Which Collection Agency for Producer/Engineer/Performer

[Dave Rowles]

Hi All,

I'm getting hideously confused about collections agencies.

I've played on/produced/engineered an album recently which the artist is going to push around and see if he can get some people playing. It might be worth registering for that.

However, I may have the opportunity to record/produce an album for an artist who will very likely make some significant sales. In which case I need to register now!

But I've no idea which ones are best. PRS, MCPS, PPL, etc. I'm just confused, and trying to work out if I need to just register with all of them, or if I can get away with just one...

Cheers

[James Perrett]

I'd always assumed that you'd negotiate with the client if you wanted a share of the royalties as they're the ones that actually get paid. However, I've always gone for a fixed fee so no real experience of royalty deals for engineers. I'd guess that Jack is the most likely person to know.

[CS70]

Hi All,

I'm getting hideously confused about collections agencies.

I've played on/produced/engineered an album recently which the artist is going to push around and see if he can get some people playing. It might be worth registering for that.

However, I may have the opportunity to record/produce an album for an artist who will very likely make some significant sales. In which case I need to register now!

But I've no idea which ones are best. PRS, MCPS, PPL, etc. I'm just confused, and trying to work out if I need to just register with all of them, or if I can get away with just one...

Cheers

Here we have two - one organization which collects and distributes fees for live shows from clubs and venues, and one which collects royalties for broadcast or other form of mechanical playback. They make annual or bi-annual payments. You need to be member of both and register your works (and live shows) to receive your dues.

However, as James says, you have to agree with the artist - if you're hired for a session for example it's typical that you get paid a flat fee and that's it. If you are the composer on the other side, it's common to get a share of the proceedings, and so forth. As a composer, you get also royalties every time your composition is played or covered by other artists (so long they register their show, of course, or declared their recording to be a cover of your composition for mechanical royalties).