Conference napalm::commusic_v1

>Set up manufacturing chain: distributor/cover printer/label printer.

    SHOULD read :  duplicator/cover printer/label printer
    
    I have distributors on the brain

    Received sticky labels.  Look good.
    Received color cassette inserts, look GREAT.
    Made an insert folding jig, as they don't come creased.
    Saw the Norelco cassette boxes he was gonna sell me, big problem.
      I'd done the insert with a one-inch foldover with text, and the 
      new-style boxes have a one-half inch foldover.  So he's chasing
      old-style Norelco boxes for me..
    
      <  1"  ><1/2"><      2 1/2"  ><     2 1/2"  >
      +-------------------------------------------+
      |       |    |               |              |
      | Fold- |    |               |              |
      | over  |    |   cover       |  credits     |
      |       |    |               |              |
      |       |    |               |              |
      |       |    |               |              |
      |       |    |               |              |
      |       |    |               |              |
      +-------------------------------------------+    
    
    Received 100 duplicated cassettes.  This is the second time around,
      the first time they were duped sans Dolby 'B'.
    The duplicates are NFG !  Seems the analog master we made at the
      duplicators was bad in one channel, big rolloff over 8KHz.  Very
      very dull.  Need to  A) remaster  B) reduplicate.  However, I'm
      pretty disgusted with this (local) duper, and have found a
      firm in Phoenix that can take a copy of my PCM master and dup
      directly to Nakamichi cassette decks !  IF they use my 100 cassettes,
      the second firm still wants $1.00 per cassette to do this.
    
    MORAL :  This is the third time I've done a commercial cassette,
    and new problems are still emerging.  Check and recheck EVERYTHING.
    Ask incredibly obvious questions, like, "we're using chrome cassettes
    and doing real-time duplication, are you going to have Dolby 'B'
    on ??"  And if you make an analog or digital duplication master,
    LISTEN TO IT WITH HEADPHONES (preferably yours) BEFORE they do a
    single cassette copy.
    
    More as it evolves.
    
    karl

    Karl,

	Just curious about the name of your record label, and any other
    tidbits. I am also pursuing hard & heavy this same path, with goals
    of getting into a limited run CD in the next 18 months.

	One thing that I've found is that there are substantial outlets
    for people who provide an alternative to what else is available (altho
    there is a substantial amount to choose from). Many of the local
    folk singers bring and sell thier cassette albums where ever they
    play (I have a similar goal) & while they may not go platnum, they
    certainly get the people more bookings in the long run.

	While we've all discussed this same thing before, I feel that
    with the massive amount of new technology, and the improvements in
    capability relating to the new technology will usher in major changes
    to the music industry as we know it. I see that independants will
    have an opporitunity to be successful, and at the moment, I plan
    on being an independant record company within 18 months. I'd guess that
    many others would like the same thing (even the headaches must be worth
    it if you do this more than once).


	I'd like some insights to how you managed to get your earlier
    efforts into the music shops. Did you put the tapes in on consignment?,
    did you give the shop owner a special price break, did you handle the
    advertising (and what did you do to provide it), are you tied in with
    any other distributer??

						    Jens

    < Note 1833.3 by TYFYS::MOLLER "Halloween the 13th on Elm Street #7" >
>	Just curious about the name of your record label, 
    
	"New Edge Music" ... doing an instate 'name search' now.
    
>	One thing that I've found is that there are substantial outlets
>    for people who provide an alternative to what else is available 
    
    Yes, there are.

>...     I plan on being an independant record company within 18 months. 
>I'd guess that many others would like the same thing (even the headaches 
>must be worth it if you do this more than once).

    (grits teeth) yes, it's worth it, he said.

>	I'd like some insights to how you managed to get your earlier
>    efforts into the music shops. 
    
    Poorly !
    
>    Did you put the tapes in on consignment?,
    
    Yes, and some outright sales, Phoenix and Tucson
    
>    did you give the shop owner a special price break, 

    They paid me what they'd pay a distributor for the tape ($6-$7ea)
        
>    did you handle the advertising (and what did you do to provide it), 
    
    See "Poorly!" above..
    
>    are you tied in with any other distributer??
    
    I have a LARGE list of both independent distributors, including
    the big New Agers like Music Design (formerly Narada, don't pay
    worth shit, rumor says), Backroads out of California (dist. farts
    of Space, among MANY others), lots more distributors, as well as 
    'real' record companies.
    
    Needless to say, until I have PRODUCT in my hand, like CLEAN
    duplicates, covers that fit, and shrinkwrapping, I don't have anything!
    When I DO, then the press kit, distributor letter and a tape goes
    to everyone on the list.  Whatever's left over goes to local record
    shops.
    
    The 'real' record company issue.. if I were to get a 'deal' with
    a record company, I'd make LOTS less per tape than if I sell directly
    to distributors..
    
karl    

re 1833.2, insert layouts

If you want to see how much can fit on a cassette label, take a look at
releases on Warner Brothers.  I have a couple with the one-inch foldover
and FOUR of the 2.5 inch pages.  They fit on all the lyrics and musician
credits for each song, copyright and production credits.  One has a note
of thanks from the singer even to his fan club (with address should you
want to join).  The other one must have shorter songs, as it has room for
little tiny paper dolls of the performers.

The outside of the 1-inch flap has ordered list of titles, UPC code, and
name of the producer.

A lot more than you used to get on CBS compact disks, although I must admit
that a CBS cassette I bought recently had an extra piece of paper containnig
all the text from the back of the LP jacket.  ("Peter and the Wolf" done
by Al Yankovic and Wendy Carlos.)

    < Note 1833.5 by DFLAT::DICKSON "Plan data flows first" >
>The outside of the 1-inch flap has ordered list of titles, UPC code, and
>name of the producer.

    .. that '1-inch flap' that *I* designed for is NOW only 5/8" on the
    new-model Norelco cassette boxes.
    
    karl

    If you have a half-decent sounding recording, you can most
    likely get it 'picked up' by a small label that may be a few
    steps ahead of you. The biggest advantage of this is that your
    recording is 'lumped in' with similar artists. In other words,
    you know what a "Windham Hill" act is going to be like, to some
    extent, before you buy the record.
    
    Obviously, for a strong style of music (hard core, for example)
    this is a big advantage (very strong support amoungst the hard
    core fans).
    
    We (my hubby & I) have been through the record label ordeal, as
    have some friends, each with varying levels of success. I just wanted
    to mention the above as an alternative to the large amount of work
    and space needed (those round flat suckers take up a lot of room!).
    

