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AINSOF is a music superpowers creative company. Powered by a curated licensed catalog and AI tools. We build dedicated tools for connecting music to picture, producing music for content and turning a brief, reference track or edit into music that fits.

New original music is added every week, written, played and produced by high-level human composers, musicians and creators. Nothing in the catalogue is AI-generated.

Licensing that is straightforward and leaves no risk behind you.

What we believe: keep a human in the loop in the making of the music, and hold a premium standard while doing it — then put all of it inside the models and agents you are already using.

Content creators — anyone cutting for YouTube, social or a client channel who needs music that is cleared and stays cleared.

Video editors — the people who need the 30-second cut, the underscore and the no-drums mix, not a track they have to fight in the timeline.

Music supervisors — send a reference, get back tracks that genuinely sound like it, with writers, splits and rights already filed.

Production companies and media teams — agencies, post houses and in-house studios delivering the same spot at six different lengths.

AI aggregators and multi-model platforms — products that route across several models and need a licensed music layer they can call rather than build. That is what the API is for.

Four libraries, all of them ours and all cleared the same way.

AINSOF Collection is the main body of work — scored tracks across genres, the part of the catalogue most briefs are answered from.

AINSOF Artist is artist-led: songs and vocal records rather than underscore, written with the performer rather than around them.

Editor Tools & FX is the working half — risers, impacts, transitions, drones, whooshes and the sound design an edit needs between the music.

Israeli Voices is a regional collection of music rooted in the local scene, recorded with the players who actually play it.

New original music is added every week, and it is all searchable the same way — by feeling, by reference or by brief.

Most tracks carry 15, 30, 40 and 60-second cuts, edited to land on the music rather than faded out, so you rarely need to trim by hand.

Beyond the cutdowns there are alternates built for cutting to picture: underscore and music bed for dialogue and voiceover, and minus-mixes that pull one element out — no drums, no percussion, no drums & percussion, no melody, no vocals, no guitars, no lead guitars, no choir, no brass, no bass, no piano, no strings, no woodwinds, no sax, no organ and no orchestra.

Some tracks also come as isolated groups — vocals, melodies, guitars only, drums & percussion, drums & bass, strings & brass, or drones & atmospheres.

Which of these a given track holds depends on how it was arranged; a piece with no choir in it has no no-choir mix. Ask the agent for a track and it lists exactly what that one carries, each with its own listen link.

Yes, for most of the catalogue — and where a track has them you get all of them, typically five or six layers and up to sixteen.

Layers include drums, percussion, bass, strings, brass, woodwinds, guitars, piano, keys, synths, choir, vocals, melody, atmospheres and sound design.

Mute what fights the dialogue, raise what carries the scene, drop the drums for the first act and bring them back on the cut. Stems are included with a licence, not sold separately.

No. Every track was composed, played and produced by a real composer.

Every track is owned outright and cleared for commercial use. The agent is how you find the music — it is not how the music was made.

All twelve tools record an operational request log and are annotated as changing private first-party state. Some also create private analysis jobs, scored media, delivery archives, upload destinations, listening links, or feedback sent after explicit consent.

It cannot inspect your files, conversations, projects or other connectors, and it never changes publicly visible internet state. It receives only what you explicitly send — a brief, video, video length, public or authorized reference, or track ID.

No. Paste the address and search. Nothing to sign up for and nothing to install.

A key matters at one point only: when a licence is settled and your downloads switch from watermarked previews to clean masters.

Every preview is the complete track — start to finish, with an audible watermark. Not a thirty-second teaser.

Every version and every stem is free to download in watermarked form, with no limit. Take the 30-second cut, the underscore, the no-drums mix and four separate stems, lay them all against picture, and find out which one actually sits in your project — before you pay anything.

Auditioning is not a trial. It is how the catalogue is meant to be used. A licence is what removes the watermark, not what unlocks the file.

Yes. Paste a link and the agent resolves the recording through public or authorised metadata, then compares a permitted preview clip by sound — tempo, instrumentation, texture and energy — and returns the tracks that sound closest to it.

It compares permitted preview audio rather than matching only on tags. SoundCloud is unsupported because it exposes no permitted preview clip, and TikTok metadata identifies the post caption rather than the recording; provide the artist and title instead.

Yes. The MCP server is one way in; a direct API is the other, for teams building AINSOF into their own product.

It is the same catalogue and the same capabilities — semantic search, reference matching, the fit-to-length logic, every version and every stem — reachable from your own stack instead of from a chat window.

If you are building a video tool, an editing platform or an agent that needs licensed music, write to info@ainsof.io and we will scope it with you.

Anything online is covered. Web, social, YouTube, client presentations — worldwide, with no expiry on what you published while licensed.

Broadcast, cinema, trailers, paid advertising and games sit outside that. They depend on reach, territory and term, so we quote them per project rather than list a price.

Tell us what you are making at info@ainsof.io and you will have a number quickly.

Every work is registered and administered through the performing rights organisations, with writers, publishers and splits filed correctly.

That is the point of a catalogue that was actually written by people and is actually owned: the paperwork exists, the rights are traceable, and nothing you licence rests on an assumption.

The catalogue is represented locally across the Americas, Europe, Asia, the Middle East and Africa — each territory by a dedicated sync and licensing partner, with a named contact and its own search portal.

They hold the same catalogue and can licence it where they operate, so if you are working in their region they are usually the faster route: local contract, local currency, local hours.

See every territory and its contact — or write to info@ainsof.io and we will point you at the right one.

Yes. Custom work is a real part of what we do, not an upsell on the catalogue — music written for one film, one brand, one brief.

Recent work includes campaigns for Adidas, Salesforce, CrowdStrike, Heinz and Inter Miami CF, with the same composers who write the catalogue.

Send the cut, the reference or just the idea to info@ainsof.io, or watch what we have made first.