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I wouldn't be totally shocked if It's a Wonderful Life came out again from say SAE...after all they were the ones (or BYU) expected to put out the original tracks originally, and they recently unexpectedly (especially because it was Disney!) reissued Intrada's release of Steiner's Those Calloways, not long after it came out.
I think the title is big enough that other people besides Bruce might take a chance. It's not like nobody's ever done that with his releases before either -- witness Perseverance and Chitty Chitty Bang Bang...
Yavar
I never understood why anybody would put a 1,000 limit on a timeless classic like Chitty. I don't understand that one. Not beating up Bruce, just not sure why he wouldn't have gone higher? Ryko and Varese sold over 50K combined.
Really, 50K combined. That would be a BIG surprise to Varese. We do what we do - and we're happy doing it and I don't really sit on a huge amount of stock for that reason.
Bruce, I think you and other labels have said it's very difficult to estimate just how well a cd will sell. Such as: Say we press 1,000 copies and they sell out very well. Or, we press 1,500 copies and we sell only 600! Go figure! In other words, sometimes you press MORE, and you sell LESS!
Sure but you don't have to MAKE all the units at once. I can promise you that no label makes the full amount at first unless it's sold out in preorders. This is why you have to weigh the potential of something when deciding on a number. If a label thinks 2,000 will sell, gets orders for 800 and makes 1000-1200 and the units stop selling for a time period, you don't have to make more. Sell off the dead stock and close it out.
Perhaps you should start your own label, since you seem to think you know how it all works. For anything under 2000 units it is not cost effective to press less. The price is dependent on the number of units. Believe me, there are times even with 1000 units where it would be nice to only press six or seven hundred, but the cost for under 1000 goes up and not insignificantly in the scheme of things. You can promise me that no label makes the full amount - well, you know, you can't. We have always made the full amount, whether 1000 or 1500 or whatever. If we did 3000 of something, maybe then we wouldn't, although we did 3000 of Evening Primrose and did because the cost savings of doing so was nice.
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Posted: |
Jul 5, 2014 - 5:50 AM
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By: |
Last Child
(Member)
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... In other words, sometimes you press MORE, and you sell LESS!
NO, you may sell FEWER, not "less."
unless it's Les Baxter
Don't you mean LESS Baxter? 
no, because if your press MORE Les, you would sell MORE, not less ("fewer"). The pun works on a logical level too.
Now if actor Matt Frewer was a composer, you might sell FREWER.
Oh boy, even I think this hurts.
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Posted: |
Jul 5, 2014 - 11:32 AM
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By: |
Mr. Popular
(Member)
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I wouldn't be totally shocked if It's a Wonderful Life came out again from say SAE...after all they were the ones (or BYU) expected to put out the original tracks originally, and they recently unexpectedly (especially because it was Disney!) reissued Intrada's release of Steiner's Those Calloways, not long after it came out.
I think the title is big enough that other people besides Bruce might take a chance. It's not like nobody's ever done that with his releases before either -- witness Perseverance and Chitty Chitty Bang Bang...
Yavar
I never understood why anybody would put a 1,000 limit on a timeless classic like Chitty. I don't understand that one. Not beating up Bruce, just not sure why he wouldn't have gone higher? Ryko and Varese sold over 50K combined.
Really, 50K combined. That would be a BIG surprise to Varese. We do what we do - and we're happy doing it and I don't really sit on a huge amount of stock for that reason.
Bruce, I think you and other labels have said it's very difficult to estimate just how well a cd will sell. Such as: Say we press 1,000 copies and they sell out very well. Or, we press 1,500 copies and we sell only 600! Go figure! In other words, sometimes you press MORE, and you sell LESS!
Sure but you don't have to MAKE all the units at once. I can promise you that no label makes the full amount at first unless it's sold out in preorders. This is why you have to weigh the potential of something when deciding on a number. If a label thinks 2,000 will sell, gets orders for 800 and makes 1000-1200 and the units stop selling for a time period, you don't have to make more. Sell off the dead stock and close it out.
