Oct 2011 - Local 571

October 2011 Edition - Volume 2
A Quarterly Newsletter
SOUND
Your Guide to what is happening at your AFM/CFM Local 571 - Things are
changing. Let’s Continue Moving Forward!
32-B St. Margaret’s Bay Road, Halifax, NS B3N 1J7 ph. 902.479.3200
Work Dues Buyout
Declaration Form
Further details on how
to complete the form.
Page 15 & 16
CFM & Ad Industry
Reach a Tentative
Agreement.
Page 4
Secretary-Treasurer’s
Report
Page 3
fax: 902.479.1312 toll free 1-866-240-4809 email: [email protected]
SOCAN
How Your Music
Makes Money
Welcome to SOCAN
SOCAN and its predecessors have been administering the
performing rights of Canadian songwriters, composers,
lyricists, and music publishers for more than 80 years.
That tradition continues today in an organization that is
leading the way in the rapidly evolving music industry for
Communiqué FRANÇAI S plus bas
more than 85,000 members, and hundreds of thousands
of creators and publishers worldwide.
SOCAN is governed by a member-elected Board of
Directors, made up equally of publishers and writers, and
guided by a Passion for Service. In addition to our
members, we serve our music-user customers. We offer
For I mmediate Release - Toronto, on October 11, 2011
Canadian Federation of M usicians (CFM) has reached terms of an agreement with the Association of
Canadian Advertisers (ACA) and the I nstitute of Communication Agencies (ICA) to renew the Commercial
Announcements Recording Contract. This is the industry standard collective agreement governing the
production of music and audio tracks for commercials in Canada. Members will vote on the terms of this new
agreement in the upcoming weeks.
them access to one of the world’s most valuable cultural
The future of compensation for all music rests in digital distribution, explains Bill Skolnik, AFM Vice
President from Canada & CFM Chief Executive Officer
the advertising industry
enthusiastically embrace our evolving relationship and do the right thing by looking after the needs of
music for communication and public performance.
assets: virtually its entire repertoire of copyright-protected
The proposed deal includes general increases in minimum fees of 3% in year one and 2.5% in each of years two
and three of the new three year agreement, as well as a one-time increase of 1% in Industry contributions to the
Musician Pension Fund of Canada, on behalf of all musicians who perform under this agreement.
The parties have agreed to enter into a pilot-project to assess commercials made for New Media, monitor the
use of this clause and to meet regularly to review the findings.
Over the past year, a caucus of rank and file musicians worked together to carve out the terms of this ground
breaking new agreement. that required collective thinking
and cooperative effort by all parties. Its success sets the tone for other negotiations currently taking place, such
as our fruitful discussions . Skolnik.
!"#
"
and needs of professional musicians who earn their living in this country. Everyday CFM helps thousands of
musicians with any number of issues related to the recording and performing of their craft. The American
Federation of Musicians of the United States and Canada draws on the experience and strength of more than
90,000 musicians, with over 17,000 active members in Canada alone. Proudly celebrating 31 remarkable years
of service, CFM is uniquely positioned to address Canadian issues, and provides vital resources for Canadian
musicians, at any stage in their careers. For more information please visit us at www.cfmusicians.orgCFM on
twitter CFM on Facebook.
New Members
We would like to
introduce you to some of
our newest members.
Classified shown in
picture below.
Page 1 & 2
New Benefits Program
Arts and
Entertainment Plan
Page 3
-30M EDI A CONTACT: Victoria Lord, Office: 416-484-9047 / [email protected]
Neighboring Rights
Including Forms
Important information.
Pages 7, 17 & 18
Nova Scotia Music Week November 3-6
Congratulations!
Find out the
Benefits!
Page 8-13
New Member Profiles
Congratulations to all our prize winners announced at our
recent general membership meeting held at the offices of
McInnes Cooper on July 26, 2011.
Our top prize winner of the HD Zoom was David Langstroth.
Winners of the four Pharmasave $50 Gift certificates were
Donald H. Fraser, Paul Mason, Frank MacKay and Jennifer
Jones.
Winners of the 8GB USB drives were David McDonald, Jason
Spinney, Sandy Greenberg, Mark Morton, Morgan Davis and
Ron Noiles.
Winners of the CFM t-shirts were Joyce Delong, Virginia
Beaton, Tim Elson, Stephen Pedersen, Anna Ludlow, Evan
Ferguson, Peter Power, Gwen Dawson, Damien Moynihan,
Aaron Mangle, Peter Bevan-Baker and Gail Teixeira.
Winner of the 2012 membership dues was Chris Church.
Thank you to all of our sponsors who made this draw possible.
Meet our newest members, The Stanfields, a maelstrom
of rock 'n' roll, Celtic and bluegrass, hailing from the
gritty post-industrial towns of Nova Scotia, Canada.
The Stanfields play every show like it's their collective
last night on earth. Their kitchen party harmonies,
thunderous rhythm section, high-octane stage show and
genuine chemistry have won over audiences from coast
to coast. (cont. on page 2)
thestanfields.ca
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New Member Profiles.. (cont. from page 1)
Since forming in the summer of 2008, The Stanfields wasted no time
making their mark on the venerable Atlantic Canadian music scene.
