A producer needs a PRO (performing rights organisation) if they are a writer on a composition that gets performed: streamed, played on radio, on TV, in a venue. If you only ever sell a beat for a flat fee with no writing share, you have nothing for a PRO to collect. Most producers who build beats with a loop maker, or sell to artists on a publishing split, do hold a writing share, and for them joining is free or cheap and worth doing before the first release.
A PRO collects one kind of money only: public performance royalties on the composition. That is narrower than most producers assume, and the rest of this guide is about exactly where the line sits, which society to join, and how to register a co-written beat so the shares match.
What a PRO collects, and what it does not
Back to the two copyrights from the loop maker splits guide: the composition and the master. A PRO sits on the composition side, and only on one income stream within it.
- It collects performance royalties from radio, TV, venues and digital services, and pays them to the writers and publishers who are affiliated. The MLC's own help pages describe PROs this way, and list ASCAP, BMI, GMR, SESAC and AllTrack as the US ones.
- It does not collect mechanical royalties. In the US those are paid for interactive streams and downloads, and are collected by The MLC. The MLC says that joining it is not a substitute for PRO enrollment, and the reverse is true too. In the UK the equivalent is MCPS, which is separate from PRS membership.
- It does not collect master income. Streams and sales of the recording pay the master owner. In the UK, PPL licenses recorded music for radio, TV and some digital uses, and pays recording rightsholders and performers. PRS describes its own job as collecting for the music and lyrics, so the two are different organisations with different rights, though a person can be paid by both.
- It does not collect sync fees, which are negotiated per placement.
So "I'm with BMI" does not mean "my beats are collecting everything." It means one of several streams is connected.
Do you need one? A decision list
You probably need a PRO if:
- You are credited as a writer or co-writer on a released song. In hip-hop that often includes the producer, and a loop maker whose melody or chords carry the beat commonly has a share too.
- You are splitting publishing with an artist or another producer on a placement.
- A beat is going out on streaming services or to radio, and you want your share to be collectable from day one.
- You have a split sheet naming you with a percentage of the composition.
You can reasonably wait if:
- You sell exclusive beats for a flat fee and have explicitly agreed to no writing share.
- Nothing you made has been released yet.
- You have a publishing deal or an administrator who joins and registers on your behalf (check what they actually do for you; some collect performance income and some only mechanicals).
Waiting costs little at first, since ASCAP and BMI charge nothing for writers (see below). The catch is that royalties cannot be paid against works that were never registered, and late registration means more chasing. Many producers simply join while they are building their first catalogue.
Choosing a society
In the US these are the four you will hear about, and you choose among them.
- ASCAP. Its help pages say joining is free for new writer members, and that a publisher-only application carries a one-time $50 fee, waived when you apply as writer and publisher together. ASCAP also said it would evaluate the change and decide whether to keep it, so read the live terms at ascap.com/join before relying on this.
- BMI. Its FAQ says joining as a songwriter or composer is free, with no annual dues. Its affiliation page says a writer agreement's first term is typically two years and then renews, so read the term and how to give notice before you sign.
- SESAC. Invitation-only. Its FAQ says it does not accept unsolicited submissions and suggests a lawyer, manager or agent contact it for you.
- GMR (Global Music Rights). A separate society, and its licences are separate from the other three. It publishes no open application for new writers, so assume it is not open to a typical new producer.
For a new producer, the real choice is ASCAP or BMI. There is no dramatic difference for a beginner; what matters more is that you pick one, and that your co-writers' registrations use the same title and shares you do. Your collaborator may be with the other society, and that is fine. Each PRO pays its own member's share.
In the UK the society is PRS for Music. PRS lists a one-off £100 membership fee, with joining MCPS (mechanicals) a further £100, and a reduced £30 PRS rate for creators aged 25 or under (the reduction does not apply to MCPS). Check the current fees on PRS's own site before you join. You need to own the copyright in a musical work, not have a label or publisher. Membership is individual, so each co-writer joins separately. PPL is a different body, for recordings, and it is not a substitute for PRS.
Elsewhere you generally join the society for your country, or one your own rules allow. These societies exchange data with one another, which is why the IPI number below matters.
