Comparing Music Distribution Companies: Which One is Right for You?

Independent musicians today have more options than ever for getting their music onto streaming platforms and online stores. Choosing the right music distribution company is a crucial decision that can impact your reach, royalties, and overall career. In this in-depth comparison, we’ll look at major and emerging distribution services – including TuneCore, DistroKid, ONErpm, Ditto Music, RouteNote, Amuse, Fresh Tunes, Believe, and others – to help you decide which is best for you. We’ll compare pricing (e.g. TuneCore pricing vs. DistroKid pricing), how royalties are handled, platform support, user experience, customer support, and unique features.

Whether you’re evaluating TuneCore’s music distribution model, the flat-fee approach of DistroKid music distribution, or newer free alternatives, this guide will break down the pros and cons. Let’s dive into the key players in the industry and see how they stack up.

TuneCore – Established and Evolving Distributor

TuneCore is a music distribution company founded in 2005 that has long been a go-to for independent artists. The TuneCore company was acquired by Believe Digital in 2015, expanding its global reach and resources​. TuneCore’s service gets your music into over 150+ platforms worldwide (Spotify, Apple Music, Amazon, Tidal, and many more).

• Pricing: TuneCore historically charged per release, but recently overhauled its pricing to an annual subscription model. TuneCore pricing now offers several plans. The New Artist plan is free but only distributes to social media libraries (Facebook/Instagram, TikTok, YouTube) and TuneCore keeps 20% of those social royalties​. To get on major streaming platforms, you need a paid plan. The entry-level Rising Artist plan costs about $19.99/year for unlimited releases to all major stores (you keep 100% of earnings)​. Higher tiers like Breakout ($34.99/yr) and Professional ($49.99/yr) add features like automated distribution to new platforms, more detailed reports, faster customer support, and the ability to add multiple artist profiles​. (These tune core price points may adjust over time, but they’re in this range as of now.) Bottom line: TuneCore now competes with flat-rate unlimited distributors and still lets you keep 100% of royalties from sales/streams.

  
  

• Royalty Structure: TuneCore does not take a percentage of your streaming/download royalties for paid plans – you keep 100%. (On the free social-media-only plan, you keep 80% and TuneCore keeps 20% of those platform earnings​ (charlescleyn.com.) This means all the revenue from Spotify, Apple Music, etc., goes to you after you’ve paid the annual fee. TuneCore also provides monthly sales reports and daily trend data, which many artists find useful for tracking earnings.

  
  

• Platform Support: TuneCore distributes to a very broad network of over 150 digital platforms worldwide​. This includes all the big ones (Spotify, Apple Music, YouTube Music, Amazon, Deezer, TikTok, etc.) and many regional stores. TuneCore’s reach is one of its strengths; if there’s a new music service on the block, TuneCore often supports it (they even have an “Automator” feature to automatically deliver your catalog to any new store that gets added).

  
  

• User Experience: Using TuneCore’s dashboard is straightforward, though it involves more steps and metadata fields than some newer rivals. It’s web-based (no dedicated mobile app for distribution). TuneCore has added educational resources and even a Rewards program with free courses for artists. Many users appreciate the detailed reports TuneCore provides. On the flip side, uploading a release on TuneCore can feel a bit time-consuming, especially compared to the ultra-simplified process of DistroKid.

  
  

• Customer Support: TuneCore offers customer support via email, and the responsiveness depends on your plan tier. Rising Artist users are promised replies within 72 hours, Breakout within 48 hours, and Professional within 24 hours​ (musicbusinessworldwide.com). Historically, TuneCore has been known for decent support and even had phone support in the past (though phone support may not be readily available now). With the new tiered system, higher-paying users get faster support, which is something to consider if you anticipate needing help.

  
  

• Unique Features: TuneCore stands out by offering add-on services like publishing administration (TuneCore can help collect your songwriting royalties worldwide for an extra fee) and YouTube Content ID monetization. They also allow artists to use their own UPC/ISRC codes if desired (on higher plans or for a fee). TuneCore’s long-standing presence means it has robust infrastructure – some artists trust that their releases are in stable hands with a company that’s been around. Another unique aspect is TuneCore’s partnership with Believe. Believe (the parent company) is a large distribution service that typically works directly with established independent artists/labels – TuneCore acts as a DIY arm of that operation. This Believe–TuneCore connection means that if you grow significantly, there could be opportunities down the line (in theory, high-performing TuneCore artists might catch the eye of Believe’s team, which offers more premium label services).

In summary, TuneCore is a comprehensive solution if you don’t mind paying for distribution. Now that it has unlimited plans, it’s more cost-effective than it used to be for artists releasing music regularly. TuneCore music distribution is known for reliability, detailed reporting, and extra services like publishing admin. It’s ideal for artists who want a full-featured platform and are willing to invest a yearly fee for 100% royalties. However, if you’re on a tight budget or releasing a lot of music very frequently, you might compare its price to other flat-fee competitors like DistroKid or Ditto.

DistroKid – Fast and Unlimited for a Flat Fee

DistroKid has become one of the most popular distribution platforms among indie musicians in recent years. Launched in 2013, DistroKid’s claim to fame is simple: unlimited uploads for a single annual fee, while letting artists keep 100% of their royalties. This no-nonsense approach to DistroKid music distribution has attracted hundreds of thousands of users. In fact, by some estimates, DistroKid now distributes the most music of any company in the world​.

• Pricing: DistroKid pricing is straightforward – a single annual subscription starting around $19.99 per year (for one artist/band). As of 2025, the base “Musician” plan is roughly $22.99/year, which allows unlimited song and album releases for one artist. There are higher plans (e.g. “Musician Plus” ~$35–$40/yr for two artists and extra features, and Label plans for 5+ artists at higher rates). Importantly, all DistroKid plans allow unlimited uploads to all supported stores. There are no per-release charges, which makes DistroKid cost-effective for prolific creators. Be aware: DistroKid does charge for some optional add-ons: for example, there’s a small fee to enable Shazam/iphone Siri recognition for a release, or to add automatic backup to new stores (“Store Maximizer”). They also offer an optional “Leave a Legacy” fee (a one-time $29 per release) if you want a song to remain up even if you ever cancel your subscription. But if we’re talking basic DistroKid cost, it’s one flat yearly fee for unlimited distribution.

  
  

• Royalty Structure: DistroKid’s model is to take no commission on sales/streams. Artists keep 100% of what the stores pay out. Your DistroKid royalty share is 100%, deposited to your account, which you can withdraw to your bank/PayPal. (The only time DistroKid would keep a portion is if you use a feature like their VIP sync licensing or YouTube Content ID – for instance, if you opt into YouTube Content ID, they currently retain 20% of YouTube ad revenue collected on your music. But standard streaming/downloads, they take 0%.) This is a big draw for artists – once you pay your annual fee, all earnings from Spotify, Apple Music, etc., are yours. DistroKid provides a straightforward royalties dashboard. One thing to note: DistroKid collects earnings and typically pays out monthly; some artists have observed that TuneCore’s reported payouts for certain streams can be slightly higher, but generally both should be receiving the same from stores (payout differences are usually minor and due to timing or currency, not hidden fees).

