British performance rights organisation (PRO) PRS for Music launched an online tool aimed at helping members performing overseas to negotiate fair royalty payments. The new ‘live concert tool’ automatically calculates a country’s local live tariff, ensuring the correct tariff is applied and providing users with estimates of royalty value per concert. It can also be used post-performance, enabling PRS members to review the progress of a royalty payment and see the royalties they will receive after discounts have been applied. Karen Buse (pictured) , PRS for Music’s executive director of membership and international, comments: “With our expert knowledge we have managed to develop this technology before anyone else and create a real solution to a complicated issue. “This tool could help bands of a certain size save potentially hundreds of thousands of pounds on a large tour” “We have created something that our touring members will greatly benefit from; it could help bands of a certain size save potentially hundreds of thousands of pounds on a large European or even world tour.” Artists and managers interested in gaining access to the tool should email email@example.com . The UK live business is still awaiting the results of a review of […]
To make a claim under any of the below schemes log on to your online account and click on the ‘report live performance’ button. Make a claim under the Gigs, Clubs and Small Venues scheme if your songs or compositions have been performed in any of the following small venues: Pubs Clubs Music Societies Community Centres Hotels London Underground Concert Venues and Overseas Festivals If you have performed at a concert venue or overseas festival then you can claim for performance royalties by logging into your online account and clicking on ‘Report live performances’. Applicable concert venues and festivals are typically ones whose principle business is promoting regular musical events and are licensed by us, such as: Arenas or other concert halls or venues (for example O2 Academy venues, South Bank Concert Halls, Rock City, Lemon Tree, Borderline, Barfly venues) Music or arts festivals (for example Glastonbury, Download, T in the Park) Universities or Colleges of Higher Education Arts Centres Civic Halls Theatres Overseas Live Events – performances outside of the UK Report your Overseas Live Events if you have performed or had your work performed outside of the UK. We will send these details directly to the relevant […]
The House Of Lords yesterday debated the need for more transparency for artists and songwriters over how their recordings and songs are being exploited in the digital domain, as Liberal Democrat lord Tim Clement-Jones put forward his previously reported amendment to the Digital Economy Bill. A representative of the government concurred that “the principle of transparency is an important element of well-functioning markets”, before confirming that ministers intend to continue to engage in the ongoing review of copyright law at a European level – which includes measures to force more transparency on the copyright industries – despite all that Brexit hoo haa. As previously reported , part two of the ‘Dissecting The Digital Dollar’ report – produced by CMU Insights for the UK’s Music Mangers Forum last year – confirmed that, for the artists, songwriters, managers and lawyers involved in the roundtables that informed the report, transparency was a key issue as the streaming market continues to evolve. Managers argue that, too often, they and their artists are left in the dark about the deals done between labels, publishers, collecting societies and the streaming services. This means that artists are often unable to properly audit the digital royalties they […]
PRSMusic industry experts have called on songwriters, composers and producers to grasp the importance of managing their music rights and works’ data to ensure they get paid. Talking at the recent PRS Explores: Big Data event, experts from Soundcloud, PRS for Music and Auddly called on songwriters to grasp the importance of recording their songwriting splits and publisher affiliations as they create the music. A key concern around missing songwriter and publisher information is that collecting societies are less able to accurately distribute royalties to the correct parties. Paul Dilorito, director of operations at PRS for Music , said: ‘Most creators don’t understand the importance of getting the data right or understand the concept of the International Standard Recording Code (ISRC) and why it’s right. It’s your ticket to collecting your income, at the end of the day.’ Helienne Lindvall, head of business relations at song management platform Auddly, said: ‘I’m a songwriter and I will admit that historically I’ve been crap at keeping track of my information and submitting it. Nobody gets into songwriting to become an administrator. ‘But what we’ve discovered at Auddly is that if you use the word “metadata”, you lose songwriters straight away – […]
