I bring your music to 150+ digital platforms through Universal Music Group (UMG) and Ingrooves. Not an automated upload service, but a hands-on distribution service that takes care of every step, from credits and release date to editorial pitching and royalty tracking.
I compare distribution pricing models and hidden costs in my post how much does music distribution cost.
Music distribution is the process of uploading and releasing a song or album on digital platforms such as Spotify, Apple Music, YouTube Music and Amazon Music, and managing the technical, royalty and reporting processes behind that release. But the truth is, "uploading to platforms" is only the visible part. Distribution done without the right metadata, the right release timing and the right platform strategy can make even the best song invisible.
Uploading a song to the platforms isn't hard today; dozens of music distribution companies do it. You drop the file into a service you pay an annual fee for, and it goes live within a few days. The hard part is what happens after the upload: were the credits entered correctly, did it match your artist page, does the release date mean anything, was it pitched to editors, is there a revenue line missing from the report? Automated services deal with none of these questions, because that's not their job.
I've been in the music industry for 22 years, and I handle distribution one by one, tailored to each artist. Your music is released through the Ingrooves distribution infrastructure, part of Universal Music Group (UMG); the process runs through Gizli Medya in Türkiye and Digitalent Inc. (Digital Marketing Manager) in the USA. In other words, your release doesn't go through a self-service panel but through the corporate pipeline used by major catalogs.
This way of working isn't for everyone. If you want to push out a few songs a month quickly, an automated service will do the job, and my honest answer is: you don't need me. I work with artists who take their catalog seriously, plan their releases and want to track the revenue that comes from distribution.
The first thing that determines the quality of distribution is the infrastructure behind it. Catalog management, royalty reporting and platform relationships all run through this pipeline.
I work with the world's largest music company. Your release sits within the distribution structure of a global music company, not an independent upload service.
Distribution to 150+ platforms runs through the Ingrooves infrastructure within UMG. Catalog organization, metadata review and revenue reporting are managed through this system.
Through Digitalent Inc. (Digital Marketing Manager) in the USA and Gizli Medya in Türkiye, contract, payment and reporting processes run smoothly on both sides.
You can leave your distribution entirely to me, or get consulting on your current setup. Both are handled individually, tailored to you.
I distribute your music directly to 150+ platforms through UMG and Ingrooves. I take on the entire technical process end to end, including upload, credits and metadata review, release timing, editorial pitching, and royalty and revenue tracking. You focus on your music; I manage the distribution.
If you already have a distributor (The Orchard, Believe, DistroKid or anyone else), there's no need to switch. Working through your current setup, I optimize metadata, release strategy and revenue so you get the most out of your distribution.
Whether it's the service or consulting, I take care of every technical detail of distribution.
When choosing a music distribution company, most artists look at price. But the real difference between services like DistroKid, TuneCore, CD Baby and Believe and individual distribution isn't price; it's what happens after the song reaches the platforms.
| Subject | Automated distribution services | Distribution with Serdar Sağlam |
|---|---|---|
| Infrastructure | Self-service upload panel | Ingrooves distribution pipeline within UMG |
| Upload | You enter the file and credits yourself | I prepare and upload everything on your behalf |
| Metadata and credits | Whatever you enter goes out unchecked | ISRC, UPC, credits, genre and artist matching are checked one by one |
| Artist page matching | If it's mismatched, fixing it is up to you | Verified before release; mismatches are followed up |
| Spotify editorial pitch | You fill it in yourself on the panel | Planned around the release schedule and presented with the story behind the song |
| Release date and launch | You pick the date; planning is up to you | The date is planned backwards; pre-save and promotion are set up together |
| Catalog management | Older releases stay scattered | The whole catalog is consolidated in one place and made consistent |
| Royalties and revenue | You download the report; interpreting it is up to you | Reports are analyzed and missing or missed revenue items are identified |
| Sync and licensing | Not included | Your catalog is evaluated for TV series, film and advertising projects |
| Support | Form or ticket system | You reach me directly |
This table isn't a claim of superiority; it's a difference in scope. Automated services do their job well, and for many artists they're enough. The difference is whether distribution ends with the upload.
Five steps. Each one moves forward in conversation with you; none of them is automated.
We talk about your catalog, your goals and your current setup. This is where we decide whether direct distribution or consulting through your current distributor makes more sense.
The master audio file, cover art and credits are prepared to platform standards. ISRC and UPC codes, composer and lyricist information, and genre and language tags are fully defined.
The release is delivered to 150+ platforms through the Ingrooves infrastructure. Artist page matching and how the release appears on each platform are verified before it goes live.
The release date is set, pre-save is set up, and a pitch is sent to Spotify's editorial team. The editorial pitch must be submitted at least a week before release, so the schedule is planned backwards from there.
Platform-level performance, revenue reports and royalty items are reviewed regularly. Mismatched works, under-reported platforms and separately flowing revenue such as YouTube Content ID are checked as well.
From my radio years to digital distribution, I've worked at every level of the industry. Some of the artists I've worked with:
Each name links to the detail page for that project.
Music distribution is the process of uploading and releasing a song or album on digital platforms such as Spotify, Apple Music, YouTube Music and Amazon Music, and managing the technical, royalty and reporting processes behind that release. The right metadata, the right timing and the right platform strategy determine the quality of the distribution.
Your music reaches the platforms through the Ingrooves distribution infrastructure, part of Universal Music Group. In other words, your release doesn't go through a self-service upload panel but through the corporate distribution pipeline used by major catalogs. Catalog management, royalty reporting and platform relationships all run through this infrastructure.
Automated distribution services get your song onto the platforms and stop there: the metadata you enter goes out as is, you fill in the pitch yourself, and you interpret the revenue report yourself. I treat distribution not as an upload job but as a release process: credits and metadata are reviewed, the release date and editorial pitch are planned, and revenue and royalty reports are read after release. If you need an automated service, my honest answer is: you don't need me.
Both. If you like, I can distribute your music directly through UMG and Ingrooves; or, while you keep working with your current distributor (The Orchard, Believe, DistroKid or anyone else), I can provide consulting to optimize your distribution process.
Yes. There's no need to switch distributors. I know every distributor's interface, reporting and royalty structure well; working through your current setup, I optimize metadata, release timing and revenue so you get the most out of your distribution.
Yes. Works already live can be taken down from your current distributor and moved to the new infrastructure. What matters most in this transfer is preserving streaming history and your artist page, so each transfer is planned track by track, never in a rushed bulk move.
Technically, the upload is quick, but that's not the right question. For a release pitched to Spotify's editorial team, the pitch must be submitted at least a week before the release date; pre-save and promotion planning also take time. That's why the release date is planned backwards, and a scheduled release is recommended over a rushed one.
Global distribution to 150+ digital music platforms, including Spotify, Apple Music, YouTube Music, Amazon Music, Deezer, Tidal and more.
Platform-by-platform revenue reports are reviewed regularly. Mismatched works, under-reported platforms and separately flowing revenue streams such as YouTube Content ID are checked as well. The goal isn't just to pass on the report, but to find the revenue that doesn't show up in it.
No. Because I handle distribution one by one, tailored to each artist, I work with a limited number of projects at a time. The process starts with a free initial call, where we decide together whether it's a good fit for both of us.
The fee depends on whether you choose direct distribution or consulting, the size of your catalog and the scope of service. The process starts with a free initial call to work out the right model together.
To dig deeper: what is digital music distribution, how to choose a music distribution company and how to upload a song to Spotify. If you'd like to talk through your whole strategy, take a look at the music consulting page as well.
Let's find the distribution model that suits you best in a free initial call.