Equitable remuneration (ER) is the right of performers and producers of eligible sound recordings to be paid for the public performance or communication to the public by telecommunication of their music, e.g., broadcast on commercial radio (Tariff 1.A of the Certified Tariffs).
The amount collected for equitable remuneration depends on the type of broadcast. For example, in the case of commercial radio, the amount is calculated as a percentage of revenue
broadcasters are required to remit to Re:Sound, the music licensing body responsible for collecting these royalties.
The amount collected is determined by tariffs set by the Copyright Board.
Private copying entitles eligible performers, authors, composers and producers to receive royalties in compensation for income lost because individuals are allowed to copy recorded works and performances on blank audio media for private use. This royalty was created to circumvent the virtually impossible task of controlling private copying.
Generally speaking, private copying royalties are paid in exchange for allowing consumers to copy music for their personal use.
These royalties are paid by the manufacturer or importer of blank audio media in accordance with a tariff set by the Copyright Board.
Under the private copying (PC) provisions, manufacturers and importers of blank audio media normally used by consumers to copy sound recordings pay a royalty to the Canadian Private Copying Collective (CPCC) when they sell or transfer these media in Canada. In some circumstances, tariff exemptions may apply.
These rights are currently paid by:
The amount paid by commercial radio stations is determined by a tariff set by the Copyright Board (Reproduction Tariff of the Certified Tariffs).
What happens with royalties from years previous to my joining?
We make retroactive payments for Canadian equitable remuneration royalties. As for private copying royalties, retroactive payment is limited to certain years. Finally, the payment of royalties related to incidental or accessory reproductions is not retroactive.
80% of the royalties go to the solo singer or instrumentalist and the remaining 20% are divided among the accompanying singers and instrumentalists who perform on the band that appears in the survey data used to calculate royalties.
The rules for distributing royalties for classical music and jazz are more complicated in order to take into account the diversity and specific composition of the ensembles that perform these types of music.
Finally, if all the members of a musical group are members of Artisti and have signed a Group Distribution Agreement, they can choose a different formula for sharing the royalties.