  
  

• Platform Support: DistroKid distributes to over 150 platforms. This includes all major streaming services (Spotify, Apple Music, Amazon, YouTube Music, Deezer, Tidal, Pandora, etc.), download stores (iTunes, Amazon, Google Play – though Google’s store is now gone in favor of YouTube Music), and social media music libraries (TikTok, Instagram/Facebook music, Snapchat, etc.). They also support many region-specific services (like various Asian and Latin American music apps). In short, DistroKid covers virtually all the same stores as TuneCore. They also make it easy to get an official Spotify for Artists and Apple Music for Artists account – when you release through DistroKid, you can quickly claim/verify your artist profiles on those services. (A notable feature often mentioned is “DistroKid Apple Music for Artists” integration – essentially DistroKid provides a handy link to expedite access to Apple’s artist analytics dashboard). If new stores emerge, DistroKid will email you and often automatically add your past releases to them if you opt in.

  
  

• User Experience: DistroKid is known for its fast and minimalist user interface. The upload process is very quick – you fill out a simple form for your release (song title, artwork, audio file, credits) and within a day or two your music often hits the stores. There aren’t a lot of frills in the interface, which many artists appreciate. DistroKid’s speed from upload to live can be impressive; they have relationships that sometimes get music on Spotify within 24-72 hours. They also provide fun extras: a free “HyperFollow” landing page for each release (to help with pre-saves and share one link to all stores), an integrated lyrics feature (deliver lyrics to platforms), and splits for collaborations. The DistroKid splits feature lets you automatically split royalty percentages with other collaborators (e.g., bandmates, producers) so that each person gets paid their share directly – a very useful tool if you have co-releases. DistroKid’s interface is entirely web-based (no mobile app), but it’s mobile-friendly if you use a browser. Overall, the UX is geared toward being simple and fast rather than highly detailed. For many DIY musicians who want to “set it and forget it,” DistroKid’s platform is ideal.

  
  

• Customer Support: DistroKid’s support is primarily via email and an online knowledge base. They do not have phone support. The response time can vary – some users report quick helpful replies, others have felt support was slow or impersonal. Generally, because DistroKid’s system is so automated, there is less need for frequent support interaction, but if you encounter an issue (like a release being taken down or a metadata error), you’ll submit a ticket. There is no tiered priority support like TuneCore; however, DistroKid does have a community forum (on Reddit and their own site) where users help each other. If having live customer service or a personal rep is important to you, DistroKid might feel a bit lacking there. But for the tech-savvy musician who rarely needs to ask questions, it usually works fine.

  
  

• Unique Features: Aside from unlimited releases, a hallmark DistroKid feature is “Teams” (royalty splits) which is included at no extra cost. This automates paying collaborators – a standout offering that not all distributors have (TuneCore and others have added splits only on higher plans or not at all). DistroKid also offers cover song licensing integration: if you want to distribute a cover song legally, DistroKid can help secure the required mechanical license for a fee (currently about $12 annually per cover song). They also have little perks like a meme-generator, mini-videos for social media, and an upcoming feature called “Upstream” that allows artists to opt-in to share their stats with record labels (if they want to possibly get noticed). Another unique aspect: DistroKid has a partnership that can automatically upgrade your YouTube channel to an Official Artist Channel (combining your topic channel and personal channel) once you release music through them.

In summary, DistroKid is often recommended for independent musicians who release music regularly and want a low-cost, hassle-free solution. You pay one flat fee and don’t worry about counting releases or giving up any percentage of your royalties. The trade-off is that you won’t get much hand-holding – you are expected to manage things yourself through their automated system. For most, the value is unbeatable, but if you need intensive support or only plan to release a single song and then stop, other models (like pay-per-release services) might make more sense. Overall, DistroKid’s music distribution service is fast, affordable, and very popular [1].

ONErpm – Free Distribution with Added Services

ONErpm (One Revolution People’s Music) is a hybrid music distribution and services company that offers a compelling model: free distribution with a commission on royalties. Founded in 2010 and originally well-known in Latin America, ONErpm has grown globally and now works with a vast roster of indie artists. It’s both a tech platform and something of a label services company. Notably, ONErpm is selective – it’s not an open sign-up for everyone; you must apply and be approved to distribute with them​. Let’s break down ONErpm:

• Pricing: ONErpm’s model is no upfront fee for distribution. Instead, ONErpm pricing works on a commission basis: they keep 15% of the revenue your music earns on digital platforms (and 30% of YouTube Content ID revenue), passing 85% (or 70% for YouTube) to you​. There are no costs for UPC/ISRC codes, and no annual fees​ (routenote.com). In essence, it’s a free music distribution service in terms of out-of-pocket cost – you only “pay” by sharing a portion of your royalties. This can be great for artists who don’t have money to spend upfront. ONErpm does offer some optional premium services (like higher-tier marketing campaigns, etc.) but the basic distribution won’t cost you anything directly​. Because ONErpm is commission-based, it’s in their interest to distribute music that will generate revenue; this is likely why they have an application process to maintain a certain quality level or artist potential on the platform.

  
  

• Royalty Structure: As noted, artists keep 85% of royalties from streams and downloads (ONErpm takes 15%). For YouTube Content ID or other special cases, artists keep 70% (ONErpm takes 30%)​. You receive detailed royalty reports through their dashboard. They also support splitting royalties among collaborators (useful if you have bandmates or producers to pay)​. While giving up 15% means you earn a bit less per stream compared to TuneCore or DistroKid (which take 0%), remember that you’re not paying any fees. For some artists, especially those who are just starting or not expecting huge revenue, giving up a small percentage in exchange for free distribution and support can be a fair trade. ONErpm will pay out your share on a regular schedule (often monthly or quarterly, with a minimum threshold).

  
  

• Platform Support: ONErpm distributes to all major digital platforms: Spotify, Apple Music, Amazon, Deezer, Tidal, YouTube Music, Pandora, TikTok, and many more. According to their site, they deliver to 45+ platforms including social media music libraries​. There may be a few very niche stores they don’t cover that a competitor like RouteNote might (some RouteNote info suggests ONErpm misses a few obscure partners​), but for most artists, ONErpm’s reach is more than sufficient – covering essentially all key streaming services globally. They also have strong roots in markets like Brazil and Latin America, which can be beneficial if your music has an audience there.

  
  

• User Experience: ONErpm provides a web dashboard for uploading music and viewing analytics. Since they manually review submissions, the process from uploading to release can be a bit slower than instant self-serve platforms. However, once accepted, you’ll have tools at your disposal. They emphasize not just distribution but also marketing tools – e.g., smart link pages, promotional features, and insights. ONErpm tends to position itself as offering more support and guidance than a typical DIY distributor. If approved, some artists might even get personalized advice or opportunities (though this likely depends on your level of success). The interface may not be as super-simplified as DistroKid’s, since ONErpm is catering to artists who might need more options (like setting up pre-saves, viewing territory-specific stats, etc.). Overall, the UX is professional and geared toward semi-established indie artists.

  
  

• Customer Support: Because ONErpm is more selective and they invest in artists (by only earning if you earn), they have an incentive to provide decent support. They have an online support ticket system and offices in multiple countries. Artists often have a dedicated account manager or rep, especially if you start to gain traction. This is a differentiator from pure DIY distributors: ONErpm blurs the line into being more of a label services platform for some artists. If you’re a smaller artist just starting, you might not get one-on-one attention, but the support team will handle your issues via email. Many artists report positive experiences with ONErpm’s support and communication, particularly if they’re doing well on the platform.

