What Are the Common Mistakes Musicians Make When Registering Their Songs Through a Skiza Tunes Aggregator?

 

For an upcoming musician, getting a song onto Skiza Tunes can feel like a major step toward turning music into an income-generating asset.

After spending money on recording, mixing, mastering, artwork and promotion, the next logical step is to make the song available to listeners through platforms where it can potentially generate royalties.

However, many musicians make avoidable mistakes when submitting their music through a Skiza Tunes aggregator or content provider.

Some mistakes may delay the release. Others can create confusion over ownership, royalties or payments. In more serious situations, poor documentation can result in disputes between artists, producers, composers, performers and distributors.

Safaricom states that it works with appointed content providers to aggregate artists' content and make it available on Skiza. Its published Skiza partner bulletin also advises artists who want to avail their content on the service to contact existing providers regarding the aggregation process.

This makes it important for musicians to understand that submitting a song is not merely an upload exercise.

It is also a rights, documentation, distribution and royalty-management process.

Here are some of the most common mistakes upcoming musicians should avoid.

1. Choosing an Aggregator Without Checking the Agreement

One of the biggest mistakes is choosing a content provider simply because someone says:

"This aggregator can put your song on Skiza."

That statement alone is not enough.

Before submitting your music, you should understand exactly what the aggregator is authorised to do and what relationship you are entering into.

Safaricom's published information confirms that appointed content providers are involved in aggregating artists' content for Skiza.

Therefore, musicians should ask the provider for clear information about:

• The distribution arrangement

• Royalties

• Payment procedures

• Reporting

• Contract duration

• Rights granted to the provider

• Termination procedures

• Content removal

• Dispute resolution

• Applicable fees

Never assume that every aggregator operates under identical terms.

2. Signing a Contract Without Reading It

Another serious mistake is signing a distribution agreement without understanding what it actually says.

Some upcoming musicians are so excited about getting their music onto a platform that they concentrate entirely on the opportunity and ignore the legal terms.

That can create problems later.

Before signing, carefully check whether the agreement is:

• Exclusive or non-exclusive

• Limited to Skiza or broader

• Limited to a particular song or your entire catalogue

• For a specific period or indefinite

• Automatically renewable

• Subject to fees or deductions

• Transferable to another company

Most importantly, understand what rights you are giving the aggregator.

A musician should never assume that "distribution" means the aggregator owns the music.

Ownership and licensing are separate issues.

3. Confusing Music Distribution With Copyright Ownership

Getting your song onto Skiza does not mean you have automatically transferred ownership of the underlying music.

Copyright is an important part of the process.

The Kenya Copyright Board explains that copyright protection arises once an original work is expressed in a tangible form, including digital form, while copyright registration is a separate voluntary process.

Kenya's National Rights Registry also provides a system through which rights holders can register and manage records relating to copyright works, including music.

Musicians should therefore understand what they own before entering a distribution agreement.

For example, there may be different rights associated with:

• The composition

• Lyrics

• The sound recording

• Performance

• Production

• Arrangements

If several people contributed to a song, ownership should be clarified before distribution.

4. Assuming the Singer Automatically Owns Everything

Being the vocalist does not necessarily mean that you automatically own every right associated with a recording.

Imagine a song involving:

• A songwriter

• A composer

• A singer

• A producer

• Session musicians

• A record label

• A financier

Each contribution can create different rights and contractual interests.

If those relationships are not documented, problems may arise when the song starts generating money.

An upcoming musician should therefore establish who owns what before submitting the song to an aggregator.

Written agreements are far safer than relying on verbal promises.

5. Submitting a Song With Unclear Ownership

This is one of the most dangerous mistakes.

A musician may submit a song believing it belongs entirely to them when another person has a legitimate claim to part of the work.

For example, perhaps a producer financed the recording.

Maybe another songwriter wrote part of the lyrics.

Maybe the instrumental was licensed rather than purchased outright.

Perhaps a sample was used.

If these issues are ignored, a dispute can arise after the song begins generating attention.

Before distribution, ask:

Do I have the necessary rights and permissions to distribute this recording through Skiza?

