President: Francine Schutzman
Vice President: Gary Morton
Secretary-Treasurer: Robin Moir

Executive Board

Lance Elbeck
Mike Mullin
David Renaud
Sean Rice

Delegates to AFM Convention

Francine Schutzman
Robin Moir

President Emeritus

Glenn Robb


Office Staff

Administrative Officers:

Dan Blackwell

Office Assistant: Marlene Morton

MPTF Coordinator: Glenn Robb

Website: Dave Poulin


Your officers and editorial staff conscientiously screen all advertising submitted to the eNewsHarp. However, we cannot assume responsibility for product quality or advertising content, nor can your officers be held accountable for misrepresentations between side persons and leader/contractors.

Local 180 publishes the eNewsHarp on-line four times a year. In an election year, we also publish an election issue for members.

President’s Message

Francine Schutzman

End-of-Year Wrap-up

Nominations meeting:

Nominations were held at the General Meeting on September 14th, and all of our present officers were elected by acclamation for another two years. I would like to thank Vice-President Gary Morton, Secretary-Treasurer Robin Moir, board members Lance Elbeck, Mike Mullin, Dave Renaud and Sean Rice, Auditors Michel Clouthier and Glenn Robb, and Trustees Marlene Morton and Joe Turner for their last two years of service, and I look forward to working with all of these people for the next two years. Robin and I will be the delegates to the AFM Convention, with Gary Morton standing by as Alternate. Thanks to all of our members for your confidence in our team. As always, we are open to suggestions for how to improve our service to our members.

Canadian Conference:

The Canadian Conference met via Zoom for the second year in a row, as officers and delegates from all the Canadian Locals assembled electronically for three afternoons during the third week of September. A word of explanation: every Local in the AFM belongs to a group of Locals that make up a geographic Conference. In Canada we have just the one Conference. So this was the annual meeting of the Canadian Conference — the Conference’s conference, if you will.

We heard speeches of welcome from AFM President Ray Hair and Secretary-Treasurer Jay Blumenthal. The delegates received reports from our leaders in the CFM office in Toronto (VP from Canada Alan Willaert, Executive Director Liana White, Director of Administration Sue Whitfield) and had the opportunity to ask questions. In a nutshell: there are fewer employees in the CFM office doing more work, P2 visa applications are picking up as more musicians get ready to tour in the States, and there are never-ending attempts by both the Canadian and US AFM offices to try to reduce the time necessary for getting those visas. Lobbying efforts by the CFM and other arts-related unions ensured that self-employed musicians were able to take advantage of economic help from the government during the pandemic. Some bargaining of media agreements has been suspended, while other measures have been taken to accommodate the ever-changing landscape, mainly in the area of streamed concerts.

Allistair Elliott, who is the International Rep (IR) for Canada, is charged with making sure that each Local is doing a proper job. Allistair explained that he had not been able to visit Locals in person during the pandemic, but he has been organizing Zoom meetings that have dealt with various topics of interest to the Canadian Local officers. We also heard from Bernard Leblanc and Richard Sandals of the Symphonic Services Division about ongoing activities in our country’s orchestras.

Humberto Martins, familiar to many of you who have had dealings with the Musicians’ Pension Fund of Canada, assured us that things are still going well with the fund. The fund’s lawyer, Mike Mazucca, alerted us to a change in the Federal Income Tax Act that will affect MPF Canada contributions made on behalf of those over the age of 71. Once the Fund has received clarification about this change, it will be communicated to the Locals.

There is a new director of the Freelance Division of the AFM, a most personable fellow named Wages Argott. We have invited Wages to attend our December General Meeting so that he can talk about the various avenues that are open to freelancers. Even if you are not mainly a freelancer, I believe that you will enjoy hearing his presentation.

We also heard a report from Dan Beck, who spearheads the Musicians’ Performance Trust Fund. I will leave it to Robin to tell you what impact the fund has had on our members.

A representative from each Local gave a five-minute précis of their activities for the last year. While Zoom allows for a larger attendance than might be possible in person, we look forward to the day when we can have in-depth discussions with our fellow officers to get more detail about their initiatives and to share solutions to problems. As with many organizations, sometimes the real work happens at informal gatherings. We very much hope that our next meeting, which is scheduled to take place just prior to the AFM Convention in Las Vegas next June, will be able to be held in person.

Back to work:

The NAC Orchestra is back on stage playing live concerts as well as live-streamed ones. They advertise “a season like no other”. Truer words were never written!

The Ottawa Symphony Orchestra, working under a new model that gives more creative direction to the musicians, has signed the Integrated Media Agreement for Canada. We believe that this is a benefit to both musicians and management.

As freelance work starts to pick up again, so does our membership. To celebrate that, see Robin’s article for some exciting news!

Still to come:

Better times, we hope! Stay well, everyone.


