Indeed. And we're in a favourable situation, but the figures I mentioned don't really represent the situation of all artists. We do our own producing and write all our songs. As a result, we have a larger share of the pie. We are in a licensing structure. As I mentioned, we produce our own stuff. So we have the master tapes. Our label does the marketing, promoting, releasing and so on. In exchange, we rent our master tape to them for seven years. It's a contractual agreement.
Our contract stipulates that 60% of the streaming revenue comes back to us. In fact, the last page shows that the label keeps 60% of what the digital distributor gives it. I was going to say “for every hundred dollars”, but it was more like “for every dollar”. So for every dollar, the label keeps 60¢ and gives us back 40¢. It also receives the portion reserved for producing, the other 25%. We are talking about 25% for the production that goes to our label and 25% for the production that belongs to us, meaning that 50% of all copyright belongs to us. Our share of the pie is 75%.
Here, I have divided what we receive from management companies. SOCAN takes care of the songwriters, the ones who created the work. In this case, we receive 100% of the copyright on our songs. In the Spotify column, for streaming, we received 0.014¢. This is the copyright for the work.