Frequently asked questions

Frequently asked questions

You can find answers on the most important questions by performing artists about GVL here. Please click here for FAQs on other topics.

How to use my.gvl

You can find the manual for the artist portal my.gvl here.

Please note that we will update the manual continuously to document new developments in the portal (current version: 09/06/2022).

General items

How do I change my personal master data?

Should your e-mail address have changed, please send a short mail to meinegvl@gvl.de.

In order to change your personal master data, i.e. your address, account number or bank/financial institute, please use the corresponding form, sign it and send it to us - you can also mail us a scan of the hardcopy to kuenstlervertrag@gvl.de.

Gesellschaft zur Verwertung von Leistungsschutzrechten GmbH (GVL)
Podbielskiallee 64
14195 Berlin

Why can't I log in to the artist portal meine.gvl?

If you receive an error message when trying to log in to our artist portal, please follow these steps:

  1. First, check which browser you are using. We recommend Google Chrome or Firefox. Apple's standard browser Safari is unfortunately only partially compatible with our portal and using it often results in error messages.
     
  2. Delete cookies and cache of your browser. This works differently depending on the browser you're using:

    Firefox: Menu (top right 3 horizontal lines one below the other) →Settings →Privacy & Security →Cookies an Site Data →Clear Data.
    Chrome: Menu →More Tools →Clear Browsing Data →Clear Data.
     
  3. Please make sure that you are using your contract number and not the GVL ID to log in and check that the password is case-sensitive.
     
  4. If necessary, use the "Forgot password" button to have a link sent to you for assigning a new password and then try again.
    Important: the password must not contain any special characters, must be at least 8 characters long, and must contain at least one uppercase letter, lowercase letter and number each.
    Please note that the link can be used only once - after that it is invalid and it is not possible to create a new password using it.

If all these steps do not help, please contact our support by phone from Monday to Thursday, 9 am - 5 pm, Fridays 9 am - 2 pm at 030 48483 677 or by email to meineGVL@gvl.de.

Where can I find more information on questions regarding taxation?

For more information on taxation, please visit the following page.

How can I deposit my stage name or pseudonym with GVL?

If you want to deposit a pseudonym or stage name with us, we need evidence for the pseudonym entry.

We accept, among other things, proof of fees, contracts, GEMA excerpts, etc., which connect the civil name with the pseudonym to be registered. Only if both the civil name and the pseudonym are mentioned, this connection is established.

If the pseudonym is an official pseudonym or an official stage name, we require a copy of the identity card/personal document in which the pseudonym was entered as proof.

For data protection reasons, you can black out any information that is not required for this purpose. Your civil name, the pseudonym, your date of birth and the validity of the document ("Valid until...") must be visible.

You are welcome to send this form and your supporting documents by mail or as a scan by e-mail to kuenstlervertrag@gvl.de. However, please note that according to the Privacy Policy, sending by e-mail is not a secure transmission and we cannot take responsibility for the protection of your data.

The postal address is:

GVL - Gesellschaft zur Verwertung von Leistungsschutzrechten mbH
Künstlervertrag
Podbielskiallee 64
14195 Berlin

Does GVL also manage my rights abroad?

 

Yes, this is possible. You can access further information on this topic here.

We recently paid out remuneration of EUR 3.6m to about 11,500 rights holders for usage remuneration received from abroad and will continue to do so on a regular basis. Information on the representation agreements GVL has for performers and producers of sound recordings is available on our website.

The scope of remuneration from abroad does not only depend on the facilities of GVL but also the legal situation and the existing operational and technical infrastructure at the sister societies and their distribution plans. Accordingly, differences also affect the remuneration GVL receives.

Despite significant and also successful standardisation efforts, operational standards deviate. As such, payments are sometimes not made on an individualised basis or allocated to specific distribution years. This requires a manual processing of payment receipts which in turn often entails time delays for our rights holders.

Which evidence does GVL accept?

Each piece of evidence basically needs to fulfil "three evidence requirements":
 

  1. The evidence relates to the production for which you have registered your contribution. (E.g. Title, production period, programme/channel, original title, main artist etc. are mentioned)
  2.  The evidence proves that you have actually contributed in the way you registered (Your name and your activity including details such as shooting days, narrator takes etc. are mentioned)
  3. The evidence comes from the producer responsible for the production or a similarly credible source (e.g. agreement, professional fees' statement, CD booklet, producers'/directors' confirmations etc.; invoices generated by yourself are only valid if you also provide the relevant bank statement/proof of incoming payment).

If you have no access to these or if your contribution is not mentioned on them, you can also obtain a confirmation of your contribution by the producer, main artist, artistic producer and/or director. Forms for such types of confirmation can be accessed on our homepage under Documents and forms - Certificates and confirmations.


If you would like to submit evidence for film music, please note that the evidence must clearly show that the relevant music production has been used in the film. For licensed music, for example, two pieces of evidence are thus required: one for your contribution to the original music production, one for the use of that music in the film.

Why should I resubmit proof that I already sent you years ago?

We always check whether we already have evidence documents for a reported participation. However, we always require evidence related to each individual participation. In the past, we were often sent extensive files that had to be processed manually at great expense. For economic reasons, this is no longer possible. In such cases, we may have to request specific, individual documents of proof again.

As a rule, we no longer have evidence that was submitted under the reporting form system up to 2010.

If you have any problems providing evidence, please contact the relevant specialist team.

What is the difference between detailed reports and payout notifications?

Detailed reports include, in short, your entitlements which are projected for a specific usage year. Said projected total amount shows how much remuneration you are expected to receive at the end of the notification period.  (The total amount is constantly updated. Usually it is adjusted upwards because successive reserves are dissolved, but sometimes downwards if, e.g. we unexpectedly receive more contribution notifications than anticipated.)

The distribution takes place in several stages due to the long statutory notification periods. There is an initial distribution with an initial amount, several subsequent distributions with further partial payments and eventually a final distribution when the notification deadlines expired and the distribution budget can be completely dissolved. You receive your overall entitlement at the end of the distribution cycle. The distributed amounts should, when added up, correspond to the amount shown in the last detailed statement.

The payout notifications you  usually receive with a settlement always state the current remuneration entitlement and the amounts already paid out in the meantime (indicating the date of any related older payout notifications). The statements therefore document the progress of the “partial payments” of the advised total amount.

 

How about the rights management for streaming providers such as Netflix and Spotify?

The German copyright law distinguishes between so-called exclusive rights which are granted to users by contract and remuneration rights which exist by law, independently of any contractual arrangements. GVL only manages remuneration rights at this time. Interactive streaming of audio and audio-visual content is set up as an exclusive right and therefore does not fall under the rights generally managed by GVL. It is possible that exclusive rights are managed by collective management organisations or music licensing companies. However, to collectively manage these rights, it is necessary that nearly all involved rights owners grant these rights on a large scale. This, in turn, presupposes a general consensus of rights owners and other market participants or a statutory regulation. We were not able to establish a consensus so far, remuneration rights for interactive streaming rights do not exist as of now. Of course, we are open towards an expansion of our rights portfolio if required.

What is the status quo regarding the interface to the “Synchron App”?

Upon the realisation and maintenance by GVL of the first basic functionalities for the Synchron App, further expansion stages are to follow. We are very sorry that this further development has been delayed because GVL productivity is lower than anticipated due to the COVID-19 effects. We are battling with bottlenecks among our IT resources, especially due to necessary childcare by staff, and must focus on the portal expansion for our performers. To this end, we had to adjust previous plans. In addition, we must first provide development efforts for our internal GVL project VITA so that the added value of the Synchron App for performers is a high as possible in the long run. We initially underestimated this effort.

We are aware that performers who use the Synchron App are eagerly awaiting the further development of the GVL interface. Together with the developers of the Synchron App, we are going to push the project forward with all our strength. Its implementation is fixed in the schedule for 2021.
 

Why are there two payout notifications?

It increases the transparency of the calculation and shows the remuneration categorised into subject to VAT and not subject to VAT.

Why do I have a GVL ID in addition to my contract number? What is the difference?

GVL uses two different identification numbers. 

You receive your contract number (or customer number) when you conclude a rights administration agreement with GVL. You need it to log in to the my.gvl portal.  

The GVL-ID was introduced as part of our system changes. It enables us, for example, to record more precisely whether you are represented in different functions, for example, as an artist and heir or producer at the same time.   

The GVL ID is also used for correspondence. You will find it on your payout notifications and your detailed reports, among other things.  

When contacting us personally, we can identify you equally with both numbers. Please have either your contract number or your GVL ID ready when you communicate with us.  

How do I find my current payout notifications (AZM) when I receive a notification email?

Quick guide 

My Account > Payouts > 2021 (or the corresponding current year) 

AZMs are sorted chronologically in descending order. 

Detailed guide: 

After clicking on the "My Account" menu item in the my.gvl menu, you will find your payout notifications in the "Payouts" tab. 

