You find out
eighteen months late.
A writer on your roster cut something brilliant in March. You hear about it when the split dispute lands.
Founding access · Logic Pro is the first release · nothing leaves your machine
in the dark.
Your writers are in sessions you don't know about, with producers you've never met, making songs that won't reach you until someone needs a registration or a lawyer.
By then the facts are eighteen months cold and four people remember them differently.
on faith.
Split sheets arrive late, incomplete, or not at all. Registrations go in on what the writer remembers. Conflicts surface at the society months later, and the money sits frozen while three parties argue.
Every one of those disputes is expensive, and almost none of them are about bad faith. They're about the absence of a record.
in your inbox.
When a writer opts in, every session they run reports into your A&R inbox as it happens: new work, versioned, with contributions attributed from what the session actually did.
Not a demo email six weeks later. A live view of what your roster is making, with the evidence attached.
evidence.
Your registrations stop being reconstructions. Disputes stop being memory contests. And when a work is challenged as machine-made, you have a sealed origination record instead of a phone call to the writer.
The catalogue gets cleaner as it's created, not cleaned up afterwards.
Onboard the whole roster. Seats are free.
Unlimited installs at zero cost — your rooms, your staff, and every writer or producer who opts in. You pay for verification and reporting, not for headcount.
Opt-in lives in the deal
The cleanest place to onboard a producer or writer isn't an email campaign — it's the paperwork they're already signing. A single clause in a publishing or production agreement, ticked by the creator:
It's their choice, and it stays revocable. A creator who feels watched will uninstall, and then you have nothing. Consent that can be withdrawn is the only kind that produces a complete record.
And, separately, audio
Everywhere else on this site we say audio never leaves the machine. That stays true by default and it is never overridden by us. But a creator can choose to switch it on, for named recipients only.
Because the most expensive thing in this business is a great idea nobody heard in time.
The session ends at 2am. The producer is finished, the idea is good, and nobody is bouncing anything tonight — or for the next nine days, because that is how it always goes. Revo bounces it, attaches the record of who did what, and it lands in the A&R inbox while it's still hot.
"But it's not finished"
Every producer's first reaction, and it's fair. The mix is rough, the vocal is a scratch, the arrangement changes tomorrow.
A good A&R hears through a rough mix. That is literally the job. What they cannot do is match you to an opportunity they don't know you have something for. Briefs close in two weeks. If the thing that would have won it is sitting unbounced on a laptop because someone was tired, nobody in that chain is better off.
So the delivery is labelled as rough, on purpose. Nobody is being asked to judge it as finished. They're being told it exists, which is the only information that was ever missing.
Everyone in the room has to agree
If a vocal is on it, that vocal belongs to whoever sang it. A rough with unconsented contributors on it does not go out — it's held, and the people concerned are asked. One tap each, and it moves.
Every send is written into the record: what was bounced, to whom, when, and what they agreed to before opening it. The creator can see every delivery ever made in their name, and pull the permission in one tap.
What lands in the A&R inbox
You can finally see what your talent is actually doing
Every one of these is subject to the creator's consent, and every one of them is currently invisible to you.
None of this is surveillance, and it must never be sold as such. The creator switches each of it on, chooses who sees it, and can pull any of it back in one tap. Managers get the same view for their own clients, on the same terms.
What it replaces is worse for everyone: chasing writers for split sheets, guessing at a pipeline, and discovering a placement opportunity two weeks after the brief closed. A talent whose work is visible is a talent you can actually represent.
Why it earns its price
Pricing follows covered releases, not seats or roster size. A system covering a fraction of your output is worth a fraction of the price, and we'd rather price it that way than sell you a number we can't stand behind.