Re:Sound helped represent music creators to ensure policymakers understand their needs and the importance of effective copyright laws.
President Ian MacKay appeared before the Standing Committee on Industry, Science and Technology, and the Standing Committee on Canadian Heritage. Re:Sound also submitted briefs to both. These appearances were supported by individual meetings with policymakers to present the concerns of music creators and their unique considerations.
Re:Sound was proud to join the Canadian Music Policy Coalition (CMPC), to address Copyright Board reform.
The coalition comprises more than 150,000 Canadian songwriters, composers and publishers, more than 621,000 performers and record labels domestically and internationally, and 280 professional trade organizations. The CMPC advocated for the following reforms of the Copyright Board of Canada: Create new deadlines in respect of Board decisions; Codify and clarify specific Board procedures through regulations; and Specify decision making criteria that the Board is to consider.
Building on the Joint Portal Pilot completed in 2017, in December Re:Sound and SOCAN announced plans to launch Entandem.
Co-owned and overseen by Re:Sound and SOCAN, Entandem brings the music licensing now managed separately by each organization into a single, jointly-operated business. With Entandem, retailers, restaurants, nightclubs, fitness clubs and myriad other organizations that use music will be able to complete their legally-required licenses in a single transaction.
CONNECT and Re:Sound have been working together since 2016 to improve royalty distributions to label rights holders.
In 2018, CONNECT encouraged its independent label and artist members to assign their Remunerative Rights (which include both Neighbouring Rights and Private Copying royalties) directly to Re:Sound to simplify data processing and expedite payments.
Re:Sound has a long-standing involvement with the International Performing Rights Committee (PRC), convened by the International Federation of the Phonographic Industry (IFPI) and the World Independent Network (WIN).
In 2018, our President, Ian MacKay, joined the Spearhead Group, comprised of CEOs from the world’s top performing music licensing organizations. Other members include the CEOs of SoundExchange (USA), PPL (UK), GVL (Germany), SCPP (France), SENA (Holland), ZPAV (Poland), AGEDI (Spain), and PPCA (Australia).
Julian Taylor Band — The Good Lovelies — KASHKA — Ryan Cook with Mike Kerr — Winona Wilde — Del — Adyn Townes — The Young Novelists — David Newland — Irish Mythen
Bringing best in class digital solutions to the business through international collaboration allows Re:Sound to continue to be at the forefront of new developments in royalty collection and distribution.
For the past decade, Re:Sound has worked with DDEX (Digital Data Exchange), a consortium of digital media, music and tech companies focused on creating international standards for all parts of the digital supply chain.
Re:Sound has been a member of DDEX working groups focused on implementing a metadata standard that many music industry organizations are now using. This standard helps the industry recognize greater efficiencies and cost savings through automated processing. Independent research shows a 66% reduction in key operations expenses over a five-year period for digital music providers adopting DDEX standards.
In keeping with Re:Sound’s approach to innovation, the organization will be among the first to adopt the MLC Portal Project, called RDx (Repertoire Data Exchange). A collaboration between IFPI, which represents the recording industry worldwide, and WIN, the Worldwide Independent Network, RDx will make it easier for recording rightsholders and MLCs to maintain repertoire and rights data, and to identify and resolve rights conflicts more efficiently by streamlining the delivery of sound recording metadata through a central hub.
Re:Sound has played an integral role in establishing RDx’s data requirements and design. Following this extensive involvement, Re:Sound was one of two MLCs (music licensing collectives) selected to test RDx.