On 25 Jun 2010 at 10:49, Johannes Gebauer wrote:
[excellent feedback omitted]
> A mediocre Demo CD will not help
> much, the Demo needs to be excellent, so don't save on the production.
> Do a fully edited one, not a run-through and take the best out of
> three. Fully edited means record in Takes
Am 24.06.10 20:04, schrieb David W. Fenton:
Can others chime in here? Dennis and Johannes have provided really
good responses, but if CD Baby is not the one-stop-shopping that my
group needs for this first recording, then what should we do?
It is probably the best you will get. Having looked a
Am 24.06.10 19:33, schrieb Kim Patrick Clow:
The odd thing is that classical music sells so well on iTunes! I
heard a significant portion of iTunes sales is classical.
Something like 15 percent (I may have that wrong though).
I do wonder what they count as classical, though. Film music? Soft
At 2:24 PM -0400 6/24/10, Christopher Smith wrote:
Good. Perfect attitude, in my opinion. I have always been of the
opinion that even if a recording (or concert) loses money, that it
is worthwhile for many other reasons. As long as you don't weaken
yourself to the point that you have to stop
On 24 Jun 2010 at 0:11, John Howell wrote:
> At 3:19 PM -0400 6/23/10, David W. Fenton wrote:
> >
> >But the whole point is that any income is just gravy. That's not at
> >all the point of the project. That doesn't mean I don't want to
> >maximize it, just that it's not the most important consider
At 3:19 PM -0400 6/23/10, David W. Fenton wrote:
But the whole point is that any income is just gravy. That's not at
all the point of the project. That doesn't mean I don't want to
maximize it, just that it's not the most important consideration.
Not quite, as was pointed out by my daughter, t
Yep--a lot of the world's worthwhile music takes place among the epsilons
(unexplained variations) in the economists' formulas, and the world is better
for it.
ajr
Christopher Smith wrote:
>
> On Thu Jun 24, at ThursdayJun 24 1:59 PM, David W. Fenton wrote:
>
> > We don't expect to mak
On Thu Jun 24, at ThursdayJun 24 1:59 PM, David W. Fenton wrote:
We don't expect to make a dime, of course. We don't expect to even
recoup the expenses of pressing the CDs.
We don't imagine we're going to be famous.
We just think that we need a decent demo recording and something that
gives u
On 24 Jun 2010 at 12:15, Rick Deasley wrote:
> With regard to liner notes, why not add an enhanced partition to your
> audio CD with some html pages so that it will come up on your
> computer...
Well, two things on that:
1. I fear that makes the CDs less compatible, perhaps unplayable on
older
On 24 Jun 2010 at 10:53, Johannes Gebauer wrote:
> Am 24.06.10 10:39, schrieb Dennis Bathory-Kitsz:
> > An interesting story. I wonder if it's generational. I started
> > teaching for the first time last semester (undergraduates) and just
> > one of my students even has a way to play CDs (other th
On 24 Jun 2010 at 10:25, Johannes Gebauer wrote:
> Am 23.06.10 22:22, schrieb David W. Fenton:
> > I just don't see the value of having one of these labels as your
> > distributor.
> >
> > I haven't bought a physical CD in a "record store" for 5 years or
> > more.
> >
> > I haven't bought a physic
On 24 Jun 2010 at 19:26, Johannes Gebauer wrote:
> what kind of music are you planning to record? Or is it a secret?
I guess you've missed the last couple of months, but we're hoping to
do a recording of the concert program we gave twice in April:
http://tearesofthemuses.com/Listen/VaterUnser
On 24 Jun 2010 at 4:39, Dennis Bathory-Kitsz wrote:
> On Thu, June 24, 2010 4:25 am, Johannes Gebauer wrote:
> > We are also in iTunes, but sell very few that way. My distributor
> > told me there are a few Euros to be made, but nothing compared to
> > the "hardware".
>
> An interesting story. I
Am 24.06.10 19:33, schrieb Kim Patrick Clow:
How did you find a proper distributor? Could you go into what the
requirements are for a distributor?
Personal connections. I tried the obvious ones and they just laugh if
you offer them one or two CDs. They want something like 30 titles upwards.
On Thu, Jun 24, 2010 at 4:25 AM, Johannes Gebauer
wrote:
> A few years ago I managed to find a proper distributor. Since then our sales
> have multiplied. We first sold only those two CDs while working on a third
> (which was only a second volume, so no more popular than the other two). We
> made
With regard to liner notes, why not add an enhanced partition to your
audio CD with some html pages so that it will come up on your
computer...You could also provide links from these pages to your website
and other vendors of your music.
