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 case studies from 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: [email protected].
Best regards,
The PCAM Committee
CONTENTS
— Message from the Chair
— PCAM Summer Social
— Feature Story: PRS Media Writers Group and Royalties from Ads on Streaming Platforms
— Recent PCAM Educational Events:
- An Evening at Lewisham Music
- Music for Film Composition Event at PRS
- PCAM/PRS “Back to Basics” Seminar
— PCAM Mentorship Programme for 2026 Gets Under Way
— PCAM Q&As Volume 6 Now Available
— PCAM 2026 Podcast Plans Finalised
— Suno: The Dark Truth of Ownership
— Support PCAM Chair Paul Reynolds in His Fundraising Cycle Ride
— Notes from the PCAM Committee Meeting: 27 April 2026
— Remaining PCAM Committee Meeting Dates in 2026
— Music Industry Assistant
— Case Studies from the PCAM Helpdesk
— PCAM Social Media
MESSAGE FROM THE CHAIR
Dear PCAM Members,
Welcome to the latest PCAM Newsletter!
As we move towards the summer months, I want to reflect on our industry’s current state, share encouraging news regarding your royalties, and look ahead to what the rest of the year holds for media composers.
Economic Realities and Staying Visible
There is no denying that the broader macroeconomic picture is currently challenging. The ongoing Middle Eastern conflict has had knock-on effects across global trade, leading to noticeable delays in manufacturing and supply chains. This inevitably impacts marketing timelines and client confidence. While nobody has a crystal ball regarding the exact economic situation, the outlook for the remainder of the year looks undeniably tough.
My advice in times like this? Double down on your self-promotion. It is a natural instinct to go quiet or pull back when the market tightens, but this is exactly when you need to stay visible. Keep reaching out to your network, updating your showreels, and reminding clients that you are ready and available.
The Realities Behind Recent Studio Closures
On a somber note, we have sadly witnessed a few excellent creative companies and studios close their doors over the last couple of months. While it is easy to point the finger at AI or a general dip in demand, the reality on the ground is different.
The real culprits driving these closures are skyrocketing commercial rents and crippling business rates. This is forcing a necessary, strategic rethink across the industry regarding where creative companies can realistically afford to be based.
Positive Developments: PRS and Online Advertising Royalties
Despite the economic headwinds, there is some very bright news. I am incredibly encouraged by the recent flurry of activity at PRS regarding royalties for online advertising usage. We are keeping a very close eye on this and will keep you fully up to date as things progress. I strongly urge everyone to read Chris Smith’s detailed report on this topic later in the Bewsletter.
Furthermore, PRS has continued to be a huge source of support, and many of our members are reporting a welcome uptick in their general royalties. Given the current economic climate, this injection of revenue could not come at a better time.
Looking Ahead: The PCAM Summer Social
Finally, after a busy first half of the year, it is time to get together. I am very much looking forward to connecting with PCAM members and our wider network of industry friends at the upcoming PCAM Summer Social on 9 June 9. It will be a great opportunity to catch up, share stories, and take a well-earned breather.
I want to wish everyone a happy, healthy summer filled with excellent briefs. Keep pushing forward. The Christmas ad brief season is just around the corner!
Best regards,
Paul Reynolds PCAM Chair
PCAM SUMMER SOCIAL
As this Newsletter goes out, on 26 May, we’re just two weeks away from PCAM’s annual Summer Social, scheduled for Tuesday 9 June from 6.00 pm at The Refinery, 5 Brock Street, London NW1 3FG — and if you’re planning to attend, the deadline for RSVPs is getting even closer: it’s Monday 1 June.
To confirm that you’ll be coming, please email PCAM Event Organiser Michelle Murchan on [email protected], and let her know if you’ll be bringing anyone with you.
The Social will bring together PCAM members and Committee members, plus representatives from other media music organisations and charities, so it should be a great evening of industry networking and chat.
And the first drink and the excellent finger food will be on us!
We’re looking forward to seeing you on the night!
FEATURE STORY: PRS MEDIA WRITERS GROUP DISCUSSES ROYALTIES FROM ADS ON STREAMING PLATFORMS
The PRS for Music Media Writers Group meets two to three times a year. It is currently chaired by media composer Mat Andasun and comprises up to 50 attendees plus a number of PRS staff, headed up by David Newton, who is PCAM’s primary point of contact within PRS.
