Question for all posters who have recorded a cd...
Richard Bornman
Can you possibly give me a rough estimate of how much you think it would
cost to produce a cd today...
TIA
RB
Rick Stone
studio, musicians, mastering, artwork, cd pressing, song rights, etc.) came
to between $9,000-$10,000.
Promotion (some print advertising in Down Beat, JazzTimes, Just Jazz Guitar,
hiring a radio promotion person, a press consultant, printing one-sheets, cd
mailing envelopes, postage etc.) came to about another $9,000-$10,000.
I've been out of the game for awhile, but expected somewhat better results
with this release. My 1991 recording "Far East" cost about $15,000
all-told, and I made that investment back within the first 2 years. Despite
excellent airplay and reviews, it doesn't look like "Samba de Novembro" will
even come close to recouping.
I'd have to attribute that to the changing nature of the business. I hear
the kids at the college talk all the time, and usually only one person will
buy a CD and then burn it for all their friends. I don't know where this
leaves us. Although all the critics seem to think I should be recording
more, without financial backing this doesn't seem to be feasible. Many
record company people I know are saying the same thing (about abysmal
sales).
Musically Yours,
Rick Stone
website: http://www.rickstone.com
press-kit: http://www.sonicbids.com/rickstone
Listen to clips from my new CD "Samba de Novembro" with Tardo Hammer, Yosuke
Inoue and Matt Wilson at http://www.cdbaby.com/cd/rickstone
And drummer Al Ashley's CD "These Are Them" featuring Dave Leibman, Rick
Stone and Oliver Von Essen at http://www.cdbaby.com/cd/alashley
"Richard Bornman" <richard...@ozemail.com.au> wrote in message
news:39plv5F...@individual.net...
Richard Bornman
"Rick Stone" <rick...@rickstone.com> wrote:
> I'd have to attribute that to the changing nature of the business. I hear
> the kids at the college talk all the time, and usually only one person
will
> buy a CD and then burn it for all their friends. I don't know where this
> leaves us. Although all the critics seem to think I should be recording
> more, without financial backing this doesn't seem to be feasible. Many
> record company people I know are saying the same thing (about abysmal
> sales).
Rick,
What about just hiring some good mics and a digital recorder and
recording live...?
Morey Richman
Having owned a record company with over 4,000 releases I can probably help
here - I personally know many of the independent record company owners out
there and I can tell you that most of them will all say the same thing -
they can't make money any more recording Jazz artists, manufacturing and
promoting them, etc. Unless you're Peter Cincotti, Jamie Cullum or a Diana
Krall clone or want to record for the types of labels such as Criss Cross,
Steeplechase etc for exposure rather than financial gain, the best way to do
this is to produce and sell the CDs yourself as Rick has done, retaining
ownership of the master with the intent of possibly licensing it out to a
label or multiple labels in different territories but paying extreme
attention to the bottom line, preferably with an expert's help and guidance
re:costs.
Most labels will give you a small "advance" to record but recoup all costs
before any royalties are paid out and the grim reality is that the artist
will probably never see any future monies no matter how successful the CD
is. Some guys, major artists even, just record for "flat fees" as many times
as they can just to try and combat this.
Unfortunately, musicians aren't the best businessmen out there and as great
as Rick Stone's newest CD is (I bought a copy), it's really important that
these types of projects are kept to a very stringent budget. It helps to
know people too - CDs cost less than .60 cents each to make these days,
artwork and print included (if you know the right people) and recording and
mastering costs are all over the map as you can imagine, depending on where
it's done, who does the mastering, how elaborate it is, etc. but certainly
good sounding records are made for reasonable costs *if* they are planned
out that way from the beginning. Everything always goes over budget.
If anyone wants to pursue this with me offline feel free to contact me, it's
a long typing job for the 2 fingers I use to post, but if I can help anyone
by giving some advice on manufacturing, promoting etc I'll do my best to
help. I can give you the real story about how record companies work and the
realities facing hopeful new jazz artists and can possibly give some advice
on how to possibly make it work.
