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As one of those who never opts out, I'm a little surprised myself that so many subscribers have said no to things. My contribution was essentially a vote for Bruce's taste in soundtracks, even if they are not all my favorites (I have about 40 of the albums released before the campaign, but that's a lot less than half of what's been released). I decided early on to take whatever comes my way, and I haven't been disappointed yet (though I haven't cracked everything open yet either).
But it's like the Varese blind-buy subscription series - you have to want to just get whatever comes your way. I can understand people shying away from what doesn't strike their fancy.
I wonder if this is quite a headache for Bruce's team.
I don't know if it's a headache because we're so appreciative of the contributions, but if we were to do this again I'm not sure the opt-outs would happen - the main reason I allowed it was because we had a lot of show music contributors who I knew would not want the soundtracks and I knew the soundtrack folks would not want the cast albums. Had I known the extent of the opt-outs I probably would not have done it - I just wanted to make it as easy as could be for folks, but given the amount of money that any contributor at any level saved, especially the free postage, that should have been enough - that's why Varese did not allow opt-outs - I'm sure they read some of my posts about them and thought not worth the time or trouble. I still believe we would have gotten just as many contributors, but that's in hindsight. The fact is, had we not done the opt-outs people could have easily flipped what they didn't want and because we've had several sell-outs they could have actually made money. A lot of folks are getting CDs for half price AND no postage so if they had to flip something I think they'd absolutely get their money back.
I think the more opt outs you have, the financially better off you are...so it seems to be a good thing. That's different than being frustrated that people aren't taking a chance on something, but other than feeling a little offended that people aren't taking you up on your recommendations it should't be harming you. You could opt out with Varese, but it was manual. You opt in when you saw a title you wanted, then opted back out. Repeat for each title you wanted.
Of course it doesn't harm us in the least - it's just a lot of list keeping. If that's the way the Varese worked I'm really glad I didn't do it 
Ah, okay now I get it. It's the administrative headache of keeping track of who gets what/when or who doesn't get that/then. Yeah, I can see that being frustrated. Varese was all automated so there wasn't a human managing the subscriptions, but I think their head would have exploded if it was manual.
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I dunno. I tend to have similar tastes to Bruce, whose label has introduced me to many scores and composers. The only releases I have opted out of thus far have been ones that were identical masters to those issued in the Varèse Herrmann box set because I already have them.
I suppose I could have opted out of the Glenn Miller two-fer, but I ended up being rather delighted by the set instead. So I would certainly sign up for another campaign — Kritzerland is, after all, one of my favorite labels — but I would hope to be able to opt-out of material that I already have.
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Bruce, you've said many times that you're surprised about the opt-outs, and I've suggested you run a simple poll to find out what people want - it might not change your mind about releases, but it would be interesting to find out.
I only collect the soundtracks I enjoy rather than what the so-called experts say is "great music." It's off-putting to be judged by what one does or doesnt collect, and unfortunately this does (or has) come across in some of your posts.
No one is judging anyone - people are having a conversation that you seem to be taking personally, which you do a lot. I know what people want - some want Victor Young, some want new composers, some want Paul Glass, some want only Golden Age, some hate Golden Age, and on it goes.
As I said, it comes across that way. Being told we're losing out on some great music seems chastising. Or suggesting we go out of our comfort zone implies we're closed minded. I would imagine every donor, and others, plays the samples regardless of the composer or film, and decides on their taste.
And I specifically said a poll wouldnt have to change your mind, but inform you - and us, if you shared that info. Frankly I'm surprised people are reacting so positively to this but not to your earlier Paul Glass cds, but maybe I see more music similarity than exists.
Regarding "half-priced CDs," you're referring to international customers, right?
That's the way it comes across to YOU and that's fine. It seems chastising to YOU, and that's fine, too. I think I would be remiss not to tell people that they're missing out on a seriously good score - if they choose to not care that I'm saying that, that's fine, too.
I think you know the answer to your other question so why are you even asking it? For US contributors, they're paying around 13.50 a CD, for International contributors it's a bit less than ten dollars. Hope that helps.
Why would I be interested in what a poll would inform me of? That's a clear path to not giving anyone what they want. That's why the movie business is so screwy and why movies basically suck and are all the same - test screenings, polls - simply of no interest to me. We'll just keep on trucking and do what we do - that's been our mantra from the start and will continue to be our mantra as long as we go.
I cannot tell you the number of times I've seen on this board the sentiment "I'd buy that in a heartbeat - sold!" Well, that's great - that's one sale. Every label has been tricked by these boards and have learned the hard way. They do a Golden Age title everyone wants, and then it stiffs because the reality is the number of people who actually make the purchase is not reflective of what you read here.
I couldn't do any of the Fox musicals if we were just selling to people on this board because most won't buy them - the ones that do tend to be delighted by them - if not the songs so much, the great underscoring. But we do them because we reach a wider audience on that stuff, with our musicals collectors and in the case of Sun Valley Serenade, the amazing Glenn Miller collectors.