    > NYJMIS::PFREY
    > (those round flat suckers take up a lot of room!).

    Thats assuming that you want to go thru the effort of  making vinal
    records for turntables.  I have hopes of sticking to Cassettes until
    some form of writable CD  comes to market & them maybe looking into
    that format. One day, maybe even a Video!!!

    Of course, my goals may be different than yours. I've seen where a
    good limited run Cassette album, even if only given away as your demo
    tape, will bring much in the way of repeat business. It always looks
    good to have 'Recording Artists' and the name of the record  company
    on your promo package. Also, there are  a lot of small volume sales
    associated with being able to sell tapes where you are playing. No,
    I don't expect to go Gold or Platnum,  I just feel that there is a
    place for what I'm doing, and an audience.

    In a recent Electronic Musician, The last page has a quick editorial
    by Craig Anderton. He mentions that people tend to have deverse
    interests but the record companies classify whole large groups of
    people (for example, all of  the 30 to 40 year olds) as liking only
    one type of music, or  maybe 2 types. I must be weird  (most people
    might say that about me anyway), but, I like all sorts of music. Back
    in the 1960's you could expect to hear wide variations of musical
    styles from a single radio station, at any time of the day. Today, we
    have  labels  associated with the stations, ie: adult contemporary,
    classic rock, folk, Heavy Metal, etc.

    So, I figure, that if I have something to offer, and don't  assume the
    the audience are idiots (they might be, but, I'll assume that they
    are not until proven otherwise), they might appreciate some of the
    things that I have. If they don't like it, then either I'm wrong
    (possible) or it's the wrong audience for the music (also possible).

    I guess that there is nothing wrong with going with an established
    label if you want, but I'd like to have complete control. If I screw
    up, then it's my fault. If someone else screws up, it may be because
    they were not able to  promote things the way I desired. Either
    way; I don't expect  miracles.

							Jens

    Update :
    
    On Monday April 10 I sent out 20 copies of my album, with appropriate
    cover letters, to record companies and independent distributors.
    
    Today my home answering machine received a call from Music Design
    of Milwaukee.  Music Design, formerly Narada, is probably the second
    biggest indie distributor of New Age music, right after Backroads/Farts
    of Space.  
    
    The fellow wants to know my "distributor price"..
    
    HELP !  I don't *know* what the going rates are !  I certainly know
    my per-unit cost..  does anyone know what record companies sell
    cassettes to distributors for these days ?  It may seem like the
    most obvious thing, pricing, but, hey, I've been busy !
    
    Any pricing feedback ??
    
    karl
    
    

    Slight digression regarding Narada...
    
    I picked up some Michael Jones CD on Narada last night. Though
    it stated it was digitally recorded (and backs that claim up with
    an equipment listing) there was an audible tape hiss present at
    a not-so-loud volume.
    
    I wonder how they do that....
    
    Edd

    If I'm not mistaken (I don't have a book in front of me, but, this is
    defined in a book that I recently purchased concerning making your
    own record), it's approximately 50% of the end sale price (for example
    if you want $9.00 for the tape, I'd say $4.50 to $5.00). Also, there is
    usually a 10 to 15% 'free' addition to the order, for example, if you
    buy 10, you actually get 11 (kind of the bakers dozen format)
    depending on payment terms.

    Maybe this doesn't help, but it's what I remember. Take a look at a
    good book store & look for a book of this nature, It defines things
    very well & gives some good guidelines. I lent the book to my partner
    (the keyboard player in my duo) & don't have it handy at the moment.

			Jens_who_is_pursuing_a_similar_but_slow_moving_path

    

    < Note 1833.10 by WEFXEM::COTE "The fool screams no more..." >
>    I picked up some Michael Jones CD on Narada last night. Though
>    it stated it was digitally recorded (and backs that claim up with
>    an equipment listing) there was an audible tape hiss present at
>    a not-so-loud volume.
    
    ..May not have been digital every step of the way.  Also, some CDs
    are better than others..

    re Jens - I've got the book, Diane Sward Rappaport, 'How To Make
    and Sell Yer Own', but the last revision was 1985 or 86.. I wonder
    what the going price is NOW.
    
    karl

    Karl,
    	I've got my fingers crossed for you.  Let us know if there's anyone
    we should write to or call for lobbying!
    
    	Eirikur
    

    RE: .9
    
    Just talked to a friend who's the New Age buyer for the Harvard Coop
    over in Cambridge, and he thought around $4.50 would be appropriate for
    charging a distribution company. The distributor then charges the
    record store around $5.50 (up to a high of $5.90). Of course, you'll
    have to take into account your costs for pressing and see if you can
    fit into that pricing scheme.
    
    Rob 

    Since you're actually producing tangible somethings, your charge FOB
    you should be about 2x your per-unit cost of production. 
    
    This is invariant with whatever the "something" is.  The only
    exceptions are food and anything sold to the military.  :-)
    
    	-Bill

    Settled on a price-to-distributors of $4.75/cassette.  This is in
    the right range for the tape to retail around $9.00.
    
    Received a call from New Leaf Distributors in Atlanta.. they have
    a VERY good reputation for paying promptly and moving lots of product.
    They're sending a contract.  None of the distributors so far have
    demanded an exclusive, though I imagine I'll have to be careful
    in terms of geography overlap.
    
    Major screwup :  I came up with a firm name of 'New Edge Music'.
    My name search methodology was to look in both the Phoenix and Tucson
    white and yellow pages.  This was, uh, inadequate.  I was informed
    that there already is a New Edge Music in Phoenix.. so last night
    I got to type up a sorry-for-the-confusion letter and sent it out
    to all the distributors and record companies I sent the tape to.
    Embarrassing.
    
    karl

    Update :  I'm solidifying things with New Leaf Distributors, talking
    about their various promotion efforts.  Have also contacted a 'real'
    duplicator, "Clarity", in Waterville, Maine.  These folks will do
    either real-time or high speed (x32) directly from a VHS PCM tape.
    They've also defined their requirements for the PCM duplication
    master.. I have to do another one, with a 1KHz tone before cassette
    side A and again before side B.  No problem.  They do the duplication,
    print the sticky labels, four-color print the insert, and do the
    shrink wrapping, and drop ship directly to the distributor.
    
