Questions, answered straight.

Create an account on the artist portal with your email and a password, choose the plan that fits how much you release, and sign your distribution agreement. You can be set up and submitting your first release the same day.

There is no application to wait on and nobody decides whether you are allowed in. Every release is still checked against store delivery specs before it ships, so a release can be sent back for a fix, but that is a technical check and not a judgement on your music.

Plans are annual, priced in rupees, and shown in full on the Pricing page. Artist plans and label plans are separate ladders; the label ladder is for running several artists under one account.

Every plan states the share of royalties you keep. That number is shown on the plan page inside the portal before you pay anything, and it is written into your distribution agreement, so you never find it out from a statement.

No. We do not charge a saved card without you telling us to. We email you before your plan is due to expire and it continues only if you renew it.

If a plan lapses, the music you have already released stays live and your royalties keep being reported and paid. What pauses is your ability to send out new releases and the service levels that came with the plan. Your catalogue only comes down if you ask for it to come down.

Yes, at any time, up or down. A change takes effect from the current month of reporting onward and is never backdated, so anything you have already earned keeps the share it was earned under.

This matters more than it sounds, because stores report roughly two months behind. A statement for an older month that arrives after you switch is still paid at the share that applied to that month.

Each release is exclusive to us for twelve months from the day it goes live. During those twelve months you cannot put that same recording out through another distributor or upload it yourself. After twelve months the exclusivity on that release ends and does not renew, and you can request takedown any time you like.

The twelve months run per release, not per account, so something you put out in your tenth month is exclusive for twelve months from that day. Your account itself has no minimum term, and your plan does not auto-renew.

We will always action a takedown inside the twelve months where there is a rights dispute, an infringement claim, a problem with the recording or its metadata, or a store or the law requires it.

Yes. Codes issued before signup opened still activate the account they were issued against, with the terms that were agreed at the time. Enter it on the portal sign-up screen along with your email and password.

If your account already has catalogue and earnings attached to it, using the code is the right route, because it claims that existing account rather than creating a second empty one.

Both. Label plans cover multiple artists under one account, with consolidated statements, per-artist deal terms and artist sub-accounts that have their own logins and their own payouts.

A label plan starts to beat buying separate artist plans at around three artists. Below that, an artist plan is the cheaper deal and we would rather you bought that one.

We deliver worldwide to more than 150 stores and streaming services, including the major international platforms and the services that matter most for Indian audiences. Short-form and social platforms are covered as well, so your music is usable in reels and user videos where those platforms support it.

Yes. We set your release as a caller tune, also called a caller ring back tone or CRBT, across the major Indian telecoms: Jio (JioTunes), Airtel (Hello Tunes), Vi and BSNL. It is included on every plan at no extra cost, which is unusual, because most international distributors cannot deliver caller tunes in India at all.

Caller tunes are one of the biggest earners for regional and devotional music in India, so this is often the single most valuable delivery for Haryanvi, Punjabi, Bhojpuri, Marathi, Tamil, Telugu and devotional artists. Once your release is live, the telecoms take a few days to activate the caller tune, which is normal and outside anyone's direct control.

Stereo masters as WAV or FLAC, 16-bit or 24-bit, at 44.1 kHz or higher. MP3s are not accepted as masters. If you are releasing in Dolby Atmos, we additionally take your ADM BWF master and validate it technically before shipping it alongside the stereo release.

A perfect square, 3000 x 3000 pixels recommended, JPG or TIFF, RGB. No blurry or stretched images, no social media handles, no website URLs, no pricing or store logos on the cover. Our upload check rejects files that fail the spec before they ever reach stores, and tells you exactly what to fix.

Plan at least two to four weeks ahead. Stores need lead time to process deliveries, and editorial playlist consideration on major platforms generally requires the release to be delivered and pitched well before release day. Same-week releases are possible but sacrifice pitching entirely.

An ISRC identifies each individual recording; a UPC identifies the release as a product. Stores and royalty systems use them to track plays and sales. If you already have codes, we use yours, which also lets your streaming history follow the track. If you do not, codes are assigned during the release process at no cost.