In this section, the payout notifications are filed by year and are located under the year in which the disbursement was made. Therefore, click on the tab with the current year on the far right, here in the example "2021". 

The listing of documents in these folders is sorted chronologically in descending order. So you will find the new payout notifications at the top.  

From the abbreviations in the document name you can see what kind of distribution it is (e.g. regular distribution, final distribution, foreign distribution, post-distribution, open budgets). In addition, the document contains your GVL ID (represented by zeros in the following examples) as well as the information about the language of the document ("ger" for German, "eng" for English). 

Examples: 

Regelvert_payout_information_000000_ger.pdf (regular distribution) 

Schlussve_payout_information_000000_ger.pdf (final distribution) 

Auslandsv_payout_information_000000_ger.pdf (foreign distribution) 

Nachverte_payout_information_000000_ger.pdf (post-distribution) 

Offene Bu_payout_information_000000_ger.pdf (open budgets) 

 

Where can I see the remuneration that I am currently entitled to in a particular distribution year? Where can I find my detailed reports?

Quick guide: 

My Account > Remuneration > 2021 (or the corresponding year). The detailed reports are sorted chronologically in descending order. 

Detailed guide: 

After clicking on the "My Account" menu item in the my.gvl menu, you will find your detailed reports in the "Remuneration" tab. 

In this area, the documents are filed according to usage years. They are therefore located under the year in which the broadcasts on which the remuneration is based took place. In this example, the year is 2019. The detailed reports are usually available within a few days after the distribution 

The listing of the documents is sorted chronologically in descending order for a better overview. Detailed reports are always created in two language variants (German and English) as well as in the formats .pdf and .xlsx (Excel) and numbered consecutively. You can recognize the respective file format by the corresponding symbol. In addition, Excel files always contain "GVL Auflistung", the .pdf versions "Detailreport Vergütungsansprüche (Künstler)" in the file name.

You will therefore find fourdocuments above that have an identical consecutive number in the file name directly after the year. The respective language of the document can also be seen in the file name (ger/eng). In addition, the file name contains your GVL ID, represented by five zeros in the following examples. 

Examples: 

GVL-ID_00000_Verteilung_2019_0001_Detailreport Vergütungsansprüche (Künstler)_08.04.2022_ger.pdf

GVL-ID_00000_Verteilung_2016_0001_Detailreport Vergütungsansprüche (Künstler)_08.04.2022_eng.pdf

GVL-ID_00000_Verteilung_2016_0001_GVL-Auflistung_08.04.2022_ger.xlsx

GVL-ID_00000_Verteilung_2016_0001_GVL-Auflistung_08.04.2022_eng.xlsx

GVL-ID_00000_Verteilung_2016_0002_Detailreport Vergütungsansprüche (Künstler)_15.09.2021_ger.pdf

GVL-ID_00000_Verteilung_2016_0002_Detailreport Vergütungsansprüche (Künstler)_15.09.2021_eng.pdf

GVL-ID_00000_Verteilung_2016_0002_GVL-Auflistung_15.09.2021_ger.xlsx

GVL-ID_00000_Verteilung_2016_0002_GVL-Auflistung_15.09.2021_eng.xlsx

 

You can recognize detailed reports on open budgets by the following abbreviation: 

Offene Bu_detailred_report_artist_claims_000000_ger.pdf 

Please note: As the remuneration entitlements are adjusted with each distribution, older detailed reports are no longer relevant from this point on and are only retained for transparency reasons. The most recent detailed report with the highest consecutive number is always decisive for your total remuneration entitlements in a year. 

If there is no usage of your productions in a certain year, e.g. because they were not broadcast on stations evaluated by GVL or there was no GVL mandate for this year, no detailed reports will be created. The corresponding year will then not be listed. 

How can I file a legitimate complaint?

There can be many reasons for filing a complaint. Due to the complexity of the data, it is therefore important to check in advance whether a complaint is justified and can therefore be processed.

Reasons for a complaint can be:

  • missing products (in the product search on my.gvl)
  • missing usages
  • wrong product descriptions

Missing products:

Please note: Your productions only become relevant for remuneration when they are used in TV and radio! It is not a prerequisite that a sound carrier producer reports his repertoire to the GVL. And even usage reports only come from the evaluated broadcasters (see distribution plans) and can often only be mapped a whole year late.

If you cannot find your production despite broadcasting on an evaluated station, please send us corresponding proofs by mail to meinegvl@gvl.de. Accepted proofs would be for example:

  • Station confirmation of broadcasting with station designation, date and duration of use
  • Original GEMA listing with station, date and duration of use.

Missing Usages:

Please note: Usage reports only come from stations evaluated by us (for more info, see Distribution Plans) and can only often be implemented about a full year later.

If you still do not find any usage on your product under my.gvl, please send us appropriate evidence by email to mygvll@gvl.de. Accepted proofs would be for example:

  • confirmation of broadcasting with station name, date and duration of use
  • Original GEMA listing with station, date and duration of use.

Incorrect product designations:

Please note: The product information that you find on the products at my.gvl is usually meta-data that is transmitted as additional descriptive information from the broadcasters to GVL. Unfortunately, this information can often be incorrect and is therefore generally not used for the verification of contributors. They are intended solely to make it easier for you to find your productions. Also, different spellings or minor spelling mistakes will not be corrected, as these will be overwritten again incorrectly with each new usage report from a broadcaster.

Product names can therefore only be changed in exceptional cases, if essential information such as artist and title are completely wrong.

In this case, please send us a proof showing the name of the main artist and the product title. This can be the same evidence that we accept as proof of your contribution: https://gvl.de/en/rights-holders/performers/frequently-asked-questions#general_items

Rights representation agreement (online version)

How do I register underage persons?

All documents must be signed by a parent or legal guardian. In addition to the ID copy of the performer (the underage person), we also require a copy of the ID from the parent or legal guardian. A power of attorney is not required.

Which address do I send documents, to the PO Box address or the street address?

It makes no difference which address you send the documents to. Both addresses are valid and our mailbox is checked each working day.

Do I have to send in all pages or is it enough to send you the pages with the signature?

Please send us the entire document, also the pages without a signature.  Of course, you can send us documents printed on both sides.

What type of evidence do I need to include?

At the time of the notification, we do not need any evidence regarding your activities as a performer. A specific list of the required documents for concluding the agreement can be found on the checklist which is attached to the contract documents.

The two-week period has lapsed. Can I still submit the documents?

Yes, you can also send us the documents once the deadline has lapsed.

I am already registered. How do I obtain my contract number?

Please send us a copy of your valid ID to kuenstlervertrag@gvl.de. We will then provide you with your contract number.

I am not sure whether I am already a GVL member . How can I find out and what do I need to do exactly?

Please send us a copy of your ID to kuenstlervertrag@gvl.de.
We can then tell you whether you are already a GVL member.

I work for an agency. How do I register performers?

Please contact us at kuenstlervertrag@gvl.de. We will then send you the necessary documents.

I do not know my tax ID or am not liable to pay tax, what do I enter?

In cases where you do not know your tax number or have other comments on your tax situation, please make a handwritten note on the tax form before you send your documents to us by post.

Which sections on my ID card can/should I redact?

The following details must be clearly legible on your ID copy: Date of birth, name, date of validity, signature, nationality.  You can redact everything else.

My IBAN was not accepted, what am I doing wrong?

Please make sure that you enter the IBAN without spaces. Should you still not succeed, you  can enter a so-called placeholder as an IBAN
such as DE27100777770209299700. When you receive your contract documents as a PDF you can enter the correct IBAN by hand before returning the documents to us by post.

I made a mistake when completing the form. Can I amend this by hand, or do I have to conclude a new agreement?

Please amend your details by hand. It is not possible to conclude a new agreement for technical reasons.

 

Can I become a GVL member even though I am already a GEMA member?

Yes, you can enter a GVL rights administration agreement even if you are a GEMA member.

Do you accept digital signatures?

In the case of concluding new agreements, we accept original signatures only.

Do you really need the documents by post or are they sufficient in digital format?

We require your contract documents with your original signature by post.

How much does membership cost?

There is no charge for signing a rights administration agreement with GVL - it's free.

How do I update an already existing agreement?

Please contact us at kuenstlervertrag@gvl.de. We will then send you the necessary documents.

I am an actor and a musician. Do I have to enter into two agreements?

No, just conclude one rights administration agreement for all your activities as a performer which fall under GVL’s management remit.

Do I need a label code first, before I can enter into a rights administration agreement for performers?

No, you do not need a label code in order to conclude the rights administration agreement as a performer.

 

I am a musician and an actor. Can I indicate both activities?

At this time, you can only enter one activity here. You can, however, submit notifications via our portal meinegvl.de to add your contributions as an actor and musician to the respective productions.

Do I enter all activities or band memberships into the agreement?

