Dear PCAM Member,
This is the latest in a series of Newsletters that we publish five times a year, following meetings of the PCAM Committee.
Each Newsletter contains a brief report from the recent Committee meeting, plus other current news and views and an edited version of a recent query to the PCAM Helpdesk.
We would like to receive more contributions to the Newsletter from PCAM members. If you want to write something for inclusion or send us a link to something interesting you have read or seen, please contact PCAM Administrator Bob Fromer on: bob.fromer@outlook.com.
Best regards,
The PCAM Committee
CONTENTS
— Message from the Chair
— PCAM Summer Social
— Feature Story: Reflections from Brussels: Report from the ECSA Spring Conference
— PCAM x Balance the Mix: Mentorship in Motion
— Reminder: PCAM Membership Fees in 2026
— Changes in the Computer Game Industry
— PCAM Q&As Volume 5 Now Available
— Notes from the PCAM Committee Meeting: 28 April 2025
— Virtual Music Assistant
— Remaining PCAM Committee Meeting Dates in 2025
— Case Study from the PCAM Helpdesk
— PCAM Social Media
MESSAGE FROM THE CHAIR
Dear PCAM Members,
As we continue our journey through 2025, I want to take a moment to reflect on the latest developments in our community and the broader industry, and to share some important updates from the PCAM Committee.
Mentorship Scheme Success and Call for Mentors
Our PCAM/Balance the Mix mentorship programme is now in full swing (see article below) and the response has been nothing short of inspiring. We received over 100 applications from talented non-male composers, eager to gain insight and support as they build their careers. Eleven mentees have already been matched, and early feedback suggests that the impact is both significant and rewarding.
However, demand has far outstripped supply. We urgently need more mentors to step forward. Just one hour a month of your time can make a profound difference in someone’s career — and in turn, you may find the experience rewarding in unexpected ways. Please consider joining us in nurturing the next generation of composers and producers. If you’d like to volunteer or find out more about the opportunity, contact Michelle Murchan (michelle@pcam.co.uk).
New Opportunities in Gaming — But Caution Required
We’re also seeing a notable uptick in music briefs from the gaming sector, possibly due to recent restructuring in the in-house composer teams at major gaming studios (see article on this below). This shift could signal a greater reliance on freelance talent — an opportunity we welcome. However, we must remain vigilant: some contracts appear to include rights transfers that may be deemed unfair. If you’re working in this space, please ensure you fully understand the terms before signing.
The ECSA Conference and the Fight for Fairness
Earlier this spring, I had the privilege of attending the ECSA Conference in Brussels. It was an eye-opening experience, reinforcing how seriously our peers across Europe are tackling the issues of unfair contracts, rights erosion, and the implications of artificial intelligence in music.
These topics are central to PCAM’s advocacy work, and I’ll share a deeper dive into my learnings in an article on the Conference below.
Market Volatility: All or Nothing?
Across the board, there’s a prevailing sense of uncertainty in the industry. As noted at our recent Committee meeting, the ”middle ground” of regular, sustainable work is becoming increasingly rare. Many of us are witnessing a growing divide — either you’re landing one of the big-budget campaigns, or you’re struggling to find traction at all. The market feels jittery, and it’s a reminder of the importance of community, resilience, and adaptation in such times.
Save the Date: PCAM Summer Social — 1st July
We’re excited to be hosting our Summer Social on Tuesday 1 July (details below). With several guests from across the industry already confirmed, it promises to be a lively and inspiring evening. We’d love to see as many members as possible there — so please mark your calendar and come join us!
Advocacy and Support
Amid various industry developments, our Committee continues to engage with PRS on critical issues such as commissioning practices, social media royalties, and the growing concerns around AI. We are also working to update our Podcast Series for 2025, offering fresh resources for members.
As ever, PCAM is here to support you — through advocacy, connection, and opportunity. Please stay involved, lend your voice where you can, and reach out with ideas or concerns.
Together, we can weather the turbulence and continue to shape a vibrant, fair, and innovative future for music in media.
Best regards,
Paul Reynolds, PCAM Chair
PCAM SUMMER SOCIAL
The guest list is growing all the time for the PCAM Summer Social, scheduled for Tuesday 1 July starting at 6.00 pm at The Refinery, 5 Brock Street, London NW1 3FG, just a few minutes’ walk from Warren Street or Great Portland Street tube stations.
This year, we’ve invited people from other music industry groups to join us, and so far we’ve had confirmations from UK Music, SCOREcast, BAPAM, and the Alliance for Women Film Composers, with more expected to follow. So the opportunities for useful chats and networking will be greater this year than ever!
