Anyone using SoundCloud Repost as their digital distribution?

Anyone using SoundCloud Repost as their digital distribution?

If yes, how has it worked out for you? What have been the pros and cons?

If you haven’t and have no experience or opinion, you don’t need to let me know. :wink:

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@Produk I know just put a piece through the repost network. I was looking at it, but unless you have Pro already for other reasons I don’t know how meaningful it would be standalone.

Their documentation on it was a little lacking, or maybe I’m just dense lol. Seems like you can submit tracks to Repost for review, but you also have the option to get tracks into stores (separately?)

@HYDRANS / Drajie also is familiar with it.

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I was intrigued by the promotional parts of the offering, incl. the connections they have with radio stations, etc…, so perhaps more for the promotional parts, than the distribution.

Although it’s not clear whether that’s only for established artists.
Well, let’s just say I’m ‘pre breakthrough’. :wink:

In terms of the distribution part…

I’ve got a couple of SC Pro accounts (and a bunch of free or lapsed Pro accounts), but presumably SC distribution would need each SC artist account to be Pro, in order to be distributed under that artist/account name.

I’ve got a Distrokid ‘Musician Plus’ account, which allows for two artists (both slots used), but I’ll need at least three more, so may upgrade to the 5-artist ‘Label 5’ account.

Although… I haven’t released anything formally for a while, so I need to look around again.
Not sure Distrokid makes sense for me given my musical split-personality. I can easily see myself needing more than five.

Yeah that’s a good question, I wonder what a label would do. Waters are so murky especially when it comes to monetization, to me at least. I would imagine SC would LOVE for you to just use all standalone Pro accounts to use Repost :rofl:

Does Distrokid go higher than five? I imagine the costs start to get kind of unwieldy though…

  • Musician: 1 band/artist, $19.99/year
  • Musician Plus: 2 bands/artists, $35.99/year (save 10%)
  • Label 5: 5 bands/artists, $79.99/year (save 20%)
  • Label 10: 10 bands/artists, $139.99/year (save 30%)
  • Label 20: 20 bands/artists, $239.99/year (save 40%)
  • Label 50: 50 bands/artists, $599.99/year (save 40%)
  • Label 100: 100 bands/artists, $1199.99/year (save 40%)

Distrokid: How much does it cost

Tbh, I’m not really sure about the value-add for using Distrokid, given my low-end needs. The interface has always been disappointingly basic, given they’re positioned as a top-tier option.
I had to look at my billing invoices just to work out which account type I was on, from how much I’d been billed each year.
It’s not listed clearly anywhere in my account information.

So, I’m unlikely to put out anything else via them. I may even move what I have with them to another option, maybe Level, Ditto or Amuse, plus there’s a few more now, including Stem which I need to check out.

ye i use it
it’s nice that it comes with the pro account. tho ive definately found it a bit confusing to work with at times. Like especially trying to set up a release/distribution they have a lot of specifics they want u to do, but no real example or good documentation to follow. Also the only way u can monetize ur tracks is if they are approved (and already) distributed which i found kinda a weird condition, but it’s whatever and honestly was helpful in me getting a spotify account up and running XD. It also only allows you to add one track art background per 24 hours. didn’t know that until i was trying to add art to some of my tracks. And at least for me, the youtube content ID thing doesn’t seem to actually tag anything even though i literally have uploaded my tracks to youtube lol

But positives tho is that once you do figure out what you have to do for stuff, it does work well and it’s nice to be able to have all the distribution and monetization stuff in one place. Also, tho it doesn’t apply to me, but you can have split pay if ur managing collabs or groups of people on individual tracks which is pretty cool.



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Ho ho. Pros? Cons? …and compared to what you were previously using?

Cool. Thanks for that, @El1011 . :+1:

Good write up - I don’t have it but felt even their documentation around it was confusing. I’m more using BandCamp in recent times (BC main spot, SC a “resumé” of sorts). But I’m not looking to grow a gigantic audience or have a following or even make money on this stuff, I just enjoy doing it. So everyone’s mileage may vary :slight_smile:

It does sound appealing though to have everything under a single pane of glass (upload, distribution, monetization)

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I’ve been a user of RepostNetwork coming on a couple years now (before they were aquired by SoundCloud) so perhaps I can offer some insight for you here.

Having compared it to a few of the other well known names in distribution (RouteNote, DistroKid, Level, there are a few things that stand out to me that make this the best choice especially if you are actively looking to grow your audience on SoundCloud:

  • Integration: RepostNetwork’s ever increasing integration with the SoundCloud platform is one of the biggest draws for me as having one central place to keep track of monetization as well as distribution is something that I have not seen as well emulated in other services (which of course is likely due to SoundCloud’s acquisition of RepostNetwork). RepostNetwork also provides you access to formerly premier-only features on your SoundCloud account like track art and featured profiles as well as banner click-through.

  • Distribution: There are a few dozen stores that Repost gives you access to distribute to besides Spotify and Apple Music. Are these overkill a lot of the time? Yeah. But for those who want to get their music out to as many places as possible and even reach audiences in other countries this is a feature I have yet to see reach other services to this degree. There really aren’t many cons to speak of here as the main one I would have said a few months ago (Repost’s $100 minimum to withdrawl) was removed as a result of COVID-19.

  • Support for Artists and Labels: This has probably been the most important thing for me as I’ve sort of got my foot in both camps from both the artist and label perspective. Repost does not make you pay to distribute under a new artist name, and it is this feature alone that sets Repost above a service like DistroKid for me. I find this to be especially useful for casual artists who may have a second alias they produce under but don’t want to double their up front costs just to make a quarter of it back in revenue over the following year. It’s also possible to connect multiple SoundCloud channels, provided that each new SoundCloud channel meets their minimum size requirements (I believe it’s 7,000+ plays per track with a certain engagement threshold that they specify more in detail on their website). Features like split-pay for automation of an artist-label revenue split and YouTube Content ID are a draw for those who work on behalf of labels.

  • Customer Support: I’ve been thoroughly impressed with Repost’s consistently quick to respond and personable customer support team, although it’s understandably taken a bit of a hit time-wise since the COVID-19 pandemic. I think a strong customer support team is what forms the foundation of any stable company and it gives me confidence to see Repost as no exception to this rule.

Hopefully this gives you some clarification on whether this is a path for you. :slight_smile:


You rock, thank you ! Good write up





Fantastic write-up! Thanks for taking the time to share that.

The ‘Support for Artists and Labels’ is particularly useful/enlightening. Thanks again

Seems how promoters and labels operate these days. You have to build up your own audience to some extent before they’ll touch you. So, pretty much need to establish yourself, before a layer of additional support services is available.
Canny on their part, for sure, but a tough chicken n egg scenario. Tough getting to that tipping point.

It’s where the industry seems to be moving, including labels. The day of working with undeveloped talent, nurturing and developing them as commercial artists are seemingly gone. They’re seemingly just promoters now. You’re expected to be the finished artefact already.

While you’re getting yourself established, making the music really is only half the job — unless you’re willing to lay down some decent chunks of cash speculating on 3rd-party promoters.

…at least, for those who would like this to develop into a self-sustaining side-hustle or maybe more.