  
  

• Unique Features: ONErpm offers a mix of distribution and marketing/promotional services. For example, they have in-house YouTube MCN capabilities – they can monetize your YouTube channel/content and have tools for YouTube optimization. They also allow things like direct-to-fan sales and custom merch integration in some cases. If a song is performing strongly, ONErpm may offer additional push (similar to a label) by pitching it to playlists or featuring it on their own promotional channels. Essentially, ONErpm can function as a partner in your growth – they’ve been known to invest effort in breakout artists on their platform (since they share in the revenue, it’s win-win to help you succeed). Additionally, ONErpm has a public-facing music video network (one of their roots was in YouTube distribution), which could offer extra visibility. Another note: if you’re an artist with a decent track record, ONErpm’s model means you don’t have to worry about annual fees eating into your profits; the commission only kicks in when you’re earning.

In summary, ONErpm is a great option if you prefer a no-upfront-cost, commission-based distribution model and possibly want a bit more than just basic distribution. It’s particularly appealing for independent artists who are confident in their music’s potential and would value marketing support and partnership. Keep in mind you do need to apply – not every bedroom producer will get accepted. ONErpm’s distribution service is best for those who treat their music career seriously and can leverage the tools and team behind ONErpm. If accepted, you’ll join a platform where your success is literally their success, which can be a motivating alignment. For comparison, think of ONErpm as a middle ground between DIY distributors and a traditional label deal (except non-exclusive and you keep ownership of your music). It’s one of the notable companies bridging that gap.

Ditto Music – Unlimited Releases with Extra Perks

Ditto Music is another prominent digital distributor that targets independent artists with an unlimited release subscription model. Founded in 2005 and based in the UK, Ditto has helped distribute music for many up-and-coming artists (they famously worked with early releases of Ed Sheeran and Sam Smith in their startup days). Ditto music distribution is similar to DistroKid in that you pay an annual fee and can upload unlimited songs to all major platforms.

• Pricing: Ditto Music pricing starts at around $19 per year for a single artist/band account (often listed as £19 or €19 depending on region)​ (musicguymastering.com). This base “Artist” plan lets you release unlimited singles, EPs, and albums for one artist name. Ditto also offers higher plans: a Professional plan (~$29/year) for up to 2 artists, and Label plans ranging from about $69/year (5 artists) up to $219/year (for 40 artists)​. These plans are great if you manage multiple acts or alter egos. With each plan, you still get unlimited releases for those artists. Importantly, Ditto does not take a cut of your royalties – you keep 100%. So the Ditto music pricing model is a flat yearly fee, similar to DistroKid. There are no per-release charges and no hidden fees for standard distribution. (Ditto does charge for some optional add-ons or services – more on that below – but distribution itself is covered by the subscription.)

  
  

• Royalty Structure: Artists keep 100% of royalties from streams and downloads. Ditto doesn’t take a percentage of your earnings. This means once you’ve paid your yearly fee, all the revenue from Spotify, Apple Music, etc., is yours to withdraw. Ditto provides an online dashboard to track sales and request payouts. In this aspect, Ditto’s model is akin to TuneCore’s and DistroKid’s: full royalties to the artist. One thing to keep in mind is if you ever stop renewing your Ditto subscription, your releases may be taken down (similar to DistroKid’s approach). So for continuous earnings, you’ll want to keep your account active annually, or consider moving releases to a “lifetime” option (Ditto doesn’t advertise a legacy option like DistroKid does, but they have been known to accommodate if an artist needed to keep something up – possibly via contacting support or using their higher-tier services).

• Platform Support: Ditto distributes to 150+ platforms worldwide, covering all major streaming services and stores. This includes Spotify, Apple Music/iTunes, YouTube Music, Amazon, Deezer, Tidal, TikTok, Instagram, and even platforms in Asia (they explicitly mention distribution to Chinese music services, which not all distributors handle). Ditto music distribution ensures your music is available globally. They also can deliver music videos to VEVO/YouTube if you use their Video Distribution add-on (a separate service). Ditto keeps up with new platforms and offers free ISRC/UPC codes for your releases. Essentially, the reach is on par with the other top distributors.

• User Experience: Ditto’s web portal allows you to upload releases, similar to others. They have also launched a Ditto mobile app that lets you track your music’s performance on the go, which is a nice touch. Uploading music via Ditto involves entering your release info, uploading artwork, audio, and selecting stores – a process pretty standard in the industry. Many artists find Ditto’s interface user-friendly. Ditto also provides some unique tools for artists: for instance, they offer free pre-save smart links for every release (so you can promote one link that fans can use to pre-save on Spotify or find your music on any platform after release). They also have an integrated tool for adding credits (musician credits) to your releases and registering for official charts (e.g., if you’re in the UK and want your sales to count toward the Official Charts, Ditto can help register your release accordingly). These features can be handy for artists wanting a bit more professional polish. Overall, the UX is built to be easy even if you’re new to distribution. Since Ditto has a background in working with a lot of emerging artists, they try to make the process straightforward.

• Customer Support: Ditto provides support via email and a support ticket system. They have offices in the UK, US, Australia, etc., and tout 24/7 customer support. However, in practice, some artists have reported mixed experiences – there have been complaints in the past about slow response times or difficulties in resolving issues. It’s worth noting that a few years ago, Ditto had some public criticism regarding customer service, but they have since made efforts to improve it. Being a paying customer (especially on higher plans) can sometimes get you more attentive support. Also, Ditto is an established company, so they’re generally trustworthy with accounting and payments (artists do get paid, even if support might be a bit slow at times). If personal, rapid support is a priority, TuneCore or CD Baby historically had an edge there, but Ditto is continuously improving.

• Unique Features: Ditto offers a variety of additional services that can set it apart:

  • Label Services: Ditto has a program called Ditto Plus for select artists, which can provide more hands-on promotion and sync licensing opportunities if your music is doing well.

  • Sync Licensing: They offer a sync pitching service (they’ll try to get your music placed in TV, film, etc.) for an extra fee​.

  • VEVO Channels: Ditto can help you create a VEVO channel and distribute your music videos to it (a service many distributors don’t provide directly).

  • Publishing Administration: For an additional $49/year, Ditto has a publishing arm to collect songwriting royalties globally​. This is similar to TuneCore’s publishing service or Songtrust.

  • Chart Registration: Ditto can register your releases for official charts in various countries. This is valuable if you make significant sales and want to ensure they count on national charts.

  • Free Mastering Tool: They have an AI mastering tool integrated (so you can get your track mastered if needed).

  • Ditto X: They even run an annual music conference (Ditto X) and offer perks and educational content for their members.

In essence, Ditto tries to be a one-stop shop – beyond just distribution, they offer lots of extras (often at additional cost). The core distribution service, however, is solid and comparable to its peers.

In summary, Ditto Music is a strong choice if you’re looking for unlimited distribution like DistroKid but perhaps value some of the extra features or a UK-based company. The Ditto music pricing is very similar to DistroKid’s (and sometimes even a tad lower depending on currency exchange). You won’t pay commission on your royalties, which is great for maximizing income. It’s particularly good for independent artists who may eventually want to scale up (multiple artists or label operations) because of their affordable label plans. Just be mindful of keeping your subscription active annually. Ditto’s platform is user-friendly and offers many bolt-on services that can grow with your needs. It sits in that sweet spot for DIY musicians who want affordability but also the option to tap into more professional services when ready.