Rapport de la président

Bilan de fin d’année

Réunion de mises en candidature

Les mises en candidature ont eu lieu lors de l’Assemblée générale du 14 septembre, et tous nos dirigeants actuels ont été élus par acclamation pour un autre mandat de deux ans. Je remercie le vice-président, Gary Morton, la secrétaire trésorière, Robin Moir, les membres du Conseil, Lance Elbeck, Mike Mullin, Dave Renaud et Sean Rice, les vérificateurs, Michel Cloutier et Glenn Robb, ainsi que les administrateurs, Marlene Morton et Joe Turner, pour les deux dernières années de service, et j’anticipe travailler avec eux pendant les deux prochaines années. Robin et moi serons les déléguées à la Convention AFM, et Gary Morton se tiendra prêt en tant que suppléant. Nous remercions tous les membres de leur confiance en notre équipe. Comme toujours, nous sommes prêts à accueillir des suggestions pour améliorer le service aux membres.

La Conférence canadienne

Pour une deuxième année consécutive, la Conférence canadienne, tenue la troisième semaine de septembre, a eu lieu en Zoom, alors que des dirigeants et des délégués venant de toutes les sections locales canadiennes se sont réunis par voie électronique pendant trois après-midi. J’apporte un mot d’explication : chaque Section locale de l’AFM fait partie d’un groupe de sections locales formant une Conférence géographique. Au Canada, nous tenons une seule conférence. En outre, ce fut l’assemblée annuelle de la Conférence Canadienne – la conférence de la Conférence, dans ce cas.

Le président de l’AFM, Ray Hair, et le secrétaire trésorier, Jay Blumenthal, ont prononcé les discours de bienvenue. Les dirigeants du bureau de la FCM à Toronto (Alan Willaert, VP du Canada, Liana White, directrice générale, Sue Whitfield, directrice de l’Administration) ont présenté des rapports aux délégués qui ont eu l’occasion de poser des questions. En bref, le bureau de la FCM compte moins d’employés pour effectuer davantage de travail, les demandes de visas P2 s’accroissent alors que les musiciens se préparent à une tournée des États-Unis, et les bureaux tant canadiens qu’américains tentent sans arrêt de réduire le temps nécessaire pour obtenir ces visas. Grâce aux pressions politiques de la FCM et d’autres syndicats liés aux arts, les musiciens ont profité d’une aide financière gouvernementale pendant la pandémie. La négociation de certaines ententes médiatiques a été suspendue, tandis que d’autres mesures ont été prises pour accommoder cette scène en évolution constante, particulièrement dans le domaine de la diffusion des concerts.

Allistair Elliott, le Représentant International du Canada, doit veiller à ce que chaque Section locale accomplisse son travail correctement. Allistair a précisé qu’il n’avait pu visiter les sections locales en personne pendant la pandémie, mais qu’il avait mis sur pied des rencontres en Zoom portant sur divers sujets d’intérêt pour les dirigeants des sections locales canadiennes. Bernard Leblanc et Richard Sandals, de la Division des services symphoniques, nous ont aussi renseignés sur les activités continues des orchestres au pays.

Humberto Martins, connu de ceux qui ont fait affaire avec la Caisse de retraite des musiciens (CRM) du Canada, nous a assuré que la situation de la Caisse est toujours bonne. L’avocat de la Caisse, Mike Mazucca, nous a sensibilisés à une modification de la Loi de l’impôt sur le revenu, du fédéral, laquelle aura une incidence sur les contributions de la CRM du Canada effectuées au nom des personnes de plus de 71 ans. Une fois que la Caisse aura été éclairée sur cette modification, elle transmettra les précisions aux sections locales.

La Division des pigistes de l’AFM a maintenant un nouveau directeur, notamment Wages Argott, un type bien sympathique. Nous avons invité M. Argott à notre Assemblée générale en décembre afin qu’il puisse nous renseigner sur les diverses possibilités à la portée des pigistes. Bien que vous ne soyez pas essentiellement pigiste, je crois que vous apprécierez sa présentation.

Dan Beck, à la tête du Musicians’ Performance Trust Fund (MPTF), nous a aussi adressé la parole. Je laisse à Robin la tâche de vous renseigner sur l’incidence du MPTF sur nos membres.

Un représentant de chaque Section locale a présenté un résumé de cinq minutes sur les activités de l’an passé. Bien que Zoom permette un auditoire plus vaste qu’en présentiel, il nous tarde de voir le jour où il nous sera possible d’échanger plus à fond avec nos collègues afin d’obtenir davantage de précisions sur leurs initiatives, et de partager des façons de solutionner les problématiques. Comme c’est le cas pour plusieurs organismes, le vrai travail s’effectue parfois lors de rassemblements informels. Nous espérons vivement que notre prochaine rencontre, laquelle est prévue juste avant la Convention de l’AFM à Las Vegas en juin prochain, pourra avoir lieu en présentiel.

