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.

General items

How do I change my personal master data?

Should your e-mail address have changed, please send a short mail to

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

Gesellschaft zur Verwertung von Leistungsschutzrechten GmbH (GVL)
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 (here).

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?

General rule: the more informative the evidence is, the better! This means: Your name, the name of the production and your activity should emerge from the document. These could be contractual documents, disposition notes, booklets and covers but also cast or instrumentation lists. We can only accept issued invoices in combination with a proof of receipt of payment.

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.



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 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
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 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 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 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

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 our up-to-date tips what the current notification modalities for these production types.
  • GVL only analyses productions which have been transmitted via common, free-to-air broadcasters within Germany.  This 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.

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

For distribution years 2010 to 2016, notifications used to be submitted via a separate online form. Since the notification period ended on 30 April 2021, the form has been deactivated until further notice.

We are currently looking into how the notifications for “open budgets” can be carried out for the coming distribution years. Once we have any news on this, we will, of course, inform you by e-mail.


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.


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 in 2015 and 2016 are taken into account, we asked our eligible artists to submit their reports for these years of use by April 30, 2021 via my.gvl. This registration deadline also applied to the so-called "open sub-budgets" for 2015 and 2016. For radio in-house productions (word), a registration deadline of May 31, 2021 was planned. The registration deadline for contributions to productions that were broadcast in 2017 has not yet been set.

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 Further information can be accessed at

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

You can find information here.

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 subsequent distribution for 2017-2019 and the first distribution for 2020.

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: or call them on +49 (0)30 48483 Mon to Fri, 9.30am to 2.00pm.

Whom do I contact with concrete tax questions?

Please contact our distribution finance team for tax-related questions or regarding your transfer: 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.

Why is it important that I report my contributions?

Only if you report your involvement in artistic productions to the GVL we are able to compare them with the broadcasts on radio and television. Reporting your contributions is a prerequisite for receiving remuneration for your radio / television productions.

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.

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.

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.


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

In order to use our online portal 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, 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.


Where do I find information on the VAT adjustment?

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.



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.



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.


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.


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.

Open budgets

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

For distribution years 2010 to 2016, notifications used to be submitted via a separate online form. Since the notification period ended on 30 April 2021, the form has been deactivated until further notice.

We are currently looking into how the notifications for “open budgets” can be carried out for the coming distribution years. Once we have any news on this, we will, of course, inform you by e-mail.

What are open budgets? Which budgets belong to them?

he notion “open budgets” stands for sub-budgets of GVL that have not yet been distributed. These include, according to the GVL distribution plans:

  • Radio jingles
  • Radio advertising
  • Music in radio plays
  • Television docusoaps
  • Individual television contributions (such as live musical performance, live comedy performance, fictional scenes, cartoon scenes in non-fictional formats (Aktenzeichen XY, children's programmes, shows)), other.
  • 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)

Which artistic performances/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 (m/f)
  • Instrumentalist
  • Conductor
  • Actor
  • Dancer
  • Studio conductor
  • Artistic producer
  • Stage director
  • Dubbing director
  • Literary director
  • Stunt performer / stunt double
  • Dubbing actor
  • Dubbing artists’ ensemble
  • Artistic narrator/raconteur

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

“Individual contributions” are artistic contributions to productions which are not relevant throughout from a neighbouring rights perspective. 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, however, a stand-up number in a cabaret or a performance as an actor in an introductory film. Please always mention the name and the duration of the individual contribution in addition to the name of the overarching broadcast (series).

How is the new sub-budget “title and background music” defined? Which notifications can I submit here?

The new sub-budget was created in order to capture title and background music for non-fictional TV and radio productions (e.g. shows and magazines).

Please note: This does not refer to title and background music in fictional productions such as feature films and series. Please continue to submit your contribution notifications as usual via the performer portal.

For the purposes of open budgets, you can report the following as title music: opening and closing music of programmes such as news (“Tagesschau”), informative shows (“Aspekte”, “Monitor”) or entertainment shows (“Fernsehgarten”, “Wetten, dass...?”).

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

You can report background music for informative shows and entertainment shows e.g. film clips.

Please note: Clearly separated music presentations such as the performance of a song are not considered as background music. Please notify them as “individual contributions (features)”.


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 made up less than 3% of the GVL total distributable amount for performers per year for the period 2010 to 2016.

I have already submitted notifications for productions of some sub-budgets via the portal artsys/meine.gvl in the past years Do I have to re-enter these notifications into the form?

No, any notifications you have submitted up to 30 August 2020 in the portal artsys/meine.gvl will be incorporated into the distribution and do not have to be resubmitted.

An overview of the notifications which you have already submitted via artsys/meine.gvl can be accessed in the portal via:  under "Registered" (Button).


Why must I submit the productions of these sub-budgets via a form on the page and not, as usual, via the portal meine.gvl?

Entering information for the open budgets yourself is the most effective form so that we can pay out the money for the years 2010 to 2014 promptly upon verification of your notifications. The alternative, which would have been to upload the production details for the 10 different sub-budgets on the portal would have further delayed the distribution of the remuneration.

In the interest of a timely release of reserves in favour of the rights holders, the GVL committees, in agreement with the DPMA, have decided to fully distribute the remuneration of the open budgets from 2010 to 2014 promptly in a simplified procedure.

