Horus Music Alternative for Labels and Platforms

Short answer: Horus Music sells a yearly distribution subscription, £20 a year for an independent artist with unlimited releases, and their homepage says “Keep 100% of your royalties. We don’t take a cut.” LabelGrid sells the infrastructure a label, a roster or a platform runs on: royalty accounting with per-artist statements, a documented REST API on the API tiers, DDEX in both directions, and a workspace of its own for each of your end customers. An artist releasing their own record pays less and keeps more on theirs. Every Horus Music value in the table below is taken from one of their own published pages.

How does the price scale as you sign more artists?

Their pricing FAQ puts the label subscription on one meter: “For record labels, the yearly subscription cost is dependent on the number of artists they have signed. Starting at £30 per year for x2 artists.” That figure is theirs for two signed artists, and their 18 distinct captured pages, read 23 September 2026, state no price at any higher artist count. LabelGrid publishes every distribution plan and API tier price, including the Custom Distribution and Custom API starting prices, beside the meter each plan runs on, so a buyer can budget their own growth off a public page before talking to anyone.

3

Products on one backend

4

DDEX ERN versions

100%

Yours on your own DSP deals, on Custom Distribution and the API tiers

7

Free-trial days on self-serve distribution plans

SOURCED ROW BY ROW

What each company publishes

Each Horus Music value below comes from one of their own published pages, linked beneath the table with the date we read them. Where their pages do not state a dimension, or state it two ways, the row says so rather than picking one. Their figures stay in pounds as they publish them; ours are in US dollars.

Feature LabelGrid Horus Music
What it costs A flat yearly plan fee, published in US dollars for every distribution plan and API tier. Self-serve plans are metered by a track limit and a label limit; Pro and Custom Distribution add a per-track charge above their track limit ($0.15 and $0.25 per track a year), and the three standard API tiers add a monthly royalty-processing cap measured in US dollars of royalties processed per month ($35,000 Starter API, $115,000 Growth API, $350,000 Scale API) with no overage fee — sustained excess is a tier-upgrade conversation £20 / year (artist)
What the customer keeps You keep 85% of standard-DSP royalties on Solo and Basic and 90% on Pro; on Custom Distribution and every API tier you keep 95% of standard-DSP royalties earned through LabelGrid's deals and 100% of what you earn on your own direct DSP deals or through SOBO, which is available on Custom Distribution and the API tiers only. Content ID and UGC revenue carries a 20% fee on revenue earned through LabelGrid's deals, with 80% to the artist Their published claim: keep 100% of royalties on the subscription plans
How the price scales The meter is a track limit and a label limit, published per plan: Solo 1 label, Basic 3, Pro 5, Custom Distribution 50. On the API tiers the same number counts END-CUSTOMER PORTALS instead — 5 on Starter API, 25 on Growth API, 100 on Scale API, unlimited on Custom API — and each standard API tier can add ONE fixed pack of extra label portals through support (5 on Starter, 10 on Growth, 25 on Scale). Solo, Basic and Pro move up a tier when they reach their label limit; past one pack the answer is the next tier £30 / year (label, 2 artists)
Account structure Every label inside an account carries its own profile and defaults — name, logo, email, website, default primary and secondary genres, P-line and C-line, publishers and copyright owners, and which outlets and monetization services are enabled subject to the plan — and the royalty statement export breaks earnings out by label. Automated royalty splits and per-artist statements run from Basic up and on every API tier, with LabelGrid issuing the statement and paying the collaborator from the platform; Solo carries neither. On Imprint and the API tiers each end customer is a full workspace with identical capability, composed by the reseller rather than a profile inherited under a parent Artist sub-profiles, automatic label/artist splits, role-based team permissions
API, DDEX and integrations A public API whose documentation is readable without a sales call, with the sandbox opening once a paid API plan is active; DDEX ERN delivery to stores as part of distribution on every distribution plan, and DDEX ERN import — a one-time catalogue import or a continuous feed over SFTP or S3 — on the API plans and on Custom Distribution, after support enables it and technical onboarding; ERN 3.8.2, 4.3.0, 4.3.1 and 4.3.2 supported in both directions; and an official open-source MCP server (MIT, npm @labelgrid/mcp, listed on the public MCP registry) that connects Claude Desktop, Claude Code, Cursor or any MCP client Their 18 distinct captured pages, read 23 September 2026, describe a client portal; no API or DDEX material appears in them
White-label platform Imprint, the LabelGrid white-label portal: the customer's own brand on their own domain, every end customer in its own full workspace, and self-serve signup available to the reseller's own artists on the reseller's domain. Imprint pricing is scoped at onboarding rather than published White-label distribution and video platform, set up in as little as 72 hours
Royalty advances Not offered — LabelGrid does not make advances against streaming royalties Royalty advances, up to 8x annual streaming income, masters retained
Audio formats and advanced audio A finished WAV or AIFF master and artwork to spec, the same as the category — plus Dolby Atmos spatial-audio mixes and high-resolution masters (Lossless, FLAC, WAV) delivered on every standard plan and every API tier at no extra charge and with no per-track add-on fee. Atmos needs an ADM BWF file (24-bit LPCM, 48 kHz, Dolby Atmos Master ADM profile) with its own ISRC alongside the stereo master, and is supported on Apple Music, Amazon Music and TIDAL WAV only, no MP3; artwork 3000×3000 at 300dpi

