We Get Artists does not sell exclusivity.
It sells access — and it sells it without locking your catalog.
The platform positions itself as a non-exclusive film and TV licensing company where artists can sign up for free, upload unlimited music, retain 100% ownership, keep 100% of backend performance royalties, and split upfront sync fees 50/50.
In an industry crowded with re-titling deals, hidden publishing grabs, and long-term lock-ins, those terms stand out.
The real question is not whether the offer sounds attractive. The question is whether the model holds up strategically for serious composers building sustainable sync income.
What We Get Artists Actually Is
We Get Artists operates as a non-exclusive sync licensing platform focused on film and television placements. The value proposition is clear:
- Free to join and upload music
- 50/50 split on upfront sync fees
- Artist retains 100% of backend performance royalties
- No re-titling
- No publishing ownership claims
- Leave anytime with 30 days notice
That structure immediately places it in the artist-friendly, non-exclusive representation lane rather than the traditional exclusive production library model.
The platform also includes a built-in tracking system that notifies artists when tracks are searched, heard, downloaded, placed, or entered into active projects.
Transparency is a core selling point.
Where It Fits
We Get Artists fits best for:
- Independent artists maintaining full ownership control
- Composers diversifying across multiple sync platforms
- Producers unwilling to surrender publishing
- Writers comfortable with non-exclusive pitching ecosystems
- Artists seeking visibility into supervisor engagement metrics
It fits less well for composers seeking exclusive catalog placement or boutique representation with direct pitching guarantees.
This is a scale-driven opportunity model, not a curated boutique roster.
Business Model Breakdown
The financial structure is straightforward:
- Upfront sync fees are split 50/50
- Backend performance royalties go 100% to the writer/publisher
- No re-titling structures
- No publishing ownership taken
That last point matters.
Many libraries secure publishing ownership or use re-titling strategies to track placements. We Get Artists explicitly avoids both, which simplifies PRO reporting and long-term rights clarity.
The platform emphasizes that supervisors using their system are industry professionals — not general consumers. A single download or “heard” report is positioned as more meaningful than casual streaming metrics.
However, they make no placement guarantees. Timelines are openly described as unpredictable. Placements can happen quickly or take years.
That honesty is important.
Workflow & Transparency
One of the platform’s more interesting features is its tracking notification system.
Artists receive reports when tracks are searched, listened to, downloaded, or moved into active projects. This level of visibility is rare in sync licensing.
It changes the psychological experience.
Instead of uploading into a black box, artists can see engagement patterns.
Does that guarantee income? No. But it provides feedback, which allows strategic adjustments in tagging, production quality, and genre targeting.
Strengths
1. Non-Exclusive Freedom
Artists can pitch the same tracks elsewhere without penalty.
2. 100% Backend Retention
Writers keep all performance royalties through their PRO.
3. No Re-Titling
Clean ownership simplifies long-term catalog management.
4. Transparent Reporting
Engagement notifications reduce the “black box” problem common in sync platforms.
5. Clear Exit Option
Artists can leave with 30 days notice, limiting long-term lock-in risk.
Weaknesses
1. No Placement Guarantees
Like all sync platforms, success depends on demand alignment and catalog quality.
2. Competitive Catalog Environment
Open upload systems naturally increase competition within similar genres.
3. Supervisor Demand Driven
Artists depend entirely on what supervisors are searching for at any given time.
4. 50/50 Upfront Split
While fair by industry standards, some artists may prefer platforms offering higher upfront percentages.
Competitive Context
We Get Artists operates in the non-exclusive sync pitching lane.
It differs from exclusive production libraries by preserving ownership and flexibility. It differs from pure stock music marketplaces by targeting professional supervisors rather than general content creators.
Its primary competitive advantage is structural transparency.
Final Judgment
We Get Artists is best suited for independent composers who want to retain ownership, avoid re-titling complexity, and diversify their sync exposure without long-term contractual risk.
It is less suited for artists seeking hands-on creative pitching or guaranteed placement pipelines.
For disciplined producers with well-tagged, broadcast-ready music, the platform represents opportunity without surrendering control.
In sync licensing, ownership is leverage. This model preserves it.
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