    I also am pulling together a 1/4 page ad for the tape, to be inserted
    FREE in New Leaf's quarterly music catalog, which goes to the
    retailers. This is what they use to order from the distributor, so
    it has to look good.
    
    karl
    

    re .17 - VHS PCM, or VHS HiFi?  The former is not exactly a commonly
    available format (only the Hitachi DX900?).
    
    len.
    

    re .18, re .17..
    
    len,
    
    The duplicator, 'Clarity', happily accepts VHS 14-bit PCM as well
    as VHS HiFi.  The 14-bit PCM tapes made by the Toshiba DX900 is,
    as I mentioned somewhere else, totally compatible with the Sony
    PCM/F1 encoder/decoder and a standard VHS deck.
    
    karl

    VHS PCM is a standard format even though it is not a "common" format.
    The only thing special about the DX900 is that it is (I believe) the
    only VCR with built-in PCM.
    
    The way you normally do PCM is that you buy a PCM box to use
    in conjuction with a VCR.  For awhile, Sheffield labs was
    even selling PCM recordings made from original masters.
    
    I think PCM actually can be used with any video format.  I think
    all it is, is a digital encoding of an audio signal decoded into
    the bandwidth of a video signal.
    
    	db

    < Note 1833.20 by DREGS::BLICKSTEIN "Conliberative" >
                                   -< PCM  >-
>    I think PCM actually can be used with any video format.
    
    True. I have a friend that owns the Sony PCM/F1 unit and uses it
    with a Beta video deck.

    karl

    Time to 'fess up about some other activities at old Cottage Music.
    
    Four weeks ago I rec'd a call from an old friend in Detroit.  I
    used to play in a studio house band with him, doing commercials,
    demo backing trax, and a couple of film soundtracks.  He stayed
    on with the studio after I left Detroit, and became the roving
    Marketing guy for their custom jingle business.
    
    Recently the partners in the studio parted ways, and the studio
    was sold.  My friend and the singing partner want to continue doing
    custom jingles, but they need a source of custom 'jingle beds'.
    If they have a (potential) customer, they'll rent studio time to
    add vocals to the jingle bed.
    
    So I've been industriously doing 60-second commercials.  They've
    already bought one, with two more in the mail.  I send them on
    cassette. If they like it I send a VHS HiFi cassette.  The rates?
    $1k the first time they sell it, plus $200 each time they resell
    it.. and as they're specializing in auto dealerships, who are local
    or regional, they sometimes resell the same jingle bed with new
    vocals quite a few times.
    
    So this will push the studio into the black, and help me finance
    the duplication of my album, in anticipation of some orders there.
    And also eventually chip away at my studio wish list.
    
    Doing 60-second jingles is sorta like musical zen.. gotta be up,
    punchy, aurally interesting, all the while not knowing what the
    lyrics and melody will be.  It's teaching me a lot about movement
    within a piece, and attention to detail.
    
    karl
    
    
    

    The most amazing thing about this hobby of ours is that if you can
    turn an otherwise "well in the red" expensive hobby into at least
    a "pays for itself" type hobby IF you are flexible.
    
    I've also looked into getting into the commercial music field and
    am rather astounded by how much you can make.  One sale can almost
    pay for a major chunk of a studio.  The only real problem is that
    Uncle Sam starts to get involved and your taxes get very complicated
    very quickly.
    
    I think what's going on is that the pay scale for commercial music
    just hasn't "got wind" of the MIDI revolution.   I think the pay
    scale hasn't "adjusted" for the economies that MIDI has brought.
    
    So... enjoy it while it lasts.
    
    	db

    < Note 1833.23 by DREGS::BLICKSTEIN "Conliberative" >
>                              -< MIDI economics >-
>..............The only real problem is that
>    Uncle Sam starts to get involved and your taxes get very complicated
>    very quickly.

    Well, I invited the taxes issue by beginning to expense/depreciate
    my studio acquisitions in 1986.  So it's high time I got in the
    black !  However, the temptation will be to spend every cent of
    income on either the album duplication effort or new equipment..
    and I'm already in the red this year.. so the more I make the better,
    as some will go toward the two subjects above, and some will remain
    to push me in the black. I can't forget that I have $x in equipment
    depreciation to cover, as well, before I show a profit.

>The most amazing thing about this hobby of ours is that if you can
>    turn an otherwise "well in the red" expensive hobby into at least
>    a "pays for itself" type hobby IF you are flexible.

    Bite your tongue.. strike the word 'hobby' from thy vocabulary..        
    IRS rules state that the small businessperson must show a 'good
    faith effort' to make a profit, otherwise it's a hobby.  If my album
    and jingle efforts aren't 'good faith', I'm in trouble.
        
>    I think what's going on is that the pay scale for commercial music
>    just hasn't "got wind" of the MIDI revolution.   I think the pay
>    scale hasn't "adjusted" for the economies that MIDI has brought.

    Well, that may be true.  The people for whom I'm working used to
    own a 16-track studio with all the outboard gear, nice grand, 3
    isolation booths, not to mention the building/land costs.. plus
    the cost of the session musicians and engineer.  So it's easily 
    conceivable that a stereo 60-second jingle 'bed' (no vocals) could 
    cost them $2000, with all that overhead.  So if my jingle beds fill 
    the bill, coming in the mail, it's a very real savings to them at 
    $1000 each.  ONLY if they sell it.. no risk to them, and only 10-12 
    hours time for me.  Hey, $100/hour !  Not bad !    
    
    karl

I have to hand it to Karl Moeller, He managed to complain in this months
Electronic Musician magazine (November 1989) & Plug his Cassette album &
record company at the same time. I'm Impressed (Look in the letters to the
editor section).

							Jens

    That letter to the editor caught my eye too!
    Good going Karl!
    (you have to keep the nepotism at EM in check)
    !
    Pete
    

    S'pose we get an unauthorized copy posted here????
    
    Edd the unsubscribed...

    well, I'll haveta go get a copy.  There's more than one way to get
    published in the music comix.  Though it was brave of them to print it!
    
    - was there any rebuttal from the EM editorial staff ??
    
    karl

re:  - was there any rebuttal from the EM editorial staff ??

	Yeah, and it was the longest response by EM this month.  
	Atta boy, Karl.  :)

Dan

    "Ascending Ayers Rock" was picked up today by Music Design, who is
    probably the 2nd largest indie distributor in the U.S. (behind
    Backroads).  They submitted two orders, one for each warehouse, 
    one in Wisconsin, the other in California.  Also requested "as many 
    as you can send" free in-store demos.  These folks bear watching.
    They do NOT have a reputation for prompt payment.
    