Hailed as "The Clash meets Steve Earle" by Great Big Sea's Sean
McCann and "The Bastard Children of AC/DC and Stan Rogers" by
Halifax's Q104 FM, further accolades began rolling in, including a
double win for "Best New Artist" and "New Artist/Group Recording"
at the 2009 Nova Scotia Music Awards. In November 2010 The
Stanfields picked up a third Nova Scotia Music Award for Best
Alternative Band In November 2010 The Stanfields picked up a third
Nova Scotia Music Award for Best Alternative Band before being
voted Halifax's "Best Band" and "Band Most Likely to Make it Big" by
readers of The Coast magazine. The Coast recognized the band again
in 2011 for "Best Local Video", "Best Single", and for the third
consecutive year, "Best Band to get trashed to".
The Stanfields continued their winning streak with an 2011 East Coast
Music Award for Rising Star of the Year along with three other
nominations including Entertainer of the Year, making them the mostnominated band of the event. It's no surprise they've been hailed as
Halifax's next big musical export with Halifax Magazine recently
declaring, "These guys are going to be big." The band has been
heavily embraced by the local media and their community, earning
the #1 spot on Q104's Top 104 songs of 2010 and securing cover
features in local weekly papers The Coast and Here Magazine.
The Stanfields' folk-influenced rock sound is not only turning heads
on the east coast but across the country as well. ChartAttack wrote,
"The Stanfields make you proud to be a Maritimer, and jealous if you
aren't." Most recently, the band hit Toronto for a jam-packed showcase
at this year's Canadian Music Week opening for Big Sugar and Wide
Mouth Mason at Sound Academy. Lithium Magazine proclaimed that
the band was "a tough act to follow, even for Wide Mouth Mason."
The Stanfields' groundbreaking live performances have earned them
much-lauded opportunities to shine on stages at the Vancouver
Olympics, 2010 Nova Scotia Music Awards and 2011 Canada Games
Opening Ceremonies, and CTV's New Year's Special in Halifax. They
have shared the stage with the likes of The Arkells, Big Sugar, Great
Big Sea, Matt Mays, and many more.
The Stanfields debut recording has turned a lot of heads. Vanguard of
the Young and Reckless was released on GroundSwell/Warner in
June 2010 and mirrors the intensity of the band's live performance. A
thematic departure from traditional Canadian East Coast fare where
good times and family values are emphasized and celebrated,
Vanguard explores the darker, unspoken side of Maritime living and
how it relates to an increasingly globalized world.
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Ellen Gibling is a celtic and classical
harpist recently returned to Halifax after
obtaining her undergraduate degree in
Harp Performance at McGill in 2009,
with the generous help of the Nova
Scotia Talent Trust.
She studied with Cheryl Reid-O'Hagan
and Karen Rokos in Halifax, and with
Jennifer Swartz in Montreal. Ellen has
enjoyed playing as an orchestral harpist
in the McGill Symphony Orchestra, the
Scotia Festival Orchestra, and the World
Youth Orchestra of Jeunesses Musicales,
among others. Her particular interest is
playing for opera and choral music.
She collaborated on a premiere with Vital Organs New Opera
company in Montreal this summer, and hopes to continue to be
involved in projects that bring harp music to the theatre. She has also
been on tour and in the studio with fiddler Sarah Burnell, and keeps
up an active participation in local Irish sessions.
Ellen is currently teaching private harp lessons, and looking forward
to upcoming performances with Symphony Nova Scotia, the Halifax
Camerata Singers, the Heavy Blinkers, and with her duo partners,
flutist Jack Chen, and fiddler Rachel Kidd.”
"Home Grown" are a man
and wife singer/songwriter
duo, both born and raised in
Halifax, Nova Scotia. Susie
and Chris Godwin are
active members of SOCAN,
Music Nova Scotia and the
Songwriter's Association of
Canada.
Chris plays both melodic and blues harmonica to compliment
Susie's acoustic folk/blues/soft rock vocals. Susie delivers a
unique earthy, soulful, sultry sound with captivating tone, pitch
and clarity in her voice.
They both sing and play acoustic guitar. Chris has been writing
songs for many years and Susie has been a songwriter since 2004.
"Home Grown" has been playing various open mics around town
such as Music Nova Scotia's Open Mic at The Carlton, with a
previous guest spot at "The Wooden Monkey" and "The Foggy
Goggle".
“On a beautiful August 2010 afternoon we performed our
originals at an outdoor stage Benefit, hosted by our well respected,
blues, singer/Songwriter friend, Shirley Jackson and The
Sidecats”.
