Distovia sends your releases to Spotify, Apple Music, YouTube Music and 150+ more — then hands you the studio tools, the money tools and the protection that usually cost extra somewhere else. You keep your rights, your masters and 100% of what the streaming services pay.
Works in your browser and on Android. No commission on streaming royalties, ever.
Single · 1 track · worldwide
Live on 159 stores
159 active stores and platforms, including TikTok, Instagram, Facebook, Melon, NetEase Cloud Music, AWA, LINE Music, Gaana, Wynk, Anghami, Boomplay, Beatport, TuneIn and Peloton.
How it works
The whole route from a finished master to a live, earning release — without an email thread, a spreadsheet, or a week of silence.
Add your audio, artwork and credits. We check the master before it goes anywhere — loudness, true peak, clipping, silence, artwork size — so a store does not bounce it back a week later.
Pick your release date, your stores and your territories. A person reviews the metadata against the rules the stores actually enforce, then delivers it. You watch each store confirm.
Streams, listeners and revenue by store and country, refreshed daily. Request a payout to a bank account, a mobile wallet or Payoneer, with an itemised statement behind every figure.
What we distribute
The audio, the video and the official channel are separate rights with separate money attached. Most catalogues only ever claim the first one.
Singles, EPs and albums to 159 stores and platforms, with ISRCs, splits, loudness checks and itemised statements. No commission on streaming royalties.
Music distribution →
Music videos with full credits and rights metadata, plus the YouTube Art Tracks that let a recording collect through Content ID when no video was ever filmed.
Video distribution →
VEVO channels are applied for through a distributor. We prepare and submit the application, manage the channel profile, and show the analytics beside everything else.
VEVO distribution →
Pro toolkit
Four things every release needs — a master that holds up, money you can account for, rights that stay yours, and numbers that tell you something. All of it included, none of it an add-on.
Every store plays everything back at roughly the same level — about −14 LUFS, −16 on Apple Music. A master delivered at −6 is not played louder, it is turned down, and the dynamics squeezed away to get there do not come back. We measure it before you submit and hand you a corrected copy in one tap.
Your synced lyrics, your artwork and your audio are already on the server, so the video you would otherwise pay someone to make is one button. Widescreen or square. Bengali and other complex scripts are shaped properly — conjuncts and matras render the way a reader expects, not as a row of broken glyphs.
Describe the cover you want and it is generated here, on our own hardware — nothing about an unreleased record leaves the building. It runs as a background job you can walk away from, not a progress bar you sit and watch.
Instead of screenshotting your own cover and typing OUT NOW over it, get the post images built from the full-quality artwork we already hold — sized for each platform, with a QR to your smart link.
A 30-second square video from your artwork with an animated waveform, ready to post to Instagram, TikTok or Facebook. Pick the moment of the song it starts from.
YouTube pays music through Content ID, and Content ID needs a video. We generate the standard Art Track — your cover held for the length of the recording — so you actually collect the YouTube share of your own release instead of leaving it on the table.
Deliver a spatial master alongside the stereo one. We catch the mistakes that actually happen — the stereo mix uploaded twice, a file that is not really multichannel, a master whose length does not match the recording.
WAV, FLAC and MP3 are validated by their actual contents, not their file extension. Artwork has to be square and at least 1400px, because that is what the stores require and finding out later costs you a release date.
Spotify, Apple Music, YouTube Music and the rest pay through in full — we charge for the plan, not a percentage. The social and UGC platforms are the exception, at 80%, because that revenue arrives through rights-management claims rather than plays.
Share royalties with a collaborator by email and their share is held from the very first payment — even if they have not signed up yet. Nobody has to remember to forward anything.
Every monthly statement opens as a readable document with the lines behind the total — per store, per country, per track. Tax withholding and payout invoices come out of the same engine, so the numbers always agree.
Bank account, mobile wallet or Payoneer. One approval, one transfer, one record, with the provider's own reference kept against it — and a hard guarantee that the same payout is never sent twice, even if an attempt times out with no answer at all.
Paid a lump sum now, repaid out of future royalties. You see the same trailing revenue figures the offer was scored from, and recoupment is deliberately partial — taking every credit is how an advance turns into a debt trap.
Transactions, adjustments, corrections and financial reports are all on the record. When a figure changes, there is a row saying what changed it.
Invite another artist and the reward becomes real money on both balances once they actually ship a release — not the moment an account is created.
Withholding is worked out from the tax information on file and shown on the statement, so a payout figure is never a surprise.
Matching a release to a store listing on title and artist is a guess with good manners — two artists share a name, songs get covered, tribute bands record whole albums. We compare the actual audio, because the cost of a wrong yes is your smart link sending your fans to somebody else's song.
The same master uploaded twice — a stuck first attempt, a single that later goes on an EP — is the most common accident there is. Stores do not merge them: the plays split, both entries look smaller than the record really is, and editorial teams read duplicates as spam. We catch it before delivery.
A stored timestamp is not a signature. Agreements are signed the way ESIGN, UETA and eIDAS expect: a distinct act of intent, consent captured separately, the email proven with a one-time code, and the document hashed so the record cannot drift.
Raise a claim, contest a figure or fix metadata after release, and every step keeps its own audit trail with the reason attached.
Two-factor with backup codes, alerts on a login that does not look like you, team access scoped to exactly what someone needs, and a full activity log of what they did.
Export your whole catalogue whenever you want, and delete your account from a browser without signing in or emailing anyone. A service you can leave easily is one worth staying with.