Perhaps you should start your own label, since you seem to think you know how it all works. For anything under 2000 units it is not cost effective to press less. The price is dependent on the number of units. Believe me, there are times even with 1000 units where it would be nice to only press six or seven hundred, but the cost for under 1000 goes up and not insignificantly in the scheme of things. You can promise me that no label makes the full amount - well, you know, you can't. We have always made the full amount, whether 1000 or 1500 or whatever. If we did 3000 of something, maybe then we wouldn't, although we did 3000 of Evening Primrose and did because the cost savings of doing so was nice.
See post below. Double post for some reason.
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Posted: |
Jul 5, 2014 - 11:35 AM
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By: |
Mr. Popular
(Member)
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I wouldn't be totally shocked if It's a Wonderful Life came out again from say SAE...after all they were the ones (or BYU) expected to put out the original tracks originally, and they recently unexpectedly (especially because it was Disney!) reissued Intrada's release of Steiner's Those Calloways, not long after it came out.
I think the title is big enough that other people besides Bruce might take a chance. It's not like nobody's ever done that with his releases before either -- witness Perseverance and Chitty Chitty Bang Bang...
Yavar
I never understood why anybody would put a 1,000 limit on a timeless classic like Chitty. I don't understand that one. Not beating up Bruce, just not sure why he wouldn't have gone higher? Ryko and Varese sold over 50K combined.
Really, 50K combined. That would be a BIG surprise to Varese. We do what we do - and we're happy doing it and I don't really sit on a huge amount of stock for that reason.
Bruce, I think you and other labels have said it's very difficult to estimate just how well a cd will sell. Such as: Say we press 1,000 copies and they sell out very well. Or, we press 1,500 copies and we sell only 600! Go figure! In other words, sometimes you press MORE, and you sell LESS!
Sure but you don't have to MAKE all the units at once. I can promise you that no label makes the full amount at first unless it's sold out in preorders. This is why you have to weigh the potential of something when deciding on a number. If a label thinks 2,000 will sell, gets orders for 800 and makes 1000-1200 and the units stop selling for a time period, you don't have to make more. Sell off the dead stock and close it out.
Perhaps you should start your own label, since you seem to think you know how it all works. For anything under 2000 units it is not cost effective to press less. The price is dependent on the number of units. Believe me, there are times even with 1000 units where it would be nice to only press six or seven hundred, but the cost for under 1000 goes up and not insignificantly in the scheme of things. You can promise me that no label makes the full amount - well, you know, you can't. We have always made the full amount, whether 1000 or 1500 or whatever. If we did 3000 of something, maybe then we wouldn't, although we did 3000 of Evening Primrose and did because the cost savings of doing so was nice.
I work in the business. I've been doing it a VERY long time.
Labels DO this. It's called managing risk. You may not believe it, I don't care, but they do.
The price difference between 1 and 2K units is not that big of a difference if you don't need all the units at once. The key is inventory management. If I make the full amount of units on every title I work on, the capital stuck in that excess inventory would choke MOST labels. Are you telling me that if you get a preorder of 800 on a 2000 limited edition, you would make 2000? The only way I think 2,000 makes sense on an 800 preorder is if it's a sure thing (Star Trek, Predator, etc). Now, if a label has a distributor getting orders on top of the direct ones, sure you may need to manufacture the full amount.
If it's a title one is unsure of, but it's one of those passion projects that needed to get out, it seems like a waste of capital to me to make the full amount especially if you are putting out so many other releases.
If you do enough volume, you KNOW you can get the good overall price per unit to make less. I learned all this from some smart people. I do respect you, Bruce, but I guess that doesn't matter all that much to you because no matter what I say, you will call me out as an idiot.
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I'm not calling anyone out as an idiot - and it's easy to say "I've been in the business for years" when one is calling themselves Mr. Popular and being conveniently anonymous on a message board. Perhaps you have, perhaps you're Doug Fake or Bob Townson, I have no idea and it's irrelevant. I know how I work, what my price breaks are from the plant I use, and I've talked to enough other people who do what I do to know how they work.
