If you only join a PRO, you’re missing mechanical royalties. If you only join The MLC, you’re missing performance royalties. Here is how to collect everything.
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To collect the full value of your work, you need both a Performance Rights Organization (PRO) and a Mechanical Rights Organization. You must register your songs correctly, with consistent metadata, before release.
Pro Tip — Miss Krystle, Entertainment Attorney: “If you only join as a writer, you’re leaving half your royalties on the table. Always register as both writer and publisher — even if you’re self‑published.”
Pro Tip — WesTheTech Productions: “When registering with ASCAP, make sure your writer and publisher accounts are linked under the same login so you can manage both shares without confusion.”
ASCAP is the only U.S. PRO that’s not‑for‑profit and governed by its members. Joining as a writer is free; publisher membership is $50. Royalties are split 50/50 between writers and publishers — so joining as both ensures you collect the full share. They verify your identity via TINCheck and SmartyStreets, require contact/tax info, and let you set up direct deposit or PayPal.
Pro Tip — WesTheTech Productions: “When registering with BMI, double‑check your splits before submitting — once approved, changes require extra paperwork and delay your royalties.”
BMI is free for writers and typically $150 for publishers (though fees can vary by entity type). They pay quarterly, have a global reach, and offer a public repertoire search to confirm your works are registered. The sign‑up process is straightforward: choose your membership type, fill in personal or business info, accept terms, and submit. Processing usually takes 1–7 days.
SESAC Official Statement: “SESAC is an invitation‑only company, so the best route is to have your representative (lawyer, manager, agent, etc.) contact us on your behalf. We do not accept unsolicited submissions.”
SESAC is invite‑only. If you’re working with a SESAC writer and keeping the publisher’s share, you can open a SESAC publisher account for free by emailing them directly. Cue sheets can be sent to their dedicated cuesheet email.
Pro Tip — Miss Krystle: “Register your works before release so your PRO can match them to performances immediately — no lost first‑month royalties.”
Common fields across PROs: song title, writers, publishers, splits, ISWC, and alternate titles. Crucial: Keep your metadata consistent with what you’ll submit to The MLC in the next step.
Pro Tip — Miss Krystle: “Your PRO collects performance royalties. The MLC collects U.S. digital mechanical royalties. You need both to get the full picture.”
The Mechanical Licensing Collective (The MLC) administers blanket mechanical licenses for U.S. interactive streaming and downloads. Membership is free. Choose your role (Self‑Administered Songwriter or Publisher), fill in contact/tax/payment info, then register your works with ISWC, ISRC, release date, and label info. They pay monthly and maintain a public musical works database.
Pro Tip — Miss Krystle: “HFA covers mechanical licensing outside The MLC’s scope — like physical sales and some international uses. Linking them speeds up your MLC onboarding.”
The Harry Fox Agency (HFA) handles mechanical licensing for physical formats, permanent downloads, and some international uses. They also run Songfile for one‑off licenses. Sign up for a publisher account, then register your songs with ISRC, UPC, and splits.