    I found myself wondering if the sudden attention (they had called ME and
    then refused to answer my return calls earlier this year) had anything
    to do with my letter to the editor in Electronic Musician, in which I
    criticized an apparent sweetheart deal between Craig Anderton, EM, and
    Sona Gaia, which is a small label owned by Music Design.  However, now
    that I write it out like this, the 'attention' the EM letter would
    garner would NOT likely be positive.  Never mind !
    
    RE: the EM letter - did it strike anyone else that Craig Anderton's
    'rebuttal' was pretty weak ?  His responses were essentially that the
    Sona Gaia folks didn't like being mentioned for free in the previous
    issue (yeah, sure..), and that it wasn't surprising that his article on
    his album got published because, after all, he'd done 10 cover stories
    in '89 already, and that the EM staff thought it would "interest our
    readers".. tell me, who is the EM editorial staff's boss ?  So in my
    view Craig Anderton never did adequately respond to my implication that
    the only reason his content-free article pushing his new album got 
    published, is that he runs the magazine !
    
    karl

    I'd say that half the articles he writes get published because he
    runs the magazine.  He writes a large percentage of each issue all
    by himself.
    
    In general I am not impressed with the technical content of many EM
    articles.  Like the recent one on converting 6-op to 4-op FM patches.
    It says nothing substantive about how to take advantage of the TX81Z's
    multiple waveforms to *eliminate* the need for some modulator chains.
    Shows that the guy writing the article didn't really know much about
    FM synthesis.
    
    I had a similar feeling as yours after reading CA's article on home
    recording.  "Where's the beef?"  It didn't say anything new, and didn't
    pull together anything that had not been pulled together before
    (despite what he said in his reply.)
    
    His comment that yours was the only negative letter received about that
    article doesn't mean anything.  The vast majority of people who would
    have felt the same way wouldn't even have bothered to read the article
    in the first place, much less write a letter about it.  After a certain
    point you outgrow EM's feature articles and only read it for the reviews.

	Karl,

		I'd Guess that your letter probably got you some attention
	and had something to do with the order. I also agree that EM has
	a lot of mediocre reviews (Probably because they affect Advertising
	revenue if they are too nasty). However, they have some interesting
	projects & opinions (not unlike the readers of this conferance).
	As for my opinion of the article that Karl blasted, I never read
	all of it, because it didn't look like had anything of substance
	that I needed to know. As for Craig Anderton, The PAIA stuff I
	bought that he designed was fairly mediocre in quality, but it did
	work. He's done a lot of good in an industry that is hard to do
	anything that benifits everyone in the industry.

								Jens

Yeah Craig's rebuttle was pitifully weak...but then he didn't say anything 
that I wouldn't have in his shoes....

EM like all other industry mags is a showcase without substance for
manufacturers

Disclaimer: IMHO all of the above

dbii

	I don't know about the rest of you, but I'd be more than a little
	tempted to do some healthy self-promotion if I had the means,
	considering the high cost of advertising.  That doesn't mean that
	I'm not 99.99% in total agreement with Karl's letter, just that I
	can see why a fat cat might try to get a little extra mileage out
	of parallel operations. 

	BTW, Karl, just so you don't write ~"the only single negative
	letter", next time you might give us a chance to ride on your
	bandwagon! 

	re the other responses, yah, the reviews are the best part now,
	but when I started out I read the thing cover to cover.  Like
	Steve Ciarcia and (retch!) "Dr." Jerry Pernoulle, print
	personalities serve to humanize things for the novice, but their
	usefulness declines as the reader's experience increases.  Face
	it, most of the people participating in this conference could be
	writing columns and how-to books, so it's not surprising that
	we've outgrown the articles aimed at the MIDI novice.  I'm still
	not giving up my subscription, though...what if I pick up a TX81Z
	at a garage sale???  *8^) 

    HEARTSONG REVIEW Fall'89/Winter'90, page 50:
    
            Karl Moeller, "Ascending Ayers Rock" ** (two stars).  
    
    This recording starts out with Australian Didjeridoo, which fades 
    into the background and becomes an interplay between that instrument, 
    sampled voice chorus, digital piano and strings.  This is what a
    European might hear in their minds while ascending Ayers Rock, known as
    Uluru to the Aboriginal natives living in the area.  In the title track
    Moeller indeed captures some of the awe and wonder, immensity and
    timelessness inherent in a sacred place of the intensity of Uluru. 
    Moeller's playing is enjoyable throughout the recording, with a variety
    of moods and flavors.  (reviewed by Mark Harris) (ordering info)
    
    (The two-star rating is on a 1-3 scale :  *= we like it OK, **=we like
    it a lot, it's good, ***=our favorites, excellent.)
    
    big week - big new distributor and a positive review...
    
    karl

    Notice the "Back page" editorial in the Dec-89 issue of Electronic
    Musician.  (The issue with the "100 products under $100" cover.)
    Ol' Craig is starting to feel uncomfortable about the criticism.

    re .36 - Paul, for us that don't have the issue, could you recap the
    main points ????
    
    thanks, karl

    This is all paraphrase unless in quote marks.
    
    Letters are important.  We need to know what should be improved.
    
    "However, there is one very unfortunate element in some of the more
    negative letters.  If you read between the lines, it seems that people
    often criticize others in order to make themselves fell better."
    
    Solution: instead of "I'm ok, you're ok", we should say "I'm a jerk,
    you're a jerk, but since we both are, that takes the pressure off."
    
    If you make a mistake, so what, everybody else does.  Tolerance,
    acceptance of others' flaws, etc.
    
    "It's time everyone lightened up a bit.  Since we're all bozos on this
    bus, we might as well do whatever we can to make life easier for our
    traveling companions.  Accepting recognizing, and doing everything we
    can to eliminate our flaws, as well as those of other people, is a good
    first step - one which based on our mail, many EM readers have already
    decided to take."
    
    ----- end of paraphrase, etc.
    
    He makes a distinction between helpful criticizm and the other kind.
    He thinks some people criticize out of "fear or self-hatred".  Well, I
    suppose some people do.  But, like composers and performers, who have
    their stuff reviewed in these magazines, the publishers should be
    prepared for some criticizm as well.  EM has been around for 5 years
    now, and maybe a large part of its early readers have outgrown it,
    as we have discussed here.
    
    Publishers should also, like Caeser's wife, be above even the
    appearance of questionable behavior.  (re the observations about
    possible conflict of interest between Anderton's record label and
    some reviews, etc.  Or the strange absence of any really negative
    reviews.)  Well ok, they didn't like FINALE.  But then, nobody did.
    

    thanks, Paul.