Home Grown like to perform blues covers as well and participates
in Blues Jams around town...Susie sings tunes such as "Stormy
Monday", "Bring It On Home To Me", "Flip Flop & Fly", “Fever”,
"Pride & Joy", "Sweet Home Chicago", “Can't You See”, and
“Summertime” to name a few. Chris is awesome on blues
harmonica at these blues jams and delivers great talent to the
stage. www.reverbnation.com/godwin2
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Secretary-Treasurer - VARUN VYAS
CFM Vice-President - BILL SKOLNIK
Dear Brothers and Sisters,
Dear Member:
As your Secretary-Treasurer and Editor of our
Sound newsletter, I would like to provide you
with an update of our recent activities.
Being a healthy musician has three benefits; it helps you produce better
quality music, it helps you write more quality music in less time, and it
allows you to create quality music for longer. How do you maintain your
health as a musician? It helps to have peace of mind that you and your
family’s medical needs are looked after.
I recently attended the Canadian Conference
of Musicians, held in Calgary this year. I sat
on the Credentials Committee, which was a
great opportunity for me to meet other
delegates representing our sister Locals across
Canada.
AFM USA President Ray Hair and SecretaryTreasurer Sam Folio were present at the
conference. I am cautiously optimistic that
they are sincere in their commitment to
support us Canucks up north.
Nova Scotia Music Week: We are excited to be
participating as a Sponsor in the upcoming
Nova Scotia Music Week being held in
Yarmouth, NS from November 3-6. Liana
White from our CFM Toronto office will also
be in attendance and will participate in panel
discussions promoting all of the benefits our
organization has to offer.
Pension: We are seeing increased pension
contributions being remitted. Let’s continue
the trend. Remember, Music Teachers can
participate in the Musicians’ Pension Fund of
Canada.
Workshops: We hope to have a SOCAN
workshop in the near future. Please contact
the office if you would be interested in
attending such a workshop.
Our CFM Vice-President, Bill Skolnik, will be
in Halifax to promote the status of the artist
legislation with our government officials. He
will also be our guest at the upcoming General
Membership Meeting.
We are working with a new sponsor. They
will be engaging AFM musicians for
upcoming regular events. Details coming
soon.
Today, only 12% of professional musicians in Canada have access to dental
benefits, while a mere 14% have access to a drug plan. I believe our
membership deserves more. More support, more information and
awareness and the very best access to health benefits tailor-made for us,
self-employed people in the arts. And so it gives me great pleasure to
introduce a brand new health care option now available to all CFM
members.
Administered by Actra Fraternal Benefit Society (AFBS), CFM has worked
closely with ACTRA National and ACTRA RACS to create the new Arts &
Entertainment Plan™, a “no-frills” health, dental and prescription drug
plan designed to help fill in the gaps in provincial health care coverage.
And there is no medical required. Affordable and flexible, the Arts &
Entertainment Plan™ also allows you to add home and auto to your
personalized plan.
AFBS has been around since 1975 and represents a community of 17,000plus self-employed performers and writers whose creativity enriches every
aspect of our cultural lives. AFBS understand artists’ needs. They have
designed this program with you in mind to ensure that you, and your
family, can obtain an affordable plan with good coverage, regardless of
age, gender, employment status, or location. This plan’s for you! Please
check it out at www.artsandentertainmentplan.com, or we invite you to
call 1-800-387-8897, you can also email your questions to
[email protected].
In addition to these enhanced health and dental plans, I’d also like to take
this opportunity to remind you of the gear and liability insurance options
also available with CFM’s Hub Insurance package. This member service
has been in place for nearly 4 decades and continues to be the best plan out
there to protect your instruments and to provide the increasingly necessary
personal liability insurance. For more information on how this plan can
work for you please contact: Hub International, Sandra Sween, 1 800
563-9441 EXT: 253 or [email protected].
Sincerely,
Bill Skolnik,
AFM Vice President from Canada
& CFM Chief Executive Officer
Fraternally, Varun Vyas 479-3200
email: [email protected]
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For I mmediate Release - Toronto, on October 11, 2011
Canadian Federation of M usicians (CFM) has reached terms of an agreement with the Association of
Canadian Advertisers (ACA) and the I nstitute of Communication Agencies (ICA) to renew the Commercial
Announcements Recording Contract. This is the industry standard collective agreement governing the
production of music and audio tracks for commercials in Canada. Members will vote on the terms of this new
agreement in the upcoming weeks.
The future of compensation for all music rests in digital distribution, explains Bill Skolnik, AFM Vice
President from Canada & CFM Chief Executive Officer
the advertising industry
enthusiastically embrace our evolving relationship and do the right thing by looking after the needs of
The proposed deal includes general increases in minimum fees of 3% in year one and 2.5% in each of years two
and three of the new three year agreement, as well as a one-time increase of 1% in Industry contributions to the
Musician Pension Fund of Canada, on behalf of all musicians who perform under this agreement.
The parties have agreed to enter into a pilot-project to assess commercials made for New Media, monitor the
use of this clause and to meet regularly to review the findings.
Over the past year, a caucus of rank and file musicians worked together to carve out the terms of this ground
breaking new agreement. that required collective thinking
and cooperative effort by all parties. Its success sets the tone for other negotiations currently taking place, such
as our fruitful discussions . Skolnik.
