Claude
Claude Code
Grok
Gemini
Cursor
Replit
ClaudeClaude CodeGrokGeminiCursorReplit
ChatGPTSoonMusic superpowers for your AI agent.Curated licensed music and AI tools that do the rest. Right where you already work.
Connect MCP ›
Heinz Mustard x Mustard
feat. Mophonics and AINSOF Remix
“When an iconic brand meets bold creative and smart music choices, magic happens.”
AINSOF’s AI search model understands creative intent, not just words. Listen instantly to every result, dive into alternate versions and stems, pull exactly what you need, and keep refining. All without losing momentum.
Paste a reference link from
YouTube
Spotify
Apple Music
DeezerGive your AI a video, whether it's a file or a link, and get back a professionally scored edit. AINSOF analyzes the video, selects the best matching track, synchronizes it to the picture, and delivers a finished result in minutes.
Measures duration, shot boundaries, pacing, and edit rhythm before choosing a single note.
Every track is synchronized to your edit, with transitions, silence, and musical changes aligned to real cut points.
Get the finished scored video plus every section as a separate WAV — trimmed exactly as used, named with the timecode it starts at, and ready to drop straight onto your timeline. The cue sheet comes with it.
Fourteen seconds of silent footage, one line of brief. The agent came back with the fifteen-second cut of Sovereign Ascent, already on the picture and ending on the last frame.
Four and a half seconds, three cuts, and the clip's own audio underneath. A different track entirely — Magma Drift, from Bedrock Ballistic — cut to the four and a half seconds with the most in them, and faded out on the last frame.
Six seconds, one unbroken shot, and the clip's own sound taken off entirely. Game Night (We On), from For The Fight — male rap over a 176 BPM beat, cut from the master on a downbeat so it starts on the bar rather than wherever the trim landed.
Everything the agent can do, and what each one is for. Eight only read; three do something more, and say so before you connect.
about_ainsofWho AINSOF is, from the source: a music superpowers creative company, powered by a curated licensed catalog and AI tools, growing every week with music by high-level human composers and creators. It also explains what we build, how licensing works and why there is no artist page or streaming profile to look up.
search_musicDescribe what you need in plain words — a mood, a scene, an instrument, an energy. It matches on meaning rather than tags, so "tense for an interview" finds the right track even when nobody tagged it that way.
search_by_referenceSend a YouTube, Spotify, Apple Music or Deezer link, or just "artist — title". It resolves the recording through public or authorised metadata and compares a permitted preview clip by sound, then returns the tracks in our catalogue that genuinely sound like it.
listen_linkA playable link for one exact thing — a full mix, a 30-second cut, a single stem. Complete and watermarked, so you can cut to it before you commit to anything.
analyze_videoMeasures your video without touching it: exact length, frame rate, whether it already has audio, how many shots it holds and how fast it cuts. The two numbers that decide whether music fits are the two nobody thinks to mention.
find_soundtrackGive it the length and what the video shows. It returns three tracks, each already matched to the version that fits that exact duration — a 30-second cut for a 30-second spot, not a full track you have to trim.
score_my_videoHand it a link and it does the job: finds the real shot boundaries, lays the music on, stops the music dead on a cut where you asked for silence, changes track where the story turns, and mixes under any dialogue. You get an MP4 back.
get_upload_linkFor when the video is on your own machine rather than at a link. It hands back a one-time upload address; the file goes straight to our storage and never passes through the conversation.
get_trackOne track in full — every version, every stem, composer with IPI, publisher, tempo, key and length. This is where you find out that the no-percussion mix you were about to build already exists.
deliver_scoreThe finished score as files: the scored video, every section of music as its own WAV trimmed exactly as used and named with the timecode it starts at, plus the cue sheet. Drop each file at the timecode in its name and the render is back on your timeline.
cue_sheetISRC, tempo, key, publisher, and every writer with their IPI, society and performance share. We control master and publishing, so these are stated facts, not estimates.
feedbackHow an answer landed, in your own words. When you say none of them fit, or that the second one is perfect, that goes to the people who choose and tag the music — it is the only reason the matching gets better.
