SAMPLEDBest Music Distribution Services for Independent Artists
DistroKid, TuneCore, CD Baby, UnitedMasters, LANDR, ONErpm, Amuse — the distributor you pick is a business decision, not an upload decision.
Picking a distributor isn't really about uploading. It's about deciding where your catalog lives for the next ten years, how your money moves, and what happens to your back catalog if you ever stop paying.
That's why "which one is best" is the wrong question. The right question is: how often are you actually releasing music, and what do you need around the release?
DistroKid
DistroKid (opens in a new tab) is the speed pick. The plans and pricing (opens in a new tab) start at an annual subscription that gives you unlimited uploads, which only makes sense if you're actually releasing — like, monthly or more. If you drop one single a year, DistroKid is technically expensive. If you drop fifteen, it's the cheapest option in the game.
TuneCore
TuneCore (opens in a new tab) is the legacy player that grew up. Their pricing (opens in a new tab) is structured around unlimited distribution tiers with more publishing and analytics tools as you climb. If you want a recognizable name with a real publishing administration option attached, TuneCore is worth comparing line-by-line against DistroKid.
CD Baby
CD Baby (opens in a new tab) is the slow-release pick. Their music distribution (opens in a new tab) runs on a per-release fee — pay once, distributed forever, with a revenue share on the back end (see their cost guide (opens in a new tab) for the breakdown). If you're an album-every-two-years artist, you'll spend less here than you would burning $30 a year forever on a subscription you barely use.
UnitedMasters
UnitedMasters (opens in a new tab) is less of a distributor and more of an artist-services platform with distribution attached. Their pricing (opens in a new tab) reflects that — you're paying for brand partnership access, sync opportunities, and a more culture-facing ecosystem. If you're building toward placements with brands and want a platform that pitches you, UM is doing things the others aren't.
LANDR
LANDR (opens in a new tab) bundles distribution with mastering, samples, plugins, and collaboration tools. If you're still building your workflow and want fewer subscriptions in your life, the all-in-one math can make sense. If you already have a mastering engineer and a sample library you love, you're paying for stuff you won't use.
ONErpm
ONErpm (opens in a new tab) sits between distributor and label-services company. Their digital distribution (opens in a new tab) and how it works (opens in a new tab) pages emphasize unlimited audio and video uploads with no annual fee, plus marketing and promotional tools on the back end. For artists who want a partner that does more than push files to Spotify, ONErpm is worth a real look — especially internationally.
Amuse
Amuse (opens in a new tab) is mobile-native and clean. Their pricing (opens in a new tab) breaks into Artist, Artist Plus, and Pro tiers, with modern data and release tools. Good fit for artists who want a simple, well-designed self-serve distributor without the legacy interface energy.
How to actually pick
Be honest about your release pace.
- Two singles a month: DistroKid or TuneCore
- One album every two years: CD Baby
- Building toward brand deals and sync: UnitedMasters
- Want everything (mastering, samples, distribution) in one bill: LANDR
- International focus, want a real services partner: ONErpm
- Want a clean modern app, don't need bells: Amuse
The other thing nobody mentions: read the catalog policy. What happens if you stop paying DistroKid? (Your music gets taken down unless you keep paying or buy a leave-a-legacy plan.) What's the revenue share on CD Baby long term? Does TuneCore administer your publishing or just distribute the masters? These are the details that actually decide whether you're happy in three years.
Distribution doesn't promote your record. It won't make strangers care. But it decides where your music lives and how your money moves — and those are two of the first real business decisions you make as an artist.