               <<< TIMBRE::DKA300:[NOTES$LIBRARY]MUSIC.NOTE;1 >>>
                                 -< Music V3 >-
================================================================================
Note 1175.4              Demo Tapes For Record Companies                  4 of 4
CSC32::MOLLER "Who you gonna call? Code Busters!"    51 lines  30-AUG-1990 14:47
                          -< quite a Saturday night >-
--------------------------------------------------------------------------------
	I had an interesting experiance last saturday night. There was
	an A&R person from a record company out in the audience & he had
	a talk with us after we finished playing. Before I go any further,
	I'll mention that he had no interest in us because of our age
	(and the limited market that we would have because of that factor).

	He had been looking at bands in Denver and Colorado Springs for
	the last 2 weeks, and he had only happened on us because we
	were in the Lounge a few blocks from his hotel. He said what he
	was looking for was:

		1) Maturity on stage
		2) Relating to the audience
		3) Interacting with the audience
		4) How the band dressed
		5) What kind of language it used while on stage
		6) What it's equipment line up looked like
		7) What the sound level mix was (was it too loud, not
		   loud enough)
		8) How the audience reacted.

	As I said, he wasn't interested in us, as he felt there were some
	real marketing issues around the age (you need to be in your 20's).
	He did like how we handled ourselves and ranked high in all other
	areas. He particularly liked how people came out of the audience
	to play tamborine & cowbell.

	He also said that he saw few bands that ranked positivly in any
	catagories consistantly. He wasn't looking for flash guitarists,
	or ego riddled bands. All in all, he wasn't impressed with much
	that he saw. He also told me that while originals are good to know,
	he'd rather find people that had a following & could develop into
	a marketable band. He told me that L.A. is a tough place to make
	it anymore, as the record companies are worried about the local
	appeal versus national appeal (L.A. is not like other parts of
	the U.S.A).

	We talked about 'New Kids On The Block' and he said that this may
	be a strong trend as the record companies want to be able to 
	manipulate the product produced for a global market. In otherwords,
	creativity is not always desired, and clone bands are not goodness
	unless that was the original goal of the record companies. He also
	mentioned that urban influences (such as RAP) sell world wide &
	that we should add some.

	My opinion is that the record companies are still looking for
	mainstream success & could care less about developing talent.

							Jens

>	We talked about 'New Kids On The Block' and he said that this may
>	be a strong trend as the record companies want to be able to 
>	manipulate the product produced for a global market. 
    
    It's already starting.  Saw something in the morning paper about a TV
    show starring 'The Boys Next Door' - a New Kids clone, if your
    imagination can stoop so low.
    
    karl

    re .41 - you sure you're not thinking of "The Kids Next Door", a comedy
    troupe featured on The Comedy Channel?
    
    len.
    

       re: .40,.41

       Nothing new here...the record companies always put their spin on
       somehow.  More for some acts than others which are totally
       fabricated: NKOTB, & [flashback time] the Monkees!

       Did you really think Micky Dolenz had enough talent to do
       anything more than shake his hair?

       I just surprised the Smurfs aren't out on tour...
       

    > Did you really think Micky Dolenz had enough talent to do
    > anything more than shake his hair?
    
    Frankly, I always thought he did a very creditable job as a singer.
    Perhaps moreso than Jones and definitely moreso than Nesmith.
    
    I'm not saying he would necessarily have made it on his own talent,
    but I thought that he was pretty good.

       
       
       
       
       
       
       Yeah, but aren't you the guy who bought a satellite dish for
       $14.95 from an ad in TV Guide?  *8')
       
       Yeah, I know, just yanking your chain...

       Back to the main topic: becoming a record company...through an
       interesting turn of events I became a member of the National
       Academy of Recording Arts and Sciences in '78.  Even though I'm
       not even peripherally involved in the music business anymore, I
       still get all the mailings from the local (LA) chapter.  One
       thing that you cannot let go of is that it's a business.  Don't
       let anyone's delusions about the intrinsic value of art &
       creativity control your approach.  In business, especially
       starting out, you've got to listen to your contacts.  They're
       going to tell you what they want, but maybe not directly,
       so...keep your ears open and listen for opportunities.

re: .43

Well, the Smurf's aren't out on tour, but the Teenage Mutant Ninja
Turtles are.  Seriously.  Disgusting, ain't it.

Usually Lurking,
/Chris

    The premier issue of the new incarnation of "Ms" magazine (lots of luck
    getting your hands on a copy; it sells out like crazy) has a
    fascinating article in which Leslie Gore and k.d. lang interview each
    other.  Kind of a transcript of a converstaion.  They compare the music
    business in the 60's to the music business now, how hard it is to make
    any money, and so on.
    
    Some tidbits:
    
    "It's my party and I'll cry if I want to" was recorded one day and Gore
    heard it on the radio seven days later.  Could not do it that fast
    today, she says.  They once recorded 3 songs, *completely* (as in,
    ready to press) in one afternoon studio session.  She got one check,
    then didn't see any more money for over 15 years.  (She was a teenager
    at the time, her parents signed the contract, and back then performers
    didn't know any better.)
    
    k.d. lang, for all of her publicity, hasn't seen much money yet either.
    The big money, she says, is getting your stuff played on the radio.
    Touring is not a money maker due to high costs.  She travels with an
    8-piece band, a crew of 22, two buses and a truck.

    
    >The big money, she says, is getting your stuff played on the radio.
    >Touring is not a money maker due to high costs. 
    
    Say what?!?  Here and all along we've been told it's the other way
    around.  Looks to me like the only real way must be to be part of a
    manufactured group.  I guess the only reason for doing it has to be
    because you love it.  I laugh (fondly) when I remember being told by 
    someone "in the biz" that I should be doing soundtracks.  You ain't gonna 
    make the big money doing what lots of folks would gladly do for free.
    
    Steve

    It may be because once your stuff is on the radio you don't have to do
    anything but cash the royalty checks.  (Provided it *stays* on the
    radio, of course.)
    
    I have seen other comments (for example, from Frank Zappa) that touring
    is a money-losing or at best break-even proposition.
    
    Why should the members of a manufactured group get much money?  That
    misses the point of why they got manufactured in the first place.