De retour au travail

L’Orchestre du CNA est de retour sur scène, offrant des concerts tant en direct que radiodiffusés. Il annonce « une saison pas comme les autres ». Jamais l’on a dit plus vrai!

L’Orchestre symphonique d’Ottawa, travaillant en vertu d’un nouveau modèle pour offrir une direction davantage créative aux musiciens, a signé l’Entente intégrée des médias du Canada. À notre avis, tant les musiciens que les gestionnaires tireront profit de cette entente.

Alors que le travail à la pige redémarre, nos adhésions font de même. Pour célébrer cette relance, lisez l’article de Robin qui offre des nouvelles emballantes!

Encore à venir

Nous souhaitons des jours meilleurs! Restez tous en bonne forme.



Secretary Treasurer’s Message

Robin Moir

Dear Members

I have a series of notebooks that I use for keeping track of my daily activities in the office. In my January-to- July notes 2020, I see that I ceased to write in the book on March 6th ….and began once again on May 7th. Those missing two months were taken up with the Local office move to four different locations: our office home base at 500 Claridge in Barrhaven and to the mini home offices of Dan, Braiden, and me.

By the time we had moved from 280 Metcalfe, there were only a few offices in the building still open. Most of the floors were empty, and of course the Colonnade Restaurant was closed as well. I believe that Sean McKenny, President of the Ottawa District Labour Council, still came into his 5th floor office once or twice a week, but everyone else had left. Sean kept me in touch with what was happening downtown.

We set ourselves up with Remote Access so that we could communicate with each other and access the database, and this has really worked well for us.

During this move and the ongoing ups and downs of the pandemic health concerns, the Local was involved in CBA negotiations with the National Arts Centre, and the negotiations were tough. For the first time we negotiated using the Zoom platform, and although that worked well, I missed being with our NAC colleagues one-on-one.

By August 2020 we were setting up new office protocols that will remain in effect moving forward. The Local has always used paper files, and we have boxes and boxes of them in our storage unit. Because we were working apart, we begin to file everything digitally — all contracts, receipts, and invoices. I should mention that although we are now filing the contracts digitally within the Local, we must send paper copies to the pension office, and so of course those are printed off.

At this point during the pandemic the MPTF began the live streaming initiative whereby 100% of musicians’ fees would be paid by them. With the help of MPTF coordinator Glenn Robb and office administrator Dan Blackwell we began applying for funds to mount these concerts. Producer/engineers Dave Poulin and Mike Mullin made it happen for us.

In September 2020 we got the ball rolling, and over the course of the months of September to December we developed an action plan in terms of organizing and hosting the live-streamed concerts. During those months in 2020 the MPTF gave work to 82 musicians in 19 concerts. There was a slow-down as our city dealt with a COVID-19 increase, but even though one of our recording sites had to close, the other studio was able to continue.

With added funding from MPTF, we began streaming concerts between January 1st and July 30th, 2021. We coordinated 47 concerts totaling $42,384.13 in musicians’ fees…we employed over 195 local freelance musicians and two recording engineers at a time when there was no work for musicians and/or technicians. We contributed over $3,300.00 to the Musicians’ Pension Fund of Canada for those musicians.

With many thanks to Local members who asked us to consider accepting e-transfers, we began that practice in 2019. That has been a huge benefit to the Local during this extraordinary time. I would say that at least 75% of the membership dues come by e-transfer, with credit cards being next. We do get a few cheques and some cash, although those together may be counted on one hand. So, if you would like to pay dues in this way, please e-transfer us at

Also, during this time, members began paying their work dues by e-transfer as well and sending in their contracts by e-mail. For 2022 if you are planning to file contracts electronically, please use our new e-mail address:

The e-transfers and e-mailed contracts have helped us streamline our procedures, and they have become much more efficient.

We have noticed over the past few months that more musicians are applying for P2s, and more musicians are coming back from suspended and/or expelled because they are working. I am overjoyed for them!

Having seen this small upturn, the Local began to investigate the possibility of moving back downtown this past August. Vice President Gary Morton and I met with our former landlord, who did have space for us at 280 Metcalfe. Our former office had already been let, but the space next door was vacant. The Executive Board agreed that it was time to be back in the city, and so we agreed to the lease. It is less expensive than the amount we paid before the pandemic, and I am thrilled to once again be back in an office!

Our landlord has also agreed to allow us to use our former room number of 301, so the new address will be the same as before:

The Musicians’ Association of Ottawa-Gatineau
Local 180
280 Metcalfe Street, Suite 301
Ottawa, ON K2P 1R7

We should be set up in our new office by December 1, 2021.

Thank you to everyone who has made this journey with us — retaining your membership, giving generously to the Relief Fund, filing teaching contracts, filing contracts for gigs online, paying dues, and contributing pension on behalf of your employers and taking part in our MPTF streaming concerts.

