They are paying for two different things, first of all. The right to perform or communicate the work is one right; the right to reproduce it is another. That has been long, long established in our copyright law.
But let's talk about the copies they make. When broadcasters receive music, whether they receive it electronically or on a CD, and start copying it, they're doing a lot more than making one copy. Let me describe it. In our brief we have an extensive technical brief from a gentleman named Michael Murphy that details all of this. But I'll just outline it in very brief terms. They make a copy when they pull the music into their system, when they ingest the music into their system. They make additional copies to evaluate the music so that people in the station or the organization can listen to it. They make copies of the music on their main libraries—and bear in mind that these are permanent libraries of all the music they have. They make copies of the music when they create shows by voice tracking. This means pre-recording a show by assembling the songs, the commercials, and the various other bits with the disc jockey doing the talking. There are other purposes outlined in the report.
So broadcasters make very extensive use of the right to copy, which again we are happy to license them for. So they are paying for one thing to SOCAN—the right to communicate the music—and they're paying us for the right to make copies. Two very useful rights.