If the answer is unclear, resolve the issue before submission.

6. Using a Beat Without Understanding Its Licence

This is particularly common among independent musicians.

An artist downloads a beat online, records vocals over it and assumes they automatically own the finished song.

That may not be the case.

Some beats are sold with specific licences.

Others may be leased.

Some may permit commercial distribution under certain conditions, while others may impose restrictions.

Before using a beat commercially, read the licence.

Keep a copy of:

• The purchase receipt

• The licence

• The producer agreement

• The original communication

• Any relevant permissions

These documents can become important evidence of your rights.

7. Providing Incorrect Artist Information

Metadata may appear boring, but it is extremely important.

When submitting a song, musicians should provide accurate information such as:

• Artist name

• Song title

• Composer information

• Contributors

• Producer information

• Copyright information

• Contact details

• Other requested metadata

A spelling error in the artist name can make a song difficult to find.

For example, if an artist normally performs as "Tabitha Gachanja" but a song is submitted under another variation of the name, listeners may have difficulty finding the complete catalogue.

Consistency matters.

Use the same professional artist identity across your music platforms wherever possible.

8. Using Different Song Titles on Different Platforms

Another common problem is inconsistent song information.

Suppose a song is officially titled:

My God Is Faithful

But one distributor submits it as:

My God is Faithfull

while another uses:

God Is Faithful

These inconsistencies can create confusion.

Artists should establish the official spelling and formatting of their song titles before distribution.

The same principle applies to artist names and contributor information.

9. Assuming Submission Means the Song Is Already Live

Sending a file to an aggregator does not necessarily mean that listeners can immediately find it.

The provider may need to review, process and deliver the content.

Safaricom's published Skiza partner information describes content providers as the entities that aggregate artists' content and make it available on the Skiza service.

Therefore, musicians should confirm the status of their submission.

Ask:

• Has my song been accepted?

• Has it been delivered to Skiza?

• Is it live?

• What is the Skiza code?

• When did it become available?

• Can customers search for it?

• Is the artist information correct?

Do not simply assume everything is working because you received a submission confirmation.

10. Failing to Keep the Skiza Code

Once a song is available, the musician should keep a record of its Skiza code and other relevant identifiers.

The code can make it easier to identify and promote the song.

Keep a simple catalogue containing:

Song	Artist	Skiza Code	Aggregator	Release Date
Song A	Artist Name	Code	Provider	Date
Song B	Artist Name	Code	Provider	Date
Song C	Artist Name	Code	Provider	Date

This may seem simple, but it becomes increasingly valuable as your catalogue grows.

11. Not Asking How Royalties Are Calculated

One of the biggest financial mistakes is failing to ask how the artist's royalty is calculated.

A musician may hear:

"You will earn royalties from Skiza."

But that statement does not answer the important questions.

You need to know:

What percentage do I receive?

What deductions apply?

When are payments made?

What reporting will I receive?

Who receives the money before it reaches me?

What happens if there is a dispute about usage?

Safaricom's published Skiza partner bulletin describes its framework with content providers as revenue-sharing and specifically notes a 70:30 arrangement between Safaricom and content providers.

However, that should not be interpreted as automatically meaning that an individual artist receives a particular percentage of the total subscriber payment. The artist's actual entitlement can depend on the applicable contractual and distribution arrangements.

That is why musicians should obtain their own royalty terms in writing.

12. Believing Old Royalty Figures Without Checking Current Terms

The music industry changes.

Revenue-sharing arrangements can change.

Contracts can change.

Platforms can change their commercial structures.

Therefore, musicians should be careful when reading an old blog post or social-media post stating that artists receive a particular percentage.

Historical Safaricom announcements have referred to different artist revenue-share figures at different times. That demonstrates why an old percentage should not automatically be treated as the current payout for every artist.

The better approach is to ask your current content provider for the applicable terms and documentation.

13. Not Asking How and When Payments Are Made

Getting royalties calculated is only part of the process.

You also need to understand how those royalties reach you.

Ask the aggregator:

• What is the payment threshold?

