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MESSAGES LOG IN Log in Facebook Google Civic wikiHow Account No account yet? Create an account EXPLORE Community DashboardRandom ArticleAbout UsCategoriesRecent Changes HELP US Write an ArticleRequest a New ArticleAnswer a RequestMore Ideas. AND Kobalt doesnt own any of their songwriters copyrights (unlike every other major publishing company). They consistently berate their customers (publicly on message boards) and get into Twitter battles with bloggers (me). So I cannot give any of them my stamp of approval. They have struck partnerships with distributors like DistroKid, CD Baby and Landr to be their built-in mechanical license service (so you can distribute cover songs for a small, up front fee versus having to go hunt down your own mechanical license - from HFAs Songfile, Easy Song License or Loudr directly on their website). I said that I wont hold grudges and Im very open to seeing companies turn things around and acknowledge their past mistakes. Previous join the movement! Next. BEST:No commission. I do have to give a shoutout for their revenue advances feature which IS super innovative - where if your past releases have generated consistent revenue, Tunecore will advance you the money for future releases so you can have more of a budget up front for production and marketing. Soundrop isn't meant to compete with the other services (like their sister CD Baby). 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No ability for main account holder to cover costs for other collaborators.No mechanisms in place to help artists who start to catch (marketing support, playlist plugging, etc)Ditto Music Review:Ok, deep breath. If you distribute an album of 10 songs, it will cost you an additional $10/yr for that album just for Shazam.No admin publishing partner to help collect songwriter royalties.Text message marketing feature has been coming this week for monthsPayment splitting requires each collaborator to have a DistroKid account (at $19.99 or more a year). Not fake metrics like ReverbNation plays, fans, city charts which mean absolutely nothing in the real world. Theres a lot to be said about the people and culture at a company. Kevin, head of marketing, and Chris Robley who runs the blog, are both working musicians. Capiche?I spoke to reps at every company for this review, to get a full in-depth look at each company and for the reps to explain to me their company's best features (that I may have missed scanning their FAQ). Also, CD Baby, DistroKid, ReverbNation and Symphonic have advertised, currently advertise or have agreed to advertise in the future with Aris Take. Theyre not there yet, but eventually they (as well as most distributors) will be able to collect 100% of your royalties so you dont need to register all over the place to collect all your various royalties. Remember what I said about culture and ethos of a company? Well, Im sorry to say that Lee and Matt have some of the worst reputations in the space. RN acquired AudioKite last year and the AudioKite team hopped down from NYC to Durham, NC and RNs new CrowdReview (built by the AudioKite team) is exceptional. --->If this report helped you please consider becoming one of my Patreon patrons. Are they accurate? Who knows. BEST:Best distributor for Latin America (especially Brazil)Have their own popular playlists they can insert their artists intoIn house playlist pluggers6 different MCNs (Multi-Channel Networks) with 5.5 billion views a month. Lee Parsons with Ditto could take some cues from Javan at MondoTunes or Mike Doernberg at ReverbNation. If you have any questions, comments or experiences with any of these companies please list them in the comments. DistroKid was also one of the first to offer automatic payment splitting (all the others you had to manually write in and ask for this, but most don't offer it - which is a hassle). Because they have so many bands who have registered so many shows, they have a touring database built up (similar to indieonthemove.com) that can help bands find venues of similar size in multiple cities.No commission. 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