PRS for music visits – anyone had one?

Similarly, any DJ can voluntarily sign up to the scheme (email:
[EMAIL=’gigsclubsscheme@mcps-prs-alliance.co.uk’]gigsclubsscheme@mcps-prs-alliance.co.uk[/EMAIL]) and must supply full name, address
and contact details. Those who join will be asked to complete a set list
based on the music they’ll be playing over a determined period of time, with
royalties paid out based on this information. Adrian Crookes emphasises,
“Any type of performer is eligible to join the scheme – DJs, members of live
bands, string quartets, resident pianists in hotels etc – as long as someone
is performing regularly and has access to email.

“All nightclubs are eligible for the Gigs And Clubs Scheme. Non-eligible
venues are those we call concert venues. Typically these premises hold live
performances in a concert setting and where there is usually a charge for
admission. Performances in these types of venues make full returns of all
works performed under the PRS Concerts Scheme.”

Although the Maritz researchers will enlist the DJs in the clubs they visit
to fill out the performance information, clubs are not responsible for
providing their DJs with PRS sheets. PRS sheets and statistics are ONLY
gathered if they’re part of the sample or have enlisted to the Gigs And
Clubs Scheme. Thus it is essential for as many DJs as possible to sign up,
and for the PRS to encourage participation. The onus lies with the DJ to
want to supply this information, and may be a sticking point in the process.
Although a DJ who plays his own music will reap the benefits (royalties are
made to the music producer), there seems to be little incentive for other
DJs to join. A well-respected local DJ who plays across many venues in South
Wales sums this up: “I’m not aware of the scheme and would have no interest
in signing up. If you asked other DJs I expect their response would be the
same. Why would I want to – what do I get out of it?”

Similarly John Rostron, who has been DJing under the pseudonom of Johnny
Acid for a more than a decade suggests, “I would doubt DJs would be signed
up to [the PRS scheme] because very few, if any, play their own music. There
is no reason for me, as a DJ, to sign up because I don’t produce music.”
PRS, however, take another view: “DJs who don’t perform their own material
join it because they want to make sure that the creators of the music they
champion get paid. It costs nothing to join but makes sure the money finds
its way back into music. Why wouldn’t they want to do that?”
Admittedly, the Gigs And Clubs Scheme is more straightforward and directly
beneficial for performers and the form is rather easier for them to
complete. As it requires songwriters, publishing and / or label listing- a
performer will know this information, but a DJ may need to check it out.
However, PRS have undertaken steps to encourage DJ participation, “With
regard to DJs, PRS conducted, as part of the pilot Gigs And Clubs Scheme, an
exercise to engage with most major DJ agents and representative bodies who
were visited and asked to participate in the project. The project was
championed by many DJs and details were broadcast on BBC Radio 1 and Kiss
FM, featured on the BBC website and at the Urban Music Seminar.”
Other increases in promotion will inevitably also help, including currently
the PRS website – full details of the scheme are provided at prs.co.uk; PRS
membership magazine – the scheme’s launch and updates are featured in M
magazine (circulated to 44,000 PRS members and publishers); field based
staff – PRS staff based around the UK are available to promote the scheme
where appropriate and talks and seminars – PRS staff regularly engage with
the PRS membership at open meetings, seminars and music events.
Despite the Gigs And Club Scheme promotion and the Matriz research, it is
questionable as to whether clubs, venues and DJs really have knowledge and /
interest in royalty payments. Adrian Crookes disagrees: “Licence holders who
are selected as possible venues for participation in the UK music survey are
sent a letter explaining why PRS conducts the survey ie, to make sure the
licence money paid by music users goes to the right people – the writers and
publishers of the music performed. This information is sent to 45,000 venues
a year, not just the ones that get visited.

More and more DJs are aware that royalties are due from their performances
of recorded music. PRS actively encourages regular DJ performers to submit
details of what they are performing because again, we want to make sure the
royalty goes to the right people – the music creators.”

