Registering your
music in the US

The two sides of a US release

Both sides start from the same list of names, roles and percentages. That is why the split sheet comes first — everything after it is copying agreed numbers into a form.

Step by step

1. 01

   Settle the splits before you register anything

   Every registration below asks who wrote what and in which percentage. Agree the writer shares and the producer terms in the room, while everyone still remembers who did what — then the forms are just data entry.

   How split sheets work here →

2. 02

   Join one PRO: ASCAP, BMI or SESAC

   A performing rights organisation collects public performance royalties — radio, TV, streaming, live and background music. You can only belong to one at a time as a writer. ASCAP and BMI are open to anyone who applies; SESAC is invitation-only. Each co-writer joins their own PRO; a song can have writers spread across all three.

   ascap.com — join as a writer →

3. 03

   Register each work with your PRO

   Once you are a member, register every song: title, writers with their IPI/CAE numbers, shares that add to 100%, and any publisher. Do it as soon as the song is finished — a work that isn't registered generates no performance royalties, and late registrations can miss payout periods.

   bmi.com — join and register works →

4. 04

   Register with The MLC for US mechanical royalties

   Streaming also generates mechanical royalties on the composition, and in the US those are administered by The Mechanical Licensing Collective. Membership is free for self-administered writers and separate from your PRO — the MLC pays the mechanical side, the PRO pays the performance side.

   themlc.com — register your works →

5. 05

   Register the recording with SoundExchange

   SoundExchange pays digital performance royalties for the sound recording — non-interactive services like SiriusXM and internet radio. Featured artists and the rights owner of the master both register, and the money is split between them. This is the recording side, so it is separate from anything your PRO does.

   soundexchange.com — register as an artist or rights owner →

6. 06

   Get ISRC and UPC codes for the release

   The ISRC identifies the recording — every track and every new version (radio edit, live, remix) needs its own. US registrants get a registrant code from the RIAA and assign the running numbers themselves; distributors can also issue codes, but codes you own stay with you across distributors. The UPC identifies the release itself.

   usisrc.org — apply for an ISRC registrant code →

7. 07

   Consider a copyright registration

   Copyright exists the moment the work is fixed, but registering with the US Copyright Office creates a public record and is required before you can sue for infringement in the US. You can register the composition (Form PA) and the sound recording (Form SR), and in some cases both together.

   copyright.gov — register a work →

8. 08

   Keep the numbers with the track

   IPI numbers, PRO affiliations, MLC and SoundExchange registrations, ISRC and UPC — store them on the track itself so the label copy and the next registration can be filled in without another round of emails.

ASCAP, BMI, SESAC, The MLC, SoundExchange and the US Copyright Office each set their own membership terms, fees and deadlines, and they change from time to time — always check the current requirements on their own sites before you file. This guide is an overview of the process, not legal advice.

Common questions

ASCAP or BMI — which should I pick?

Both collect the same kind of royalty and both are open to new writers. Differences are in fees, payout schedules, distribution rules and member services, so compare the current terms on their own sites. You can only be a writer member of one at a time, and switching later means waiting for a resignation window.

How much does it cost to join a PRO?

ASCAP and BMI both charge a one-time, non-refundable application fee for new writer members and do not take ongoing dues — they pay you out of the royalties they collect. SESAC is invitation-only. Check each PRO's current fee on their site, as the amounts and terms change.

Can I switch from one PRO to another later?

Yes, but not instantly. You must resign from your current PRO during its allowed window, and there is usually a waiting period before you can re-register works with the new one. Any royalties already earned under the old PRO are paid through them, so do not leave mid-payout cycle if you can avoid it.

Do I need a publisher, or can I self-publish?

You can be your own publisher — most self-releasing writers are. Joining your PRO as both writer and publisher lets you collect the publisher's share as well as the writer's share. The trade-off is paperwork: you administer catalog registration, match statements, and handle licensing questions yourself instead of paying a publisher a percentage to do it.

Why do I need The MLC if I already have a PRO?

They cover different royalty types on the same song. The PRO collects performance royalties; The MLC collects US mechanical royalties from streaming and download services. Registering with only one leaves the other pool unclaimed.

How do I actually get paid by The MLC?

After you register your works, The MLC matches your songs to usage reports from streaming services and pays out your share of mechanical royalties on their distribution schedule. You need to keep your banking and tax details current in your MLC account, and unmatched works sit unpaid until you claim them — so registering early and keeping metadata clean matters.

Does The MLC pay for downloads too, or only streaming?

The MLC administers the blanket mechanical license that covers both streaming and permanent digital downloads in the US. If your music is sold as downloads, the mechanical royalty still flows through The MLC for those US sales. Physical formats (CD, vinyl) use a different licensing path and are not covered by the blanket license.

Who qualifies for SoundExchange royalties?

SoundExchange pays the featured performer and the rights owner of the master recording when the recording is played on non-interactive digital services — satellite radio like SiriusXM, internet radio, and similar. Non-featured musicians (such as session players and background singers) also receive a share through AFM & SAG-AFTRA funds. You must register the recording and your role to be paid.

How is SoundExchange different from my PRO?

Your PRO pays songwriters and publishers for public performances of the composition. SoundExchange pays artists and master owners for digital performances of the recording itself. The two are entirely separate: a single track can generate PRO royalties for its writer and SoundExchange royalties for its featured artist and label, paid to different people on different schedules.

Does my distributor handle all of this?

A distributor gets your release onto streaming services and can issue an ISRC and UPC. It does not make you a PRO member, register your works, or sign you up with The MLC or SoundExchange — those stay with you as writer, artist and master owner.

What is an IPI number?

An IPI (formerly CAE) is the international identifier for you as a writer or publisher. Your PRO issues it when you join, and every co-writer registration asks for it. Keep it next to your name in your files — it is asked for constantly.

I'm not based in the US — does any of this apply?

If your music is played in the US, yes indirectly: your home society (Koda, PRS, GEMA, STIM and so on) has reciprocal agreements with the US PROs. SoundExchange and The MLC can also pay foreign rights holders directly in some cases. Ctrl+Alt+Release stores society and membership numbers per person, so mixed international rooms still work.

Releasing elsewhere?

The structure repeats country by country with different names.

Registering your music in Denmark (Koda and Gramex) →