Cover art, social cuts, music videos and full campaigns, produced for you on the same pipeline that runs AetherWave. You send the track. I send back the release.
I am Andrew Froehlich, Founder and CEO of AetherWave Studio.
Before any of this I was a musician, and I still am. Thirty years of songwriting, audio production and live performance. Former guitarist for ELETE, and currently guitarist for End of Eternity, a synthwave and gothic metal band out of Denver.
So I know exactly what it is to finish a track and then stare at everything else it still needs. That is the reason this lane exists.
I also built AetherWave Studio, and I run these productions myself. It is not a reseller wrapped around someone else's API. I built the generation pipeline, the video editor, the mastering chain and the release tooling, and more than 9,000 artists have used them. My own band's campaigns are built with them.
I also write about this. AI Music Essentials, 1,000 SUNO Prompts and Monetizing AI Music in 2026, among others. Working out what actually produces a result, and what only sounds like it should, is most of the job.
That is the argument for hiring me instead of a marketplace freelancer. You are not buying prompts. You are buying someone who has been on both sides of the release, and who knows which engine holds a character across twenty shots, which one renders real detail instead of an upscale, and which one quietly costs four times what it should, because I measured them.
Every job is produced personally. Five slots a month is a real capacity limit, not scarcity marketing.
Andrew Froehlich, guitarist and CEO.
End of Eternity is a live band. Real players, real instruments, written and performed by people. I also build AI-enhanced virtual bands and projects on this platform, and I am not here to rank one above the other. Both are real work.
What AetherWave built for End of Eternity was everything around the music: the cover art, the videos, the social cuts, the press material. That is the same work I am offering here, whichever kind of act you are.
It matters because a finished song needs cover art, cuts for social, a video and a press page whether it was tracked in a room or generated in a browser. AI musicians have been quickest to see that, because they are already working this way. Live and traditional acts need exactly the same things, and most are still paying agency rates for them or going without.
Send me a recording of your band. It gets the same treatment.
Seven packages, from a single release to a full album campaign. Every one is produced at the top quality setting. The difference between them is scope, never quality. New to release art? Read why a streaming release needs all of this.
Your cover animated for the Apple Music album page, as the two files Apple requires: 2048x2732 for iPhone and 3840x3840 for Mac, iPad and TV.
A separate build, not a crop. The portrait version gets its own layout because the player interface sits over part of the frame, and it is encoded to Apple's 45 to 100 Mbps window with no audio track. Check your distributor first: Apple accepts motion art only from ones it has approved, and many popular distributors are not on that list.
The Streaming Kit, the Apple Motion Art pair, and Social Share: your artwork cut for the feeds as nine videos plus three endcap stills, all at 1080.
$59 plus $20 plus $69 is $148 separately. Saves $29.
Most of this is not written down anywhere a musician would look. It is the difference between artwork that ships and artwork that comes back rejected.
Yes. The artwork rules at Spotify, Apple and the major distributors are content rules, not origin rules: no logos, no web addresses, no misleading names, sized and encoded to spec. Nothing in them asks how the image was made, and the covers on this page went through ordinary distribution. The examples above are live on Spotify right now.
What DOES get artwork flagged is quality: visible generation artifacts, mangled type, upscaled mush. That is a craft problem, and it is why every file here goes through an automated check before it ships instead of an eyeball.
Apple sets the floor. Its spec requires square artwork at a minimum of 3000 x 3000, and that is why every distributor asks for it.
Spotify is far looser and accepts anything from 640 to 10,000 pixels a side. So the 3000 master is not a Spotify requirement, it is an Apple one that happens to satisfy everybody at once.
Spotify says so explicitly, and it is the most common self inflicted rejection there is: a 1400px file blown up to 3000 to clear the requirement.
Everything here is composed at full size and cut down. That is why the three deliverables match exactly rather than being three separate exports that drifted.
Artwork is 1:1, sRGB colour space, 24 bits per pixel, JPG or PNG.
A file in a different colour space can shift noticeably once a platform re-encodes it, which is the kind of thing you only notice after release.
They do not agree, and the gap is wider than people expect:
Spotify 640 to 10,000 a side. DistroKid 1,000 minimum, 3,000 ideal. Apple Music 1,400 minimum, 3,000 recommended. LANDR 1,500 to 6,000.
A 3000px master is the only size that clears all four at once, which is why it is the master and not an aspiration. The smaller files are for web and social use, never for submission. File size counts too: DistroKid caps uploads at 10MB and a maximum-quality 3000px JPEG lands near 6MB, so it is worth checking before you submit rather than after.
Apple's content rules are the strictest, and a rejection here holds up the whole release. Artwork must not contain:
Edited social cuts are 1080 x 1920. Animated artwork loops are 1080 x 1920, generated at the native ceiling of the models that generate them, and upscaling a low-motion loop past it adds file size rather than detail.
A square cover cropped to vertical loses the composition, so the vertical deliverables are framed for vertical from the start.
Safe zones matter too: platform chrome sits over the top and bottom of the frame, so anything that has to be read gets kept clear of it.
