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Breakthrough collaboration between Bell Media, Music Canada and Re:Sound creates international gold standard with music creators at its heart


Toronto, Dec 6, 2017: Advancements in cross-platform reporting have ushered in a new era of cooperation between Canada’s music and media industries. Developed by Bell Media, Music Canada and Re:Sound, the new process aligns terrestrial broadcast data with digital, ensuring all music industry stakeholders are served with efficiency, transparency, and accountability, while setting a new industry standard for data reporting. With this game-changing initiative by Bell Media, the automation of the existing music content distribution tool allows the industry to streamline sound recording data within the Canadian music ecosystem.

The new system is part of an ongoing project to develop administrative efficiencies by Music Canada and Re:Sound. Through consolidating multiple data sets, maximizing the use of ISRC (International Standard Recording Codes), and other improvements, the project has so far resulted in faster payouts and 28% more revenue for major labels and members of CIMA (the Canadian Independent Music Association).

Beginning with a successful pilot program of the new system by Toronto’s 104.5 CHUM FM in early 2017, Bell Media radio stations are now tracking complete sound recording data including ISRC automatically on new tracks from major record labels and independent label partners. With the elimination of manual processes, the new reporting system has resulted in cleaner data, which significantly benefits all rights holders in the Canadian music industry including artists, background musicians, songwriters, and music publishers, through organizations (SOCAN, CMRRA, SODRAC, etc.) relying on broadcast data to get royalties to rights holders.

“I commend Bell Media, and specifically Randy Lennox, for showing remarkable leadership on this project,” says Graham Henderson, President and CEO of Music Canada. “Thanks to this collaboration, achievements in data efficiency from projects completed by the major record companies and Re:Sound will now yield even greater results, generating savings throughout the royalty chain, while resulting in more dollars in the pockets of creators.”

“As someone with love for Canada’s music industry, I am thrilled by the results of this project,” said Randy Lennox, President, Bell Media. “When Music Canada’s Graham Henderson approached us to help resolve what has been a longstanding issue within Canada’s music industry, it was an easy decision to lend Bell Media’s resources and expertise. The automation of the tracking process establishes international best practices that benefit creators while making the entire system considerably more efficient.”

“At Re:Sound, we only exist for the artists and sound recording owners we represent,” says Ian MacKay, President of Re:Sound. “Ensuring that the absolute best quality data flows through the entire music ecosystem is a huge step forward for rights holders, and will help us (and other organizations) to ensure that we pay the right people as quickly and efficiently as possible. We couldn’t have done this without the strong leadership of Bell Media and Music Canada.”




For more information:

Siobhan Özege, Re:Sound
+1 (416) 968-8870 ext 369

Corey Poole, Music Canada
+1 (647) 808-7359

Renee Dupuis-Macht, Bell Media
+1 (416) 384-3154


About Re:Sound
Re:Sound is the Canadian not-for-profit music licensing company dedicated to obtaining fair compensation for artists and record companies for their performance rights.  Re:Sound advocates for music creators, educates music users, licenses businesses and distributes public performance and broadcast royalties to creators – all to help build a thriving and sustainable music industry in Canada. For more on Re:Sound Music Licensing, please visit


About Music Canada
Music Canada is a non-profit trade organization that represents the major record companies in Canada: Sony Music Entertainment Canada, Universal Music Canada and Warner Music Canada. Music Canada also works with some of the leading independent record labels and distributors, recording studios, live music venues, concert promoters, managers and artists in the promotion and development of the music cluster. For more on Music Canada, please visit


About Bell Media
Bell Media is Canada’s leading content creation company with premier assets in television, radio, out-of-home advertising, and digital media. Bell Media owns 30 local television stations led by CTV, Canada’s highest-rated television network; 30 specialty channels, including TSN and RDS, and four pay TV services, including The Movie Network and Super Écran. Bell Media is also Canada’s largest radio broadcaster, with 215 music channels including 105 licensed radio stations in 54 markets across the country, all part of the iHeartRadio brand and streaming service. Bell Media owns Astral Out of Home with a network of more than 30,000 advertising faces in British Columbia, Alberta, Ontario, Québec, and Nova Scotia. Bell Media also operates more than 200 websites; delivers TV Everywhere with its CraveTV and GO video streaming services; operates multi-channel network Much Digital Studios; produces live theatrical shows via its partnership with Iconic Entertainment Studios; and owns Dome Productions Inc., a multi-platform production company. Bell Media is part of BCE Inc. (TSX, NYSE: BCE), Canada’s largest communications company. For more on Bell Media, please visit


