Hitmaka says radio pays more than streaming, after receiving random $500K

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Jul 16, 2025

Hitmaka’s $500K Revelation: Why Radio Royalties Still Beat Streaming

Music producer and former rapper Hitmaka recently turned heads on the Million Dollaz Worth of Game podcast when he revealed that a $500,000 royalty check for producing Big Sean’s “Bounce Back” was tied to a single sync licensing deal—proving that radio airplay and licensing still outpace streaming payouts.

Despite accumulating more than 20 billion streams in his career, Hitmaka insisted that platforms like Spotify and Apple Music can’t compete with the earnings power of radio and sync deals. For aspiring artists looking to understand the real economics behind music revenue, his story offers a crucial lesson: in today’s streaming-dominated world, old-school formats and licensing still hold the key to sustainable income.

This article explores Hitmaka’s revelation, his career evolution, average artist payouts from radio versus streaming, and the increasing importance of music licensing.

From Rap Star to Production Powerhouse: Hitmaka’s Career Evolution

Born Christian J. Ward on September 9, 1986, Hitmaka began his career as a teenage rapper named Iceberg. By 2007, he had signed with Epic Records under the name Yung Berg. His breakout single “Sexy Lady” reached No. 18 on the Billboard Hot 100, while “The Business” followed closely at No. 33. His 2008 album Look What You Made Me peaked at No. 20 on the Billboard 200, but subsequent releases didn’t maintain momentum.

In 2014, he made a bold pivot into producing—and never looked back. Under the moniker Hitmaka, he crafted hits like Big Sean’s “Bounce Back,” Lil Wayne’s “John,” Chris Brown’s “Party,” and Megan Thee Stallion’s “Plan B.” His influence in the industry grew rapidly, earning him the 2022 BET Hip Hop Award for Producer of the Year.

He now holds executive roles at Atlantic Records and Empire Distribution, where he helps guide the careers of up-and-coming artists. His transition from rapper to hit-making producer is a masterclass in longevity and adaptability.

The $500K Check: Radio Royalties vs. Streaming Payouts

The $500,000 check Hitmaka received wasn’t just a fluke. It came from a sync placement for “Bounce Back” in a Super Bowl ad—a deal rooted in licensing and radio success. Even with 20 billion streams, he revealed that streaming checks don’t come close to the size of radio and sync payouts.

“Radio still pays better,” Hitmaka said, pointing to “Bounce Back” nearing diamond status with nearly 10 million certified units. His statement resonated with artists and fans searching for terms like “radio royalties vs streaming payouts,” offering a rare peek into the real earning potential behind a hit song.

Breaking It Down: Average Artist Earnings from Radio vs. Streaming

Understanding how artists get paid is essential for anyone exploring “artist earnings.” Here’s a comparative breakdown:

📻 Radio Royalties:

  • Terrestrial radio (AM/FM) pays only songwriters and publishers via Performing Rights Organizations (PROs) like ASCAP and BMI—not performing artists—unless the play comes from digital radio (e.g., SiriusXM, Pandora).
  • A hit song played 1 million times on U.S. radio can net \$50,000+ in royalties to songwriters.
  • High-rotation tracks can generate six-figure quarterly checks.
  • Digital radio platforms like SiriusXM pay both songwriters and artists via SoundExchange, sometimes at 32 cents per minute or higher depending on genre.

📱 Streaming Payouts:

  • Spotify pays \$0.003–\$0.005 per stream. You’d need roughly 200,000–333,000 streams to earn \$1,000.
  • TIDAL pays about \$0.0133 per stream; Apple Music, around \$0.01.
  • After label and distribution cuts, artists might only keep 16%–50% of their streaming royalties.
  • To earn the equivalent of a \$50,000 radio check, you’d need 10–16 million Spotify streams—a number only global stars like Drake consistently hit.

So, while streaming boosts reach, it rarely pays the bills. Hitmaka’s massive check for a single sync placement proves that traditional platforms and smart licensing are still the best bet for revenue.

The Real Power Play: Music Licensing

According to Hitmaka, the real money in music lies in “licensing and synchronization deals”—and he’s not alone in that thinking.

Licensing allows songs to be used in TV shows, commercials, films, and video games, often with upfront fees and long-term royalties. Here’s why sync deals matter:

  • 💰 Higher Payouts: Super Bowl syncs like “Bounce Back” can bring in hundreds of thousands to millions.
  • 📈 Long-Term Revenue: Unlike streaming, licensing offers residual income for years, especially for recurring TV or ad placements.
  • 🎯 Greater Exposure: A sync placement can introduce your song to a new audience, boosting both sales and streams.
  • 🧠 More Control for Independents: Owning your masters (à la Taylor Swift) enables direct negotiations for better licensing terms.

For anyone searching “importance of music licensing,” this revenue stream is essential for sustainability in the digital music economy.

What Aspiring Artists Can Learn from Hitmaka

For up-and-coming artists Googling “Hitmaka radio royalties” or “music licensing tips,” this is a wake-up call. Chicago rapper Spenzo is another example of what happens when your paperwork isn’t correct. Streaming is great for discovery—Spotify’s algorithm accounts for 33% of all user discoveries—but it doesn’t pay the bills.

Hitmaka’s success proves that sustainable income comes from:

  • Owning your publishing
  • Registering with PROs and the MLC
  • Pitching music for radio rotation and sync opportunities

Some online critics argue, “Radio pays better only for songwriters with hits who own their publishing”—and they’re not wrong. But the point is clear: artists must take ownership of their business if they want ownership of their wealth.

Hitmaka’s Industry Critique: Streaming Alone Won’t Save You

Hitmaka’s message mirrors a broader discontent in the industry. A 2021 UN report warned that streaming economics are “destroying music” due to unfair compensation structures.

Hitmaka has emphasized that “legacy and wealth” are built through partnerships with institutions—like ESPN, FS1, and major networks—not just Spotify playlists. His executive positions at Atlantic and Empire reflect this mindset, as he helps younger talent pursue multi-stream revenue models rather than chase viral success alone.

Final Take: Maximizing Artist Earnings in 2025 and Beyond

Streaming may dominate music consumption, accounting for 62% of global music revenue, but artists can’t rely on it as their sole source of income. Hitmaka’s \$500,000 check is a powerful reminder that radio royalties and licensing offer long-term, scalable wealth.

If you’re an independent artist, here’s your action plan:

  • ✅ Register with ASCAP, BMI, and the Mechanical Licensing Collective (MLC)
  • ✅ Get your music on digital radio like SiriusXM and Pandora
  • ✅ Build a catalog suited for TV, film, and ad placements
  • ✅ Use streaming for exposure—but monetize with merch, touring, and sync deals

By Hitmaka telling his truth, more artist everywhere are taking action for their talent.