Prepare the master
Export the final mix as an uncompressed WAV file — the standard is 24-bit / 48kHz. Listen to the file all the way through, from beginning to end, on headphones and on a phone speaker. Check the start and the end for clicks, and don't leave extra silence at either end.
Cover art that passes review
Your cover art travels with the release to every store. The spec is 3000×3000 pixels, RGB. Keep text minimal and readable at thumbnail size, and avoid platform logos, account handles, prices and links — stores reject cover art that carries them.
Metadata and codes
Metadata is how the world finds you: an artist name spelled the same way on every release, the real title with no decoration, and the correct language and genre tags. The codes — ISRC for the recording and UPC for the release — are assigned during preparation; you don't need to buy them anywhere.
Choose the release date
Give yourself room. A date several weeks out leaves space for review, delivery and pitching before day one. Line the date up with anything you control — a video, a show, a run of posts — so the release lands with support behind it rather than alone.
Request your invite
Mazufa works by invitation only. Completed applications enter a human review queue as capacity allows. Submitting does not create an account; those accepted may receive a dedicated preparation invite.
After acceptance
After preparation, your release is packaged to spec and delivered to every platform, and its data is pitched to the appropriate editorial and algorithmic surfaces. From there, watch your dashboard: streams, saves and playlist adds, per platform and per country.
The fingerprint code every recording carries — it tracks streams and earnings worldwide.
Your release barcode — one per single, EP or album.
Digital service provider: a streaming or download service such as Spotify, Apple Music or Anghami.
Why this happens
Distribution companies are bought, sold and merged like other businesses. When that happens, your releases may end up being managed by a company you did not originally sign with. What matters is knowing what actually changes and what stays in your hands.
What passes to the buyer
A distributor does not own your recordings or compositions unless your contract says so. What it holds is the distribution licence you granted under your agreement. In a sale, it is usually that agreement that passes to the buyer, on the terms already agreed, subject to what your contract says about assignment.
What may change in practice
- Who pays you: payments may come from a different company or account.
- Your dashboard: the platform you use may change or be merged into the buyer's.
- Policies: future fees, cancellation terms or payout schedules may change, as your agreement allows.
- Support: the team you deal with may change.
- Delivery: during a migration, updates to releases may be delayed.
What does not change
- Ownership of your recordings and compositions stays with you, unless you signed it away.
- Your existing agreement continues to apply unless it is changed in the way it allows.
- Earnings already due to you remain due.
What to do when you find out
- Read your agreement for assignment, change-of-control and termination clauses.
- Ask for written confirmation of what changes and from when.
- Keep your statements from before and after the change so you can compare them.
- Check your releases on the main services and confirm the details are correct.
- Get advice from a music lawyer if payments stop or the agreed terms are not honoured.
For the future
- Prefer agreements that require notice before they are assigned, or let you terminate if they are.
- Keep your original audio files and your ISRC and UPC codes somewhere you control.
How this works at Mazufa
Mazufa charges no upload fee, no subscription and no per-release fee, so there is no renewal to keep up. The revenue share and payment terms are set out in your written agreement, which you can read before you sign, and you keep ownership of your recordings. See how pricing works.