Even those who do not fully understand the process, it is simple as, “all
they need do is co-operate with our researchers when needs be.” Similarly a
spokesperson for Maritz defends the clubs, venues and DJs, “Most clubs and
venues are happy to allow researchers into their venues. They appreciate
that this is an effective method to make sure the licence money they pay
goes to the right people – the writers and publishers of the music that is
actually performed in their venue.”

The huge use of recorded music in the public forum is undeniable. PRS always
attempt to increase accuracy in payments. But can it be deemed enough?
Geographical factors may make a difference to a set-list, for Wales the
number of clubs and frequency of DJs playing Welsh and Welsh-language
artists will be much higher than anywhere else in the UK. This is one factor
not considered by PRS.

“PRS does not differentiate by region or genre. The PRS UK Music Survey, the
PRS Concerts scheme, the Live Concerts Service, and the Gigs And Clubs
Scheme give Wales, and the rest of the UK a variety of methods to encourage
and ensure that information about performances can be received by PRS and
matched to a royalty.”

Interestingly, two documents – PRS Music Survey 2004: Most Played DJ Tracks
in Wales and PRS Music Survey 2004: Most Performed Songs in Wales (Live)
list the top 10 tracks played and performed in Wales, and did not feature a
Welsh artist. The Beyonce’s of the world are noted, but it may be concluded
that on a lesser scale those who need to benefit most from the plays do not.
Thus, this is where the Gigs And Club Scheme has the potential to make a
difference. As Adrian Crookes emphasises of the scheme, “It’s a surefire way
of getting royalties to the correct writer and producers, particularly those
creators who may not feature in other PRS distribution schemes. There are
people for whom even a modest royalty can make a difference.”
As one of the main principles of the Gigs And Clubs Scheme is that every
submission where a royalty is due, is paid, this makes a lot of sense and is
an encouraging prospect.

Due to the vast number of venues and club nights, the PRS may be unable to
achieve any greater degree of representation of recorded music in this area.
However, they continually look to better the system. As Maritz agree, “PRS,
in partnership with us, is constantly looking at ways to improve the methods
and practices it uses to operate the [visits] survey. In 2004 a series of
processes was introduced which has helped enable us to collect greater
numbers of survey performances than ever before.” And they also have a
strong belief in the current system. Adrian Crookes from PRS again: “The
weightings used to work out the royalties from the sampled premises was
designed by Professor of Statistics at Cambridge University, Frank Kelly.
So, we are confident that we have produced the most accurate survey we can
and is probably the most accurate survey of public performance in the
world.”

PRS can do their best, but a general change in attitude should also be on
the cards. Visit-based research is always going to be difficult to make more
accurate, purely due to the enormity of the area. But DJs who sign up to the
Gigs And Clubs Scheme can help bridge the gap between the megastars and the
grassroots, and benefit those at a lower level by submitting details of
their sets. Rather than the DJ asking why should they join, maybe they
should be asking themselves why not?
l Clubs, venues and DJs with unanswered queries regarding PRS can contact
their local PRS Territory Manager or the National Sales Centre on 0845 309
3090. Or can check out the website: http://www.mcps-prs-alliance.co.uk for further
information

Yes this is True;
It would be Cool if we were able to (and there is the Beginnings of a Distinct Possibility); play Just Music that the Artists (on SoundCloud for instance) had Allowed us to Download for Free; I have probably 150 tracks so far (from there); as the PRS could then take a Run And Jump 🙂

I hate the PRS with a passion. They pull royalties for music they don’t even have rights to.

If this had happened in Communist Russia, we’d be up in arms about in in the West…

On a lesser but related note, TV Licensing – a knock on the door and a man peering into your lounge to see if you’ve got a TV on…

Phil Morse, post: 7855 wrote: On a lesser but related note, TV Licensing – a knock on the door and a man peering into your lounge to see if you’ve got a TV on…

[media=youtube]mn1Y7nhB16U[/media]

Don’t mind the crappy intro, it gets better after a couple of seconds in.

dog licence, tv licence, road tax, income tax, its all stupid ways of making money, I had a dvd player in my car before and a cop asked me did I have a licence for it!