The MTU is still in its formative stages. We’ve covered some ground in our conversations with industry leaders and organisations already, but there will be further issues that need negotiating. To join the discussion, visit the MTU Discord or get in touch.
- Why do we need the MTU?
- Who will the MTU represent?
- How do I join?
- Why are some roles omitted?
- How will the union be established?
- How much will it cost?
- How can we prevent getting undercut by non-union workers?
- Who’s on board so far?
- Who else do we need to get on board?
- What happens if employers do not follow the new rates or contravene working hours?
- How can I help?
- What are the potential pitfalls?
In the comparable industries of Theatre and Film, the conditions we’re aiming to secure have long been established and are taken for granted by clients and employers.
Whilst working cultures in music studios are usually enjoyable, they often place high demands on the stamina of the technical staff. It’s not uncommon for a working day to last well in excess of 12 hours, often without a proper break, and to finish so late that there’s barely enough time to rest properly before the next session.
The rates charged by staff working in similar roles vary widely across an industry disproportionately comprised of freelance workers with no access to holiday pay, sick pay, maternity or paternity pay, or legal assistance in the case of workplace difficulties. Speaking out against conditions has sometimes lead to workers losing opportunities, so most of us have become used to simply putting up with our lot.
We feel it’s time for music technicians to have some backup; to be given a platform to negotiate their rates according to standardised minimum rate cards, to be given protections against being overworked, and to be compensated fairly for the antisocial working hours often required by overnight or late-running sessions.
We’re not ready to accept members yet, but please register your interest using this form, and we’ll update you with significant developments.
- Studio Runners
- Assistant Engineers
- Pro Tools Operators / Tape Operators
- Studio Engineers
The primary focus of the MTU is to represent technical staff working on a day-rate basis. Unfortunately it would be impractical to represent those working on a non-day-rate basis, including mixing engineers, mastering engineers, producers, and songwriters. The intricacies of remuneration in these cases go beyond the scope of the MTU, and since the timescale for these projects is often self-decided by the engineer or producer, working hours can’t be standardised. Additionally, some of these roles also already have established bodies working on their behalf.
How will the union be established?
We see 2 routes at present – partnering with either BECTU or the Musicians’ Union, and forming a sub-branch.
The BECTU Route: Taking the Photographic Technicians Union’s example (see #the-story-so-far for details), they formed a union of freelancers in June 2020. They partnered with BECTU, allowing them access to BECTU’s existing support, legal team, and training network for their members. BECTU is an established trade union body with over 40,000 members who work in non-performance roles in broadcasting; film and cinema; digital media; independent production; leisure; IT and telecoms, and theatre and the arts (https://bectu.org.uk/about/)
The MU Route: Conversations are planned to explore the possibility of partnering with the MU. This might aid logistical matters, including the completion of required documentation on sessions, etc.
If we partner with Bectu, they run a discount on your first year of membership (amounting to ~£90 for that first year). Thereafter, “for most members it then becomes 1% of your annual salary” (https://bectu.org.uk/join/)
If we go the MU route – again, these conversations need to be had
How can we prevent getting undercut by non-union workers?
Union members stop recommending non-union members for jobs, and union studios stop hiring non-union workers. We’re looking at a fundamental change to the current working culture which will require a critical mass of workers and employers already in the industry agreeing to do this simultaneously.
Industry-leading employers and workers will have to set an example by adopting union practices. To this end, we already have the support of several major London studios including RAK and Strongroom Studios.
It will be critical to educate the next generation, which will necessitate establishing and maintaining relationships with audio training centers and organisations, and spreading the good word to educators and future graduates of these institutions.
Existing platforms can help broadcast our message to help unite a disparate workforce. We can leverage the reach of established YouTube channels, industry social media influencers, brands, online communities (e.g. Gearspace), as well as existing UK organisations like the MPG, MU, Ivors, and UK Music. And of course, grassroots campaigning and word of mouth will help spread awareness.
As union practises are normalised, bad actors will be further deterred from facilitating non-union working conditions.
The Music Producers Guild have responded positively and delivered the following statement: “The Music Producers Guild shares the same values as the MTU and we therefore will aim to work closely with them to create better and more equitable working practices.“
RAK Studios and Strongroom studios have already independently expressed their support and willingness to immediately adopt best practices as agreed between the MPG, MPG Studio Members, and the MTU.
And of course, the many music technicians who have long wished for an organisation to represent their interests!
Who else do we need to get on board?
BPI – The British Phonographic Industry’s membership includes more than 500 independent music companies and the UK’s major record companies – Universal Music UK, Sony Music UK, and Warner Music UK. Together, BPI’s members account for 85% of all music sold in the United Kingdom (https://www.bpi.co.uk/)
The Musicians Union – representing musicians (https://musiciansunion.org.uk/)
The Music Managers’ Forum – representing artist managers (https://themmf.net/)
The Ivors Academy – representing songwriters (https://ivorsacademy.com/about-us/)
MAP – The Music Academic Partnership – Bridging the gap between academia and the UK Music Industry https://musicacademicpartnership.org/
JAMES – who bring specialist knowledge and experience to The JAMES Course Accreditation Scheme, careers advice and specialist support for universities, students and parents (https://www.jamesonline.org.uk/)
* What happens if employers do not follow the new rates or contravene working hours?
Are there going to be sufficient processes in place for the demands to be backed up? This is a tricky topic; there will be cases where studios won’t use union rates because they simply can’t afford them.
The rates might not necessarily be that much higher than smaller studios are used to, though we would have to get a better idea of how rates currently break down country-wide.
Another way to look at it would be that the union is a guarantee of quality, and that going to a non-union studio is fine but necessarily is a budget option, both financially and in terms of staff experience? [Please discuss!]
Spread the word! Link anyone who might benefit to the MTU Discord server: https://bit.ly/mtu-discord-invite
If you’d like to offer your time, let us know. Please remember that this will entail a commitment of energy and time, and may need to be sustained over an extended period.
What are the potential pitfalls?
Good question. We’ve identified some tricky points above, but no doubt there will be more issues that need negotiating, so please come and discuss them in the MTU Discord.
The Music Technicians' Union 