The Game Composer’s Guide to PROs: Choosing the Right Royalty Partner

The first administrative question every aspiring composer asks: "Which PRO should I join?"

For a pop songwriter or a TV composer, the answer is usually a matter of preference. But for a video game composer, the question is fraught with confusion. You might have heard rumors that "PROs don't pay for video games in the US." Or how one organization is better than another.

The core function of collecting performance royalties is the same. Their structures, payment schedules and barriers to entry are different. And when your primary medium is interactive entertainment, differences matter.

This guide will break down the four major players in the United States. Those players are ASCAP, BMI, SESAC, and GMR. The guide will then analyze each through the lens of a video game composer.

First: The "Video Game Problem" (Why You Need a PRO)

Before comparing them, we must address the elephant in the room. In the United States, playing a video game in your living room is not considered a "public performance." Unlike a song played on the radio or a TV show aired on NBC, the act of playing a game generates no royalties.

So, why do you need to join a PRO?

1. International Gameplay. Many European countries do recognize gameplay as a public performance. They pay royalties for it. Your US PRO collects this money on your behalf.
2. Marketing & Trailers: When your game’s trailer airs on TV or a monetized YouTube channel, that is a public performance.
3. Concert: Live performances of your game scores (e.g., Video Games Live) generate royalties.
4. Secondary Media: If your game music is licensed for a TV show or film, you need a PRO to collect.

Now, let’s look at the contenders. 

The "Big Two": ASCAP vs. BMI

For 95% of indie and freelance game composers, the choice will be between these two behemoths. Both are non-profit organizations, are open to everyone, and have massive catalogs.

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

• The Vibe: ASCAP is the only PRO in the US owned and run by its members (writers and publishers). It often frames itself as a creative community.
• Cost to Join: A one-time fee of $50 as a writer (and another $50 if you start your own publishing entity).
• Payment Method: ASCAP uses a mix of census (counting everything) and sample surveys.
• The Game Composer Angle: ASCAP has been strong relationships with international societies and hosts the "ASCAP Screen Music Awards". This includes specific categories for Video Game Scores. offering visibility and prestige to top composers in the field.
• Payout Schedule: Quarterly. Their payment system creates a lag; your payment is for performances that happened roughly 6-9 months prior.

BMI (Broadcast Music, Inc.)

• The Vibe: Founded by broadcasters to create competition for ASCAP. Owned by broadcasters, but operates as a non-profit.
• Cost to Join: Free for songwriters/composers. (Publishers pay a fee).
• Payment Method: Like ASCAP, utilizing a mix of census and statistical sampling.
• The Game Composer Angle: BMI is aggressive about recruitment and often supports indie scenes. Because it is free to join, it is the most common starting point for young game audio professionals.
• Payout Schedule: Quarterly. Like ASCAP, there is a lag time between performance and payment.

The Verdict on ASCAP vs. BMI: Financially, for a game composer, the difference is often negligible. Over a 10-year career, payouts tend to average out to be roughly similar. The choice often comes down to:

1. Entry Fee: $50 vs. Free.
2. Conferences/Events: Look at their "I Create Music" Expo (ASCAP) vs. BMI’s workshops. Which feels more aligned with your networking goals?
3. Mentorship: Do you have a mentor? It is often easier to join the same PRO as your mentor or co-writers to simplify paperwork.

The "Invite-Only" Club: SESAC (Society of European Stage Authors and Composers)

SESAC is the third-largest PRO. It operates in a different way.

• The Vibe: Exclusive and data-driven. Unlike ASCAP and BMI, SESAC is a for-profit private company.
• Barrier to Entry: You cannot sign up on your own. You must be invited or have your representation (manager/lawyer) pitch you to them.
• The Game Composer Angle: Because they have a much smaller roster (approx. 30,000 affiliates vs. millions for ASCAP/BMI), SESAC claims to offer more personalized attention. A game composer will have a rep assigned to their account and can help with any royalty needs.
• Payment Tech: SESAC relies on Broadcast Data Systems (BDS) technology for tracking. They were the first to pay monthly royalties which can help with cash flow.

Should you try for SESAC? If you are already landing placements or scoring games with significant buzz, it is worth having a manager reach out. The "boutique" service can be valuable for tracking down elusive international game royalties. 

The High-Rollers: GMR (Global Music Rights)

Founded in 2013 by industry titan Irving Azoff, GMR is the newest and most exclusive player.

• The Vibe: Ultra-premium. GMR means to disrupt the current model. They claim top-tier songwriters subsidized admin costs of millions of amateurs at ASCAP and BMI.
• Barrier to Entry: Highest. They represent a tiny fraction of the market. The biggest superstars are Drake, Bruce Springsteen, and Hans Zimmer.
• The Game Composer Angle: Unless you are scoring AAA franchises like Call of Duty or Assassin's Creed, GMR is likely not an option yet.
• The Benefit. They have fewer clients with massive hits. Negotiating higher licensing rates with streaming services is where they win. And they pride themselves on unmatched customer service and royalty collection efficiency.

Decision Matrix: How to Choose

If you are stuck, use this simple decision matrix:

1. Are you starting out with zero budget?

• • Choose BMI (It’s free).

1. Do you want to be part of a member-owned collective?

• • Choose ASCAP ($50 fee).

1. Are you an established composer with significant international usage?

• • Seek representation to pitch you to SESAC.

1. Are you a Hans Zimmer-level superstar?

• • You are likely already talking to GMR.

Conclusion: The Choice is Yours, But Action is Mandatory

The most common mistake video game composers make isn't choosing the "wrong" PRO. It's assuming they don't need one at all because "games don't pay."

It doesn't matter who you choose; the goal is the same: to ensure you have a global collection network in place. When your game trailer hits TV in Japan, or your soundtrack gets played on a radio station in Germany, you need to be ready to catch that money.

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