The group is divided roughly in half between media composers and publishers, with some attending in person and others dialing in online.
PCAM Committee member Chris Smith attended the group’s most recent meeting on 29 April, and raised the long-standing issue of payment (or rather, non-payment) of royalties for commercials on streaming platforms.
In a detailed report on licensing deals presented by Caryn McEwen, PRS Head of Broadcast & Digital, Caryn had claimed that while the data from the streaming arms of linear channels can be accessed, it has historically not been technically possible to obtain data from dedicated streaming platforms.
However, Chris told the meeting that BARB has been able to offer data from dedicated streaming platforms for at least five years and that PCAM members were wondering why this issue had remained unresolved.
Another online attendee, Paige Gibbs, who administers rights for a number of composers, confirmed that advertising agencies obtain data on commercials being streamed in order to be able to report to their clients.
Caryn McEwen then announced that the Danish Performing Right Organisation, KODA, appears to have made a breakthrough on data-gathering for these platforms and will be paying royalties for commercials based on this data going forward.
She also tacitly acknowledged Chris’s comment about BARB by announcing that PRS is looking to develop a partnership with the digital data provider that services BARB, and will also be liaising with KODA to learn how they have managed to solve this issue. Mat Andasun promised that the issue would be a full agenda item at future meetings.
The Ivors Academy is campaigning on this issue as well, and further developments are expected.
Another highlight of the meeting was an interesting and possibly groundbreaking proposal regarding the assignment of mechanical rights, presented by MPA/MCPS CEO Paul Clements.
Paul’s innovative proposal to protect unrepresented media writers from being coerced into giving up their mechanical rights to production companies as a pre-condition of obtaining a commission is to enable them to assign them to MCPS, in the same way that the performing right is assigned to PRS.
He was keen to stress that, at this point, he is testing the water to see if there is an appetite amongst composers for his idea, acknowledging that they might fear they would lose work from production companies who were no longer able to implement a rights grab. Nevertheless, it was extremely encouraging to see that efforts are being made to protect media composers from these financially harmful practices.
RECENT PCAM EDUCATIONAL EVENTS:
AN EVENING AT LEWISHAM MUSIC
PCAM Chair Paul Reynolds writes:
On Thursday 14 May, the much-anticipated “Back to Basics” industry workshop took place at The Cockpit in Deptford, hosted by Lewisham Music’s Creative Futures programme in partnership with PCAM and PRS for Music. The evening was specifically designed to support young creatives and composers in understanding the essentials of managing their rights and thriving as self-employed musicians.
I am incredibly pleased to report that the event was a great success. It was immediately clear that there was a huge amount of talent in the room. The audience of emerging music creatives was highly engaged from the very beginning, asking insightful questions and showing a real hunger to understand the mechanics of the industry.
The talks provided a wealth of valuable, actionable knowledge:
- The Business of Applied Music: I kicked off the PCAM sessions by breaking down what “applied music” actually is, how the money flows in our sector, and how to effectively budget and get paid.
- Creative Workflow & Pitching: PCAM Committee member Becky Wixon delivered an essential deep dive into the practicalities of day-to-day work, covering collaboration, staying organised, and how to pitch your work effectively to brands and directors.
- Managing Rights: David Newton and Jataneel Banerjee from PRS for Music laid down the fundamentals of copyright, how to register works, and tips for maximising income streams.
- Panel Discussion: We brought it all together with a lively panel and Q&A featuring composer Oleta Haffner, artist Shumba Maasai, Becky, and myself. We shared real-life industry experiences, common pitfalls, and survival strategies for freelance creatives.
The sessions gave way to a brilliant hour of networking and open-deck DJing, allowing everyone to connect and showcase their skills.
I want to extend a huge thank you to Lewisham Music for hosting us and for their hard work in putting together such an inspiring night. Engaging directly with the next generation of composers and sharing transparent, trustworthy information is a core part of what PCAM does, and it was a privilege to be part of such a vibrant evening.
MUSIC FOR FILM COMPOSITION EVENT AT PRS
Paul Reynolds writes:
We were very happy with the highly successful ‘Music for Film Composition’ session held at PRS headquarters in London on Wednesday 22 April. We are especially grateful to our co-hosts, Lewisham Music and PRS for Music, and to our incredible presenters and panelists.