I wish you all a very Merry Christmas, Happy Holidays and a Healthy and Bountiful New Year.


Rapport de la secrétaire trésorière

À tous les membres

J’ai un ensemble de carnets qui me permettent de faire le suivi de mes activités quotidiennes au bureau. Dans mes notes de janvier à juillet 2020, j’observe avoir cessé d’écrire le 6 mars… et avoir recommencé à écrire le 7 mai. Ces deux mois manquants ont été occupés par le déménagement du bureau de notre Section locale à quatre différents emplacements : le bureau principal situé au 500, rue Claridge, à Barrhaven, et les mini bureaux à domicile de Dan, Braiden, et moi-même.

Lorsque nous sommes déménagés du 280, rue Metcalfe, seulement quelques bureaux étaient ouverts dans l’édifice. La plupart des étages étaient vides, et bien sûr, le restaurant Colonnade était aussi fermé. Je crois que Sean McKenny, président du Conseil du travail d’Ottawa et du district, occupait son bureau au 5e étage une ou deux fois par semaine, mais les autres avaient quitté les lieux. Sean m’a tenu au courant des activités se déroulant au centre-ville.

Nous avons mis en place un accès à distance nous permettant de communiquer entre nous et d’accéder à la base de données, ce qui a été très profitable pour nous.

Pendant ce déménagement, et les hauts et les bas des préoccupations de santé liées à la pandémie, la Section locale participait à la négociation de la convention collective avec le Centre national des Arts, laquelle s’est avérée difficile. Pour la première fois, nous avons négocié par l’entremise de la plateforme Zoom, et bien que cela ait fonctionné, l’échange en tête à tête avec mes collègues du CNA me manquait.

En août 2020, nous élaborions de nouveaux protocoles afférents au bureau, lesquels demeureront en vigueur à l’avenir. La Section locale a toujours utilisé des dossiers papier, et nous avons des tonnes de boîtes dans notre unité de rangement. Puisque nous travaillons séparément, nous créons maintenant des fichiers numériques – tous les contrats, les reçus et toutes les factures. Je dois préciser que malgré le fait que les contrats soient maintenant sous forme numérique, nous devons transmettre des copies papier au bureau des pensions, ce qui nous oblige à les imprimer.

À ce point pendant la pandémie, le MPTF a lancé l’initiative de diffusion en direct selon laquelle 100 % des droits des musiciens seraient payés par le fonds. Avec l’aide du coordonnateur du MPTF, Glenn Robb, et l’administrateur du bureau, Dan Blackwell, nous avons sollicité des fonds pour mettre sur pied ces concerts. Les producteurs et ingénieurs, Dave Poulin et Mike Mullin, en ont fait une réalité.

En septembre 2020, nous avons démarré le projet, et de septembre à décembre, nous avons élaboré un plan d’action concernant l’organisation et la tenue de concerts transmis en direct. Au cours de ces mois en 2020, le MPTF a fourni du travail à 82 musiciens dans le contexte de 19 concerts. Il y a eu un ralentissement alors que notre ville gérait une augmentation des cas de COVID-19, mais malgré le fait que l’un de nos studios d’enregistrement ait été obligé de fermer, l’autre studio a pu continuer.
Avec le financement additionnel du MPTF, nous avons commencé à diffuser des concerts du 1er janvier au 30 juillet 2021. Nous avons coordonné 47concerts, pour des droits de musiciens totalisant 42 384,13 $… nous avons employé 195 musiciens à la pige et deux ingénieurs du son à une époque où il n’y avait pas de travail pour les musiciens et/ou les techniciens. Au nom de ces musiciens, nous avons versé plus de 3 300 $ à la Caisse de retraite des musiciens du Canada.

Un grand merci aux membres de notre Section qui nous ont demandé d’examiner la possibilité d’accepter des virements Interac, une pratique que nous avons lancée en 2019. Cette pratique s’est avérée très avantageuse pour la Section locale pendant cette période extraordinaire. Je dirais qu’au moins 75 % des cotisations des membres sont effectuées par virement Interac, suivi des paiements par carte de crédit. Nous recevons aussi quelques chèques et un peu de paiements en espèces, bien que nous puissions les compter sur une main. En conséquence, si vous voulez payer votre cotisation par virement Interac, veuillez faire le virement à

Pendant cette même période, les membres ont aussi commencé à payer les cotisations syndicales par virement Interac et à transmettre les contrats par courriel. Si vous prévoyez enregistrer des contrats par voie électronique en 2022, veuillez utiliser notre nouvelle adresse de courriel :

Les virements Interac et les contrats transmis par courriel nous ont aidé à simplifier nos procédures, lesquelles sont maintenant davantage efficaces.