With regard to distribution, CD Baby, Amazon and iTunes
David,
what kind of music are you planning to record? Or is it a secret?
Johannes
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Am 23.06.10 23:47, schrieb Howard Weiner:
A lot of Early Music and Classical CD recordings in Germany are
co-productions with the various public radio stations: WDR, SWR, BR,
Deutschlandfunk, Deutschlandradio, etc.
Yes, and that used to get a lot of money into the production, but most
of the t
Am 24.06.10 10:39, schrieb Dennis Bathory-Kitsz:
An interesting story. I wonder if it's generational. I started teaching for
the first time last semester (undergraduates) and just one of my students even
has a way to play CDs (other than to rip them on their laptops). It's all on
their portable p
On Thu, June 24, 2010 4:25 am, Johannes Gebauer wrote:
> We are also in iTunes, but sell very few that way. My distributor told
> me there are a few Euros to be made, but nothing compared to the "hardware".
An interesting story. I wonder if it's generational. I started teaching for
the first time
Am 23.06.10 22:22, schrieb David W. Fenton:
I just don't see the value of having one of these labels as your
distributor.
I haven't bought a physical CD in a "record store" for 5 years or
more.
I haven't bought a physical CD online in several years (though that's
as much to do with poverty as a
On 23.06.2010 22:08, Johannes Gebauer wrote:
Am 23.06.2010 um 21:56 schrieb Kim Patrick Clow:
I think CPO and the German ensembles get a lot
more state support in terms of grants and funding versus their
counterparts in the U.K. or the United States.
Really? Early Music Ensembles in Germany
On 23 Jun 2010 at 17:09, Dennis Bathory-Kitsz wrote:
> On Wed, June 23, 2010 4:58 pm, David W. Fenton wrote:
> > If they do it through email, I'll do it. Phone calls are so old-
> > fashioned!
>
> I know. But many businesses like them. I think it's so they can try to
> upsell you.
That would be
On Wed, June 23, 2010 4:58 pm, David W. Fenton wrote:
> If they do it through email, I'll do it. Phone calls are so old-
> fashioned!
I know. But many businesses like them. I think it's so they can try to upsell
you.
> But do you do online track *selling*?
As I mentioned in an earlier post, I ha
On 23 Jun 2010 at 16:53, Dennis Bathory-Kitsz wrote:
> On Wed, June 23, 2010 4:30 pm, David W. Fenton wrote:
> > On 23 Jun 2010 at 16:19, Dennis Bathory-Kitsz wrote:
> >> The production questions can be answered by asking Discmakers for a
> >> quote or emailing or even calling; they are VERY good
On 23 Jun 2010 at 16:39, Kim Patrick Clow wrote:
> But I still wished I could do recordings of my editions and get them
> heard, because music that's just sitting on a page really isn't
> "alive."
Amen to that!
The hard part is compensating the musicians fairly. For pros, that
just puts it comp
On Wed, June 23, 2010 4:30 pm, David W. Fenton wrote:
> On 23 Jun 2010 at 16:19, Dennis Bathory-Kitsz wrote:
>> The production questions can be answered by asking Discmakers for a
>> quote or emailing or even calling; they are VERY good and responsive.
>> BUT...
>
> We are not at that stage yet.
C
On Wed, Jun 23, 2010 at 4:32 PM, David W. Fenton
wrote:
> Then do you have some explanation of why musical organizations think
> it's worth their while to invest all that money in paying the
> commercial labels to produce/distribute their recordings?
My guess is maybe because they're doing so mu
On 23 Jun 2010 at 16:30, Dennis Bathory-Kitsz wrote:
> What I'm really waiting for is a viable high-resolution format --
> multi-channel, high bit/word rate, something that sounds really silky.
> I record live concerts in 24/96 format and the results remastered to
> CD are pallid and those committ
On 23 Jun 2010 at 16:25, Kim Patrick Clow wrote:
> On Wed, Jun 23, 2010 at 4:22 PM, David W. Fenton
> wrote:
>
> >
> > I haven't bought a physical CD in a "record store" for 5 years or
> > more.
>
> I always enjoyed browsing in a store. And sadly, J and R's in New York
> is the last place for d
On 23 Jun 2010 at 16:19, Dennis Bathory-Kitsz wrote:
> On Wed, June 23, 2010 3:19 pm, David W. Fenton wrote:
> > I would have assumed so. Unfortunately, we need texts and
> > translations, so we can't get by with a 4-page insert.
>
> This is where it adds up.
