ASCAP vs BMI vs SESAC: PROs Explained

# ASCAP vs BMI vs SESAC: PROs Explained

If you write songs, a Performance Rights Organization (PRO) is one of the most important business relationships you'll have. PROs collect performance royalties on your behalf — money generated every time your music is played on radio, streamed, performed live, or played in a public space.

Choosing a PRO is one of the first business decisions every songwriter makes. Here's everything you need to know.

PROs act as intermediaries between songwriters and music users. Here's the process:

1. 1Licensing: PROs issue blanket licenses to businesses, radio stations, streaming platforms, TV networks, and venues that play music publicly
2. 2Collection: These licensees pay fees to the PRO based on their size, revenue, and music usage
3. 3Monitoring: PROs track which songs are being played (via digital fingerprinting, cue sheets, surveys, and direct reporting)
4. 4Distribution: PROs distribute royalties to songwriters and publishers based on how frequently their songs were performed

Without PROs, every radio station, streaming service, restaurant, and concert venue would need to negotiate individual licenses with every songwriter. The system would collapse. PROs make the entire public performance ecosystem work.

ASCAP (American Society of Composers, Authors and Publishers)

Founded in 1914, ASCAP is a member-owned, non-profit organization. It's the oldest PRO in the US.

• Members: 960,000+ songwriters, composers, and publishers
• Revenue distributed (2024): $1.83 billion
• Membership fee: $50 one-time (songwriter) / $50 one-time (publisher)
• Payment frequency: Quarterly (approximately 6–9 months after performance)
• Governance: Board elected by members
• Notable members: Beyonce, Stevie Wonder, Marc Anthony, Lizzo

BMI (Broadcast Music, Inc.)

Founded in 1939, BMI operates as a non-profit-making corporation (technically a for-profit entity that operates on a break-even basis).

• Members: 1.4 million+ songwriters, composers, and publishers
• Revenue distributed (2024): $1.80 billion
• Membership fee: Free (songwriter) / $150 one-time (publisher)
• Payment frequency: Quarterly (approximately 5.5–8 months after performance)
• Governance: Board appointed
• Notable members: Taylor Swift, Kendrick Lamar, Mariah Carey, Rihanna

SESAC

Originally the Society of European Stage Authors and Composers, SESAC is now simply SESAC. It's the only for-profit PRO in the US and operates by invitation/application.

• Members: ~30,000 songwriters and publishers (selective)
• Revenue distributed: Not publicly disclosed
• Membership fee: Invitation only (no public fee)
• Payment frequency: Quarterly (generally faster than ASCAP/BMI)
• Governance: Private company (acquired by Blackstone Group)
• Notable members: Bob Dylan, Neil Diamond, Adele, Burna Boy

ASCAP Registration

1. 1Go to ascap.com and click "Join ASCAP"
2. 2Choose "Songwriter/Composer" membership
3. 3Fill out the application with your legal name and contact info
4. 4Pay the $50 one-time membership fee
5. 5Once approved, register your works through the ASCAP portal

BMI Registration

1. 1Go to bmi.com and click "Join BMI"
2. 2Select "Songwriter" affiliation
3. 3Complete the application (no fee for songwriters)
4. 4Once approved, register your songs through BMI's online system

SESAC Application

1. 1Go to sesac.com and look for the application/contact option
2. 2Submit your music and professional information
3. 3SESAC reviews applications and extends invitations selectively
4. 4If accepted, you'll be assigned a representative

Important rule: You can only belong to ONE PRO at a time as a songwriter. If you want to switch, you must wait until your current agreement expires and formally resign.

PROs don't catch every single performance of your music. Here's what they track well and where gaps exist:

Well-Tracked

Less Well-Tracked

Pro tip: Always submit your setlists after live performances. Most PROs have online tools for this. It's free money you're leaving on the table if you don't report.

When your music is performed outside the US, the local performance rights society in that country collects royalties and sends them to your US PRO through reciprocal agreements.

Major international societies include:

The delay: International royalties take significantly longer to arrive — sometimes 12–24 months after the performance. This is normal. The money is flowing through multiple organizations across borders.

This is where many songwriters get confused. Here's the clear breakdown:

Your PRO collects: Performance royalties from radio, TV, streaming, live venues, and public spaces.

Your publisher (or admin service) collects: Mechanical royalties, sync fees, print royalties, AND registers your works with international societies for more efficient global collection.

The MLC collects: Streaming mechanical royalties specifically (US digital mechanicals).

These are three separate income streams with three separate collection paths. You need all three registered to collect everything you're owed.

Note: SoundExchange collects royalties for the sound recording (master), not the composition. It's a separate entity from your PRO but equally important.

For most independent songwriters, the choice comes down to ASCAP or BMI. Here's a framework:

Choose ASCAP if:

• You want a member-owned organization with elected governance
• You don't mind the $50 one-time fee
• You value their specific award programs and networking events
• You like their registration interface and reporting tools

Choose BMI if:

• You want free songwriter registration
• You prefer their payment calculation methodology
• You value their specific workshops and showcases
• You find their online portal more intuitive

Consider SESAC if:

• You have a significant catalog with strong performance history
• You receive an invitation or your catalog warrants application
• You value personalized, hands-on representative support
• You want potentially faster payment turnaround

The honest truth: For most independent artists, the difference between ASCAP and BMI is minimal. Both collect from the same sources, both have reciprocal agreements worldwide, and both pay quarterly. Pick one, register your songs, and focus on making music.

1. 1Joining multiple PROs. You can only belong to one as a songwriter. (You CAN have a separate publisher entity at a different PRO if needed, but that's advanced.)
2. 2Not registering your works. Joining a PRO is step one. You still need to register each individual song.
3. 3Forgetting to update splits. If you co-write a song, all writers need to register their share with their respective PROs. Mismatched splits cause payment delays.
4. 4Ignoring live performance reporting. Submit your setlists. This is how PROs know your songs were performed live.
5. 5Not checking statements. Review your quarterly statements. If a song that's getting significant play isn't showing up, something is wrong with the registration.

Now that your PRO is sorted, let's dive into one of the most important topics for independent artists and producers. Next up: Beat Licensing: Leases vs Exclusive Rights — everything you need to know about buying and selling beats, license tiers, and what each agreement actually allows.