FonoTec owns and operates its own stations. They are not side projects — they are the proving ground. One runs at 3am in a club, another at 7am in a recovery ward, a third at a squat rack and a fourth at sunset. If the same engine serves all four, it will serve a car, a hotel or a restaurant chain without breaking a sweat.
A pay-per-session music service for the late-night and club audience. Continuous, uninterrupted, ad-free sets built by producers who actually work the scene — sold by the session rather than by the month, because that's how the audience actually behaves.
"Music for the hours nobody playlists."
Nightlife is a multi-billion-pound global category with an audience that spends heavily on experience and travels for it — and no dedicated audio product. Mainstream services optimise for the school run and the commute. Nobody builds for 1am.
The audience doesn't want a twelfth monthly subscription. They want tonight to sound right. Session pricing converts far better than a monthly ask, and repeat purchase behaves more like ticketing than like streaming.
ROXOFF proves the creator loop under real pressure: continuous demand for original, cleared, long-form music, commissioned from emerging producers and paid at 85%. Everything the enterprise product needs, stress-tested nightly.
| RIDE | Rolling, melodic, sustained — the long middle of the night. 118–124 BPM. |
| RAW | Harder, industrial-leaning techno for peak energy. 132–142 BPM. |
| RUSH | Slow, warm, ambient-adjacent grooves for the come-down. 90–108 BPM. |
| £2.99 | Night Pass | 2 hours |
| £3.99 | Session | 3 hours |
| £4.99 | Day Pass | 24 hours |
| £7.99 | Weekender | 48 hours |
| £12.99 | Resident | 7 days |
A set on ROXOFF pays me more than six months of streaming did. Same music. The difference is somebody decided the artist should get most of it.
They commission long-form. Nobody commissions long-form. Every other brief I get wants three minutes and a hook in the first eight bars.
Illustrative artist voices — composites written for design purposes, not quotations from real individuals.
Music commissioned to a clinical brief, not a chart. Zone-aware, volume-governed and tempo-bounded for waiting areas, consultation rooms, day surgery, operating theatres and recovery wards. Built with clinicians, licensed for public performance, and auditable per play.
"Designed for the room, not for the chart."
Each zone has a hard-coded tempo band, dynamic-range ceiling and content rule. A track that breaches the ruleset cannot enter the zone — it is enforced by the engine, not by the person holding the remote.
| Zone | Tempo | Rules |
|---|---|---|
| Waiting | 70–90 BPM | Instrumental, gentle onset, sits under announcement audio, no percussive transients |
| Consultation | 60–80 BPM | Speech-privacy masking profile, low dynamic range, no lyrics |
| Day surgery | 60–85 BPM | Patient-selectable via headphones, staff-independent, no sudden level change |
| Theatre | Phase-based | Volume-capped and duckable; auto-mutes on the team's command word; logged |
| Recovery / night ward | 50–70 BPM | Sub-conversation level, no bright cymbals, corridor-reflection tuned |
Peri-operative music is repeatedly associated with reduced patient anxiety and, in some studies, lower anaesthetic requirement and smoother emergence. The same literature is clear that uncontrolled theatre audio raises sound levels, causes repeated requests and can impair communication. The evidence supports governed music, and specifically argues against a Bluetooth speaker on a shelf.
Consumer accounts — Spotify, Apple Music, YouTube — are not licensed for public performance in a clinical setting. Most trusts and private groups are technically exposed today. A compliant, auditable service with per-play logging is an easy line item to defend.
Priced per site per year with zone-based tiers. Because the catalogue is commissioned rather than licensed from majors, cost of sales stays low and the artist share is paid out of a controlled, predictable base.
