Packaging / Cultural sector
The Green Room Version
The full IMC Machine without Evidence Orchestrator. The Creative Studio and The Live Event Production Hub, packaged for venues, theaters, festivals, orchestras, dance companies, conservatories, restaurants and bars with performance programming, podcasters, comedians, bands, yoga studios, community and civic-cultural organizations, and the rest of the cultural sector. The whole machine, configured for the working reality of the people who live in green rooms.
AI On This Page
Buddy Keeps The Talent Record Clean Before The Show.
Buddy is The IMC Machine’s AI assistant. Talk, upload, or speak – Buddy turns what you send into structured records you approve before anything moves.
Talk To Buddy
“Confirm The Headliner’s Load-In Time And Add Their Rider Notes”
Buddy updates the green room record and notifies the right named owners.
Upload A Photo
Drop A Rider PDF.
Buddy reads the technical asks, hospitality requests, and stage requirements and files them under the right artist.
Voice Note
Voice-Note Artist Preferences After Soundcheck.
Buddy logs by artist, dated, with the source recording attached so context is never lost.
Buddy autofills are reviewable. Nothing publishes, files, or sends without a named human approval on the record.
Why this exists
The Cultural Sector Pays For Tools That Do Not Talk To Each Other.
A ticketing tool that does not know about the Run Of Show. A Run Of Show that does not know about the press release. A press release that does not know about the calendar listings. Calendar listings that do not know whether the QR-coded donation graphic actually shipped to Reels and Stories the week of the show. A licensing folder that lives in a partner’s inbox. A grant report assembled in panic the week of the deadline because the work that would have made the report easy was never written down anywhere durable. The Green Room version is the platform for people who would rather just run the room.
One Record Per Show
Date, time, venue, performers, program, ticket link, accessibility notes, rider. Verified once. Read everywhere.
The Creative Studio
Press, social, podcast, video, listings, licensing. Drafted from the record. Tracked through the Ledger.
The Live Event Production Hub
Run Of Show, FOH/BOH worksheets, staffing, Director Console, livestream, captions, safety.
Buddy And The Audit Log
The page-aware assistant with cultural-sector capabilities. One audit log across both products.
Archive And Report
Recording history, Save-to-Drive, post-event reporting record. The season retrospective assembles itself.
What’s included
The Full IMC Machine. Both Products. No Abridgments.
The Green Room version is not a stripped-down IMC Machine. It is the full IMC Machine, both products inside it, every surface available, with The Evidence Orchestrator workspace omitted. Cultural-sector customers do not get a reduced version of the platform. They get the whole machine, configured for their working reality.
Product 1
The Creative Studio.
Canonical-record-driven communications and media production. One approved event or campaign record becomes long-form press, short-form release, 60-second radio PSA, media advisory, Instagram grid, Reels and TikTok scripts, Facebook event copy, X and LinkedIn posts, email blast, audiograms, and a press page. All from one source.
- IMC Composer for copy from verified facts.
- Marketing Production Run. Eleven channel outputs from one source pass.
- Distribution Ledger. Drafted, prepared, submitted, confirmed, published, archived.
- Canva and Adobe Express bridges.
- Motion-poster and short-form video pipeline.
- Podcast Studio. Multi-track capture, mixdown, distribution to Spotify and Apple.
- Social caption and voice system.
- Licensing-and-rights-clearance layer for music, theatrical, sync, master-use, grand-rights, and educational-use.
- Press page on the tenant’s own subdomain.
Product 2
The Live Event Production Hub.
The live-operations control plane. Cue control, crew channels, live dashboards, seat charts, tour maps, safety checklists, capture controls. The Hub is what makes the platform credible to people who actually run rooms.
- Production Ops Hub and the Run of Show.
- Broadway-grade planning payload. Stage, lighting, audio, comms, video, instruments, riders, load-in and strike.
- FOH and BOH worksheets across every department.
- Staffing Layer: Role Responsibility Map, Training Sessions, Search and Compliance, union/guild hiring flow, Crew Portal.
- Director Console. Predictive virtual PTZ, multi-camera capture, EDL export.
- Authenticated Livestream Relay through Cloudflare Stream.
- Live captions and translation through Deepgram streaming ASR.
- Photo-to-form seat chart pipeline for non-standard rooms.
- Safety and Risk: permits, insurance, egress, staffing ratios, medical coverage, incident lane, city coordination, EAPs.
- Post-event archive and reporting record.
Underneath both products
Shared Infrastructure, Page-Aware Assistant, White-Label Deployment.
Buddy, The Page-Aware Assistant.