Enter activities and band memberships. As soon as you have become a GVL member, you can, via our portal meinegvl .de, add your contributions to your productions, e.g. as a band member.

Register contributions

How to use my.gvl?

You can find the German language manual for the artist portal my.gvl here. We will provide an English version as soon as possible.

Please note that we will update the manual continuously to document new developments in the portal (current version: 10/05/2022).

Why can I not find a specific production?

There may be various reasons if you cannot find specific productions.

  • We strive to keep our database current and to ingest productions after their transmissions as soon as possible. This can, however, sometimes take several months. If the production you are looking for has only been broadcast recently it probably has not found its way into our database yet. Just check back after a while.
  • Specific production types belonging to the “open budgets” are not listed in our database due to cost reasons. Please check out the according page for more information.
  • GVL only analyses productions which have been transmitted via common, free-to-air broadcasters within Germany. Which broadcasters are taken into account is subject to the corresponding distribution plan.
    This also means that neither streaming providers nor other online publications or transmissions on niche channels are currently relevant to GVL.


If you still cannot find individual productions please contact the corresponding team of experts which will happily assist you with your search.

For how long can I register my contributions retroactively?

You normally have four years time in order to register your contribution in a broadcast product. Nevertheless, we recommend to submit your contribution notifications early on via meineGVL so that you get paid in the course of the initial and regular distributions.

The notification phase ends with the notification deadline prior to which contributions by performers must be registered in order for them to have an entitlement to receive remuneration.

I have found a production in which my name is already listed in the cast or under "Contributors". Do I still have to submit a report?

Yes. Cast lists that are delivered with the program information cannot currently be processed by us without additional information. In order to be able to remunerate your artistic contributions, we therefore always need your corresponding contribution reports.

In the future, we will further simplify the submission of reports. It is planned, for example, that proposals will be derived from the cast list entries, which you would only have to confirm and, if necessary, enrich with further information. But even then, your active cooperation would still be necessary to check and confirm such suggestions.

By the way, you can recognize productions for which you have already registered a contribution by the playing piece icon.

How do I submit contribution notifications for the “open budgets”?

Since GVL cannot provide usage information delivered by the broadcasting stations, contributions must be reported via a separate form. Within the period from 05.01.2022 to the reporting deadline of 30.06.2022, you will find the menu item "Open budgets" in the my.gvl portal, which will take you to the form for the distribution years 2017 and 2018. After the reporting deadline, the form will be deactivated again. As usual, we will inform you about the oportunity to report contributions in „open budgets“ for the coming distribution years in a timely manner by e-mail.

A glossary including a translation of key words from the form can found here.

Why can I not submit any evidence when I submit my notification?

Why can I not submit any evidence when I submit my notification?
Many notifications that reach us can now be processed automatically so that it is not always necessary to attach evidence. Should we require evidence we will inform you directly and ask you to upload the corresponding documents via our artsys portal.

Please therefore refrain to send us evidence by e-mail.

 

How many contribution roles can I register for a single production?

In fact, many reports can now be processed automatically by us, so that it is not always necessary to attach a proof. Should we still need proof, we will inform you individually and ask you to upload the relevant documents via our artsys portal.

Therefore, please refrain from sending us evidence by email.

When will my participation report be processed?

GVL processes your notifications in good time until the final distribution of the respective usage year. However, due to new, partially automated procedures, we are increasingly able to process notifications that concern more recent broadcast years.

Please understand if it takes a little longer to process your report. In any case, you will always receive full remuneration, even if you miss an initial or subsequent distribution.

Why does the Euro symbol in the old product search have the note that the indication may be inaccurate?

The Euro symbol in the old portal search is always activated when there are usages, i.e. broadcasts of the production in question. However, the list of broadcasters evaluated by GVL varies annually: new broadcasters are added, while others are dropped. Sometimes usage information has already been entered into the portal at this point, i.e. the Euro symbol is activated, even though no remuneration takes place at all.

In the opposite case, it can happen that a production has no usage and therefore a grayed-out Euro symbol, but is later merged with an identical duplicate at which the corresponding information is available. In this case, a report on such a production would lead to a payment after all.

Thus, while the Euro symbol reliably indicates distribution relevance in the vast majority of cases, it can also be misleading. In the new Product Search, we therefore call the corresponding display "Broadcast" to avoid misunderstandings.

Information on the stations evaluated each year can be found in the respective distribution plans.

Why was my participation report rejected?

The reasons for rejecting a participation report are usually stored and can be found in the corresponding column in the PDF export of the contribution list in the section "Registered".

To generate this overview, please click on the "Export as PDF" button in the section "Registered". Another click on the same button, which now is labeled "Download PDF", will start downloading the file.

It is a good idea use the filter "Rejected" in order to display and export only the contributions that have this status.

The majority of all rejections can be traced back to duplicate reports. These were either submitted repeatedly by mistake or occur when we combine identical productions and transfer all existing participation reports. If a report is received in our system that already exists for the same production, the system automatically rejects this duplicate report. This is then logged accordingly and can be seen in the PDF document.

We are working to ensure that in future the reason for rejection is apparent at first glance, without having to resort to the PDF export.

If no reason for rejection is stored in the system, please do not hesitate to contact the relevant specialist team.

How many of my contributions will be compensated if I contributed to a production in different ways?

The answer is a bit more complex, as it may differ depending on the combination of media type, contribution type, and budget.

Audiovisual Productions (Excluding Video Clips):

For audiovisual productions (AV), a maximum of two artistic contributions can be compensated. However, one of these must be performing, the other instructional. Examples and some important exceptions or special cases are listed below.

Please note: Even if you have participated in different musical components of an AV production, e.g. in the title music as well as in a licensed song, you will only be remunerated for a maximum of one instructional and one performing role.

Instructional roles are:

  • Conductor
  • Studio conductor
  • Artistic producer
  • Stage director
  • Dubbing director
  • Literary director

All other contribution roles refer to performing activities.  (More detailed definitions of the different types of contribution roles can be found here).

Examples for the combination of performing and instructional roles:

  • In dubbing, it is possible to register as a dubbing director and as a dubbing actor in the same production.
  • Artistic producers could, for example, report an additional contribution as an instrumental musician or as a singer.

Please note: The rule is that you cannot instruct yourself. Therefore, other artists must always be involved in order to be recognized in an instructional role.

  • Comedians who perform their own standup program can therefore register as actors, but not as stage directors.
  • Producers who record/sing or program all their own tracks can apply as instrumental musicians or singers with the function "soloist", but not as artistic producers.

Special cases:

  • Contributions in the AV sub-budget "Individual Television Contributions".

In this sub-budget, which is reported via the reporting form for the open budgets, only one contribution is remunerated. Therefore, if there is more than one contribution, it is best to report the one in an instructional role, as it is usually weighted higher.

  • Actors who are involved in an international co-production or in a foreign production that is filmed in a language other than German: If you dub your dialogue yourself, please report your dubbing activity additionally.

The reason for this is that contributions are evaluated differently, depending on whether they affect only the visual or the sound level of an artistic piece or both together. The remuneration for actors consists, so to speak, of a share for the visual and a share for the vocal performance. The latter is omitted in non-German-language productions in order to enable reports from dubbing actors.

In German productions, on the other hand, you should refrain from reporting an additional contribution as a dubbing actor, even if you are rerecording your dialogue in whole or in part. In this case, the contribution as an actor already contains the remuneration share for picture and sound. We cannot guarantee that the higher-value contribution will be taken into account if multiple reports are submitted.

Radio Productions and Broadcasts (NTT):

For radio productions and broadcasts, the same rule applies: a maximum of two artistic contributions are remunerated. One of them has to be performing, the other one has to be instructional (see above).

In the case of live radio concert broadcasts, only one musical contribution is usually recognized, since it is not possible to perform an instructional and a performing role at the same time.

Musical contributions to spoken word productions (such as radio features, radio plays, readings, etc.) belong to the so called open budgets and are reported using the appropriate form.

Examples of combining performing and instructional contributions:

  • You may be both a literary director and an artistic narrator in a radio play.
  • For the soundtrack of a radio play, you may both be an artistic producer and an instrumental musician/singer.

However, in both cases it is important to note that you cannot direct yourself. Therefore, other artists must always be involved in order for an instructional activity to be recognized.

Sound Recordings (TT) & Video Clips (VC):

For sound recordings (TT) and video clips (VC), a maximum of two contributions are remunerated as well. The strict rule that one must be performing and the other one instructional does not apply here. However, there are other rules to consider.

Certain combinations of contributions are excluded, e.g.

  • contributions as artistic producer AND conductor
  • contributions as conductor AND studio conductor
  • identical participation roles with different functions, e.g.
    • singer as soloist AND as background/studio singer or
    • instrumental musician as band member AND as studio musician.

Please note that for contributions as an artistic producer to be recognized in the field of classical music, a conductor's certificate is required.