RouteNote – Free or Premium (Flexible for Different Needs)

RouteNote is a popular distribution platform, especially known among budget-conscious and beginner artists for its free plan. Launched in 2007 and based in the UK, RouteNote offers both a free music distribution option and a premium paid option, allowing artists to choose how they want to pay (or not pay) for the service. This flexible model has made RouteNote a notable player in the DIY distribution space.

• Pricing: RouteNote gives you two main choices:

  • Free Plan: No upfront cost, no annual fees. You can distribute unlimited music to their full network of stores without paying anything. In exchange, RouteNote keeps 15% of any royalties your music earns, and you get 85%. This 85/15 split applies to all stores and even YouTube Content ID monetization​. Essentially, it’s a no-cost entry, making it very attractive to new artists or those who want to test distribution without a wallet hit.

    
    

  • Premium Plan: A paid option for artists who prefer to keep 100% of their royalties. Under RouteNote Premium, you pay per release: a one-time fee plus a small annual fee per release (to keep it live on stores). For example, distributing a single might cost around $10 one-time and $9 yearly, an album around $30 one-time + $14 yearly (these figures are approximate). Once you pay those fees, you keep all the revenue that comes in from that release​. There’s also an All Access plan mentioned (for labels, a flat yearly fee for unlimited releases with 100% royalties)​. The key point: RouteNote lets you start free, and if your music starts earning a lot, you have the option to switch that release to Premium to maximize profit. You can even switch a release back and forth between free and premium, giving flexibility if your situation changes​.

    
    

  There are no charges for UPC/ISRC codes on either plan – RouteNote provides them free​. So RouteNote’s price structure can truly be zero if you go the free route, or scale as a modest cost if you opt for premium.

  
  

• Royalty Structure: On the Free Plan, you keep 85% of royalties (RouteNote takes 15%)​. On Premium, you keep 100% (after paying the upfront fees). One standout feature: even on the free tier, RouteNote includes YouTube Content ID revenue in that same 85/15 deal – many other distributors either charge for Content ID or take a larger cut for it, but RouteNote gives you Content ID monetization with no extra fee (just part of the 15% commission)​. RouteNote pays out monthly, and you can request payouts once you hit their minimum threshold (which is relatively low, like $50, but it might have changed – it’s generally accessible). The royalty reports are available in their online dashboard.

  
  

• Platform Support: RouteNote distributes to a wide array of stores and services globally. All the majors are included: Spotify, Apple Music, iTunes, Amazon, YouTube Music, Deezer, Tidal, Pandora, TikTok, etc. RouteNote often highlights that they deliver to many regional platforms, including some in Asia that a few competitors might lack, such as Kanjian (which pushes music to Chinese services), NetEase, Tencent, AWA (Japan), and more​. They also cover content ID on YouTube, and distribution to social media platforms like Instagram/Facebook music, and even SoundCloud (RouteNote can help monetize on SoundCloud if you’re part of their SoundCloud monetization program). In short, RouteNote’s free plan does not skimp on platform reach – you get 95%+ of the digital market at your fingertips (they proudly claim to cover nearly all major outlets). If any new store partnerships arise, those are available to all users, free or paid.

  
  

• User Experience: The RouteNote interface might not be the flashiest, but it’s functional. You’ll sign up on their site, and from the dashboard you can create a new release, upload audio files, artwork, and input your metadata. One thing to note: because RouteNote offers a free tier, they manually moderate/approve each release to ensure it meets guidelines. This means after you upload, there’s a review process (to check for things like copyrighted material, proper formatting, etc.) which can take a few days. Some users have experienced that free releases take a bit longer to go live because of this moderation and possibly lower priority to stores. If you use Premium, the review might be quicker (and perhaps stores prioritize those releases slightly more, but officially they state both tiers get the same distribution speed after approval). RouteNote’s dashboard provides analytics and reports once your music is out – and they’ve been improving the UI over time. It might not be as one-click simple as DistroKid, but it’s fairly straightforward. They also have a community forum and blog (with guides and news that can be helpful for indie artists). Overall, using RouteNote requires a tad more patience (especially on the free plan) but offers a lot of capability for the price of nothing.

• Customer Support: RouteNote has a support ticket system and also engages with users on their community forums. As a free user, you are still entitled to support, but naturally paid users (Premium) might get priority assistance. Being a smaller company, RouteNote’s support team is not huge, but they are generally helpful and friendly. They have an FAQ and knowledgebase covering common questions (like how to format titles, release cover songs, etc.). One advantage is since they’ve been around for quite a long time, there’s a lot of community knowledge – many artists share experiences on Reddit and forums, so often you can find answers from other users too. If having immediate response is critical, you might find RouteNote a bit slower than, say, TuneCore’s priority support – but many find it acceptable given the cost.

• Unique Features: The most unique aspect of RouteNote is indeed the free vs premium choice. It’s very artist-friendly to allow people to start without cost and upgrade later. Another plus: no barriers – they allow unlimited artists and releases even on the free tier. If you’re a small label or have multiple projects, you can distribute all of them under one account without extra charges​. RouteNote also introduced built-in revenue splits (you can set up splits to automatically share percentages with collaborators), and unlike some, they provide that even on the free plan at no extra cost​. They also partner with an app called PUSH.fm which provides marketing tools like pre-save links, and they have extras like free artist storefronts for merchandise (through a partnership) and promotional link services. Essentially, they try to add value around the edges of the free distribution. Additionally, RouteNote is known for being transparent – they often post updates about streaming payouts and industry trends on their blog, positioning themselves as a champion for independent artists’ interests.

  
  

In summary, RouteNote is an excellent option for those who want maximum flexibility and minimal financial risk. If you’re just starting out, RouteNote’s free distribution can get your music everywhere at no cost, which is incredible. As you grow, you can decide if staying free (giving 15% of something that’s now significant) is worth it, or if you should buy out your releases via Premium to keep 100%. For hobbyists or new artists, it’s hard to beat the value. For higher-earning artists, the Premium tier is still quite affordable and comparable in cost to other flat-fee distributors. The main downsides are a possibly slower approval time and perhaps a slightly less slick interface, but those are small trade-offs. RouteNote has been serving the independent community for a long time and continues to be a top pick, especially for those looking for a RouteNote price that fits any budget (including $0).

Amuse – Mobile-First Distribution with Artist Development

Amuse burst onto the scene in 2017 as a unique player: a music distribution app that was completely free and aimed to discover new talent. Headquartered in Sweden, Amuse made waves by allowing artists to upload tracks from their phone and get them on Spotify and Apple Music for free. Over time, Amuse evolved its model. As of 2024, Amuse music distribution has moved from a free-only model to a hybrid of free and paid (and actually, the fully free tier was discontinued in 2024). Let’s explore Amuse:

• Pricing: Amuse initially offered free distribution for all, but as the market changed, they introduced paid plans and recently dropped the free tier for new releases​. Now Amuse has two plans:

  • Boost – $19.99 per year.

  • Pro – $59.99 per year.

