Here's some popular questions and answers about performance rights organizations  ASCAP, BMI, SESAC in the US, other names in other countries, like SOCAN in Canada– probably represent the largest number of misunderstandings of any single subject we deal with.

From this point on in this story, we’ll simply refer to these organizations as PROs.

Let’s start with what they do, and get to what they don't do.

 

Their primary job is to collect performance royalties and pay them to their member songwriters, lyricists, composers and music publishers. There are other connected activities, such as education, awards, and standing up for rights of their members, but basically their job is to collect royalties from radio, television and other venues where songs are played in public.

 

Q:  Do I need to be connected with ASCAP or the others  to have a song published?

A: No. In fact, you don’t need to be affiliated until there are royalties to collect, meaning you have at least one song thats going to be, on radio or  television, etc.
   We suggest having all your ducks in a row: Copyrights, Demo CD , A PRO, and a publisher that will help you promote your material properly.

 

Q: Which PRO is best to be a member of?

A: We recommend ASCAP. Each organization is different in its own way, but from a royalties paid standpoint, we know of situations where a song is co-written by a BMI writer and an ASCAP writer, and they  come out about the same on royalties.

 

Q: I’ve heard that ASCAP is owned by the people who write and publish the music and BMI is owned by broadcasters, is that true?

A: ASCAP is the only U.S. performing rights organization created and controlled by composers, songwriters and music publishers, with a Board of Directors elected by and from the membership. Plus with a lower membership fee.

Q: What’s the difference in being a member and being licensed by the PROS?

A: Songwriters and publishers are members.    Radio, TV stations and other venues that play music are licensed to do so, and pay the PROS annual fees. Which the PROS use to pay out royalities.

 

Q: How do the PROS know how much to pay songwriters?

A: Each has it's own system of monitoring or checking on radio and television stations to find out which songs they’re playing. If you have a number one hit, it’s obviously being played more, consequently earning higher royalties. As for specifically how much a writer gets each time a song is played on radio, each PRO has its own formula, and takes into account a number of variables.

What PROS don't do: They don't publish songs, pitch songs or formally develop artists or songwriters. We say formally, because they may refer an especially promising artist or songwriter to a record label or publisher. It happened with Brad Paisley. (ASCAP) 

You can learn a lot by going to their web site. You will also find someone friendly at ASCAP  who will be glad to talk with you. Or contact Planet T Music Publishing,
There  are not any dumb questions.

 

SESAC is a bit different... they generally look for established writers who already have income-producing songs. They're privately owned and can make private deals with writers they consider profitable.

If you should decide on a U.S. PRO, you  can only be a member of one PRO worldwide.