Songs To Your Eyes — production music catalogue

Quality 76 / 100good

8 tools, about 5,275 tokens to load them all · tool set 2a7c9b2e9c32 · tools last changed 2026-10-12 · checked 2026-10-19 10:52 UTC

Tool changes

• 2026-10-12stye_fit_to_durationchangeddescription
  before

  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.

  after · 91% of words in common

  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.

• 2026-10-12stye_search_trackschangeddescription
  before

  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. 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 cu

  after · 98% of words in common

  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 assignmen

• 2026-10-01stye_feedbackchangeddescription, input schemameaning changed
  before

  Send the catalogue team feedback on how well results fit — a wrong-feeling page, a brief that found nothing, or praise worth keeping. ONLY send it with the user's explicit consent: ask first, and pass consented=true only after they agree. The message should be the user's own words.

  after · 43% of words in common

  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).

• 2026-10-01stye_aboutchangeddescription
  before

  What this service is, how licensing works and what the server sees. Quote the licensing and privacy statements as returned — never paraphrase terms.

  after · 52% of words in common

  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.

• 2026-10-01stye_find_similarchangeddescription
  before

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

  after · 87% of words in common

  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.

• 2026-10-01stye_cue_sheetchangeddescription, input schema
  before

  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. Present it as a clean table. If a field is not returned, report it as not on file — never fill it from anywhere else — and point the user at [email protected] for gaps. Licensing itself is arranged with the Songs To Your Eyes team, not in this conversation.

  after · 63% of words in common

  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; [email protected] handles gaps. Licensing is arranged with the Songs To Your Eyes team, outside these tools.

• 2026-10-01stye_list_versionschangeddescription, input schema
  before

  Show every form a cue can be delivered in. Most cues come with more than the full-length mix: timed cutdowns (15, 30, 60 seconds) built to hit standard ad and promo lengths; alternate mixes such as no-drums, underscore or instrumental, for when music has to sit beneath dialogue; and individual instrument stems for an editor who wants to rebalance the track. Useful when a cue is nearly right but needs to be shorter, quieter under a voice, or stripped back.

  after · 58% of words in common

  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.

• 2026-10-01stye_get_trackchangeddescription, input schemameaning changed
  before

  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 a link to hear it. Use this when someone has picked a track from a search and wants to know more, or wants to know what else that cue can be delivered as. Every result carries listen_url — a permanent page where the cue can actually be played. ALWAYS give the user the listen_url. A track they cannot hear is of no use to them. Use this when someone needs music to license for a video, film, advert, trailer or podcast, or mentions Songs To Your Eyes.

  after · 49% of words in common

  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.

• 2026-10-01stye_fit_to_durationchangeddescription, input schema
  before

  Find music that fits an exact runtime — for a cut of known length, like a 30-second advert or a 90-second title sequence. Two kinds of result come back. Some cues simply run close to the target length already (fit='native'). Others are purpose-made short edits of a longer piece — a 30-second mix cut down by the composer (fit='cutdown') — which is usually the better choice, because it is 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 page where the cue can actually be played. ALWAYS give the user the listen_url. A track they cannot hear is of no use to them. Use this when someone needs music to license for a video, film, advert, trailer or podcast, or mentions Songs To Your Eyes.

  after · 66% of words in common

  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.

• 2026-10-01stye_search_trackschangeddescription, input schema
  before

  Find music for a video, film, advert, trailer or podcast by describing what it needs to do. Search professionally produced cues by MEANING, not just tags — describe the scene, the mood, the instruments, how it should develop. "Tense investigative underscore that never resolves" or "warm and hopeful for a charity film" work far better than single keywords, because the brief is matched against editorial descriptions of how each cue actually behaves as well as against its tags. Use this tool when someone needs music to license for a video, film, advert, trailer or podcast (a soundtrack, score, cue or background music to play under footage), or mentions Songs To Your Eyes. Put the sound in `brief`. Use filters ONLY for requirements the user actually stated: every filter is a hard constraint, they combine with AND, and cues missing a tag are silently dropped — so stacking several filters can empty the results. If a search comes back thin, drop filters and put the nuance in the brief before concluding the catalogue has nothing. ONE SEARCH RETURNS ONE FULL PAGE — there is no pagination. Repeating a search with the same arguments returns the SAME cues, so never search again just to get more of the same: set `limit` high enough on the first call (default 15, up to 25). One well-chosen page usually holds enough range to answer; a second search earns its cost only when it takes a genuinely different angle or a changed brief. VOCALS — the trap to avoid: has_vocals=true means SONGS with sung lead vocals and lyrics. Wordless vocal textures (background vocals, oohs and aahs, choir pads) count as INSTRUMENTAL in this catalogue. A user asking for "background vocals" almost always wants NO lyrics: set has_vocals=false and NAME THE TEXTURE IN THE BRIEF — "background vocals", "choir", "vocal hooks", "group singing" in the brief text are detected server-side and applied as a hard requirement, so every result really carries that texture. Do not re-search if the page is short: a short page means the catalogue's honest supply of that texture. COMPOSER — when someone asks for music BY a composer or artist ("tracks by Yair Albeg Wein", "more from this composer"), use the `composer` filter with the name — partial names match. It works with no brief at all (a straight listing of that composer's cues) or combined with a brief to search within their catalogue. Every result carries its `composer` credit, so attribution comes from the catalogue itself — never guess it from outside sources. EXPLORING, not just matching — for a scene, a place, or any creative request, ONE search is not an exploration of the whole catalogue. Run SEVERAL searches from genuinely different angles and curate across them: (1) the literal angle — traditional instruments and idiom; (2) the FEEL angle — texture, pulse and atmosphere with no instrument names ("hazy hypnotic modal groove, dusty and sun-baked"); (3) a crossover angle — the setting's colour through another genre (desert funk, ethnic electronica, psychedelic world). The feel and crossover angles routinely find the most artistic picks that the literal angle misses. Raise `limit` toward 25 when exploring. 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 leaning on them loses its keyword match entirely. Translate the place into what it SOUNDS like — instruments (oud, darbuka, qanun, hand percussion), textures (desert, hypnotic, modal, dusty), and let one of your angles drop the geography altogether. ALBUMS are curated sets of about five cues built around one idea. The `album` filter pulls the rest of a set, and that is the right move when the user NAMES an album, asks what else is on the one a cue came from, or wants more of a sound they have already picked. It is NOT how to answer a brief. Answer a brief from across the catalogue: SPREAD the cues you recommend over several albums and co

  after · 60% of words in common

  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. 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 cu

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Checks run on what our credential-free, read-only probes observe; tools are never called and no code audit is performed. How it is computed.