Before anything ships it goes through an automated distribution check: exact square, the 3000px floor, an embedded colour profile, chroma subsampling, real copyright metadata, and a scan for isolated off-palette specks. Nothing goes out on a fail.
It exists because a finished master once carried a bright magenta speck through two export rounds and nobody caught it. Covers are viewed small and dark covers hide defects, so the eye is the wrong instrument.
sRGB pixels are not enough on their own. The profile itself has to be written into the file, or every player guesses at the colour space and the reds go dull first.
It is one checkbox in an export dialog, it is the most missed step in the whole process, and it stays invisible until somebody else's app renders your artwork wrong.
Spotify re-encodes cover art to JPEG for delivery, so very fine high-frequency detail smears no matter how clean the file you handed over was. It is not a fault in the artwork, it is the pipeline.
It is one more reason the master is composed at full size rather than upscaled, and why type is kept clear of busy texture. What survives recompression is contrast and shape, not fine grain.
Artwork ships at 4:4:4 chroma. Thin letterspaced capitals smear at the 4:2:0 most exports default to, and a title is exactly the kind of fine detail that subsampling eats.
Anything that moves is generated from a text-free plate with the type composited back afterwards. A video model regenerates every frame, so handing it your title means watching it soften, drift, or disappear partway through and come back.
Every video is delivered below -1 dBFS. Platforms re-encode everything on upload, and lossy encoders rebuild peaks slightly above the original, so a file sitting at full scale distorts on playback rather than in the file you were sent.
It is the broadcast standard, and it is applied to every cut rather than just the long one.
It is two separate files, not one. A 3840x3840 square for Mac, iPad and TV, and a 2048x2732 portrait for iPhone. Both have to be 8 to 35 seconds, between 45 and 100 Mbps, at one of five permitted frame rates, in Rec 709 or sRGB, with square pixels, no audio track at all, and file names built from the release's UPC.
Most video exports land nowhere near 45 Mbps. Most carry a silent audio track without anyone noticing. Both are rejections.
Then the composition rules: the first frame has to match the album cover, the animation must loop with no visible join, no held frames, no border, and the portrait version has to fill its frame rather than being the square artwork shrunk to fit. Apple rejects that specifically.
The portrait file also carries a safe area, because the player interface sits over it. Apple publishes no percentage for this, only a template with the zone drawn on. Measured off that template it is roughly 17% of the height at the top and 37% at the bottom, with about 46% in the middle reliably visible. The square file has no safe area at all.
Apple's own sample assets solve it the way we do: the same artwork, composed twice. Their square puts the artist mark at the bottom; their portrait moves it to the top and drops the subject lower. The motion art gets its own layout. Your cover is left alone.
None of this is guesswork. Every number above was read from Apple's published guidelines or measured from the template in their own partner toolkit. Where Apple states nothing, we say so rather than repeat a figure from a blog.
Most looping video fades the end back into the beginning. You can see it, and on a short clip you see it every few seconds.
A true loop is generated so the final frame IS the opening frame. Nothing is blended, so there is no soft spot and no visible seam when a feed replays it.
Album art is 1:1. Generating a fresh 9:16 or 16:9 version means a model inventing picture outside the frame you approved.
The vertical and wide versions keep your artwork exactly as it is and extend the canvas around it instead, so what ships is the cover you signed off, in three shapes.
Every size in a package comes from a single high resolution master. Generating each size separately is how a set ends up subtly inconsistent, with different crops and different colour.
It also means going back for another size later costs nothing.
A scene from a Track Reels production, on a real song.
Carrier Wave, by VoidPulse. Vertical, 1080x1920, mastered to 4K for delivery.
This is one scene, not the finished video. The full Track Reels deliverable runs the length of the song and comes with four captioned vertical cuts pulled from it.
More complete examples go up through this week, one for each offer above.
Four steps, no meetings.
Reply with the offer name and the track. If none of them quite fit, say what you actually need and I will tell you straight whether I can do it.
The audio, the names spelled the way you want them, a line on style, and a reference photo if a person should appear.
I confirm the scope and send a payment link. The clock starts when payment clears and your files have arrived, not before.
Delivered as files you can upload directly. On the smaller packages a revision round is included. On Track Reels and above you approve the work at each stage instead, before it is rendered.
Full commercial rights. No royalties, no revenue share, no attribution required. Use it on the release, in ads, on merch, anywhere.
Everything is produced at the top setting. There is no reduced tier on professional services, so the difference between offers is scope, never quality.
Paid before work starts. Five slots a month is a real capacity limit, because I produce these personally.
If something needed is missing, I will ask before starting. Guessing is how a project ends up being rebuilt after it is finished instead of corrected before it starts.
A revision round is the wrong instrument for a long video. Correcting a still frame costs pennies and takes a minute, so you get as many of those as you want. Re-rendering forty finished shots because the direction was wrong helps nobody, so we settle direction while it is still a picture.
Thirty seconds. I will reply with a payment link and a short questionnaire. No call.
Prefer email? Write to [email protected] directly.