• How often are payments made?

• Which payment methods are available?

• Are there transaction charges?

• Are taxes or other deductions applicable?

• Will I receive a statement?

• What happens if my account details change?

Never rely entirely on verbal explanations.

Keep written records.

14. Failing to Monitor Royalty Statements

Another mistake is assuming the aggregator will automatically tell you everything.

A serious musician should monitor their catalogue and income.

Safaricom's current Skiza information provides an artist income-tracking mechanism through *622#.

This means musicians should develop a habit of checking performance and comparing it with the information supplied by their content provider.

If something does not make sense, ask questions early.

Do not wait until several years have passed before attempting to reconcile your earnings.

15. Not Keeping Their Own Records

Your aggregator should not be the only place where your music information exists.

Maintain your own records.

Keep copies of:

• Original audio files

• Master recordings

• Lyrics

• Contracts

• Producer agreements

• Beat licences

• Copyright documentation

• Distribution agreements

• Artist statements

• Royalty statements

• Payment records

• Song codes

• Artwork

• Release dates

• Emails and correspondence

Digital files should ideally be backed up in more than one location.

Your music catalogue is an asset.

Treat the documentation around it accordingly.

16. Uploading Low-Quality Audio

A musician may spend months writing a song but rush the final technical preparation.

Do not submit music that has not been properly mixed and mastered.

Before distribution, check:

• Audio quality

• File format requirements

• Recording levels

• Mastering

• Song duration

• Metadata

• File naming

Follow the aggregator's current technical requirements rather than relying on instructions from another musician.

17. Using Poor Artwork or Inconsistent Branding

Although the music itself is the most important asset, professional presentation matters.

Your artwork is often part of the first impression people receive about your music.

Use:

• A clear artist name

• A professional image

• Correct song title

• Consistent branding

• High-quality artwork

• No misleading information

Your catalogue should look like it belongs to the same professional artist.

18. Registering a Song and Then Doing Nothing to Promote It

This is perhaps the most common strategic mistake.

Some musicians believe:

"I have put my song on Skiza, so now the royalties will start coming."

But availability does not create demand.

Listeners have to discover the music and choose to use it.

Skiza is a caller ringback service in which subscribers select tunes that are played to callers. Safaricom's terms describe the service as a personalised ringback tone service and state that its catalogue contains tune codes, artist names and tune names.

Therefore, musicians should actively promote their songs.

Tell genuine fans where to find the music.

Promote your Skiza song alongside:

• YouTube videos

• Facebook content

• TikTok clips

• Instagram posts

• WhatsApp Status

• Live performances

• Church events

• Interviews

• Music releases

The objective is to turn listeners into supporters.

19. Expecting One Song to Make Them Rich

Another mistake is unrealistic expectations.

A musician may register one song and expect significant passive income immediately.

That is rarely a sound business strategy.

A stronger approach is to build a catalogue.

Imagine an artist releases:

• Song 1

• Song 2

• Song 3

• Song 4

• Song 5

Each song represents another opportunity for listeners to discover the artist.

One song may perform better than the others.

Another may become popular months after release.

The musician therefore builds an asset base rather than depending entirely on one release.

20. Ignoring Their Audience

Music monetisation ultimately depends on people.

If you do not know who listens to your music, it becomes harder to market it effectively.

An upcoming artist should ask:

Who listens to my music?

What type of songs do they prefer?

Where do they discover new music?

Which songs receive the most engagement?

Which songs do people repeatedly request?

Which content generates the most responses?

These questions can help you make better decisions about future releases.

21. Using Artificial or Fraudulent Promotion

Musicians should never attempt to manufacture popularity through fraudulent activity.

Buying fake subscribers, fake engagement or artificial activity can damage a musician's reputation and potentially create problems with platforms and distribution partners.

The goal should be real listeners and genuine subscriptions.

A smaller number of genuine fans is much more valuable than a large number of fake accounts.

22. Not Understanding the Difference Between Skiza and Streaming

Skiza is not the same thing as Spotify, YouTube Music or other streaming services.

Skiza is fundamentally a caller ringback service.