Ian MacKay re-appointed as President of Re:Sound

MacKayIan MacKay has been unanimously re-appointed as President by Re:Sound’s Board of Directors, extending his term to 2020.

Ian’s work at Re:Sound has been invaluable in ensuring music creators in Canada are compensated for the use of their recordings. According to a Re:Sound release, core revenues have more than doubled under Ian’s tenure as President. Recently, Re:Sound’s Project Revelation, undertaken with CONNECT Music Licensing, led to an increase of $1.2 million annually for CONNECT’s rights holder members, among other benefits.

“I am honoured and excited to be leading Re:Sound into the next chapter” said MacKay in a press release. “We have a truly great team here – people who live and breathe that everything we do must be for the music creators we represent. With the strong support of the Board, I look forward to working with the Re:Sound team to continue to build an even stronger organization – championing music creators rights and combining an entrepreneurial spirit with a passion for efficiency and transparency. In today’s changing music industry, standing still is not an option. We must always move forward.”

Music Canada would like to congratulate Ian on his re-appointment, and wish him success as he continues to represent rights holders with the passion, energy and commitment for which he has become known.


CONNECT announces increased royalties for Canadian music labels

CONNECT Music Licensing has announced that an efficiency project undertaken with Re:Sound Music Licensing has resulted in increased royalty payments for Canadian rights holders.

Data improvement and other efficiencies have led to an increase of CAD$1.2 million annually for CONNECT’s members, who range in size from major record labels to artist-owned imprints.

Improvements in data streams provided by CONNECT’s members, and the creation of a single repertoire database have also freed up an additional CAD$1 million in accelerated royalty payments for labels and another CAD$1 million to the performers on recordings through Re:Sound’s member organizations ACTRA RACS, MROC and ARTISTI.

“The increased royalties are particularly notable as they result from our drive to improve royalty collection in line with international best practices, as opposed to adding revenues from a new music service or higher tariff award from the Copyright Board,” said Graham Henderson, President of CONNECT Music Licensing, in the release. “Organizations like CONNECT and Re:Sound exist only to serve rights holders, and today we have delivered on that promise.”

Royalty distributions, as a result of this project, will also happen faster on ongoing basis. Depending on the tariff, payout timelines have been accelerated by 1-6 months, a CONNECT rep told Billboard.

Reaction from Canada’s major labels acknowledged their contribution through data stream improvements:

Members of Canada’s music industry also shared the positive news:

Coverage of the increase in royalties for Canadian rights holders has also been featured in Canadian Musician and FYI Music News.


CONNECT Music Licensing achieves efficiency in royalty distribution

CONNECT Music Licensing has announced their decision to have their nearly 2,700 members receive public performance and private copying royalties directly from Re:Sound. The move marks a new level of efficiency in royalty distribution, making the distribution process simpler and more effective. Going forward, CONNECT’s members will receive public performance and private copying royalties directly from Re:Sound, eliminating duplication in the royalty distribution process and making it simpler and more cost effective. Per the release, the change will cut overall distribution costs by about one-third.

“CONNECT continuously strives to work as efficiently as possible. To this end, we saw a way to save time and money for our nearly 2,700 rights holders by having Re:Sound, a trusted partner of CONNECT, pay public performance and private copying royalties directly to our members. This will allow CONNECT to focus on reproduction royalties and will mean greater royalty payments to record labels and artists, faster,” said Graham Henderson, President of CONNECT Music Licensing.

“At Re:Sound, we are committed to maximizing public performance royalties for artists and record labels and ensuring that royalties are distributed as efficiently, and at as low cost, as possible. CONNECT’s move to bring their member labels to Re:Sound directly means more of every dollar will get into the hands of the labels themselves,” said Ian MacKay, President of Re:Sound.

