Juan Lentino

AI companies building in music hit the same wall: the product works, but artists, labels and rights holders need a reason to trust it. Someone has to walk into those rooms and come out with partnerships.

That’s what I’ve done for 15+ years. I opened seven cross-border partnerships across the US, Mexico and Colombia, priced in USD, and founded and ran Panacea Studio with a four-person team and 50+ clients. I’m a voting member of the Recording Academy and Latin Recording Academy. I designed Provenance as Substrate (pinned on my profile), open infrastructure that signs credit into audio. And I ship with Claude Code, so I can talk to your engineers as easily as to a label.

I’m looking to join as a founding team member: partnerships, BD or product. Available from November. NYC, Nashville, Austin or remote.

If that’s a gap on your team, reply here or find me on LinkedIn.

Open-source architecture that signs credit into audio at the moment of creation, so who made what travels with the work instead of being reconstructed later from metadata. It sits beneath DDEX and the identifiers the industry already uses (ISRC, ISWC, ISNI), built on C2PA, W3C Verifiable Credentials and DIDs. The problem it targets: the $424M in unmatched royalties the MLC inherited in 2021, money that couldn’t find its owners. Papers are on SSRN, the second is under review at JAES, and builders are already developing on top of it.

I’ve spent 15+ years producing and engineering records, and I founded Panacea Studio, a professional recording facility in Buenos Aires. I’m a voting member of both the Recording Academy and the Latin Recording Academy, so I see the credit problem from the inside: music already loses track of who made what, and AI is about to multiply that by a lot.

My work is on provenance. The idea is simple: sign credit into the audio at creation, instead of hoping someone matches the metadata years later. I’ve published the architecture as open research, and people are building on it.

I’m not an engineer by trade. Everything I’ve shipped, I built with Claude Code. I bring the music side and a very clear picture of what needs to exist.

If you’re building anything in audio, voice, or music AI, I’d like to know what you’re working on. Happy to trade notes on how the industry actually works behind the scenes.