Each of the 8 Horus Music values above is sourced from their own published pages, read 2026-09-23: www.horusmusic.global/, www.horusmusic.global/apply-for-an-advance/, www.horusmusic.global/faq/how-much-does-it-cost/, www.horusmusic.global/faqs/, www.horusmusic.global/music-distribution/, www.horusmusic.global/white-label-music-distribution/. Dimensions we could not source from one of their primary pages are omitted rather than guessed.

HOW THE FEE BEHAVES

A flat fee that never becomes a percentage

On Custom Distribution and every API tier the platform fee is a flat yearly amount in US dollars. It steps up with volume, and it never turns into a share of what the catalogue earns. On those plans a customer keeps 95% of standard-DSP royalties earned through LabelGrid’s own deals and 100% of what they earn on their own direct DSP deals or through SOBO, which runs on Custom Distribution and the API tiers rather than on the self-serve plans.

Two more things on the same pricing page can be checked before you speak to anyone. Dolby Atmos spatial-audio mixes and high-resolution masters go out on every standard plan and every API tier at no extra charge, with no per-track add-on fee, while their 18 distinct captured pages, read 23 September 2026, do not mention Dolby Atmos, spatial audio or high-resolution delivery. ISRC and UPC codes are included at no extra cost, assigned automatically, and yours to keep if you ever move; their plans include codes too, so that one is a fact about us rather than a win over them.

Where the mechanism stops mattering is the bottom of the ladder. On our three self-serve plans a customer keeps 85% on Solo and Basic and 90% on Pro, which is below their published 100%, at a higher yearly fee than their £20.

What a buyer can check

Flat, not a share

On Custom Distribution and the API tiers the fee is a yearly amount in US dollars, never a cut of royalties.

Your own direct deals

A customer keeps 100% of what they earn on their own direct deals or through SOBO, on Custom Distribution and the API tiers.

Atmos and hi-res

Spatial-audio mixes and high-resolution masters go out on every standard plan and every API tier at no extra charge.

Codes you keep

ISRC and UPC codes are assigned automatically at no extra cost and stay yours if you move distributor.

ONE PUBLIC API

Your catalogue on your own site

The LabelGrid WordPress plugin pulls releases and artists, plus your download gates, onto your own site every six hours, on any account and without an API plan, so a discography can go up today. The @labelgrid/mcp server is MIT licensed and listed on the public MCP registry, and the @labelgrid/cli companion wraps the same public endpoints; both want what any API client wants, which is an active API plan, a token and Node 20+.

INSIDE A DISTRIBUTION PLAN

What a label gets on one account

Distribution plans here are billed yearly in US dollars and sized by two meters: how many tracks the catalogue holds, and how many labels you keep apart. The label limit is 1 on Solo, 3 on Basic, 5 on Pro and 50 on Custom Distribution. Each label carries its own profile, which covers name and logo, default primary and secondary genres, P-line and C-line, publishers and copyright owners, and which outlets are enabled for it subject to the plan. The royalty statement export breaks earnings out by label.

Automated royalty splits and per-artist statements run from Basic up and on every API tier; Solo carries neither. Where they run, LabelGrid issues the statement and pays the collaborator from the platform rather than leaving you to make each transfer by hand. Also inside the plan: Dolby Atmos and high-resolution delivery at no extra charge, and YouTube Content ID registration on every distribution plan, where the artist keeps 80% of the revenue earned through LabelGrid’s deals and a 20% fee applies.

