Running two different acts from one Booked Solid account - and which plan finds you leads

You book two acts that have nothing to do with each other, and both land in the same inbox. One performer put it exactly like this: "I don't use multiple email addresses, but I do book multiple unrelated shows (one comedy, one music), so they need different materials and outreach language. Is there a recommended way to set up for that?" A magician asked the same thing from his side: "I do both strolling magic and children/family magic. Two very different markets. Can I create two profiles for the Booked Solid engines to run in parallel?" The answer is yes. You can run two acts from one account, with separate offers, different pricing for each act and a different voice for each act. Whether you call it two acts, two profiles or two brands, the question underneath is the same: can it handle two different businesses, and can Otto tell my two acts apart when both arrive at one address. The same email usually carries a second question, "which tier finds leads - Sol/Pearl/Otto?", so that one is answered here too.

What you do not need: a second inbox, a second license, or a second Booking HQ

Almost everyone tries this first, and for your situation it is a dead end. Booked Solid can connect several email accounts at once, one per act, and that feature is real and works well. It is also built for a different person: someone who already has a separate address for each act. If you work both acts from one address, adding an inbox gives the app nothing to separate them by. Skip that step.

You also do not need a second license, a second copy of the app, or a second Booking HQ folder. To run two businesses from one account you keep one Booking HQ, one address, and you teach Otto the two acts inside it. If you do have two real email addresses, that is a different article: Add email accounts and calendars (so gig dates never clash).

Your packages live in one file, and each act gets its own section

Here is the why before the how, because it is what makes this simple. Otto never invents a price. Every number that appears in a draft comes out of your offers file, brain/offers.md, inside your Booking HQ. So the moment each act has its own section in that file, the routing looks after itself.

1. In the left sidebar, expand Open a file, type brain/offers.md into the field, and press Open.
2. Give each act its own heading. One section headed Comedy Show, one headed Live Music. Use whatever you actually call them: Strolling Magic and Family Magic, the band and the solo set.
3. Under each heading, write a short description, who it is for, and the price.
4. Save the file.

From then on a comedy inquiry gets the comedy offer and comedy language, a music inquiry gets the music offer and the music prices. The two never get mixed, and no number appears that you did not write down. That is what stops my band and my comedy show borrowing each other's fees.

One detail worth knowing if one act is always custom quoted: leave its price blank, or mark that offer meeting only. Otto will then never put a number in a draft for it. No figure, no range, no ballpark, even if the buyer pushes. He proposes a short call with you instead.

A different voice for each act

If the two acts should not read the same way, do the same thing one file over, in brain/voice.md. Open it the same way from Open a file, describe both tones, and say plainly which act each tone belongs to. For example: loose and quick for the comedy show, warmer and more formal for the band, with a line naming which is which. Otto reads that file every time he drafts.

Keep an eye on it afterwards. Any change Otto proposes to your voice file arrives in the Brain as a Waiting on your word card, so if you re-run Learn My Voice later, read the card before you press Make it so and check it is not quietly flattening your two tones into one. Nothing changes without your word, and anything you approve can be reversed from the What's changed history. That is covered in The Brain: what's working, and approving Otto's proposed changes.

The fastest route: have Otto do the setup

You do not have to edit either file by hand. Open a chat with Otto and tell him, in your own words:

"I run two acts, a comedy show and a live band. Set up my offers and voice so each has its own description, pricing, and outreach language."

He drafts the changes into your Brain for you to approve. To find them, open the More menu at the end of the tab row and choose Brain. Each proposed change sits in a Waiting on your word card: Make it so applies it, No thanks rejects it.

Can Otto tell my two acts apart?

On an inquiry that lands in your inbox, yes. He matches what the buyer is asking for to the offer that fits, drafts in that act's language, and quotes only that act's real prices. Because prices only ever come from your offers file, he cannot put band money on a comedy booking.

Going outward is where it takes a little steering from you, and it is fair to say so plainly. The lead plays have no per-act picker. Fill the Room asks exactly one question when you run it: how many leads you want. There is no box to type the act into, so it works from what your Brain already says about you. Work one act at a time instead: ask Otto in a chat to go hunting for the comedy show's buyers, read the lead files that come back before you approve any outreach, then do the same for the band. If the two acts sell into a genuinely different market, that one manual step is what keeps the two lead lists clean.

What the two acts share: your house rules

House rules live in Settings > General, and there is one set of them for the whole Booking HQ, not one per act. That matters most for the floor rate, so do this deliberately rather than discovering it at the Approve button.

