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For the umpteenth time the CD market is shrinking. Every label out there are selling less and less CDs every year....
I made a thread about this report from BuzzAngle on music consumption so far in 2017. Here's the summary on sales.
In the first six months of 2017, album sales were down 14 percent compared to the same period in 2016 - 74 million in 2017, vs 86 million in 2016. But most of this is because of digital behavior moving from purchasing to streaming (which is way up): digital albums were down 24%, CDs down 2%, and vinyl albums up 20%.
CDs accounted for 53% of sales, digital albums 46% and vinyl 5%. Vinyl may be having some niche success, but it isn't much of a factor overall.
Here's the full report: http://www.buzzanglemusic.com/us-2017-ytd-report/
Mainstream stats are about as relevant to soundtrack sales as they've ever been. That is, not very. Ask each soundtrack label for the truth about this niche market. EVERY SOUNDTRACK LABEL OUT THERE is figuring out how to keep the doors open and each one is going their own way. If you haven't seen deeply dramatic changes in all their release patterns and productivity then you are not paying attention. Stylotone is doing it their way and it isn't a model for anybody else. But if it works we should support it. We should support them all as long as they manage to keep delivering what we want. All this is finite.
Here is what we know: vinyl is a tiny percentage of the overall sales market. And just based on the number of vinyl release this year from ANY soundtrack label (or any time in the last five years), it is also a tiny percentage of sales in our niche. Otherwise we would be seeing a growing number of vinyl releases overall. That is my point.
I have no issue at all with anything any label does, and wish them all well. And I have no opinion about this release on vinyl or CD or cassette or bubblegum cards. That's why I haven't posted till now. But what is true of the mainstream stats in terms of CDs vs. vinyl and their relative market share and penetration is clearly true of our niche as well.
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For the umpteenth time the CD market is shrinking. Every label out there are selling less and less CDs every year....
I made a thread about this report from BuzzAngle on music consumption so far in 2017. Here's the summary on sales.
In the first six months of 2017, album sales were down 14 percent compared to the same period in 2016 - 74 million in 2017, vs 86 million in 2016. But most of this is because of digital behavior moving from purchasing to streaming (which is way up): digital albums were down 24%, CDs down 2%, and vinyl albums up 20%.
CDs accounted for 53% of sales, digital albums 46% and vinyl 5%. Vinyl may be having some niche success, but it isn't much of a factor overall.
Here's the full report: http://www.buzzanglemusic.com/us-2017-ytd-report/
PS - I made a mistake in quoting the report (which is all infographics): I missed that vinyl is NOT 5% of album sales - it's 5% of PHYSICAL album sales (meaning along with CDs). So here are the actual quotes from the report:
"Digital album sales accounted for 46.6% of all album sales in 2017 YTD, down from 53.0% over 2016 YTD.
"Physical album sales accounted for 53.4% of all album sales in 2017 YTD, up from 46.9% over 2016 YTD.
"Vinyl albums accounted for 4.9% of all physical album sales, up from 3.5% in 2016 YTD."
So vinyl accounts for less than 3% of total album sales (digital plus physical).
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One wonders if the quick sell out of the 45 is part of Stylotone's marketing strategy: obviously "Twisted Nerve" didn't perform as fast and as good as expected. When "Marnie" and "Psycho" finally get their long overdue complete releases, people may act faster because they are in fear that they might lose out - irregardless of the prices being asked for them. This strategy at least worked well in the golden days of the Varese Club and with the early Intrada Special Collection releases...
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Morricone, you can take me at my word.
I absolutely do not disapprove of anything any label does, never have. I only want to provide some factual information when some people overestimate the importance of a format that is not going to be determinative of the future for music sales.
I am posting data here because there is a lot of talk generally about how vinyl seems to be growing. I think the data shows that whatever growth there is, vinyl remains a tiny part of the music business, and CD is the dominant form for physical releases.
I am NOT saying that you have said vinyl is taking over CDs, I'm not really arguing with your points at all. But I'm wearying of people thinking vinyl is bigger than it is, especially since it is becoming part of the boutique soundtrack market overall (which of course is already so tiny that adding in tiny vinyl might seem a threat to those who want CDs only). So in other words, I'm just taking an opportunity in this thread to make this point.
And by the way - a market can be small, even tiny, and still be a market. The internet has made that more possible than ever. How long it can last is another question. But there have been far too many releases this year (including this one) to claim there is no market.
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Stem creation has a long way to go. Have you actually heard the score extracted from the stem? There's a demo of it on the Blu-Ray. It sounds HORRIBLE. But probably good enough to create an unwelcome stereo mix when the dialogue and effects are added back in again.
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I'm having this discussion about PSYCHO on facebook and I challenged someone with regard to the authenticity of the Stylotone release. I agreed that it was the original performance but expressed it was the slate that I thought was freshly recorded to give the impression that it was from the raw sessions which I disputed.
I also noted that on the single release at the tail of the main title that there are a several bars that I suspect that, for whatever reason, the main title had to be extended, by a music editor in 1960, because of a revision to the picture titles after the music sessions had been completed. All re-recordings that I've heard omit these final repeated bars, assuming that the conductor of the newer recordings is using the original manuscript. Would this not indicate that the re-recordings of the main title represent how the original recording was done and that the repeated bars were added from the end of the existing recording and tagged on the end?
The only way to know for sure is to examine the score to see how the end of the main title is written. If those extra bars are not there it might prove that the stylotone single is not the raw session master but taken from the three-track mono master.
Is there anybody here that can read music and has access to the main title 'manuscript' that might solve this mystery?
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Thanks.
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