Takedown is the one action nobody undoes by pressing it again, and it is usually pressed in anger. You get 30 minutes to change your mind.
ISRCs assigned and tracked, labels and primary artists kept straight, VEVO channels managed — the paperwork that decides whether money finds you.
Streams, listeners and revenue by store and by country, updated daily — so you can tell a good week from a good day, and see which country just started listening.
The moment a track crosses a number worth knowing about, you hear about it — once, not every time you open the app.
Not a search result — the actual album URLs, resolved automatically from the stores' own open APIs once you are live. A link you corrected by hand is never overwritten by ours.
Which releases are drifting, which are missing a store, which need a link or a piece of metadata before they can earn properly.
Your VEVO channel and its numbers next to everything else, instead of in another tab with another login.
Not "delivered" as one word — each store's own state, with the timestamp it changed and what it said when it did.
What changed since yesterday, what needs you, what is waiting on us — opened first thing, and usually enough on its own.
Chat with a real person inside the app — share a screenshot, see when they are typing, see when support is online. Not a form that disappears.
The money
Distribution is a business whose whole product is trust in a number. So nothing here is a total you have to take on faith — open any figure and the lines that made it are underneath.
Per store, per country, per track — readable in the browser, saved as a PDF from the app, and identical either way.
Bank, mobile wallet or Payoneer, each with the provider's reference number and an invoice you can hand to an accountant.
An offer built from your own trailing revenue, with the arithmetic shown and recoupment kept partial on purpose.
For labels, managers and teams
Everything an artist gets, multiplied — plus the machinery a catalogue of any size needs to stay accurate on its own.
Unlimited artist profiles, team members who see exactly what they should and nothing more, and an activity log that tells you who did what.
Submit, edit and deliver across the roster in one pass, with every action attributed in the activity log — a catalogue the size of a label is not forty separate jobs.
Paste a Spotify, Apple, Deezer or MusicBrainz link and your back catalogue arrives as drafts to check. Everything lands as a draft on purpose — a public listing is not proof of ownership.
Deliveries go out on the stores' own DDEX feeds, and their royalty reports are pulled back in automatically from SFTP — re-running an import never double-counts.
Export the fixed-width file societies accept — PRS, ASCAP, BMI, IPRS — so the composition side gets registered instead of quietly forgotten.
Bulk edits, bulk delivery, catalogue export. Work at the size you actually operate at.
Quietly, in the background
Most distribution failures are boring and preventable — an expired store credential, a report that never arrived, an outage nobody watched. These run on a schedule so release day is not the day you find out.
Every direct-feed store is tested ahead of time. A rotated password gets found by us, on a Tuesday — not by you, on release day, as a failed delivery.
The public endpoints are probed continuously and an outage pushes to a person immediately, so it is noticed by us rather than reported by you.
When a dependency is down, the feature says so plainly and steps aside instead of pretending to work and losing your upload.
Pricing
No commission on what the streaming services pay — not this year, not when you get big. Social and UGC platforms pay through at 80%. Both rates are listed on the pricing page, read live from the same table that pays you.
Prices shown in USD. Live from the app, so this page can never show a price that has changed.
Questions
Yes. Distovia is a distributor, not a label. You keep your masters and your copyright, and you can take your catalogue with you — there is an export button for exactly that.
Nothing on the streaming services — Spotify, Apple Music, YouTube Music, Deezer and the rest pay through in full. The social and UGC platforms — TikTok, Instagram, the Facebook rights libraries, Snapchat, CapCut and YouTube Content ID — pay through at 80%, because that revenue arrives through rights-management claims on other people's uploads rather than plays of your release, and every claim has administration behind it. Which platform sits in which group is listed on the pricing page, and your statement shows the reported figure and your share side by side.
Delivery usually reaches the stores within a day or two of approval, and each store then publishes on its own schedule. Set the release date at least two weeks ahead if you want playlist consideration.
Request a payout to a bank account, a mobile wallet or Payoneer. Every payment is itemised, and you can open the monthly statement behind any figure — including the tax withheld and why.
A plan, and nothing else — the current prices are listed above, straight from the app. There is no per-release charge, no commission on streaming royalties, and no cost to keep a release live once it is out. The only two one-off charges are the takedown fee and VEVO channels beyond the one included, both on the pricing page.
Yes — everything works in a browser at app.distovia.com. The Android app is there if you prefer it, and both talk to the same account.
Paste your Spotify, Apple, Deezer or MusicBrainz artist link and we read your releases into drafts for you to check. Everything arrives as a draft — a public listing is not proof that someone owns a recording, so nothing is ever delivered from an import on its own. You will still need to take the old ones down with your previous distributor.
Yes. A spatial master is delivered alongside the stereo one, and we check the obvious failure cases before it goes — a stereo mix uploaded by mistake, a file that is not really multichannel, or a length that does not match the recording.
YouTube pays music through Content ID, which needs a video to attach to. We generate the standard Art Track from your cover art so the recording can collect, even when you never filmed anything.
Yes, and it is deliberate work rather than luck. The lyric video renderer shapes text through HarfBuzz, so conjuncts and vowel signs join the way a reader expects instead of being drawn in codepoint order — which is what most simple tools do, and it is not something you would put on your own record.
You have 30 minutes to cancel it. Takedown is the one action that pressing again does not undo — listings, links and play counts do not come back — and it is usually pressed in a hurry, so there is a window.
One plan, unlimited releases, and the whole route — the loudness check, the review, the delivery, the store links, the first statement.