PPL and PRS both collect royalties from UK music use, but they represent two completely separate copyright streams. PRS collects for songwriters and composers. PPL collects for performers and record labels. The same broadcast can generate income from both — but only if you are registered with both.
The two copyrights in every recording
Every commercially released recording contains two separate copyrights. The composition copyright covers the written song — the melody and lyrics created by the songwriter or composer. The recording copyright (also called the master or neighbouring rights) covers the specific recorded performance of that song. These are legally distinct rights that can be owned by different people and that generate different royalty streams. PRS collects for the composition copyright. PPL collects for the recording copyright.
What PRS collects
PRS for Music licenses the public performance and broadcast of musical compositions and distributes royalties to the registered writers and publishers of those works. When your song (the composition) is broadcast on radio, aired on television, streamed online, or performed live, PRS collects from the broadcaster or platform and distributes to you as the songwriter. PRS collects for the song itself — regardless of who performs it. A cover version of your song on a TV show generates PRS income for you as the writer, even though you had nothing to do with that recording.
What PPL collects
PPL (Phonographic Performance Limited) licenses the broadcast and public performance of sound recordings — the master recordings. When a specific recording is played on BBC Radio 1, streamed, or used in a public venue, PPL collects from the broadcaster or venue and distributes to the featured performers on that recording and to the owner of the master (the record label, or the artist if they self-release). PPL does not collect for the song — it collects for that specific recorded version. If someone covers your song, your PPL income comes only from your recording, not the cover.
A worked example
A UK singer-songwriter writes and records an original song and self-releases it. The song gets played on BBC Radio 2. From that single broadcast, two payments arise:
- PRS payment: to the songwriter (composition copyright). Split 50% to writer, 50% to publisher. If self-published, the songwriter receives 100%.
- PPL payment: to the featured performers on the recording and to the record label (recording copyright). If the artist is both performer and label, they receive the full PPL payment.
- These are separate payments from the same broadcast, collected by separate organisations, and distributed on different schedules.
Who should join PPL
PPL membership is relevant for:
- Featured performers: any musician whose name appears as a featured artist on a commercially released recording. This includes lead vocalists and instrumentalists.
- Session musicians: performers who played on recordings may be entitled to PPL income from those recordings, even if they did not write the music.
- Record labels: any entity that owns master recordings — including self-releasing artists who are effectively operating as their own label.
- PPL membership is free for both performers and labels. There is no upfront fee. Register at ppluk.com.
The most common gap: artists who join PRS but not PPL
The most frequent error UK self-releasing artists make is joining PRS (or assuming PRS covers everything) but never joining PPL. As a result, every broadcast of their recordings generates a PRS payment (which they receive) and a PPL payment (which accumulates at PPL awaiting a claim that never arrives). PPL holds unclaimed royalties for a defined period before redistributing them. For a self-releasing artist with any airplay or broadcast use, this represents lost income that cannot be recovered once the distribution window closes.
Code Group Music helps UK artists manage both their PRS publishing rights and their PPL registration as part of a complete label services setup. Start with a catalog assessment at codegroupmusic.co.uk/#catalog-assessment.
Frequently Asked Questions
Do PPL and PRS share membership data?
No. PPL and PRS are entirely separate organisations. Joining one does not register you with the other, and neither shares your data with the other automatically. You must register separately with each.
How much does PPL pay per play?
PPL's per-play rate varies by usage type (broadcast vs. public performance), the tier of the broadcaster, and the number of tracks played. There is no single per-play rate. Broadcast royalties from major stations (BBC Radio 1, Radio 2) are generally more valuable per play than smaller commercial stations.
Can a session musician claim PPL royalties?
Yes. Featured session musicians are entitled to a share of PPL performer royalties from recordings they played on. The split between featured performers is determined by PPL's allocation rules. If you played on commercial recordings and never registered with PPL, you may have uncollected income.
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