“Bounce it, sleep on it, listen again tomorrow.”
Television & film
A production uses Aden as the music department of a format. A singing show, a series, a film. Every performance is a track linked to the song it covers, carrying the original writers and their splits, the licence that cleared it, the sessions it was arranged and recorded in, the episode it aired in with its cue sheet, and the release that follows the broadcast.
Each performance is its own track, linked to the original it covers. When that original is on Aden its team gets an approval request, the link carries the split metadata and the cover agreement, and a "Cover of …" credit stays on the track for good.
The licence behind each cover, licensee, type, territories, term, fee and the signed agreement, sits on the song itself, visible to both sides, with reminders before it expires.
The music block runs as sessions, who was in the room, the tracks worked on, in-browser recordings and notes on the day. A whole season of writing and arranging can run as a camp with a lineup across rooms and days.
An episode carries its episode number, air date and repeat schedule, and its tracklist exports as a cue sheet .csv. Every piece of music in order with ISRC/ISWC, cue time and the air-date context that SABAM, PRS, ASCAP, BMI and GEMA need to pay the writers.
A masked format depends on who does not know. Access is granted per organisation, per member and per track, so the arranger, the band and the vocal coach can each work on the song without the contestant's name in their view.
Performer agreements, arranger deals and NDAs go out from reusable templates with merge fields, come back e-signed, and are stored on the record they belong to.
Studio days and tape days are events with a day sheet, call times, crew and documents, on the same calendar as the release dates and the broadcast.
Each performance already has its metadata, versions, artwork and writers, so the post-air single or the season album is a release plan rather than a rebuild, scheduled against the broadcast date.
Link each artist team as TV or Film Production. The link closes when the relationship ends.
Yes. Each performance is a track linked to the original it covers, so the original's writers, publishers and splits stay attached to the recording you made. Alongside the licence that cleared it and the cover agreement stored on the link.
An episode carries its episode number and air date, and its tracklist exports as a cue sheet .csv. Every track in order with ISRC/ISWC, cue time and the air-date context collecting societies use to distribute broadcast royalties.
Yes. Access is granted per organisation, per member and per track, so the people working on the arrangement, the backing track or the vocal can be given the song without the artist behind it. NDAs are sent and e-signed from a template.
The organisation-team link runs for the term of the deal and expires with it, the same as a label or publishing deal. What was licensed, and for which territories and how long, stays recorded on the track.