It depends on a number of factors.
First, contracts signed between performers, musicians and, let's say, sound recording producers may, in some cases, stabilize the remuneration. What we see every day in our collective agreements is that it is becoming increasingly difficult to get either adequate remuneration for musicians or rights associated with the use of a recorded performance.
Let me give you an example. A television program is produced. A few years ago—my colleague Alan Willaert could also speak to this—the remuneration from the subsequent broadcast of a television program was much higher. Now for example, we have Netflix competing with Canadian broadcasters or television producers. This puts increasing pressure on broadcasters, who are asking producers to provide the service with what is called a “greater package of rights”.
Subsequently, the producer of a television program transfers the burden to the artists, including the musicians. For example, instead of paying $500 for the use of a program over a certain number of years, they pay $100. So there is a downward pressure directly related, basically, to the current digital environment of the music industry.