The content explored both the creative and professional sides of writing for the screen, offering essential insight into workflows, collaboration, and career development within film scoring.
The session featured highly talented film composers Daisy Coole and Oleta Haffner as the main speakers, who dove into their creative processes, career journeys, and experiences in film and TV. They were joined by Shumba Maasai, a music supervisor, artist, and long-standing facilitator with Lewisham Music, who expertly moderated the Q&A segment.
Paul Reynolds also updated the audience on PCAM’s work and the benefits of being part of the PCAM community.
The event was extremely useful for the approximately 50 young attendees. We received a lot of great feedback, and the high interest in PCAM memberships following the event attests to the value provided.
Events like this are vital for the industry, as their primary aims are to inspire and support young composers, particularly those from under-represented backgrounds, to explore film composition and demystify the pathway into the industry. The session focused on promoting diverse and inclusive music creation with an emphasis on equality and representation, and provided key knowledge to help participants kick-start their careers.
PCAM/PRS “BACK TO BASICS” SEMINAR
PCAM and PRS for Music hosted an evening seminar on 18 March focused on music administration and royalty management — an area that, despite its financial significance, is frequently overlooked by composers and musicians working in media and advertising.
The event brought together industry speakers, PRS staff and PCAM Committee members to review latest developments, share practical guidance, and open a broad Q&A on topics including digital royalties and artificial intelligence.
Speakers & Panelists
- David Newton — PRS Media Member Account Manager.
- Chris Green — Founder of Khaos, Composer/Creative Director of Blurred Edge, and PCAM Committee member.
- Joel Stoner — Senior Onboarding and Implementation Manager, Soundmouse by Orfium.
- Amelia Vernede — Head of Production, Father, and PCAM Committee member.
- Bankey Ojo — Composer, Sound Designer and Creative Consultant, and PCAM Committee member.
- Steven Joyce — Managing Director, Sounds Like Publishing.
Programme
5.30–5.45 pm: Welcome & Latest News
David Newton (PRS Media Member Account Manager) and Chris Green (PCAM Committee) opened the evening with organisational updates from both bodies.
5.45–6.05 pm: PRS Royalties Overview
David Newton provided a practical walkthrough of everything composers need to do to ensure royalties are correctly collected, with particular focus on digital media channels.
6.05–6.35 pm: Work Registration & Soundmouse
Joel Stoner, Senior Onboarding and Implementation Manager at Soundmouse by Orfium, explained the critical importance of registering works within music fingerprint databases, and how visibility in these systems directly affects royalty collection.
7.00–8.00 pm: Panel & Q&A
A wide-ranging panel moderated by Chris Green featured PCAM Committee members Amelia Vernede and Bankey Ojo, alongside Steven Joyce and David Newton. Topics covered included AI, copyright ownership, and the intrinsic value of human creative works.
8.00–8.30 pm: Closing Drinks & Mixer
Informal networking and 1:1 discussions with speakers.
Key Themes and Takeaways
Royalty Management & PRS Systems
David Newton reinforced that proactive administration is essential for maximising income. Many composers — particularly those working in media — leave royalties unclaimed through lack of engagement with the PRS system. Keeping registrations current and understanding how digital media royalties are tracked are foundational steps.
Work Registration & Fingerprinting (Soundmouse)
Joel Stoner’s session highlighted that registering a work is not sufficient on its own — it must also be discoverable within fingerprint databases such as Soundmouse. These tools are used by broadcasters and platforms to identify music automatically; works absent from the database risk going undetected and unpaid.
AI, Ownership, and the Value of Human Creativity
The panel generated substantial discussion around artificial intelligence and copyright. Panelists explored questions of authorship and ownership in an AI-assisted landscape, the intrinsic value of human-made works, and some of the ethically questionable but currently common commercial practices emerging in this space. The session underscored that while legal frameworks remain unsettled, composers should be actively informed and engaged with these developments.
Conclusion
The evening served as a timely reminder that music administration — while often perceived as dry or complex — has a direct and significant impact on composers’ incomes. The combination of practical guidance from PRS and Soundmouse, alongside the open-ended panel discussion on AI and ownership, gave attendees both actionable steps and a broader context for navigating an increasingly uncertain landscape.