    Well, members of a manufactured group SHOULDN'T get money, but they do
    if only because they've sold their souls.  I've heard it lamented that
    there's little money to be made by selling records.  But, selling
    records allows you to go on tour where the real money is made.  From
    what I understand, you aren't going to make the big money selling
    records or by going on tour.  Nobody is an expert on how to make big
    money, but everyone's an expert on how not to make it.
    
    Steve

    
    	To make money on tour, you have to be a big enough draw that
    promoters will lose their sense of reason and guarrenttee a huge check.
    That applies to groups such as the Stones, the Who, NKOTB, M. Jackson
    etc... Sometimes the promoter makes a profit, sometimes - well, just
    ask old Chuck Sullivan how things can go wrong. Otherwise, it is a
    risky proposition - you go out to push records! If the record sells,
    and you run a lean operation, or get visa or someone to underwrite
    your expenses, you win. Otherwise, it becomes a hard way to win a
    dollar.
    
    	Look at the acts who play some 300 or so dates a year - that is
    what it often takes to keep the act solvent, especially if "hit"
    records are few and far in between.  Bonnie Raitt comes to mind - she
    had to work alot (until the recent hit) just to keep the money coming.
    
    
    	bob (who_much_prefers_the_music_room_as_a_tour_stop)
    

    
    The big name groups have corporate tour sponsors nowadays. That's a big
    chunk of money guaranteed, and up front.
    
    CdH
    

 >                    <<< Note 1833.52 by STROKR::DEHAHN >>>
 >
 >   
 >   The big name groups have corporate tour sponsors nowadays. That's a big
 >   chunk of money guaranteed, and up front.
 >   
 >   CdH
  Great! That's what I'll do!
    Tom  
    

re: corporate sponsors

According to Pete Townshend all sponsorship allowed them (the WHO) to do was
afford to play a few smaller venues, ya know stadiums that seat less than
40000. He claims that touring is so expensive now that it's almost unaffordable.

Of course, he could just be cheap too...

dbii

    >According to Pete Townshend all sponsorship allowed them (the WHO) to do 
    >was afford to play a few smaller venues, ya know stadiums that seat less
    >than 40000. He claims that touring is so expensive now that it's almost 
    >unaffordable.
    
    Well, considering the level that rock bands like to tour at, no wonder
    it's expensive.  The Who used plenty of backing musicians, plus lots of
    lights, etc.   Go look at blues and country musicians who can do OK
    touring.  Think B.B. King is losing money by touring?
    
    Touring and record sales are intertwined.  Just ask folk musicians who
    sell records at their shows.  A lot of people will snag an album if
    they see it immediately following a performance, while a popular album
    will guarantee lots of people coming to the shows.  Live performing may
    be the most effective promotion that exists, even better than radio. 
    Of course, radio makes it easier to reach lots of people.
    
    
    						Brian

    A little while ago, Laurie Anderson performed by herself at Bershire
    performance center, a 1200-seat hall at $25 /ticket.  That's 
    $30K gross take.
    Live productions managed box office and hall security I guess.  
    had to be 12 people at least.  The lights were at least 1 person and a
    helper.  The audio guy sat on stage in the dark.  perhaps there were a
    couple others.  The whole kit and kaboodle fit in 2 vans (like you
    cruise in 8-) ) with the people that were going back to new york.
    It was 2 nights.
    What do you think the take was, what with no backup at all?
    Tom

    Tom, 
    
    I have no idea how much of the gross promoters get these days.  That
    obviously makes a big difference.   For the heck of it, let's assume
    it's 40%.  That leaves $36K (for two nights).  Then Laurie pays her
    manager 15%, her agent 15% (is she self-managed?)  which leaves about
    $25K.  Now she has to pay for the crew, pay for the van rentals, hotel
    bills, meals, rental of lights and sound, etc. So maybe she gets to
    take $10-15K home...just a guess.
    
    Now, figuring she plows a lot of cash into equipment, studio time, etc.
    she's probably doing OK but certainly not getting rich.
    
    Now imagine splitting that cash with four or five more band members....
    
    							Brian 

    
    	It most likely was profitable! Brian hit the nail on the head -
    travel cheap - keep the overhead down, play a lot of dates, and you
    can do ok.  Take a Lyle Lovette - large band, moderate success with
    the records, lots of dates - travels with the band by buss also. If
    Lyle decides to fly, or have his own personal buss or whatever stupid
    ego trick big pop stars like to perform, he loses money!
    
    	Chuck Berry had the ultimate racket - promoter supplies the band
    (at promoters expense), Chuck has a guarrentteed take, flies in with
    guitar, performs, leaves... His biggest expense being the flight. Low
    overhead, big profit!! Seems I recall Neil Young doing a solo tour
    right after a CSNY tour - lessee, 1971, Music Hall, $15k to play
    his guitar and a rented piano - not bad!
    
    	However, for most acts, i believe it is a lot of work. Unless you
    really love bussing from town to town all the time, it can be a real
    grind. If you start accumulating expenses to cure the boredom, i
    believe the profits vanish rather quickly!
    
    
    		bob
    

    on radio play...
    
    I remember when my wife and I were driving out to Ohio last year (and
    ended up staying with an ornery critter who at that time was drooling
    over a Proteus - no names of course ;-), and ALL the way out there (no
    matter what station was coming in at the time) we heard 4 songs over an
    over again  (A Cher "tune", Richard Marx, etc...).
    
    I was thinking - let's say they get $.05 each time a song airs (I don't
    know the figure, that might be high...).  And let's assume (as that
    trip seemed to say) that the song gets played aobut 10 times a day per
    radio station, then assume there are 2500 radio stations playing that
    song daily and let's assume the air play run lasts for about 4 weeks.
    
    That's 700K plays at $.05/ea or $35K for a one month radio blast (top
    10 single).  OF course, depending on the accuracy of the nickel guess,
    the number of stations, number of plays, etc....this number could go
    anywhere.
    
    So in essence, I have added nothing to this conversation.
    
    Gee, I'm proud!  &*}
    
    (abashed) Steve

    Come on now...
    
    	Mike was the only Monkey who could actually write songs!!!!
    
    	Sort Of......8^)

    Interesting topic here.  How is everyone faring now?
    
    Mike

    I've decided to hire a part-time business manager, a person who helped
    a local record company get their incredibly lame new age album actually
    to show on the Billboard charts.
    
    when in doubt, throw expertise and money at it..
    
    karl

    > I've decided to hire a part-time business manager, a person who helped
    > a local record company get their incredibly lame new age album actually
    > to show on the Billboard charts.
    
