How Music Distribution Works

Music distribution is the process of delivering a finished release to streaming services and other music platforms, while organizing the information those services need to identify, display, report, and pay for it. For an independent artist, a distributor is usually the bridge between your release and services such as Spotify and Apple Music. The distributor submits your audio, artwork, metadata, and rights information; manages delivery and certain errors; collects platform reporting; and routes money through the agreements that apply to your account and territory.

That does not mean every distributor offers the same service. Plans differ in pricing, included tools, royalty terms, add-ons, support, and what happens if you change plans. Treat the figures and plan descriptions below as snapshots checked on August 7, 2026, in USD-facing pages. Prices, taxes, currencies, availability, renewal terms, and territory-specific collection rules can change.

The basic route from recording to listener

A useful way to picture distribution is as a route with several handoffs:

1. You prepare a release package: audio, cover art, title and artist information, identifiers, and rights details.
2. You submit that package to a distributor.
3. The distributor reviews the submission and delivers it to selected platforms.
4. Spotify, Apple Music, or another service processes the package and makes the release available if it meets that service’s requirements.
5. The service reports usage and revenue through the relevant intermediaries.
6. The distributor makes applicable reporting and payments available to you under its plan and agreement.

Spotify says independent artists get music onto Spotify through a label or distributor, and describes distributors as handling delivery and paying streaming royalties. Getting music on Spotify Apple Music similarly describes distributors as managing the artist–service relationship, metadata and asset issues, delivery services, and streaming, financial, and royalty information. How to distribute your music with Apple Music

A distributor is therefore more than an upload button. It is an operational layer. It can help turn your files and release information into the delivery package expected by a platform, pass along corrections, and provide reports. The exact scope depends on the distributor and plan. Some services may include tools for artist profiles, royalty splits, content identification, or other tasks, while others charge separately or impose plan-specific exceptions. Read the current plan and terms pages before choosing.

What you need before submitting

1. The final audio

Start with the exact recording you intend to release. Keep a clean master and make sure you know whether the submission is a single, an album, an alternate version, a remix, or another distinct release. Do not assume that a distributor or platform will fix an incorrect file, title, version label, or track order for you.

Apple’s delivery specification treats a release as a package containing audio files, artwork, and metadata. It also documents encoding, identifiers, checksums, and conditions that can cause a delivery to be rejected or delayed. Apple Music Specification 5.3.26 The practical lesson is simple: technical requirements belong to the service or distributor you are using. There is no single universal artwork dimension or WAV bit-depth and sample-rate rule established across every platform and distributor in the evidence reviewed. Follow the current delivery guide for the specific service and distributor rather than relying on an old checklist.

2. Cover art

Prepare artwork that represents the release and matches the platform’s current specifications. Check file format, dimensions, text, branding, and any restrictions in the delivery guide you are using. Apple’s specification makes clear that asset integrity and formatting matter; incorrect encoding or package information can delay or prevent import. Apple Music Specification 5.3.26

Because requirements can change, preserve the original artwork and an export that meets the current distributor instructions. If the distributor flags the image, correct the issue before setting a public release date whenever possible.

3. Metadata

Metadata is the descriptive information attached to the release. It can include the artist name, release title, track titles, versions, genre information, contributors, dates, and other fields required by the delivery service. Accurate metadata helps platforms display the release correctly and helps listeners find the right artist and recording.

Enter names consistently. A small difference in artist spelling can create confusion between profiles. A version label should accurately describe what the listener will hear. Track order, featured-artist information, explicit-content labeling, and credits should be checked before delivery. Apple’s specification requires correctly formatted metadata and assets, and documents checks that help identify package problems. Apple Music Specification 5.3.26

4. Identifiers

An ISRC is an identifier for a particular sound recording or music video. IFPI states that it uniquely and permanently identifies the recording or video; it does not identify the underlying composition, the release package, or the performer. The International Standard Recording Code

That distinction matters. A release package may contain several tracks, while each recording can have its own ISRC. The code is not a substitute for documenting who wrote a song, who owns a recording, or how money should be divided. If you release a changed recording version, assignment and reuse should follow current ISRC guidance; a changed version may require a different identifier.

5. Rights information

Before you distribute, gather the information needed to show that you have the authority to release the recording and any included material. Keep records for collaborators, featured artists, samples, licenses, ownership arrangements, and agreed royalty splits. The packet does not establish a universal legal checklist or determine any individual’s entitlement, so use this as an organizational step rather than individualized legal advice.

A distributor can route reporting and payments, but it cannot make an unclear ownership arrangement clear after the fact. Keep your agreements and contributor information organized, and enter the distributor’s required fields carefully.

Delivery, review, and corrections

After submission, the distributor sends the package to the selected platforms. A platform may process the audio, artwork, identifiers, and metadata through its own systems. Apple’s specification describes rejection and delay conditions, including problems with formatting, encoding, or asset integrity. Apple Music Specification 5.3.26

If a release is rejected, read the specific reason and correct the underlying field or asset. Common operational problems include inconsistent names, inaccurate version labels, missing information, unsupported files, and artwork or metadata that does not meet the destination’s current requirements. The precise requirements are service- and distributor-specific, so do not turn one platform’s specification into a universal rule.