!"#
"
and needs of professional musicians who earn their living in this country. Everyday CFM helps thousands of
musicians with any number of issues related to the recording and performing of their craft. The American
Federation of Musicians of the United States and Canada draws on the experience and strength of more than
90,000 musicians, with over 17,000 active members in Canada alone. Proudly celebrating 31 remarkable years
of service, CFM is uniquely positioned to address Canadian issues, and provides vital resources for Canadian
musicians, at any stage in their careers. For more information please visit us at www.cfmusicians.orgCFM on
twitter CFM on Facebook.
-30M EDI A CONTACT: Victoria Lord, Office: 416-484-9047 / [email protected]
www.musicnovascotia.ca/nsmw
THERE IS A BOARD VACANCY - DO YOUR PART - GET INVOLVED!
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Margot Aldrich has been a professional violist for 25 years and member of AFM, Local 571 since 1996. She has been the
Assistant Principal violist with Symphony Nova Scotia since 1996 and a member of the Blue Engine String Quartet for 13
years. She is currently on leave from the Symphony, working for the past year and a half as a licensed Realtor.
She is excited to be a part of the Royal LePage Atlantic team and welcomes AFM 571 members to contact her for their real
estate needs. She is willing to go the extra mile for her clients and would welcome the opportunity to assist you with
buying or selling your home. It’s been her privilege to work with many musicians over the years, and she looks forward to
working with her fellow musicians for all of their real estate needs.
She can be reached at 233 8844 (cell) or 453 1700 (office).
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Evelyn Crete, the daughter of Ken Davidson, has written a biography of her father,
a well known Canadian guitar instrumentalist.
The book is entitled Ken
Davidson: A True Gentleman of Music. The book covers Ken’s early years in the
Maritimes, his time in Ottawa and the Valley and his return to Nova Scotia.
During the early years, Ken performed on stage and radio with groups such as
Billy Reid and his Hawaiian Serenaders, J. B. Ham and the Sons of the South,
Emilio Pace’s Orchestra and his own Ken Davidson Trio.
After leaving the
Maritimes Ken spent about twenty years in Ottawa where he performed with The
Happy Wanderers and was an original member of the Family Brown. In his later
years in the Maritimes Ken opened his own music studio where he continued to
teach, arrange and compose music. Along with forming his own music groups,
his repertoire expanded to include the fiddle and banjo and he performed with
other notable musicians in various Country, Dixieland, Jazz and Swing bands. In
his lifetime, he has performed with legendary entertainers such as Wilf Carter,
Hank Snow and many others. Ken Davidson has been inducted in three music
Halls of Fame, The Ottawa Valley Country Music Hall of Fame, the Atlantic Steel
Guitar Club Hall of Fame and The Nova Scotia Country Music Hall of Fame. His
book is available for $24.95 plus shipping from Evelyn Crete at the following email
address: [email protected]
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Please Note:
The Music Performance Fund (MPF) is the world's largest sponsor of live
admission-free, professional musical programs. MPF operates as a non-profit, taxexempt public service organization. From its New York office it distributes funding
across the US and Canada to support free admission musical events.
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Sales / Repairs / In-Store Financing
Trades / Used Instruments Bought & Sold
School Band Rentals & Rent-To-Own Programs
Clinics / Lessons for All Ages, Levels & Styles
Bedford, 1717 Bedford Hwy.
902.496.6960
The fund provides for Live Music Performances which are free to the general
public. It operates on a co-sponsorship basis between a co-sponsor and a Local
Office of the AFM/CFM. The rate of funding is based on an individuals Local’s
Tariff of Fees.
Dartmouth, 124 Main St.
902.496.6996
Halifax, 6065 Cunard St.
902.496.6900
Any and all manner of musical styles are eligible provided the venue is Free and
Open to the public in general. No commercial ties, special interest fundraisers, or
alcohol sales may be connected with the performance venue.
Credit must be visibly displayed or orally given to the Recording Industries
Performance Trust Fund and The Atlantic Federation of Musicians, Local 571.
If you have any questions or have a project or performance in mind for MPF
funding, please contact us by email or by telephone: 479-3200. We will work with
you to make sure it meets the criteria of this program.
For general information about MPF and the thousands of concerts and educational
events they have sponsored over many years, you can visit their website:
www.musicpf.org
Limited MPF funds are available for the following engagements:
30% MPF co-funding available for general musical concerts
40% MPF co-funding available for Hospitals, Assisted living etc.
50% MPF co-funding available for school projects
Veteran’s facilities are on a case by case basis.
Please Note: MPF Application Forms have been revised. Please contact the office for
details.
Venue Sponsor
Can You Help?
Do you have old instruments that are collecting
dust? Why not consider donating them.
St. Joseph’s A MacKay Elementary School is
trying to raise funds to purchase and/or repair
instruments.
If you are able to assist, please contact the Local.