I hope this doesn't sound too "all knowing" and trite, but I do know how it
works...
bob r
moreyr...@shaw.ca wrote on 3/15/05 11:09 PM:
> It helps to
> know people too - CDs cost less than .60 cents each to make these days,
> artwork and print included (if you know the right people)
Have you found sources that'll do anything but large batches for that kind
of price per unit?
BTW, thanks for the post. Lots of food for thought and good advice there.
--
Bob Russell
http://www.bobrussellguitar.com
http://www.cdbaby.com/bobrussell
Morey Richman
"bob r" <Someo...@whatever.com> wrote in message
news:BE5D1D32.3A0E3%Someo...@whatever.com...
> in article YjOZd.688803$Xk.522833@pd7tw3no, Morey Richman at
> moreyr...@shaw.ca wrote on 3/15/05 11:09 PM:
>
>> It helps to
>> know people too - CDs cost less than .60 cents each to make these days,
>> artwork and print included (if you know the right people)
>
> Have you found sources that'll do anything but large batches for that kind
> of price per unit?
Well, again, it helps to have contacts, but it depends what you call "large
batches". I've done CDs for guys at 300 units which is a bare minimum that
you'll need if you want to take it seriously - even at $1.00 all in that's
less than what most guys waste yearly on gear they never use. Having a
professional looking document of your playing is the most important "gear"
you can have. And having an unprofessional one with lousy and cheap cover
art is the worst.
bob r
moreyr...@shaw.ca wrote on 3/15/05 11:29 PM:
>> Have you found sources that'll do anything but large batches for that kind
>> of price per unit?
>
> Well, again, it helps to have contacts, but it depends what you call "large
> batches". I've done CDs for guys at 300 units which is a bare minimum that
> you'll need if you want to take it seriously - even at $1.00 all in that's
> less than what most guys waste yearly on gear they never use. Having a
> professional looking document of your playing is the most important "gear"
> you can have. And having an unprofessional one with lousy and cheap cover
> art is the worst.
A buck apiece for 300 professionally produced CDs would be very reasonable
indeed. Good points re design - a good-looking product is very important.
cl...@claymoore.com
Morey Richman wrote:
> I hope this doesn't sound too "all knowing" and trite, but I do know
how it
> works...
Hi Morey,
It doesn't sound trite at all; on the contrary, it mirrors my
experiences and was the reason I have self-financed/produced my last
two discs. When I recorded my first disc for a friend of mine's
start-up label, we got it done for a reasonable price. My partner then
decided to hire some "music business" folks to handle the distribution
and marketing. A lot of money was spent, our relationship was sorely
tested and almost ended, and in the end neither of us saw any money
from that aspect of the experiment. The only money I've made has been
from online and gig sales, and I pay him for the units I sell.
I decided after that venture to pay for own discs and not worry too
much about the very expensive marketing and such. Most of the national
artists I hear at the Dakota and other jazz venues sell their own CDs
at the venue, and more often than not the sidemen and sidewomen bring
their own discs as well. When my trio toured last spring the CD sales
made the trip possible; I would have lost money otherwise. And, as much
fun as it was it was a hell of a lot of work to prepare for and pull
off, and it's dubious it was cost effective.
I can remember when I put out my first disc and some lurkers on this NG
called me out and accused me of "going commercial." I've heard similar
grumblings around town, presumably from folks who don't think I deserve
the gigs I hustle or whatever recognition I get. I guess it's just sour
grapes but it's pretty hilarious when you think about it - a cutthroat
jazz guitarist nabbing gigs and CD sales - whoooo, look out! Lock up
the women and children!
Clay Moore (distant cousin of John Wesley Hardin)
http://www.claymoore.com
Joe Finn
"Morey Richman" <moreyr...@shaw.ca> wrote >
Thanks for your remarks, Morey. And don't worry about sounding too all
knowing or whatever. I recognize and appreciate the voice of experience so
don't apologize.
