Enterprise
Audio at catalog scale, to one standard
For labels, studios and broadcasters working at a volume, a pace or under obligations that the published plans were not designed for.
The short answers
- Capacity for a release week?
- Yes: a contracted share of the processing fleet, set aside in advance.
- Volume pricing?
- Yes, below the published rates, on Studio minutes and API throughput alike.
- Who can hear your audio?
- Nobody, by default, and every internal read is recorded in an append-only audit store.
- Trained on your audio?
- Never. Customer audio is not used to train anything, for anyone.
The offer
What a contract changes
Five things a contract adds on top of the platform everyone uses.
Reserved capacity
A contracted share of the processing fleet instead of a place in the shared queue. A release week is a capacity question, and the answer is capacity set aside in advance.
Volume terms
Committed-use pricing below the published rates, on both Studio minutes and API throughput, with request limits raised to match.
Isolation you can put in front of an artist
Per-workspace storage and credentials, access only through signed links that expire, and decoding in a sandbox with no network. Staff cannot listen to your audio by default, and every internal read is recorded in an append-only audit store. Both are architecture, not policy.
Retention and audit on your terms
Contracted retention windows, unlimited version history, and an audit trail of access that survives the people who made it. Legal-hold handling runs on a separate, dual-controlled path.
A named contact
One person who knows your account, instead of a queue. Onboarding for the people who will actually use it, and a route to us that does not start with a form.
Questions
What procurement asks first
The questions procurement asks first, answered before the call.
- Who at Euphona can listen to our audio?
- Nobody, by default. Staff access to customer audio is switched off, not merely discouraged, every internal read is recorded in an append-only audit store, and audio moves only through signed links that expire. That is architecture, not policy, which matters because policy is what changes when somebody is in a hurry.
- Is our audio used to train models?
- No. Customer audio is never used to train anything, for anyone.
- What happens to our material if we leave?
- You export it and we delete it, on the retention window your contract sets. Version history and the audit trail of access go with you, because an audit record that disappears with the account is not much of a record.
- Can this run inside our own pipeline?
- Yes. The API is asynchronous, with jobs, live progress and signed file URLs, and it runs the same engine as the Studio, not a reduced version of it. Request limits are raised to match a committed volume.
- How is a release week handled?
- With capacity set aside in advance. A release week is a capacity question, and reserved capacity is the part of a contract that answers it: a contracted share of the fleet instead of a place in the shared queue.
- What does it cost at volume?
- Below the published rates, on both Studio minutes and API throughput, against a usage commitment. Tell us the shape of the work and we will come back with a number.
Next
Start with the work, not the paperwork
Tell us what you are processing, how much of it there is, and what has to be true for it to be allowed. It is a shorter conversation than a requirements document, and it gets to the same place.