DistroKid, TuneCore and CD Baby are now owned by a private equity firm, a public company, and a major label. In 30 minutes we will show you exactly what you are paying, what you are handing over, and what switching would actually save you.
Book your free auditNo pitch deck. No obligation. If staying put is the right call, we will tell you.
Thirty minutes. Bring your current distributor and a rough idea of how many releases you have out.
This is a diagnostic, not a pitch. You will leave the call knowing your real numbers either way. If the maths does not favour moving, we will say so.
We asked our audience one question: are you registered with a Performing Rights Organization to collect performance royalties on your music? Of the 3,318 artists who answered:
Six in ten are either not registered, or not certain they are.
Your distributor pays you for streams. That is one pipe. Performance royalties are a different pipe, and your distribution fee does not register your songs with a PRO or collect them for you by default. Some distributors sell that back to you as a paid add-on. If nobody has set it up, that money is being generated and not claimed.
Performance royalties are one of four ways your music earns. Mechanical, sync and master rights are separate registrations again, each with its own paperwork and its own collection route. Being set up for one does not mean you are set up for the rest.
In that same survey, publishing questions made up 0.4% of everything artists asked us. Not because it does not matter. Because it is the one part of the business nobody tells you about until you go looking.
That is why the audit covers both halves. We look at what distribution is costing you, and we look at whether what you have already earned is actually being collected. You will get a straight answer on where you stand. What you do about it is your call.
Pick a time that works. Thirty minutes, and you will leave knowing your real annual cost either way.