git in the groove
Version control for music. Private by default.
Every version of every project, backed up the moment you save. Collaborate without zipping folders or emailing 4 GB of stems. And when your work gets forked, sampled, or remixed, the credit — and the splits — route back to you automatically.
You already have a version control system for your music. It’s called
Track_FINAL_FINAL_v3.als,
and it’s lying to you.
Your history lives in a folder of guesses. Your collaborator’s “latest” is three days behind yours. Your stems are scattered across Dropbox, email, and a drive you can’t find. And the one good take you bounced last month? Gone, overwritten, somewhere.
Code solved this fifteen years ago. Music never did.
The fix, in your DAW
GitTunes versions your projects from inside Ableton. Hit save, and you’ve got a snapshot — scroll back through every version, restore any one in a click, and see what changed without opening a thing. Invite a collaborator and they’re working from the real latest, instantly. No zips. No “which file?” No lost takes.
Ableton Live first, via a Max for Live device + a lightweight desktop agent. More DAWs after.
The part that’s actually new: the graph
Here’s what a folder of files can never do. Every fork, stem, and remix carries cryptographic provenance — so a musical idea isn’t a dead end, it’s the root of a tree. When a derivative is licensed, the splits route up that tree on their own.
Splice sells you a sample once and the trail goes cold. GitTunes makes the trail the point.
Provenance example (in-platform licensing). Alice's original stem is forked twice, and each of those is forked twice — 6 descendants. If every one licenses their package for €1,000, then after a 20% platform fee the creator pool routes up the graph to Alice each time: €400 from each of the two direct forks and €200 from each of the four forks-of-forks, totalling €1,600. Closer forks route more; distant ones a thinner slice.
The price the lister set — a loop, full stems, or an exclusive. Not streaming earnings.
20% platform fee — creators keep 80%. Drops to 10% once a creator passes €5,000 in lifetime sales.
the origin (Alice) a fork that licensed
Closer forks route more; a fork-of-a-fork pays a cut of a cut. Split defaults vary by fork type.
See how it worksPrivate by default
“Wait — is my music public?” No. Most repositories on GitHub are private, and that’s how the whole thing works. Your projects are private by default and encrypted at rest. You choose, per project, what stays in the vault, what’s shared with collaborators, and what’s open to the world. Nothing leaves your machine unless you say so.
Built on an open protocol
GitTunes isn’t a walled garden. Underneath it is an open, MIT-licensed protocol — content-addressed, cryptographically signed, federation-ready. Openly licensed, so anyone can build on it. The protocol outlives any single company, including this one.
Where this goes
AI is dropping the floor on music production. The next wave of producers will have taste before they have technique — and they’ll build by recombining real, human stems. GitTunes is where those stems live, with provenance and consent built in, so the people who made them get paid when the machines reach for them. Extraction is coming either way. This is the version where musicians set the terms.
Be early
A prototype’s running now. Join the early access list and we’ll bring you in as it opens up.