It's been a few years since I did commercials, so I'm reluctant to comment on current rates.
Regarding actors, though, if it's a union spot, they can clean up, because residuals (union re-use payments) can be really high, especially for network placements. Someone correct me if I'm wrong, but I think they got full rate each time a spot appears on network. Much lower residual schedule for non-network, though. The rules were very complicated and sometimes residuals would be low, sometimes they'd be insane.
The reason I bring that up is that if it's a union spot and if it has vocalists, that vocalist is considered an "actor" (even if they're not on camera) and is supposed to be paid for a SAG session. (Back in the day, it was SAG if it was shot on film, AFTRA if it was shot on tape.) So that vocalist would also receive residuals. And here's where it gets good ... background singers, too. Full rate for each.
So if the singer doubled their lead track, then laid three tracks of harmonies, that's five "performances," so they would get quintuple scale. Residuals quintupled, too. Back when I was doing Barbie commercials, singers would often make well into five figures for one spot. (Mattel eventually got wise, though, since those residuals came out of their pocket, so they started limiting me to only three vocal tracks.)
As you might guess, jingle composers would often decide they needed to sing some harmonies on their spots, since they'd make extra money that way. I never did, though, because since agencies limited my vocal tracks count, my track payments would come out of the real vocalist's paycheck. I was already being paid way more than I should have been paid, and singers are almost always struggling, so I didn't want to go there.
There are also Musicians Union residuals, but they are a pittance compared to SAG/AFTRA.