Release review is parity rather than an asymmetry, and it belongs in the open. Their distribution page recommends lead time “just in case our submissions review team spot any issues with your release”; on a LabelGrid distribution plan a person checks quality, metadata plus rights before delivery, at no extra cost, unless the account distributes only through its own direct deals. Self-serve plans open with a seven-day free trial, which reaches no API and no sandbox.

Sized by two meters

Labels you keep apart

One on Solo, three on Basic, five on Pro and fifty on Custom Distribution, each with its own profile and defaults.

Splits and statements

Automated splits and per-artist statements run from Basic up and on every API tier; Solo carries neither.

Content ID revenue

Registration is available on every distribution plan, and the artist keeps 80% of the Content ID and UGC revenue LabelGrid’s own deals earn.

Self-serve trial

Self-serve plans open with a seven-day free trial, which gives no API or sandbox access.

TWO ACCOUNT SHAPES

Sub-profiles, or a portal each

Both companies sell a white-label platform, and both let one account release for several artists. What differs is whether those artists sit inside your account or hold accounts of their own.

Their white-label platform

Their white-label page offers a partner a branded music and video distribution platform, “within as little as 72 hours” by their own reckoning, with your logos, branded automatic emails, your own distribution contracts and help content, a masked system URL and a masked email address. Their distribution team “can handle the quality control process” for the partner, who receives “100% of all fees from selling customised products, subscriptions and extras”, meaning the fees that partner charges its own clients. Their label accounts carry artist sub-profiles, automatic label-to-artist splits, role-based team permissions and artist logins.

Imprint and the API tiers

Imprint is the LabelGrid white-label portal: your brand on your own domain, with every end customer in a workspace of its own rather than a profile under a parent. Each workspace has its own logins, catalogue and statements, and your artists can sign themselves up on your domain. On the API tiers those workspaces are the meter, counted as end-customer portals: 5 on Starter API, 25 on Growth API, 100 on Scale API and unlimited on Custom API, which is a different count from the label limit on a self-serve plan. Our shape costs you some simplicity, since a roster of separate workspaces is more to compose than a tier of sub-profiles.

When the ladder runs out

Each standard API tier can add one pack of extra label portals through support, fixed at 5 on Starter API, 10 on Growth API and 25 on Scale API. There is no second pack and no per-slot price; past one pack the answer is the next tier. Beyond the published rungs the deal goes custom, which is where caps, platform fees and bespoke packaging get negotiated. Bulk label pricing for an operation running thousands of single-label artists is a real example of that conversation. The numbers in a signed custom deal are confidential; the route itself is public.

Neither company publishes a white-label price. Imprint is scoped at onboarding, and their 18 distinct captured pages, read 23 September 2026, carry no figure for their white-label product either. LabelGrid does publish every distribution plan and API tier price, on the pricing page.

READ IT BEFORE YOU BUY

Docs first, then the plan

Infrastructure gets chosen for years rather than for a month, so the useful question is how much of it you can read before you sign. The Engine documentation is public and needs no sales call. Every API tier is priced on the pricing page, including the Custom API starting price. The sandbox is a separate claim from the docs: it is enabled once a paid API plan is active, not before purchase, and the seven-day self-serve trial does not reach it.

Delivery to stores uses the DDEX ERN message suite as part of distribution, on every distribution plan. In the other direction, DDEX ERN import, whether a one-time catalogue load or a continuous feed over SFTP or S3, runs on the API plans and on Custom Distribution, needs support to turn it on plus technical onboarding, and carries a one-time setup fee wherever it is enabled. We support ERN 3.8.2, 4.3.0, 4.3.1 and 4.3.2 in both directions, which is a support statement rather than a membership.

Own the meters plainly. A standard API tier carries a track limit, an end-customer portal limit and a cap on royalties processed each month, set at $35,000 of royalties a month on Starter API, $115,000 on Growth API and $350,000 on Scale API; sustained excess starts a tier-upgrade conversation rather than an overage charge. Their 18 distinct captured pages, read 23 September 2026, do not mention an API, DDEX, ERN, a sandbox, webhooks, rate limits or an MCP server; what they describe is an upload dashboard and a client portal called My Client Zone. If a developer route is part of what you need, put that question to them rather than to us.

What you can check today

Public docs

The Engine API documentation is readable without a login and without a sales call.

Sandbox, once active

A sandbox is enabled when a paid API plan goes live, rather than during the trial or before purchase.

