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QuoteIt's between the topic & not, here it is my concern as being registered with a PRO thats asks ownership for synch licensing (pretty tricky if you are a starter) & in combination of offers from US admin publishing deals that ask to be a US PRO member I really consider multi registering as a US PRO for US, another for a specific market or two and a third one for the rest of the world. Of course there is an option to have a representative agency to collect all the royalties for you.
Have you tried it? Your thoughts. In case why I just don't go with one for worldwide, well that happens if you live in different county+continent than most of your audience is (sure that is not a complaint, just a mini complexity 
)
Thanks for reading + looking forward to "listen" your thoughts.
Jo aka JOANPi
5:35 pm
June 10, 2011
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Hi Jo, Welcome to the forum!
Sounds like you need to talk to a lawyer who really understands the music biz. Personaly, I would be very concerned about any kind of a deal where I would have to give up ownership.
What would a jam session with Gordon Lightfoot, Collective Soul, and Damien Rice sound like?
Check out Greg Parke and you’ll have a pretty good idea!
3:06 pm
June 7, 2011
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Hey Jo,
I'm not familiar with your terminology. I assume you're talking about a publishing deal from a company that is requesting ownership of sync rights?
Sorry, can you lay out your question for me again? I just want to make sure I understand.
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Hi,
Greg thank you! Yes I have and was advised to not give any ownership unless see some cash 🙂
John yes its a bit complex, also sometimes I express what I'm saying in Greeklish thinking 
so ok here's it is:
A writer is a member at European PRO that asks for ownership of sync licensing rights. But there are offers from companies for publishing administration that ask the writer to be a member at US PRO (ASCAP, BMI).
So the member firstly doesn't want give synch licensing rights ownership to that European PRO & since most offers are from US wants to be a member at a US PRO . So in all the member can change to be a member at US PRO but since doesn't live there for full benefits, could be possible the member to have not only one PRO for worldwide but one for US, one for Europe and rest of world. Yes there is Berne Convention that they cooperate each other but in reality doesn't always apply (trusted source). PROs are not publishing companies but they do work like publishers as far licensing at least.
Jo
9:07 am
June 7, 2011
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Hey Jo,
I guess I'm not familiar enough with the European system to give you any solid advice. I have found US publishing deals to be pretty straight forward, at least with the big companies. I'd have to second Greg's advice to see if you can't get a lawyer to weigh in on this.
Having trouble with your marketing? Wish you could have an experienced direct-to-fan marketing expert look over your actual campaigns, music, or content and offer feedback? Or perhaps you’re just looking for a little one-on-one assistance so you can ask questions that pertain to your specific goals and get a second, more experienced, perspective? Click here to book a session with me now.
6:42 pm
October 28, 2011
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Hi!
I'm not an expert but had some experience with that stuff and I have a very skilled publisher that is very pro-active in giving that kind of info to his artists. 🙂
However, it is very uncommon that a PRO is also handling the sync rights - the british PRS for Music does for example - but you can opt-out. I'm not sure if the greek PRO does and if you can opt-out easily, but in my opinion it would be the best to do! So if I where you I'd look for an european PRO that handels your performing rights and mechanical rights for the world (the German GEMA is quite good or the Austrian AKM/AUME - they have quite low expenses rates). Your sync rights should be administered by a good and trusted publisher. In my opinion the ones in the USA can do a good job, cause even New York is closer to Hollywood than Athens. 😉 As far as I know there shouldn't be a problem with your publisher being an US-PRO-Member and you an european-PRO-Member. But sometimes it could be better to sign with an US-PRO for the US market (and maybe Canada) and let an european PRO handle your royalties in the rest of the world.
My experience is that the european PROs do a much better work and in fact the berne convention has its weak points - like that there's a "right exchange" but no money exchange when it comes down to mechanical rights payments. That's why most publishers have sub-publishing deals with overseas.
I hope I could give a little insight in the US/EU-PRO-tangle.
Have a great day!
bye
marc
Hi marc,
thanks a lot for the reply, you did so. Yes I agree with your last part, US Pro for US, EU pro for rest. By the way any tips about Harry Fox agency as for publishing?
Have a nice day!
Jo
8:52 pm
October 28, 2011
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Hi!
As far as I know HFA works only with publishers, not with songwriters - so you would have to register an own publishing company in the US. And even then they will only handle your mechanical rights. A good publisher should also handle your sync rights and all the song plugging for cover artists and stuff like that - so I'd say it's better to find a good publisher rather than rely on HFA services only.
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