• The floor rate is a single number in a single currency, and it is a hard stop: a quote below it cannot be approved. If your band floor is 1,800 and your comedy floor is 600, set the field to 600, the lower of the two. Set it to 1,800 and every honest comedy quote comes back with its Approve button disabled.
• Protect the higher act two other ways. Put its real price in its own section of the offers file, and add a line in your own words to the house rules box, for example "never quote the band under 1,800". Be clear-eyed about the difference: the numeric floor rate is a deterministic block at the Approve button, while a written house rule is a standing instruction Otto obeys. For the higher-priced act, the last line of defence is you reading the fee on the card.
• The never-contact list and the follow-up cap are shared too. A venue you never want to hear from again is blocked for both acts, and the follow-up cap counts per lead across the whole desk. For most people that is exactly what they want.

Full detail in House rules: floor rate, never-contact list, and follow-up caps and Set a floor rate that actually blocks low quotes.

The fuller separation, if offers and voice are not enough

There is a deeper setup. Booked Solid can treat each act as its own business profile inside the same Booking HQ, with its own offers, its own voice, its own audiences, and even its own sender name on outgoing drafts. There is no self-serve screen for it today: it is arranged in your Booking HQ files, and support hands you the exact setup. Open a ticket, name your two acts, and ask for the two-business setup.

One caveat printed here rather than discovered later. The app works out which act is speaking from the address a message arrived at. With a single shared email address there is nothing to tell them apart, so when an inquiry is ambiguous Otto stops and asks you which act it is for before he drafts anything. That is deliberate, and it is the reason a message can never go out in the wrong voice.

Support's own recommendation, and it is worth taking: for most people running two acts off one inbox, the offers-and-voice approach above is all you need. Start there. Only ask for the fuller separation if you find yourself correcting drafts.

Which plan finds leads: Sol, Pearl, or Otto

This one usually arrives just before buying, phrased as "does it find leads for me", and the honest answer is that lead finding is not a tier feature at all.

The lead work is done by Plays, and you run them yourself from the Plays tab. Fill the Room finds real, high-end buyers who book acts like yours and builds lead files for them. Score & Sort keeps the list down to the ones worth your time. First Contact writes one short outreach draft per qualified lead in your learned voice. Silence Patrol follows up on the leads that went quiet, which is where most bookings are actually won. That full catalogue is included at the Pearl level. What the Otto plan adds is the unattended layer: Autopilot, scheduled runs, phone approvals and the hands-off weekly EPIN send. For lead finding, that comes down to a single difference: those same plays running on a schedule while you are away. So every plan finds leads, and Otto is the one that finds them while you sleep.

Sol is the odd one out and worth being exact about. Sol is the Skill edition, and it runs inside your own Claude account at claude.ai rather than as a desktop app. It builds your booking system in the chat itself: a lead map, an outreach pack, a follow-up engine, a pricing pipeline. What it does not come with is the app around it, so there is no Gig Desk, no Activity board and no Brain learning from your real outcomes. See Setting up the Skill edition in your own AI.

On the current price list there is one Booked Solid OS plan, at $100 a month, in the pricing section at booked.kivimedia.co. Sol, Pearl and Otto are the names from the older price list, and plenty of people still hold those licenses, which is why the words keep coming up in questions. If you own one, Pearl vs Otto: what each plan can do lists exactly what your license unlocks. Whichever you are on, the thinking runs on your own Claude account: Claude Pro at about $20 a month covers most performers, and we never add a usage bill on top.

What does not change, whichever setup you choose

Outreach, quotes and negotiation always stay drafts for your approval. That holds at every automation level, including Autopilot and Fully Autonomous Booking. Two acts do not loosen it and neither does anything else.

So you can plan the rest of your stack honestly: there is no cold-email platform integration. No connection to Instantly or Smartlead, no mailbox rotation, no warm-up pool, no bulk CSV blast screen. Booked Solid is built for dozens of thoughtful messages a week, not thousands of identical ones. The full picture is in Cold outreach in Booked Solid: what's built in (and what isn't).

If drafts still come back in the wrong act's language

Check the offers file first: two headings, each with its own description and price, is the whole mechanism, and a single merged section is the usual cause. If both sections are there and a draft still reads for the wrong act, open a ticket from this help center or email bookedsolid@kivimedia.freshdesk.com with three things: your two act names, the two headings exactly as they are written in brain/offers.md, and the draft that came out wrong. That is enough for us to tell you in one reply whether it is the file or something we need to fix.