A home for your music, and your live shows.
We built Tahti on one belief: artists should spend their time making art. So we automate the tedious, mechanical work drawn from two decades in streaming, and leave you free to do what you are actually good at.
Two things at once.
Tahti is both a discography and release system, and a live broadcasting platform built for performers.
A real discography
Upload once, keep control of the library, and publish from there. Releases, archive, and fan records stay with you.
A proper broadcasting platform
Run weekly shows or daily ones. Enter a name and description, and we handle the episode structure so the show can keep moving.
Live performance sits at the heart of it.
We get you connected in minutes, not an evening lost in forums, whatever you broadcast with.
Guided setup
OBS, Mixxx, Traktor, butt, or straight from the browser. You get the exact server and stream key you need, plus a connect step before you go on air.
Multistreaming
Restream the same live show to Twitch, YouTube, or Kick at once so you can reach the audience already watching elsewhere without splitting your effort.
Tahti Radio
A 24/7 meta-stream where artists book slots and go on air in one continuous broadcast, scheduled back-to-back.
Live now, archive after.
Listeners land on one page for everything: the live player when you are on air, your archive the rest of the time, and chat running alongside either way.
No watered-down version.
We do not gate quality at the listener tier.
Member channels
A free listener hears the same lossless FLAC the artist streams. We do not charge people extra to hear it properly.
Free-tier artists
Artists on the free tier broadcast at 192 kbps MP3. It is still cleaner than most platforms give free listeners at all.
One place to find who's playing.
Live channels, recent replays, and new releases from across Tahti, without an algorithm deciding what you are allowed to see.
Anyone who wants a real home for their work.
Not a profile on someone else’s platform, but a stage and a discography of your own.
The DJ
Weekly show, same set, too many uploads, too many destinations.
The producer
A deep catalogue that deserves better than a compressed stream.
The experimental artist
Sound that arrives exactly as it left the studio.
The talk-radio host
Broadcasting that is structured, reliable, and easy to keep moving.
The podcaster
Clear publishing, clean delivery, and an audience that can follow along.
The collective
A shared channel, moderators, and a space to build together.
One upload, then choose how far it goes.
Your library stays first in the chain. You decide who sees it: specific fans, subscribers, or the world.
Your library
You control the source copy, the discography, and the audience boundary.
Release
A smart link that points fans to Spotify, Apple Music, Bandcamp, and more.
Distribution
Built-in metadata delivery, store delivery, and direct publishing to Mixcloud.
No platform cut
The distributor charges its own delivery fee. That is the only cost in the chain.
Release mechanics handled
Episode numbering, metadata, delivery, and platform reach are the parts we automate.
Movement in both directions.
We work with your existing archive, and we do not trap it here.
Import
Pull a catalogue in from SoundCloud, Bandcamp, or Mixcloud, or link Google Drive to publish as you go.
Export
Your releases, archive, and fan records can be exported whenever you want.
Storage
Generous storage, no quota meter in your face, and soft safeguards against abuse behind the scenes.
Ownership
If you built it here, it is still yours when you leave.
The control room for everything you run.
Not a generic dashboard. A working desk for broadcasting and releasing.
Go live
Manage broadcasts from preflight to on-air.
Manage library
Keep releases, archive, and metadata in one place.
Cut releases
Build release pages and smart links quickly.
See stats
Track the numbers that matter, including revenue.
Design your channel
Control the look and structure of your public space.
Set your schedule
Plan live shows and recurring slots.
Audio touch-ups
Trim and normalize the basics without leaving the flow.
Direct support
Keep fan support close to the work and the audience.
Everything you run, in one dashboard.
Go live, manage the library, cut releases, watch stats, and design the channel — the control room, not a scattered set of settings pages.
A home on the web that you shape.
Your-name.tahti.live, your design, your audience.
Design control
Presets to get moving quickly, or a custom look down to individual releases and shows.
Audience tools
Live chat, newsletter, direct messages, and a press kit and gallery for your channel.
A page that's actually yours.
Bio, releases, and archive on a name that's yours, not a profile competing for attention against a feed of everyone else on the platform.
Fans can back you directly.
Subscriptions from a euro up to a hundred a month. You set the price.
We take 2% only to cover card processing and running costs.
A direct relationship
Fans back you, not a middleman. The relationship stays yours, not ours.
Two paths, both tipped your way.
We keep the model simple: direct support plus a yearly share of surplus.
