5 Essential Organizations to Protect and Monetize Your Music

Protecting your work is crucial as a composer, whether you're working in musical theater, film scoring, or any other musical genre. One of the most important steps you can take to ensure you're compensated for your creativity is registering your compositions with the right organizations. By doing this, you safeguard your rights, track your royalties, and make sure your music is used legally.

Here are five organizations you should register your compositions with—and you should do it as soon as possible.

1. Performing Rights Organizations (PROs)

Performing Rights Organizations are essential for collecting performance royalties when your music is played in public spaces—radio, TV, live performances, gyms, even bars and restaurants. There are several PROs to choose from, but the big players in the U.S. are:

• ASCAP (American Society of Composers, Authors, and Publishers)

• BMI (Broadcast Music, Inc.)

• SESAC (Society of European Stage Authors and Composers)

• GMR (Global Music Rights)

These organizations will ensure you receive royalties whenever your music is publicly performed, but you can only pick 1 PRO and cannot register for multiples. Your PRO will assign you an IPI (Interested Party Information) number that is like your creative Social Security number unique to you! When you register works with your PRO, they automatically will assign you an ISWC number (see below) which is a unique identifier for your composition.

2. The Harry Fox Agency (HFA)

If you're involved in publishing your music or distributing it to digital platforms, registering with HFA is a must. They handle mechanical licensing, which means they track and collect royalties for physical sales, digital downloads, and streaming services like Spotify and Apple Music. By registering with HFA, you ensure that you’re getting paid for every play and download of your music.

They also act as a go-between for publishers and labels, helping you get your music out there while ensuring you’re compensated. If you're selling your music or licensing it, this is one organization that should be at the top of your list.

3. Music Publishers

While not a "single" organization, music publishers play a significant role in registering and licensing your compositions. If you're self-publishing, you're essentially acting as your own publisher, and you need to be sure your works are protected. There are also publishing companies that can help manage your rights and get your music into sync licensing opportunities, commercial placements, and more.

Even if you have a smaller catalog, this is something you shouldn’t overlook. Registering with a publisher can provide additional revenue streams and opportunities for exposure.

4. ISWC (International Standard Work Code)

When you register with a PRO or publisher, they'll assign an ISWC to your compositions. This unique identifier is crucial for tracking your music across the globe. The ISWC ensures that your music is correctly credited, no matter where it's being played, and is a vital tool for international royalty collection.

While you typically don’t have to apply for an ISWC directly (it’s handled through the PRO or publisher), it’s important to understand its role. If you ever work outside your local territory or with a foreign publisher, the ISWC helps tie all your work together for proper attribution.

5. SoundExchange

For those working in digital distribution, SoundExchange is an essential organization to consider. They collect and distribute performance royalties for sound recordings—specifically for non-interactive streaming, like internet radio or satellite radio (think Pandora or SiriusXM). SoundExchange tracks these plays and ensures that both you (as the performer) and your label or distributor get paid. If you're recording your own music and releasing it, you'll need an ISRC in order to register with SoundExchange (more on this in another blog post!).

The sooner you register with these organizations, the sooner you start receiving royalties for your work. I also advise that you have some sort of system, whether a self-created database in Excel or a Google Sheet, in order to track all the numerical identifiers for each of your works. Music royalties aren’t instantaneous, but if you wait until after your music is being used, it can be difficult to retroactively collect on past performances or sales.

If you’re unsure where to start, take a look at your current catalog and begin with the PRO that aligns with your genre and location. Once that’s done, make sure your mechanical licenses and sound recordings are in order.

I'll be creating some more blog posts over the coming weeks with more detailed and in-depth information regarding some of these terms and music business basics.