BMI vs ASCAP is one of the first big decisions a songwriter makes. If you are asking "which PRO should I join," the honest answer is that both are strong, long established organizations, and most independent songwriters do fine with either. What matters far more than which one you pick is that you join one, register every song, and also collect the royalties a PRO does not handle. This guide compares them neutrally and explains what to do after you sign up.
What a PRO does
A PRO (Performing Rights Organization) collects public performance royalties for the composition. A public performance happens when a song is played on radio, TV, streaming services, in restaurants, bars, stores, concert venues, and more.
Businesses and broadcasters pay PROs for licenses to play music. The PRO then tracks what was played and pays the songwriters and publishers.
Writer share and publisher share
Performance royalties are split into two halves:
- The writer share, paid directly to songwriters.
- The publisher share, paid to the publisher.
If you do not have a publisher, you may be able to set up your own publishing entity with your PRO so the publisher share comes to you as well. Each PRO has its own rules for this, so read their guidance carefully.
One PRO at a time
As a songwriter, you generally belong to one US PRO at a time. You cannot register the same writer share with both BMI and ASCAP.
BMI at a glance
BMI (Broadcast Music, Inc.) is one of the largest PROs in the United States.
Key points for independent songwriters:
- Joining as a songwriter: BMI has historically not charged songwriters a fee to join. Check the current terms on its website.
- Publisher membership: Setting up a publishing entity with BMI has typically involved a fee. Confirm the current amount directly with BMI.
- Online tools: BMI offers an online portal to register works and view statements.
- Contract terms: BMI agreements run for set periods. Read how and when you can resign before you sign.
ASCAP at a glance
ASCAP (American Society of Composers, Authors and Publishers) is the other largest US PRO. It is owned and governed by its members.
Key points for independent songwriters:
- Joining: ASCAP has its own application process for writers and publishers. Check its website for any current fees.
- Member governed: ASCAP's board is made up of writer and publisher members.
- Online tools: ASCAP offers an online member portal for registering works and viewing statements.
- Contract terms: ASCAP has its own rules about resigning and moving your catalog. Read them before joining.
Fees, payment speed, and switching
Fees, payment schedules, and resignation windows change over time, and they are exactly the kinds of details that go out of date in blog posts. Here is what to compare, with a note to check each PRO's official site for current numbers.
Fees
Look at:
- The writer membership fee (if any)
- The publisher membership fee (if any)
- Whether fees are one time or recurring
Payment speed
Both PROs pay on a schedule, typically a set number of times per year, with a delay between a performance and the payment for it. Compare:
- How many distributions happen each year
- How long after a performance you can expect payment
- Minimum payment thresholds
Switching later
Switching is possible, but it is not instant. Each PRO has resignation windows and rules about what happens to songs already registered. If flexibility matters to you, read the resignation terms before you sign.
So which one should you pick?
A few honest tips:
- If your co-writers are mostly with one PRO, being in the same one can make coordination easier, though co-writers can belong to different PROs.
- Compare the current fees if budget is tight.
- Try both member portals if you can and see which you find easier.
- Talk to other songwriters in your genre about their experience.
Whichever you choose, the steps after joining are the same.
What a PRO does NOT collect (mechanicals, SoundExchange)
This is where many independent artists lose money. They join a PRO and assume they are fully covered. They are not.
A US PRO does not collect:
Mechanical royalties
On-demand streams and downloads in the US also generate mechanical royalties for the composition. Those are collected by The MLC, not by BMI or ASCAP. You need a separate MLC registration. Our MLC registration guide shows you how.
SoundExchange royalties
Digital performance royalties for the sound recording from non-interactive services like satellite and internet radio are collected by SoundExchange. If you are the featured artist and you own your masters, register with SoundExchange in both roles.
Master streaming royalties
Your distributor collects the recording side of streaming income. That is separate again.
See all of these on one page in the Royalty Map.
How to register your works after joining
Joining a PRO does not register your songs. You must register each one.
Steps
- Log in to your PRO's member portal.
- Add a new work. Enter the exact song title and any alternate titles.
- List every writer with their PRO, IPI number, and share. Shares should total 100%.
- Add your publisher if you have one, including your own publishing entity.
