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 — Spotify, Apple Music, Anghami and every store on earth.
Why does this happen in the first place?
The digital distribution industry is in a constant state of acquisition; large companies buy smaller platforms, and emerging platforms merge or are sold. When that happens, many artists suddenly discover that their tracks are now managed by an entity they never signed any contract with. What matters is understanding what actually changes, and what stays in your hands.
What actually gets sold?
A fundamental point: the distributor does not own the intellectual property rights in your songs. What it owns is the distribution rights limited rights you granted it under the contract. When the company is sold, what passes to the buyer is that contract specifically, meaning the right to distribute your songs on the terms agreed in advance, not ownership of the songs themselves.
What changes for you in practice?
- The paying entity: Revenue may come from a different account or legal entity.
- The management interface: The dashboard or app you use may change or be merged into the buyer's platform.
- Service policies: There may be changes to subscription fees, cancellation terms or earnings payment mechanisms.
- Customer support: The team you used to deal with may change.
- Availability of the tracks: During the transition, some tracks may disappear temporarily from the platforms or their updates may be delayed.
What does not change?
- Your full ownership of the composition and recording rights stays with you.
- The terms of the original contract remain in force for the new buyer unless the contract is amended by explicit agreement.
- Your right to claim your accrued revenue is not extinguished by the sale.
What do you do as soon as you find out?
- Read your original contract: Look for an "assignment of contract" or "mergers and acquisitions" clause. Some contracts require advance notice to you or give you the right to terminate.
- Ask for formal notice: Send an email to the new company asking for written confirmation of the terms of the transition and what has changed.
- Document your current earnings: Keep screenshots of your revenue reports before and after the transition for comparison.
- Check your tracks on the platforms: Open Spotify, Apple Music and others and make sure the tracks are still there and their information is correct.
- Consult a specialist: If your revenue is disappearing or the new company refuses to honour the terms of your contract, this is the time to speak to a lawyer specialising in entertainment law.
Do you have the right to terminate the contract?
That depends on how your contract is worded. Some contracts let you terminate if the "contracting party" changes without your consent, and some allow the company to transfer the contract automatically in the event of a merger. For that reason, reading the termination clauses before signing is a necessity, not an option.
How do you protect yourself in future?
- Choose a distributor that gives you the right to terminate the contract at any time without penalties.
- Avoid contracts that give the distributor the power to transfer the agreement to a third party without notifying you.
- Always keep a copy of your original audio files and track data (ISRC, UPC) somewhere independent.
- Review your distributor's terms of service whenever it announces material changes to its structure.
Summary
A distributor selling distribution contracts is legal in most cases, but it does not mean you have lost your songs or your rights. What actually protects an artist is knowing what they signed, and moving quickly when they sense something has changed. Your songs are always yours, and the contract is nothing more than a temporary distribution permission.