 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Here's what I never expected when I finally found my film-score-collector peeps online: that one major topic of ongoing discussion around many (many) threads would be amateur analysis and guesswork about the business of producing soundtracks.
Hey, it's fine if you all want to do it, whatever. But if I'm not in a business myself I don't see much point in trying to figure it out through observation, guesswork, on-the-fly analysis. Because there is actual factual information out there, and just because it isn't available to me because I'm not in the business, doesn't mean I need to try to guess what it is.
|
|
|
|
|
|
|
|
|
|
Certainly this is also connected with the fact that the full MARNIE edition has been delayed for such a long time now.
Nice speculation, but I have been reliably informed that various issues at the production plant delayed the release and the producers wanted to make sure the plant produces it the way they want it done and not compromise on quality.
And before anyone asks, I don't know the release date or the exact contents of the Marnie set, but I expect it to be similar to Khartoum/TN.
Furthermore some might be surprised who the vinyl buyers (or even cassette tape buyers!) are apart from the obvious middle aged blokes... many of them are actually under 20... all those who never associated music with anything physical... they grew up on downloads and streaming (or live obviously) so Vinyl and MC give a physical/mechanical experience.
Generally the demand for owning music on physical media is increasing (even the CD) after 15 years or so of decline. Interestingly the victim here is downloads being attacked by streaming and physical media.
So they grew up with downloads, these hipsters - and so they ONLY crave vinyl and cassettes because they want a physical/mechanical experience? I don't know, call me crazy, call me Ishmael, call me bwana, but last I looked CDs give a physical/mechanical experience. And cassettes? Please just stop. It's like the hipsters who are now craving VHS and trying to collect THAT shit. Just - stop. Where's the eight-track love? I do know reel-to-reel has its fan base, too - it's all nostalgia BS, IMO.
|
|
|
|
|
|
|
|
 |
Posted: |
Jan 13, 2017 - 5:30 PM
|
|
|
|
By: |
paul rossen
(Member)
|
Certainly this is also connected with the fact that the full MARNIE edition has been delayed for such a long time now.
Nice speculation, but I have been reliably informed that various issues at the production plant delayed the release and the producers wanted to make sure the plant produces it the way they want it done and not compromise on quality.
And before anyone asks, I don't know the release date or the exact contents of the Marnie set, but I expect it to be similar to Khartoum/TN.
Furthermore some might be surprised who the vinyl buyers (or even cassette tape buyers!) are apart from the obvious middle aged blokes... many of them are actually under 20... all those who never associated music with anything physical... they grew up on downloads and streaming (or live obviously) so Vinyl and MC give a physical/mechanical experience.
Generally the demand for owning music on physical media is increasing (even the CD) after 15 years or so of decline. Interestingly the victim here is downloads being attacked by streaming and physical media.
So they grew up with downloads, these hipsters - and so they ONLY crave vinyl and cassettes because they want a physical/mechanical experience? I don't know, call me crazy, call me Ishmael, call me bwana, but last I looked CDs give a physical/mechanical experience. And cassettes? Please just stop. It's like the hipsters who are now craving VHS and trying to collect THAT shit. Just - stop. Where's the eight-track love? I do know reel-to-reel has its fan base, too - it's all nostalgia BS, IMO.[/
Agree 100 per cent. I just don't get all this LP love. I see them in Barnes and Noble and just shake my head. I have hundreds of soundtracks, classical works and original cast albums with all their scratches intact. The LP revival won't last.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Posted: |
Jan 13, 2017 - 7:06 PM
|
|
|
|
By: |
.
(Member)
|
For all the vinyl haters, please allow me to put a positive spin on the vinyl revival:
Have you looked at the prices of CDs on Amazon over the last few years? CDs - for the most part - are DIRT CHEAP.
The fact that people are turning to dreaded vinyl, downloads, and streaming services means that fewer consumers want what you do.
So, if you love CDs, you should be thanking your lucky stars that vinyl is hip, and praying that the revival lasts.
