Industry committee  Indeed the situation is not the best. Mostly, with the digital world, all the licence fees are now calculated per view. The number of views you need to reach to get some revenue is totally insane, but they see this as a one-on-one communication, as opposed to mass communication l

Industry committee  Yes.

Industry committee  I don't know if any international move or coalition is possible. As I said, there were talks some time ago about multi-territorial licensing. One digital service would get a licence from one collective. They would pay all the licence fees, and it would be distributed in the diff

Industry committee  To have a musician or author or composer on the board is a very interesting idea. However, you still need to have someone who is professional and who knows the business almost inside out to make sure they can bring some perspective to the board and the decision. As for the lengt

Industry committee  It's really difficult for societies to make sure, and then you have to adjust to all the standards and stuff.

Industry committee  Indeed. We are currently looking at different entrepreneurship models. Many songwriters—many of whom are also singers nowadays—are turning to self-production in order to keep part of their rights and also earn as much money as possible. Rather than transferring all of their rig

Industry committee  It is very hard to manage all the aspects of your career. Being a creator usually means that you're not necessarily an entrepreneur. However, you need to understand the meaning of all the contracts and the dealings you will have. You need to understand the impacts of all the deal

Industry committee  In the music publishing world, there are big players like Universal, Sony, and Warner-Chappell, and other small and medium ones. These publishers sign contracts with several creators. I'm not talking here about singers, but songwriters. The contracts songwriters sign force them

Industry committee  I don't know if they will be able to get that. YouTube and all the digital services like Spotify or Google have networks around the world. For each and every country, they need to get their licences according to what's played in their countries, although at some point in time the

Industry committee  I worked at SOCAN, the collective that manages the public performance of music. If I remember correctly, there are some licence fees that are paid by YouTube, but not necessarily for all of the user-generated content. These are experimental licences unless that has changed. Righ

Industry committee  Thank you. Mr. Chair and members of the committee, thank you for inviting us to take part in these consultations. My name is Marie-Josée Dupré, and I am the executive director of the Société professionnelle des auteurs et des compositeurs du Québec, better known as the SPACQ. E

Industry committee  Yes, very well.

Canadian Heritage committee  Yes. Taking into account what Mr. Payette just said, I would say that we have to limit the exemptions in the legislation. We could limit them even more to avoid devaluing the work of content creators. It would simply be a matter of implementing minor legislative changes. It would

Canadian Heritage committee  Term extension is definitely one of the major issues. As Margaret mentioned, in dealings with our international partners, our creators are at a disadvantage compared to those countries, with those foreign composers and authors. That would be one of the main issues.

Canadian Heritage committee  Thank you, Madam Chair. Madam Chair and Committee members, on behalf of music creators, we thank you for giving us the opportunity to take part in your study of remuneration models for artists and creative industries in the context of the Copyright Act review. Since my colleagu