A music bank
Your metadata in one place. Before your next track goes to a distributor, it goes in your vault — so the codes, the splits and the paperwork stay yours.
Most independent artists discover how much admin a release carries only once something has already gone wrong: a royalty that never arrives, a code that quietly changed, a split nobody wrote down.
Paste the spreadsheet you already keep. No account, nothing stored.
The problem
An ISRC is usually issued by whoever distributes your music, out of their registrant code. Move to a new distributor without handing over the originals and they will mint fresh codes for the same recordings.
Your streams split across two identities. Royalty reports stop lining up. The old code may keep reporting into an account you no longer control — and none of it surfaces until months later, on a statement that is quietly smaller than it should be.
Four recordings, three distributor registrants, none under a code the artist controls. Leaving any one of them means those masters get new ISRCs.
What it holds
ISRC, title and version, duration, explicit rating, recording year and P‑line. A radio edit is its own recording with its own code — tracked as one.
ISWC, songwriters by legal name, writer splits, PRO affiliation and IPI/CAE, publishers, publisher splits and the C‑line.
UPC, release date, label, genre and artwork — plus which distributor delivered it, when, and who assigned the codes.
Split sheets, contracts, licences and masters, stored with a checksum so a file can be proven unchanged years later.
How it works
Early access
Let’s protect every piece of it like it means more than just art. Opening to a small number of independent artists first.
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