I don't think anyone is protesting the availability of LPs or downloads, or CDs.
The availability of a score in CD, download and LP formats should be a cause of celebration, allowing everyone to make the choice they prefer. But the discussion here is mostly about the absurd situation that dictates someone has to buy ALL of those in order to obtain a single one of them.
In the distant days when I was buying LPs, I can't recall any labels telling me I could only buy the LP if I also bought a cassette and 8-track version at the same time. I wonder why? If it's such a good idea now, why weren't we being offered such a boon in days gone by?
|
|
|
|
|
|
|
|
 |
Posted: |
Jan 13, 2017 - 9:26 PM
|
|
|
|
By: |
PFK
(Member)
|
For all the vinyl haters, please allow me to put a positive spin on the vinyl revival:
Have you looked at the prices of CDs on Amazon over the last few years? CDs - for the most part - are DIRT CHEAP.
The fact that people are turning to dreaded vinyl, downloads, and streaming services means that fewer consumers want what you do.
So, if you love CDs, you should be thanking your lucky stars that vinyl is hip, and praying that the revival lasts.
I don't think anyone is protesting the availability of LPs or downloads, or CDs.
The availability of a score in CD, download and LP formats should be a cause of celebration, allowing everyone to make the choice they prefer. But the discussion here is mostly about the absurd situation that dictates someone has to buy ALL of those in order to obtain a single one of them.
In the distant days when I was buying LPs, I can't recall any labels telling me I could only buy the LP if I also bought a cassette and 8-track version at the same time. I wonder why? If it's such a good idea now, why weren't we being offered such a boon in days gone by?
Well stated Basil.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Jan 14, 2017 - 7:34 AM
|
|
|
|
By: |
Jim Bailey
(Member)
|
In the distant days when I was buying LPs, I can't recall any labels telling me I could only buy the LP if I also bought a cassette and 8-track version at the same time. I wonder why? If it's such a good idea now, why weren't we being offered such a boon in days gone by?
Basil, this is a straw man argument and you know it. The music business was a completely different business at that time, options were few, and not incidentally, most film scores were not released. You might as well say "If downloads are so great, why weren't we offered them in the '60s?"
You are too smart to think this is a real argument. All I can imagine is you think we're too dumb to realize it.
I think Basil's point is that you are being forced to buy an LP (& very much pay for it!), I think it's a good argument.
No, he's arguing that if bundling multiple music formats into one package and selling it for a higher price is such a great strategy, why wasn't it marketed that way 20-30 years ago. That is a weak argument considering how different the music business was then vs now.
|
|
|
|
|
|
|
|
|
|
Posted: |
Jan 14, 2017 - 7:49 AM
|
|
|
|
By: |
Last Child
(Member)
|
In the distant days when I was buying LPs, I can't recall any labels telling me I could only buy the LP if I also bought a cassette and 8-track version at the same time. I wonder why? If it's such a good idea now, why weren't we being offered such a boon in days gone by?
Basil, this is a straw man argument and you know it. The music business was a completely different business at that time, options were few, and not incidentally, most film scores were not released. You might as well say "If downloads are so great, why weren't we offered them in the '60s?"
You are too smart to think this is a real argument. All I can imagine is you think we're too dumb to realize it.
I think Basil's point is that you are being forced to buy an LP (& very much pay for it!), I think it's a good argument.
No, he's arguing that if bundling multiple music formats into one package and selling it for a higher price is such a great strategy, why wasn't it marketed that way 20-30 years ago. That is a weak argument considering how different the music business was then vs now.
A) Selling a single (under 80 minute) score as a more expensive package that includes a CD as an afterthought is not going to appeal to the average soundtrack collector today, so if there is a strategy here, it would be to sell fewer packages at a higher price. I dont see this as a trend even in today's "music business."
