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Hey PH, I’m Jazel—music producer and the founder of Noizes.
After years of making music, I kept coming back to this: we put so much into a record, but most people only get the audio and a thumbnail. The credits, artwork, stories, world and everything around it end up scattered.
I wanted a way to keep all of that together. Something you can download, experience offline and keep without depending on our website.
That became Noizes.
Exchange adds the collecting side: artists release numbered editions, and collectors acquire them with a signed history of purchases and transfers.
To be clear, we don’t make music files impossible to copy. We document which authenticated edition you hold and how it got to you. Buying one doesn’t transfer the song’s copyright.
The first edition of “Ovacado” sold through M-Pesa here in Nairobi.
I’d love to hear from artists and collectors: what would make a digital music edition worth keeping for you?
I produced my first commercial song in 2018, but I was making music long before that. It’s now 2026, and something still doesn’t quite make sense to me: music is art, so why do we treat a song so differently from a painting?
Surely, with how far technology has come, we should be able to make digital music worth collecting.
Streaming has its place, but many artists are earning peanuts. So I thought, why not sell directly to fans? Then comes the question: “You’re selling an MP3 for how much exactly?”
And honestly, I get it.
An MP3 carries the audio and a little metadata, sometimes barely any. But a record is more than its audio. There’s artwork, credits, stories, intention—a whole world around the song that gets left behind.
I wanted to bring that world back.
That’s why I built Noizes: to keep the music and its world together in something you can download, keep and experience offline. Artists can release numbered, authenticated editions for the fans who want to collect them.
The file can still be copied. The value has to come from the art, the experience and the documented edition you’re collecting.
Music remains for the people. But for those who want a deeper connection with the work, there should be something worth keeping—without needing a blockchain or crypto wallet.
That’s Noizes at its core.
From Nairobi with love, Jazel “dBoy” Isaac
About Noizes on Product Hunt
“Music as a Cultural Object”
Noizes was submitted on Product Hunt and earned 2 upvotes and 2 comments, placing #144 on the daily leaderboard. Music you can collect, keep and experience offline
Noizes was featured in Music (53.8k followers), Tech (636.8k followers) and Audio (2.2k followers) on Product Hunt. Together, these topics include over 190.1k products, making this a competitive space to launch in.
Who hunted Noizes?
Noizes was hunted by Jazel Maghanga. A “hunter” on Product Hunt is the community member who submits a product to the platform — uploading the images, the link, and tagging the makers behind it. Hunters typically write the first comment explaining why a product is worth attention, and their followers are notified the moment they post. Around 79% of featured launches on Product Hunt are self-hunted by their makers, but a well-known hunter still acts as a signal of quality to the rest of the community. See the full all-time top hunters leaderboard to discover who is shaping the Product Hunt ecosystem.
Want to see how Noizes stacked up against nearby launches in real time? Check out the live launch dashboard for upvote speed charts, proximity comparisons, and more analytics.
Jazel Maghanga
Hey PH, I’m Jazel—music producer and the founder of Noizes.
After years of making music, I kept coming back to this: we put so much into a record, but most people only get the audio and a thumbnail. The credits, artwork, stories, world and everything around it end up scattered.
I wanted a way to keep all of that together. Something you can download, experience offline and keep without depending on our website.
That became Noizes.
Exchange adds the collecting side: artists release numbered editions, and collectors acquire them with a signed history of purchases and transfers.
To be clear, we don’t make music files impossible to copy. We document which authenticated edition you hold and how it got to you. Buying one doesn’t transfer the song’s copyright.
The first edition of “Ovacado” sold through M-Pesa here in Nairobi.
I’d love to hear from artists and collectors: what would make a digital music edition worth keeping for you?