Friends say it's fire. Forums say re-do the mix. Neither tells you what to change. Upload the track and get feedback tied to the audio: what the song does well, where it loses people, and which single thing is worth fixing first.
The feedback most artists can get is either too kind or too vague. People close to you hear the effort; strangers on a forum hear ten seconds and answer with taste. Both are opinions about a whole song, and a whole song is not a thing you can fix.
Measured feedback is narrower and more useful: your hook arrives at 0:34 and short-form viewers decide by 0:03; your master sits 5 dB above the Spotify target and gets turned down; the lyric section scores lowest of the four dimensions. None of that is a verdict on your taste — all of it is something to change.
It also does not replace ears. It will not tell you whether the song moves someone, whether the vocal take is the right one, or whether the idea is worth finishing. That part stays yours. What it removes is the guesswork underneath it.
| Question | Answerable from the audio? | Who answers it |
|---|---|---|
| Is my hook late? | Yes — measured in seconds | The moment detection |
| Will my master get turned down? | Yes — LUFS against the target | The loudness check |
| Is my writing the weak part? | Partly — rhyme, structure, clarity | The lyric scoring |
| Is this the right vocal take? | No | You, or ears you trust |
| Does the song move people? | No | An audience, after you post it |
| Should I finish this idea? | No | You — a score only ranks what exists |
0–100 for viral potential, broken into hooks, energy curve, production and lyrics — so the number points at something instead of just ranking you.
Ranked moments with timestamps and the signal behind each — the parts that work, which is also the part you should be leading with.
The lowest-scoring dimension, the hook that arrives too late, the master that will be turned down — named, with the number attached.
The same analysis renders 7 ready-to-post clips cut around your strongest seconds, so acting on the feedback does not mean starting over.
MP3 or WAV, 30 seconds minimum. Demos, rough mixes and unreleased songs are the normal case here.
Tempo, key, loudness, structure, vocals, lyrics, hook placement and viral moments — all read from the audio itself.
Score, dimensions, timestamps and the loudness check, in about a minute. Nothing to wait for and nobody to ask.
Every part of the result is traceable to a measurement of your file — tempo, loudness, hook position, lyric scoring. Scores can be low, and low scores come with the reason. What it cannot do is tell you whether the song is good in the sense that matters to you; that is taste, and taste is not measurable.
Yes, and that is the point of running it early. Structure, hook position and lyrics are all readable long before the master. The loudness check is the one number that only becomes final once you have mastered.
It gives you production-side measurements — integrated LUFS, true peak, energy distribution — not engineering instructions. If your master is 5 dB too loud, it says so and by how much; the decision how to solve that stays with you or your engineer.
Groups give you a handful of opinions on the whole song, hours later, usually shaped by whoever answers first. This gives you the same measurements on every track, in about a minute, with timestamps you can jump to.
Yes — the analysis needs no card and no account for the first run, and it returns the full result including the reels.
Score, breakdown, strongest seconds and the one weak spot worth fixing — in about a minute, free, no account.
Get My Song Feedback — Free →