Royalties Guide
PRS vs PPL explained: the complete guide for UK musicians
PRS for Music and PPL are two separate organisations that collect different types of royalties for UK musicians. If you write songs, perform on recordings, or do both, understanding which organisation does what is essential for getting paid what you are owed. This guide explains the differences in plain English.
What this means in practice
In the UK music industry, there are two main types of rights that generate royalties: the rights in the song itself (the composition) and the rights in the sound recording of that song. PRS for Music collects royalties on behalf of songwriters, composers and music publishers when their musical works are performed publicly, broadcast or streamed. If you write the words or music to a song, PRS is the organisation that collects royalties when that song is played on the radio, performed live, streamed on Spotify, or used in a TV programme. PPL (Phonographic Performance Limited) collects royalties on behalf of performers and record labels when their sound recordings are played publicly or broadcast. If you sing or play an instrument on a recording, PPL collects royalties when that specific recording is played on the radio, in a shop, at a gym, or broadcast on television. The key distinction is that PRS deals with the underlying song (who wrote it), while PPL deals with the specific recording (who performed on it and who owns the master). A song can have many different recordings, and each recording can generate separate PPL royalties for the performers on that version.
What this guide covers
PRS for Music: collecting for songwriters and composers
PRS for Music collects two main types of royalties for songwriters: Performing royalties: These are generated when your song is performed live, played on the radio, broadcast on TV, streamed online, or played in public places like shops, pubs and restaurants. Every time your song is used publicly, the user (broadcaster, venue, streaming service) pays a licence fee to PRS, and PRS distributes that money to the songwriters. Mechanical royalties: These are generated when copies of your song are made, such as when it is pressed onto vinyl, burned to CD, or downloaded digitally. In the UK, MCPS (Mechanical-Copyright Protection Society) handles mechanical royalties, and PRS administers MCPS on behalf of most writers. To receive PRS royalties, you need to be a PRS member and register your songs (called "works") with them. When you release a song, you should log into your PRS account and register the work, providing details like the song title, writers, splits, and any ISWC or catalogue number.
PPL: collecting for performers and recording owners
PPL collects royalties when recordings are played on radio, TV, in public venues, or used in certain online services. These royalties are separate from what songwriters earn through PRS. PPL splits the royalties it collects 50/50 between the recording rights holder (usually the record label or whoever funded the recording) and the performers who played on the track. To receive PPL royalties, you need to: 1. Register as a PPL performer or recording rights holder 2. Register your recordings with PPL, including the ISRC code 3. Make sure all performers on the recording are credited If you are an independent artist who owns your own recordings, you should register as both a performer and a recording rights holder to collect both shares.
How streaming royalties work
Streaming services like Spotify, Apple Music and Amazon Music pay both PRS and PPL (or their international equivalents) for the right to stream music. When a song is streamed: - PRS collects a share for the songwriters (the composition right) - PPL collects a share for the performers and recording owners (the recording right) The exact split varies by service and territory, but roughly speaking, streaming royalties are divided between the recording side and the publishing side. Many artists find that the recording royalty (paid via their distributor or label) is larger than the PRS publishing royalty, but this depends on your deals and registrations. If you are a self-releasing artist who writes your own songs and performs on your own recordings, you could potentially receive: - Streaming royalties from your distributor (recording income) - PPL performer royalties for UK broadcasts and public performance - PRS royalties for the songwriting
PRS and PPL Registration Checklist
- Identify whether you are a songwriter, performer, or both
- Register with PRS for Music if you write or co-write songs
- Register with PPL if you perform on recordings
- If you own your recordings, also register as a PPL recording rights holder
- After each release, register your works with PRS (song details, writers, splits)
- After each release, register your recordings with PPL (ISRC, performers, rights holder)
- Keep records of all ISRCs and metadata for your releases
- Set up direct deposit for royalty payments
- Check your statements regularly to ensure royalties are being tracked
- Update your contact and payment details when they change
This checklist is for general education only and is not legal, tax or financial advice.
Common mistakes to avoid
Example scenarios
Solo artist who writes and performs their own songs
If you write your own songs and self-release through a distributor, you should join both PRS (as a songwriter) and PPL (as a performer and recording rights holder). After each release, register the song with PRS and the recording with PPL. Your distributor will pay you the recording royalties from Spotify etc, but PRS and PPL royalties come separately.
Session musician who does not write songs
If you play on recordings but do not write the songs, you only need to join PPL as a performer. Make sure you are credited on the recordings you play on, and register those performances with PPL. You will receive PPL royalties when those recordings are played on radio or in public.
Songwriter who does not perform
If you write songs that are recorded and released by other artists, you should join PRS as a songwriter. You do not need PPL unless you also perform on recordings. Make sure your songs are registered with PRS and that the splits with any co-writers are agreed and documented.
Band with multiple writers and performers
Each member who writes should join PRS individually. Each member who performs on recordings should join PPL. The band should agree on songwriting splits before release and register these with PRS. For PPL, all performing members should be credited on the recording.
These scenarios are illustrative examples only and not legal advice. Your situation may differ.
Records to keep
When to speak to a qualified professional
Source notes
- PRS for Music (prsformusic.com) - member resources and registration guides
- PPL UK (ppluk.com) - performer and rights holder information
- UK Music industry guidance on royalty collection
- MCPS (Mechanical-Copyright Protection Society) documentation
Educational Disclaimer: This guide is for general educational purposes only and does not constitute legal, tax or financial advice. The information provided is based on publicly available resources and may not reflect the most current legal developments. Always consult with qualified professionals for advice specific to your situation. Musicians Rights UK is not a trade union, collecting society, law firm, royalty collection society, publishing administrator or government body.
Get more practical guidance
Join the Musicians Rights UK newsletter for free updates on contracts, royalties and fair pay.