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Music career software for independent artists, bands and the teams around them. Add a song and BandNavigator analyzes it, builds a Campaign Plan with playlist, radio, press, sync, record label and venue targets, and writes the pitches. You approve what goes out.

No. Upload a track, paste a song link, or describe your goal in plain language. You don't need a distributor or any streaming presence to start.

Yes. The Starter plan is free: analyze 1 song, preview your top 5 targets, and send 3 real pitches a month after you approve them, with 100 AI credits to explore. The full target list with names, contacts and links unlocks on a paid plan.

Genre, mood, energy, tempo, key and the artists you sound like ("for fans of"), then the playlists, radio, press, sync, record labels and venues that fit. That analysis is what your Campaign Plan and pitches are built from.

Edit the genre on the song's page. Your genre is kept (analysing the song again won't overwrite it), its old playlist picks are cleared, and new ones are matched from your genre. If a song's genre is the opposite of the genre on your artist profile, say a dubstep song from a metal band, BandNavigator asks you which is right on Home and on the song's page, and holds that song's playlist picks and pitches until you answer.

Yes, on paid plans, once the song has been analysed from an uploaded audio file. On the Music page, open a song's menu and choose AI master this song, or use AI mastering on the Studio tab of the song's page. It goes in three numbered steps: 1, Start from your best file (the WAV); 2, Pick the sound; 3, Listen and download. In step 2 you pick a loudness style: Gentle (-14 LUFS, keeps the dynamics), Balanced (-11 LUFS) or Loud (-8 LUFS, as dense as rock, hip-hop and electronic releases run). The song's genre suggests one. BandNavigator works through the steps a mastering engineer would: it filters out sub-bass rumble, gives the low end a little more weight (a gentle lift below 100 Hz), makes the bass mono so it hits the same on a phone as in a club, evens out the stereo width, adds a touch of short reverb (well under the music, with the low end left dry) so the whole mix sits in one space, gives each part of the spectrum its own compressor so the low end stays steady, adds gentle glue, then brings the mix up to that loudness with a soft clipper and a limiter, peaks held under -1 dBTP, the level streaming services and distributors ask for (under -2 dBTP for Loud, which streaming services ask of a master that loud so their own copies of it don't clip). Both files are checked after they're made: the MP3 is decoded and measured the way a player plays it, and made a fraction of a dB quieter if the encoding pushed a peak over. For rock, punk, emo, hardcore and metal it also moves the tone part of the way toward the balance of professionally mastered records in those genres; other genres keep the tone as mixed unless it is far darker or brighter than finished releases. If getting all the way would take clipping or limiting you could hear, it stops short and says so. To match a particular sound instead, switch step 2 to A reference track on the song's AI mastering card (the Music page's song menu has Master it like a reference track, which opens it): upload a finished song whose sound you want, as an MP3, WAV, M4A or AAC of at least 10 seconds, and the master moves toward its tonal balance (low end included, so no extra bass lift), stereo width, dynamics and loudness, held to the same limits, so your mix keeps its own sound. The reference track is measured and deleted when the master is done; only its numbers are kept. It usually takes a minute or two. You can play your mix and the master side by side (start one while the other plays and it picks up at the same moment) and download a 24-bit WAV for your distributor and an MP3 to share, straight from the master's player. Songs are stored as MP3s for playback and pitches (your browser converts a WAV on upload), but when you add a song as a WAV, or replace its audio with one, the WAV itself is kept too, up to 400 MB, and masters are made from it at its own sample rate, up to 96 kHz (a 44.1 kHz mix stays 44.1 kHz, since raising the rate adds size, not detail). You don't upload it again. A song added as an MP3 or from a link is mastered from that copy, at 44.1 or 48 kHz, until you give it its WAV, AIFF or FLAC, exactly as you exported it: drop it on step 1, Start from your best file, on the AI mastering card, and it uploads straight away. It works best on a final mix that hasn't been mastered yet. Your original audio is kept as it is.