The networking session provided further opportunities to discuss individual issues with speakers directly.
PCAM MENTORSHIP PROGRAMME FOR 2026 GETS UNDER WAY
We’re thrilled to confirm that the second year of our Mentorship Scheme is officially underway. Eight talented female and gender-expansive music producers have secured a place on the programme, which kicks off this month and runs through to November.
As with last year, each mentee will be paired with an industry mentor for six months of one-to-one support, guidance, and invaluable real-world insight. The programme’s goal is to uplift under-represented voices, build confidence, and foster a sense of community in what can often be an isolating career path.
This year’s cohort was selected from applicants who applied in Year 1 but weren’t selected — something we felt strongly about. Rather than immediately opening up to new applications, we wanted to go back to those who had already put themselves forward and give them first chance at a place. We’re really pleased with how that’s worked out.
We’re delighted to welcome back three mentors from last year’s programme — David Lowe, and PCAM Committee members Becky Wixon and Chris Green — who have all generously given their time again for Year 2. Joining them for the first time this year are Toby Jarvis, Andy Huckvale and Michael Blainey, alongside PCAM Committee members Paul Reynolds and Bankey Ojo – bringing a wealth of new perspectives and experience to the programme.
Mentees who are not already PCAM members will receive a free six-month membership, giving them access to valuable resources during their mentorship, including contract support, industry advice, and guidance on AI in music.
PCAM Q&As VOLUME 6 NOW AVAILABLE!
Every year, PCAM publishes an anthology of questions sent by members to the PCAM Helpdesk over the past 12 months, and the answers provided by PCAM Committee member and Helpdesk guru Tony Satchell.
The latest Q&A anthology, consisting of questions submitted between April 2025 and April 2026, has just been published. It’s now available on the website as HELPDESK – VOLUME 6, and can be found here.
It’s always worth glancing through these anthologies of questions and answers, as most of them are addressing problems faced by many media composers.
You can also find Helpdesk Q&As Volumes 1-5, from 2020 through 2025, on the same page.
If you want to pose a question to the Helpdesk or discuss a problem, just email [email protected].
PCAM 2026 PODCAST PLANS FINALISED
After discussion at the recent PCAM Committee meeting in April, it looks like we will record, edit, and release a total of seven new podcasts by the end of this year.
One podcast – “Building a Music Department” – has already been recorded by Camille Award winner and PCAM Committee member Blair Mowat and is currently being edited.
The other six podcasts to be produced this year (and their moderators) are:
- Wellbeing in the Applied Music Industry (Paul Reynolds)
- Fairness in the Applied Music Industry (Becky Wixon)
- A Day in the Life of Writing for Advertising (Simon Surtees)
- AI Issues and Possibilities (Chris Green)
- A Lighthearted Look at What Can Go Wrong with Branding (Bankey Ojo)
- Publishing, Registration, and Soundmouse (Irma Holmgren Holm)
All or most of the podcasts will feature the moderator plus two or three expert guests.
Most of the podcasts will be recorded during a couple of sessions later this year, using facilities generously offered by Toby Jarvis from A-Mnemonic Music and PCAM Committee member Simon Elms.
The plan is to release one podcast a month from June through December.
SUNO: THE DARK TRUTH OF OWNERSHIP
PCAM Committee member Chris Green has recently written an article on important issues concerning rights and ownership when using the Suno platform which was sent to PCAM members and is reproduced below. Chris’s findings and views are essential reading for composers working in advertising media.
They Didn’t Own the Music Used to Create the Platform
Let’s go over the basics of the AI Music platform everyone is talking about: Suno.
Billboard recently reported that Suno spent $32 million on compute fees and a mere $2,000 on training “data”, data in this case being the intellectual property of musicians.
Think about that for a moment: Suno built a multi-billion dollar company off your music without your permission, and for which they never paid you a single penny in training royalties.*
Technology frequently outpaces ethics, moving faster than regulatory frameworks can manage. Every subscription and click validates and enables these unethical practices.
That is why it is more important than ever for creators to form a united front to ensure that ethics are defined by how we use technology, not just by what the technology can do.
Licensing is possible! Suno decided against it!
