An orchestral musician's pay follows session-fee logic, not artist-royalty logic.

Take a viola player in a London-based chamber orchestra. Last month the ensemble recorded a Brahms symphony for a BBC broadcast and also uploaded the recording to all the major streaming platforms.

Money should flow from both. But the two income streams work in completely different ways, and the rules that govern an orchestral musician's pay bear almost no resemblance to what a pop artist on Spotify experiences. To advise a classical client, you have to keep the two models apart in your head.