It’s just if you’re ever looking for ‘official’ distribution, they are a company who’ll audition material and decide if it’s worth releasing. Can’t tell you the financial terms for them, but some companies will release ‘good’ recordings (yours would surely qualify) for a relatively small fee. I think increasingly this will be the way for otherwise unsigned artists. Whether it is worth it is another matter, someone on 88st who I have the utmost respect for described such cds as ‘expensive calling cards’, but you almost certainly won’t make it into the ‘official’ magazine etc review system without label backing. The details for this company certainly used to be on their website.
Tru, randomly da KNS classical offahed fo ME to pay dem to release recs dat I also made on ma own.
Retarded.
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It sounds fucked, but some of that fee would be “promo expenses”, which you can probably read as money bunged so reviewers will give you a review, or maybe to have tracks put on Spotify playlists. I’ve heard from several separate sources that the former happens, but I’m not going into it here.
That is the state of the industry. Not sure where this is going.
I think what APR have realized, incidentally, is that the future is in streaming through spotify-like services. Hence the more stuff you can copyright now and associate with your company, the more money you will make in the future as people want to look in to Myra Hess for instance and the company earnings come from clicks per song. Think EMI, DG etc began thinking similarly 5-10 years ago - put out all these boxes now for people who want to buy them, before it’s all freely available through a spotify-like subscription.
NOT only that but they also specify that unless 500 copies are sold, I will buy up the remainder myself from dem
They can suck ma cock.
Fuck, dat iz a very harzh clauze.
Yes, and APPIAN releases are all auto added to YouTube etc with monetized playback:
Yeah but they’re not being anything but realistic. Marston is doing virtually the same thing - securing funds first, and THEN press & release the recording to rule out or minimize losses.
Oh! Didn’t know that. Yeah Piano Classics have been doing the same thing - it tells you a thing or two about how much money these things are expected to generate.
That is good…
Marston better stay afloat…
I think this is quite common. I suspect, but can’t be quite sure, that it’s a consequence of tracks being added to Google music. I was quite surprised to find all my “official” stuff there tbh…
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Rezpek!
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And, on the fairly limited data I have, to be fair to YT/Google, their monetisation pays better than Spotify does.
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It is good, but I also think it’s rather questionable company practice. To me it looks like what they’re doing is letting enthusiasts pay for the expense of their releases - at a dramatic cost for the individuals - while they as a company simply reap the rewards and take what is earned from them.
I’ve heard that some of the smaller companies are releasing CDs on CD-R format, as opposed to proper commercial CD format. That speaks volumes regarding expected (physical) sales. It very much suggests they’re having the masters duplicated, not replicated, which implies print runs of under 250 or 500.
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Marston does that for their out of print catalogue
Otha mofos like Pristine Classical offer downloads with an option to buy on CD
Yes, and why not really? From the large manufacturers my CD-Rs from 1997 still play fine. I also know that with two computers in parallell I could rip 100 CDs per day on weekends - where I also typed in metadata - which tells me that productions up to a couple of thousand units should be no problem to inexpensibly produce on your own.
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Soon everything will move into HD streaming anyway.
Yes, and either way… how many companies offer a 20+ year warranty on their products?
Pressed discs looks more professional though.
Could someone explain to me how this works? I’ve seen it so many times – the videos are uploaded to YT, monetised, but are not playable in (most of) Europe. Anyone know why that is?