Canadian Heritage committee  I think, to answer your question, the chasm that I referenced is the amount of money being paid by the services and the amount of money being received by the artists. You referenced the possibility of foreign services established elsewhere and if there's a possibility for them to

Canadian Heritage committee  It is possible. I don't know what that number is. I think the industry probably needs a little more research if that number doesn't exist. But that is a consideration. Piracy, as a whole, is an issue facing this industry. It faces Canadian musicians, like anybody else. It is defi

Canadian Heritage committee  With both. Policies can influence the result.

Canadian Heritage committee  I think I can answer your question, Mr. Dion. We talked about that in our presentation. I think there is an imbalance today between what the services pay and what the artists receive. I mentioned that some services pay between 50% and 70% of their revenues in rights and royalti

Canadian Heritage committee  That is a very good question. In the last few years, we have assembled a number of companies, including Galaxie, the Karaoke Channel, Max Trax, a competitor of Galaxie in western Canada, and Concert TV. Our objective is to become the biggest supplier of music services to telecom

Canadian Heritage committee  We get royalties for the package. There are different models, depending on the product, such as with Galaxie or Concert TV, but, in some cases, depending on the value of each transaction. However, as one of my colleagues mentioned, for Galaxie, the bundling of services is the mod

Canadian Heritage committee  It will be very quick. To answer your question, if you take Galaxie, which is our core service, it is a regulated broadcast service in Canada. Therefore, we do have Canadian content requirements and we also have Canadian content development requirements. A percentage of our reve

Canadian Heritage committee  First, on the creation and the production side of the equation. Other participants in these proceedings have provided excellent comments and ideas regarding the production aspects of the Canadian music industry value chain. We would like to echo and re-emphasize that a sustainab