Well, we do the publishing work, but if you are going to register as a publisher with ASCAP, I believe you need to be an actual publisher. In the US (if you want to be an American publisher), you would have to register a company there which would be quite complicated.
In that case, it would probably be a lot easier to register as a publisher in your own country, and ALSO with ASCAP once you have an official publishing company.
I have a publishing company registered with my home country’s PRO, but I can also register with ASCAP or elsewhere as a publisher if I want to.
Identifyy only check YouTube and Facebook. They have absolutely nothing to do with TV or radio. Soundmouse only really scan the UK, Germany and Australia currently. They only get “random selections” from most other countries, and not much at all from adverts. Adverts/commercials and regular TV programs work in different ways regarding PRO royalties. They are treated as two separate things.
Unfortunately, collecting all TV royalties will not be that easy and automatic. I don’t know how many people use publishing administrators, (not talking about Songtrust here), I mean REAL publishing admins. I used the Pond5 publishing admin for a while (US only), and that resulted in a lot more royalties that were not found before.
Of course, you can be your own publishing administrator. That means scanning TuneSat/BMAT etc., finding ad codes from Numerator (US), or other countries, registering as a publisher with different PROs around the world and making sure the tracks are registered there too.
It can be a lot of work (and TuneSat is very expensive), which is why publishing admins exist (they take a cut of course).
If you are signed with an external publisher, of course they take care of the publishing admin work.
You don’t have to be a member of a PRO at all to release music (it’s good if you want money of course, but not necessary). What do you mean by reach exactly?
PROs in each country exist for their citizens, but of course I understand there are differences and not all are as effective.
But if you take a mega songwriter like Max Martin for example, he is a member of Swedish STIM (just like Avicii was(is), and the ABBA writers). Most of his money comes from American artists though, but that doesn’t matter. I’m sure his publishing is registered both with STIM and ASCAP. You can also have your PRO handle a certain territory as a songwriter I believe. Maybe he does that.
Just as an example, another Swede, Yngwie Malmsteen, is registered with BMI as a writer. That’s because he lives in the US, and has since the 80s.
Deadmau5 is registered as a writer with Canadian SOCAN, because he lives in Canada. The publishing of his Strobe track is registered with PRS and BMI (EMI Publishing).
So, it makes sense to register as a writer where you live, unless of course your PRO doesn’t function at all.
You can search here:
https://repertoire.bmi.com
for famous tracks and you can see where the songwriters are mainly registered. For example, Pink’s So What track: Max Martin (STIM), Alecia Moore/Pink (BMI), Johan Schuster/Shellback (STIM).
David Guetta’s Titanium is written by four people:
Sia - APRA PRO - because she is Australian.
David Guetta - SACEM PRO - because he is French.
Georgio Tuinfort - BMI PRO.
Nick van de Wall (Afrojack) - BUMA PRO - because he is Dutch.
Quite the mix of PRO memberships for one song. The publishing is divided up even more.
Again, I think you should absolutely call LATGA because I don’t think you have a clear picture of what a PRO does. Maybe they can clear it up. It can get a bit messy.