B) How would most people here know the inner workings of the "music business," i.e. each soundtrack label? I only recall Morricone saying he knew somebody at Stylotone, and I think he said that a CD wouldnt be possible without multiple formats as per the composer's Estates. Or something like that.
|
|
|
|
|
|
|
|
|
|
Posted: |
Jan 14, 2017 - 10:17 AM
|
|
|
|
By: |
Morricone
(Member)
|
B) How would most people here know the inner workings of the "music business," i.e. each soundtrack label? I only recall Morricone saying he knew somebody at Stylotone, and I think he said that a CD wouldnt be possible without multiple formats as per the composer's Estates. Or something like that.
Not quite. Understand this is cobbled together over a few years talking to some of the people involved so there may be some inaccuracies. Stylotone, which represents the estate, had a list of requests to get the highest quality possible (including Grammy winning engineer Sean Magee, who re-mastered the Beatle albums). These were expensive that most labels couldn't reasonably afford. They shopped this around for quite a while. This one vinyl label said yes, we will pay for this if we can sell it as a package, but no CD. Stylotone insisted on the CD or the right to sell that elsewhere. The vinyl label sure wouldn't allow any other label releasing what they paid for so they said okay. Ironically it is the one thing Stolotone is getting dumped on for.
And now I anticipate the chorus, pitchforks in hand "we can't tell the difference, they should have gone the cheaper route!"
|
|
|
|
|
|
|
|
 |
Posted: |
Jan 14, 2017 - 12:17 PM
|
|
|
|
By: |
JB Fan
(Member)
|
Stylotone, which represents the estate, had a list of requests to get the highest quality possible (including Grammy winning engineer Sean Magee, who re-mastered the Beatles albums). These were expensive that most labels couldn't reasonably afford.
Someone need to contact this estates and tell them that Mike Matessino or James Nelson or Neil S. Bulk or Chris Malone are not Grammy-Shrammy winning people, but they do their job amazingly! Sometime I even think that they can do it... khm... even better, than all this Super-Duper-Award-pals ))))
I mean that at least in SOUNDTRACK business even we, customers (I even don't talk about label producers!) know names, which we can trust (read it - project is in good hands) and that alone can made our waiting for album much easier, than name of any Award winner... I mean - when I read "mastered by Matessino, notes by Jeff Bond" - I feel good, 'cause I know that this will be fantastic experience, both in music & reading.
|
|
|
|
|
|
|
|
|
Posted: |
Jan 14, 2017 - 1:23 PM
|
|
|
|
By: |
Morricone
(Member)
|
Stylotone, which represents the estate, had a list of requests to get the highest quality possible (including Grammy winning engineer Sean Magee, who re-mastered the Beatles albums). These were expensive that most labels couldn't reasonably afford.
Someone need to contact this estates and tell them that Mike Matessino or James Nelson or Neil S. Bulk or Chris Malone are not Grammy-Shrammy winning people, but they do their job amazingly! Sometime I even think that they can do it... khm... even better, than all this Super-Duper-Award-pals ))))
I mean that at least in SOUNDTRACK business even we, customers (I even don't talk about label producers!) know names, which we can trust (read it - project is in good hands) and that alone can made our waiting for album much easier, than name of any Award winner... I mean - when I read "mastered by Matessino, notes by Jeff Bond" - I feel good, 'cause I know that this will be fantastic experience, both in music & reading.
HE was not the big cost. His hi tech technology and the pressing quality was. Now come back with "fantsy schamtzy doo-dads are no match to a good string and a couple of tin cans." Best to ask the guys you mentioned if they think there is any noticeable difference.
|
|
|
|
|
|
|
but the others wait… and wait… and wait…
|
|
|
|
|
|
Now everyone is asking why people are listening to music on vinyl. In ten years we will be asking why no one is listening to soundtracks at all anymore. Be glad that people keep the music alive on downloads, vinyl, cassettes etc.
|
|
|
|
|
|
|
|
|
|
Rumor is there were some sort of pressing problems for MARNIE and hence a delay.
That's good news - well, sort of...
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