Yes. The key is delivering the same recordings with the same ISRCs. When the codes match, platforms link the new delivery to the existing track, preserving play counts and playlist placements. We coordinate the timing so the old delivery comes down only after the new one is live.

Every submission is checked against store delivery specs and content policies before it ships. If something fails, you get a written reason in your portal: wrong artwork size, clipped audio, metadata problems, missing credits, and so on. Fix the issue and resubmit from the same release page; your submission goes back into review, and nothing is lost.

Covers, yes, with the right licensing for the territories you release in; we guide you through what is needed for your specific case. Remixes require permission from whoever owns the original recording and composition. Unlicensed remixes and mashups cannot be distributed.

Fully AI-generated tracks are not something we take on. Music where AI was used as a tool inside a genuinely human-made record is reviewed case by case. Stores are tightening their policies here, and we protect the catalog by staying ahead of those rules.

Stores report and pay on a delay, typically two to three months after the month your music was streamed. Once store reports land with us, we process them, apply your agreed terms, and your statement appears in your portal with your revenue clearly separated. Payouts are made to your bank account per the schedule in your agreement.

Every statement line shows the period, track, store, country, and units, with your revenue computed at your agreed rate. Your dashboard aggregates this into totals, top platforms, top countries, and a monthly trend, so you can see what is actually earning without spreadsheet work.

There is no fixed per-stream rate anywhere in the industry. Platforms pay out of revenue pools that vary by service, country, subscription type, and month. Indian streams generally pay less than US or European streams. Treat per-stream math as an estimate; the statements are the truth.

No, and this catches many artists. Distribution collects recording royalties. The composition (lyrics and melody) earns separate publishing royalties, collected by societies like IPRS in India. If you write your own music, register with IPRS; otherwise that money goes uncollected. Our Knowledge Center has a full guide.

No. You keep ownership of your recordings and compositions. Our agreement grants us the right to distribute and monetize the catalog you place with us for the agreed term, nothing more. When the agreement ends, your music is yours to take anywhere.

An Official Artist Channel merges your uploads, your distributed music, and your subscriber counts into one verified artist presence with the music note badge. It requires distributed content on YouTube and a channel that meets YouTube's criteria. We handle OAC requests for our artists as part of the service; the process and requirements are covered in our Knowledge Center guide.

Content ID scans YouTube for videos using your recordings and routes ad revenue from those videos to you. It is valuable if your music gets used in other people's videos. It should not be used on tracks containing samples, licensed beats you do not exclusively control, or public domain material, because that triggers false claims. We advise per release.

If your release is protected by Content ID, their video is claimed automatically and the revenue routes to you. For blatant piracy or false ownership claims against your own uploads, raise it with us in the portal and we escalate takedowns and disputes on your behalf.

If your mixes are strong and your audience listens on platforms with spatial shelves, yes: Atmos versions get placement opportunities stereo-only releases do not, and platforms are actively promoting spatial catalogs. If your stereo mix still needs work, fix that first. Atmos multiplies quality; it does not create it.

We validate the ADM BWF technically: loudness within platform spec, correct frame rate and bed configuration, binaural render check, and consistency with the stereo master's timing. Failing masters are returned with specifics instead of being shipped and rejected downstream.

It is the contract between you and SUF Digitals covering the catalog you place with us: what we deliver, your revenue terms, payment schedule, term length, and how either side can exit. You sign it electronically inside the portal before your dashboard unlocks, and your signed copy stays available in your account.

Yes, per the notice terms in your agreement. On exit, we stop new deliveries and take down the catalog from stores, or coordinate a handover to your next home so your ISRCs and streaming history carry over. Royalties already earned are paid out through the final accounting period.

Distributing content you do not own, artificial streaming (bot plays, stream farms, playlist scams), misleading metadata, and repeated policy strikes from stores. Artificial streaming is the fastest way to lose everything: platforms detect it, withhold the revenue, and remove the content. We terminate for it because it endangers every other artist on our pipeline.

Portal accounts get direct support through the team that actually manages your releases, not a ticket queue. Application questions before you are on the roster can go through the Apply page.