# A Studio Archive: Sessions, Takes, Versions Nobody's Relistened To

A recording studio accumulates hundreds of sessions over the years: rough takes, alternate versions, client material nobody's touched in ages. Finding a specific version of a specific track means remembering which of hundreds of folders it's sitting in.

Digercules transcribes and catalogs the recordings: what's on each session, which takes are duplicates of the same material, which versions are final and which are rough, who the performer is, if that can be determined from the content.

## How it works

Processing runs either entirely on the client's own hardware, or — if that hardware isn't powerful enough — is delegated to a specific external machine over a closed peer-to-peer channel (not a public cloud): the compute is physically located in the Caucasus and Eastern Europe, the client is always told explicitly which machine and which jurisdiction is doing the processing, and only text/structured results come back — never the source files. Client audio stays under the same access control — it's processed on direct instruction, and what comes out is a catalog and annotations, not the recordings themselves.

Transcribing and cataloging audio at this scale has already been proven, not prototyped: 66,000+ hours of real audio recordings processed on live archives.

## Objections

**"Client material is someone else's intellectual property"** — processing doesn't change rights to the material and doesn't publish it; the result is an internal catalog for the studio itself.

**"We already remember what's where"** — that works while the archive is small; it stops being true after a few hundred sessions and a couple of staff changes.

## First contact

A pilot on one client's archive spanning several years of sessions — an annotated catalog with take/version identification. The decision on access to a session archive sits with the studio owner or director, not a line sound engineer.