Collecting societies have often made easy targets in arguments about the music industry’s attitude towards technological change. Yet in 2017, the dinosaur stereotypes are crumbling – for some collective management organisations (CMOs) at least. From licensing hubs like ICE and Armonia, to SOCAN buying tech firms MediaNet and Audiam, to PRS for Music hosting a debate about blockchain technology, CMOs are trying to get to grips with digital disruption just like other rightsholders. Another example is Teosto in Finland, with its Futures Lab initiative taking in hack days, research partnerships, open APIs and even investing in one music/tech startup. Ano Sirppiniemi, Teosto’s head of R&D, and Turo Pekari, its senior advisor on innovation and discovery, talked to Music Ally about what the society is up to, as well as how it views new developments like artificial intelligence. Sirppiniemi explains that the Futures Lab formalises some of the partnerships and research that Teosto has been doing with startups and universities for the last five years: its equivalent to the innovation labs that sit within big companies. “ We are looking at the future of data, the future of CMOs, and the future of music and the music business ,” he […]
UK music licensing organisations, PPL and PRS for Music, have introduced a new joint licence, which came into effect on 1 January 2017, for Ofcom-licensed community radio stations broadcasting on AM or FM. In accordance with the terms of their Ofcom licences, community radio stations are not-for-profit organisations that create direct links with their listeners, providing training opportunities and other social benefits to their local areas. Both organisations say they are ‘committed to simplifying music licensing for their customers’ and that this new joint licence ‘represents the first joint initiative for the radio broadcast sector’. Previously, not-for-profit community radio stations were required to purchase two separate licences from PPL and PRS for Music to cover the inclusion of music within their broadcasts. By offering a joint licence, PPL and PRS for Music have further reduced the administration associated with licensing music rights for the community radio sector. The joint licence is administered by PPL on behalf of both organisations and community radio stations can apply for and purchase their licence online via PPL’s website. As well as covering a station’s AM or FM broadcast, the optional right to license internet simulcasts and / or small scale DAB simulcasts is […]
Nigel Elderton has been appointed chairman of PRS For Music, replacing former chair Guy Fletcher who steps down after six years in the role. With over 40 years’ experience in the music industry, Elderton has served at companies including Chappell Music and EMI Publishing during his career, and has worked with PRS for 25 years and is currently a publisher director on the PRS board and MCPS board. He is also a director at IMPEL and the MPA and is a former director of UK Music and founding trustee of the PRS For Music Foundation. “I’m very proud to be taking on this role,” Elderton told Music Week. “To serve as chair of PRS is a great privilege and I hope to follow in Guy Fletcher’s footsteps and galvanise the board into continuing to produce excellent results.” See today’s issue of Music Week for an exclusive interview with Elderton, in which he outlines his plans to take on YouTube in 2017.
1 November 2016 ICE and SoundCloud reach a multi-territory licensing agreement for GEMA, STIM and PRS for Music repertoire ICE and SoundCloud are pleased to announce that they have reached an agreement for a new multi-territory licence. This follows the previous agreement reached between SoundCloud and PRS for Music which covered the use of its repertoire since SoundCloud’s launch. In 2015, the launch of the ICE processing and licensing hub brought together online rights for the combined repertoires of GEMA (Germany), STIM (Sweden) and PRS for Music (UK) under one company. This new ICE agreement covers SoundCloud services available across Europe including the recently launched SoundCloud Go subscription and ad-supported offerings available in the UK, Ireland and France. The agreement also brings together the combined repertories of the ICE partners with state of the art processing and matching capabilities and the most comprehensive copyright database in Europe which will, for the first time, allow ICE partners to receive royalties when their combined 250,000 songwriter, composer and publisher members’ works are used by SoundCloud. The rights covered under this new agreement will help accelerate SoundCloud’s continued development and further launch of its subscription and ad funded services across more territories in Europe to the benefit of all creators. Working in partnership with ICE, SoundCloud continues to make significant strides towards improving the quality of data delivered to rightsholders. It now offers its users the functionality to add a wide range of industry recognised metadata to uploaded content, thus driving accuracy and enabling the ICE processing hub to maximize the royalties it passes back to PRS for Music , GEMA, STIM, and their members. Ben McEwen, ICE Licensing Commercial Director, said: “The deal with SoundCloud marks another significant step forward as ICE continues to work to simplify multi-territory licensing for the […]