—on the music publishing side of things. I think I talked in my opening statement about the issue of fragmentation of rights.
On the mechanical rights side in particular, it's difficult in Canada to get a full coverage of rights when you're licensing from an entity like CSI which, I think practically speaking, only controls perhaps 70% or 80% of the market. It's that long tail that becomes your problem. You need to find who controls what and get licensing agreements in place, to the extent that you can.
Sometimes it's unknown whom you should approach to get licences, because there's a matching problem. How do you know, for any particular musical composition, which sound recording it matches to? It's a much more difficult problem than people realize. It's a worldwide problem, and it's been a big problem in the U.S. as well.
I think that explains, for the most part, what took us so long to get into Canada.