You Don’t Own the Music You Create with the Platform
Suno might appear to be “technological progress” and an inevitable evolution of the Digital Audio Workstation (DAW). However, in truth, it is extracting and eating away the value of music, which leads to the devaluation and destruction of the music industry.
Suno’s ownership rules are essentially a “pay-to-use”, not “pay-to-own” system.
Their terms say your rights depend entirely on which subscription plan you were using at the exact moment you clicked “Create”:
- Free Plan: Songs remain non-commercial forever. You cannot monetise them, and they are not copyrightable.
- Pro & Premier Plans: You are granted a commercial license to monetise, but the work is still largely not copyrightable.
Suno’s updated 2026 terms of use attempt to assign ownership of AI-generated output to Pro and Premier subscribers. However, this assignment is legally meaningless in practice. Copyright law does not currently recognise AI-generated works as copyrightable, meaning Suno cannot hold copyright in the output in the first place — and you cannot transfer what you do not own.
Suno even acknowledges this directly in their own terms and conditions, stating they make no warranty that any copyright will vest in any output. In other words, the assignment clause gives users the appearance of ownership while the legal substance behind it may not exist at all.
Therefore, regardless of the subscription plan, music created on Suno cannot be owned or copyrighted by the user. Furthermore, there is currently no mechanism to financially credit the creators of the training data used to build the model. Because most artists rely on royalties rooted in copyright, the absence of legal ownership means there is no viable path towards a long-term monetisation strategy.
In short: musicians cannot generate a sustainable income using Suno.
What is most interesting, however, is that due to a US Court of Appeals ruling in March 2025, Suno cannot legally assign ownership rights to AI-generated content. Since the main reason to pay for the higher tiers (Pro & Premium) is marketed as “The most important reason to pay is to own the rights to your creations,” this means Suno is effectively charging $10 and $30 a month for owning nothing.
Suno would have no copyright-based legal mechanism to stop people on the Free Plan from using their creations commercially, since the underlying legal principles are the same regardless of which plan generated the output.
Suno strips away the autonomous capacity of individuals to independently produce and govern their creative output. It turns the musician into an unpaid factory worker for an automated conveyor belt of content.
Additional Warning: The Risks of Using Personas
When you submit anything to Suno, be it lyrics, audio, melodies, or prompts, you grant them a license that warrants a very close look. The license is:
“A worldwide, non-exclusive, fully paid-up, sublicensable, assignable, royalty-free, perpetual, irrevocable right and license to use, reproduce, store, modify, distribute, create derivative works based on, perform, display, communicate, transmit, and otherwise make available any and all Content … including … to train, develop, fine-tune or otherwise improve the Service and any related artificial intelligence or machine learning models.”
The moment you upload original lyrics or a melody, you are giving Suno permission to use that work to improve their AI — perpetually and for free. Furthermore, they have the right to sublicense those rights to third parties.
This is particularly critical when using the new Personas feature. By engaging with it, you are essentially granting Suno the right to utilise an AI model fine-tuned on your individual data and identity.
Ask yourself: wouldn’t you rather create and own that model yourself?
*Note: Suno reached a landmark settlement with Warner Music Group (WMG) in late 2025. By 2026, Suno began transitioning to “Licensed AI Models,” paying significant annual fees to participating labels. However, independent artists and labels are not part of these specific deals and have not received any direct payment to date.
See further discussion on this issue below in the notes from the most recent PCAM Committee meeting held on 27 April.
SUPPORT PCAM CHAIR PAUL REYNOLDS IN HIS FUNDRAISING CYCLE RIDE!
PCAM Chair Paul Reynolds is tackling the Alps for the FireFlies Ride 2026:
This June, I’m getting back in the saddle for my eighth tour with the FireFlies, tackling a brutal 1,100 km route from Venice to Menton In France. At 50+, climbing 80,000 feet over eight days is a massive ask. To be completely honest, after a nine-year hiatus, my training this year has been a total gauntlet, marred by tendon issues and a recent hospital stay.
But our motto is simple: For Those Who Suffer, We Ride. My setbacks are temporary. For the patients fighting blood cancer at Hammersmith Hospital, the battle is constant, and that is what will keep me turning the pedals when the gradient hits 10% in the Alps.
I want to say a massive thank you to PCAM member companies Father and Yellow Boat Music for coming on board as official corporate sponsors, and a huge thank you to everyone who has already donated. Your support is the exact fuel I need to push through the pain and get to that start line.