I've been through quite a bit of what you're referring to. I spent more than
I needed to on studios, marketing, duplication, art work, etc. more than
once. Live and learn. I will continue to record and promote my stuff as
independently as possible. This keeps the costs low. My attitude about
recording is not about the money it will cost me. It's got to be about the
music for me. ....joe
--
Visit me on the web www.joefinn.net
>
>
Pt
<cl...@claymoore.com> wrote:
Is that why we don't see much of you here lately?
Pt
charles robinson
You recently mentioned that you are holding the recording from your last
session because of production overuns. Would care to share with us how this
situation came about and what to watch out for.
Charlie
<cl...@claymoore.com> wrote in message
news:1110950527.9...@l41g2000cwc.googlegroups.com...
Paul Kirk
Richard: here's an answer not really to your question, but for those who
want a good studio recording of their playing but not for sales or
publicity:
I recorded at a local studio. He charged $60 per hour. The studio was
nicely set up (different soundproof rooms with windowns for the drums,
sax, I was in the room with the bass player but my amp was in a
differnet room. The studio is the best local studio). We were well
rehearsed when we got there and did mostly one or two takes, it took
about 3 hours to record music for a one hour CD. The painful (for
someone as cheap as me) part came later, paying $60/hour to watch him
tweak the mix. In three more hours it came out pretty good, but we
easliy could have gone 20 hours, working tune by tune, section by
section. So a total of $360 to get a good recording. If I had a decent
computer and software and time, I probably could have done the mixing
myself (with the help of my bandmates: a good engineer already knows how
to mix properly whereas I'm sure I would have had to tweak a long time
just to get close to what he did) The studio would have burned me a copy
of all the tracks for me to play with. SO, really $200 would have been
enough to get the music recorded with a properly rehearsed band if I
were willing to do the mixing. I live in the boondocks, so it may be
more expensive where you are. Of course, we did no overdubs etc. A few
of my soundclick samples are from that session.
I know nothing about printing CDs etc. I just wanted a record of the
group before it broke up and my day job allowed me to pay for it. I've
printed out the cheap labels on my computer and duplicated the CD on
CD-R and sold CDs at gigs (and christmas presents for family and
friends)for $7 each. This clearly would not be acceptable to a
professional musician but it works for me.
Paul K
bob r
no...@noplace.net wrote on 3/16/05 9:43 AM:
That's one of the good things about the state of recording technology - it
has created new levels of participation in the business. If your dream is to
be a Blue Note artist, that level still exists, but don't hold your breath.
If you want to have your own CDs out that rival Blue Note's production
values, you can do that, but be ready with an obese checkbook, a group of
interested and somewhat adventurous doctors or a rich significant other. If
you just want a quick-and-dirty home-brewed CD that you can sell at gigs,
that's very affordable these days. For most of us, the goal is probably
somewhere in between the extremes. And, as Morey pointed out earlier, costs
can be influenced by factors such as people you know and favors owed, etc.
Even the big labels are singing the blues about not being able to recoup
costs on jazz records! For most of us, cost is a major factor and has to be
carefully looked at to find ways to avoid compromising our music without
leaving us bankrupt. I find that studio guys, designers, photographers and
duplicators all expect to get paid at the end of the day.
Joey Goldstein
was overspending then. I paid the guys well, took a long time mixing,
etc. At the time I had more of a pop conception regarding the recording
process and we did lots of overdubs on that one. I even had some piano
solos replaced by sax solos, etc. I paid an indie production house to do
the artwork, found a photographer myself, etc. Used the best guy in the
city for mastering. Etc.
I pressed 1000 CDs. I sent about 400 units to radio myself. It looked
like it waqs getting a lot of air play at the time. I started
consignment deals at the major record stores across Canada. I had
Cadence/North Country selling it in the US and worldwide.
I still have about 300 units of that 1st and probably only run.
I had hoped that that CD would be a good calling card for jazz gigs and
festivals but it actually closed more doors than it opened, being too
fusiony at the height of the time when fusion became a bad word. I never
came close to recouping because I never got enough gigs to sell CDs from
the bandstand. The consignment deals were too hard to manage and were
bsically a big waste of time.