  The Boost plan (about $1.67/month billed annually) gives you unlimited releases to all major platforms and lets you keep 100% of your royalties​. The Pro plan ($5/month billed annually) includes everything in Boost but adds the ability to have multiple artist profiles (for those managing more than one act), priority 24-hour support, and some extra features like team member accounts​. Important: As of March 2024, Amuse’s previously free “Starter” plan was phased out​. Existing free users could keep their past releases up, but new users now must choose Boost or Pro to distribute new music​. So effectively, Amuse has become a paid service (with a price very comparable to DistroKid’s base plan, even a couple dollars cheaper per year).

  
  

  One interesting aspect – Amuse does not take a cut of your royalties on either paid plan; you keep 100%. They monetized by charging the subscription and by optional services. (When it was free, Amuse kept 0% as well – they used the free service to find promising artists to sign to their separate record label. Now, with no free tier, they still might scout users for label deals, but their main revenue is subscriptions.)

• Royalty Structure: Artists on Amuse keep 100% of their royalties. There’s no commission on streaming or sales. Payouts are requested via the app/website and they pay out monthly once you meet a small minimum. Amuse also introduced a feature called Fast Forward which is essentially an advance on your royalties: they use algorithmic data to offer you part of your expected future royalties early (like a loan against earnings) – useful if you need cash now and your tracks are trending. If you opt for YouTube Content ID through Amuse, note that on the Boost (basic) plan, Amuse will take a 15% cut of YouTube Content ID earnings​, whereas Pro users might get better terms. But for normal Spotify/Apple streams, they take 0%.

  
  

• Platform Support: Amuse distributes to all the major streaming platforms and stores you’d expect – Spotify, Apple Music, Amazon, Tidal, Deezer, YouTube Music, TikTok, Instagram/Facebook, etc. They cover roughly 150+ music services globally (similar coverage to others). Initially, Amuse might have had a slightly smaller list of stores, but they’ve expanded to be comprehensive. With Amuse Boost or Pro, your music will be on the big services typically within a week or two of upload (Boost promises 5-14 days delivery, Pro 2-10 days)​. Pro users also get a “Release ASAP” option for the fastest release and the ability to schedule release dates. One thing Amuse excelled at was quick distribution to TikTok/Instagram – even back when others were slow to add TikTok, Amuse (being newer) integrated that early, appealing to artists who rely on social media virality.

  
  

• User Experience: Amuse was designed as a mobile app (available on iOS and Android) as well as a web portal. The mobile experience is a big differentiator – you can literally upload a song from your phone’s files and release it. This made distribution very accessible to a generation of creators who do everything on their phones. The app is clean and user-friendly, showing you stats like current streams, revenue, and allowing you to withdraw earnings right there. Many artists love seeing real-time (or close to real-time) trends on their phone. The user interface, both app and web, is sleek and modern. Amuse’s background as a tech-forward company shines here. It’s arguably one of the most user-friendly experiences for distribution. On the app, you also get notifications about your release status, and you can easily share your release or pre-save links to social media. For Pro users, managing multiple profiles in the app is also convenient.

• Customer Support: On the Boost plan (the $19.99 one), support response is listed as within 72 hours​. On Pro, you get priority support within 24 hours​. Amuse’s support is via email/ticket, and they also have a help center. When Amuse had a free tier, some users complained of slow support (which is somewhat expected for free service). With all users now being paid, and especially Pro having priority, overall support has improved. They also maintain a presence on social media to address general queries. Because Amuse is smaller than some competitors, you’re not dealing with an enormous bureaucracy – in some cases artists have gotten fairly personal attention, especially if something goes wrong. Still, if comparing, perhaps TuneCore or CD Baby might have more robust support systems due to their longer history. But Amuse Pro users typically report satisfactory support experiences.

  
  

• Unique Features: Amuse was unique from the start in its approach:

  • Artist Discovery: Amuse doubles as a talent-scouting platform. The company has its own record label. Notably, Amuse was known for signing successful artists that used the app (one famous example: rapper Lil Nas X used Amuse early on – though he ultimately signed to Columbia, Amuse reportedly offered him an early record deal). If your music blows up while on Amuse, their A&R might offer you a deal (which you can take or leave). In this sense, Amuse is not just a distributor but a potential stepping stone to a label partnership (with the benefit that they noticed you through data, not just luck).

  • Fast Forward (Advances): As mentioned, Amuse can offer micro-advances on streaming royalties, which is relatively rare among DIY distributors.

  • Mobile focus: The Amuse app itself sets it apart. Real-time royalty and listener analytics on your phone, push notifications, etc., cater to today’s independent artist lifestyle.

  • Team Accounts: On Pro, you can invite team members (manager, bandmates) into the app to help manage releases or view stats – a collaborative feature not common elsewhere.

  • Royalty Splits: Amuse has introduced a splits feature as well, so you can automatically share revenue with collaborators (this was added after seeing DistroKid and others offer it).

  • Integrated Mastering (possibly): They were testing or offering a mastering service integration for users to polish tracks before release.

  Another thing: Amuse offers free ISRC/UPC codes, and you can use your own if you have them. They also allow you to easily upgrade from Boost to Pro inside the app if you need more features.

In summary, Amuse provides a very modern and convenient distribution service. It started as the go-to free music distribution app and has now transitioned to one of the most affordable paid options (Boost at $19.99/year is slightly beating most competitors on price)​. It’s particularly appealing for independent artists who are mobile-centric and value the slick user experience. If you’re the type who wants to release tracks spontaneously from your phone and check your earnings on the fly, Amuse is hard to beat. The closure of the free tier means new users do have to pay, but at a reasonable rate that undercuts some big names, it remains very accessible. Furthermore, the possibility of getting noticed by Amuse’s label team is a bonus intangible. Amuse is best for DIY musicians who are tech-savvy, appreciate convenience, and perhaps like the startup vibe of a company that’s innovating in the distribution space. As long as you’re okay with the fact that it’s no longer 100% free, Amuse is definitely a top contender to consider.

Fresh Tunes – Truly Free Distribution

Fresh Tunes (often styled as FreshTunes) is a music distribution platform that markets itself as providing completely free distribution with 100% royalties to artists. It’s a relatively newer player (founded in 2015) and has gained attention for its bold promise of free service without taking a cut – a model that’s quite rare. Fresh Tunes music distribution aims to make releasing music accessible to all, and it has attracted many independent artists, especially those who can’t afford fees or don’t want to share revenue.

• Pricing: Fresh Tunes is free. That’s it – basic distribution incurs no upfront cost, no annual fee, and, unlike other “free” models, Fresh Tunes claims to also not take a percentage of your royalties. Artists can upload unlimited songs and albums for free and keep all earnings​. This sounds almost too good to be true, and naturally artists wonder “what’s the catch?”. Here’s how Fresh Tunes works: they have a Basic plan (Free) and an optional Pro plan ($100/year)​. The Basic (Free) plan gives you distribution for 1 artist profile to all supported platforms, basic stats, and a payout threshold of $25​. The Pro plan (which is entirely optional) costs $100 per year and is aimed at labels or prolific artists – it allows unlimited artist profiles (so you can manage multiple acts), faster release times, priority support, more advanced stats, and a lower payout threshold of $10​. Importantly, even on the free plan, Fresh Tunes says you get 100% of royalties – they do not take a cut from your streams/downloads​. So how do they make money? Likely through the Pro subscriptions, and perhaps through offering extra services (or interest on held funds). They also have some mention of “songwriter royalties” handling with a fee (more on that below). But as far as distribution goes, you can absolutely use Fresh Tunes without ever paying a dime.

