Does ASCAP or BMI Pay Songwriters More?

If you’re an independent songwriter, you’ve probably heard this question before:

Does ASCAP pay more than BMI?

Or maybe somebody told you BMI pays better. Another songwriter swears by ASCAP. A producer shows you a royalty statement, and suddenly everybody in the studio has an opinion.

So, which one actually pays more?

The honest answer is that there isn’t one universal winner.

ASCAP and BMI both collect public performance royalties for musical compositions, but they have their own distribution policies and methods for calculating payments. What one songwriter earns can look very different from what another songwriter earns, even when both are affiliated with the same organization.

And before you choose a PRO based on somebody else’s royalty statement, let’s understand what actually determines the money.

First, ASCAP and BMI Don’t Pay a Flat Rate for Every Play

One of the biggest misconceptions about music royalties is that every stream, radio play, or public performance has a fixed dollar amount attached to it.

That’s not how performance royalties generally work.

PROs collect licensing fees from music users and distribute royalties to the appropriate songwriters and publishers based on reported performances and their respective distribution rules.

The amount available for distribution can vary depending on the license fees collected, the type of music use, the performance information received, and the organization’s calculation methodology.

For example, a song played on commercial radio, a song performed live at a concert, and a song used in a television program may be valued differently.

Even performances within the same general category may not generate identical payments.

There is no single universal ASCAP or BMI rate that applies to every performance.

How Does ASCAP Calculate Songwriter Royalties?

ASCAP collects licensing fees from businesses and organizations that publicly perform music in its repertoire.

These include radio stations, television networks, streaming services, restaurants, bars, venues, and other licensed music users.

ASCAP then distributes royalties to its affiliated songwriters and publishers according to its distribution rules.

The value of a performance can depend on factors such as:

The type of music use.
The source reporting the performance.
The audience or usage information available.
The licensing revenue available for distribution.
The applicable distribution formula.
The registered ownership and share information.

ASCAP also has different distribution rules for different types of performances.

For example, music used in television programming may be evaluated differently from a song played on commercial radio.

The same is true for other performance categories.

If you want to understand the details, ASCAP publishes information about its royalty distributions and member services through its official website.

Visit ASCAP.com to explore its songwriter resources and royalty information.

How Does BMI Calculate Songwriter Royalties?

BMI also collects licensing fees from businesses and organizations that publicly perform music.

It uses performance information to identify music in its repertoire and determine how royalties should be distributed to songwriters and publishers.

BMI’s Royalty Policy Manual explains its distribution methods, including how different performance categories are valued.

Some of the factors involved include:

The type of performance.
The service or source reporting the use.
The number of reported performances.
The licensing fees available for distribution.
The applicable weighting or valuation rules.
The songwriter and publisher shares registered for the work.

BMI also has different methods for different types of music use.

For example, its policies address commercial radio, digital services, television, live concerts, international performances, and other licensed sources.

BMI’s royalty rates can change from one distribution period to another because the amount of money available and the performances being evaluated can change.

BMI publishes its policies in its Royalty Policy Manual.

Why Can Two Songwriters Get Different Payments?

Let’s say two independent songwriters are affiliated with BMI.

Both have registered songs. Both receive streaming activity. Both have music being performed.

One songwriter receives a larger royalty payment than the other.

Does that automatically mean BMI is paying one songwriter more?

No.

Their music may be generating different types of performances, and those performances may have different royalty values.

Consider these examples.

Example 1: Songwriter A

Songwriter A has a catalog of songs receiving commercial radio airplay.

Their music is being reported through licensed radio sources, and those performances qualify for distribution under BMI’s applicable radio policies.

Example 2: Songwriter B

Songwriter B has a catalog receiving primarily digital streaming activity.

Their music may be generating performance royalties through applicable digital service licenses.

The two songwriters are not necessarily receiving money from the same types of performances or under the same distribution calculations.

Their royalty statements can look very different.

Now imagine comparing a songwriter with a large television catalog to someone whose music is primarily performed in local venues.

The difference could be even greater.

The organization is only one part of the equation. The music, the usage, the reporting, and the rights attached to the work matter, too.

Does More Streaming Automatically Mean More Performance Royalties?

Not necessarily.

A stream can involve multiple rights and royalty categories.

For example, a song streamed on Spotify may generate recording royalties for the master recording rightsholder and publishing royalties for the composition.

The publishing side can involve both performance and mechanical royalties.

The PRO handles eligible performance royalties. The MLC handles eligible U.S. digital audio mechanical royalties from participating services. The distributor or label generally handles the recording revenue according to its agreement.

These are different payment routes.

That’s why looking at your total streaming numbers and expecting them to match your PRO statement can be confusing.

Your PRO statement is not designed to show every dollar generated by your music.

If you want to understand how the different royalty streams work, read our guide: You Put Your Music Out. Where Does the Money Go?

Does One PRO Pay More for Radio Airplay?

This is another question that comes up frequently.

Radio royalties are influenced by the organization’s licensing revenue, reporting information, distribution policies, and the type of station or performance involved.

BMI’s published policies explain how its commercial radio distributions are calculated, including its use of performance data and certain bonus categories.

ASCAP also has its own radio distribution methodology.

But comparing one songwriter’s radio statement to another songwriter’s statement is not enough to establish that one PRO consistently pays more.

You would need to compare equivalent performances, usage categories, ownership shares, reporting periods, and applicable distribution rules.