Yes, on paid plans, once the song has its audio. On the song's page, open the Studio tab and press Make the instrumental + a cappella under Instrumental & a cappella; it usually takes a few minutes. Each stem comes from the separation model that does it best: the instrumental from one that keeps the band whole, the a cappella from one that pulls the cleanest voice. They're cut from the song's WAV when you've given one (otherwise from the MP3 copy), and you get each as a WAV, the file music supervisors and distributors ask for, and as an MP3 to share; play them right there on the page. Stems made before November 2026 came as MP3s only: Make them again, with WAVs, under the players, makes a new pair. Sync buyers almost always ask for an instrumental, and once you've listened to it you can say an instrumental exists under Rights & royalties so sync pitches offer it.

Yes. Once setup is done, choose Take the tour on Home or on the Help page. In about two minutes it points out each part of the app in the order you'll use it, from adding a song and approving its Campaign Plan to pitches, results, your artist site and merch.

Nothing goes to a new contact without your approval. Every pitch and every follow-up starts as a draft you can edit, send or skip, whichever Automation mode you pick. Autopilot only lets agents run their behind-the-scenes tasks without waiting for you.

One plan per song: who to pitch, the drafts, the timing and the next moves, built from the song's analysis. Targets and the pitch batch open only after you approve the plan.

BandNavigator doesn't distribute music, but each song's Campaign Plan timeline tells you what to do and when once you add its launch date: send it to your distributor about four weeks ahead, register it for royalties, pitch Spotify's editors in Spotify for Artists at least 7 days before launch, set up a pre-save link, and the pitches, posts and follow-ups around it. Steps done outside BandNavigator are labelled that way. A song added from a Spotify, Apple Music or YouTube link is already out, so it has no timeline.

Some outlets only take music through their own submission form. Press outlets, sync companies and record labels with a form are pitched there, unless they list a real address for it: an editor or submissions address on their own website, or a personal mailbox in their name, in which case BandNavigator emails it instead. BandNavigator still writes the pitch, with a listen link to your song if you've uploaded its audio. Choose Copy pitch & open form, paste it into their form, then choose I submitted it in the ⋯ menu. The pitch moves to Sent, where you can log their answer.

Yes. The Labels page lists record labels that take demos, ranked by how well their roster and the genres they release fit your song. BandNavigator writes a short demo pitch for each one: who you are and where you're based, the one song with a listen link (never attachments), why that label, and a plain ask to consider it for release. It follows each label's own rules for demos, such as streaming links only or reply only if interested. Labels that charge to listen or to release, or sell distribution or label services, are left out. A demo to a label is a one-shot pitch, so BandNavigator picks only a few strong fits for each song, and nothing goes out until you approve it. When a label wants to hear more, record it on Sent as Label interest; it shows on Hits, but not on your press kit or in posts, so a deal isn't announced before it's signed.

Big outlets rarely say yes to an artist they haven't heard of, and a pitch spent there is one not spent where a yes is likely. Until you log your first win in Sent (a playlist add, a radio play, a feature), BandNavigator doesn't pitch SiriusXM, full-power stations, national magazines or playlists with 100,000+ followers on its own, and until your fifth it pitches them only when the fit is strong. They stay on your target lists, and you can pitch any of them yourself.

Between 8am and 4pm on weekdays and 9am and 2pm on weekends, in each recipient's own time zone, so a pitch never lands in the middle of their night. A pitch you approve at 11pm waits for their morning; one to London goes out in London's daytime, not yours. Until it goes, it's listed under Queued on the Sent page with the time it will go out. Nothing is held back once its window opens.

Not back to back. Once a contact has been pitched one of your songs, BandNavigator waits two weeks before it pitches them another, so a curator doesn't hear from you every week. Your target lists follow the same rule: a contact disappears for good for the song they were pitched, and for two weeks for your other songs.

Record it on Sent (BandNavigator records a clear yes from the reply itself). Within a few minutes it drafts a post about it on Content, a fan email when you have fans signed up, and pitches to similar targets for that song, all waiting for your approval. The win is also listed on your press kit.

It can. Some curators run AI checkers and turn down songs that sound AI-made. On the song's page, on the Paperwork tab, under AI on this song, say how AI was used. When a curator turns a song down because it sounds AI-made, BandNavigator remembers it, and never pitches them a song marked as having AI-generated vocals or instruments. Your other songs can still go to them.