How you can help: I am funding this entire trip out of my own pocket: flights, food, and logistics. This means 100% of your donation goes directly to The Blood Fund to support life-saving research and patient care.
- Sponsor the ride: Every bit helps, whether you are donating as an individual or via company sponsorship (and if your business offers match-giving, you can double your impact!).
- Spread the word: Please share my fundraising link with your own networks to help me raise as much awareness and vital funding as possible.
Let’s make every grueling mile count:
https://imperialcharity.enthuse.com/pf/paul-reynolds
NOTES FROM THE PCAM COMMITTEE MEETING: 27 APRIL 2026
The PCAM Committee’s most recent get-together was a remote meeting on 27 April. Below is a summary of topics discussed at the meeting that have not already been covered in the articles above.
Attendance:
Present: Paul Reynolds (Chair), Chris Smith, Tony Satchell, Chris Green, Becky Wixon, Bankey Ojo, Greg Owens, Simon Elms, Simon Surtees, Blair Mowat, Michelle Murchan, Bob Fromer.
Apologies: Jonathan Watts.
Guest: Irma Holmgren Holm (Sounds Like Publishing)
AI Updates:
Chris Green led a discussion on issues around AI and copyright, following on from his recent article on Suno which was sent to PCAM members and is reprinted above.
Chris pointed out that the Copyright, Designs and Patents Act 1988 states that: “In the case of a literary, dramatic, musical or artistic work which is computer-generated, the author shall be taken to be the person by whom the arrangements necessary for the creation of the work are undertaken.” As Suno and current commercial Music Gen AI platforms are trained on unlicensed music data, the chain of ownership is broken before it ever reaches you, as the original “arrangements necessary” were unlicensed. PRS for Music’s 2025 AI policy confirms it: they won’t register fully AI-generated works, and training on music requires prior authorisation, which Suno never obtained.
This situation prevails at the moment in the UK, the US, and Australia, though European law on this question, according to Chris, is “more subtle”.
Premium subscribers to Suno can get a commercial licence to use material generated, but that’s not ownership or copyright. Chris told the meeting that while UK Music, SESAC, and a lot of music lawyers know this, they are so far reluctant to mount an outright attack on Suno.
Chris has consulted with UK Music and The Alliance for IP, and concluded that there is a strong case under the same Copyright, Designs and Patents Act 1988 that AI models fine-tuned by an individual with data that the individual owns the copyright for would be seen as meeting the case of “arrangements necessary for the creation of the work” and therefore able to receive copyright and ownership protection. This would allow individuals to own their own AI models — but it is important to note this has yet to be proved or tested in the UK courts.
Attempts by Chris to talk to various people at PRS about this issue have largely fallen on deaf ears, despite uncopyrightable music being a major threat to royalties and the PRS itself. Chris has been verbally invited to sit on the PRS AI Committee, but this has not yet materialised.
For Chris, the answer, at least for some people, is to create your own AI and train it on your own music so that you would own the output. He plans to create an app using an open-source foundation model that would allow everyone to train their own AI on their own computer – and will give away the app, which should be ready in two or three months, for free.
Meeting re: Ivors Academy and the PCAM Education Project:
The Committee was told that a small sub-group consisting of Paul Reynolds, Chris Smith, Bankey Ojo, and Bob Fromer would be holding an all-day “Strategy Meeting” on Friday 1 May to look at two related issues: updating the prospectus for the PCAM Education Project in terms of content and costs, and establishing principles for our future relationship with the Ivors Academy following a recent meeting between Paul Reynolds and Ivors Chair Tom Gray.
That meeting suggested that the Ivors could be receptive to partnership with PCAM to deliver the Education Project.
When completed, the Education Project will feature 20-25 short video modules providing a comprehensive introduction to the applied music industry under three headings: Business Management, Creative Practice, and Career Development.
State of the industry:
There was a brief “state of the industry” discussion at the meeting, during which it was stated that business, until recently, has been proceeding more or less as usual.
However, effects of the war in the Middle East are starting to be felt, with some ads being pulled for cars, beer, and travel, and a general race to the bottom by big brands in terms of money invested in advertising seems to be accelerating.