And even then, you would need to account for differences in the organizations’ methodologies.

A songwriter with music receiving airplay on hundreds of stations is in a very different situation from a songwriter receiving occasional local airplay.

The number of performances, the type of stations, and the applicable distribution policies all matter.

What About Live Performances?

If you’re an independent songwriter who performs your own music, don’t overlook live performance royalties.

When you perform original compositions at qualifying venues and events, those performances may be eligible for performance royalties.

However, the reporting requirements and programs differ by organization.

BMI has a program called BMI Live that allows eligible performing songwriters to submit qualifying live performance information and setlists for consideration.

ASCAP also has programs and reporting processes for qualifying live performances.

This is one reason you should learn how your PRO handles live music.

If you’re performing at local venues, producing shows, touring, or playing festivals, don’t assume your performances are automatically being identified and paid.

Find out what information your organization needs and how to submit it.

A good habit is to keep your own performance records, including:

Date of performance.
Venue name and location.
Event or show name.
Setlist.
Original compositions performed.

Your records can help you investigate missing performance information later.

What About the 100% vs. 200% Difference?

If you’ve been following the ASCAP and BMI conversation, you already know that these organizations use different accounting frameworks for writer and publisher shares.

ASCAP generally uses a 100% framework.

BMI uses a 200% framework.

The traditional breakdown is:

ASCAP:

50% writer share.
50% publisher share.

BMI:

100% writer share.
100% publisher share.

This does not mean BMI pays twice as much.

The percentages represent different accounting scales for the writer and publisher portions of performance royalties.

They are not a direct comparison of how much money one organization pays.

If you haven’t read it yet, check out our article 100 vs. 200: BMI vs. ASCAP Songwriter Splits Explained.

Understanding this difference will help you read your registrations and royalty statements without mixing up the math.

How Should You Compare ASCAP and BMI?

If you’re deciding between the two organizations, don’t base your decision on a screenshot somebody posted online.

Instead, look at the information each organization publishes.

Here are some questions worth asking:

1. How does the organization calculate different types of performances?

Review the distribution policies for radio, digital services, television, live performances, and other relevant sources.

2. How often does the organization distribute royalties?

Look at the current distribution schedules and payment policies.

3. How does the organization handle international performances?

If your music is performed outside the United States, understand how international royalties are identified, collected, and distributed.

4. What resources are available to members?

Consider educational opportunities, networking events, professional development, showcases, and songwriter support.

5. What does the affiliation agreement require?

Understand the agreement term, renewal provisions, rights being administered, and procedures for changing organizations.

6. Can you accurately register and monitor your catalog?

Make sure you understand how to register works, update ownership information, review statements, and address missing performances.

These questions will give you a much better foundation for making an informed decision.

Don’t Forget to Check Your Song Registrations

Sometimes the issue isn’t which PRO you’re affiliated with.

Sometimes the issue is that your music isn’t registered correctly.

A song can have incorrect writer information, missing publisher information, incomplete ownership percentages, or conflicting registrations.

If the information doesn’t accurately reflect the rights and shares involved, it can create problems when performances are identified and royalties are distributed.

Before assuming your PRO isn’t paying you correctly, review your catalog.

Make sure:

Your legal name and professional information are accurate.
Your songwriter affiliation is correct.
Your songs are registered.
Your co-writers are listed accurately.
Your ownership percentages are agreed upon.
Your publisher information is correct.
Your royalty statements are being reviewed.

If you collaborate with producers, songwriters, or other artists, document your splits before releasing the music.

A split sheet can help establish who contributed to the composition and what percentages everyone agreed to receive.

So, Does ASCAP or BMI Pay Songwriters More?

There isn’t a universal answer.

Both organizations collect and distribute public performance royalties, but they use their own policies and distribution methodologies.

Your earnings depend on the performances your music receives, the rights you own, the information reported, the applicable distribution rules, and the shares registered for your songs.

A songwriter earning more through one organization does not prove that the organization pays every songwriter more.

Instead of asking which PRO pays more in general, ask which organization and affiliation arrangement make sense for your catalog, your business, and your long-term plans.

And don’t stop at your PRO registration.

Understand your mechanical royalties. Understand your master recording rights. Understand SoundExchange. Know who administers your publishing. Keep your registrations and credits organized.

Your PRO is one piece of the music business—not the entire business.

Know Your Music. Know Your Rights. Know Your Money.

At Southern Girl & Co., we believe independent artists and songwriters deserve access to information that helps them make informed decisions about their careers.

You don’t have to be signed to a major label to understand how music royalties work.

You don’t have to wait until somebody else explains your royalty statement.

And you definitely don’t have to choose an organization because somebody in the studio said it pays better.

Learn how the system works. Read the agreements. Register your music correctly. Keep track of your catalog.

The goal isn’t just to get your music played. It’s to understand the business behind every performance.

FROM THE SOUTHERN GIRL & CO. DESK

Official Resources

BMI Royalty Policy Manual — distribution methodology, payment categories, and royalty rules.
BMI Creator FAQs — songwriter questions and royalty information.
ASCAP — official songwriter and publisher resources.
ASCAP royalties and payment resources

This article is for general educational purposes and is not legal, tax, or financial advice. Royalty policies, eligibility, and distribution methodologies may change. Consult the current official policies and agreements of each organization for specific details.