Direct fan money
When a fan sends a euro, you keep 98 cents. We take 2% for bank and running costs.
Shared grant pot
Each year we share our surplus with artists as grants. The more real engagement you gather, the bigger your slice.
What counts
Built to resist gaming, and built to be accountable.
We flag anomalies for humans, tell the artist, and give a right of appeal.
Structural defense
Passive listening earns nothing. Downloads are counted once per account, with rate limits.
Pattern detection
We are building tools that look for the tidy shape of fake activity, not the messy shape of real fandom.
Human review
No silent algorithmic punishment. We would rather miss something than penalize someone who did nothing wrong.
Plays, downloads, and your running grant estimate.
No listener-hours as a vanity headline. Just the engagement units that actually feed the annual grant formula, visible to you as they accrue.
We treat them differently.
That distinction matters if the release system is going to mean anything.
Original work
Tracks and releases are yours. Claiming work that is not yours breaks the rules and gets acted on.
Mixes and sets
We welcome them. We ask for a tracklist, and where an artist is on Tahti, you can link straight to their channel.
You are never locked in.
The code is open, every page links to its source, and your data can come with you.
AGPL all the way down
Anyone running the code, us included, must publish the exact source they run.
Forkable by default
We welcome forks. If you want out, your releases, archive, and fan records can go with you.
What that means in practice
If prices crept up, the community could fork the platform and run it their way.
If ads or data-selling ever slipped in, the public source would not hide it.
If the platform were ever sold or folded, the code and the data would still be there.
If a feature you rely on disappeared, a fork could keep it alive.
Finnish nonprofit on Finnish infrastructure.
We run on our own hardware in Helsinki, with UpCloud’s Helsinki region for overflow and no third-party CDN.
Privacy
You do not need an account to listen. We set no analytics cookies.
Low-knowledge identifiers
The identifiers we do handle are hashed and rotated daily, so we genuinely cannot tell the same listener came back yesterday.
Constitutional limits
We do not sell data, and we do not chase vanity metrics like listener-hours as a headline number.
Built to outlast any one person.
Founder included.
Founding team
Founded by Jani, who has been building software and streaming since the early 2000s, alongside a senior UX designer focused on making the capability usable.
Governance shape
A paid director on a modest nonprofit salary, a real hiring process, and a documented succession plan. The board gains an elected artist representative in year two and becomes artist-majority by year four.
Free to listen, one artist membership, no upsell maze.
Listening stays free. Artist membership is the single paid tier.
Free
Listen in full lossless on member channels, follow artists, join live chat, and support the artists you love.
You can also start a channel and try broadcasting, up to about an hour a week at 192 kbps.
Artist Membership - 40 EUR a year
Broadcast live in lossless FLAC with no weekly airtime cap, plus release tools, your own space, live chat, newsletter, direct messages, storage, and a vote at the AGM.
Clean money only.
Member subscriptions, direct fan support, and cultural grants. No venture capital, no equity, no outside owner.
Surplus policy
90% of any surplus goes back to artists as grants. The rest holds a small reserve capped at six months of costs.
Early reality
The first year is planned to run at a deficit, covered by a founding grant. The first grant pool is small and grows with the membership.
You own it.
We are an association, not a platform that you merely rent space on.
One member, one vote
Artist members are real members. Proposals and feedback run continuously, and formal decisions happen at the AGM.
Locked promises
Never taking a cut of fan support, never selling listener data, and never running ads are embedded in the constitution.
The books are open.
Bylaws public. Finances public. Pay public. Grants public.
Monthly ledger
Append-only, not a once-a-year PDF.
Independent audit
The public numbers are checkable.
Public compensation
What we pay the people running it is visible.
This is already running.
The beta is live now, and the machinery underneath works on real data.
Near term
Finish the new interface, keep the invite round moving, and smooth the rough edges surfaced by real use.
Next up
Deeper audio editing, multitrack and stem tools, stronger anti-gaming detection, and more distribution and integration options.
What could go wrong, and what we are doing about it.
We are not promising perfection. We are promising clarity, and that you will hear it from us first.
We could stay small
We are starting with communities, not shouting into the void.
Funding timing
If grants arrive slower, development slows, but the promises do not change.
A small team
Succession and artist-majority governance are in from the start.
Infrastructure growth
Current capacity covers the early member base, with upgrades arriving as the membership pays for them.