GENERAL MEMBERSHIP MEETING TUESDAY OCTOBER 25, 2011 - 7:00 PM AT THE OFFICES of
MCINNES COOPER, 13th floor, PURDY’S WHARF TOWER II
For our General Membership Meeting, Parking is available in the Purdy's Wharf Parkade and the Casino Parkade, both of which are connected to
Purdy's by pedway. Purdy's is a secure building. You will be met at the ground floor entrance and at the pedway entrance, and escorted to the
elevator. If you arrive on the ground floor or at the pedway entrance after 7:00, please call 401-8333 or 209-7033 and you will be met and
escorted into the building. Yes, Parking will be validated!
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Neighbouring Rights
Until 1997, royalties for broadcasting or public performances were only provided to composers
and lyricists under copyright law. Neighbouring rights now provide compensation for
performers and producers of sound recordings.
Neighbouring rights is the term used to refer to the tariff collected and paid out to performers
and sound recording owners when their respective performances and sound recordings are
performed publicly, broadcast, rented out, reproduced and/or otherwise commercially
distributed.
The Neighboring Rights Revenue that is collected by Re-Sound (formerly NRCC – Neighboring
Rights Collective of Canada) breaks down into two revenue streams. They are:
◦
The Performers revenue stream
◦
The Record Producers (“Makers”) revenue stream.
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REGULAR MEMBERSHIP DUES
PAYMENT OPTIONS:
1. Yearly - One Payment of $162.00
(covering January 1-December 31) - Due Jan. 1st
2. Half-Yearly 1st Half - $86.00
(covering January-June 30) - Due Jan 1st
2nd Half - $86.00
(covering July 1-December 31) - Due July 1st
3. Quarterly 1st Quarter - $45.50
(covering January 1-March 31) - Due Jan. 1st
2nd Quarter - $45.50
(covering April 1-June 30) - Due April 1st
3rd Quarter - $45.50
(covering July 1-September 31) - Due July 1st
4th Quarter - $45.50
(covering October 1-December 31) - Due Oct. 1st
GENERAL MEMBERSHIP
The Performers revenue stream is disbursed to MROC as well as to ACTRA/PRS/RACS and
Artisti to be paid out to their respective eligible members.
The Record Producers revenue stream is disbursed to AVLA and SOPROQ to be paid out to
their respective eligible members.
Performers who are also owners of their sound recording are entitled to receive revenue from
both streams.
MEETING
Tuesday October 25, 2011 - 7:00 PM
at the offices of MCInnes Cooper,
13th floor, Purdy’s Wharf - Tower II
6:15 PM Sociable
Re-Sound Music Licensing Company (formerly NRCC) – Re-Sound is a Canadian not-for-profit
Beverages & Snacks
music licensing company that provides businesses with the music licence(s) legally required
when broadcasting music, or playing recorded music in public. This organization is responsible
for collecting tariffs as set down by the Copyright Board when a performance is played on We would like to encourage all musicians
This is an
broadcast radio, background music or satellite radio for example. This organization is to become members.
responsible for filing and defending tariffs with the Canadian Copyright Board. Re-Sound important goal for our Local and with
represents MROC on the Board of Directors of the Canadian Private Copying Collective. your input and support, we can make a
Monies received are divided equally between artists and record companies.
positive change. Please note in Article
SIMPLICITY | FUNCTIONALITY | GREAT DESIGN
Morrison & Co.
Morrison & Co. has been creating extraordinary
designs in Nova Scotia since 2001.
All of our clients can find a custom
design that will satisfy all of their needs.
FULL SERVICE DESIGN CONSULTATION. HANDMADE CABINETRY & MILLWORK. HOME RENOVATIONS.
T: 902-476-3892
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7, Section 8, subsection 9, “No member
shall Participate in any paid engagement
with any musician who is not a member,
without the consent of the Executive
Board.”
Please visit Symphony Nova Scotia’s
Players Association website to find out
more on their members and activities.
http://www.snsplayersassociation.ca/
SNS_Players_Association.html
12 Maynard Street, Dartmouth, N.S.
www.morrisondesignco.com
E: [email protected]
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How Your Music
Makes Money
Welcome to SOCAN
SOCAN and its predecessors have been administering the
performing rights of Canadian songwriters, composers,
lyricists, and music publishers for more than 80 years.
That tradition continues today in an organization that is
leading the way in the rapidly evolving music industry for
more than 85,000 members, and hundreds of thousands
of creators and publishers worldwide.
SOCAN is governed by a member-elected Board of
Directors, made up equally of publishers and writers, and
guided by a Passion for Service. In addition to our
members, we serve our music-user customers. We offer
them access to one of the world’s most valuable cultural
assets: virtually its entire repertoire of copyright-protected
music for communication and public performance.
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Who Plays What:
Identifying Music Use
After a member has joined SOCAN and registered his or her
works, the next step in the partnership between SOCAN and
the member is the payment of royalties. SOCAN’s advanced
system and processes ensure timely and accurate collection
and payment of royalties for over 80,000 members in Canada,
and hundreds and thousands more creators and publishers
worldwide.