Au cours des derniers mois, nous avons constaté une augmentation des demandes de visas P2, et davantage de musiciens sont de retour après avoir été suspendus et/ou expulsés puisqu’ils reprennent aussi le travail. Je suis très heureuse pour eux!

À la lumière de cette faible reprise, en août dernier, la Section locale a examiné la possibilité de revenir au centre-ville. Le vice-président, Gary Morton et moi avons rencontré notre ancien propriétaire qui disposait d’un espace de bureau pour nous au 280, rue Metcalfe. Notre ancien bureau état déjà occupé, mais le bureau voisin était libre. Le Conseil d’administration a conclu qu’il était temps de revenir en ville, et nous avons décidé de louer l’espace. Le loyer est moins dispendieux que celui payé avant la pandémie, et je suis enchantée d’être revenue au bureau!

Puisque notre propriétaire a également accepté de nous laisser utiliser notre ancien numéro de pièce, notamment le 301, la nouvelle adresse reste la même :

L’Association des musiciens d’Ottawa-Gatineau
Section locale 180
280, rue Metcalfe, pièce 301
Ottawa (Ontario) K2P 1R7

Nous prévoyons emménager dans notre nouveau bureau d’ici au 1er décembre 2021.

Nous remercions toutes les personnes qui ont fait la route avec nous – en conservant leur adhésion, en donnant généreusement au fonds de soutien, en enregistrant des contrats d’enseignement, en enregistrant des contrats pour des représentations en ligne, en payant leurs cotisations, en contribuant à la caisse de retraite au nom de leurs employeurs et en participant aux concerts de diffusion en direct du MPTF.

Je souhaite à tous un très Joyeux Noël, de Joyeuses Fêtes et une année remplie de santé et d’abondance.


How to Future-Proof Your Music

September 1, 2021

by Carl Schiller, Canadian Federation of Musicians, Contact and Licensing Coordinator.  Reprinted with permission from International Musician

Since the dawn of the recording age, tens upon thousands of union contracts have been safely stowed away in dusty storage bunkers beneath the ice sheets of the northern Yukon—all in perfect chronological and alphabetical order. This is just so that, in the year 2192, our EMSD clerk can pay out the Barenaked Ladies’ beneficiaries for the placement of “One Week” in a holographic Labatt Blue ad.

In all seriousness, our archives date back to the 1954 inception of the Sound Recording Labour agreement—and, by the 22nd century, chances are all research will be conducted by a card-carrying supercomputer right here in Toronto. What’s true, though, is that this record-keeping is an essential part of ensuring lifelong payouts to musicians for any new use of a recording they’ve performed on.

The fact is, you never know where a recording will end up. Maybe nothing much happens at the time of its release, but then it gets used on some hot new true crime series decades later, and suddenly it’s on everyone’s workout playlist. The streaming age has created an increased appetite for new digital content, encouraging music supervisors to venture deeper into the unknown niches of music history. When placed over the right film or TV credits, a long-forgotten gem has the potential to reach millions of new fans, often revitalizing the careers of the musicians behind it.

On top of all the obvious benefits and securities that come with filing your session under a union contract, you also hold in your hand the guarantee of being paid for your work years or even decades later.

So, what does this department’s work look like? On average, we receive 20 to 40 song search requests per week from Canadian music supervisors for quotes on using a certain recording in a new film, TV show, commercial, or video game. Once we’ve established whether a recording is signatory or not, we search our databases to identify all the musicians who performed on it. Sometimes this is as simple as pulling out the right contract. Other times we need to dig further, contacting labels and local offices, while cross-referencing various online sources. Depending on the relevant agreement for the destination product, we then quote and invoice the producers. Once payment is received, we do our very best to distribute these fees to our members as fast as possible.

Over the last few years, our new use collection has steadily increased. While we invoiced just around $100,000 in 2014, by 2019 this amount has gone up to $350,000. After a slight pandemic-induced dip in 2020, we seem to be back on track this year with $180,000 invoiced from January to July 2021. With more film and TV productions coming to Canada—the recent announcement of Netflix’s new office in Toronto being just one example—new use is sure to play a significant role in our members’ income.

If you have any questions about your work being placed in new Canadian productions, please do not hesitate to contact us here at the EMSD department in Toronto.


Comment protéger l’avenir de votre musique

par Carl Schilde, coordonnateur, contrats et licences, Fédération canadienne des musiciens. Réimprimé avec permission de l’International Musician.

Depuis l’arrivée de l’enregistrement, nous avons entreposé des dizaines de milliers de contrats régis par notre syndicat dans des voûtes poussiéreuses sous la calotte glaciaire dans le nord du Yukon – tous en parfait ordre chronologique et alphabétique. Cela afin que, en 2192, notre commis de la DSMÉ puisse remettre aux ayants droits des Barenaked Ladies leurs cachets pour le placement de One Week dans une publicité holographique pour la Labatt Bleue.

