Suno makes songs. Cutroom makes the bed under a read.

Full songs with structure, vocals, verses and a chorus, in almost any style, with real control over the result.

It is the right tool for a release, a soundtrack, a jingle you intend to be remembered, or anything somebody plays deliberately.

The iteration loop matters too. Getting from a take that is eighty percent right to one that is finished is what a music-first tool is designed for.

Ownership terms matter here too, and a music-first tool is the one that publishes them for a track you intend to reuse.

If you are shopping for music, that is the correct buy and nothing here competes with it.

Here is the other job. A bed under a voice has to hold energy, mark the transitions and never pull attention off the words.

That is a smaller purchase than a song, and paying for a songwriting tool to get one is overbuying.

In Cutroom the track is generated from a style description at 20 credits and dropped under the read at a level you set.

It happens in the same session where you are marking the transcript, and it exports inside the finished 9:16 file.

The track that sounds best on its own is usually the wrong one. Interesting music competes with a spoken claim.

Most people discover this by turning the music down twice and still finding the ad muddy. The problem was the choice, not the level.

There is a second constraint nobody mentions. Half the feed watches with the sound off, so the music cannot be carrying meaning at all.

There is a simple test. Play the ad once and try to describe the music afterwards. If you can, it is too interesting.

Twenty credits buys exactly that, and the rest of the budget goes on the ad it is sitting under.

That is the whole reason a bed is a line item here rather than a separate subscription somewhere else.

Write a style description and you get a track. Write lyrics too and you get them sung.

Leave the lyric field empty and the result is instrumental, which is what almost every ad with a voice-over needs.

One rule covers most of it. If there is already a voice in the ad, the music does not get words. Two voices fight, and both lose.

The track then sits under the read at a level you choose, inside the same editor where you are marking the transcript.

Highlight a phrase and coverage lands on those words. Delete a line and the cut rebuilds around it. Change the pace and everything re-cuts.

Music is one lever among eleven, which is exactly the weight it deserves in a thirty-second ad.

Where there is no voice at all, words become useful again, because something has to carry meaning while the pictures move.

One generated track per job, described by style, with lyrics optional. Twenty credits, whatever the length.

It leaves the product inside a 9:16 MP4. There is no audio-only export at any price.

You cannot regenerate a single section or ask for a different second chorus.

There are no stems and no mixing controls beyond how far under the read the bed sits.

There is no track library to browse and no way to save a bed as a house sound across a campaign.

This is a bed generator inside a cutting room, priced accordingly, and the next section shows where the real spend sits.

Somebody playing it deliberately means it is a song, and a song needs a songwriting tool.

Keeping energy under a person talking for thirty seconds means it is a bed, and a bed is a 20-credit line item.

That distinction saves more money than any feature comparison. The two purchases are an order of magnitude apart.

The rest of the ad is where the cost sits. A batch is 100 credits and export is 20 per finished minute.

Winners run at 5 to 8 percent of creatives, per Motion's analysis of 550,000+ Meta ads. The count of finished ads is what to optimise.

One finished minute from a fresh take is about 120 credits, and a generated bed adds 20 more.

Seven days and 300 credits with no card covers two full one-minute ads with music under both.