For the work around the mix.

Outboard settings, back from the audio

The problem. Recall sheets get skipped, photos miss a knob, and a revision weeks later means guessing. It's the main reason people who could afford outboard don't mix with it.

What it does. Print Recall works out each unit's settings from a dry track and its print. A re-dial check tells you which way to turn each knob to get back within a fraction of a decibel. In the plugin, Automatic Recall logs every print as you make it, dated, with the song's title, key and tempo, so you never have to remember to.

Why use it. You get the hardware's exact moves back in minutes, from the audio you already have, with nothing to fill in. How Recall works

From tracking to mixing to mastering, nothing missing

The problem. The next engineer doesn't have your plugins, so stems get printed and everything adjustable is lost. Files arrive mislabelled, at the wrong rate, clipped or silent.

What it does. A shared session carries the stems and the chains used on them. Hardware and DigMusiK plugins open exactly as you had them; plugins they also own open as they are; the rest are matched by ear and clearly labelled. Session Check scans every stem as it uploads (format, rate, length, peaks, clipping, silence) before anyone else sees it. Mastering gets a pack with the notes and the alternate versions.

Why use it. The next person hears exactly what you heard, and can still change it. How Handover works

Client notes and sign-off from one link

The problem. Notes arrive by text, email and voice memo; "a bit more low end" means something different to everyone; and after mastering someone asks for the vocal up a dB.

What it does. Your client opens a private link, with no account and no software. They hear the mix, move only what you allow (bass, width, loudness, your bus chain, within your limits), leave notes at the moment in the song, and sign off a version. Vocal-up, vocal-down, instrumental, TV and a cappella versions are made from the signed-off mix.

Why use it. Fewer revision rounds, notes you can act on, and a record of exactly what was approved. How Approvals work

Who did what, agreed by everyone

The problem. Credits and splits get sorted "later", which means never, or in an argument, and the song's codes are missing when it's time to release.

What it does. With each song: everyone's roles, writer and master shares, ISRC, ISWC and writer numbers, checked as you type. Each person confirms from their own private link. A split sheet PDF and a distributor CSV come from it, and a band's page shows "split agreed" when every writer has confirmed.

Why use it. Credits right first time, and splits nobody can dispute later. How Credits work

Quotes, deposits and files released on payment

The problem. Chasing invoices, and full-quality files sent before the work's paid for.

What it does. Add a quote to a delivery: the price, a deposit to start, the revision rounds included and the price of extra ones. The client accepts with their name and pays by card, adding DigMusiK's 15% booking fee. Listening copies always play; the full-quality files unlock when what's owed is paid. Your whole price goes straight to your own Stripe account.

Why use it. Agreed scope up front, a deposit before you start, and no more chasing. How getting paid works

Sessions that still open in ten years

The problem. Plugins get discontinued or lapse, drives die, and an old session won't open the way it sounded.

What it does. Keeps a song's stems, its chains and settings, its credits and its notes together, with plugin chains archived as private DigMusiK captures so they still play when the plugin has gone.

Why use it. A remix, a sync request or a reissue years later starts from the real session. How the Vault works

Recall sheets for any gear, any brand

The problem. Recall sheets live on paper and phones, and every brand's layout is different.

What it does. Describe each unit in your rack once, then fill in a sheet per song in seconds, compare two sheets, and print them. Where a unit has been captured, Print Recall fills it in from the audio.

Why use it. One place for every recall, for every unit you own.

Release- and sync-ready files, checked

The problem. Streaming, sync, broadcast and vinyl all want different loudness, peaks and formats, and a rejected delivery costs days.

What it does. Pick the specs; each file's loudness, true peak and format are measured to ITU-R BS.1770 and checked against them, then named and packed.

Why use it. Send it once, right. The specs we check

Bookings, deposits, gear and maintenance

The problem. Bookings in one app, deposits in another, gear faults on a whiteboard, and nothing joined to the sessions themselves.

What it does. Rooms and prices, a booking page with deposits, the studio agreement sent when you confirm, a calendar feed, gear with service reminders and fault logs, and each booking joined to its sessions and recalls.

Why use it. The whole studio in one place. For studios