Thank you, Mr. Chair.
I thank the witnesses for being with us today.
Very often witnesses impress us, for all kinds of reasons. Obviously, what you wrote is a part of everyone's life here, and we thank you very much for coming to share these secrets.
You knew an era when it was simpler to live from the products of your sector, since copyright was worth something. I think you were the person to whom I said, earlier, that I used Deezer this morning to listen--free of charge--to all of the works on Sarah McLachlan's new album, and I did not pay a cent because I am still in my free subscription period. Everyone knows that in order not to pay all I have to do is then provide another email address. I could keep enjoying new free subscriptions. It is like a “dumping“ of products and the creators are providing raw material.
Luc Fortin from the Guilde des musiciens et musiciennes du Québec raised these problems this morning in La Presse. I'm wondering if there is a link to be made between those problems and the one raised by Mr. Hoffert.
Mr. Hoffert, you pointed to a very interesting angle concerning scoring, music that accompanies images and the people who compose that music. It is true that we have not talked about that very much during this study. Is there a link between the problem you have raised and the one mentioned in La Presse? Do you think we are losing ground regarding the recording of symphonic music and film music in Canada? Is there a link between your situation and that that of orchestras, that are not used enough for recording soundtracks for video games, films, etc.