The category is served today by general-purpose background-music vendors who treat a hospital as a slightly quieter retail store, and by royalty-free libraries with no delivery layer at all. Nobody is building zone-governed, clinically-briefed, per-play-auditable music that also pays the artist properly.
| Competitor | What they are | Clinical specificity | Theatre-safe controls | Artist economics | Where they lose |
|---|---|---|---|---|---|
| Mood Media | The scale incumbent in commercial audio; healthcare is one vertical among retail, QSR and hospitality | Vertical marketing, general catalogue | No zone rulesets or dB governance built for theatre | Standard library licensing; artist invisible | Retail DNA. Hospital is a segment page, not a product. |
| Soundtrack Your Brand | Modern multi-site B2B streaming with dayparting and central control | Low — brand-mood led | Scheduling and volume, not clinical rules | Major-label catalogue economics | Excellent tooling pointed at the wrong brief. |
| SoundMachine / SiriusXM Business resellers | Licensed background music with a healthcare landing page | Playlist labels only | Volume guidance, no enforcement | Pass-through licensing | Reseller layer; no product, no data, no artist story. |
| Royalty-free medical libraries | Stock instrumental beds sold per download | Generic “medical” tagging | None — there is no delivery layer | Buy-out; artist paid once, credited never | Not a service. Someone still has to press play. |
| Clinical music-therapy programmes | Practitioner-led therapeutic intervention, patient by patient | Very high | N/A — human-delivered | Salaried practitioners | Doesn't scale to an estate. Complementary, not competitive. |
| Consumer accounts on a ward speaker | The actual default in most rooms today | None | None — and a live licensing exposure | Micro-royalties | Free, non-compliant, and the thing we displace. |
| NHSFM | Zone-governed clinical music service on the FonoTec engine | Commissioned to a clinical brief, per zone | Tempo bands, dB ceilings, auto-duck, mute-word, full audit log | 85% to named artists, per play | — |
Competitor descriptions are drawn from publicly available vendor positioning and published research on peri-operative music, and reflect a July 2026 view of the market. They are a strategic read, not a verified feature audit — confirm before quoting to a procurement panel.
Training music built around physiology rather than playlists. Every channel is locked to a heart-rate zone and a cadence, so the music does not just accompany the session — it paces it. Warm up, build, hold the threshold, empty the tank, come back down.
"The last rep is a tempo problem."
| Channel | Zone | Brief |
|---|---|---|
| WARM | Zone 1–2 · 100–115 BPM | Rolling, unhurried, no drops. Gets the body moving without spiking the heart rate too early. |
| BUILD | Zone 3 · 120–132 BPM | Steady-state work. Long phrases, predictable structure, cadence-locked for treadmill and bike. |
| THRESHOLD | Zone 4 · 138–150 BPM | The signature channel. Relentless, rising, no resolution — engineered for the interval where people quit. |
| LIFT | Tempo-free | Heavy, slow, low-end led. Built for the rest between sets, not for the set itself. |
| DOWN | Zone 1 · 70–90 BPM | Descending tempo across the final ten minutes to bring the heart rate back deliberately. |
Every gym chain in the world licenses background music and almost none of it is designed for what is physically happening in the room. It is the same retail playlist with the volume up.
Sold direct to individuals as a training companion, and to gym groups as a zoned estate licence — the same dual model as NHSFM, in a category with far shorter procurement cycles.
The other end of ROXOFF. Balearic, ambient and downtempo music programmed against the sun rather than the clock — a station that knows what time it is where you are, and moves with the light. Beach clubs, hotel pools, terraces, and the long flat afternoon that no service programmes well.
"Nothing to do and all day to do it."
| Channel | Hours | Brief |
|---|---|---|
| FIRST LIGHT | 06:00–10:00 | Ambient, sparse, almost weightless. For the hours before anyone else is up. |
| SHALLOWS | 10:00–15:00 | Warm, mid-tempo, gently rhythmic. The long flat afternoon — the hardest slot to programme and the one everyone gets wrong. |
| GOLDEN | 15:00–20:00 | Balearic in the proper sense. Building slowly toward sunset with real melodic payoff. |
| AFTERGLOW | 20:00–00:00 | Downtempo, deeper, the handover into the night. Where LOWTIDE passes the baton to ROXOFF. |
| SOLAR | Auto | The clever bit. Channels switch on local sunrise and sunset, not on the clock, so the station follows the light wherever the venue is. |
Beach clubs, hotel pools and terraces are already buying background music and already care deeply about how the space feels. LOWTIDE is the shortest possible bridge from an owned station to an enterprise contract.
Same audience, opposite end of the day. A listener who buys a ROXOFF night pass is the same person on a terrace the following afternoon — and the cross-sell costs nothing.
A club at 3am, a recovery ward at 7am, a squat rack at lunchtime and a terrace at sunset. Four rooms with nothing in common except the machine underneath them.