Due to the many possible combinations in the field of sound recordings, please note the following rule:

In the case of two valid contributions, according to the distribution plans, the higher-ranking contribution is fully weighted, the second with only one category point.

If you have performed different activities in a sound recording and are wondering which should be reported in order to achieve the highest possible remuneration, the following rule of thumb applies:

  • Main artists (soloists, band members, conductors - but not studio conductors!) receive the highest number of points.
  • This is followed by the role of artistic producer and finally the performing roles (studio musicians, background singers, orchestra musicians, etc.).

In the other media (AV, NTT), the weighting of the two possible roles is self-evident, since the instructional role is usually scored higher or identically compared to the performing role.

Details on the scoring can be found in the distribution plans.

I have contributed as a musician in library music, but do not know in which films or series it has been used - can I register it anyway?

You can only register your contribution if you know the film or series production where the relevant music title is included. A licence for the use of library music titles is often issued without e.g. the film producer having to commit to report this to GVL. As a consequence we do not know that the title has been used in the respective film.

If you do not know the film title and you cannot research this information or find it out e.g. from the library music label, you cannot register this contribution.

 

What is an ensemble and who is an orchestra/choir representative?

Orchestras/Choirs are groups starting from 10 contributing musicians/singers who often perform and record productions in a consistent formation and under a permanent, proper name.

 
Orchestra/choir representatives are persons authorised by the orchestra/choir who register the contributions on behalf of all members of the orchestra/choir. This significantly reduces the number of individual registrations as well as the processing operations at GVL.
 

Why can't I find a production that was released on DVD or Blu-Ray in the database?

For the release and sale of DVDs or Blu-Rays there is no evaluation by the GVL. The reason for this is that we can only pay out royalties for so-called time exploitation rights. Theatrical films and disc releases are so-called primary rights that are already compensated via the production contract.

Why is it important that I register my contributions?

Only if you register your contributions to artistic productions to GVL, can we match them against the broadcasts on radio and TV. Your registration is the prerequisite for being paid a remuneration for your productions that have been used by radio/TV.

Why do I need to register my contributions again? Data from previous years should be present at GVL?

With the changeover to the usage-based distribution system, the review criteria for the reported participations were changed. Since we have been looking at your participations on a track-by-track basis since 2010, our review criteria are now much more detailed than they were before the system change. Furthermore, evidence submitted prior to 2010 was generally returned to the artists, so we no longer have it as a basis for verification. In order to verify your participation reports, today we first research all sources available to us to ensure confirmation of your participation. Only in exceptional cases, when our research has been unsuccessful, do we contact you with a request for proof.

I don’t have a computer and/or internet access. Can I still submit notifications?

In order to use our online portal meine.gvl.de and submit your contribution notifications, you require a computer with internet access. Your contribution notifications are centrally stored in our system and automatically matched against the respective product data submitted by the users. This makes our work very efficient. A manual matching process between contributions received in writing and the respective product data would be very time-consuming and would entail high costs. We deal with money in a very responsible manner on behalf of our members.

Nevertheless, we offer performers who have no computer and/or internet access the possibility to provide their contribution notifications in writing. As we are a fiduciary collective management organisation, we hope you appreciate that we need to raise a processing fee for this additional effort. The fee level is currently being coordinated with our supervisory authority - the German Patent and Trademark Office.

Our new service provides support for you when you submit your online notifications! With the new notification area in the online portal meine.gvl.de, we now offer you a more comfortable user guidance and a simplified notification platform. We would be happy to guide you through the online portal in order to support you with your searches for productions and online notification of your contribution(s). After all, this helps us to avoid charging you a processing fee.

 

Distributions

How much remuneration will I receive for my registered contributions?

This is difficult to predict in concrete terms.

As an artist, you assert your claims to remuneration by notifying GVL of your contributions. To give you enough time to do this, there is a notification period of three years. This is convenient, but it also means that the number of submitted contributions is not known until the end of the notification period.

Since the budget has to be distributed among all the valid contributions that have actually been submitted, we can only distribute part of the distribution amount until then and have to wait and see which contributions are still submitted.

At the same time, the claim is calculated from various variables that influence the amount: Type and extent of contribution, frequency of use, broadcasting station and airtime, to name just a few factors.

An overview of how remunerations are calculated can be found here.

In addition, you can find all the details in the corresponding distribution plans.

Where can I access information on remuneration from private copying and rental/lending (performers)?

You can find information here.

What does the deduction of "administrative costs GVL / collection costs" on payout notifications of the type "Remuneration for private copying and rental & lending" mean?

The amounts shown consist of two different portions: The first is GVL's administrative costs, which are a percentage of this remuneration share. The second component is costs that are charged to us. On the basis of Section 44 of the German Collecting Societies Act (VGG), GVL has entered into agreements with various partners regarding the collection of revenues, e.g. the proceeds from private copying and rental & lending. This is taken care of by organizations such as the Central Office for Private Transfer Rights (ZPÜ), the Central Office for Library Royalties (ZBT) or the Central Office for Video Rental (ZVV).

Collection costs must be reported separately and are subject to VAT since a change in the way revenue from private copying is viewed under tax law. This new regulation now makes their offsetting against revenues transparent.

The remuneration itself does not change as a result. Of course, the costs will only be charged proportionately if you actually receive money for the distribution. 

What is the difference between initial, subsequent and final distribution?

A distribution cycle consists of a notification phase, initial and subsequent distributions and a final distribution.

Initial and subsequent distribution

After the initial distribution, a minimum of two subsequent distributions are scheduled; these include e.g. payments for newly registered contributions, new calculations of individual parameters or distributions of retroactive user payments. Remuneration paid to our members in the initial and subsequent distributions are provisional amounts until notification phase has ended and it is known how many performers have registered their entitlements for remuneration from the distribution year.

Final distribution

The final distribution takes place once the registration phase is over. Any remuneration held in suspense for the respective distribution year unclaimed by performers shall then be released for onward payment to all performers with existing contribution notifications. The final distribution closes the distribution cycle.

What are the current registration deadlines for performers?

In order to ensure that all contributions for the final distributions are taken into account, we ask our eligible artists to submit their reports via my.gvl.

An overview about current deadlines and target dates can be found here.

Why are there two payout notifications?

It increases the transparency of the calculation and shows the remuneration categorised into subject to VAT and not subject to VAT.

A negative payout amount is shown to me on my payout notice. Will I not receive a payout now?

You will usually receive two payout notices and the total amount, which is the sum of the two documents, should be positive. So you will participate in the distribution even though one of the documents shows a negative payout amount.

Background: The GVL's remuneration comes from the domains "rights transfer" and "private copying and rental/lending". These two areas are reported separately due to different taxation, so you will usually receive two payout notifications. However, your remuneration will be transferred in one sum.

Why is a negative amount shown on one of the payout notices at all?

Presumably you have received an advance or a down payment from the GVL in the past. Such advances are usually granted on revenues from the "rights transfer" area and could previously only be offset against revenues from this area.

However, we are now able to offset from both revenue sources. The advantage: Advances are reimbursed more quickly, so you receive remuneration from the GVL again more quickly.

Why do I sometimes find "0 min" in the detail report under my messages in the "Open budgets"?

All AV products are always shown in full minutes - only audio productions are also shown in seconds. However, since there are productions in the (formerly) "Open Budgets", such as commercials on TV, that last less than a minute and are exclusively in the seconds range, the display remains at "0 minutes". Based on the usage value and your distribution amount, you can see that the production was nevertheless remunerated for the actual duration

Some of the deductions listed on my payout notice have already been subtracted in the past. Are certain amounts being deducted more than once?

The irritation about the "repeated" deduction of payments is a common misunderstanding. The items listed in the payout notification under "Deduction of advance payments already made" are remunerations that you have already received, see the respective document date mentioned (usually, for example, 11/23/2020).

Payout notices always contain a kind of "payout history". They show an updated status for each payout. Displayed above in the disbursement documents are your current total claims for the respective distribution years. Since the GVL pays out the corresponding funds in several steps (until the final distribution), the amounts that have already been distributed are listed below and deducted accordingly from the total entitlements. What remains is the current remuneration entitlement that is paid out at the time of the respective distribution.

Until the final distribution of a given year, when your entitlement is ultimately determined, the previous payment history is therefore always documented, including the advances made. This does not mean that these funds will be deducted again from a new amount.

Do GVL payouts pose a risk to corona support by the government?

GVL payouts do not pose a risk to corona support by the government

The Minister of State for Culture and Media, in agreement with the Federal Ministry of Economics, confirmed: current remuneration from collective management organisations or music licensing organisations has no influence on the special economic support measures granted by the Federal Government in November and December.

Current payouts by CMOs/MLCs relating to past performance periods are not taken into account when calculating turnover under the support programmes.