Writer, publisher and self-publishing
Your PRO splits each work's income in two halves: a writer's share and a publisher's share. BMI describes this as a 200% scale, 100% for writers and 100% for publishers.
What happens to the publisher half when no publisher is registered depends on the society, so don't assume. BMI says that when a sole writer registers a work with no publisher, the publisher's share reverts to the writer. Other societies handle it in their own rules, which is what ASCAP's "join as a publisher too" prompt is about, so read your society's terms. Self-publishing just means setting up a publisher entity under your own name or a company name, and registering it, and it is also what lets you deal with publishers, administrators and The MLC as a publisher later.
A publishing administrator is a company that registers and collects for you, usually for a cut. You do not need one to start. The MLC also treats self-administered writers as eligible to join as their own publisher or administrator.
What an IPI number is, and where to find yours
An IPI (or CAE) number is a unique identifier that PROs and publishers use to recognise a writer or publisher across societies. You are given one when you join a society.
To find yours:
- In BMI, log in to Online Services and open the IPI Number page, or search your name in Songview. BMI says not to use your BMI account number in its place.
- In ASCAP, look in your Member Access account or on a statement. ASCAP has a help page titled "What's an IPI Number?".
- On your royalty statement from either.
Your legal name, any alias you perform under and your IPI each go on your split sheets. If you work under an alias, an IPI is tied to the name; pick the one you want credited.
Registering your first co-written beat
Registration is per work, and each co-writer registers their own share with their own society. Have this ready before you start:
- The exact title. Same spelling, punctuation and "feat." handling as the release.
- Every writer's legal name and IPI number, and who they are affiliated with.
- Each writer's share of the composition. Writer shares must reach 100% in total, and your split sheet should already say so.
- Your publisher details, if you have registered one, and its share.
- The recording details, if the form asks: artist, release date, label or distributor, and any ISRC or ISWC you have.
- The date you agreed the split. A signed split sheet is the document behind all of it; there is a template in the split sheet guide.
Then:
- Log in to Works Registration at your society. In BMI the route is Works Registration, then Add New Work, then the steps from Work Info through Publishers and Writers to Summary.
- Enter the title, then each writer with their name, IPI and share. Enter your own share of the composition exactly as the split sheet says.
- Submit, and save the confirmation.
- Send your co-writers the title and the share list you used, and ask them to register with the same. If the two registrations disagree, the work is in conflict and money tends to be held until it is resolved.
Nothing should be left to "we'll sort it later". Six months after a placement, finding a collaborator's IPI number is a chase.
How ColabLoop helps
Your ColabLoop account can hold your legal name, PRO and IPI number. The first full download in a collaboration room posts both producers' credits and contact details, including those, into the room, so you and your collaborator have what each registration asks for. ColabLoop does not register works with any PRO or check any registration, and it does not set splits or store percentages. The two of you agree the shares, sign the split sheet and register. Browse loops to find a producer to build with.
Questions producers ask
Do producers need a PRO?
Only if they hold a writing share in a composition that will be performed. A producer paid a flat fee with no writing share has nothing to register, while one on a publishing split does.
Should I join ASCAP or BMI as a producer?
Either works. Both list writer membership as free, and each pays its own member's share. Choose on the terms you can live with, and note that BMI's writer agreement has a multi-year term with renewal.
What is an IPI number?
It is a unique ID attached to you as a writer or publisher, used by PROs and publishers worldwide to match registrations. You get one when you join a society.
How do I register a beat with BMI?
Log in to Online Services, open Works Registration, add the work, and enter each writer's name, IPI and share, with writer shares totalling 100%. Your co-writers register their own shares with their own societies.
Does a PRO pay mechanical royalties?
No. In the US those are collected by The MLC, in the UK by MCPS, or by a publishing administrator. A PRO collects performance royalties only.
Sources: ASCAP, Join ASCAP for Free, Joining ASCAP as a Writer? Here's Why You Should Join as a Publisher, Too and What's an IPI Number?; BMI, What is the fee to join as a songwriter or composer? and Affiliation Agreement Info; SESAC, Frequently Asked Questions; PRS for Music, How much does it cost to join? and Join; PPL, What is PRS for Music and do I need a separate licence from them?; The MLC, Do I still need to join other organizations like PROs? and Should I join The MLC as a writer or as a publisher?.