Questions
They don't roll over. On the same day each month your balance is topped back up to your plan's allowance — so a quiet month doesn't bank credits for a busy one.
It tops up, never down. If you're sitting above your allowance — you bought extra, or you just downgraded — nothing is taken away. You can lose momentum, never money.
They make audio; this makes notation. A generated track is a finished mix — you can listen to it, and that is all. You cannot open it in MuseScore, transpose the horn part, hand a cellist their line, or rewrite bar 34.
If you want something to listen to, use one of those; several are free and they are good at it. This is for the case where the output has to become a file you keep working on, and people have to play it.
Yes, and that is the point. Larkato writes the score and exports MusicXML; the engraving, the layout, the part extraction and the last ten per cent of editorial judgement happen where they already happen. This is meant to slot into that workflow, not replace it.
You do. Everything you generate is yours to perform, publish, record and sell, with no royalty and no attribution requirement. We claim no rights in your scores and don't train on your projects.
No. Every plan can use every composer and every style, and exports the same files. What a bigger plan buys is quantity and length: more credits a month, and on Studio upward, no limit from your plan on how many bars or sections a piece may have.
What changes the music is the composer you pick for each piece. Leipzig is quick; Leipzig Thought is the same composer thinking longer and reviewing every section it writes; Vienna is our strongest, thinking hard at every step. Each is priced for your brief before anything is spent.
Because a city is who writes the music, not a price on a ladder. Leipzig and Leipzig Thought are the same composer — the second given longer to think over the plan and the themes, and a review of every section it writes. Vienna is a different, stronger composer. The piece and every edit you ask for in the chat are written by the composer you chose, and the app says which wherever the music is being written.
What kind of music a piece is. Any style writes whatever the brief asks for. Choral is for voices — hymns, worship and SATB, with words set to the notes. Classical is for chamber and orchestral concert music. Larkato suggests one from your brief and says why; you can switch with a click.
The credits for the pass that failed go back to your balance automatically, and the sections already written stay on screen — the run picks up from there rather than starting over.
Closing the tab pauses a piece rather than losing it. Everything already written is kept, and the next time you open Larkato (within a day) it offers to carry on from the next unwritten section, with the composer you chose.
Any time. An upgrade is usable immediately — the new allowance lands the moment you switch, not on your next billing date. A downgrade keeps every credit already on your account; the smaller allowance simply applies from the next refresh.
Bar lengths, key signatures, accidentals, instrument ranges and transpositions are checked deterministically in code before a score reaches you — not left to the model to get right. Anything the checks can fix, they fix; anything they can't, they flag.
Musical taste is another matter. It writes idiomatically and stays in key, but it is a first draft by a fast collaborator, not a finished commission.