Safaricom's terms explain that a selected Skiza tune can be heard by callers while a connection is being established.

That means musicians should not automatically apply streaming-platform royalty assumptions to Skiza.

Each platform has its own commercial model.

A smart musician learns how every platform monetises music and keeps separate records where necessary.

23. Giving an Aggregator More Rights Than Necessary

Read the rights section of your contract carefully.

If you are only looking for distribution to a particular service, understand whether the agreement grants the provider rights beyond that purpose.

Look for language relating to:

• Licensing

• Exclusivity

• Sub-licensing

• Reproduction

• Distribution

• Synchronisation

• Marketing

• Territory

• Term

• Termination

If you do not understand a clause, seek professional advice before signing.

24. Failing to Understand What Happens When the Contract Ends

This is an issue many new musicians overlook.

Suppose you eventually decide to change distributors.

What happens to your songs?

Can the aggregator remove them?

How long does removal take?

Do you retain ownership?

Are unpaid royalties still payable?

Are there termination fees?

Can the distributor continue exploiting your content after termination?

These questions should ideally be answered in the contract before you sign it.

25. Not Treating Music Like a Business

The biggest mistake may be approaching music purely as a creative hobby when your objective is to generate income.

If you want your music to become an income-producing asset, you need both creativity and administration.

That means keeping track of:

Music + Rights + Distribution + Promotion + Royalties + Records

An artist can be incredibly talented but still lose money through poor administration.

Professional musicians therefore treat their catalogue as a business asset.

A Simple Skiza Registration Checklist for Upcoming Musicians

Before submitting your next song through a Skiza content provider, ask yourself these questions:

Music

• Is the recording professionally finished?

• Do I have the required audio files?

• Is the song title final?

Ownership

• Who wrote the song?

• Who owns the composition?

• Who owns the master?

• Have all collaborators agreed on their rights?

• Are all samples and beats properly licensed?

Aggregator

• Is the provider an appropriate Skiza content provider?

• Have I read the agreement?

• Is the agreement exclusive?

• How long does it last?

• What rights am I granting?

Royalties

• How is my royalty calculated?

• What percentage applies to me?

• Are there deductions?

• When will I be paid?

• How will I receive statements?

Distribution

• Has the song been accepted?

• Has it gone live?

• What is the Skiza code?

• Is my artist name correct?

Promotion

• How will I tell my audience about the song?

• Do I have promotional videos?

• Can listeners easily find the song?

• Am I building an audience around my catalogue?

If you cannot answer these questions, stop and get clarification before proceeding.

Final Thoughts

Registering music through a Skiza Tunes aggregator can be an important step for an upcoming musician who wants to explore digital music monetisation.

But the process should not be approached casually.

The biggest mistakes are usually avoidable:

Do not sign contracts you do not understand.

Do not distribute music when ownership is unclear.

Do not ignore royalty terms.

Do not submit incorrect metadata.

Do not assume that submission automatically means income.

Do not depend entirely on the aggregator to keep your records.

Do not stop promoting your music after it becomes available.

Most importantly, remember that your music is intellectual property.

Your songs, recordings, lyrics and catalogue can become valuable assets over time. Protecting those assets requires proper documentation, careful agreements and good royalty management.

Safaricom's own published guidance confirms that artists access Skiza through existing content providers rather than onboarding directly as new content providers, making the relationship with the content provider an important part of the distribution process.

The goal should therefore not simply be to say:

"My song is on Skiza."

The better goal is:

"My song is properly documented, correctly distributed, discoverable by listeners, protected by clear rights, and connected to a transparent royalty process."

That is the foundation on which an upcoming musician can build a sustainable music business.

Do You Love Worship Songs?

Subscribe to Tabitha Gachanja's worship songs on Skiza Tunes.

Dial *811# on your Safaricom line, then:

1. Select Search for a Song

2. Select Search by Artist Name

3. Type Tabitha Gachanja

4. Choose your favourite worship song and subscribe.

If you love worship music, subscribing to a Skiza Tune is a simple way to keep inspiring music close to you while supporting the work of a worship artist.