Sony Music Publishing Review: Is a Global Major Publisher the Right Move for Modern Songwriters?

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Sony Music Publishing is not a subscription platform. It is not a searchable licensing database. It is not a tool you sign up for casually.

It is one of the largest music publishers in the world.

If you are evaluating Sony Music Publishing, you are not asking, “Can I license a track for my YouTube video?” You are asking something much bigger: Should I align my catalog and career with a global major publisher?

This review breaks down what Sony Music Publishing actually does, where it fits in the modern publishing ecosystem, how it operates in real-world songwriter careers, and who should seriously consider pursuing a deal versus building independently.

Audiosocket Review: Is It the Right Music Licensing Platform for Serious Creators?

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Audiosocket positions itself as something more elevated than a traditional stock music platform. The language is deliberate. World-class artists. Viral sounds. Curated playlists. Unlimited music. It promises emotional music, not filler. Real artists, not anonymous composers. A subscription that scales from YouTubers to agencies to film studios.

But positioning is not performance.

This review breaks down what Audiosocket actually is, where it fits in the modern licensing ecosystem, how it behaves under real production pressure, and who should and should not rely on it. If you create for YouTube, advertising, branded content, film, or broadcast, the decision is not about whether Audiosocket sounds good. It is about whether it aligns with your workflow, your budget tier, and your licensing ambitions.

We Get Artists Review: Is This the Most Transparent Non-Exclusive Sync Platform?

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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.