The in-app assistant runs in The Green Room version with cultural-sector capabilities enabled. The casework-related capabilities are disabled because they are not part of this packaging. Cultural-sector tenants do not get accidental legal-AI surface area they did not ask for.
The Shared Infrastructure.
Supabase tenant, Vercel API surface, Google Workspace integration, audit log, and three-model consensus where used for non-legal AI work. The same hardened infrastructure that runs underneath the full platform.
White-Label Deployment.
The tenant operates on its own brand, its own subdomain, its own asset library, its own staff allowlist. The platform’s shared infrastructure runs underneath. The public surface belongs to the customer.
Evidence Orchestrator sits out of this packaging entirely. The Evidence Orchestrator, The Dismissal Engine, the casework-specific Codex automations, the casework capabilities in Buddy, and the legal-surface routes are not deployed in the tenant. The cultural-sector platform is a complete product on its own and does not depend on the defense-side workspace for anything it offers.
On pricing
Sliding-Scale, Mission-Aware. Pricing Is Set After The Build Is Complete.
The pricing model, when it is published, will be a sliding scale. Low-cost access for nonprofits, community and civic-cultural organizations, and small operators. Percentage-based pricing for paying tenants, taken against whatever the platform is being used for. On the cultural side, that means per event for venues, festivals, and presenting series, sized to the actual scale of the room and the run. The platform is genuinely expensive to operate, and there is no no-cost tier at present, but the floor is set as low as the platform’s actual cost-to-serve permits.
The economic comparison that matters is not against a $19 social-media scheduler. It is against the staff time, the missed opportunities, the outside vendors, the agency retainers, the separate ticketing and FOH and capture and podcast and licensing and design tools, and the quality and risk loss that a serious cultural organization is paying for today, whether the line item is visible or not. A walkthrough is the right way to get a current quote shaped to the operational scale of the work you actually do. Three days of touring residency is a different scope from a sixty-concert orchestra season, which is a different scope from a four-month festival build. The platform meets each one where it lives. The pricing should too.
- Sliding scale. Mission-aware. Cultural-sector economic reality.
- Low-cost access for nonprofits, community and civic-cultural organizations, and small operators.
- Percentage-based pricing for paying tenants, per event, sized to the run.
- No public pricing. A walkthrough is the right way to get a current quote.
The orchestra is keeping classical music alive for the next generation. The off-Broadway company is keeping serious theater accessible to non-Broadway audiences. The community theater is the cultural infrastructure of its neighborhood. The festival is what makes a city worth living in. The standup, the touring band, the yoga teacher, the conservatory, the corner restaurant with a Wednesday-night singer are the operators of cultural infrastructure, and they have been told to make do with software written for everyone else. The Green Room version exists because the work is worth serious infrastructure. The software is in service to the work. That is the order of operations.
Find your way in
A Walkthrough Takes Thirty Minutes.
We will show you The Green Room dashboard, The Live Event Production Hub on a real show day, The Creative Studio running a multi-channel production pass, and the licensing layer carrying the music cues into the archive.
Why This Matters
Backstage-Shaped, Not Enterprise-Shaped.
The Green Room version is the full IMC Machine without Evidence Orchestrator, Creative Studio plus Live Event Production Hub, configured for the working reality of the cultural sector. That reality is independent live contributing $86.2B directly and $153.1B in total economic output in 2024A2, with 908K jobs supported and $51.7B in wages and benefitsA2. Texas alone houses 361K arts and cultural workersA3. The platform is shaped around the operator who is also the booker, the marketing manager, and the FOH lead, not around an enterprise org chart.
Sources
Where The Numbers Came From.
Sources and citations
- National Endowment for the Arts, 2025 Arts & Cultural Production Satellite Account release.
- National Independent Venue Association, State of Live (2024 / 2025); Pollstar coverage; Billboard.
- Texas Commission on the Arts; Americans for the Arts / Texas Arts Action Fund 2024 fact sheet; Fort Worth Report.
- The Broadway League, 2024 to 25 End-of-Season Statistics; Demographics of the Broadway Audience 2024 to 2025 (PDF).
- Spotify Newsroom, “How the Music Industry’s Cultural and Financial Impact Define Its Success in 2025.” (Loud & Clear data on independent artist payouts.)
- Side Door, Touring By The Numbers; Octiive, The Independent Music Market.
- National Endowment for the Arts, Indicator A.5: Labor Market Status of Artists and Cultural Workers (2025).
- Global Insight Services, Music Event Market Report; Berkeley Business Review on festival economics.
- Austin Monitor on SXSW’s 2024 economic impact; The Daily Texan.
