Forty demos this week.
Which three are worth your evening?
Music Tracker does not care who distributes your releases. It helps you decide faster what to do with the tracks that landed this week, and it remembers what you decided, who you signed, what you owe them and whether you are keeping up.
The label side is in beta and we are letting labels in one at a time.
One demo, from the inbox to the payment
The six screens are one path, in the order the work actually happens. A track arrives, you decide, it belongs to somebody, it gets a date, it earns money, and at the end of the quarter you find out how well you handled all of it.
The pile, sorted before you press play.
Every demo arrives measured. Your own browser reads the file and works out the tempo, the key, the energy and how loud it was mastered, then marks it against the ranges your label asked for. Green fits. Amber fits but something is off. Red is outside what you take. Nothing is deleted, so you can always listen for yourself. And when the audio cannot be read, the demo stays unscored and says so, because a number we invented is worse than no number.
What you said, and why you said it.
Kept, on hold or turned down, with the reason attached and the stage it has reached: contract sent, stems in, release scheduled. Six months later, when the same producer sends you something better, you can see what you told them the first time. The whole list exports to a spreadsheet with every column already as wide as its longest line.
One number governs the roster.
Who is signed, from when to when, and on what split. The percentage lives on the artist record and every royalty line inherits it. Type a different rate on a single line, the way a one off deal on a compilation gets recorded, and that line is flagged as an override while the artist’s own number stays exactly where it was.
Everything a release needs, and the date it needed it by.
Catalogue number, ISRC, UPC, artwork, presave link, distributor. The calendar shows which of them are still empty and which deadline has already gone past. If you run more than one label it also tells you when two of your own releases are landing on the same Friday, which is the collision nobody else warns you about.
Who is owed what, and the day it actually left.
A statement goes in once a quarter, one line per artist per platform, and the split comes off the artist record rather than out of somebody’s memory. Mark a payment on the day the transfer really went out, not the day you got round to ticking the box. Currencies are never added together: a quarter with two of them stays on two lines, because adding them would need an exchange rate nobody wrote down.
A mirror, not a sales report.
How much of what came in has an answer. How long the oldest one has been waiting. Whether your ear agrees with the score the app gives, band by band. Which genre the yes actually happens in, which is rarely the genre that sends you the most. Every other dashboard tells you what you sold. This one tells you how you are working.
What it stands on
It does not matter who distributes you
Most label back office comes attached to a distributor. Change distributor and it goes away. Use two at once and it only ever knows about one of them. This knows about none of them, on purpose, and works the same either way.
Measured, never estimated
Tempo, key and loudness are read off the audio itself, in your browser. Nothing here asks a model to guess a number and then scores the track against the guess.
A figure with nothing behind it shows a dash
Zero is a measurement. Not having seen enough yet is not a measurement, and printing zero for both is how a page starts lying quietly. So it prints a dash and waits.
Where the loudness targets come from
A demo is called too quiet or too squashed against a number, so the number had better be real. Ours was measured off released records, genre by genre, with the same loudness standard a mastering engineer uses. No target here was typed in because it sounded about right.
released tracks measured
genres with their own target
screens, one label workspace
So there is no misunderstanding
What it does not do
- It does not distribute your music. Keep whoever you use. Nothing here asks you to move.
- It does not touch your money. You pay your artists exactly the way you pay them now. This only keeps the arithmetic and the record of what went out.
- It does not take a cut of anything. Not of a signing, not of a release, not of a royalty.
- It does not keep your producers’ audio. A demo is decoded in the browser that is reading it. No audio file is stored on our side.
Bring one week of demos
and see what happens
Tell us the name of the label and what you take, and we will set it up with you. The label side is in beta, so we are doing this one label at a time and listening to what breaks.