DDEX both directions

ERN 3.8.2, 4.3.0, 4.3.1 and 4.3.2 for delivery, with import on the API plans and on Custom Distribution.

Open-source tooling

The MCP server is MIT licensed on npm and listed on the public MCP registry, with a CLI beside it.

WHERE THEY WIN

Three reasons to choose Horus Music

Three places where Horus Music is the better answer, each from their own pages. Two are about money and the third is a product LabelGrid does not sell.

Twenty pounds, and their published 100%

Their pricing FAQ is short about it: “For independent artists, music distribution services cost only £20 per year.” Their distribution page says that buys “unlimited singles, EPs and albums worldwide” with “Free UPCs and ISRCs included with every unlimited release”, and their homepage states the retention plainly: “Keep 100% of your royalties. We don’t take a cut.” On our self-serve plans a customer keeps 85% on Solo and Basic and 90% on Pro, at a higher yearly fee. At the entry price an artist releasing their own record pays less and keeps more with them, and that artist is not the buyer LabelGrid is built for.

Advances against streaming income

Their advances page offers “advances to further their careers off-set against streaming royalties only” and invites an artist to “Apply today and receive up to x8 your annual streaming income”, adding that “you will retain 100% ownership of your masters”. Their eligibility bar is published beside it: an artist “distributing with Horus Music” with “a minimum of 10,000 organic monthly listeners across streaming platforms”. LabelGrid does not offer advances on any plan, and there is no counterweight to put here.

A fortnight to change your mind

Their payment terms give an individual artist a statutory right to cancel: “Individual artists have the right to cancel any contract for services within 14 days without giving a reason”. Two limits are theirs as well, from the same document: refunds “are not available to labels”, and “If choosing to cancel outside of the 14 day or within the 14 day period but our services have been engaged we cannot refund the Subscription Fee.” A LabelGrid customer has no published refund window, and fees already paid for the term are not refunded on standard plans.

We keep this section in every comparison we publish; a comparison you cannot trust is worth nothing.

WHICH ONE SUITS YOU

Choose Horus Music if, choose LabelGrid if

Choose Horus Music if you are an independent artist putting out your own records and want the simplest purchase on the table: £20 a year with unlimited releases, and their published 100% on the subscription plans.

Choose them if you want an advance against streaming income, or if a one-off release suits you better than a subscription: their pay-per-release mode is £25 for a single, £35 for an EP and £45 for an album, set up by their support team on an existing account.

It tips the other way once the releases stop being yours. Paying four collaborators by hand every month is a job, and so is answering “what did my artist earn in Brazil last quarter” out of one shared account.

Choose LabelGrid if

You release for others

Each end customer gets a workspace of its own, with separate logins, catalogue, analytics and statements.

You need to integrate

Public API docs, published tier prices, and DDEX ERN import on the API plans and on Custom Distribution.

You pay collaborators

Automated splits and per-artist statements run from Basic up and on every API tier, paid from the platform.

You want a flat fee

On Custom Distribution and the API tiers the fee is a yearly amount that never becomes a share of royalties.

SEVEN QUESTIONS

What to ask any distribution platform

Put them to us as readily as to anyone else.

01Ask what the plan is metered by, whether that is signed artists, labels, tracks or royalties processed, and what happens at the moment you cross the meter rather than a year later.

02Ask whether you can read the full price of the plan you will actually be on, including the top tier, without booking a call or filling in a qualification form first.

03Ask whether a person checks quality, metadata plus rights before a release goes out, whether that check costs extra, and whether any account is exempt from it.

04Ask who keeps the ISRCs and UPCs if you leave, and whether you can withdraw a release yourself from the dashboard or have to open a support ticket for it.

05Ask which DDEX ERN versions they support in each direction, whether catalogue import runs on the plan you are buying, and what the one-time setup costs.

06Ask whether there is a sandbox, when it opens relative to signing and paying, and what the documentation shows you before either of those happens.

07Ask whether the AI tooling and client libraries are open source and installable today or described on a page, and where the licence can be read.

