Lección 18 de 21Industria musicalIntermediate

Entrevista con Stuart Belsham - Descubre la PRS

37:15

Una entrevista de 40 minutos con Stuart Belsham, de PRS for Music, sobre qué hace la PRS, cómo trabaja con las editoriales y cómo hacerse miembro.

Parte del cursoUna guía sobre edición musical y sincronización21 lecciones (4h 21m)

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21 lecciones (4h 21m) · 1 gratis
    • 01. Entrevista con Ollie Raphael: Delicious Digital y el trabajo con la radio

      11:38

    • 02. Entrevista con Dan Mallender (Phase Music) - Música, promos y tráilers para las industrias de TV, radio, cine y videojuegos

      16:04

    • 03. Entrevista con Rachel Menzies - Supervisión musical

      11:19

    • 04. Entrevista con Richard Ford (Anger Music) - Trabajar con compositores

      16:23

    • 05. Entrevista con Stuart Belsham - Descubre la PRS

      Estás aquí

      37:15

    • 06. Entrevista con Alessio Nanni (vía Skype) - Pianista y compositor

      15:02

    • 07. Entrevista con Rob Manning (por Skype) - Compositor de cine y TV

      15:23

    • 08. Entrevista con Xiaotian Shi (por Skype) - Compositor de cine y TV

      18:40

Transcripción de la lección

Welcome to Tile Yard

Introduction

Hello, Stuart. Welcome to Tile Yard. First of all, who are you? What do you do?

Well, I'm Stuart Belsham, I work at PRS for Music and my role is Education and Outreach Manager. Predominantly, I work in East England and the East Midlands area.

Great. And what is PRS?

PRS stands for the Performing Rights Society. It is a royalty collection and distribution society that acts on behalf of songwriters, composers, producers, and music publishers. Our main purpose is to ensure that when their music is used in public, they receive remuneration for it. We collect and license music on their behalf, then pay them royalties.

Different Areas of PRS

In terms of the different areas of PRS, what do they cover within the different departments?

PRS is, to my best knowledge, the largest employer in the music industry with over 600 staff. Internally, we are divided into:

  • Front Office
  • Back Office
  • Membership, which deals with its membership base

Behind that, there are various important departments including:

  • Operations
  • Distribution
  • International Department

Membership Insights

You mentioned that your membership represents composers and publishers. Can you elaborate on your relationship with publishers?

As you rightly say, our membership base includes publishers, songwriters, composers, and producers. Currently, we have about 118,000 members, with the majority being composer and songwriter-based. The number of publisher members is probably between 8,000 to 10,000. Our publishers range from major entities, like Universal, to small independent publishers.

Differentiating PRS and Publishers

What is the difference between PRS and publishers?

PRS collectively manages the rights of songwriters, composers, and publishers to administer on the songwriter's behalf. We license all public uses of music in the UK.

Essentially:

  • PRS collects and distributes royalties for public music use, primarily in businesses.
  • Publishers enter contracts with composers and songwriters to promote their music across various platforms (advertisements, films, etc.) and facilitate connections between composers and performers.

Simplifying PRS and Publisher Roles

For those confused about the difference:

  • PRS handles licensing for media outlets (pubs, clubs, radio, TV) and collects the money to pay composers and publishers.
  • Publishers sign songwriters' works and help exploit that music in various areas.

The Role of Reciprocal Deals

I've heard something called reciprocal deals. Can you explain that?

Certainly. PRS licenses in the UK, but every major territory has its own licensing body. For example, in the USA, there's ASCAP and BMI.

When, say, the Foo Fighters (an American band) have their music played in the UK, we collect the income and then send that to the relevant American organization rather than paying the artists directly.

Joining as a Publisher

How can someone join as a publisher, and is it easy?

To become a publishing member, you can self-publish your works. If you're an independent composer, you don't have to join as a publisher. However, if you want to represent others, you'll need:

  • A small repertoire of at least 15 works.
  • To pay a joining fee of £400.

Additional Membership Information

  • Joining as a songwriter costs £100 for PRS and £50 for MCPS (Mechanical Copyright Protection Society).
  • You need to have an active repertoire to make membership worthwhile, as our primary role is to license and distribute royalties.

Payments and Royalties

How often do payments happen for composers and publishers?

Payments from PRS occur quarterly. In contrast, MCPS payments can happen as frequently as monthly, depending on the activity of your works.

Payment Systems and Statements

When members receive statements, they should analyze their usage. If they notice missing income, they can raise a query through our membership team.

Membership Queries:

  • Members can submit queries online for any discrepancies related to their statements.

Conclusion

Final Thoughts on the Industry

The music industry is experiencing challenges, especially concerning digital income. However, at PRS, we strive to ensure that all songwriters receive proper compensation for their work online.

Thank you, Stuart, for sharing such insightful information!

You're welcome, and it's a pleasure to share my knowledge.

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Jay Mistry

Jay Mistry es un veterano de la industria musical con 30 años de trayectoria y domina la mayoría de los aspectos del negocio de la música.

Jay comenzó su carrera en la Performing Right Society antes de incorporarse a BMG Music Publishing, donde se le pidió que montara el departamento de seguimiento de ingresos desde cero. En 2003 constituyó Musical Sleuth Ltd, el primer servicio independiente de seguimiento de royalties de su clase, que tuvo entre sus clientes a Eric Clapton y The Beatles.

Tras dominar las complejidades del copyright y los royalties, se pidió a Jay que se convirtiera en Director of Music Services en The Discovery Channel en 2009. Su éxito en Discovery llevó a los emprendedores neoyorquinos Jingle Punks a incorporarlo para montar y estabilizar su operación de edición en EE. UU. mientras construían su red global de recaudación. Jay asesora actualmente a una variedad de compositores de alto nivel, bibliotecas musicales, productores de cine, editoriales y plataformas tecnológicas.

En A Guide To Music Publishing And Synchronization, Jay destila tres décadas desde dentro del negocio en una orientación clara y práctica, mostrándote cómo funcionan realmente la edición, el copyright, los royalties y los acuerdos de sync, y cómo hacer que trabajen a tu favor.

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