We might be reaching our limit on total numbers, so make sure to book a place at the PCAM Summer Social for yourself and any colleagues or guests you’d like to bring by contacting Michelle Murchan, on michelle@pcam.co.uk, by Friday 13 June.
FEATURE STORY: REFLECTIONS FROM BRUSSELS: REPORT ON THE ECSA SPRING CONFERENCE
PCAM Chair Paul Reynolds attended the Spring Conference held by ECSA (The European Composer and Songwriter Alliance) in Brussels in March. Here is Paul’s report:
The European Composer and Songwriter Alliance (ECSA) represents over 30,000 music creators across Europe. Its mission is to stand up for composers’ and songwriters’ rights — fighting for fair pay, better contracts, and protection in a rapidly changing music and tech landscape. Think of it as our collective voice in the corridors of power.
Why This Conference Mattered
At the end of March, I had the chance to attend the seventh edition of the ECSA Creators Conference in Brussels, hosted inside the European Parliament. It brought together a passionate group of composers, songwriters, lawyers, MEPs, and activists, all aligned by a common mission: to build a fairer, more sustainable future for creators.
It’s fair to say that it was equal parts empowering and sobering.
As MEP Emma Rafowicz put it: “We must guarantee that the three principles of transparency, consent, and fair remuneration for creators are at the heart of the upcoming AI strategy.”
AI, Copyright, and Our Work
One of the biggest talking points at the Conference was AI — how it’s trained, what content it uses, and what that means for us.
From OpenAI to Suno, there’s growing evidence that copyrighted music has been used without consent to train these models. GEMA’s Julia Niebler-Kaiser talked about current lawsuits tackling this exact issue.
There’s an ongoing push for transparency in how AI tools are built and used. The message was clear: we’re not anti-technology, but we are pro-accountability. As one speaker said: “If Coca-Cola can list its ingredients, so can tech companies training AI on our work.”
A licensing model for AI use — akin to music sync deals — was proposed. Without proper regulation, the risk is that AI-generated content quietly replaces human creativity, using our original works as its foundation without acknowledgment or payment.
Streaming’s Broken Economics
Streaming also came under fire, and it’s no secret that the economics don’t work for most composers. We heard sobering stats about just how skewed revenue splits remain, with creators often getting scraps while major labels (who no longer carry physical costs) still pocketing 80% of the income.
Tobias Stenkjær, Chair of ECSA’s Music Streaming Working Group, summed it up: “The numbers are terrible. We need action.”
There were also calls to make algorithms more transparent, fix metadata, and crack down on fraud and fake plays. All these issues affect how — and whether — our music is discovered, tracked, and paid for.
The Fight Against Buyouts
This was another hot topic, and ECSA board member Anselm Kreuzer put it bluntly: “You can’t assess the long-term value of a work upfront. That’s why fair, proportionate remuneration through contracts is essential.”
Multiple speakers stressed that this practice is stripping composers of their rights and financial futures. There’s a push to strengthen Article 18 of the European Copyright Directive, making fair pay and long-term royalties non-negotiable.
Where Do We Go from Here?
The closing message? Creators must not be squeezed out of conversations about technology, law, and business. Our work is culture. Our voices matter. As one panelist said: “This is not just about contracts — it’s about protecting Europe’s creative soul.”
PCAM will continue to support ECSA and bring these conversations to our members in the UK. We’ll also be exploring how these policy shifts might influence our own legal frameworks, and how we can help those facing unfair deals.
I left Brussels feeling hopeful. There’s a lot of work ahead, but it was reassuring to see how many smart, passionate people are fighting for a better deal for creators. If we stay united, informed, and loud, we really can shape the future of our industry.
PCAM x BALANCE THE MIX: MENTORSHIP IN MOTION
PCAM is proud to be hosting our first-ever Mentorship Scheme in collaboration with Balance the Mix, a non-profit founded by PCAM Committee Member Becky Wixon with a mission to Equalize Music.
The goal? To open more doors for women and gender-expansive composers in the media music industry, where currently only 3% of composers are female. That imbalance narrows the voices shaping our soundtracks, limiting depth, relatability, and reach.
The Mentorship Scheme got under way in April and will finish in October, and is already making waves: one mentee has landed a dream job at a music agency, and another secured their first paid media composition brief.
Over the course of six months, mentees are receiving monthly one-on-one support in areas of their choice — from creativity to business and networking.
We received 100 applications and matched 11 promising mentees with an incredible group of mentors: huge thanks to Karina Byrne, David Lowe, Chris Green, Ilā Kamalagharan, Blair Mowat, Daisy Lowe, Jennifer Ann Keller, Len Mattea, Toby Jarvis, and Becky Wixon.
