Originally Posted by Jody Whitesides
It's pure FUD that you have to write only with writers in your PRO. I write with others who are with BMI and ASCAP all the time.


In fact, it can be advantageous to write for different PROs. ASCAP and BMI had and I assume still have a program where if a co-writer with the other PRO got a bigger payment, the first PRO would match it for their writer. So, the advantage comes in if they are actually different. One of you will always get more money because they'll match the higher payment.

As for SESAC, I too have found you have to be referred. I didn't press it but when I heard that I was done with them. I figured if they didn't do anything to help undiscovered writers there was no need to fool with them. One advantage to SESAC is (1) if you have a hit, you have more chance to be their writer of the year because you have less competition, which brings no money but sure does feel good, and (2) they use to figure payments in a way that was easy to understand and follow and some said you always knew how much you'd get before you were paid.

ASCAP has always seemed more accessible to me than BMI. That was true 20 years ago and was true earlier this year. One of the best music biz guys I ever met in Nashville was at ASCAP and one of the worst was there too. I tried not to deal with the jerk, who was still helpful in some ways, and I got by.

Last edited by eb; 10/30/07 02:03 AM.