  
  

• Royalty Structure: Fresh Tunes’ major selling point is that artists retain 100% of their rights and royalties​. On the Free plan, when your music earns money, you will get all of it (once you meet the $25 minimum to cash out). They process payouts relatively quickly (payouts for the free plan are available 30 days after the end of the month, Pro gets faster 7-day payout cycles)​. There is a note in their info about “20% songwriter royalties” on the free plan vs 10% on pro​. This refers to an optional service where Fresh Tunes can collect your publishing (songwriter) royalties – if you let them handle publishing royalty collection (e.g., mechanical royalties from streams, etc.), they would keep 20% on free or 10% on pro. This is separate from master recording royalties. It’s an add-on akin to a publishing admin service. If you don’t use Fresh Tunes for publishing, it doesn’t affect you. So bottom line: for your recording royalties from Spotify, Apple, etc., Fresh Tunes does not take a cut. This makes it one of the few true free distribution offerings around. They do impose a payout threshold (you need at least $25 accrued to withdraw on free, $10 on pro)​, which is reasonable.

  
  

• Platform Support: Fresh Tunes distributes to dozens of major outlets. All the key platforms are covered: Spotify, Apple Music/iTunes, Google Play (when it was active), Amazon, Deezer, YouTube Music, Pandora, Napster, TikTok, etc. They also support social platforms and have mentioned distribution to Shazam, Tencent (China), and more. Essentially, Fresh Tunes will get you on the same big stores that TuneCore or DistroKid would – “All platforms” as they put it for both free and pro users​. They might not have quite as many obscure regional partners as some (for instance, not sure if they cover as many small Asian services), but the difference is likely minor. If you’re targeting the main global streaming audience, Fresh Tunes has you covered. Release times on Fresh Tunes Free are up to 14 days for review/upload​, and potentially another week or so for stores to process. Pro users get faster turnaround (uploads reviewed within 7 days)​. Overall, expect roughly 2 weeks on free, which is decent. You also get “live queue” status updates, so you can see where your release is in the process – a nice transparency feature.

  
  

• User Experience: Fresh Tunes’ website emphasizes simplicity. The interface is clean and straightforward, geared toward ease of use for anyone. Signing up and uploading a release is relatively easy: you input your release info, upload audio and artwork, pick your artist name (Fresh Tunes will create an artist profile for you on the platforms if one doesn’t exist), and select the stores. Because they manually moderate (to prevent copyright violations, etc.), you might wait a short bit for approval. The dashboard provides basic stats on the free plan – you can see your streams and earnings once they come in, updated monthly. Pro plan offers more advanced analytics and daily trend data​. One thing to note: Fresh Tunes is a smaller outfit, and occasionally some users have reported the site can be a little sluggish or that certain automated features (like instant ISRC generation) had hiccups – but these issues are not common. The design is user-friendly with big icons and clear options, available in multiple languages (English/Russian). They also allow some extras like setting a future release date (which is good – not all free services allow scheduling, but Fresh Tunes does let you pick a release date). Overall, the UX is positive, especially considering it’s free.

  
  

• Customer Support: Being free, you might expect support to be minimal. However, Fresh Tunes does offer support via email and they have a help section on their site. They mention “Live queue support” and “Live moderation” on free​ – which suggests they have staff actively reviewing and possibly available to assist during the process. Pro users get “priority support”​. Since Fresh Tunes is not as mass-used as something like DistroKid, their support load might be lighter, potentially allowing them to respond personally. Users’ experiences vary; some report smooth communication, others had to wait a bit. Because Fresh Tunes is partly popular in Eastern Europe/Russia, their support team operates in multiple languages. If you run into an issue (like a store missing your release or a takedown), you’ll need to reach out to them – they don’t have a huge presence on forums or social media compared to others. However, many artists have used Fresh Tunes effectively with little need for support intervention.

  
  

• Unique Features: The biggest unique feature is the completely free, 100% royalty model – virtually unmatched except by maybe one or two newcomers. Fresh Tunes also offers:

  • Promo Tools: They have some basic promotional tools (like shareable links).

  • Analytics: Pro users get pretty granular analytics, which could be a selling point if you like data but also want free distribution (by paying for Pro you effectively turn it into a paid service with analytics).

  • Publishing Admin: As noted, they can act as a publishing administrator for your compositions, collecting royalties from global sources for a commission. This is optional, but handy if you don’t have something like ASCAP or BMI handling certain royalties.

  • Store Opportunities: Fresh Tunes sometimes highlights that they can pitch your songs for playlists or opportunities, though it’s not a full-fledged service like an AWAL might do.

  Another interesting aspect: if you stop using Fresh Tunes (say you want to move to another distributor), your releases won’t be deleted just because you’re not paying (since you never paid). However, ensure to review their terms – some free services reserve the right to remove releases if inactive, but Fresh Tunes hasn’t been known for random takedowns as long as terms are met. In fact, Fresh Tunes doesn’t require annual renewal (unlike TuneCore’s old model); once your song is up, it stays up until you take it down, truly making it “set and forget” with no cost.

In summary, Fresh Tunes is perhaps the most cost-effective solution – free with full royalties – making it extremely appealing to independent artists worldwide. If you’re just starting out or have no budget, Fresh Tunes lets you get your music out there without any financial barrier. The trade-offs might be that it’s a smaller company (so not as much widespread community info about it), and you might not get bells and whistles in terms of extensive marketing support. But it is hard to complain about a service that distributes your music everywhere and gives you every cent earned​. Fresh Tunes is best for DIY artists who want to maximize earnings and minimize expenses. It can also be a good backup or alternative if you’re comparing free options. Compared to RouteNote’s free tier (85% royalties), Fresh Tunes’ 100% free offering is very attractive​. The main caution would be to ensure you’re comfortable with their terms of service and that you keep an eye on your releases (since with any smaller free platform, you want to ensure everything runs smoothly). Many artists have had positive experiences releasing with Fresh Tunes and consider it a hidden gem in distribution.

Believe (Believe Digital) – Advanced Distribution Services

Believe Distribution Services (often just called Believe) is a bit different from the DIY distributors above. Believe is actually a large international music company that provides distribution and label services mainly to independent labels and established artists. They are the parent company of TuneCore, but also operate their own full-service distribution for select clients. Think of Believe as a distributor for those who might be a level beyond the bedroom artist – often invite-only or application-based, focusing on artists with a proven track record.

• Overview: Believe is headquartered in France and has a presence in over 50 countries. They work with many independent labels and artists, helping them distribute music to all digital platforms, similar to an Orchard or AWAL. Unlike TuneCore or DistroKid, you generally cannot just go to Believe’s site and sign up instantly. Instead, typically you’d reach out or be approached if you have substantial momentum. Believe offers tailored deals – sometimes just pure distribution (like a digital distributor) and sometimes deeper marketing and promotion (akin to a label service). For example, an indie label releasing dozens of artists in Eastern Europe might use Believe to get their catalog on worldwide platforms, or a rising artist with strong numbers might sign a distribution deal with Believe to leverage their network and support.