    Ha! Love it...
    
    dp
    

    Whoever said "Music is not a competitive sport" apparently never tried
    to get into a record company.  Or tried to get airplay.  
    
    karl

Busy period for me.  Changed my duplicator and printer for the Ayers Rock
album.  After banging my head against the wall trying to get some other
musicians to do a concert in December (IRS say studio need income), and 
failing, and then attempting to get some studio work on someone else's 
album that isn't going to get made, I decided I'd have to do it myself.

So I sat and sat and thought.  A concert is the only way.. a place with
a nice grand would work, and I've got plenty of solo piano pieces, but
a) solo piano is passe', and b) I'm doing lots of orchestration in the
studio these days.  But when I really thought about doing a concert with
my current setup (floppy based MAC and EMAX), I kinda flinched... between
song pauses would be painfully long.. plus I'd get into sort of a "Music
Minus One" scene, leaving some part unplayed by the MAC and playing it
myself.  So a live concert didn't seem to work right now.  My stuff is
at its best on tape.

My wife said, "Why don't you just play Ayers Rock and some of your newer 
stuff on tape ?"  I stifled the  immediate urge to say "Yes, But.." and 
sat and sat and thought.  Who'd PAY to come and simply listen to a tape ?  
Who does that now ? .. People going to the local Planetarium to watch a 
laser light show, that's who.  Now, I've done two concerts at the local 
Planetarium, on the U of AZ campus, and found it to be a frustrating 
experience - it's hard playing in the dark.  But it's got great acoustics, 
comfortable seats, and a powerful, clean stereo sound system. 140 seats.

So you guessed it.  I've reserved the Planetarium for Sunday night Dec 2nd,
and struck a deal with the people that run the Laser shows there.  They've
been doing Pink Floyd "Wish You Were Here" and "Dark Side of the Moon" for
so long they jumped at the chance to do something different.  This is the
first time a local Tucson composer OR group has done this, and LaserVision
is willing to co-promote it.  They also think we can get one of the papers to
do a small feature.  Planning print ads in several pubs, flyers in stores,
maybe even sponsor "Hearts of Space" on KUAT, the University FM station.

I came in over the weekend, and used our MD300 scanner, DECImage software,
DECpaint and DECwrite to create the flyer/poster.  I've placed a Postscript
version in a public directory, in case you'd like to see it, it's on
KEYS::DUA1:[DISTRIBUTIONS]PLANET.PS  .. Also, I'm working on a Press Release,
pushing to get a story written.  Gotta get tickets printed, get places to
sell them, and contact those publications for a print ad.  I MAY make a 
    small profit on the UN-concert, and hope to sell tapes before, during
    intermission, and afterward.  It also may kick off local tape sales for
    Xmas.  If nothing else, I'm gonna learn a LOT about lasers.

Wish me luck ! karl

    Bully! Well done, Karl. Your accounts of your ongoing forays into the
    music business are inspirational. Accept my advance congrats no matter
    how the planetarium deal turns out.
    
    dp
    

    Git 'em, Karl!  Keep us posted.  Sounds great!
    
    Steve

	Great idea. I wish we had a planetarium in Vermont.... 

	As it stands, I'm still a good 6-8 months away from getting enough
	computer animations generated to do my show in Burlington. 

	/pjh

    There is a planetarium in Vermont, it's in St. Johnsbury at the museum
    there.
    
    							Brian

	Right, I'd forgotten about the Fairbanks.

	I'll dispense with ratholes...sorry
	

    Karl that sounds great!  I might even trek down I-10 to check it out!
    
    Mike

    Thanks for the Xpressions of support.  It's definitely happening Sunday
    night Dec 2nd at 7:30 PM at the Grace Flandrau Planetarium on the
    University of Arizona campus in Tucson.
    
    I've scanned my 'to-do' list, and there's definitely stuff on there
    that I'm uncomfortable with.. like a good portion of the promotion. 
    There's a woman I know here in town that's actively promoting a
    successful New Age label called Soundings of the Planet.  She works for
    them part time, so I'm going to try to retain her (almost typed
    'retrain') to co-write the press release and distribute same, also to
    coordinate the distribution of flyers as well as ad placement.  Leaving
    me to concentrate on the music and working with the laser guys.
    
    It works out like this.  Play one tune ("Ripping Off the Monks"), then
    a short welcome and housekeeping.  Then play the Ayers Rock album in
    its entirety.  Ayers Rock will have the night-sky Starfield up, and
    some very light colored-gossamer-Aurora-Borealis-type-things.  Then
    a 15-minute intermission, during which tapes will hopefully be sold.
    Then back in for another 40-45 minutes.  This segment is where the work
    comes in - first I have to pick the music, not easy 'cause I've got 3
    albums' worth of material, about 2 hours' worth, to choose from.  
    This stuff, which will be more upbeat material, will have laser
    programming for at least 30 minutes of the 45.  The rest I'm counting
    on the planetarium staff for some non-laser visuals.  Lights up, thank
    audience for coming.  As they exit tapes will still be available.
    (there's a theme here, I can tell).
    
    It's also been suggested to me that, since I have to make either a PCM
    or VHS HiFi tape of the whole concert, including the second set, that I
    just go ahead and make another album out of the 2nd set material.  My
    duplicator could do 50-100 copies quickly.. and as long as I stayed
    with a black and white cover it could probably happen, even as a one
    time release.  DECwrite, are you listening ?  So I don't know about the
    2nd set album.. I could offer the two tapes for $15.00.  Any comments
    on this concept's feasability ?
    
    Tickets $7.00, $5.00 for seniors and students with I.D.
    
    BTW, KEYS is back on the air, if anyone has any interest in looking at
    my Postscript promo poster/ad.
    
    karl
    

>    BTW, KEYS is back on the air, if anyone has any interest in looking at
>    my Postscript promo poster/ad.
    
    I printed it out.  It looks really nice, but it would be nice if you 
    could add a little color somewhere.  I know we don't have a color
    PostScript printer, but I think it would brighten it up a little and
    draw more attention.  Maybe print it on pastel color paper?
    
    JMHO,
    Mike

In terms of using this as a "sales opportunity", I noticed that at least one
of the music catalogs I receive is now dealing in small quanitity "pressings"
of CDs.  The latest American Muscial Supply catalog has prices for quantities
ranging from 1 (the ultimate limited edition, I guess) to 10000.

The 1-5 are really "reference discs" that you can buy for those few special
friends and range from $295 (for 1) to $895 (for 5).  The duplication service
ranges from 500 ($1495) to 10000 ($18995) and includes 1 or 2 color label from
customer-supplied artwork and jewel box packaging.