The move was also applauded in CONNECT’s release by Mathieu Drouin, CONNECT Board Member and President of Crystal Math Music Group, Stuart Johnston, President of the Canadian Independent Music Association (CIMA), Shauna de Cartier, President of Six Shooter Records and Chair of CIMA, and Frances Moore, CEO, the International Federation of the Phonographic Industry (IFPI).


Re:Sound to take Tariff 8 ruling to Federal Court of Appeal

Paying artists a fraction of what their music is worth is not okay.

On Wednesday, February 24 our colleagues from Re:Sound will take the Copyright Board’s Tariff 8 ruling to the Federal Court of Appeal as they continue to fight against low streaming royalty rates. The court is judicially reviewing the Copyright Board’s decision from May 2014 that gave artists the incredibly low rate of 0.000102 per play on some digital streaming services.

Tariff 8 is disastrous for two important reasons:

  • The Copyright Board threw out commercially negotiated rates – where the marketplace of ‘willing seller and willing buyer’ decided what was
  • The Copyright Board set a rate approximately 10% of what was freely negotiated in the marketplace and a rate that is less than 10% of comparable US rates.

What does this mean in practical terms?

t8-07 t8-05

Said another way, it means that real people can’t make a living.  The musicians and artists who work every day to make music in Canada are going to be even more impoverished and not paid fairly for the use of their work. According to a study by CIMA, the average income of a Canadian musician is only $7,228 per year from music-related activities.

The reality in the market is that sales of CDs and even downloads are declining, while music streaming is on the rise. That’s why it is so important that artists are fairly compensated for their work in the context of web-based services.

Streaming services demonstrate innovation in the music industry. The music industry is going into new spaces and doing things differently in light of a rapidly changing marketplace. But innovation only goes so far. The Board is at the heart of the problem for music creators.  It continues to set rates based on antiquated ideas that have no place in the current music landscape.

It took them six years to set Tariff 8 and they continue to move at a glacial pace on issues of critical importance to Canada’s economy.  Urgent action is needed to change the Copyright Board.

Tariff 8 sets the standard for streaming rates going forward.  So, while some may argue that services such as CBC Music, Stingray, and Slacker aren’t an artist’s only source of income or that this is only for some streaming services, the rates are appallingly low.

Artists deserve to be fairly compensated for their music. The Tariff 8 decision sends a message that music is not properly valued as a profession here, and this message is completely inconsistent with Canadian values.

The people whom we elect to solve these problems know all about the issues at the Copyright Board.  In 2014, right after the Tariff 8 decision was released, the Standing Committee on Canadian Heritage released a report on the Canadian Music Industry.  In fact, their #1 recommendation in their study was figure out how to make changes to it.

Minister Dion, at the time was so frustrated with the issues at the Copyright Board that he said that there is an urgent need for action and that, “the government and the Board would be perfectly able to fix things in the coming months if they only started now.”

We agree, Minister Dion.  We are supporting Re:Sound this week as they fight the Copyright Board’s Tariff 8 decision which has disastrous implications for the future of music in Canada.

We remain committed to this important issue, and to working with government on fixing the problems at the Copyright Board so this doesn’t happen again.


Artists & Music Companies Support Re:Sound Application for Judicial Review of Copyright Board Tariff 8 Decision



Monday, June 16, 2014 (Toronto, ON)
– We, the undersigned, firmly support Re:Sound’s Application for Judicial Review of the Copyright Board’s Tariff 8 decision setting royalty rates for webcasting services in Canada.

The Tariff 8 decision is a serious setback for the music community in Canada, for artists and the music companies who invest in their careers. The decision discards years of agreements freely negotiated between digital music service providers and the music industry and sets rates for music webstreaming services in Canada that are less than 10% of the rates that the same services pay in the United States and many other countries. The Board set the rates based on what it considered to be “fair and equitable”, but in doing so, discarded existing market rates at which digital music service providers had been operating in Canada.