Claude
Claude Code
Grok
Gemini
ChatGPT (soon)
· all twelve log operational use · private artifacts only when requested
Juerga Larga
Live Flamenco
Ink & Onyx
Noir Underscore Neoclassical
Held Breath
Psychological Underscore Textures Vocalise
Breath Between Us
Dramatic Acoustic & Textural Human Voices
Run It Back
Dark Hype Stadium Banger
Gothic Cathedral of Dread
Psychotic Trailer Horror
Rebel Velvet
Gritty British Psych-Rock
Rye & Rambles
Rootsy Live Indie Folk
Toast & Chaos
Family Whimsical Quirky
Swing & Stroll
Live Fun & Bouncy Street Jazz
My Old Life
Cinematic Asian Score
Bedrock Ballistic
Raw Force Hybrid Trailer
The Long Way Home
Indie Singer-Songwriter
The Whistler
2 tracks
Unforgiving Future
8 tracks
Breaking Free
2 tracks
Fire In Me
feat. Fable
Supreme
1 track
It Ain't Safe
1 track
Love You Still
feat. myne
Keep Up
1 track
For The Fight
Driving Hip Hop
Sipur Acher
3 tracks
Kvar Adif
1 track
Zman Emet
2 tracks
Detonator
Trailer Tools
Editor Tools - Series 1
140 tracks
Connect your AI once. Every new tool, feature, and music release becomes available automatically.
In the grok.com sidebar, click Skills and Connectors, then the Connectors tab.
Top right. Choose a custom connector — Grok asks for a name and an MCP server URL.
Name it AINSOF, paste the address as the server URL, then Add Connector.
https://mcp.ainsof.ioGrok checks authentication and the connector is live. There is no key and no sign-in.
In the gemini.google.com sidebar, click Connected Apps, then scroll to Custom apps for Spark.
Paste the address into Add a custom app link to get started, then Next.
https://mcp.ainsof.ioThere is no key and no sign-in — leave Advanced Settings closed.
Google explains what a custom app can do. Tick I understand and accept the security and privacy risks of connecting this custom app, then Connect.
Save your custom app lists what AINSOF can do — find_soundtrack, score_my_video, deliver_score, get_upload_link, feedback, analyze_video and the rest. Click Connect to finish.
In a chat, call it — @AINSOF Music — and ask. Spark plans the job, calls the tools it needs and comes back with tracks, albums, composers, tempo and the cutdowns that exist.
Custom apps for Spark need a personal Google Account (not Workspace), with Keep Activity on. Google currently limits the feature to the US, in English, for users 18 and over.
In Claude desktop or claude.ai, go to Settings → Connectors.
Name it AINSOF and paste the link:
https://mcp.ainsof.ioClick Add. Then open + → Connectors in any chat, switch AINSOF on, and ask for music.
Anywhere — the connector is global.
claude mcp add --transport http --scope user ainsof https://mcp.ainsof.ioThe twelve tools are there. Same in the VS Code and JetBrains extensions.
The ChatGPT connector is being built. The steps below are what it will look like; today the agent runs in Claude, Claude Code, Grok, Gemini, Cursor and Replit.
Go to Connectors → Add custom connector and paste the link:
https://mcp.ainsof.ioIndividual accounts get read-only access to your side — AINSOF reads nothing there.
Press Cmd+Shift+J on Mac or Ctrl+Shift+J on Windows, then choose Tools & MCPs in the sidebar.
Click New MCP Server — or Add Custom MCP if the list is still empty.
Name it AINSOF, leave Type on URL, and paste
https://mcp.ainsof.io as the server address. Nothing else — there is no key and no sign-in.
AINSOF appears with a green dot, 12 tools and 1 resource. Leave the toggle on, then ask for music in any chat.
Prefer the file? Edit JSON in that dialog opens ~/.cursor/mcp.json:
{
"mcpServers": {
"AINSOF": {
"url": "https://mcp.ainsof.io"
}
}
}The server is added from the composer instead of from Settings. Press +, choose MCP Servers, then Add a Custom MCP.
Same three answers as above — AINSOF, URL, and the address. Leave Headers empty and press Add MCP.
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.