Songs To Your Eyes — production music catalogue

Sends a short message to the catalogue team about how well results fit: a wrong-feeling page, a brief that found nothing, or praise worth keeping. It sends only with consented=true, which records that the user explicitly agreed to send this message; without it, nothing is sent. The message is stored with the brief and track it concerns and no user identifier (https://mcp.songstoyoureyes.com/privacy).

What this service is, how licensing works and what the server sees: the service's own licensing and privacy statements, with links to the full legal terms and the privacy policy.

The clearance data a broadcaster or PRO filing needs for one cue: every credited writer with role, society and IPI, every publisher with its share, the ISRC and the album. A field missing from the response is not on file in the catalogue; info@songstoyoureyes.com handles gaps. Licensing is arranged with the Songs To Your Eyes team, outside these tools.

Cues close in character to a given one, matched on the catalogue's editorial description of each cue together with its genres, moods and instrumentation, for 'more like this one' moments. It compares how cues are described, not their waveforms, so it is strong on character and mood and does not detect two cues as alike purely because they sound alike. Results are main mixes from other cue families, at most three per album, each with its listen_url.

Finds cues that fit an exact runtime, for a cut of known length such as a 30-second advert or a 90-second title sequence: music to license for a project, or anything about the Songs To Your Eyes catalogue. Two kinds of result come back. Some cues already run close to the target length (fit='native'). Others are purpose-made short edits of a longer piece, cut down by the composer (fit='cutdown'), built to land on time rather than fade out. delta_s is how far each result sits from the target, negative meaning shorter. For a cutdown, licence_ref identifies that specific edit (the thing to license), while ref points at the full-length original that carries the description and the preview. Every result carries listen_url, a permanent public page where the cue plays, with cover art and a waveform. It is the only way a person can hear a cue: a cue listed without its listen_url cannot be auditioned. The brief is matched on Songs To Your Eyes' own servers; it is not sent to any third-party AI service.

Everything about one cue: what it sounds like and suits, its tempo, key, length and instrumentation, every version that exists of it (stems, shorter cuts, alternate mixes) and its listen_url. For a track already found, or for what else a cue can be delivered as. Every result carries listen_url, a permanent public page where the cue plays, with cover art and a waveform. It is the only way a person can hear a cue: a cue listed without its listen_url cannot be auditioned.

Every form a cue can be delivered in: the full-length mix plus, where they exist, timed cutdowns (15, 30, 60 seconds) built for standard ad and promo lengths, alternate mixes such as no-drums, underscore or instrumental for music that sits beneath dialogue, and individual instrument stems for rebalancing a track. A little under half of the catalogue's cues have at least one of these. Each version carries its own listen_url. Relevant when a cue is nearly right but needs to be shorter, quieter under a voice, or stripped back.

