If you are working as a musician either teaching, performing, recording, composing or arranging then you might find some of this useful as a means of protection, support and in some case a form of income.
1 – PPL – Phonographic Performance Limited - www.ppluk.com
Who are they?
PPL administer rights and royalties for the use of sound recordings in public on behalf of the performers and the owners of the recording. This means in effect that if you perform on a recording that is sold, broadcast or aired over a jukebox or sound system, then you are due a royalty. Similarly, if you make and sell a recording that is broadcast or similar, then you are due a royalty for its use.
How do I get this?
1 – become a member of PPL – this is free
2 – for the owner of the recording to have accurately noted who is on the recording and to have passed on this information to PPL
I signed something, what does that mean?
There is sometimes confusion amongst musicians employed to do recording sessions who are required to sign a waiver – this only waives your rights as composers and not as performers.
What is a buy out?
Some ensembles (orchestras for example) buy out your rights and this means that you are not entitled to these royalties – you have already been paid a fee. This does not usually apply to deputies employed by the orchestra. If in doubt, ask the orchestra manager what the position is for deps regarding PPL royalties in a recording.
Do I get a royalty on a gig recorded for radio?
No, usually the radio company (the BBC for example) when at a gig and recording for live transmission or for broadcast at a later date, will pay you a fee that buys out your rights. In some cases, they will try and tell you they have no budget for paying you a fee in which case ask about being able to claim your PPL performers royalties.
Your right to royalties for your performance is enshrined in European law – the money comes from broadcasters paying for the right to have recorded music available to broadcast.
2 – PRS for Music - www.prsformusic.com
Who are they?
In their own words: “PRS for Music exists to help businesses and community groups get access to some of the world’s best loved music, while making sure that songwriters, composers and publishers are rightfully rewarded.”. Put another way, PRS administer the rights of songwriters, composers and publishers when their music is used in public on radio, CD, TV or performed by themselves or others via those media.
How do I get this?
You can join PRS for free (their are extra fees for gaining royalties for mechanical uses). You have to meet some minimum standards or conditions, take a look at their website for more detail.
The system is really quite simple: if you or someone else records or performs material you have written the music and/or lyrics then a royalty is due. However, the information flow is a significant factor in fledgling and unsigned musicians receiving royalties. Some users have 100% reporting where every single play or use is logged and the royalty is paid as appropriate. In other settings, their is partial reporting where random surveys are completed. This means that higher profile composers receive a greater proportion of royalties correspondent to their status. However, there is a solution for the yet-to-be-famous artist. The PRS Gig and Clubs Scheme allows you to send a core set list of tunes and provided you have ten gigs minimum in a year, then you can collect royalties.
Who pays?
Venue owners, broadcasters and others users of music for public consumption pay a fee for the ability to use music. You will know if a venue has a license as they usually have a sticker in the front window and a certificate displayed prominently.
3 – The Musicians’ Union - www.musiciansunion.org.uk
Who are they?
Formed in 1893 by musicians in Manchester, the MU has grown to be the single largest trades union representing working musicians in the world.
They now have around 31,000 members consisting of full time and part time working musicians ranging from students, young music makers, hobbyists, freelancers to top flight session musicians, pop stars of international reputation and orchestral musicians.
40 or so officials and administrators around the UK provide the front line services and benefits of the union.
What do they do?
The MU membership provides you with free public liability insurance up to £10 million, free instrument and equipment insurance of £2000 as well as free legal advice and support on lost fees, contract problems and other forms of dispute. In addition, there is a limited programme of free or cheap training opportunities including Child Protection Awareness Training (essential for those working with vulnerable adults and children). There is also advice on a one-to-one basis available via email or phone on a variety of issues although that is less formal and a bit patchy depending on who you get.
Why should I join?
Contrary to what the MU thinks, membership is not suitable for all musicians. However, if you need PLI or want to insure your instrument, then consider it although bear in mind that the PLI policy only covers you as an individual and not your whole band. The other stuff is very specific to your type of work. Speak to the Union to find out if it is right for you.
How much is it?
http://www.musiciansunion.org.uk/site/cms/contentCategoryView.asp?category=228 is where you can find up-to-date prices for membership. These are based on your level of earnings from music including performance, teaching and writing. Membership is for a year and then renews on an annual basis although you can pay monthly, quarterly or annually.
MU Campaigns
The MU had a long history of campaigning on various issues affecting musicians and this has had mixed results. The campaign for what was called ‘needle time’ limiting how many hours of records could be played on British public radio was a bid to protect live work opportunities for their members but wasn’t necessarily good for public choice. It eventually led to the instigation of pirate radio and whilst the members may have suffered, we all got the likes of Radio 1 and Radio 2.
Similarly, the MU has campaigned on issues concerning the extension of the term of copyright for performers. Whilst it would correct a vast iniquity and continue to provide royalties for older musicians, it actually is only a campaign that affects a small number of people at present. The lobbying power of full time session musicians at the MU has a disproportionate effect on its direction and some see it as time spent neglecting the real grass roots of the union and tomorrows musicians.
In terms of trying to drive up wages, the Union has pretty much failed. People who work in pub gigs still get very little or nothing, those in well paid work get much more than the MU minimum rate. The range of rates the Union has negotiated are either ignored or superseded with buy-outs. The MU has recently made some headway in trying to improve working conditions in terms of health and safety, noise levels and access, but they are really not fully committed to seriously attacking these problems.
MU and the Labour Party
Some people have problems with trades unions and their link with the Labour Party. The MU doesn’t communicate the detail of the association very well and this leads to misunderstandings. Each member pays £1 a year into a political fund. This fund is used to support political activity including the support of anti-fascist groups and other worthy campaigns. Additionally, the MU affiliates one third of it’s members to the Labour Party and the cost of this is paid by the fund. Members can opt out of supporting the political fund, but must bear in mind that it is used for a variety of activities, not just supporting the Labour Party.
I’m custodian of the FEU (Federation of Entertainment Unions)online training’s social network. I’m always on the look out for informative, relevant and most importantly internet savy union members and bloggers.
Great little Toolkit with some fundamentally important links to aid self preservation in a crazy creative world.
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Nice post. Thanks
CJ