Plus sérieusement, nos archives remontent à l’établissement de l’entente sur les enregistrements sonores (Sound Recording Labour agreement), en 1954, et d’ici le XXIIe siècle, il y a fort à parier que les recherches y seront effectuées par un super ordinateur ici même, à Toronto. Il reste que la tenue d’archives est essentielle pour garantir le paiement aux musiciens de leurs cachets pour toute utilisation nouvelle d’un enregistrement auquel ils ont participé, et ce, leur vie durant.

En effet, on ne sait jamais où un enregistrement peut aboutir. Il peut ne rien se passer de particulier au moment de sa sortie, et puis des décennies plus tard, il est utilisé dans une nouvelle série criminelle très populaire et tout le monde veut l’inclure dans sa musique d’entraînement. L’ère de la diffusion en continu a créé une demande accrue de nouveau contenu numérique, encourageant les superviseurs musicaux à fouiller plus en profondeur dans les niches inconnues de notre histoire musicale. Lorsque placé dans le bon film ou générique de télévision, un joyau depuis longtemps oublié peut rejoindre des millions de nouveaux fans et, souvent, revitaliser au passage les carrières des musiciens qui l’ont enregistré.

En plus de tous les bénéfices et assurances qui vont de soi avec le dépôt d’un contrat syndical pour votre session d’enregistrement, vous obtenez la garantie d’être encore payé pour votre travail des années, voire des décennies plus tard.

Alors, à quoi ressemble le travail de cette division ? En moyenne, nous recevons de 20 à 40 demandes de recherche de chansons par semaine de la part de superviseurs musicaux canadiens qui s’enquièrent des prix à payer pour l’utilisation de tel ou tel enregistrement dans un nouveau film, une émission de télévision, une annonce publicitaire ou un jeu vidéo. Une fois que nous avons déterminé si un enregistrement a été réalisé par un signataire de notre entente, nous faisons une recherche dans nos bases de données pour identifier tous les musiciens qui y ont participé. C’est parfois aussi simple que de mettre la main sur le bon contrat. D’autres fois, nous devons pousser nos recherches plus loin, contacter les maisons de disques et les sections locales tout en recoupant diverses sources en ligne. Une fois que nous avons reçu le paiement, nous faisons vraiment de notre mieux pour distribuer ces cachets à nos membres le plus rapidement possible.

Au cours des dernières années, notre collecte pour les utilisations nouvelles n’a cessé de croître. Tandis que nous avons facturé environ 100 000 $ en 2014, ce montant a atteint 350 000 $ en 2019. Après une légère diminution liée à la pandémie, il semble que nous retrouvions notre rythme normal : nous avons facturé 180 000 $ pour la période de janvier à juillet 2021. Avec l’arrivée d’un plus grand nombre de tournages et de productions télévisuelles au Canada – l’annonce récente du nouveau bureau de Netflix à Toronto en est un exemple parmi d’autres – les utilisations nouvelles sont appelées à constituer une part significative des revenus de nos membres.

Si vous avez des questions relativement au placement de votre travail dans de nouvelles productions canadiennes, n’hésitez pas à nous contacter à la DSMÉ, à Toronto.

Since 2000, Gertrude Létourneau has been working as a musician at the Perley and Rideau Veterans’ Health Centre, now called Perley Health.

But that’s not all

Gertrude Létourneau photos by Dave Poulin

Do you come from a musical family?

Yes. We all played music at some point. My mother played piano and was a church organist in my hometown, St-Césaire, Quebec.

Which instrument did you learn first?

I started on the piano, mostly playing chords and singing with my sisters. I played the recorder and switched to the flute in high school.

Tell me about your music education.

I have a Bachelor degree from the University of Ottawa. My flute teacher was Jean-Guy Brault. After that, I went to Florida to study with Geoffrey Gilbert. When I came back to Canada, I studied with Lise Daoust at the Université de Montréal and obtained a Master’s Degree in Performance. I continued my musical studies in Toronto in the innovative program Musical Performance and Communication. In that course, we learned to perform for audiences of all ages. After that, I went to London, England, to study Performance and Communication Skills at the Guildhall School of Music and Drama. The focus of that course was music making in the community, improvisation and enjoying the process of playing. At the Banff Centre, the Domaine Forget and the Académie Internationale d’Eté de Nice I studied the flute with some great flutists such as Robert Aitken, Alain Marion and Raymond Guiot.

How did your career evolve as a musician?

My musical career started in Toronto. I was teaching music to children with learning disabilities and was touring across Canada in a flute, clarinet and piano trio. We performed for audiences of all ages. I did play in some shows, like Phantom of the Opera and Show Boat. I met my husband, Guy Edrington, French horn player, and we started a family. We moved to Ottawa to be closer to my family and to be in a bilingual environment. Since 2000, I have been working as a musician at the Perley and Rideau Veterans’ Health Centre, now called Perley Health. Singing with the residents is a big part of my work, so I took singing lessons and ended up being a finalist in the Montreal singing competition Ma Première Place des Arts 2017. I also present concerts in several senior homes in Ottawa, combining old-time songs and flute playing. I like the audience to sing along with me and to see toes tapping as I play jigs and reels. I do some freelance work as well.

