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In Reply to: RE: Those are some pretty weak presumptions in this day posted by Analog Scott on August 11, 2016 at 13:20:12
I doubt DG would be able to convince anyone to both front production or marketing costs AND pay out a portion of concert revenue. As you say, the money is in performing. The recording is mostly a marketing and promotion tool. But if DG sinks production and marketing money into a classical recording, they need to make it back somehow.
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Most classical recordings today are very much vanity projects. Our last CD cost us about 60K. Taken at a live performance, this was paid to the recording engineers (Sound Mirror), venue, our union orchestra, artists, and the label itself.
We may sell enough CDs by 2216 to cover our costs but it is important for the image of the company and also helps in other fundraising efforts.
"[I]t is important for the image of the company and also helps in other fundraising efforts." So it isn't just vanity, is it? ;-)
Indeed. One would think that the model would be to make their money back by selling CDs and now days LPs and downloads. If they can't do it that way they will eventually go out of business or at least stop new production. But this new model aint going to hunt. They may sucker a few artists into it but I am sure it will be seen by most for what it is, a very very very bad deal.
Who are these artists paying to work?
But the original post claims DG is getting 10% of their new artists' fees for live performances. And *that dog* won't wont hunt. Any soloists or conductors paying that to DG or Naxos made a dumb ass deal.
Next time, don't bother asking. I'm sure not going to bother to respond.
So why ask me to go on some easter egg hunt when I ask about the actual relevance of something you brought into the discussion? If you have relevant information relating to something you brought into the conversation please free to fill us in. I'm not going looking for it. This dog won't hunt either.
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