• Pricing & Royalties: Believe usually operates on a commission/percentage model (much like a traditional distributor). There’s no standardized public pricing because deals are custom. Commonly, an artist or label might sign with Believe and agree to, say, a 10-15% cut of revenue to Believe in exchange for their distribution and services. In some cases where Believe invests more (e.g., providing marketing, advances, etc.), the percentage could be higher. Essentially, Believe’s distribution service is not a flat fee – it’s typically free upfront, with Believe taking a percentage of royalties (this could range from 10% to 25% or more, depending on the level of service). Believe prides itself on paying out 100% of earnings to its clients minus their fee. One snippet from their site mentions they pay “100% of earnings…for a low annual flat fee”​, which might be referencing the TuneCore model. But for Believe’s in-house distribution, expect a rev-share. Since you’d have a contract, payments are handled directly and often more frequently or with more financial options (like advances).

  
  

• Platform Support: As you’d expect, Believe distributes to all major digital platforms worldwide – even more than 150, likely over 200 partners​. They ensure comprehensive coverage: Spotify, Apple, Amazon, Deezer, YouTube, and also many regional streaming services. Believe is at the enterprise level, so they are often first to deliver to new stores and can get you into local services in various territories. If a new music platform pops up in, say, Africa or India, Believe likely has a pipeline to it. Their technology infrastructure is top-notch (which is why TuneCore benefits from it as well). In short, if you’re with Believe, your music’s global availability is in very good hands.

  
  

• Services and Support: The real reason artists go with Believe (instead of just using TuneCore) is the extra support and services. Believe provides dedicated label managers/artist managers who work with you. They can help strategize release schedules, marketing plans, and playlist pitching. Believe often helps secure placements on major playlists, features on platforms, and other promotional opportunities that might be hard for a DIY artist to get. They might also assist with digital marketing campaigns, YouTube channel optimization (Believe has a strong YouTube DNA and even their own multi-channel network for video monetization), and sometimes sync licensing. Essentially, they offer a more “hands-on” distribution service – some refer to it as label services. For example, they might coordinate an Amazon Music banner feature for a release or push a track on Deezer’s local playlists, tasks that go beyond just uploading the song. Customer support in Believe’s case is more like an account manager relationship. If you’re a client, you’ll be in direct contact with their team regularly, not filing anonymous support tickets.

• When to Consider Believe: If you’re an independent artist or label who has grown substantial numbers (say, millions of streams) and you feel you need more personalized service, marketing muscle, or even funding to reach the next level, that’s when a company like Believe might be right. Because Believe owns TuneCore, their general approach is often: entry-level artists use TuneCore’s DIY platform; mid-level artists who start to break out may “upgrade” to Believe’s distribution for more support. (This isn’t an automatic pipeline, but it’s a logical path. The keyword “Believe TuneCore” often comes up because of this relationship – they serve different segments of artists under the same corporate umbrella.) Believe also competes with the likes of AWAL (which also takes ~15% commission and offers selective distribution) and Symphonic Distribution, etc.

• Unique Features: Believe, being a big company, has some unique offerings:

  • They can provide advances or financing to artists based on projected streams (similar to a label advance, but you retain ownership of your music).

  • They have localized teams – so if you blow up in, say, India, Believe’s local team there can help maximize your presence on JioSaavn or other regional services.

  • Believe’s tech platform is very robust, with an interface for clients to see detailed analytics, trends, and financial reports (likely more advanced than standard DIY dashboards).

  • They offer video distribution (VEVO, etc.) and YouTube Content ID management at a very high level.

  • Additionally, Believe sometimes signs artists to its own in-house labels (Believe has several label brands and has acquired indie labels – e.g., they own Nuclear Blast, a big metal label, and others). But in pure distribution deals, you keep your masters and just use their distribution and services.

In summary, Believe is not a DIY distributor you can just sign up for online; it’s a distribution service for serious independent artists and labels who need more than a self-serve platform. If you’re still building your fanbase, you’re likely better off with one of the other companies we discussed (TuneCore, DistroKid, etc.). But it’s good to know about Believe because it represents the next tier of support. As your career advances, you might find yourself considering whether handing over a percentage of your royalties in exchange for a dedicated team and broader opportunities makes sense. Many successful indie artists operate with such distribution deals. Believe is one of the top global companies in this arena, often praised for its international reach and indie-focused approach. In the context of this comparison, think of Believe as the option for when you “level up” – it’s not right for beginners, but it’s a notable player if you become a “priority” independent artist. And since Believe powers TuneCore, you can be confident that whichever route you choose, the tech and store connections behind the scenes are solid.

Other Notable Newcomers and Options

In addition to the companies detailed above, there are a few notable newcomers and specialized services in music distribution worth mentioning:

• UnitedMasters: A distribution platform founded in 2017 by Steve Stoute. UnitedMasters offers artists two options – a free plan (they take a 10% commission on royalties) and a paid tier (~$5/month) that lets you keep 100% of royalties. UnitedMasters has made headlines by partnering with brands like the NBA and ESPN to offer sync opportunities to indie artists. Their focus has been on hip-hop and R&B communities, and they provide an app for distribution, similar to Amuse. They also emphasize helping artists connect with brand opportunities and have a Select program for those who subscribe. UnitedMasters is a newcomer that quickly grew to over a million users and can be a good option if you’re okay with a small commission or want the possibility of brand partnerships.

• SoundOn (by TikTok): TikTok launched its own music distribution service called SoundOn in 2022. It allows artists to upload music directly to TikTok and other platforms (including Spotify, Apple, etc.). Notably, SoundOn offers 100% royalties to the artist for distributions in the first year and 90% thereafter. It’s free to use. This is aimed at emerging artists, especially those who promote through TikTok. SoundOn also promises marketing support within the TikTok app (like promoting your music to creators). It’s a newcomer with a very platform-specific angle – great for artists who have a TikTok presence and want to leverage that ecosystem.

• AWAL: AWAL (Artists Without A Label) isn’t exactly new, but it’s a selective distribution service that has helped many indie artists (now owned by Sony). AWAL works on a commission basis (around 15%) and is known for being picky about who they accept. It provides high-touch services (similar to Believe). Many artists who don’t want to sign to a traditional label but need more support than DIY try to get on AWAL. With Sony’s acquisition, AWAL has changed a bit, but it’s still a notable option at the high end (though some say it’s harder to get attention there now).

• CD Baby: We should mention CD Baby, one of the original digital distribution companies. While not a “newcomer” (quite the opposite; founded in 1998), it remains a major player. CD Baby’s model differs: they charge a one-time fee per release (e.g., $9.95 per single, $29 per album) and take a 9% cut of royalties. There are no annual fees – once you pay, your music stays up forever. CD Baby also offers physical distribution options and a very well-regarded publishing administration service (for a one-time $99 setup). They have strong customer support and a reputation for reliability. Some independent artists prefer CD Baby to avoid annual subscriptions – it can be cheaper in the long run if you have a small catalog that doesn’t need constant updates. While CD Baby wasn’t in our main list, it’s a cornerstone of the distribution market and worth considering depending on your needs.

• Other Free Options: Aside from Fresh Tunes and RouteNote, a few other free distribution platforms exist. Soundrop is a free distributor (keeping 15% royalties) that’s oriented towards cover songs and YouTube cover monetization. Routenote’s own competitor list includes names like Level (Warner’s now-closed free distro), Tradiio, and more – many have come and gone. Repost by SoundCloud is another service: if you have a SoundCloud Pro Unlimited account, you get access to Repost which distributes your music to major platforms (SoundCloud takes a 20% cut). This is an interesting option for artists already using SoundCloud heavily. It also can help you monetize on SoundCloud itself.