Your favourite gig?

Playing French repertoire as a member of Duo Cecilia with pianist Catherine Donkin and presenting concerts including songs and classical music with guitarist Garry Elliott.

Your worst gig?

I don’t do those anymore.

Anything else you’d like to mention?

I want to say many thanks to the Musicians’ Association for the Music Performance Trust Fund Livestream concerts during the pandemic. These concerts allowed Catherine and me to continue to build our repertoire and to develop as a duo. It was sometimes difficult to hear each other with the traffic nearby when rehearsing outside or through glass doors, but it was all worth it. We are very excited to start performing for live audiences again.


Dear Friends,

I’m happy to announce a new recording of nine new songs I wrote to the
deeply beautiful and moving words of Sandra Nicholls. The songs
reflect upon and illuminate the wide scope of emotions and feelings
many (if not all) of us have been experiencing. I hope you will find
the words and the music meaningful to you.

Not This Room features the amazingly beautiful singing of my friend
Kellylee Evans, and the incredible interaction of some of my favourite
musicians – Marc Copland, Petr Cancura, Chris Pond, Jose Garcia,
Pierre-Yves Martel, Guy Pelletier, Justin Orok and Richard Page.

We recorded in Ottawa’s beautiful MacKay United Church and the sound
was exquisitely captured by Montreal’s Randy Cole (who also produced
some beautiful videos of the recording with added scenes from around
the countryside and cities) and mastered by Montreal’s Guy Hebert. The
sound is amazing!

So where can you listen/purchase? Here at Bandcamp … [8]

No, it’s not on Spotify nor iTunes. Why not? Because these streaming
megacorps do not acknowledge the fact that music is a profession. End
of rant 🙂

Many thanks to the generous support from the Canada Council for the
Arts for this project and to the TD Ottawa Jazz Festival. (First live
performance of this music Feb. 5 at the TD OJF!)

Hard copy CDs will be available in less thamn two weeks. And Vinyl
will be available in the spring. Please just email if you are
interested in either of these.

Thank you so much and I hope you enjoy this recording.

In health and love,


MEMBERS: If you have a new release (CD, vinyl or virtual) and you want to highlight it here, send an email to Include some background information and one or two images.


Monday, December 13th @ 12:30 p.m. from your place 


If you know ahead of time that you’re attending, please notify so he can send out the past meeting’s  minutes for your review.

Supply your own lunch.

Moving On

We would like to take this opportunity to thank Braiden Turner for her devoted work in the Local office for the past several years, and to congratulate her on her new job in the office of the Privy Council.


Well done, Braiden!

 . . . . . from our homes to yours:



This is a golden opportunity to attend a Local 180 General Meeting if you
haven’t been able to do so in the past because of distance or work.


Monday, December 13th, 12:30 PM


If you know ahead of time that you’re attending,
please notify so he can send out the past meeting’s  minutes for your review.


1. Download the Zoom app if you don’t already have it.
2. Send Robin or Dan an email to confirm your attendance.
3. Wait breathlessly to receive an email with the meeting ID number and password.
4. When the meeting time arrives, simply click on the link in the email.
Special instructions: Bring your own pizza.






With the support of the friends, family and fans of the membership of the Musicians’ Association of Ottawa-Gatineau, the Local established this fund to assist the music community impacted so deeply by the pandemic. It is a fund created by musicians for musicians. For more information email:


The Unison Benevolent Fund’s mission is to help professional music-makers in times of hardship, illness or economic difficulties. Unison provides a vital lifeline for members of the Canadian music community; and due to the impacts of the COVID-19 pandemic, the need for Unison’s counselling and emergency relief services has never been greater.

Unison Benevolent Fund CLICK HERE


SOCAN Foundation announces the launch of the SOCAN Foundation Relief Fund for SOCAN members during the COVID-19 pandemic. “While SOCAN members are quarantining, the SOCAN Foundation offers this program to provide some financial support to music creators and publishers to get through these unprecedented times. This new fund is open to all SOCAN members who have earned more than $500 in royalties in the four most recent SOCAN distributions.


Over the years many of our members have turned to the Actors’ Fund of Canada, which has been in existence since 1958 and disburses over $500,000 annually to cover necessities for members of all the many and various trades and professions that make up the entertainment industry, including musicians. Common requests include: Rent or mortgage, Grocery costs, Medical costs, Emergency dental costs, Utility bills Dues (maximum of one year’s worth of dues; no initiation fees)

Childcare expenses

Support for individuals

Support for Independent production companies

We are creating the Short-Term Compensation Fund initiative to compensate independent production companies for the lack of insurance coverage for COVID-19–related filming interruptions and production shutdowns in the sector.The fund will make as much as $50 million available for the industry.

