Why we're building Dadbot Studio

Screenwriters have Final Draft. Novelists have Scrivener. Musical theater composers have — a pile of tabs. A lyric document here, a demo in a folder there, a score in one program and the cast recording in another. The work is scattered across ten tools and none of them know the others exist.

Dadbot Studio is one place for the whole thing. You write the lyrics, you hear the song, you engrave the score, you assemble the album, and you publish the finished book. Each step feeds the next, because they live in the same room.

It started with a survivor's testimony

The first musical we built here is The Horse Adjutant, drawn from the testimony of Leon Schagrin — ninety-nine years old, a Holocaust survivor, who gave us his full copyrights and his trust. Seventeen songs so far, including "Oh Smile At Me" and "Schindler's Tango." Building it taught us what the tool needed to be: fast enough to keep up with an idea, careful enough to be worthy of the story.

A platform for humans. Performed by humans. We have the proof.

The proof is the point

Anyone can promise a tool. We'd rather show you a finished book on a shelf and a song you can play. That's the standard we hold ourselves to: not a demo, but a real work of art that came out the other end. If it can carry Leon's story, it can carry yours.

This blog is where we'll show the work — what we're building, what we're learning, and the people making things with it. Welcome in.