How many and what type of notifications can I submit for a production?

You can submit a maximum of 2 notifications for a production. If you submit 2 registrations, one submission must be conducting (e.g. “artistic producer”) and the other one performing (e.g. “instrumentalist”). Please complete a second notification with an identical production title.

What years could I submit notifications for with the form in the mentioned sub-budgets?

Notifications for the usage years 2010– 2014 could be submitted until 31/12/2020 . Submitting notifications for the usage years 2015 & 2016 was possible until 30/04/2021. We will inform you separately about the notification methods for usage years from 2017 onwards.

Why can I not yet submit notifications for productions that were broadcast between 2017 and 2019?

Notifications that we receive via the form for open budgets are not processed in the usual way so that the final distribution for 2010-16 can be carried out as swiftly as possible.

For the broadcasts from 2017, a final distribution would be too early. Complex initial and subsequent distributions cannot be executed on the basis of the data captured via the form.

Why can I not submit notifications for foreign usage here?

GVL has a rather large bandwidth regarding the various rights holder groups and the analysis 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 abroad. These include the contributions captured here for commercials, jingles, non-fictional formats etc.

Since we do not receive money for such usage from abroad, we cannot pay anything out for it.

How long have I had time to submit my notifications? Was there a notification deadline?

For notifications regarding 2010 to 2014, you had 4 months’ time. The notification period started on 1 September 2020 and finished on 31 December 2020. The distribution took place in April 2021.

The notification period for the years 2015-2016 ended on 30 April 2021. The distribution is planned for the 2nd quarter of 2021.

Is there also an option to submit notifications for the sub-budgets in question via the portal meine.gvl?

No, please submit your notifications for the sub-budgets in question exclusively via our online form.


Is the distribution in the 1st semester 2021 an initial distribution or a final distribution for the years 2010 to 2014?

It is a final distribution of the open budgets for the years 2010 to 2014. 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 fully distribute the remuneration of the open budgets from 2010 to 2014 in a simplified procedure. In consultation with performer delegates, we have determined the notification time window of 4 months so that there is ample opportunity to notify GVL of all recordings from the relevant years and simultaneously enables a prompt and complete payout.


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

You can select the number of transmissions of a usage year (calendar year) per broadcaster per notification. For reasons of simplicity, we provide brackets for your selection purposes. Said details must be captured for each usage year separately.


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

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

Which productions can I submit in the sub-budget “Docusoaps”?

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

Requirements are that the work is available in the sense of the copyright law and an artistic performance. These two requirements are usually fulfilled if there is a script with (fictional) roles and text and the contributors act under directions in an action framework which has a dramatic setup.

A change of roles occurs in cases where another person is being played. It is, however, also to be assumed in cases where a lawyer or doctor in a fictional situation contributes without exercising his actual profession as a lawyer or a doctor.

There is no change of roles if a natural person is playing itself even if it acts differently in front of the camera than in real life.

Productions with information character (“Infotainment”) cannot be remunerated.

What happens if I cannot remember my shooting days or takes?

For some contribution 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.

How do you define sub-budgets “radio jingles” and “TV jingles”? 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. “the 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 "radio advertising" and "television advertising" sub-budgets defined? Which reports can I make 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.

How should I know which channels broadcast my commercials and how often?

GVL is, due to the high costs involved, not in a position to buy data or specific transmission details on commercials from external providers and make them available; as a consequence, all details must be submitted by the rights holders. You should desist from buying such information, too.

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 have no longer any documentation in this regard. We know that the production often lies in the past for quite some time and that specific details cannot always be provided.

For many major German TV commercials, title details and, in some cases, information on the transmitting channels can be determined via commonly used search engines or portals such as YouTube or Google.

If you do not find any title information, please describe the commercial as specifically as possible (e.g. “Edeka - Christmas advertising spot with dominoes”).

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 respective field has a red border.

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 have no longer any documentation in this regard. We know that the production often lies in the past for quite some time and that specific details cannot always be provided.


Can I also summarise my notifications?

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 transmission. This affects the sub-budgets individual contributions, docusoaps and opening title and background music.


  • 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 specific “Magazin”, a show-type broadcast.
  • Please do not report individual transmissions in the case of such linked productions; instead, indicate the total number of transmissions within the relevant year under “frequency of transmissions”.

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

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 change of roles or identities of the narrator. 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.

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

In the case where you have registered all your titles qualifying for distribution purposes in artsys/meine.gvl already, GVL will have received reports by the rights users with the relevant duration in minutes. They already flow into the distribution as a matter of course. Please do not submit any additional notifications via the form for the open budgets in such cases.

If you are unsure whether your pieces have e.g. also been used as title or background music or in other open budgets, please check with your music publisher whether they have issued licences for 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. Whenever such usage occurs, we require the corresponding evidence. It is unlikely that e.g. library music has been used for advertising without your knowledge.

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

Please select the sub-budget “TV individual contributions” for your contributions in TV church services.

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.

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” for the distribution years 2010-2018 can be submitted through to 31/12/2020. A distribution has been scheduled for the first semester 2021 (semester after the deadline has expired). It is, however, possible that the distribution takes place later due to technical or other 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 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:
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Friday from 9am to 2pm