Answered plainly, including the awkward ones.

It is the workspace a management company runs itself on: the roster and the people you are talking to about joining it, every agreement and the points still blocking it, the media that comes in, the paperwork, the diary, and what each artist has actually earned.

Artist management companies and agencies, from a single manager with four artists to a company with a roster of twenty and a team of eight. It suits people currently running a roster across a shared drive, a spreadsheet and a mail thread who have started losing things between them.

The Desk is what an artist or a small management company uses to run bookings: enquiries, quotes, contracts, invoices and a shop. It is the artist's side of the business.

The Booth is the management company's side, and no artist ever sees it. Where the two touch is the diary and the money: The Booth reads each artist's Desk so their dates and fees appear without anybody typing them twice.

It was built for a London management company and is in daily use there. The screens on these pages are that system with the names and figures replaced, not a prototype and not a design mock.

Not yet. The place it will live is marked in the interface. Today you send from your normal mail client and keep anything worth keeping on the artist's documents tab.

Not yet, and we would rather say so than imply otherwise. Send by whatever means you normally use, record who signed and when, and keep the countersigned PDF as the latest version. The agreement moves itself to signed once every party is recorded.

No. It tells you what has been earned in a contract year, how much of it sits above the floor, and what commission that produces. It does not do bookkeeping, VAT returns or payroll.

No. Recording, publishing, merchandise, sync and brand income is recorded as amounts received, by stream, with a line saying what it was. Splitting a royalty statement across writers is a different job and a different piece of software.

No. Artists who run The Desk have their dates and fees read in automatically. Everybody else is entered by hand, which takes a moment per date and is never overwritten by a sync. Most rosters end up mixed, and the diary treats both the same once they are in it.

No, and it is built so that it cannot. The feed is read only. If a fee is wrong in The Booth it is wrong on the Desk, and that is where it gets corrected. Two people editing one booking in two systems is how diaries go wrong.

Most management agreements carry an annual floor below which no commission is charged. The Booth reads it as a running total through the contract year. Income up to the floor carries no commission at all, and every pound after it is charged at that stream's own rate.

Whether a particular agreement means a contract year or a rolling twelve months is a drafting question rather than a software one. Where an agreement is ambiguous the page states the reading it used rather than presenting the figure as settled.

When it reaches paid. A switch counts invoiced as well, for when you want the picture including money that is out but not in. Everything before that sits under still ahead and is never mixed into the floor or the commission.

Because no percentage could be read from that artist's key terms. Rates are read out of that text, so each one needs a figure in it, for example 15% of net above the floor. Write the figure in and it is picked up at once.

Figures are net of VAT as the diary holds them. Where an artist has a booking agent, that agent's commission sits outside these numbers.

Each artist has a private send-in link. Anybody holding it can put audio, video, artwork or documents straight onto that artist's record with no account and no sign in, and each arrival carries their name and note. It accepts files and does nothing else: no roster, no contracts, no figures, nothing already on the record.

Yes, and that is what the research role is for. There is no finance page in their rail at all, fees are absent from their view of the diary, and contract files and restricted documents do not appear in their lists. Nothing is shown and locked, because a locked padlock still tells people something.

Not as it stands. Passwords must be at least ten characters and repeated wrong attempts stop the sign in page accepting tries, but a password is the only thing between an account and the roster. Where a company needs a second factor it is quoted with the installation.

In one installation belonging to your company, on hosting we run for you or on your own server. There is no shared database and no other company’s records alongside yours. Uploaded files sit in a folder closed to the web and are served only by a page that checks who you are. Full detail is on the data and access page.

You take a readable export of the records and the files, at any time, without a negotiation about it. We would rather be kept because the software is worth keeping.

An admin disables their account. It stops working immediately and nothing they created is lost, since their notes, uploads and open points stay in place with their name on them. If they held a send-in link for an artist, replace it.

An installation is ready the same week. The honest constraint is your material rather than the software: how quickly your agreements, key terms and current dates get into it. Most companies start with the artists who have something in progress and bring the archive in behind them.

Yes, and it is quoted separately because it depends entirely on the state the material is in. A tidy shared drive is a day. Fifteen years of mail attachments is not.

The stages and roles are deliberately fixed as standard, because they are what make the diary and the permissions coherent. Where a company genuinely works differently, the fields, stages and wording are changed as part of the installation and quoted with it.

Yes. Your team signs into your wordmark and your workspace name at your own address.

Yes. Every installation comes with a handbook written for the person who uses the system every day rather than for an engineer, covering each page, the roles, and what to do when something looks wrong.

Half an hour. Bring one artist, one agreement and a month of dates and you see your own material in it rather than an invented roster. There is no charge and no obligation at the end of it.

It is licensed per company and priced on the size of the roster rather than per seat, plus set-up and migration quoted once. What it comes to depends on how many artists you carry and where the data has to live, so we would rather work it out with you than publish a number that turns out to be wrong.