on Wikipedia. Have a melody stuck in your head? Tap its notes into the free key and scale finder and get the key in seconds.

What is A440 tuning? It is the standard pitch reference in which the A above middle C (A4) vibrates at 440 Hz, and every other note is tuned relative to it. Most tuners, instruments, sample libraries and recordings assume A440, so matching it keeps you in tune with the rest of the world. To hear the reference, play A440 or any other note in the free online tone generator.

Why a pitch standard exists

A note name like “A” does not describe a fixed sound on its own. Without an agreed reference, two instruments can both play an A that sounds noticeably different. A pitch standard fixes one note to a frequency so pianos, guitars, synths and orchestras can play together. A440 was adopted as an international standard and is described in ISO 16; it is the default in almost every electronic tuner and DAW.

How the other notes are calculated

Modern Western music uses twelve-tone equal temperament. Each octave doubles the frequency, and the octave is split into twelve equal semitone steps, so each semitone multiplies the frequency by the twelfth root of two (about 1.0595). Starting from A4 = 440 Hz:

To look up any note, frequency or MIDI number, use the pitch to Hz and MIDI converter.

A440 vs A442 vs A432

A440 is the common default, but you will meet other references:

• A442 and A443. Some orchestras tune slightly higher for a brighter sound. If you record with an orchestra or a piano tuned this way, set your tuner and virtual instruments to match.
• A432. This places A about 32 cents lower than A440. Some musicians prefer it, but there is no scientific evidence that it sounds better or has special effects on the listener. It only matters that everyone on a recording uses the same reference.
• Historical pitch. Early-music ensembles often use lower references, such as A415, to match period instruments.

In the tone generator you can change the A4 reference to 442 Hz, 432 Hz or any value, and every note updates to that tuning.

How to tune to A440 with a tone generator

1. Turn your speakers or headphones down first, then raise the level gently. Pure tones can be tiring, especially on headphones.
2. Choose the A440 preset, or select the note you want to match.
3. Play your instrument’s note at the same time and listen for a slow wobble, called beating. Beating means the two pitches are slightly different.
4. Adjust the instrument until the wobble slows and disappears.
5. For a guitar, play the Low E preset (82.41 Hz), tune that string, then work through A2, D3, G3, B3 and E4.

The tool fades every tone in and out, caps the output well below full scale and stops after five minutes or when you switch tabs, so it is safe to leave a reference running while you tune.

Other uses for a tone generator

• Checking speakers and headphones. Sweep through low frequencies to hear where your monitors stop producing bass, or find rattles in the room.
• Ear training. Play a reference and sing or hum the note, then check whether you landed on it. Our guide on ear training for audio engineers builds on this.
• Tuning samples. Play the tonic of your song as a sine tone and tune a kick, 808 or vocal chop until it sits with it.
• Testing your hearing range. The upper limit of what you can hear drops with age and noise exposure. For a structured check, use our online hearing test.

Does tuning reference matter in a DAW?

Inside a DAW most synths and samplers follow a master tune setting, usually A440 by default. If you record a live instrument tuned to something else, either retune the instrument or change the master tune so the virtual instruments match. Mismatched references produce parts that sound slightly sour together even when every note is “right”. A sung vocal can be checked against the reference with our vocal tuner.

Cents, beating and how close is close enough

Tuning differences are measured in cents. One cent is a hundredth of a semitone, so an octave contains 1,200 cents. Small offsets are hard to hear on a single note but become obvious when two notes play together, because the slight difference in frequency creates beating: a regular pulse in volume. The beat rate equals the difference between the two frequencies, so a note at 441 Hz played against 440 Hz pulses once per second. As you get closer, the pulse slows, and when it stops the two pitches match.

The tone generator’s fine-tune slider moves a note in cents, which is useful for matching an instrument that is consistently a little sharp or flat, such as an old piano you cannot retune before a session. Set the generator to the instrument’s pitch, then tune the rest of the band to that reference.

Common mistakes

• Starting a tone at high volume. Always begin low, especially on headphones.
• Mixing references on one session. A piano at A442 and a synth at A440 will clash.
• Tuning by octave confusion. Make sure you are matching the same octave, or a clean octave above or below.
• Expecting A432 to fix a mix. Changing the reference does not improve tone or balance; arrangement and mixing do.

FAQ

For more ways to sharpen your hearing, see our ear training guide and the background on the A440 pitch standard. Need a reference note right now? Open the free tone generator and press play.