- Add recording info like the performing artist and ISRC where the form allows it.
- Submit and save your confirmation.
Do this for every song, including older ones.
Keep your data consistent
Use the same title, writer names, and splits at your PRO, at The MLC, and everywhere else. Mismatched data is one of the most common reasons royalties go unmatched.
Where Royalty Lock fits
Royalty Lock preps your PRO registration details along with your MLC and SoundExchange files from one upload. You confirm your ownership once, and the AI fills in the forms. You submit under your own PRO login. We never log in for you and never take a cut of your royalties. See How it works, or read the full sequence in how to register a song everywhere it earns.
Already released songs before joining? Run the Missed Royalties Check to see where money may be waiting.
How performance royalties are tracked
Knowing how PROs figure out who to pay helps you register better.
Licenses
Radio stations, TV networks, streaming services, venues, and businesses buy licenses from PROs. That license lets them play the PRO's whole repertoire.
Usage data
PROs gather data about what was played. Depending on the source, that can be detailed reports from broadcasters and digital services, surveys, or other methods. Live performance royalties may require you to report your set lists, so check whether your PRO lets you submit the songs you perform at shows.
Matching and payment
The PRO matches that usage to registered works and pays writers and publishers based on their shares. If your song is not registered, there is nothing to match it to.
Report your live shows
If you perform your own songs live, look into your PRO's live performance reporting program. Many independent artists never file set lists and miss out on money they could have claimed. Rules and eligibility vary, so read your PRO's guidelines.
Setting up your own publishing entity
Earlier we mentioned the publisher share. Here is why it matters and what setting it up generally involves.
Why it matters
If you have no publisher, the publisher share of your performance royalties may not be collected in the way you expect. Setting up your own publishing entity lets that share come to you.
What it usually involves
- Choose a unique publishing name. PROs usually ask for a few options in case your first choice is taken.
- Decide on a business structure. Some artists operate as a sole proprietor; others form an LLC. This is a business decision, and an accountant or attorney can help.
- Apply as a publisher with the same PRO you belong to as a writer.
- Pay any publisher fee your PRO charges.
- List your publishing entity on each song registration.
For more on this, see our earlier post on whether you need an LLC to be a music publisher.
Other PROs worth knowing
BMI and ASCAP are not the only options in the US. There are also invitation only or smaller PROs, such as SESAC and Global Music Rights. Most independent songwriters start with BMI or ASCAP because they are open to apply. Outside the US, each country typically has its own society.
A quick decision checklist
Before you join, answer these questions:
- What is the current writer fee, and is there a publisher fee?
- How often does this PRO pay, and how long after a performance?
- How easy is the member portal to use?
- What are the resignation rules if I want to switch?
- Which PRO do my main co-writers use?
- Does it offer live performance reporting for independent artists?
Write down your answers for both BMI and ASCAP side by side. For most artists the choice becomes clear quickly, and if it does not, know that either one is a solid home for your songs.
The bottom line
BMI and ASCAP both do the same core job: license public performances of songs and pay the writers and publishers. Both have online portals, both pay on regular schedules, and both represent songwriters in every genre. Differences in fees, payment timing, and contract terms are real, but they change over time, so compare the current terms on each official site before you decide.
The bigger risk is not picking the "wrong" PRO. It is joining one, never registering your songs, and assuming that covers everything. It does not. Pick a PRO, register every song, then register your works at The MLC and your recordings at SoundExchange. That is how you collect every stream of money your music earns.
FAQ
Which PRO should I join, BMI or ASCAP?
Both are strong, established choices, and many successful songwriters belong to each. Compare current fees, payment schedules, and member tools, and consider which PRO your frequent co-writers use. Joining one and registering all your songs matters more than which you choose.
Can I join both BMI and ASCAP?
Not as a songwriter at the same time. You can belong to one US PRO as a writer. Co-writers on the same song can belong to different PROs.
Does BMI or ASCAP collect streaming royalties?
They collect performance royalties for the composition, which include some streaming income. They do not collect US streaming mechanical royalties (The MLC does) or master recording royalties (your distributor and SoundExchange do).
Can I switch from BMI to ASCAP later?
Yes, but each PRO has resignation rules and timing windows. Read your agreement and the PRO's current terms before switching.