The Board’s decision comes as the result of an inherently flawed system that lacks clear criteria for rate-setting and allows the Board to reject market rates. The Board had no statutory or regulatory obligation to take into account existing agreements on webcasting royalties that have been successfully negotiated between the music industry and its business partners for these services. The resulting rates ignore international standards that support the growth and development of the industry in the world marketplace. Canada, in fact, stands alone among its major trading partners – including the United States, Australia, the United Kingdom, France and the Netherlands – in its adherence to a mandatory tribunal process that determines royalties without regard for what currently works in the marketplace.

It is clear that a legislative framework that ignores the reality of the marketplace is one that will continue to harm the business climate and create market uncertainty, delaying the entry of new services into the Canadian marketplace. Indeed, many of the Copyright Board’s decisions on major new tariffs have been the subject of Judicial Review by the Federal Court of Appeal, creating years of delay and uncertainty.

From 1999-2012, Canadian recorded music sales decreased by more than 50%. Establishing rates in Canada that are reflective of both market and international rates is critical for Canadian artists whose livelihood depends on earning a decent living wage from their profession, for music companies who actively develop and nurture Canadian talent throughout the world, and for all Canadians who value a healthy and prosperous music industry.

Adagio Music
Alberta Music
Aporia Records
Aqua Sound Entertainment
Association québécoise de l’industrie du disque, du spectacle et de la video (ADISQ)
Awesome Music
Boompa Records
Boonsdale Records
Borealis Records
Canadian Council of Music Industry Associations (CCMIA)
Canadian Federation of Musicians (CFM)
Canadian Independent Music Association (CIMA)
C-Weed Band
Coalition Music
La Compagnie Larivée Cabot Champagne
Cordova Bay Entertainment Group
Crystal Math Music Group
Curve Music
Dare To Care
Dine Alone Records
Disques Artic
Equator Music
File Under:Music
Greg Kavanagh Music
Groundswell Music
Independent Digital Licensing Agency
Instinct Musique
Justin Time Records
Linus Entertainment
Manitoba Music
Maple Music Recordings
MDM Recordings
Mr. Label
Music and Film in Motion
Music BC Industry Association
Music Canada
Music/Musique NB (MNB)
Music Newfoundland & Labrador (Music NL)
Music Nova Scotia
Music Ontario
Music Prince Edward Island
Music Yukon
Nettwerk Music Group
Opak Media
Paper Bag Records
Play Records/Play Digital
Productions Benannah
Royalty Records
Remedy Music
SaskMusic (The Saskatchewan Recording Industry Association)
Secret City Records
Six Shooter Records
Sonic Envy
Sonic Records
Sonic Unyon
Sony Music Entertainment Canada
Sparks Music
Stomp Records
Stony Plain Records
The Children’s Group
Tonic Records
True North Records
Universal Music Canada
URBNET Records
Warner Music Canada
Wax Records



Lisa Fiorilli
(416) 274-2666
Valérie Roy
(514) 842-5147 ext. 290
Kate Ward
Music Canada
(647) 825-5260
Bob D’Eith
(604) 873-1914
Victoria Lord
(416) 484-9047

Release PDF


New bilateral agreement between US and Canada opens the flow of royalties to Canadian labels and performers

An historic agreement has been reached between Re:Sound Music Licensing Company and SoundExchange to ensure that Canadian rights holders receive royalties from US uses of their work licensed by SoundExchange. The agreement covers all Canadian rights holders signed to AVLA, ACTRA, Artisti, MROC, and SOPROQ.
“This agreement unlocks new sources of revenue for AVLA members and is an important step forward in our Canada-US relationship,” says Graham Henderson, President of AVLA.  “Canadian labels and performers will now be able to collect royalties accumulated from the use of their recordings on US satellite radio stations like SIRIUS XM, internet radio stations, streaming services and cable TV music channels south of the border.  Most importantly, they don’t have to join SoundExchange in order to do this, but as a result of the bilateral agreement, can collect their earnings through the organization in Canada to which they already belong.”
The first distribution to rights holders will occur in 2013.
Bilateral agreements of this kind are an important source of future revenue.  Hopefully, this is the first of many agreements of its kind with countries around the world who are signatories of the WIPO Performances and Phonograms Treaty (WPPT).