Specifically, taxable turnover pursuant to Section 1 of the German VAT Act is used as the basis for calculating turnover. In line with the above, turnover was thus generally achieved in a specific month if the performance or service was provided in that month. As such, the date of the performance or service is thus generally relevant, and not the time when the order was placed or the payment was received, in the GVL context, this would be the performer distribution for the years 2015 to 2019 in November 2020, for example. Payment receipts without provision of services do therefore not lead to an exclusion regarding your application for corona state support

 

I received an advance payment in May 2020 under the corona relief scheme. Why do I still get paid out in the regular distribution?

In view of the financial bottlenecks that many performers suffer from, we were asked by a large number of rights holders and associations to offset advance payments only moderately against distributions in 2020.

Advances were determined specifically from forecasts for individual distribution years. During the regular distribution process, they are now assigned to the individual distribution years and offset with the corresponding amount, so that a combination of offsetting and payment can easily occur. This may, under certain circumstances, extend the settlement period, but has the desirable advantage that unexpectedly high remuneration in certain years will also be noticeable by rights holders. You will find information about prepayments and the amounts paid and cleared in each case on your payout notifications.

The current GVL payout collides with my financial corona aid, which I have applied for or am using. Can I repay the current GVL payout in whole or in part to GVL?

We are aware that some of our beneficiaries are in a very stressful situation due to the corona-related restrictions, in which the financial framework conditions with a view to support services are constantly changing and the overall financial situation has to be constantly reassessed. However, the vast majority of our beneficiaries are urgently waiting for the distributions.

Can I still apply for the corona immediate emergency relief of EUR 250?

The immediate emergency relief can still be applied for as a one-off, unless you have already done so. Please note that this might be charged with other social benefits by the government. Please contact coronahilfe@gvl.de. Further information can be accessed at www.gvl.de/coronahilfe.

Why didn't I get a payout?

There can be various reasons for this:

  • Has your personal master data changed recently? If there has been returned post or bank returns, we cannot carry out a payout. Please contact us to update your data to its current status.
  • Have you received any advance payments recently, such as the corona advance? Then the distribution amount was probably fully offset or is now below the minimum limit of EUR 5.00.
  • The payout amount is below the minimum limit of EUR 5.00.
  • In some cases, the forecast for the value of contributing to a production must be adjusted downwards. Any overpayments that have taken place up to that point must first be offset against the payout amounts.

Which years of use are taken into account in the current distribution?

At GVL there are parallel distributions. We are shortly before the final distribution for 2015/2016.

The distributions relate to the productions that were used in the respective year.

Can I find out how much I will receive before the actual payout?

Unfortunately, no, the actual transferable amount will only be communicated to you with the payout notification on the day of the bank transfer. A few days later, detailed statements will be available to you on the performer portal where the expected total remuneration until the end of the distribution window is shown per production.

Whom do I contact if I have questions on my bank transfers?

Please contact our distribution finance team for tax-related questions or regarding your transfer: finanzen.berechtigte@gvl.de or call them on +49 (0)30 48483 Mon to Fri, 10.00am to 2.00pm.

Why does GVL no longer issue a certificate about the particular amount of its payments, as it did in 2018?

In 2018, GVL made a document called "GVL info on 2018 payout volumes" available for download. This letter was intended to assist our beneficiaries with their tax returns and help them avoid large deductions. However, it was not legally binding for the responsible tax authorities.

In it, we explained that due to a fundamental technical system change, GVL exceptionally had to carry out three final distributions at the same time in 2018 (for the years 2010-2012). Accordingly, unusually high amounts of revenues were distributed to our beneficiaries that year.

Since then, GVL distributions have become more predictable: In 2020, there was still a double final distribution for the years 2013 and 2014. In 2021, as previously announced, the final revenues for the years 2015 and 2016 were distributed. In 2022, a double final distribution will take place for the last time and include the years 2017 and 2018.

The argument of "unforeseen" high distributions is therefore no longer tenable. We can therefore no longer provide certificates.

Whom do I contact with concrete tax questions?

Please contact our distribution finance team for tax-related questions or regarding your transfer: finanzen.berechtigte@gvl.de or call them on +49 (0)30 48483 Mon to Fri, 9.30am to 2.00pm.

How has the distribution system been working since 2010?

In 2010, the EU Commission prompted GVL to change its distribution system to an internationally agreed standard. This means that we migrated our system from an income-based distribution to a usage-based calculation. Since then, it no longer matters how much income an performer received for a production. Today’s payments are based on the actual usage of a production on the radio/on TV.

What does usage-based distribution mean?

The calculation basis for such a distribution is the broadcast of a production on the radio and/or TV in line with the relevant broadcast minutes. Radio and TV usually do not broadcast an entire album but individual titles during a programme. It is the number of minutes a work has been broadcast that is relevant for distribution purposes. Such broadcast minutes incur for individual titles that have actually been broadcast. Radio stations and TV broadcasters provide us with the titles they broadcast, together with the relevant broadcast duration in minutes. We match them against your contribution notifications which you submitted via our online portal meine.gvl. If a production which you have evidently contributed to has been broadcast, you will receive a payment from GVL for it.

What are duplicates and how do we deal with them?

Duplicates are datasets within the GVL databases which relate to one single product but carry slightly deviating names due to typing or transmission errors and therefore appear in the database more than once. In short: Duplicates are unwanted twins of datasets.

GVL is working flat out to detect these data duplicates and collate them to one single dataset. Our performers benefit from this data cleansing: the clearer and more unambiguous our data pool is, the easier and faster it is for you to register contributions for the productions.

Please note: By removing duplicates, the overall amount of your contribution notifications might be reduced, but we will make sure that all notifications will be transferred to the remaining dataset and the remuneration is consequently not reduced. You also get a better overview of your productions as a result.

How long will I receive annual remunerations for contributing to a production?

The ancillary copyright applies to sound recordings for 70 years and to film and television productions for 50 years. So in the best case, you can receive remuneration for your artistic contribution to a production for that long.

However, the prerequisite for this is always that there are uses relevant under ancillary copyright law during this period, i.e. broadcasts take place that lead to corresponding revenues.

What does “degression” mean?

The distribution calculation applied by GVL is subject to the distribution plans which sets fixed distribution rules. In the course of the distribution calculation, there is a degressive multiplier [Degressionsfaktor] i.e. remuneration is reduced according to these factors, especially for particularly intensive usage.

It is possible that, in the context of the reduction of duplicates (see above), there is a higher amount of usage units allocated to a product after the data cleansing process. In such cases, the total of usage units could exceed the degression threshold values: From a specific threshold value of added-up usage units for a production, all usage units above this value will no longer be weighted at 100%.

The first degressive tier applies to

  • Sound recordings spoken word & music from more than 30,000 usage units
  • Radio productions music from 15,000 usage units
  • AV productions/radio broadcasts spoken word from the fifth  broadcast

We are positive that the final distribution of the remuneration reserves whose levels will not be known before December excludes clawbacks. If repayments were to result from a first-time degression, they would be offset against future payouts. No rights holder has to repay money.

If you have registered various contributions for a product (e.g. different instruments), these contributions are, of course, taken into consideration individually and remain as different, non-identical contributions.

 

Open budgets

What are open budgets? Which budgets belong to them?

The term “open budgets” stands for small GVL sub-budgets. These include, according to the GVL distribution plans:

  • Radio jingles
  • Radio advertising
  • Music in radio plays
  • Television docusoaps
  • Individual television contributions (such as live music performance, live comedy performance, fictional scenes, cartoon scenes in non-fictional formats e.g. "Aktenzeichen XY", children's programmes, shows)
  • TV jingles (station promos)
  • Television advertising
  • Documentary cinema films on television (cinema productions that have also been broadcast on television)
  • Television documentary productions (produced for television)
  • Title and background music (for all the above, except for documentary productions)

What is the size of the sub-budgets compared to other GVL budgets? How much can I expect for my contributions?

The open sub-budgets account for less than 3% of the total GVL distribution sum for performing artists per year. The distribution amounts result mainly from private copying levies and are therefore relatively low. For this reason, we want to keep your and our costs as low as possible.

How do I submit contribution notifications for the “open budgets”?

Since GVL cannot provide usage information delivered by the broadcasting stations, contributions must be reported via a separate form. Within the period from 05.01.2022 to the reporting deadline of 30.06.2022, you will find the menu item "Open budgets" in the my.gvl portal, which will take you to the form for the distribution years 2017 and 2018. After the reporting deadline, the form will be deactivated again. As usual, we will inform you about the oportunity to report contributions in „open budgets“ for the coming distribution years in a timely manner by e-mail.

A glossary including a translation of key words from the form can found here.

What about broadcasts before the 2017 distribution year?

Your reports for the sub-budgets for the years 2010-2014 were accepted until the end of 2020 and remunerated in April 2021. The reports for the 2015-2016 usage years were accepted until April 30, 2021, and these remunerations were distributed at the end of 2021. 

