Describe the sound in plain words. Twenty credits a track

You write the sound in ordinary language. Warm acoustic guitar, slow, hopeful, nothing dramatic. Or dry drum machine, minimal, a little cold, modern.

Supply lyrics and they are sung. Leave the words empty and the track comes back instrumental.

It costs 20 credits regardless of length. A $15 top-up of 1,000 credits is fifty tracks. Basic at $39.99 for 2,500 credits a month is a hundred and twenty-five.

In the editor, music is a switch, a track and a level. You turn it on. You pick the track. You set how loud it sits under the read. That is the entire control surface.

So the workflow is not brief, wait, revise. It is generate four, drop each under the same ad, keep one.

In a film, music is allowed to be the point for thirty seconds. In a vertical ad it has one structural job. It holds the floor under a person talking so the silence does not read as cheap.

That is furniture, not performance. A good ad bed is deliberately boring. Steady pulse. Narrow range. No new idea every eight bars. No arrival that competes with a sentence.

Played on its own it should be slightly dull. The dullness is how you know it survives being underneath something.

The music people reach for first does the opposite. It builds, it drops, it has a hook. Every one of those events lands on top of a sentence.

The test takes one play. Watch your ad, then write down the sentence at eighteen seconds without rewinding. If you cannot, the music is winning.

Watch where people go wrong. They pick the track they enjoy, then push it up because the ad feels flat. The ad was flat for reasons the music was never going to reach.

Reach for texture words rather than genre labels. Warm, dry, sparse, soft, steady, muted. Those describe the space a track occupies, which is what you care about.

Genre labels import an entire arrangement, complete with a build and a drop nobody asked for.

Say what you do not want, out loud, in the description. No big build, stays flat, no events. That is useful instruction and it costs nothing to include.

Under a talking-head read, instrumental almost always wins. A sung vocal and a spoken read sit in the same frequency range and mask each other whatever you do with the level.

One habit saves credits. Write the description down before you generate anything, then change one word at a time. Changing four words at once tells you nothing about which one worked.

It does not sync to your cuts. The track has no knowledge of your edit points, so treat it as something that plays under a section rather than something that hits a word.

It is not revised after the fact. There is no arrangement view, so you describe it again and generate another. At 20 credits that is faster than any revision round.

It does not duck itself under your voice. You set one level and it holds, which is why setting it lower than feels right in a quiet room is the correct instinct.

It will not reproduce a track you have heard. Asking for a named artist's sound is not worth attempting, because the result would not be yours to advertise with.

None of those cost you an ad. A bed under a vertical read wants to be steady, quiet and uneventful, and that is exactly what one sentence of description buys.

Four candidates for one ad is 80 credits. That is well inside the 300 credit trial and a rounding error against a 2,500 credit month.

The point is not that music got cheap. The point is that deciding on paper became the expensive step.

Generate four beds. Drop each under the same ad. Keep the one you stop noticing. Ten minutes settles an argument that a brief and two revision rounds would not have settled.

Judge them in the room the ad will be watched in. Phone speaker, half volume, standing up, other noise nearby. If you lean in to catch the fourth sentence, the bed is too loud or too interesting.

The trial is 7 days and 300 credits with no card, which is fifteen tracks. Basic is $39.99 a month for 2,500 credits. Premium is $79.99 for 5,000. A $15 top-up adds 1,000.