INSTALLED FOR YOU.

Your next release engineered end to end — timeline, content map, ad structure, the exact daily moves and who makes them. You write the spec, we build the plan around it.

The identity system we run inside the Cocoon, run on you: name, world, logo system, colour, type and the story spine — locked, documented, and handed over as files you own. It is the same journey our own artists walk.

A site that plays the music, holds the press kit, lists the shows, captures the list and sells direct — on your domain, yours forever.

The exact command center we run the houses from, installed on your domain: fans, clients, songs, releases, products and inventory, campaigns and money on one board — with the CRM underneath it, owned by you.

Your own logic, your own tables, your own automations — not our board with your logo on it. Built against the same engine the Club runs, so it is bespoke where it matters and proven everywhere else.

The custom build, and then you run Club services through it: a partner desk, payouts, the client-facing surfaces, and us training and supporting you on it. The revenue terms live in the agreement, not on the price tag.

A content engine and ad system installed and launched: hooks, cutdowns, targeting, and the conversation that closes behind it. Yours to run.

The same install, and then we run it month to month — the ads, the cutdowns, the testing, the inbound. Three-month minimum, then cancel in one message. This is the one that compounds, and it is the one we take the fewest of.

Twenty-eight rooms, five wings — the craft, writing with sound, the paper that makes the song yours, writing to picture, and the fourteen ways a catalogue earns. Nineteen tools inside it, including the rhyme engine and the bed.

Twenty-four rooms, four wings — from the first fader to the final delivery. Mix, master and deliver for streaming, sync and picture, measured in Hz, dB and LUFS, logged and kept. Fifteen tools, a DAW link, the Meter and the Vault.

Ten rooms. A song and a brand go in; a treatment, a look, a shot list, the Lot, a generated run, a graded cut, the clips and the rollout come out — with the quote on the ledger. The Director on call the whole way.

The fourteen ways music actually pays, and the order to build them in: catalogue, sync, picture, direct-to-fan, teaching, services, shows. It is the fifth wing of The Pen today, and the one every other room is pointed at. No earnings promises — the honest arithmetic of each avenue instead.

Release-ready masters, tuned to hold up on streaming and in a sync brief alike.

Your record mixed by ears that have put work on screen — balance, depth, and a vocal that sits where it should.

The whole finishing chain under one hand and one vision. The fastest honest test of whether we are right for you.

Production, co-writing, mix and master — a finished record made with people who do this for a living. A range, not a price, so this one starts with a conversation.

Every song made submittable: metadata embedded in each file, splits and ownership confirmed, one-stop status settled, instrumentals and stems listed.

Everything in the Metadata Pass, then 24 submissions — a proposal written in each library's own format, every reply logged, a follow-up at thirty days. The 20% is only ever on what actually lands.

50 libraries including the selective houses, a full pitch pack — one-sheet, credits, cue sheets, clearance letter — and ninety days of follow-up on your board. Again, the commission is only on a placement.

You pay us nothing. Ever. We choose the catalogue, we do the metadata, the paperwork and the clearance at our own cost, and we pitch it ourselves — and if something lands we take 40%. We only eat when you eat, which is why we take very few of these: every one we say yes to is money we have spent on a bet we have not been paid for.

One location, one day, one performance — shot cinematic, graded, cut for feed and for YouTube. The fastest way your music starts looking like it sounds.

The full treatment — narrative concept, 6K master, graded like film, plus a stills package for covers and press. The same build as the houses' own films.

A multi-day narrative production engineered for a whole rollout: the film, the cutdowns, the cover art, the press stills — an entire release's visual world from one production.

A year of visuals engineered once: three to four films across a release cycle, a running documentary thread, every cutdown, the premiere strategy and a press-stills library that feeds every campaign you run. A year of our lives — we will not sell this one through a cart.