In the interest of timely distribution of remunerations in favor of the beneficiaries, the remuneration for the open budgets was distributed in full using a simplified procedure. Accordingly, these were final distributions. Retroactive reporting on "open budgets" of the distribution years 2010-2016 is no longer possible.

 

Which contribution notifications should be bundled?

If you have made multiple contributions to sequels or series in terms of a production, please send us a notification as a bundle for each year, not for each individual episode. This concerns the sub-budgets individual television contributions, docusoaps and opening title and background music.

Examples:

  • If you had several or regular appearances in a specific show (e.g. musical appearances or as a comedy act)
  • If you made several or regular contributions to a docusoap
  • If you recorded the title or background music of a particular magazine programme
  • If you participated in the music of television documentaries that aired in multiple episodes with identical titles or subtitles.

Please do not report individual episodes in the case of such linked productions; instead, indicate the total number of transmissions within the relevant year under “frequency of transmissions”.

If you had worked on the fictional documentary format "Wild Animals", for example, you would have to summarize the following titles that were broadcast in one year: 

Series "Cats of Prey," Episode 1: The Lion (1 hr.) 

Series "Cats of Prey", Episode 2: The Tiger (1 hr.) 

Series "Cats of Prey", Episode 3: The Panther (1 hr.) 

Series "Cats of Prey", Episode 4: The Jaguar (1.hr.) 

 

Series "Marine Animals", Episode 1: The Blue Whale (1 hr.) 

Series "Marine Animals", Episode 2: The Great White Shark (1 hr.) 

Series "Marine Animals", Episode 3: The Giant Octopus (1 hr.) 

 

Please combine these productions as "Wild Animals (Cats of Prey/Marine Animals)" in one message and increase the corresponding number of airings. The production duration in this example would be 01:00:00. 

In the case of several performances within a show, e.g. music performances, please submit them as a bundle as well. Just adapt the production duration in line with the total duration of your contributions.

For example, if you appear in an average of five 30-second musical interludes in a late night show with the show band, please report a single contribution with a production duration of 00:02:30. For the broadcast frequency, enter the total number of broadcasts in which you participated in the respective distribution year.

Which artistic contributions /roles can I register for these sub-budgets?

You will see in the form which roles are available for your selected sub-budget. Overall, the following roles are relevant for the open budgets:

  • Singer
  • Instrumental Musician
  • Conductor
  • Actor
  • Dancer
  • Studio conductor
  • Artistic producer
  • Stage director
  • Dubbing director
  • Literary director
  • Stunt performer / stunt double
  • Dubbing actor
  • Dubbing artist
  • Artistic narrator/raconteur

What kind of voice performances are remunerated?

Please note that there has to be a change of roles which has been reported accordingly in the respective production script. A change of roles occurs if you, during your artistic work performance enter into the figure of another person or another being.

Rule of thumb: The contributions of a narrator are only relevant from a neighbouring rights perspective if they reflect an artistic interpretation of a work which can be protected by copyright. The mere rendition of a work protected by copyright is not enough. An interpretation is a shaping personal rendition with a proper artistic value which can incite mood or feelings. A significant indicator is the narrator’s change of role or identity. The mere linguistic communication of factual information such as those transmitted by a news reader does not give rise to neighbouring rights of a performer.

As a singer or instrumental musician, why can't I specify an instrument or voice range in the form?  

This information is not required for the calculation of remuneration in open budgets. Please only enter your role and function in the respective production. 

How many and what type of contributions can I report for a production?

You can submit a maximum of two reports per production. Since 2022, this is possible in one reporting step in the revised reporting form. If you submit two contributions, one entry must be instructional (e.g. as "artistic producer") and the other one must be a performing role (e.g. as "instrumental musician"). Exceptions to this are the sub-budgets Individual television contributions and Music in radio plays, where only a single contribution is possible. The same applies to participation reports by choir-/orchestra representatives, who can report only one contribution in a performing role

I am a choir-/ orchestra representative. How can I register participation in these sub-budgets?

Please log in to the portal on my.gvl as a choir-/orchestra representative as usual (contract number starting with "090XXX"). Do not use the account you have as a performing artist, but your account as a choir-/orchestra representative, which we have sent you by e-mail (if necessary, please call the Team Classical Music & Ensembles at 030/48483-762). 

Please choose only the functions orchestra member (KKV), choir member (KKV) or ensemble member (KKV) to register as a representative of the orchestra. 

In principle, the solidary payment type is chosen. It is not possible to select or deselect individual members of your orchestra.

I am an heir or authorized representative. How can I register contributions in these sub-budgets?

To register contributions in the open budgets, you need the corresponding artist’s access to the my.gvl portal. A pure paper report is not possible. In these sub-budgets, it is unfortunately not possible to submit a participation report without portal access. 

How is the sub-budget “individual television contributions” defined? Which notifications can I submit here?

“Individual television contributions” are artistic contributions to productions which are not relevant from a neighbouring rights perspective over the full duration, as there are also non-artistic elements. TV shows, for example, also include presentations, games and interviews. These do not qualify for GVL remuneration payments. You can, however, notify us of a musical performance, a stand-up performance or a performance as an actor in a film clip. Please always mention the name and the duration of the individual contribution in addition to the name of the overarching broadcast (series). Only one participation report is possible per production in this sub-budget.

Example:

If you had a musical performance with the ficticious band "The Opticians" on the ficticious game show "I See Something You Don't See" in 2017, which went to air in 2018, you would enter the following on the form:

Sub-budget: individual television contributions

Distribution year: 2018

Production name: I See Something You Don't See

Production year: 2017

Production duration (hh:mm:ss): 00:03:30 (if your performance lasted 3 minutes and 30 seconds. The duration of the entire show is irrelevant)

Name of individual contribution in production/broadcast: musical performance with band Opticians.

Please note that individual television contributions are only compensated for a maximum duration of 30 minutes and are capped accordingly, even if your artistic contributions go beyond this. Please also note the instructions on how to properly bundle notifications. For example, if you performed several times or regularly on a particular show (e.g., in the show band of an entertainment show), combine all episodes and seasons of that distribution year into one entry and then increase the frequency of airings.

Example:

You participated in the fictitious music show "I Hear You" as a musician in the show band. In 2017, there were 3 seasons of 5 episodes each, but no repeats. In the form, you would enter the following: 

Sub-budget: TV individual contributions 

Year of distribution: 2017

Production name: I hear you (seasons 1-3)

Production year: 2017 

Production duration (hh:mm:ss): 00:30:00 (Only a maximum duration of 30 minutes is allowed here, even if your musical contribution went beyond that).  

Name of individual contribution in production/broadcast: "I hear you" band accompanying various artists

Frequency of broadcasts: 11-50 (3 seasons with 5 episodes each result in 15 broadcasts, from which the corresponding broadcast frequency is derived).

 

How is the sub-budget "Music in radio plays" defined? What entries can I make here?

If you have contributed to the music of a radio play (e.g. as a studio musician or artistic producer) that was broadcast on one of the radio stations evaluated, you can report your contribution in this sub-budget. You can only submit one report here.

How is the sub-budget "Title and background music" defined? Which notifications can I submit here?

The sub-budget captures title and background music for non-fictional TV and radio productions (e.g. entertainment shows and magazine broadcasts).

For example, you can report the title and closing credits music of programs such as news ("Tagesschau"), magazines broadcasts ("Aspekte", "Monitor") or entertainment shows ("Fernsehgarten", "Wetten, dass...?") as title music within the open budgets.

Title music must, in contrast to jingles, be a fixed part of the production.

You can report your participations in background music of magazine programs and entertainment shows, e.g. in film clips.

Please note: 

This does not include title and background music in fictional productions such as feature films and series. Please continue to report your corresponding contributions as usual via the artist portal, not via the form for open budgets.

Clearly defined musical performances, such as the performance of a song, are not background music. Please report these in the budget "individual television contributions".

How is the sub-budget "docusoaps" defined? Which notifications can I submit here?

You can register your contribution in productions where the events are staged and the persons fictionalised in an entertaining and dramatic way, e.g. scripted reality series.

Requirements for a recognition of contributions as an actor, artistic narrator or dubbing actor are that the work is relevant according to copyright law and features an artistic performance. These two requirements are usually fulfilled if there is a script with (fictional) roles and text and if the contributors act under directions in a dramatic setup.

An artistic performance within the meaning of copyright law is always given if a role change takes place and a fictitious person is played. However, a change of roles would also be assumed if a real lawyer or doctor participates in a fictional, dramaturgically staged situation without actually practicing his or her profession as a lawyer or doctor. 

There is no change of roles if a natural person is playing her/himself even if she/he acts differently in front of the camera than in real life.

Appearances in productions which focus on information (“Infotainment”) cannot be remunerated.

How are the sub-budgets “Radio jingles” and “TV jingles (station promos)” defined? Which notifications can I submit here?