If I do another CD, and I'd like to in the near future, if I'm doing it
with my own money, it will have to be done for under $5k and I won't be
trying to promote it like I did before. I'll send a few to radio and
I'll sell them from my website.
Find a studio that likes you. Rehearse a good band. Go play in the
studio for 2 days. Get 2 or 3 takes of everything (tape cost now is a
non issue). Mix for a day. Get it mastered. Get some nice looking but
inexpensive artwork from a friend or a friend of a friend. Do a small
run of 300-500 units. That's my plan anyways. I haven't really made the
calls yet to see if this would fly, but that's the plan.
--
Joey Goldstein
http://www.joeygoldstein.com
joegold AT sympatico DOT ca
paul
to me, it would be a lot more important to get something recorded
and documented than it would to release it. a lot of the costs people
are factoring in take into account duplication/artwork costs, in a time
where physical products are rapidly going the way of the dodo.
why not pay for the recording yourself, and then see if a label wants
to pick it up? you don't have to record/mix/master all in one stage,
you know.
---paul
Michael Nickolas
>I'd have to attribute that to the changing nature of the business. I hear
>the kids at the college talk all the time, and usually only one person will
>buy a CD and then burn it for all their friends. I don't know where this
>leaves us.
I agree there is no money in CD sales anymore. There still is money to
be made in licensing though. Film, TV, commercials or etc. You may
consider pursuing that avenue for your original music.
Michael Nickolas
www.studionineproductions.com
Michael Nickolas
>I probably could have done the mixing
>myself ...The studio would have burned me a copy
>of all the tracks for me to play with.
And it's possible you would have ended up back at the studio. Mixing
is just as much an art as your performance was. It's all about the
tools and technique and takes years of study, just like playing an
instrument.
Michael Nickolas
www.studionineproductions.com
William C.
"Michael Nickolas" <news...@comcast.net> wrote in message
news:3rlg31da8u4ful3a0...@4ax.com...
> I agree there is no money in CD sales anymore.
Off the bandstand in a high tourist density zone. Nawlin's fer sure, the
house gets a cut, often enough 5 bucks, on Bourbon. Not jazz specifically
however. Blues usually... varieties conducive to party puke yah yah i was
there take something back home to kansas momento.
> There still is money to
> be made in licensing though. Film, TV, commercials or etc. You may
> consider pursuing that avenue for your original music.
I put that Slow Walker thing on a freebie site as a message song, not
thinking commercialization, but someone at Clear Channel emailed me, which
led to an A list movie director's agent and production company.
Because of that, I started looking at the commercial possibilities, let
myself get wrapped up in that for a bit, which went counter to the spirit of
the initial run at it...
Anyway, smoke, but no fire, as of yet. Hadn't been initially fishing for
smoke.
Who knows, as in the Big Who, I haven't a clue, just doing the do.
But Wouldn't It Be Nice to stay at home, write, record... No more beer
bottles sucker punches thugs waiting for locals with cash money tips
cigarrette smoke in clothes horny tourist ladies to test fidelity.
edisoned
from anyone with experience from "inside" the record business.
Ed
Kevin Van Sant
<1110950527.9...@l41g2000cwc.googlegroups.com> :
>
>I can remember when I put out my first disc and some lurkers on this NG
>called me out and accused me of "going commercial." I've heard similar
>grumblings around town, presumably from folks who don't think I deserve
>the gigs I hustle or whatever recognition I get. I guess it's just sour
>grapes but it's pretty hilarious when you think about it - a cutthroat
>jazz guitarist nabbing gigs and CD sales - whoooo, look out! Lock up
>the women and children!
I don't get it, what is the complaint? Simply that you made a CD and
were now selling a product, or was it that some people felt you had
comprimised yourself with the content of your CD? Either way, that's
a weird reaction.
_________________________________________
Kevin Van Sant
jazz guitar
http://www.kevinvansant.com
to buy my CDs, hear sound clips, see videos, and get more info.