Frequently asked questions

Their terms of use name the company: “The full name of our company is Horus Music Limited. We are registered in England and Wales under registration number 05914312”, with a registered address in Leicester. The footer across their captured documents reads “A Nick Dunn Enterprises Limited Company.”, which is their own statement of ownership and the only one this page uses. Their about page says the company was “Established in 2006” and that “Our headquarters is located in the UK, with staff and offices operating globally.” Their privacy policy names two separate companies, Horus Music Limited and Horus Music Publishing, both incorporated in England and Wales, so a publishing subscription and a distribution subscription are bought from different entities. The LabelGrid contracting entity is LABEL GRID, LLC, formed in 2017 and based in Denver, Colorado, independently owned with no major-label and no DSP parent. Where a company is registered is not a reason to pick either one; it is here because people ask.

Their pricing FAQ gives two figures: “For independent artists, music distribution services cost only £20 per year”, and “For record labels, the yearly subscription cost is dependent on the number of artists they have signed. Starting at £30 per year for x2 artists.” Their homepage states the retention on those subscription plans as “Keep 100% of your royalties. We don’t take a cut.” They also run a pay-per-release mode, £25 for a single, £35 for an EP and £45 for an album, which their support team applies to an existing artist or label account on request. LabelGrid is not cheaper at the entry. Our plans are published in US dollars on the pricing page, and a customer keeps 85% on Solo, 85% on Basic and 90% on Pro; on Custom Distribution and every API tier a customer keeps 95% of standard-DSP royalties earned through LabelGrid’s deals and 100% of what they earn on their own direct deals or through SOBO. The two products are priced for different buyers, and the comparison worth making is the whole cost of running your business on each.

For the subscription plans, yes. Their pricing page renders “Unlimited Distribution” twice, at “£ 20 Year” and “£ 30 Year”, and the third card, “Artist & Label Services”, shows “£ — Year”. Which figure belongs to which plan comes from their pricing FAQ and their distribution page rather than from the cards, which share one heading. Their distribution page describes what the fee buys: “Distribute unlimited singles, EPs and albums worldwide” with “Free UPCs and ISRCs included with every unlimited release.” Their homepage also carries a plan for independent artists in India, where “With Unlimited Distribution PRO, pay £40 a year”; that figure belongs to the India section and is not a general tier. LabelGrid publishes every distribution plan and API tier price, including the Custom Distribution and Custom API starting prices, and publishes the meter each plan runs on beside it.

It is a different product from the £20 subscription, on a company their FAQ describes as “a global music distribution, publishing and label services company.” Their Artist & Label Services page prices it as a share rather than a fee: “80/20 split on streaming revenue generated (retain 100% ownership)”, under a step headed “Keep 80% of Your Streaming Royalties”. It is gated, in their words: “Our Artist & Label Services model is invite-only, so as well as listening to the music, we are also looking at the artist’s brand identity, current fanbase and their short term vs long term goals”. What they list inside it includes a “Direct account manager to provide dedicated support and release strategy advice.”, unlimited releases at no additional cost, “Global editorial playlist pitching campaigns for new audio releases.” and free UPCs, ISRCs, pre-saves, smartlinks and pre-orders. Both companies gate the upper product: LabelGrid API and third-party distribution access starts with onboarding screening plus KYC and KYB, and a dedicated account manager comes with Scale API and Custom API. A 20% share is five points above the 15% a LabelGrid Solo or Basic customer pays, and it is priced against a different product, so this is a difference of product rather than of appetite.

Horus Music Publishing is a separate company from Horus Music Limited, with subscriptions of its own. Their publishing page starts at “From just £3/month (or £33/year) create a songwriter profile”, heads a band tier “Music Publishing for Bands from £5.50/month” with two songwriter profiles included and “additional songwriter profiles for only £2.50/month each”, and heads a sync tier “Song Publishing and Sync Licensing from £5/month”. On those plans a songwriter receives “90% of performance and mechanical publishing royalties, and retain 100% ownership across all account models”, and on a successful Publishing+ sync a songwriter receives “75% of the total flat fee”. They also list registration with collection societies in “110 countries worldwide”, a figure the same page states a second way as “100+”, and an invitation-only representation service called Horus Music Publishing Signature. LabelGrid is a distribution platform, and its royalty accounting covers recording royalties. A publishing price is never added to a distribution price to build a total; the two are bought from different companies for different rights.