Jingles are independent productions which can be deemed as promos for the relevant channel and its programme, e.g. “This Summer on RTL” or “VOX Highlights in October”. These also include pre-roll trailers for individual transmissions in the programme of the broadcaster.

How are the sub-budgets "Radio advertising" and "Television advertising" defined? Which contributions can I report here?

Advertising includes independent productions of branded articles/brands which advertise a product not proprietary by the channel and are possibly broadcast on several channels in parallel, e.g. classical commercials for items such as food, clothes etc.

Can I submit notifications as a presenter of TV or radio shows?

No, the presentation / hosting of a show does not count among the activities which are relevant from a neighbouring rights perspective and are not remunerated by GVL.

Which sub-budget do I use to enter my musical contributions in televised church services?

Please select the sub-budget „Individual television contributions” for your musical contributions in TV church services.

I don’t know where and how often my musical pieces were used in the sub-budgets.

If you have already registered all your titles qualifying for distribution purposes via the product search in my.gvl, GVL has received reports by the rights users with the relevant usage duration in minutes. Thus you will already receive remuneration in the corresponding distributions as a matter of course. In such case, please do not submit any additional notifications via the form for the open budgets.

If you are unsure whether your tracks have also been used as title or background music or in other open budgets, please check with your music publisher whether they have issued additional licences relevant for the sub-budgets.

For advertising and jingles on TV and on the radio, the advertiser must acquire the rights from the author and the music publisher. In any case of such usage, there must be a corresponding evidence. It is unlikely that e.g. library music has been used for advertising without your knowledge

How should I know the duration of my production and how often it has been broadcast?

Unfortunately, GVL does not hold this information either. This is because this info is, depending on the sub-budget, either not available at all or could only be obtained from commercial data providers at unjustifiably high costs. All details must therefore be submitted by the rights holders.

Please provide the necessary details on channels and frequency of transmission to the best of your knowledge and be as specific as possible if you no longer have any documentation in this regard. We know that in many cases the production dates back a long time and exact details cannot always be provided.

Are reruns of the productions captured automatically or do I have to notify you of each transmission?

You select the number of broadcasts in a usage year (calendar year) per broadcaster collectively. For the sake of simplicity, we provide corridors for selection. This information must be entered separately for each usage year.

 

How should I know on which stations and how often my commercials were broadcast?

Due to the high costs, the GVL cannot buy and provide data and precise broadcasting information on commercials from external providers, so all information must be provided by the rightholders. However, you should also refrain from buying such information.

For many major German TV commercials, title details and, in some cases, information on the transmitting channels can be found via the usual search engines or portals like YouTube or Google. If you do not find any title information, please describe the advertisement as concretely as possible (e.g. "Edeka - Christmas commercial with Christmas Cookies").

Please provide the necessary information on stations and broadcast frequency to the best of your ability and as accurately as possible if you no longer have any documents. We know that in many cases the production dates back a long time and exact details are not always possible.

Why are not all the channels on which my production was broadcast listed in the registration form?

The broadcasters evaluated vary depending on the distribution year. It may be that you find a broadcaster in one year that was no longer evaluated in the following year, or vice versa. You can find out which broadcasters are evaluated in the respective distribution plans. You can find them on our website.

What happens if I no longer know my shooting days or takes?

For some participation roles you need to indicate the number of shooting days or dubbing takes in the sub-budgets “TV documentary productions” and “Documentary cinema films on TV”. If you cannot provide any details here, we assume that there was one shooting day or take so that you still receive a minimum remuneration.

Please provide the necessary information on takes or shooting days to the best of your ability if you no longer have any documents. We know that in many cases the production took place a long time ago and exact details are not always possible.

I have already registered contributions to productions of open sub-budgets via the my.gvl portal in the past years. Do I have to re-enter these notifications into the form?

GVL can no longer process existing portal notifications for the "Open Budgets" for the coming distribution years, as no more usage information is available for these. If you have contributed to productions of the open budgets in the distribution years 2017 and 2018, please report them using the form provided.

Why can I not yet report productions that were broadcast after 2018?

As usual, we will inform you about the reports of open budgets for the coming distribution years by e-mail in a timely manner.

Why can I not submit notifications for foreign usages here?

GVL has a rather wide range regarding the various rights holder groups and the remuneration of different media types. A multitude of artistic contributions which are remunerated by GVL will not even be taken into account by other collective management organisations worldwide. This also includes the contributions for commercials, jingles, non-fictional formats etc. covered here.

Since we do not receive any money for such usages from abroad, we cannot remunerate them either.

Why are there fixed corridors for the usages of productions?

The GVL budgets mentioned here count among the smaller sub-budgets which make up less than 3 percent of the total distribution sum for performers per usage year. In the interest of a timely release of reserves in favour of the rights holders, the boards of GVL, in agreement with the DPMA, have decided to distribute the full remuneration for the open budgets in a simplified procedure.

For this reason, "corridors" were established, which both limit the time frame and define the frequency of broadcasts in different ranges "from - to". This means that your participation is not remunerated with an exact amount of broadcasts, as in the regular distributions, but is assigned to a corridor that fits the sub-budget and is considered on a flat-rate basis.

 

Which and how many proof documents must be provided?

Since in many cases the productions date back a long time and documents are no longer available, you do not necessarily have to upload proof in the form. However, you can make our verification work much easier if you provide us with evidence - even meaningful screenshots, old contracts or the like can help us.

Please combine your documents in only one file. Multiple individual uploads are not possible.

 

How can I see that my registration has been submitted?

Once you have submitted the form, this message will appear: “Thank you! The message has been sent.” At the same time, you will receive a confirmation e-mail to the address you provided in the form. Please note that you can no longer check your evidence submissions here.

Should this not happen and if the page with the form reappears, you have forgotten to provide an important detail. The corresponding field is marked with a red note for you.

Why does the duration of some productions say "0 minutes"?

All AV products are always listed in full minutes - only audio productions also include seconds. However, since there are productions in the (formerly so called) "Open Budgets", such as commercials on TV, that are usually shorter than one minute, the value displayed is still "0 minutes". Based on the usage value and your distribution amount, you can see that the production was remunerated for the actual duration regardless.

Extension of the term of protection

Extension of the term of protection - What is that?

In 2013, the German Copyright Act extended the protection for sound recordings from 50 to 70 years by inserting a new Section 79a UrhG. Without this extension, older music titles would have become public domain and could be used without remuneration. Artists with buy-out contracts are to receive an economic share of the proceeds from sales or digital uses such as streaming or downloading by the producers of sound carriers during the extended protection period. This is done via GVL.  

From which recording year does the extended protection period apply?

The law applies to sound recordings whose term of protection for performers and producers had not expired on November 1, 2013 or was created after that date, i.e. to repertoire from 1963 onwards.

To which recordings does this apply?

Affected are recordings in which one or more studio musicians or other musicians (including featured performers or orchestral musicians) participated, who were remunerated at that time by way of a one-time payment (buy-out contract

How do I find and recognize the productions in question in my.gvl?

In the new Product Search, a separate filter is available to display products with §79a uses. For identification purposes, the titles in question bear a paragraph symbol ("§"). If you have not yet submitted a participation report, simply submit it as usual. If you have already reported your participations, a new report is not necessary. 

How long do I have to report my participations in the repertoire from 1963 and 1964?

Please report your participations until 31.03.2022 via my.gvl.de.

When will the first distribution take place?

In the first half of 2022, funds for productions with extended protection periods will be distributed for the first time. This involves productions that generated relevant revenues in 2014 and 2015.  

What about productions from later years that also fall within the extended protection period?

We will inform you in advance about the further procedure, e.g. new reporting options in the portal, in due time.  

Notes on contribution roles

For GVL, what is a...

Stage director

Artistic director of stage productions (theatre, opera, cabaret etc.) who gives artistic instructions to contributing performers.

This does, however, not include: Performers who are also acting contributors to the work. A conducting artistic activity can only take part during a recording.

Background / studio singer

Singers who are not part of the band, but who nevertheless appear in music productions or live performances. In case of doubt, the activity as a background/studio singer can be proven by the payment of a buy-out.

Band / ensemble member

A singer and/or instrumental musician who releases music productions under a fictitious band/ensemble name or appears as a band/ensemble under his/her own name in TV appearances and/or radio productions. In case of doubt, membership in a band can be proven by an internal band contract or by obtaining royalties.

Musicians of bands with 16 or more participating instrumentalists must register as orchestral musicians.

 

Conductor

Leader of a music ensemble such as a choir or an orchestra who holds the artistic overall competence and sets musical parameters such as tempi, dynamics and interpretation of the musical work.

Artistic producer

Producer of music productions who guides other musicians during the recording and intervenes interpretatively in the work. Self-guidance is not possible. Activities in the context of pre- or post-productions as well as live productions are not covered by the neighbouring right. Co-producers and executive producers are not included.

