Canadian Heritage committee  Even just thinking about the Canadian market on its own, about its streaming opportunities, its reach to the consumer is not sufficient enough. We have to get that scale, we have to get that reach. Piracy is still a problem. It always will be. We need tools to battle that. In t

Canadian Heritage committee  It's totally case by case. One thing, just as an aside, Nettwerk has prided itself—with the support of the CMF—on maintaining a good roster of staff to help drive a lot of these initiatives so we can do a lot of that internally. It really comes down to where you're going to targe

Canadian Heritage committee  Sure, okay. Our approach to marketing is really about going where the fan is and where the potential fan is, and if that means that it's social media, then it's Facebook, and to a certain extent for certain artists it's YouTube as well. So it's about marketing that can make th

Canadian Heritage committee  Is that in the context of the value added of the publishers? Is that the question?

Canadian Heritage committee  Publishers play a vital role, from the concept of working with their songwriters to getting their songs placed with other recorded musicians. That can be an international focus. For our Canadian songwriters, we're getting them into co-write scenarios. We're getting their music

Canadian Heritage committee  I think we need to take a step back and look at it. We're talking about a world that was a unit-sale world. This is about monetizing consumer behaviour. In the old world, you would go out and spend $10 or $15 on your CD of the artist. That artist might never see that consumer aga

Canadian Heritage committee  Yes, I would too.

Canadian Heritage committee  Okay. Let me describe it. I think it's driven by consumer behaviour and how people are able to use their devices, mobile phones, laptops, iPads, whatever it is, to access and experience music. The promise or value of streaming is effectively to be able to have a huge music catal

Canadian Heritage committee  I think there are several elements to it. I think there are cultural elements as well which can influence that. One of the important pieces that I'm aware of is just how Spotify came out of Sweden in the big player there. They partnered with a lot of mobile companies to have th

Canadian Heritage committee  I would echo the same thought that yes, indeed, those objectives are being met. You see diversity both in artists releases and independent record labels and publishing companies and what their speciality is. Whether it's jazz music or in the case of network, a lot of singer songw

Canadian Heritage committee  Obviously, the streaming companies have to pay the content providers. That would run the gamut of record labels, their artists, artists individually if they're independent, and the producers and creators of that content. So yes, that money is flowing back through to the content c

Canadian Heritage committee  There are already players here where that's already happening. From our example or our experience with our artists, we're seeing that on a worldwide basis. We're seeing some of our Canadian acts with revenue from parts of the world where they've never been to and have never had t

Canadian Heritage committee  Thank you very much. Nettwerk was founded 30 years ago in Vancouver and has since grown into an international music company employing over 80 people offering record label, publishing, and management services to a diverse roster of recording artists, producers, and songwriters. I

Canadian Heritage committee  No problem. The support of the Canada Music Fund during that period was invaluable in allowing Nettwerk to continue to release great Canadian artists, all the while weathering this negative retail storm. Indeed, we have built a business that can survive and thrive in a digital