Canada Recovery Benefit (CRB)

The CRB provides $500 per week for up to 26 weeks for workers who have stopped working or had their income reduced by at least 50% due to COVID-19, and who are not eligible for Employment Insurance (EI).

Employer Payroll Service:

When the services of an Employer Payroll Service are required, that fee will be calculated at 25% of each contract total.

This amendment reflects what is happening on a national level.

New Members

Butcha, Michael – Bass
Connell, Clayton  – Piano, Bass, Drums
Dimillo, Bejamin Cesare –  Guitar
Francis, Kira –  Trombone, Keyboards
Leafloor, Brady –  Saxophone
Lundy, Sean – Guitar, Bass
Mguni, Anna – Bass
Plante, Migel – Guitar, Vocalist
Rigg, Robert – Guitar, Vocalist
Russell, Aiden – Cello
Wiewel, Matthew – Guitar


Francis, Angelique – Bass
Francis, Kharincia – Saxophone
Francis, Kiran – Drums
Page, Richard – Saxophone, Clarinet, Flute, Oboe
Salvalaggio, Joseph – Oboe
Soro, Fana – Percussion

Our new mailing address is:

The Musicians’ Association of Ottawa-Gatineau
Local 180
280 Metcalfe Street, Suite 301
Ottawa, ON K2P 1R7

AFM ID Numbers

Dear Members,

For the purposes of filing contracts, the Musicians’ Pension Fund of Canada has done a great deal of work to protect the privacy of members in terms of SIN numbers. Canadian Locals are now permitted to use an AFM ID number in lieu of a SIN number on all contracts.

When sending funds from the Local 180 office, we will require you to know your AFM ID number.

Beginning in January this year, the office has included your AFM ID number on your membership dues receipt, which you received in the mail.

You may also go to and register there to obtain your AFM ID number and update any information. The good thing about registering on the site is that when you update your personal information, it is also received in the office so that we are current. 

Upcoming Local 180 General Meetings in 2021

Monday, December 13, 2021 – ON-Line VIA ZOOM


Monday to Friday 10:00 AM – 4:00 PM

Here are the closure dates from now until the end of 2021


Holiday Closing:

Closed – Thursday December 23 at noon

Open – December 27

Closed – December 30 at noon until Monday, January 3, 2021

Attention Members!!!

Due to popular demand members may now pay membership dues using E-Mail Transfer using the email address

Once we process the transfer, we will send you an electronic receipt.


If you are planning to file contracts electronically in 2022, please use
our new e-mail address:

Thank you!



Do we have your current email address?

The Local 180 Office sends out important advisories to members by email and we want to make sure that you’re reachable. This year the Local will also be paying most musicians using E-Transfer and Direct Deposit, so we MUST have your correct e-mail address.

Please notify the office of any changes to your contact information. Include your phone number, home address and email address.

Call (613)700-9260 to make sure that we have your correct contact information.


A person who has been expelled from our Association is no longer a member of the Association or the AFM. Members and leaders are reminded:

Do not play engagements with non-members. Persons are generally expelled for serious violations of our Constitution and Bylaws. Expulsion is not a life sentence; the individual has the right to settle these matters with the Board and regain member status. But until that step has been taken, we urge leaders and members not to give non-member rights and privileges which belong only to members.


YEARLY DUES – $212.00

HALF-YEAR DUES – $110.00


YEARLY DUES – $110.00


Next Deadline for Membership Dues JUNE 30, 2021





Your business is music to our ears.

You spend hours perfecting your talent and invest in equipment which allows you to express it.

HUB International is in-tune with your needs and has you covered.

· All-risks’ coverage on your instruments and equipment
· Worldwide coverage
· Rental Reimbursement — up to $10,000 in coverage, if you need to rent instruments or equipment in the event of a loss
· $100 deductible per occurrence on instruments and equipment
· Commercial General Liability including bodily injury, property damage, medical payments tenants legal liability and non-owned automobile
· Up to $2,500 coverage on promotion material, T-shirts, CD’s, posters, etc.
· Loss of earnings up to $5,000 due to loss or damage to venue
· Loss of earning up to $5,000 due to loss or damage to equipment
· Rented, Leased or Borrowed Equipment, $10,000 limit up to 14 consecutive days

· $2 rate per $100 sum insured for Instruments and Equipment
· Liability rates ($500 deductible):
o $1,000,000 limit – $60 per member
o $2,000,000 – $115 per member
o Higher limits available upon request

Cristina Omar| | 519-325-1785 | TF: 800-463-4700
Musicians’ Instrument
Equipment Liability
Specifically for
CFM / AFM members