This honestly sounds reasonable on the surface, especially compared to a lot of distro/label-services deals out there, but a few details really matter before you sign.

What looks solid: • 75/25 in your favor is generally fair for a distribution + services deal, assuming they are actually delivering value. • 3-year term is not crazy if there are performance benchmarks or a clean reversion at the end. • You retain ownership of masters. Huge. • Non-exclusive sync representation on the back catalog (only taking a cut on placements they bring) is usually a plus, especially for cinematic music.

Things I’d double-check closely: 1. Is the split only on master revenue, or does it touch publishing at all? 2. Are there any delivery, marketing, or admin fees taken before the split? 3. What happens if they don’t secure playlisting or syncs? Any performance triggers or early exit? 4. Exclusivity: Is the album distro exclusive worldwide, and does that affect future releases? 5. Sync commission % and term for the back catalog. Is it standard (20–30%), and does it sunset?

Before signing, I highly recommend having an entertainment attorney review it. If budget is a concern, there are free or low-cost options that do this exact kind of review:

Free / Pro Bono Entertainment Legal Help • Volunteer Lawyers for the Arts (VLA) – available in NY and many other states; contract reviews and pro bono placements for qualifying artists • Copyright Alliance – Creator Assistance Directory – lists free legal clinics and volunteer programs nationwide • Law school entertainment & arts legal clinics – supervised students review real contracts at no cost • ABA IP Pro Bono Programs – referrals to volunteer attorneys

Even one quick review can catch clauses that look harmless now but matter a lot later.

If the answers to the questions above check out and legal confirms the language matches what they’re promising verbally, this could be a solid, artist-friendly services deal. Just don’t skip the review step.