Each of these options has its niche. The landscape of distribution is always evolving – new services pop up, and some get acquired by bigger companies or change their offerings. When considering a distributor, always check the latest details on pricing and features, as these can change with time (for instance, Amuse discontinuing free distribution, or TuneCore adjusting plan prices).

Conclusion: Which One is Right for You?

Choosing the right distributor comes down to your priorities as an independent musician. Here are a few guidelines to consider:

• Budget and Pricing Model: If you have no budget and want to maximize every dollar of royalties, a free option like Fresh Tunes (truly free, 100% royalties) or RouteNote’s free tier (no fee, 85% royalties) might be best to start​. If you prefer a flat yearly fee and plan to release a lot, services like DistroKid, TuneCore (Rising plan), or Ditto offer predictable costs and let you keep all earnings. For those who release only occasionally, a pay-per-release model like CD Baby (one-time fee, 9% cut) could be more cost-effective in the long run.

  
  

• Release Frequency and Catalog Size: If you are prolific (say you drop singles monthly), an unlimited plan (DistroKid, Ditto, TuneCore, Amuse Boost) is likely more economical than paying per release. If you have one album and might not release another for a couple of years, you might lean towards CD Baby (one-time fee) or an option that won’t require yearly payment to keep it up (since TuneCore would charge each year to keep it live, for example).

• Keeping 100% Royalties vs. Commission Deals: Some artists are comfortable sharing a percentage in exchange for not paying upfront – if that’s you and you’re okay with slower growth in revenue, RouteNote (free) and ONErpm are good choices. On the other hand, if you want every penny of your royalties, favor DistroKid, Ditto, TuneCore, Amuse, Fresh Tunes – all let you keep 100%. Just remember, sometimes giving up a small % can be worth it if the service provides extra value (ONErpm and Believe try to provide extra promotion in return for their cut).

• Platform Reach: All the listed companies cover the major streaming services. Differences are minor – e.g., one might deliver to a specific regional store another doesn’t, but for most independent artists, reaching Spotify, Apple Music, Amazon, YouTube, TikTok, etc., is the main goal, and all these distributors achieve that. If you have a specific platform in mind (maybe you need to be on a niche store in China or want your music on TikTok quickly), check the distributor’s list. For instance, TuneCore, DistroKid, Ditto, RouteNote all boast 150+ store networks. Believe and AWAL might edge others out with deep regional platform integrations, but again, that’s at a higher artist level.

• User Experience & Speed: If you value a slick interface and ease of use, Amuse (with its mobile app) and DistroKid (with its minimal click upload) are winners. Fresh Tunes and Ditto are also straightforward. If you need to distribute on-the-go, Amuse’s app is unparalleled. For speed, DistroKid is known to get music live extremely fast, often within a day or two on Spotify. TuneCore and others might take a few days to a week. Free services like RouteNote and Fresh Tunes might take a tad longer (up to 1-2 weeks). Plan your release timeline accordingly – if you need an exact release date, make sure the service allows scheduling (most do; DistroKid does, but only on the Musician Plus plan or above, Ditto and TuneCore allow scheduling in base plans, Amuse Boost/Pro allow scheduling).

• Customer Support: If having responsive support is crucial (maybe your music is time-sensitive or you’re not very techy), TuneCore (with its tiered fast support) or CD Baby (known for artist support) might give peace of mind. DistroKid and Ditto are more DIY – usually fine, but if something goes wrong, you may wait a bit for email help. Amuse Pro gets you priority support, which is a plus at a low price. For free options, expect minimal support – great communities exist (for RouteNote especially), but you won’t have a personal rep. If you anticipate complex issues or need hand-holding, consider a paid service with a good reputation for support.

• Unique Needs and Features: Consider any special features that matter to you:

  • Do you want to split royalties automatically with bandmates? Choose DistroKid, RouteNote, or Ditto (all offer splits).

  • Planning to release cover songs? DistroKid can help secure licenses easily (for U.S. cover songs). Others require you handle it externally.

  • Need a VEVO channel or music video distribution? Ditto offers that; TuneCore and DistroKid do not (you’d need to use a service like Vydia or Ditto for video).

  • Looking for a shot at a label deal or extra promotion? Amuse might scout you; ONErpm and Believe actively look for rising stars to put more push behind. UnitedMasters might connect you with brand deals. Those intangible opportunities are something to weigh if you have industry ambitions.

• Future Flexibility: It’s worth noting that you aren’t locked in forever with a distributor. You can switch distributors down the line if needed (though it requires coordinated takedowns and reuploads). Some artists start on a free platform (to minimize cost while growing), and later switch to a paid one once they start earning more, or vice versa. The ease of switching varies – e.g., DistroKid and TuneCore make it relatively easy to leave (they even have articles on how to do it), whereas if you sign with an exclusive deal like Believe or AWAL, you likely have a contract term. So if you’re unsure, starting with a non-exclusive DIY service is the safest bet.

In the end, the “right” choice depends on your situation:

• If you’re a newcomer testing the waters with little to spend, try Fresh Tunes or RouteNote free – you literally have nothing to lose.

• If you’re aiming to release a lot of music and want simplicity, DistroKid is a fan favorite for a reason (quick, unlimited, no commissions).

• If you prefer more detailed reporting and don’t mind paying per year, TuneCore’s new plans are very robust (and it has a long track record in the industry).

• For those in between, Ditto or Amuse provide a balance of low cost and useful features.

• And as you grow, keep an eye on services like Believe or AWAL – if you hit a point where you need that extra muscle, it might be time to approach them or let them approach you.

Lastly, remember that distribution is just one piece of your music career. The best distributor for you is one that fits your workflow and helps (not hinders) you in getting your music out and getting paid. All of these companies will get your music on the major platforms – what will differentiate your success is how you promote that music and connect with fans. Choose a distributor that frees you up to do that creative work without worry. With the information in this comparison, you’re well-equipped to make an informed decision and get your music into the world on your own terms.

Resources

[1] Ari’s Take – Digital Distribution Comparison (2025) – Ari Herstand’s comprehensive review of top music distributors, including insights on DistroKid’s popularity and detailed feature comparisons​

aristake.com

[2] Charles Cleyn – “TuneCore vs FreshTunes” Honest Comparison (2024) – Blog post outlining TuneCore’s new pricing structure (including Believe’s 2015 acquisition of TuneCore) and FreshTunes’ free model​

charlescleyn.com.

[3] RouteNote Blog – “Amuse has dropped free distribution for artists” (April 15, 2024) – News update on Amuse ending its free tier and requiring a paid plan (Boost at $19.99/yr) going forward​

routenote.com.

[4] RouteNote Blog – “RouteNote vs. ONErpm – music distribution platforms compared” (Nov 4, 2021) – Breakdown of ONErpm’s model (85% royalties to artist, no fees) versus RouteNote’s free and premium options​

routenote.com.

[5] Charles Cleyn – “FreshTunes is free. That’s it.” (TuneCore vs FreshTunes, 2024) – Confirmation of Fresh Tunes’ completely free distribution with no annual fees and 100% royalties to artists​

charlescleyn.com.