 

Actor

Performing interpreter of a role (also puppeteer) in fictional, audiovisual productions or production parts.

Not however: performances that are not accessible to artistic interpretation, e.g. extras.

Soloist

Singer and/or instrumental musician who releases or is mentioned in music productions as a main artist under their name/pseudonym (featured artists) or appears under their own name in TV appearances and/or radio productions.

Studio musician/line-up musician

Instrumental musician who is not part of the band, but who nevertheless appears in music productions or live performances. In case of doubt, the activity as a studio musician/line-up musician can be proven by the payment of a buy-out.

Stunt double / stunt performer

Performing artist whose artistic involvement in fictional, audiovisual productions or parts of productions results from a change of role and identity in which he/she temporarily takes the place of the intended actor/actress and, like the latter, assumes the role of a character to be portrayed through make-up and costume.

Not however: performances that are not accessible to artistic interpretation, e.g. stunt coordinator, body or light double.

Dubbing actor

A voice actor who uses his/her voice to translate foreign language films or films without actors (e.g. animated productions) into the local language. Where appropriate, voice actors may also be used to replace the voice of an actor/actress or to actively speak background voices in productions that are broadcast in the original language.

Not, however: performances that are not amenable to artistic interpretation, e.g. voice-overs, non-fiction texts, reports.

Voice actor ensemble

A group of voice actors who are used in an audiovisual production to create background vocals and sounds for crowd scenes ("crowd/mass"). They also do the voicing of one or more small roles that are not explicitly mentioned in the cast list, but may well be involved in the production with several takes.

Dancer

Performer who performs body movements to music as directed by the director in fictional audiovisual productions or parts of productions.

Word director

Artistic director of spoken word performers who responsibly determines the artistic interpretation of e.g. a radio play or audio book by shaping linguistic criteria such as tempo, dynamics and pitch.

Video clip director

Artistic director of music video clip productions who responsibly determines the artistic interpretation of a clip during recording, through the cinematic realisation of musical pieces.

Other video clip creator

Other video clip creator
Other* video clip creators include the activities as cameraman/woman, costume designer, set designer/film architect, editor/editor in a music video clip production. In exceptions: Make-up artist/choreographer.

Studio conductor

Leader of a group of instrumentalists or vocalists whose activities relate only to a part or section of the recording or concern only one instrumental group or part of the musicians.


In contrast to the conductor, who provides guidance over an entire work, the studio conductor is involved in a work on a selective basis.

Artistic speaker / narrator

Interpreter of words in a production where lip synchronicity to a moving image is not given, e.g. radio plays, audio books, poetry or audiovisual productions.

Not however: performances without role changes or without the interpretation of an artistic work, e.g. voice over, non-fiction texts, reports.

Dubbing director

The person responsible for the artistic linguistic interpretation of an audiovisual production (TV). He/she determines the work, which is usually based on a written script, by shaping linguistic criteria such as tempo, dynamics, pitch and lip synchronicity.

Remuneration from private copying and rental/lending (performers)

Why are there two payout notifications?

It increases the transparency of the calculation and shows the remuneration categorised into subject to VAT and not subject to VAT.

What does the deduction of "administrative costs GVL / collection costs" on payout notifications of the type "Remuneration for private copying and rental & lending" mean?

The amounts shown consist of two different portions: The first is GVL's administrative costs, which are a percentage of this remuneration share. The second component is costs that are charged to us. On the basis of Section 44 of the German Collecting Societies Act (VGG), GVL has entered into agreements with various partners regarding the collection of revenues, e.g. the proceeds from private copying and rental & lending. This is taken care of by organizations such as the Central Office for Private Transfer Rights (ZPÜ), the Central Office for Library Royalties (ZBT) or the Central Office for Video Rental (ZVV).

Collection costs must be reported separately and are subject to VAT since a change in the way revenue from private copying is viewed under tax law. This new regulation now makes their offsetting against revenues transparent.

The remuneration itself does not change as a result. Of course, the costs will only be charged proportionately if you actually receive money for the distribution. 

How is the transfer amount on my account made up?

The amount usually consists of the final amount of both payout notifications. It is possible that you receive separate transfers within a few days.

Do payout notifications without collections remain unchanged?

Do payout notifications without collections remain unchanged?

My registered address is abroad, in the EU or a third country, with a valid VAT ID, how does this affect the VAT of the collection costs?

There is no tax deduction on collection costs.

My registered address is in another EU country and I do not have a VAT ID.

You will be subject to a tax deduction on collection costs.

Do you have a small or medium enterprise?

You will be subject to a tax deduction on collection costs.

What causes these collection costs?

On the basis of Section 44 VGG, GVL has entered into representation agreements with other collective management organisations.

The following representation agreements exist:

  1. Agreement on collection activities between GVL and GEMA on the remuneration rights arising from public performance
  2. Agreement on collection activities between ZPÜ and GEMA, VG Wort, GÜFA, GWFF, VG Bild-Kunst, VFF, TWF and VGF for remuneration rights arising from Section 53 (1)-(3) UrhG in Sections 54, 54a, 54b, 54e and 54 f UrhG.
  3. Agreement on collection activities between ZBT and GEMA, VG Wort, GWFF, VG Bild-Kunst, VFF, VG Musikedition and VGF for remuneration rights arising from Section 27 (2) and (3) UrhG.
  4. Agreement on collection activities between ZVV and GEMA, VG Wort, GÜFA, GWFF, VG Bild-Kunst, VFF and VGF for remuneration rights arising from Section 27 (1) UrhG.

Further information on ZPÜ, ZBT and ZVV can be found in the GEMA Yearbook on the GEMA website. In addition to the above, GVL also concluded a number of representation agreements with CMOs and MLCs abroad. Please click here for an overview of the agreements relating to producers.

 

Public performance

As part of the direct accounting of public performance, GVL pays out for sound recordings which had significant usage in terms of public performance (especially in the course of major events/mass events) in the respective distribution year, but only had very little broadcast usage. With this direct accounting, the former distribution budget for newly released sound recordings without relevant broadcast usage was replaced (see our news dated 30 July 2019).

In order to participate in the direct accounting for public performance, rights holders must submit their claims for the distribution years from 2010 by using the “registration form direct accounting for public performance” / “Certificate for public performance” by 31 December 2020. Rights holders can only submit their claims for contributions in a title after the first regular distribution for the relevant usage year.

Please note: It is only possible to submit a notification if we hold both the registration form and the certificate from the event organiser.

My title has not been released on a sound recording. Can I still participate in the process?

A distribution will only be made to rights holders which contributed to commercially published sound recordings.

My title is also played on the radio, can I still participate in the distribution?

Your title might have been broadcast on the radio, but it may not have had more than 200 minutes of broadcast usage in the corresponding usage year.

My title is repeatedly played in a retail store. Can I still participate in the process?

No. The process requires a significant usage in public space e.g. as part of a mass event. Distributable amounts from usage in smaller public places such as retail stores, catering businesses etc. fall below the minimum threshold level as set out in the distribution plans.

My title has been played last year in a stadium, for example, can I submit my notification yet?

You can only submit claims for contributions in a title after the first regular distribution for the relevant usage year.

Which deadlines do I need to observe? When does the distribution take place?

Claims to remuneration from the distribution budget “Sound recordings that have been publicly performed without any relevant broadcast usage” can always be submitted up until the 31st of December of the following year, after the public broadcast has taken place.

For the distribution year 2021, the registration period ends on December 31, 2022.
A distribution is planned for the first half of 2023 (half year after the end of the registration period). However, a later distribution is also possible for technical or operational reasons.

What type of evidence do I need to submit in the course of the notification process?

We require the following evidence in order to process your notification:

  • Evidence for your contribution (professional contract, invoice, third-party confirmation)
  • Evidence for the existence of the sound recording (booklet scan/copy)
  • Evidence on the public performance of the sound recording (“certificate on public performance”)

What do I need to observe when I submit a notification for my contribution?

You can submit two contributions for one title. When you enter the information for the second contribution, please beware that there are inadmissible combinations. Inadmissible combinations of contributions within a title would be:

Conductor AND studio conductor

  • two contributions as a singer with identical function and deviating or identical pitch
  • Ensemble/band member AND studio musician
  • Ensemble-/band member AND soloist
  • Conductor AND artistic producer

Please provide suitable evidence with the form regarding your contributions (e.g. agreement covering professional fees, invoice, third party confirmation etc.)

 

The event organiser wishes to send the certification directly to GVL, is this possible?

Yes, this is possible. The event organiser can send a scan of the certificate to oewtt@gvl.de or choose a dispatch by post to (GVL, “Direktverteilung Öffentliche Wiedergabe“, Podbielskiallee 64, 14195 Berlin). Please take care that you - as a performing artist - add the necessary information on your person to the certification.

More questions?

We're happy to help!
Our rights holder team is here for you:
Monday to Thursday from 9am to 5pm
Friday from 9am to 2pm