PRS for Music’s chief executive Robert Ashcroft looks behind the organisation's headline results to explain what the 2018 figures really mean for songwriters, composers and publishers.
PRS for Music, which represents 140,00 songwriters, composers and publishers, has reported its end of year figures for 2018 with royalties rising to a record £746m.
In 2019’s Quarter 1 (Q1) PPL, the collecting society for performers and record labels, achieved its largest ever distribution of international revenue.
In 2018 PPL, the collecting society for performers and record labels, achieved its largest ever annual collection of £70.9 million.
We lift the lid on music recognition technology, an audio fingerprinting system that’s quietly revolutionising the way royalties are paid out to songwriters, composers, artists and publishers.
The collective management organisations have teamed up with Auddly to improve the way royalties are distributed and song metadata is registered.
Global royalty collections for creators rose to a record high of €9.6bn (£8.4bn) in 2017, according to the CISAC Global Collections Report 2018.
PRS for Music and PPL are using music recognition technology to improve the way music creators are paid when their music is played by DJs.
PRS for Music is anticipating business as usual for members and licensees once the UK leaves the EU, according to John Mottram, the organisation's head of policy and public affairs.
In two weeks, the European Parliament will vote on the future of music online. With so much at stake, we ask PRS for Music's John Mottram what's happening, how we got here and what’s next...