Current issue:
Insider information has told us that there is a conglomerate ingesting music it has commissioned into its own AI system without compensation.
Paul Reynolds has mentioned this to Tom Gray at the Ivors Academy, and working jointly with the Ivors may be the best way to pursue this. It might also be good to involve the IPA, with the idea of encouraging a clause in contracts to cover this situation.
45th anniversary celebrations in 2027:
PCAM’s 45th anniversary is coming up in 2027 and there are plans to mark this at the 2027 Summer Social, where PCAM achievements over the course of those years will be celebrated.
REMAINING PCAM Committee meeting dates in 2026
Remaining PCAM meeting dates in 2026 will be:
- Tuesday 9 June (In person — plus Summer Social)
- Tuesday 8 September (Remote)
- Tuesday 10 November (Remote)
All PCAM Committee meetings are open to members to attend.
Any PCAM member interested in attending a PCAM Committee meeting should contact PCAM Administrator Bob Fromer ([email protected]).
MUSIC INDUSTRY ASSISTANT
With extensive experience across the music and creative industries, I’ve worked with organisations including BASCA/Ivors, BBC, Arts Council England, TV production companies, and numerous media composers. This background gives me a deep insight into the unique needs of creative professionals.
I’d love to discuss how I can support your projects and help streamline your workflow.
Thanks, Michelle
CASE STUDIES FROM THE PCAM HELPDESK
Below is a question-and-answer exchange from the PCAM Helpdesk (the questioner’s contributions are in black type and the replies from Helpdesk guru Tony Satchell are in blue).
Q: I’ve been asked to give a quote for a jingle for a drug made by a pharmaceutical company. The jingle has to be three seconds and they have asked for a full buyout. I know we’re not supposed to accept a buyout, but it seems like they need it so they can do anything they want with this logo. What should we quote for something like this? I can’t find any advice on sonic logos and terms, so any advice whatsoever would be helpful.
A: When quoting, you should treat a sonic logo the same as a 60″ track — it’s far harder composing an interesting, effective three-second logo than it is to compose a full-length track with the time to express a memorable idea.
What’s the point in not doing a buyout? Well, it stops the client from doing whatever they want with your composition! For example, I think you’d be mightily pissed off if it turned up as a sample on a world-wide hit single and you weren’t getting any royalties!
You can license a track for any amount of years and for any specified media or for any number of films, but a client should pay for what they want. I’d be thinking in terms of over £500k to even consider a buyout, and in a successful career of over forty years, I’ve never done one! A client never really wants or needs a buyout, it’s just a knee-jerk reaction.
Commercials have a finite life, but if they are successful in generating sales (and therefore revenue), and the client then wants to give them longevity, they should have no problem in re-licensing the track for further periods.
As to what to charge, break down your quote (as you should all quotes) into:
- Production costs
- Composition Fee
- Licence Fee (1 x Year, UK, All Media or whatever — based on a percentage of your Composition Fee as per the PCAM recommended rates).
I hope this has helped a little.
Q: Thanks for that, and just one further question. We’ve also been asked to provide music for a 15-second opening film that will be played in theatres, at festivals, and online as part of an animation compilation created by a large AAA games company, promoting their characters/IP in a selection of animated shorts. Again, they’ve asked for a full buyout of the music in case this ends up on DVD.
We’re struggling to price this. When pricing via information on the PCAM website we come up with £10.5k. But that seems an awful lot to ask for a 15-second black and white animation. Any help or suggestions you can give will be greatly appreciated.
A: £10.5k doesn’t seem a lot to me! It’s not the length that matters, it’s the compositional skill that they’re paying for!
And, as I said before, you should never ever agree to a buyout. Your licence can include DVD rights or anything else they want (re: DVD’s: limit the run, and/or agree a sales price percentage) and make sure that you cover everything off in the PCAM Contract so that there are no recriminations in the future.
There is a Special Stipulations Box on the second page of the Contract in which you can include anything unusual or that isn’t covered in the main Contract. Do make sure that both the client and yourself initial anything extra added to the Special Stipulations box, as well as both signing the Contract, to prove it is an agreed part of the overall Contract.
Q: Thank you very much for your swift replies. We will go forth with much more confidence now, and will be careful about never agreeing to a buyout.
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 previous podcast series are now available on SoundCloud.