I wonder more why you continue to be so argumentative about this. If you don't like that I cheerlead a release that is an incredible discovery then you can go read about The Rocketeer. There's something for everyone. But if I convince ONE person to take a chance on this, I'm going to feel good about that, not bad.
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I dunno. I tend to have similar tastes to Bruce, whose label has introduced me to many scores and composers. The only releases I have opted out of thus far have been ones that were identical masters to those issued in the Varèse Herrmann box set because I already have them.
I suppose I could have opted out of the Glenn Miller two-fer, but I ended up being rather delighted by the set instead. So I would certainly sign up for another campaign — Kritzerland is, after all, one of my favorite labels — but I would hope to be able to opt-out of material that I already have.
Yes, I'd have no problem with opt-outs of things that have been issued before and where we haven't changed or added anything.
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Posted: |
Jun 28, 2016 - 10:07 PM
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By: |
Last Child
(Member)
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That's the way it comes across to YOU and that's fine. It seems chastising to YOU, and that's fine, too. I think I would be remiss not to tell people that they're missing out on a seriously good score - if they choose to not care that I'm saying that, that's fine, too.
I think you know the answer to your other question so why are you even asking it? For US contributors, they're paying around 13.50 a CD, for International contributors it's a bit less than ten dollars. Hope that helps.
Why would I be interested in what a poll would inform me of? That's a clear path to not giving anyone what they want.
I never said you shouldnt recommend your choice of soundtracks. But if someone chooses not to buy them, I dont think they should be chided later that they missed out. If you were just another member on the board, it wouldnt matter. But since you're in a position of authority as a provider and I'm just the customer, it's different. I dont know if you can see this from your side of the equation.
Regarding discounted CDs, I thought you specified international customers so I was trying to figure out what you meant.... Now that you specify the amounts, I either didnt realize it or totally forgot that donors got an extra CD for every $100. With free shipping, you're practically giving them away! No wonder some are hoping you'll start another campaign.
Regarding a Poll, I've specified it would be interesting to members, and as you're not interested, maybe FSM could integrate the software into the board as it exists on other blogs. Members tick check boxes, and can see current totals for all members. Fans here often discuss their preferences in terms of composer, genre, and music era, and a poll would be a simple way to illustrate this, and might include more people who dont post.
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As I buy every Kritzerland soundtrack release (and cast album), I would make a second donation in a minute (even without the opt-out provision). I do this not only because I am happy with the releases, but to support the choices being made behind these releases.
NK
Hear, hear! But if only Bruce would start releasing 80s-era all-synth scores! ;-)
As soon as certain other labels have finished traversing the 80s, the 90s, and now the 2000s, Kritzerland will then reissue all of those CDs, each with one extra bonus track. By the time we get around to doing that, however, all those scores will be ancient.
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I've done a lot of research in my professional life, and I want to echo what Bruce says about the unreliability of responders on this board.
A poll among this group would be highly unreliable because the sample is entirely self selected. All you can tell from that kind of thing is what the self selected sample thinks. Just because 20 or 50 or however many folks post one opinion here, that doesn't mean it's representative of anything beyond the group responding...never safe to assume. All responses on this board are anecdotal, in research terminology.
And in this case there's no need anyway, because Bruce has a much better data set...the opt-outs as a percentage of total indiegogo contributors. He is getting a very clear picture of what members of this group do and do not go for.
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Yes, yes I have, LC. That's why I'm responding. You think the results would be interesting for members of this chat room, even if not for Bruce. My take is that it would not be informative or interesting, or at least no more than existing posts, precisely because it is not representative of anything beyond who happened to decide to participate. And there is absolutely no way to know or prove whether "more people who don't post" would participate. So it might appear to be meaningful, but it would be deceptive because of the inadequacy of the method.
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I listen to the samples and if they excite my ears (like, say The Sailor Who Fell From Grace..) I will have it..if it doesn't (this score), I will pass.
What about one's capacity to gradually appreciate (over time) that which one may initially dislike?
Growth of musical tastes ... maturity ... and so forth.
There are number of discs that have been in my music collection for 20 years or more which I still own even though initially my reaction to the music was not positive.
Some of these I have since 'gotten into' and now like whilst others are still awaiting my re-evaluation.
You might not care for Ned Rorem's music now - but what about 2 decades from now?
I wasn't able to appreciate the music of Iannis Xenakis when I blind bought discs of his music during the 1990s, but I currently have a much higher regard for Xenakis even though he's still not a favorite composer of mine.
I hope the overall FSM membership has had (or could have) experiences similar to my own regarding alterations in tastes over decades of music loving.
Consider the converse situation as well: Will one continue to appreciate music one first heard & loved during adolescence? When you are past age 80, will you still be religiously playing the 1977 Star Wars as a favorite as you had been doing since the late '70s?
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