On the song's page, on the Paperwork tab, under Rights & royalties. Add who wrote it and each writer's share, the ISRC, the publisher, and whether you control both the master and the publishing (one-stop). If your file already carries these in its tags, BandNavigator fills them in when you upload it, along with the song's title; check them and add the shares. Tick off your PRO, The MLC, SoundExchange and a signed split sheet as you register; each one collects money you'd otherwise leave unclaimed. Once writers are added, Print a split sheet gives you a page for everyone to sign. Sync pitches mention one-stop, an instrumental or a clean edit only when you've said yes to them here. If you've made an instrumental under Instrumental & a cappella (on the Studio tab) and said yes to "An instrumental exists", the listen page on your sync pitches offers it as a download next to the song.

It can, and for sync it should: a music supervisor keeps the file, not the email it came in. On the song's page, Rights & royalties (on the Paperwork tab) shows In the song file, a check of what the file a listener downloads says: title, artist, writers, publisher, your licensing contact, the ISRC, tempo and key, and genre. Write them into the file puts them in the MP3's tags, which is what music libraries and editing software read. The writers, publisher and ISRC come from Rights & royalties, and the contact is the one your pitches are signed with (Settings → Account: name, contact email, phone). Nothing you haven't filled in is written; the check says where to add it. A sync pitch waits until its song has writers, a publisher (Self-published is fine) and a contact: it shows on Sent, under Queued, with what's missing, and goes out on the next send run after you fill them in. Saving your rights updates the file, and every sync pitch makes sure its song is up to date before it goes out, along with the instrumental when you offer one. Your original upload is kept as it was.

Yes. Every pitch links a private listen page, and Sent shows what that person did there: how much of the song they heard, how many times they came back, whether they downloaded it, and which country they listened from. The first time someone plays a song you pitched, you get a notification if they're turned on for this browser. Mail scanners that open every link aren't counted, and neither are you when you check your own link while signed in.

Use a private link: on Music, choose Private links, say who it's for, pick the songs, and copy the link into your email or message. You can add a password, a date it stops working, and whether they can download the songs or see your press kit. The page shows what that person opened, how much of each song they heard and what they downloaded, and you get a notification the first time they press play. Turn a link off any time. Pitches BandNavigator sends already carry their own listen link.

Replies land in Sent, next to the pitch that earned them, and you get an email when one arrives. You can record a win (a playlist add, a radio play, a press feature, a label that wants to hear more) right there. When they ask a question, BandNavigator drafts your answer on Pitches for you to check and send. A pitch nobody answers within 21 days of your last message is marked No answer, so that contact ranks lower for your next songs; change it any time, and a late reply replaces it.

No. BandNavigator does not target pay-to-pitch services, or labels that charge to listen or to release. It points you at curators, stations, writers, supervisors and labels you can contact directly. When a curator answers a pitch with a price, the reply is flagged for review, and once confirmed nobody on BandNavigator pitches them again.

Yes. Every artist gets a public page with your bio, music player, social and streaming links, tour dates, merch, and a mailing list signup. Set it up under Settings → Artist site, publish it when you're ready, and connect your own domain if you have one.

Yes. Your site is laid out like a gig poster: your newest cover art behind your name, your photo on a polaroid, your released songs, tour dates, merch and a big sign-up. Under Settings → Artist site → Look, pick the color it's printed in (brass, blood red, verdigris, stage orange or ultraviolet) and the type (gig poster or editorial). Only songs you added from a streaming link appear on the site, so nothing unreleased shows up.

On Press Kit, upload a photo, logo, one-sheet PDF, audio or video, or link one by URL. Tag an item public, press or epk to show it on your artist site and press kit; untagged items stay private to your team. To take something off, open the ⋯ menu on its card: Remove from public press kit hides it from your site and press kit but keeps it in your library, and Delete item removes it and its uploaded file for good. The download fans get when they join your list can't be deleted until you choose a different one under Settings → Artist site.

Yes. Each fan on the Fans page says how they found you: your show QR code, your press kit (which every pitch links), a social post, a fan email, or your site directly. A summary sits above the guest list. When you post your page on social, use the social link shown on the Fans page so those sign-ups are counted as social. Fans who joined before October 30, 2026 don't have a source.

