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Royalty Management & Artist Admin in 2016

PRS for Music & PPL

Clare Kelly Duffin

on 30 September 2016

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Transcript of Royalty Management & Artist Admin in 2016

Artists can be Rights Holders
Royalty Split - PPL
myPPL Interface
Diagnostics Session
PPL Admin by Artists
PRS Registrations
What they do...
Rights Holder Accounts...
- You own the rights to the RECORDING (by default, the person that paid for the recording owns it).
(International Standard Recording Code)
ISRC break-down:
Royalty Management & Artist Admin in 2016
PPL licenses the use of recorded music played in public or broadcast, then distributes the licence fees to:
Performer Members
Rights Holder Members

FREE to join
- ISRC can be requested upon *sign-up. You will need this for registering recordings.
* myPPL > raise a query
- Can also be input to data fields within SoundCloud & Bandcamp.
Rights Holder
(normally the
record label)
PPL checks eligible performers qualify for 'equitable remuneration'
Performer-split decided by either:
1. Performer Share Agreement
2. PPL's Performer Allocation Policy
Works best with
- Online account available
- Costs £50 to join
- NB: YouTube reporting
- PPL-
Group 1:
PPL Performer Allocation Policy
Important matters to highlight
Differences between the 3 main performer types
Repertoire disputes process
Related anecdote
Group 2:
Record Company Track Allocation Policy
Important matters to highlight
Example (hypothetical or real)
10 min presentation using Prezi.com on the following:
Group 3:
Key royalty-split information based on performers
Example (hypothetical or real)
Traditionally, the Rights Holder would be the record label.
Helpful resources:
- Musician's Union - Member benefits
- Citizens Advice Scotland - https://www.citizensadvice.org.uk/scotland/work/self-employed-or-looking-for-work/self-employment-checklist/

The responsibility for registering music and amending registrations lies with:

– when the music is unpublished OR the publisher is not a PRS member.

– where they publish music on behalf of their writers.

All parties
– when the musical work has been co-written/co-published. Each party should include information about the other parties involved.
Music Registration Policy - PART 1
PRS for Music
PRS for Music
Music Registration Policy - PART 2
Ever wondered how we know what music is being used across the UK, on TV, on radio, in pubs, shops, hotels and restaurants?

The first point to note is that we don’t know the details of every play of every work on every stereo in every premises and every broadcaster we licence. Whilst we aim to make our royalty payments as accurate as possible, to collect and process information for each individual play of every work across the UK would, in some cases, cost more than we can actually collect in royalty revenues for those plays.

So how do we know what music is being played?
Although we use a 'pay-per-play' or census method wherever it is feasible, such as when music is broadcast on national radio and terrestrial TV, we also employ other methods to calculate royalties when this is not practical or cost-effective. All are based on the
of offering the best
balance of fairness, accuracy, cost effectiveness
for our members.

Source: https://www.prsformusic.com/creators/memberresources/how_it_works/how-we-collect-data/Pages/default.aspx
PRS for Music - Collection of Music Usage Data...
PRS for Music - Music has been publicly performed
MCPS - Music has been reproduced
When to join MCPS
MCPS (Mechanical Copyright Protection Society Limited) collects royalties for members when their
music is reproduced
. You may want to join MCPS as a publisher to collect royalties if the music in your catalogue has been:

Commercially released by a record company (other than a record company you own)
Recorded in a radio or TV programme
Recorded in an audio-visual or multimedia production
Used online

When to join PRS
PRS (Performing Right Society Limited) collects royalties for members when their
music is publicly performed
. You should join PRS as a publisher to collect royalties if the music in your catalogue is currently:

Broadcast on radio/TV
Used online
Performed live in concert
Otherwise played in public
Full transcript