We can’t wait to see what the rest of the programme brings, and we hope we’ll be able to continue it in 2026.
REMINDER: PCAM MEMBERSHIP FEES TO RISE IN 2026
A reminder to PCAM members – so no one will be caught by surprise next year! – that we are raising our membership fees in 2026 for the first time since 2015, to cope with rising costs and to help us do even more to support our members.
Annual membership fees in 2026 (still payable in two six-monthly instalments) will change as follows:
- Student fees will rise from £25 a year to £30
- Tier 1 fees will rise from £150 a year to £180
- Tier 2 fees will rise from £300 a year to £360
- Tier 3 fees will rise from £550 a year to £660
These higher membership fees should bring in between £4,000 and £5,000 in additional annual income, which will put us back in the black for our day-to-day operations.
CHANGES IN THE COMPUTER GAME INDUSTRY
Chris Green, the PCAM Committee’s expert on music for video games, writes about changes taking place in the industry:
Over the past two years, the computer game industry has experienced significant and dynamic transformations, resulting in a substantial number of job losses.
In 2023, there were over 10,500 job losses, and an estimated 14,600 in 2024, primarily attributed to the post-COVID industry contraction and shareholder expectations. These factors have led to studio closures and restructuring initiatives.
Consequently, many large and small AAA game studios have reduced or eliminated in-house audio and music support.
On the positive side, this industry-wide disruption has prompted studios to seek short-term freelancers and small audio outsourcing teams to meet their ongoing music and audio requirements. I personally anticipate that this development will lead to a similar model to that seen in the film industry, where teams of independent contractors collaborate to realise projects for multiple clients. This approach will result in a more open and collaborative industry, no longer dominated by major studios, and will encourage the emergence of more independent and low-budget productions.
This development necessitates that freelancers and contractors seeking employment in the video game industry acquire more knowledge and skills than ever before to safeguard themselves. PCAM can provide valuable information on video game contracts and copyright protection, enabling you to thrive in this rapidly evolving industry.
PCAM Q&As VOLUME 5 NOW AVAILABLE
Over the past few years, an edited selection of questions sent to the PCAM Helpdesk, and the answers provided by PCAM Committee member Tony Satchell, who runs the Helpdesk, have been published annually on the PCAM website.
A new selection of Helpdesk Q&As from 2024 and early 2025, called Helpdesk Volume 5, is now available on the website here — https://www.pcam.co.uk/pcam-helpdesk-faqs – and you can also find Volumes 1-4 on this page.
Because our members often run into similar kinds of problems, and ask the Helpdesk similar kinds of questions, perusing these questions and answers can often be helpful, especially for newer members.
NOTES FROM THE PCAM COMMITTEE MEETING: 28 APRIL 2025
The PCAM Committee’s most recent get-together was a remote meeting on 28 April.
Those present were Paul Reynolds (Chair), Chris Smith, Tony Satchell, Jonathan Watts, Chris Green, Becky Wixon, Simon Surtees, Michelle Murchan, and Bob Fromer, while Greg Owens sent an AI Notetaker.
Apologies were received from Blair Mowat, Karina Byrne, and Bankey Ojo, while guests were Toby Jarvis from A-Mnemonic and Paul Cartledge from Yellow Boat Music. Some of the discussions and decisions from the meeting are below:
PCAM participation in the ongoing PRS Education Outreach Project:
The next PRS Media Music Outreach event, presented with Lewisham Music and PCAM, will be held on 25 July, and will deal with library music. PCAM may be more hands-off on this session than we have been previously, but we still plan to offer free six-month memberships to selected participants in the programme in the hope of making their entry to the industry easier and potentially gaining new paying members down the line.
Update on PCAM social media accounts:
PCAM now has a Linked-In page to go with our Facebook and Instagram accounts.
AI issues:
The Committee has decided to pause the idea of putting together a seminar on AI with the PRS until we are clearer about their position on the issues and what we would want such a seminar to achieve.
Although the government’s consultation on AI with respect to the creative industries has now closed, Simon Surtees told the meeting that everyone needs to keep up the pressure.
The government seems to have been taken by surprise by the strength of the representations made to it on AI and copyright, and the subsequent debate in Parliament saw a wide range of MPs speak to the fears expressed by people from the creative industries that play such a vital role in the nation’s economy.
The relevant Minister, Chris Bryant, has promised transparency – and possibly another debate – as the government proceeds with legislation.
PCAM Education Project:
PCAM Committee member Chris Smith will undertake a review of the PCAM Education Project prospectus to bring topics and costings up to date. Meanwhile, the search for funding for the Project continues.
State of the industry:
There was a consensus at the meeting that this is a time of uncertainty and nervousness in the media music industry, with a slowdown in big ticket items around the world — and much of this can be traced to what’s happening in America.