In order to pay these royalties correctly, SOCAN first has to
identify “who is playing what.” To do this, SOCAN constantly
monitors several areas of communication and performance:
Radio:
Begining with our August 2007 distribution, SOCAN started
using digital audio identification (DAI) technology through an
agreement with a leading supplier of radio performance data to
electronically monitor over 150 commercial radio stations on a
census basis. As well, the Canadian Broadcasting Corporation
(CBC) continues to provide airplay logs of national and
regional programming on a census basis. This enables SOCAN
to log all detected performances from the said radio stations
for distribution.
Since it is not cost-effective to log every musical performance on
every radio station in Canada on a census basis, SOCAN will
continue to sample the rest of the commercial radio stations on
a quarterly basis to identify the use of our members’ works.
Additionally, non-commercial (campus and community) radio
stations and CBC local programming will be sampled.
Television:
SOCAN analyzes all music cue sheets received for programs
aired on local commercial stations (including CTV and Global
affiliates), cable stations, public stations (such as TV Ontario
and Télé-Québec) and the CBC, Radio-Canada, TVA, and
TQS networks.
'
These cue sheets provide detailed information on the
music used in all television shows. They are obtained from
Canadian and international producers and distributors,
international societies, members and, in some cases, the
broadcasters themselves.
Live performance:
Performance credits are determined by SOCAN’s distribution
rules for all eligible concert performances, but SOCAN must
receive a licence fee from the venue or promoter before a live
performance can be processed for distribution.
While promoters and other concert presenters regularly notify
SOCAN of performances, SOCAN relies to a great extent on
information supplied by its own members through printed
concert programs and completed Notification of Live Music
Performance forms (available online at www.socan.ca or at
any SOCAN Member Services office). Members have up to
one year after a performance to submit this information.
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Cinema:
Payments are made for music used in movies that are shown
in motion picture theatres. Performance credits are based
on data provided by a leading supplier of audio-visual
performance data.
As with television, SOCAN relies on music cue sheets from
producers to identify music use and distribute royalties
accordingly.
Pay Audio:
As with radio, it is not cost-effective to log every musical
performance on pay audio channels. Instead, SOCAN samples
programming information supplied by pay audio services,
such as Galaxie and Max Trax, on a quarterly basis.
International Performances:
Through reciprocal agreements with affiliated performing
rights organizations throughout the world, SOCAN distributes
royalties to those affiliated organizations for performances
of their members’ work in Canada. In turn, SOCAN receives
royalties from its affiliated organizations on behalf of
performances of SOCAN members’ works in other countries.
These incoming international royalties are included in
SOCAN’s International Distribution.
DOMESTIC PERFORMANCE
WHERE THE MONEY COMES FROM
DISTRIBUTION POOL
Television
Licence fees collected from commercial and non-commercial
television stations, as well as the CBC, OECA (TV Ontario),
Télé-Québec and TV retransmission systems.
Cable
Cable and Non-Broadcast Television licence fees collected
from Pay, Specialty and other Cable Television services from
transmission systems.
Cinema
Cinema licence fees collected from motion picture theatres.
Radio and General
Radio licence fees collected from commercial and noncommercial radio stations, CBC radio plus 80% of fees
collected from the many “general tariffs” for which SOCAN
does not include a specific distribution stream – i.e. licence
fees collected for the public performance of music used by a
background music service are included in the Radio and
“General” distribution.
Concert
Fees collected from concert venues, promoters, major league
sporting events and orchestras plus 20% of fees collected
from the “general tariffs” where there is a “live” component
– i.e. performances in a bar by a performer or group.
Pay Audio
Pay audio licence fees collected from Cable Television
and satellite systems.
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A Detailed Look at How
Royalties Are Earned
Here is a closer look at how works are credited and royalties are
established in two of the most common areas - radio and television.
Giving Your Musical Work Credit
Once your song appears on a census or survey and is eligible
for payment from one or more distribution pools, the
performance is given a credit value. These are the formulas
that are used:
Radio
A performance of work analyzed within the Radio and General
Distribution areas receives credits according to the duration of
music as follows:
DURATION OF WORK
CREDIT
Less than 1 minute
1 credit
1:00 minute–6:59 minutes
4 credits
7:00 minutes or longer
1 credit per minute
For example, 10 performances of your work are included in
the survey, each time for a duration of 3 minutes. The total
number of credits accumulated for your work is 40.
Different rules apply for each of SOCAN’s distribution pools.
Please consult the detailed distribution rules for a more
complete explanation. Remember that our staff is always
available to guide you through the process.
$
Television
This chart outlines the formula for broadcast and nonbroadcast (i.e. cable).
TELEVISION – BROADCAST AND NON-BROADCAST (CABLE)
Duration of work
Generally, if four minutes of a musical work are used, it earns more
credits than if two minutes were used.
Multiplied by
Type of Use
Your music earns different credit amounts depending on how it’s
used (e.g. theme, background, feature and concert feature).
Multiplied by
Station Weight
When a musical work is performed on broadcast television, its
credits will be in direct proportion to the licence fees paid by that
station. On cable, credits are calculated using the audience data
of each station.
