Home/Case Studies
Proof of WorkMusic promotion case studies you can check yourself
Anyone can put a number on a slide. Every campaign below links to the public sound page, so you can open it and count the creator clips yourself instead of taking our word for it.
Two of these three records belong to our own team. We ran the network on our own music before we charged anyone else for it, which is the only honest way to sell something like this.
The campaigns
190,000 new Spotify streams on a budget under $1,000, from 8.24M approved views across 825 clips that passed bot and engagement checks.
185,000 new Spotify streams on a budget under $1,000, from 6.8M approved views across 1,358 clips that passed bot and engagement checks.
A brand new release with no catalogue and no algorithmic support went from zero to 12,385 Spotify streams. The clips were the only thing driving it.
60,000 new Spotify streams on a budget under $1,000, from 15.2M approved views across 842 clips that passed bot and engagement checks.
What a campaign looks like when every part of it lands. Over 5,000 separate clips, 10M+ streams across Spotify, Apple Music and YouTube, and 700M monetized YouTube views.
The first record we ever put through the network, by our own co-founder. We weren't going to sell a service we hadn't tested on ourselves first.
We stopped paying for new posts weeks ago and the view count is still rising, because every clip stays live. This is the clearest proof that clips are permanent assets, not rented reach.
A public sound page shows every video that has ever used that audio, and that isn't the same list as the clips we actually paid for. Once a track gets traction, random accounts pile onto the sound on their own, and a handful of people always try to farm the campaign with bought views hoping we won't notice.
Those clips earned nothing. Every submission has to clear a 2% to 4% like-to-view ratio or better and pass our bot scoring before a single dollar is released. If you scroll a sound page and spot an obvious bot video with 300,000 views and 40 likes, that's a stranger who wasted their own time. It was never part of anyone's budget and it never counted toward the numbers we report.
How we report numbers
Campaign figures on these pages are the totals we can point at a public source for. View counts on live sound pages keep moving after a campaign ends, so where a number is still rising we say so and date it rather than freezing a flattering snapshot.
We don't publish client track names or artist names without permission, which is why the screening examples on our bot screening page have them withheld. The three campaigns here are published because two are our own and the third was cleared with the artist.