What's shipped.

Chordisplay used to have a free tier that kept your first 25 charts playable and locked the rest. It’s gone, and so is the cap — no plan has a chart limit any more.

Instead, owning a library starts with 30 days free, card up front, billed at the end unless you cancel first. Cancel inside the 30 days and you’re charged nothing.

The old free tier asked the wrong question at the wrong time. A new user’s first job was deciding which twenty-five of their songs mattered, which nobody wants to answer and which was permanent once answered. It also showed people a version of the product nobody would pay for — the thing worth judging is a full library on a stand — and then asked them to pay for it.

The price is $7 a month, or $6 a month if you pay for the year at once — $72 instead of $84. What hasn’t changed is who pays it: only the person whose library it is, with everyone they play with free.

And if a subscription ends, nothing is deleted. The library locks — everything still listed, greyed out, not playable — and stays that way intact for as long as the account exists. Subscribe again at any distance and all of it comes back. Export ignores the lock entirely, so your work can always be taken out.

Transposing. The − and + steppers by the key move a chart a semitone at a time. The chords are respelled to suit where you land rather than dragged along from where you started — into Eb you get flats, into E you get sharps — and the columns hold, so the chords stay where you put them over the words.

Nothing is saved. Transposing is how you’re reading the chart, not what’s stored, so a singer can drop a song a tone for their range without changing it for anyone else. There’s still no capo setting.

Import. ChordPro files and Chordisplay’s own Markdown export, as many at once as you like. The format is worked out from what’s inside each file rather than from its name, so a .txt full of ChordPro lands correctly.

Nothing is written until you’ve seen the preview, which lists every file and what it’s about to do with it — bring it in, rename it because the title is taken, or skip it because you already have it. Everything that arrives is flagged New until you’ve looked at it.

Still no PDF, in any form: not import, not display, not annotation.

Access used to be library-wide: add someone, and they saw every chart and every setlist you had. That works for one band and breaks the moment you play in two.

A setlist is now the thing access is granted on. Nobody but the Owner has standing access to a library.

• Viewer is back. Under library-wide access there was nothing for it to do that Editor didn’t already cover. Now there’s a real difference between the person building the set and the person reading it on stage.
• Editors are per setlist, and so is what they can add songs from: nothing (the default), one category, or the whole library. Category is how a single library serves two bands without either seeing the other’s material.
• Groups. Name a band once, add all of them to a set in one go, and carry the role and the search limit with it. Group membership is live — adding someone gives them every setlist the group is on, and every group screen says how many that currently is.
• Creating a setlist is the Owner’s job now. It has to be: the setlist is the container access is granted through.

Run a Tuesday covers band and a Saturday orchestra out of one library, and neither can see the other’s setlists.

Access used to be one shared set of charts with global roles. Now every Owner has their own library of charts and setlists, and adds people by email.

• Editors build and change setlists they’ve been added to. They can’t touch that library’s charts, or rename and delete its setlists.
• Nothing is public. Logged out, there’s a login screen and nothing else.
• Charts can be sent to another Owner, one song at a time. They arrive as an independent copy — edits afterwards don’t cross over in either direction.
• Being added somewhere doesn’t touch your own library. If you play in two bands, both show up in one list.

Sessions now resolve access from the database on every request, so a grant or a removal takes effect immediately rather than at next sign-in.

There are no passwords anywhere in Chordisplay any more. You type your email address, we send a link, and clicking it signs you in. Nothing to create, forget, or reuse.

There’s also a place to manage who has access: add someone by email, see what they can reach, and take it away again.

The first version of offline support cached whatever you’d already looked at, which is the version that fails at the gig — the one song you didn’t think to check is the one that won’t load.

Now every chart arrives complete, including its body, and every setlist is fetched and resolved in the background when the app opens. Any song works offline once you’ve synced, whether you’ve opened it before or not.

Reads come from the local cache first, so pulling up a song is instant rather than waiting on the network. And when a connection is present but useless — the venue Wi-Fi that accepts you and then does nothing — requests give up after five seconds instead of hanging.

Safari on iPhone never passes a Bluetooth pedal’s key presses to the page, which is why page-turners do nothing with a chart in a browser. The app now takes those keys at the system level and scrolls the chart directly.

Both pedal modes work:

• Page Up / Page Down — jumps most of a screen, so you don’t lose your place.
• Up / Down arrows — a small nudge, for settling the chart where you want it.

Arrow mode only turned out to be broken once it was tried on a real device with a real pedal, which is also where the scroll distance got halved to something that feels right rather than something that reads well on paper.

A song in a setlist can now differ from the chart it came from — a different tempo, or a completely different body. Drop a key change, add a note about the ending, cut a verse for a short set.

Everyone reading that setlist sees the change, and the chart in your library doesn’t move.

Setlists also got prev/next navigation between songs, so you can step through a set without going back to a list.