Visit my new Instant Download Mp3 Store at:
http://www.onestopjazz.com/mp3-store.html
Alternate site for gig tape soundclips
http://www.soundclick.com/bands/kevinvansant_music.htm
William C.
> If your dream is to
> be a Blue Note artist, that level still exists, but don't hold your
breath.
It was never a dream. That Los Angeles run did get a reference from someone
at Capitol to Blue Note.
I did record something.
I didn't have to wait 2, 3 months for a get back, they were waiting for it,
got response 3 days after it arrived.
They passed, it was off the wall, nothing like it out there right now to
correlate to for sales potential, don't blame them, very risky/chancy.
Due to contract particulars (co-writer well wired in terms of sales/hits),
for demo for that company, not for general hearing/release without $
attached. If otherwise, probably still wouldn't post it here.
Let folks come up with their own something differents.
Still down here in the mud blood beer...
The One great thing about the recent phases has been to crystallize efforts
into the make the most of remaining time soul saving fisherman lines
category.
Unknown
Richard:
Costs depend on a lot of things:
Are you creating something to sell to the general public?
Will there be other musicians involved or solo?
If there are other musicians, will you need to pay them?
Can you get things right the first or second time in the studio?
Do you plan to go for a "live" feel, or use lots of overdubs?
Can you get photographs done inexpensively (i.e. do you know a
photographer well?)
Do you plan to do a lot of promotion after the CD is done?
I have released 2 CDs myself. The first one cost about $4,000 and the
second one cost about $11,500. I printed 1,000 of each and have not
made my money back on either one. The largest expense for the second
one was paying the musicians, and the studio costs were the second
largest. I started a 3rd CD, but pulled the plug on it after I spent
$1,500. It just wasn't sounding right.
I have another CD that is about 1/2 way done right now. I won't be
shy about letting people know about it when it's done.
Good luck to you.
Tim
http://timberens.com
A Website for Guitarists
Learn something...Have some fun
timb at erinet dot com
Willie K.Yee, M.D.
<richard...@ozemail.com.au> wrote:
>Rick,
>What about just hiring some good mics and a digital recorder and
>recording live...?
>
Good mics and a digital recorder do not a good recording make. A great
performance, an excellent room, decent equipment and a good engineer
make a good recording.
Willie K. Yee, M.D. http://users.bestweb.net/~wkyee
Developer of Problem Knowledge Couplers for Psychiatry http://www.pkc.com
Webmaster and Guitarist for the Big Blue Big Band http://www.bigbluebigband.org
Pt
Pt
<nos...@nowhere.net> wrote:
>When I put out my CD in 1993 it came to about $12k all told.
Did that money come out of your pocket or did you have people backing
you?
Pt
Joey Goldstein
My pocket.
> Pt
Chickenhead
"Joey Goldstein" <nos...@nowhere.net> wrote in message
news:4238E9CF...@nowhere.net...
Michael Nickolas
>house gets a cut, often enough 5 bucks, on Bourbon.
Well that's an eyebrow raiser. What a rip off for the artist if you
ask me. I'm sure they're getting paid very little if anything to begin
with.
I've been there many times. Bourbon St is mostly cover bands for the
tourists, the musicianship is no greater or even less than musicians I
know her in the Boston area.
>But Wouldn't It Be Nice to stay at home, write, record... No more beer
>bottles sucker punches thugs waiting for locals with cash money tips
>cigarrette smoke in clothes horny tourist ladies to test fidelity.
It is nice. I gave up on the drunken tourist and college kid gigs some
time back and concentrated on my studio. Only playing the occasional
live gig these days. The last few years have worked out well for me
earning composition/licencing income. Of course you have to write for
the client. You're not creating the next grammy nominated jazz album,
that's for sure. It can drive you crazy but it could be worse. Like
driving two and 1/2 hours in a snow storm only to be hassled all night
by the mother of the bride complaining about volume and material. Not
to mention wearing the tux... (no offence to function musicians!! Just
not my choice).