Yes. Once your page is published, the Your public page card on Home shows how many visits your page and your press kit got in the last 30 days. Bots and link previews aren't counted, nor are your own visits while you're signed in to BandNavigator, and a visitor who comes back within half an hour counts once. BandNavigator counts visits only; it doesn't record who visited.

Add any show under Settings → Artist site → Tour dates, with a tickets link if you have one. Gigs you mark Confirmed in Venues post automatically. Past shows drop off on their own.

Yes. On a gig in Venues, choose Deal & settlement from its menu. Note the ticket price, door split, capacity, set length and load-in; tick off the advancing as you go (deal in writing, tech rider and stage plot, set times, hospitality, promo, who pays you on the night); and after the show record what you were paid, when and how.

Yes. Build a route in the Tour Builder and add the stops as holds. For each venue with a booking address and a date at least ten days out, BandNavigator drafts a booking email with the date, your press kit link and how many fans on your list live within 50 miles. It waits on Pitches for your approval.

Yes. Add clothing, accessories, vinyl, CDs, artwork or digital downloads with the Merch Wizard, set how many you have (by size for clothing), and sell them on your artist site with Stripe Checkout. You get an email for every order and when something runs low. You pack and ship orders yourself and can set a flat shipping fee.

Yes. On the Merch page, under Design from a song, pick an analysed song and choose Generate merch design. BandNavigator drafts a concept from the song's mood, palette and lyric hooks (theme, colors, imagery and the products it suits) and renders print-ready artwork to go with it; the concept takes about a minute and the artwork a few more. Regenerate design drafts a different one. The latest artwork for each song collects under Generated designs, where Add as product starts a product from it and Add to Press Kit copies it there.

No. Log a sync placement on the Sync page to keep a record of what the song earned; BandNavigator takes no commission, and every deal you log helps it learn which supervisors and libraries suit your music. If the supervisor doesn't send their own paperwork, the deal's ⋯ menu has License paperwork: a plain sync license and a one-stop confirmation, filled in from the deal and the song's Rights & royalties card, ready to print or save as a PDF. It's a template, not legal advice.

Home has a Money in card with the last six months, month by month, split into shows, store and sync. Only recorded money counts: a show once you enter what it paid under Venues (Deal & settlement), a store order once it's paid (less BandNavigator's fee), and a sync deal once you mark it won. Four weeks after a song's launch date, Home also reminds you to import its Spotify for Artists numbers on Analytics.

Yes. Home has a Grants & funding card listing grants you can apply for, soonest deadline first, then the ones open all year. It goes by the home market you entered at setup: your country, and your state or UK nation for the grants limited to one. Each links to the funder's own page, where you apply; BandNavigator doesn't apply for you. Dates were read from each funder's page in October 2026, so check the page before you apply. If money gets tight, the card also names relief funds like MusiCares.

Connect a Stripe payout account under Settings → Billing. Sales go to your Stripe account. BandNavigator keeps a 5% platform fee on the item price; shipping fees go entirely to you.

Starter is free. Indie is $19/month for one artist, Pro is $39/month with 3 members and marketing automation, and Label starts at $149/month for multiple artists and teams. Yearly billing is available on paid plans. See Pricing for everything included.

AI credits pay for the AI writing in the app, like Campaign Plans and pitch drafts. Each paid plan includes a monthly allowance (600 on Indie, 1,200 on Pro), and credit packs top you up in a busy month.

Go to Settings → Billing in the app and choose Manage in Stripe portal. Upgrades, downgrades, invoices and cancellation are all there.

BandNavigator doesn't claim ownership of your recordings, artwork, lyrics, photos or fan lists. It uses them only to run the service for you (see the Terms). The Privacy Policy explains what is stored and why, and you can delete your account under Settings → Account.

Ask Atlas, our support chat, for a quick answer. If it's a bug or something about your account, use the Report a Problem form on the Help page and we'll reply by email.

Choose Feedback at the top of any Backstage page (on a phone: FAQ, then Send feedback). It opens the Help page's form with Feedback or an idea already picked; tell us what worked, what confused you and what you wish it did, and we'll reply by email. Beta testers can also just reply to their welcome email.