From a feeling you can’t shake to a real conversation with someone who can place it. Writers place songs; buyers find or brief; a line opens only when both sides choose it.
Tell June about your song in plain words, a line about how it feels is enough. No forms, no jargon, no upload.
June turns your words into a profile, a vibe, and original cover art. You edit and approve everything, she never invents a detail, never touches your master.
Your song sits in the room, playable. When a buyer reaches for it and you open the line, the two of you talk in private, about one song, on your terms.
A line is one buyer and one song. When a song becomes real work, open a studio: a private space you name, with one shared thread, files that keep every version, and only the people you invited. Nobody can add you to one, and nothing in it is discoverable. Bring in a manager or an engineer who is not on Cut and they get a seat in that studio alone.
Nothing you don’t choose. June works only from what you type. Your audio is never analyzed, never retained for training, and never public by default. A song streams only for someone you’ve cleared to hear it.
A private conversation about one specific song, between a buyer and that song’s writer. It opens only when the buyer reaches and the writer agrees. No cold contact, no open inbox, and nothing shared until both people say yes.
No. Cut is a room, not a deal. You keep your master and your publishing, and Cut takes no percentage of anything you place. We make money from buyer memberships, full stop.
One-stop means a single person controls both the master and the publishing, so a buyer can license without chasing multiple parties. It’s the single biggest reason a song gets chosen under deadline. Every writer in Cut is one-stop by design.
Only vetted buyers in the room can see a song you’ve listed, and only you see the lines opened on it. Other writers don’t see your conversations, and nothing is indexed or public.
You’ll see the whole thing in about a minute.