Searches the Songs To Your Eyes production-music catalogue for cues that fit a brief for a video, film, advert, trailer or podcast: music to license for a project, or anything about the Songs To Your Eyes catalogue. The brief is matched by MEANING against an editorial description of how each cue behaves as well as against its tags, so a described scene, mood, instrumentation or arc ("tense investigative underscore that never resolves", "warm and hopeful for a charity film") matches far better than a single keyword. LISTENING. Each result carries listen_url, a permanent public page where that cue plays. It is the only way a person can hear a cue: a cue listed without its listen_url cannot be auditioned. This holds for every list, an album listing included. PRIVACY. When a brief has not been searched before, its text is sent to Google's Gemini API to interpret it; no identifier is sent. FILTERS. Every filter is a hard constraint. Filters combine with AND, and a cue missing the tag a filter tests is excluded, so several filters together can empty a page. The brief carries soft qualities without excluding anything. PAGES. One call returns one page of up to 25 cues (default 15); there is no pagination, and identical arguments return identical cues. A different brief, or the same need phrased from a different angle, returns different cues. VOCALS. has_vocals=true selects songs with sung lead vocals and lyrics. Wordless vocal textures (background vocals, oohs and aahs, choir pads) are classed as instrumental, has_vocals=false; a request for "background vocals" is almost always a request for no lyrics. Texture words in the brief ("background vocals", "choir", "vocal hooks", "group singing") are detected server-side and applied as a hard requirement, so every result carries that texture and a short page reflects the catalogue's actual supply of it. COMPOSERS. The composer filter matches the credited composer by partial name, with or without a brief (with none, it lists that composer's cues). Each result's `composer` field is the catalogue's own writer credit. ANGLES. A page reflects one phrasing of a brief. Phrasings from different angles reach different parts of the whole catalogue: the literal angle (traditional instruments and idiom), the feel angle (texture, pulse and atmosphere with no instrument names, e.g. "hazy hypnotic modal groove, dusty and sun-baked") and the crossover angle (the setting's colour through another genre: desert funk, ethnic electronica, psychedelic world). The feel and crossover angles routinely surface the most distinctive picks, which a literal phrasing misses. PLACES. The catalogue describes music by instrument, texture and mood, not geography: region and culture names ("Moroccan", "Gnawa", "Berber") appear in almost no tags, so a brief built on them loses its keyword match, while the sound of the place (oud, darbuka, qanun, hand percussion; desert, hypnotic, modal, dusty) matches. ALBUMS. Albums are curated sets of about five cues built around one idea. A general search returns at most two cues per album (max_per_album) so that a page spans the catalogue, and `albums_represented` reports how many distinct albums the page drew on. The album filter returns a whole set and lifts that cap. A recommendation built from a single album shows one record's take on a brief rather than the catalogue's range. EVENTS AND OCCASIONS. Tags naming a specific event (a festival, a holiday, an occasion) are on a handful of cues, not applied systematically: only 20 cues carry "Burning Man" while the catalogue holds ~1,900 electronic cues, and 39 carry "Festival". An event-tag match is therefore a narrow slice. The music an occasion implies reaches much further: house, techno, trance and rave for a festival; the emotional register, rather than the word, for a wedding. CONTEXTS. The `context` parameter runs an owner-curated occasion search ('rave-club', 'christmas', 'halloween', 'summer' and others) against assignments precomputed from the catalogue owner's translation rules: "rave" reaches the whole beat-driven electronic palette, not just the cues that carry a festival tag. An unknown name returns the full list of valid contexts. Country names (Lebanon, Morocco, Turkey...) are accepted and generalise to their regional palette, where the catalogue's world coverage is deeper. Some contexts are ambiguous (summer, a country or territory): they return results grouped into 2-4 labelled directions, each with its own slug, plus a question that tells them apart; that slug passed as `context` returns the one direction. AMBIGUOUS BRIEFS. Some briefs span genuinely different musical directions: "summer vibes" can mean tropical-house feelgood, chill-lounge, world/travel or sexy/fashion. A single search commits to one reading; the ambiguous contexts return the labelled spread. REFERENCES. The catalogue's tags carry no artist, composer, film or brand names, so a reference searched verbatim ("a la Philip Glass", "like Stranger Things", "think Apple ads") finds little, while a description of its sound matches: Philip Glass is minimal pulsing arpeggios, piano and strings, hypnotic repetition; Trent Reznor meets M83 is dark industrial synths under huge emotive electronic swells; Stranger Things is a retro analog synth pulse, ominous but restrained. NEGATIVES. Negation written into the brief does not subtract from a search. The `exclude` parameter hard-drops any cue carrying the listed tags, spelling variants included. It takes tag-shaped terms (instruments, moods, genres); soft qualities ("not too hard") match better as positive wording in the brief ("restrained", "understated"). STEMS, CUTDOWNS AND KEYS. The catalogue holds ~43,000 stem versions and ~2,800 drums-only stems, and ~1,100 cues have a labelled :30 cutdown; each result's `versions` counts what exists for that cue. The `key` filter matches briefs like "preferably in E" (E matches both E and Em); ~7,100 mains carry a key. CLEAN L… [2086 more characters not shown]