Michael Nickolas
www.studionineproductions.com
Lumpy
> > > When I put out my CD in 1993
> > > it came to about $12k all told.
PT asked:
> > Did that money come out of your pocket
> > or did you have people backing you?
Joey wrote:
> My pocket.
My two CD's cost me right at $10k each.
That's for a single, solo acoustic guitar/vox.
No band.
Lumpy
--
In Your Ears for 40 Years
http://www.lumpymusic.com
Kurt Shapiro
it's a good deal, but here's the link:
http://www.guitarcenter.com/cdduplication/
"Richard Bornman" <richard...@ozemail.com.au> wrote in message
news:39plv5F...@individual.net...
Steven Rosenberg
> If I do another CD, and I'd like to in the near future, if I'm doing
it
> with my own money, it will have to be done for under $5k and I won't
be
> trying to promote it like I did before. I'll send a few to radio and
> I'll sell them from my website.
>
> Find a studio that likes you. Rehearse a good band. Go play in the
> studio for 2 days. Get 2 or 3 takes of everything (tape cost now is a
> non issue). Mix for a day. Get it mastered. Get some nice looking but
> inexpensive artwork from a friend or a friend of a friend. Do a small
> run of 300-500 units. That's my plan anyways. I haven't really made
the
> calls yet to see if this would fly, but that's the plan.
Joey, you're right on the money, so to speak. Keeping costs down and
doing as much as you can yourself is the way to go.
As far as radio promotion goes, I've seen quite a few jazz artists
spend money on radio promotion AND get airplay at stations all over the
country. But I don't think it adds much to sales. I think just the
airplay alone is not enough; you need the press, name recognition and
touring to really start making a dent. And I know that is not realistic
for most.
Also, the issue of CD price is critical. With classic jazz CDs going
for $10, I believe unknown players, hell, even well-known players,
cannot sell a disc for $15-$20 and expect to do well. Do what you can
to get that CD under $10. If you're at the gig and selling from a
table, I guarantee you will make it up in volume. An impulse purchase
at a gig, when the audience is excited about what you are doing, is
much more easily made with an $8 CD, even more so with a $5 CD ...
William C.
> >Nawlin's fer sure, the
> >house gets a cut, often enough 5 bucks, on Bourbon.
>
> Well that's an eyebrow raiser. What a rip off for the artist if you
> ask me. I'm sure they're getting paid very little if anything to begin
> with.
Morial put a musicians tax in when he came in... resulted in many music
places selling out... one of the absinthe house goodies became a mango
mango, across the street a gutbucket place became a strip club, which Larry
Flynt has subsequently bought along with the former Maiden Voyage... gigs
went from 25 bucks a set to 15... with a lowering of the quality of
musicianship. Prices have climbed back up.
> I've been there many times. Bourbon St is mostly cover bands for the
> tourists, the musicianship is no greater or even less than musicians I
> know her in the Boston area.
Bring your guitar and seek out Billy who has been playing there since the
sixities. Shoot your mouth off, enter his parlor, and bring your nurse.... I
say that only because you have waxed AssWhole.
William C.
> >Nawlin's fer sure, the
> >house gets a cut, often enough 5 bucks, on Bourbon.
>
> Well that's an eyebrow raiser. What a rip off for the artist if you
> ask me. I'm sure they're getting paid very little if anything to begin
> with.
Forgot the best part... one of the staples there was in his 30 something
pressing... not bad, not bad at all.
You don't know has much as you put out. Maybe in your own world, yes, but
that's about it.
William C.
>
> Bring your guitar and seek out Billy who has been playing there since the
> sixities. Shoot your mouth off, enter his parlor, and bring your nurse
and your guitar...
cl...@claymoore.com
charles robinson wrote:
> Clay,
>
> You recently mentioned that you are holding the recording from your
last
> session because of production overuns. Would care to share with us
how this
> situation came about and what to watch out for.
Hi Charlie,
I had wanted to hook up with Eric Alexander ever since I sat in my car
listening to him on the radio one afternoon, waiting outside a
rehearsal until the announcer came back on to tell us who was playing.
