Cast the whole section before you make a call.

You do not brief a date in adjectives. You brief it in parts.

Soprano through basso profondo. Reaches at least E5 — in belt, in mix, or in falsetto, asked as three separate questions, because a contractor asking for a belted E5 does not want a falsetto one. Gospel stacks. Choir and ensemble blend. Vocal matching. Straight tone for a film choir.

Every one of those is a field on the listing, not a phrase buried in a bio.

Union status. Turnaround. The longest continuous session they will book. Whether they travel. Whether they will work from an AI guide track, and how.

These are the two emails you currently spend before you know whether someone is a candidate. They are on the card.

Every listing carries two files: the polished reel, and a Dry Lead (single pass or comped) — raw tuning, natural timing.

The Dry Lead is the one that tells you whether the pitch, the time and the room hold up before anyone edits anything. No Melodyne, no Auto-Tune — tuning or timing — no mix processing. A printed tracking chain is fine. How they push, pull, drive or drag a tempo is part of the voice, and that file is the one that lets you hear it. Its noise floor is measured from that file — not from the mix, and not from a claim.

Flight hours to Los Angeles, Nashville, Miami, New York and London, estimated from the singer's stated base. Local reads as local.

Their email and phone are on the listing. You contact them. They quote you. Nobody takes a percentage of it, and nobody can pay us to appear above anyone else.

There is no account to make and nothing to sign up for.