I've already said that if I were to announce a 3000 unit title of a soundtrack and had 800 orders of course I would press half the fun up front, but when pressing the remainder it would cost a lot more to do it in five hundred increments rather than a 1000 - that's the way it works, at least in my world. But I don't do these large-unit titles and so it is not an issue for me at all. It IS more cost effective for me to press 1500 of a 1500 unit than 1000 of a 1500 unit because it means when I go to press the additional 500, which I will do at some point, those 500 will cost considerably more to press.
Everyone's an expert, but those in the trenches do what they do and I've been around enough of them to know how they do it, but, yes, we all have our own trenches.
I now return you to your clews.
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The second features two obscure scores by a man who could easily go from jazz to big orchestral force and dissonance. One is a rejected score and the other is a documentary. Good luck with this one.
Gil Melle could be also a good guess.
Yes please.
Gil Mele never had a score rejected.
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The second features two obscure scores by a man who could easily go from jazz to big orchestral force and dissonance. One is a rejected score and the other is a documentary. Good luck with this one.
Gil Melle could be also a good guess.
Yes please.
Gil Melle never had a score rejected. This clue fits Elmer Bernstein.
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The second features two obscure scores by a man who could easily go from jazz to big orchestral force and dissonance. One is a rejected score and the other is a documentary. Good luck with this one.
Gil Melle could be also a good guess.
Yes please.
Gil Mele never had a score rejected.
Yes He did...
Ford A. Thaxton
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Roger Feigerson writes:
.... One is a premiere release of the last movie score by this world-class composer -- a 70s horror film known by two names, .
."
If only it were .....
FRENZY aka ALFRED HITCHCOCK'S FRENZY
i could die a happy man
brm
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I still hope you will die a happy man whatever happens.Nothing is worth dying unhappy for.
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The second features two obscure scores by a man who could easily go from jazz to big orchestral force and dissonance. One is a rejected score and the other is a documentary. Good luck with this one.
Gil Melle could be also a good guess.
Yes please.
Gil Mele never had a score rejected.
Yes He did...
Ford, if you are talking about BORDERLINE, it is not considered a rejected score because he rewrote it.
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He couldn't, right, 'cause Intrada already did that one.
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He couldn't, right, 'cause Intrada already did that one.
Gee, Justin. What would we have done if you had never informed us of this fact?
James Phillips
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Continue wondering why you brought it up until somebody else did brought up the Intrada release.
You're welcome.
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Continue wondering why you brought it up until somebody else did brought up the Intrada release.
You're welcome.
I was the one who brought it up in the first place. Now I am in a very relaxed mood listening to Michel Legrand's score to THE THOMAS CROWN AFFAIR.
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Now I am in a very relaxed mood listening to Michel Legrand's score to THE THOMAS CROWN AFFAIR.
As am I. Has anyone cracked the first clew?
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The second features two obscure scores by a man who could easily go from jazz to big orchestral force and dissonance. One is a rejected score and the other is a documentary. Good luck with this one.
Gil Melle could be also a good guess.
Yes please.
Gil Mele never had a score rejected.
Yes He did...
Ford, if you are talking about BORDERLINE, it is not considered a rejected score because he rewrote it.
Gil wrote an original score for the documentary "The Secret Life of Plants" which was replaced by a score by none other than Stevie Wonder.
I've heard it and it was quite good and someday I hope it sees the light of day.
Ford A. Thaxton
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The second features two obscure scores by a man who could easily go from jazz to big orchestral force and dissonance. One is a rejected score and the other is a documentary. Good luck with this one.
Gil Melle could be also a good guess.
Yes please.
Gil Mele never had a score rejected.
Yes He did...
Ford, if you are talking about BORDERLINE, it is not considered a rejected score because he rewrote it.
Gil wrote an original score for the documentary "The Secret Life of Plants" which was replaced by a score by none other than Stevie Wonder.
I've heard it and it was quite good and someday I hope it sees the light of day.
Ford A. Thaxton
Thanks for the heads up on the documentary, but I was referring to only feature films and not documentaries, and the original poster gave a clue about a rejected score and a documentary, clearly separating the two.
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