A couple of years later I met Eric at a local jazz club and we seemed
to hit it off pretty well, so the next time I saw he was to be in town
I contacted him about recording. I booked a really nice studio, flew my
pal Brannen Temple in for drums, and hired Anthony Cox on bass. About a
week or so later I saw Lenny White was to be in town and I called him
out of the blue and asked if he wanted to record as well, which he
agreed to.
This is a long way of saying the recordings weren't so much planned as
they were happily made possible. I already had another CD done but not
released, so I thought I should get it out first. So, last spring I:
* released my new CD Damelo!
* sold two houses we owned
* bought another house and moved
* booked and executed a two week tour
* became a dad for the first time
All while maintaining a full schedule of local gigging and teaching.
So I don't know if I can say "watch out for this" because it's not like
I've made mistakes that I regret, it's just a matter of focus and
pacing. I was pretty tapped after the tour, and the first few months
after Devin was born I was more involved in baby and wife care than
getting the next CD out. I plan to get it done this year, though.
Thanks for asking!
Clay
Joey Goldstein
Chickenhead wrote:
>
> 12K CDN or USD?
CDN
Max Leggett
<cl...@claymoore.com> wrote:
>released, so I thought I should get it out first. So, last spring I:
>
>* released my new CD Damelo!
>* sold two houses we owned
>* bought another house and moved
>* booked and executed a two week tour
>* became a dad for the first time
>
>All while maintaining a full schedule of local gigging and teaching.
Cheeziz. I get freaked out if I forget to buy eggs. :-)
--------------------------------------------------------------
"If the gods wanted us to twist our spines about
while we played guitar, they would have given us
rubber bands rather than vertebrae. And then where
would humanity be? Propelling cornflakes box
submarines in some alien bathtub in an ungodly
time dimension where the music of the spheres
consisted of Kenny G."
Spinoza
--------------------------------------------------------------
Tom Walls
cl...@claymoore.com says...
> became a dad for the first time
>
>
--
Tom Walls
the guy at the Temple of Zeus
Marc Sabatella
> >recording live...?
> >
>
> Good mics and a digital recorder do not a good recording make. A great
> performance, an excellent room, decent equipment and a good engineer
> make a good recording.
I'd rephrase that: it is *possible* to get a decent recording just with
some good mics and digital recording on a live gig. But it's rather
*unlikely* - there will generally be some serious compromises in sound
quality. Plus, you might record dozens of gigs before coming up with
enough usable material for a CD. But if you're just after someone to
impress club owners with or sell to friends & family, that might indeed
be good enough. And of course, there is always that hope that things
will just pan out such that you actually get something really special -
certainly, it *has* happened.
--------------
Marc Sabatella
ma...@outsideshore.com
The Outside Shore
Music, art, & educational materials:
http://www.outsideshore.com/
charles robinson
Charlie
<cl...@claymoore.com> wrote in message
news:1111111108.9...@g14g2000cwa.googlegroups.com...
Marc Sabatella
> well-known jazz musicians on a recording for it to be marketable in
the
> US, and he never heard of me or my bass player and drummer.
That's pretty standard advice, and from their perspective, it even makes
some amount of sense. Putting out a jazz record is definitely a big
gamble if you are in it for the money, as a label owner is going to be,
and things like that definitely make a difference in how many copies you
can reasonably expect to sell. Completely independent of any musical
concerns, of course.
JP
> some good mics and digital recording on a live gig. But it's rather
> *unlikely* - there will generally be some serious compromises in sound
> quality. Plus, you might record dozens of gigs before coming up with
> enough usable material for a CD. But if you're just after someone to
> impress club owners with or sell to friends & family, that might indeed
> be good enough. And of course, there is always that hope that things
> will just pan out such that you actually get something really special -
> certainly, it *has* happened.
I can think of many recorded albums that were tracked in this manner.
IF you know what your doing...this can work well.
Whether its a "less expensive" than going into a studio or room is another
thing.