Allow time for distributor review and DSP processing. Spotify states that an unreleased song should be delivered at least seven days before release for playlist pitching eligibility and Release Radar timing. Pitching music and videos to Spotify playlist editors Seven days is Spotify’s stated pitching and Release Radar timing, not a universal delivery lead time for every distributor or platform. A practical release plan should allow additional time for review, corrections, and platform processing, especially when the date is important.

Once the release is live, inspect the platform pages. Confirm that the recording appears on the correct artist profile, the title and credits are accurate, the cover art is correct, and the track is available in the territories you expect. If something is wrong, contact the distributor through its correction process. Keep screenshots or notes of the issue and the requested fix so you can track the result.

Artist profiles and playlist pitching

Distribution and promotion are related but different. Delivery makes a release available; it does not guarantee attention, playlist placement, or a particular audience response.

Spotify’s pitching process gives artists a way to submit an unreleased song to playlist editors. Spotify says the song should be delivered at least seven days before release for eligibility, and it also says pitching does not guarantee playlist placement. Pitching music and videos to Spotify playlist editors

Use the delivery window to verify your artist profile, prepare the release information requested by the platform, and submit any available pitch details accurately. Do not describe pitching as a promise of editorial support. It is an opportunity for consideration, not a placement guarantee.

How streaming money reaches rightsholders

There is no universal fixed amount that every stream pays an artist. Spotify describes a streamshare and net-revenue process, and says artist payments vary according to agreements and intermediary arrangements. Understanding Spotify royalties This is why a headline “per-stream rate” can be misleading: the amount that ultimately reaches a particular rightsholder can depend on the platform’s revenue pool, the relevant territory, the rights involved, and the contracts or intermediaries between the service and the person or company receiving payment.

Streaming can also generate separate recording and publishing royalties. Spotify explains that recording royalties flow through the licensor, while publishing royalties may be paid through publishers, collecting societies, or mechanical agencies according to territory. Understanding Spotify royalties

In simplified form, the route may look like this:

• The platform records usage and processes its applicable revenue and rights information.
• Recording-side money travels through the licensing or distribution chain to the relevant recording rightsholders.
• Composition-side money follows publishing channels, which can include publishers, collecting societies, or mechanical agencies.
• A distributor reports and pays according to the agreement covering the account and the rights it administers.

These paths are not interchangeable. Having an ISRC identifies the recording, but it does not by itself identify or register the underlying composition. Likewise, distribution does not automatically settle every publishing, ownership, tax, or contract question. Royalty administration, rights, taxes, and availability can vary by territory and contract.

Comparing distributor plans

The headline price is only one part of the decision. Compare whether you pay annually or per release, what percentage or amount is retained, whether your music stays live after a downgrade, which stores are included, and whether tools such as royalty splits or content identification carry separate fees. Verify current terms before committing.

Current official pricing snapshots illustrate different models:

| Distributor | Snapshot checked August 7, 2026 | What to verify | |---|---:|---| | TuneCore | Unlimited plans beginning at $24.99/year; pay-per-release pricing of $24.99/year for a single and $44.99/year for an album | Plan name, renewal, included services, taxes, and regional pricing | | CD Baby | $9.99 per single or $14.99 per album, advertised as one-time payments with no annual fees; the page says artists keep over 90% after release | Exceptions, add-ons, collection routes, and current terms | | Amuse | Artist plan listed at $23.99 annually; comparison states unlimited distribution and says music stays live when downgrading, subject to listed terms | Plan-specific exceptions, including YouTube Content ID and collaborator royalty-split fees | | DistroKid | Subscription model with optional album extras and other paid tools; the official help page directs users to the live pricing page for current amounts | Current regional price, plan limits, extras, and renewal terms |

TuneCore’s current page lists the prices shown above and distribution to more than 150 stores and platforms. Our Pricing & Plans CD Baby’s current page advertises the one-time prices and “over 90%” statement, but that marketing statement does not by itself define every exception, add-on, or collection route. Music Distribution for Independent Artists Amuse lists its Artist plan and plan comparison, including unlimited distribution and music remaining live when downgrading subject to listed terms. Amuse: Pricing | Music Distribution Plans DistroKid confirms subscriptions and optional paid extras but directs users to its live pricing page for current amounts. How Much Does DistroKid Cost?

Do not compare these services using an unsupported historical price or assumed commission. The evidence reviewed does not confirm a fixed current DistroKid base price, a fixed CD Baby commission figure, or a particular Amuse free tier. Check the live official page for your region and read the plan terms, especially if you expect to release frequently, may stop paying a subscription, need collaborator splits, or want platform-specific tools.

A practical release checklist

Before submission, confirm:

• The final audio files are the versions you intend to release.
• The artwork follows the current distributor and destination requirements.
• Artist name, release title, track titles, versions, credits, and explicit-content information are accurate and consistent.
• Each recording has the appropriate identifier information, with ISRCs understood as recording identifiers rather than composition identifiers.
• Rights and contributor information are documented and entered accurately.
• The delivery date leaves time for review, corrections, and platform processing.
• An unreleased Spotify song is delivered at least seven days before release if you want to use Spotify’s pitching process.
• You know which distributor plan applies, what it costs, which services are included, and which extras or exceptions may apply.
• After release, you check the live platform pages and report errors through the distributor’s correction process.

The central idea is that distribution is a coordinated delivery and reporting system. Prepare the package carefully, preserve accurate identifiers and rights records, give review systems time to work, and compare current distributor terms rather than choosing on price alone. Open Music Business is educational content, not individualized legal, financial, tax, contract, or royalty advice.