“I’ve never seen so much caution,” Toby Jarvis told the meeting, “though the pain may be felt more in the States than here.”
Chris Smith said: “Everyone feels the need to recalibrate their thinking”, and Paul Reynolds added that “Brave work just isn’t there now. There is a lack of exciting creativity.”
It was also noted that YouTube is advertising “Royalty-Free Music” through its new AI Tool – “The Best AI Music Creator”.
PRS:
PRS has a Media Writers Group, chaired by Mat Andasun, and Chris Smith will attend the group’s next meeting on 11 June to talk about issues such as coercive publishing and attempts to get around Rule 2F2. If anyone has questions or topics they would like Chris to raise at this meeting, please send them to PCAM Administrator Bob Fromer (bob.fromer@outlook.com), who will pass them on to Chris.
ASSISTANT FOR MUSIC
Everything from project research, diary and file management, and social media, to bookkeeping and much more!
Many years of invaluable experience from working in the creative industries, with BASCA/Ivors, BBC, ACE, TV production, and for many media composers.
Be good to hear from you!
Thanks, Michelle
PCAM COMMITTEE MEETING DATES IN 2025
Remaining PCAM Committee meetings in 2025 will be held on:
- Tuesday 1 July (in person at the Old Diorama Arts Centre NW1 plus Summer Social at a venue nearby)
- Tuesday 9 September (remote)
- Tuesday 18 November (in person at the Old Diorama Arts Centre NW1)
Any PCAM member interested in attending any PCAM Committee meeting should contact PCAM Administrator Bob Fromer (bob.fromer@outlook.com).
PCAM HELPDESK Q&A
Below is a question-and-answer exchange from the PCAM Helpdesk (the questions are in black type and the Helpdesk answer from Tony Satchell is in blue).
Q: I am a composer and producer and I’m urgently looking for some advice on some overseas aspects of music writing in advertising, including making prices for a potential advertising company in SE Asia.
The situation is that at the moment I am almost bankrupt — all I have is my studio equipment — but at the same time I have 20 years’ experience and have work starting to come in.
I simply cannot afford to pay anything at the moment, but I wondered whether I could get some advice on helping me construct some prices? If things go well I would of course love a proper membership of PCAM.
Thanks for your time and consideration.
A: I’m sorry to hear of your predicament and hope this year brings you better fortune.
Below are a few basic prices, which are only suggested guidelines to help you structure a proper quote for your client.
Demo Fee: £500-£1,500
This fee does not allow them to broadcast the track but can be deducted from the Total Master Fee if you want.
The Total Master Fee is always divided into three parts: Production, Composition, and Licence.
Master Production Fee: £1,000-£4,000
This should be whatever it costs you in talent (musicians/singers etc) but should also include a fee for your own time and for using your own equipment.
Master Composition Fee: £1,000-£5,000
I charge £4K but you should charge whatever you feel you are worth and are comfortable with.
Master Licence Fee:
I’m basing this on a Composition Fee of, say, £2,000 for, say, Asia, All Media @ 500% for One Year Usage only = £ 10,000. The Licence depends on the Territory (country or countries of broadcast) and the Term (length of the Licence – months/years) and the Media (TV, Radio Internet, etc) and is taken as a percentage based on your Composition Fee:
- Territory: The whole of Asia @ 500% of Composition Fee (for example the World is 2,500% of Comp Fee).
- Term: Normally, Licences are for a Year, which is what our recommendations are based on.
- Media: Normally taken as All Media, particularly if the usage is overseas.
So, your Total Master quote could look like this:
Production: £ 1,500
Composition: £ 2,000
1 x Year Licence for All Media Asia only: £ 10,000
TOTAL MASTER FEE: £ 13,500
These figures can be altered to suit the circumstances but should be kept in the same sort of aspect ratio.
You can charge what you like for your work, but you should always bear in mind that your talent and experience should be properly paid for, otherwise there is no point in doing this as a job. Everyone deserves a living from their hard work!
I hope this helps a bit.
Q: Thank you so much for your guidance and wise advice; it was extremely helpful and exactly what I needed to know. Actually, I was very touched indeed to receive it. I feel so sorry I had to ask; I spent many hours of research online and I was getting such disparate and wide-ranging information. I will certainly be fortifying my position as a composer by joining PCAM at the first opportunity; it’s something I should have done a long time ago.
PCAM SOCIAL MEDIA
For all the latest news on PCAM seminars and workshops, our new series of podcasts, plus industry-wide events and initiatives, be sure to follow PCAM on our socials.
Our two series of podcasts, including the series published in 2024, are now available on SoundCloud.