EQUALS
TOTAL CREDITS
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How Your Royalty is Calculated
With complete and accurate information from distribution
pools and credits, the exact amount of your royalty can be
calculated.
First we must determine the value of each credit. This is
calculated by dividing the money in the distribution pool
by the total credits allotted to that pool:
Credit Value = $ in Distribution Pool / Total Payable Credits in Pool
'
The royalty payment for each work is calculated as follows:
Royalty Payment = Total Credits for Musical Work x Credit Value
Case Study
Let’s take the example of “What’s Right for Music,” a hot track
appearing on a cue sheet for local television station CXYZ.
Based on the credit calculation formula - Duration of Use,
times Type of Station, times Station Weight, times Time of
Day, the musical work earns 35 credits.
There are a total of 100,000 performance credits in the
Television Pool (meaning that the total credits of all eligible
works in the pool combined totals 100,000). There is $95,000
to be distributed.
The value of a credit in the Television Pool is:
$$ IN DISTRIBUTION POOL
÷
$95,000
÷
TOTAL PAYABLE CREDITS =
100,000
CREDIT VALUE
=
$0.95
“What’s Right for Music” therefore earns:
CREDITS
x
CREDIT VALUE
=
35
x
$0.95
=
ROYALTY
$33.25
That $33.25 is then divided among the copyright owners in
the way they indicated on their work registration form and/or
cue sheet.
When Do I Get My Money?
Royalties are distributed on a quarterly basis. There is a seven
to ten month delay between performance and payment for
domestic distributions. This delay is necessary in order for us
to gather all necessary performance data and match it to the
appropriate works and cue sheets in our database.
SOCAN enjoys excellent working relationships with many of
the suppliers of the required information. But quite often the
timely receipt of data is beyond our control, which in part
accounts for some of the delay.
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Contact Us
We would be happy to discuss our operations and our Passion
for Service in more detail. Whether you are a music creator,
a music publisher, or a music user, you will discover that
SOCAN can be an invaluable partner in performance.
Please do not hesitate to contact us by e-mail, phone, or
fax with your questions and comments. For immediate
information, be sure to visit our Website at www.socan.ca,
or call 1-866-307-6226.
www.socan.ca
1-866-307-6226 or www.socan.ca
$
what’s right for music
la musique a ses droits
RECYCLABLE
MS 4000 06/07
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32-B St. Margaret’s Bay Road, Halifax, NS B3N 1J7 ph. 902.479-3200
fax: 479-1312 toll free 1-866-240-4809 email: [email protected]
New Members, 2011
Luke Boyd– vocals – 883-1410
Mike Boyd– vocals – 880-2754
Jason Bruce – turntables, keys, vocals drum machine – 483-1130
Jonathan Bryant - guitar, piano, drums - 237-2787
Jeremy Chaisson – guitar, violin – 687-2261
Koady Chaisson - guitar, banjo, mandolin, fiddle - 687-2510
Margo Durling – percussion – 221-4888
Resigned Members
No Resigned Members
but Johnny “Porko”
Theodore is back home
and available.
Give him a call:
999-6530
Ellen Gibling - pedal harp, Celtic harp - 999-5701
Susie Godwin - acoustic guitar, vocals - 446-0374
Craig Harris - bass - 489-2248
Leaders and contractors
are asked to contact the
office for the current
status of musicians prior
to engaging them.
Vincent Hughes – violin – 876-8107
Jonathan Landry - vocals, guitar - 877-1301
Jason MacIsaac - guitar - 452-1540
Kevin MacLean – saxophone – 892-5615
Contracts are to be filed
by the leader with the
office before the
engagement and work
dues for freelance
engagements are now the
responsibility of the
individual member and
must be paid up to be in
good standing.
Ellen MacPhee - bagpipes, whistles - 233-5600
Meredith McCallum - violin - 807-252-4829
Ria Mae– guitar, bass – 802-4840
Mark Murphy - drums - 922-3795
Brian Pelrine – DJ, turntables – 830-9340
Anthony Savidge – drums, percussion – 697-2713
Jason Wright - bouzouki - 478-5891
Please provide the AFM 571 office with your current e-mail address
and contact info: e-mail: [email protected] with your updates.
E-mail is an important method of communicating important
information to our members in a timely manner. It also allows the
Local to minimize costs associated with providing a paper copy.
HELP SAVE A TREE — OPT FOR E-MAIL COMMUNICATION
Members who have not
paid their 2011 annual
dues are now removed
from Membership effective
March 31. It is contrary to
the AFM/Local 571
Bylaws to perform with
expelled, suspended or
non-members without
clearance from the Local’s
Board of Directors.
Please contact the Office
to make alternate
payment arrangements if
you are having difficulty
with paying your dues.
Chris Godwin - harmonica, guitar, vocals - 446-0374
ATTENTION MEMBERS
Suspended
Please consult your
Bylaws for further details.