Their pricing FAQ says so directly: “We also offer additional add-on services (i.e. marketing, mastering, sync licensing, video distribution) which can be purchased separately.” Their pricing page lists Editorial Playlist Pitching, UK Radio Plugging, Global Radio Promotion, Digital Ads, Digital PR and Bespoke India Marketing, and their own gate on the marketing side is that “our marketing team choose to work with artists on a case-by-case basis through a submission and review process.” Video distribution is bought per video: their video page prices “VEVO+ £20*”, “STARTER £75*” and “Apple+ £100*”, and offers “professional video distribution from just £20 per video.” Their pricing page adds that “For artists and labels based in India or African territories, we offer additional territory-specific services”, naming Horus Music India and Horus Music Africa. On the LabelGrid side the documented part is the promotional tooling inside the platform: a hosted landing page and smart link for every release, each with an lbl.gr short URL, a Spotify pre-save button before release day, optional fan email capture, landing analytics, direct posting of a release to Bandcamp and SoundCloud and YouTube and Instagram, and the same landing pages on your own domain through the WordPress plugin.

Horus Music does; LabelGrid does not. Their advances page describes “advances to further their careers off-set against streaming royalties only” and invites an artist to “Apply today and receive up to x8 your annual streaming income”, adding that “you will retain 100% ownership of your masters and can customise your deal to suit your needs in terms of the releases included, recoup term-length and monthly income levels.” The eligibility bar is published on the same page: an artist has to be “distributing with Horus Music” and to have “a minimum of 10,000 organic monthly listeners across streaming platforms”. The multiple is their figure rather than a valuation of anything. LabelGrid offers no advances on any plan, which is a real reason to choose Horus Music if funding is what you are after.

Their payment terms give an individual artist a statutory cancellation right: “Individual artists have the right to cancel any contract for services within 14 days without giving a reason (‘Cancellation Period’)”, running from the day the subscription fee is paid and the first recording is uploaded. Two limits travel with it, both theirs: refunds “are not available to labels”, and “If choosing to cancel outside of the 14 day or within the 14 day period but our services have been engaged we cannot refund the Subscription Fee.” Their billing runs on two subscription types, monthly and yearly: “If you choose a monthly subscription package, we will bill you each calendar month until you cancel your subscription. If you choose a yearly package, we will bill you yearly on the date of signing up”. On the LabelGrid side there is no published refund window, and fees already paid for the term are not refunded on standard plans. Self-serve plans open with a seven-day free trial instead, which is where the evaluating is meant to happen.

Their payout FAQ says they pay “through Convera or PayPal”, and their payment terms add that “Horus Music Limited does not hold any card banking details; these are only located on either Convera (formerly Western Union) or PayPal’s platform.” They publish a threshold: “If you’re not in the UK, there is a £10.00 (GBP) minimum threshold (due to bank conversion fees etc). For UK based clients there are no minimum payouts.” On timing, they “account to and pay all eligible clients within 60 days period on a monthly basis post receiving the royalties and corresponding sales reports from the digital platforms”, with the rollout “usually completed and payment sent to clients between the 10th – 20th of the month”. That page also notes that many stores take up to three months to account to them, which is true of every distributor including LabelGrid. LabelGrid charges no fee of its own to issue a payout, so there is no payout charge, no processing charge, no withdrawal charge and no per-transfer charge on any plan, with the plan’s distribution share and your own bank-side conversion costs the only deductions. Our terms reserve the right to a minimum payout threshold, which is shown in the dashboard rather than published.

Their 18 distinct captured pages, read 23 September 2026, do not contain the words API, DDEX, ERN, sandbox, webhook, rate limit or MCP. What those pages describe is an upload dashboard and a client portal: “Our in-house My Client Zone technology allows artists to track their royalties with intelligible reports, graphs and data.”, plus a pay-per-release mode their support team applies on request. That is an observation about what their published material covers rather than a statement about what they can build, and no developer documentation, help centre, blog or regional page was requested in that capture. Two things belong in the same breath. The only legal document in the capture is a website terms of use, which governs “your use of our website MyClientZone”, so nothing here speaks to their distribution agreement; and neither company publishes a white-label price, since Imprint is scoped at onboarding and their white-label page carries no figure. On audio, their FAQ asks for a WAV rather than an MP3 and for artwork “with a minimum size of 3000 x 3000 pixels (square) at 300 dpi”, which is the category standard. LabelGrid asks for the same finished master, and also delivers Dolby Atmos mixes and high-resolution masters on every standard plan and every API tier at no extra charge.

See the price before you talk to us

Every distribution plan and API tier is priced on the pricing page, the Engine documentation is public, and Imprint is quoted at onboarding. Each Horus Music value in the table above comes from one of the pages linked beneath it, read 23 September 2026. If any of it is wrong, tell us and we will fix it.