>
> The production questions can be
On Wed, June 23, 2010 4:22 pm, David W. Fenton wrote:
> I haven't bought a physical CD in a "record store" for 5 years or
> more.
I have ... there's one left in the nearby state capital, but I look for old
LPs of long-lost material.
> I haven't bought a physical CD online in several years (though
On Wed, Jun 23, 2010 at 4:22 PM, David W. Fenton
wrote:
>
> I haven't bought a physical CD in a "record store" for 5 years or
> more.
I always enjoyed browsing in a store. And sadly, J and R's in New York
is the last place for doing that in terms of classical music CDs.
But I completely agree
On Wed, Jun 23, 2010 at 4:08 PM, Johannes Gebauer
wrote:
>
> Am 23.06.2010 um 21:56 schrieb Kim Patrick Clow :
>
>> I think CPO and the German ensembles get a lot
>> more state support in terms of grants and funding versus their
>> counterparts in the U.K. or the United States.
>
> Really? Early
On 23 Jun 2010 at 16:13, Kim Patrick Clow wrote:
> On Wed, Jun 23, 2010 at 4:06 PM, David W. Fenton
> wrote:
>
> >
> >> I know an early
> >> music orchestra that apparently had to help cover the recording
> >> costs for a CD they did with Chandos too. I wondered why didn't the
> >> ensemble just
Am 23.06.2010 um 21:56 schrieb Kim Patrick Clow :
> I think CPO and the German ensembles get a lot
> more state support in terms of grants and funding versus their
> counterparts in the U.K. or the United States.
Really? Early Music Ensembles in Germany get no state support at all as far as
I
On Wed, June 23, 2010 3:19 pm, David W. Fenton wrote:
> I would have assumed so. Unfortunately, we need texts and
> translations, so we can't get by with a 4-page insert.
This is where it adds up.
The production questions can be answered by asking Discmakers for a quote or
emailing or even callin
On Wed, Jun 23, 2010 at 4:06 PM, David W. Fenton
wrote:
>
>> I know an early
>> music orchestra that apparently had to help cover the recording costs
>> for a CD they did with Chandos too. I wondered why didn't the ensemble
>> just do their own recording and save all that expense themselves? I
>>
On 23 Jun 2010 at 15:56, Kim Patrick Clow wrote:
> I know an early
> music orchestra that apparently had to help cover the recording costs
> for a CD they did with Chandos too. I wondered why didn't the ensemble
> just do their own recording and save all that expense themselves? I
> guess the answ
On 23 Jun 2010 at 15:44, Dennis Bathory-Kitsz wrote:
> On Wed, June 23, 2010 3:28 pm, Kim Patrick Clow wrote:
> > I have a friend who has a modern composer that did that too, and the
> > results were just as heart breaking for him.
>
> My friend David Gunn spent close to $10K to record, produce a
On 23 Jun 2010 at 14:13, Dennis Bathory-Kitsz wrote:
> On Wed, June 23, 2010 1:25 pm, David W. Fenton wrote:
> > What I've found is that raw CDs with color printing cost around $1,
> > and with full packaging (jewel case and booklet), somewhere between
> > $1-$2 and up (depending on the size of th
On Wed, Jun 23, 2010 at 3:44 PM, Dennis Bathory-Kitsz
wrote:
>
> Maybe, like Albany, the composers pay? Most of the small labels are vanity
> operations -- or "artist funded", where the composer or performers have to
> apply for grants or raise money from family.
>
I understand that's how Naxos
On Wed, June 23, 2010 3:28 pm, Kim Patrick Clow wrote:
> I have a friend who has a modern composer that did that too, and the
> results were just as heart breaking for him.
My friend David Gunn spent close to $10K to record, produce and issue his CD
via the vanity label Albany Records. He's sold a
On Wed, Jun 23, 2010 at 2:13 PM, Dennis Bathory-Kitsz
wrote:
> It took me several years to recoup the costs (as I say, it's an
> electroacoustic CD with a small audience). I gave away half of them to radio
> stations, etc., in hopes of scoring royalties. Never happened even though it
> got a lot
On Wed, June 23, 2010 1:25 pm, David W. Fenton wrote:
> What I've found is that raw CDs with color printing cost around $1,
> and with full packaging (jewel case and booklet), somewhere between
> $1-$2 and up (depending on the size of the booklet, which probably
> has to be pretty extensive for our
My viol consort is budgeting for a possible recording project, and I
was wondering what the going price is for small runs of CDs. I've
read up and understand the difference between duplication and
replication (we want the latter, of course), and have Google for
basic pricing.
What I've found i
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