Atlantic Federation of Musicians
32-B St. Margaret’s Bay Road
Halifax, NS B3N 1J7
902-479-3200 / fax: 902-479-1312
Toll Free: 1-866-240-4809
www.cfm571.ca
[email protected]
Payment Options for paying your membership and work
dues include Visa, MasterCard &American Express by
phone only. Yes, PayPal and e-mail money transfers are
accepted too.
14
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16
Canadian Federation of Musicians
Musicians’ Neighbouring Rights Royalties
Appointment & Authorization Form
75 The Donway West, Suite 1010, Toronto, ON, M3C 2E9
Tel: 416.391.5161 Fax: 416.391.5165 1-800-463-6333
Email: [email protected] web: www.mnrr.ca
As Agent in relation to rights to remuneration under the Canadian Copyright Act (‘Act’).
1. I,
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being a musician and performer who is, or will be, entitled to receive remuneration, royalties, license fees, levies or other compensation (collectively, ‘Remuneration’), pursuant to the provisions
of Section 19 and Section 81 of the Copyright Act relating to private copying, neighbouring rights, the telecommunication to the public and/or the performance in public of published sound
recordings embodying performances (collectively, ‘Uses of my Work’), hereby authorize the AFM to be my exclusive agent to collect Remuneration and distribute the proceeds of such
Remuneration to me, or to any other person or entity as I may direct the AFM, in writing from time to time, and to administer and enforce my rights related to Uses of my Work. Without limiting
the generality of the foregoing, I authorize the AFM to file and defend Canadian Copyright Board (‘Board’) tariffs and to implement and administer a licensing scheme for Uses of my Work in
accordance with tariffs approved by the Board.
2. I confirm that the AFM acted as my agent in respect of the Neighbouring Rights Commercial RadioTariff, 1997-2002, filed by ReSound (formerly ‘NRCC’) on March 31, 1998 and
approved by the Board in a decision dated August 14, 1999, and I hereby ratify the actions of the AFM in so doing.
3. I authorize the AFM to enter into agreements with other collective societies, such as ReSound, to act as its agent and/or to jointly administer the licensing schemes operated by
collective societies in relation to repertoires of works, performer’s performances, sound recordings, and/or communication signals.
4. I authorize the AFM and its agents to deduct reasonable administrative fees that the AFM deems necessary to ensure that the collective administration of copyright and remuneration
rights is carried out in a professional manner.
5. By this Appointment, I authorize the AFM to act as my exclusive agent with respect to any rights to Remuneration in relation to Uses of my Work that come into effect through
amendments to the Act, or through any other legislative regime.
6. This Appointment shall be effective as of the date below and shall be perpetual until revoked. I understand that I may revoke this Appointment by providing written notice of my
intention to revoke this Appointment to the AFM and that this Appointment will be deemed terminated ten (10) business days after actual receipt of this notice by the AFM.
7. The AFM may assign this Agreement to a company it owns or controls, and in such event, the AFM shall provide written notice of such assignment to me within thirty (30) days of such
assignment.
8. Attached is a repertoire/registration form which is a complete and current list of all my Works in respect of which if they are determined to be eligible, I may be entitled to payment. I
hereby acknowledge that it is my responsibility to update this list from time to time as may be necessary, and to provide AFM (in writing) with such revisions.
9. I hereby consent to the collection, use and disclosure of the (my) personal information contained herein for the purposes of identifying me as the individual entitled to receive the
remunerations authorized by this form. These records will be maintained in a confidential manner except as may be required to enforce the rights and obligations prescribed hereunder.
_______________________________________________________
_______/_______/_______
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Charles Charlies
EXAMPLE
Sony Music Canada
(Party who paid for recording eg. record label)
Recording Owner
(8) Strings
MANAGER
OTHER
(If there are no background performers, please state 'None')
______________________________
SIGNATURE
_________________________________________________________________________________
PERFORMER
Charles Charlies(1)
(5) Keys
(6) Brass
(11) N/A
Name of each background/session performer on recording
(2) Guitar (3) Bass
(4) Percussion
(10) Other________________________
www.mnrr.ca
Page ___ of ____
__________________________________________
Steve Stevens (3), Andrea Andrews (6), Kris Christopher (2), David Toms (4),
(1) Vocals
(9) Other_____________________
(If known, indicate next to each performer below):
Name of each featured performer on recording
(7) Woodwinds
Performance Categories
Please submit any additional information where possible (cd's, liner notes, recording contracts etc.)
Questions or concerns? Please refer to the FAQ or contact MNRR - 416.391.5161 Toll free 1.800.463.6333 or email: [email protected]
PHONE #
CAPACITY (please check one):
NAME
EMAIL ____________________________________________________________
_______________________________________________
Example Studios/Canada
(Studio name/Country)
Location of Recording
CONTACT INFORMATION
2009
Year of
Release
DATE (dd/mm/yy) _____/______/_____
I have the authority to provide the above information, which is accurate to the best of my knowledge
Artist and/or Band
Track Title
PERFORMER'S NAME:
MUSICIANS' NEIGHBOURING RIGHTS ROYALTIES (MNRR) - REPERTOIRE REGISTRATION FORM