Apply the standard disclaimers:  prices are quoted from the catalog, I've never
had any experience with this service, prices are in US dollars, blah, blah, 
blah.  As if there weren't already too many things to spend money on...

- John -

P.S.  I liked the poster.  Wish I lived closer so I could attend.

    re .74: John, it's been STRONGLY suggested to me that if I really,
    really want to sell Ayers Rock, it needs to be a CD.  Some catalogs
    won't list cassette-only releases any more.  
    
    But $1495 for 500 is only $3.00 each.. marginally more than the cost
    per cassette.  What I wonder about is those setup/data transfer
    charges.
    
    We'll see.  I tend to want to give the cassette release a good chance,
    but my advisor(s) think that sales of a cassette only release will
    never show enough sales to 'prove' to me that a CD release is
    mandatory.  Heck, I don't even OWN a CD player.
    
    Put together the dread press release last night.. at 3 AM.
    karl
    karl

    	"... the powerful, sweeping music of Karl Moeller."
    				(from the poster)
    
    You write the copy yourself, Karl?  :) :)
    
    
    		"You must stir it and stump it,
	    	 And blow your own trumpet,
	    	 Or, trust me,
	    	 You haven't a chance."
	    		(W. S. Gilbert, Ruddigore)
    
    
    Here is someone else who wishes he could see this.  The local
    plenetarium here, the Christa McAuliffe planetarium in Concord, could
    use stuff like this.  So far they haven't really figured out how to use
    their fancy computer-driven projector to best effect.  Most of their
    show this summer was projection TV stuff with clutzy computer graphics.
    When I go to a planetarium I want to see stars.

>>> What I wonder about is those setup/data transfer charges.

   Maybe we should start a "vanity press" note for interested people in small
quantity CD/cassette production but since I started here...

    The other details listed in the catalog are as follows:

For quantity 1-5 Reference Disc:

   "Allow 3-4 weeks turn around time.  Price based on 3/4" U-Matic DAT, Standard
cassette, or 1/4" as input media.  All other media add $50.00.  3/4" U-Matic
cassette tape with P.Q. codes and DTA-2000 print-out available.  Add $200.00"

For quantity 500-10,000 Duplication packages:

..."Allow 4-6 weeks turn around time.  Price based on 3/4" U-Matic tape with 
P.Q. codes and DTA-2000 print-out media.  All other media, add $300 for 
pre-mastering.  CD Reference Disk is highly recommended, add $200.  Package
includes 1 master disc, replicas.  1 or 2 color label from customer supplied
artwork, jewel box packaging."

As before, I'm just passing the information along.  I'm not passing judgment on
this.  It would probably be advisable to check other sources.  Also, I'm not
even sure I know what things like P.Q. codes and DTA-2000 print-outs are.

- John -

    Re: last few
    
    I saw that page of the AMS catalog.  Weird.  Those prices can be
    matched or beat by many of the duplicators out there today.  Just
    think...if a small run of CDs gets the price down to $1.90 per, think
    about how much the big boys pay next time you plunk down $13 for a new
    biscuit.
    
    Karl, it's true what you heard about cassettes.  A good friend works in
    the Rounder warehouse and they are currently dropping labels that don't
    have CDs available for the bulk of their catalog.  "Record" stores
    don't want vinyl and CD fans don't want tapes.  Welcome to the modern
    world...
    
    						Brian

    John, thanks for add'l info re CD mastering.  There was an EM issue a
    year ago or so that demysified the process.  Think I'll look for it.
    
    re 'Vanity' terminology.  I think I take exception to it.  That term 
    is the kiss of death in the book publishing business.  But it's not
    even in use in the music business.  The correct term is "Independently
    Produced and Distributed".  If this was about vanity I'd be doing a
    live concert, not sitting in the dark with an EQ unit in my lap.
    
    Paul, Marketing is Marketing.  Besides, I DO like my own stuff and
    could look you in the eye and say it's sweeping and powerful.  *I*
    think it's the best "Independently Produced" music coming out of
    Tucson.  I couldn't print it if it weren't true.. ;-)
    
    karl

    re .77
    
    Hmmm  .75" UMatic DAT, Cassette, or .25" media. All other $50 more?
    
    The $50 premium seems rather arbitrary to me. What about VHS HiFi or F1
    format PCM? Nearly every TAPE duplication house I've ever looked into
    supports these formats at no premuim.
    
    By the way, anyone out there pick up a PCM adapter recently? Where did
    you get it, and how much are those thingys going for these days? Send
    me mail so this topic doesn't get completely off the track. ;^)
    
    dp
    
    

Karl:

>>>    re 'Vanity' terminology.  I think I take exception to it.  That term 
>>>    is the kiss of death in the book publishing business.  But it's not
>>>    even in use in the music business.  The correct term is "Independently
>>>    Produced and Distributed".  If this was about vanity I'd be doing a
>>>    live concert, not sitting in the dark with an EQ unit in my lap.

   I used the term exactly because of its use in book publishing and meant it
as a joke at people like me who read these ads and get delusions of grandeur.
I didn't mean it as a swipe at your efforts.  I'm sure the main clientele for
these kinds of services are unsigned gigging bands and people who need to sell 
their music to people who demand CDs.  In terms of the advertisement for 1-5 
copies of a CD outside the context of using it truly as a "reference disc", I 
think the catalog in question is testing the waters for a musical equivalent of a 
"vanity press".

    So, sorry for using "vanity press" in a note that was directly addressed
to you, Karl.  I should have refrained from using it the way I did.  (By the
way, I will buy your CD when it comes out.)

- John -

    Well, I finalized my press list, with a lot of help from a friend.  
    I'm taking off the rest of the week.  Tomorrow, Wednesday, I'll send 
    out all the press kits.  Then on the horn to the two radio stations 
    that have shows I want to briefly sponsor.  Thursday a sit
    down with the laser guy.  Friday look around for a VHS HiFi deck to
    bounce to - I don't have two PCM dex.  Since all my pieces are
    mastered on PCM I'll have to actually assemble the show on VHS HiFi and
    then I may bounce it back to PCM.  But I don't really see why, except 
    that's how I advertised the show.  Friday call the printer to print
    tickets.  Back Thurs 11/14, in CXO for some training Mon-Wed next week.
    
    karl

    I notice that the photo on the flyer has stars in the sky, which do
    not appear on the album cover.   Nice touch.

    I sneaked in late Friday to catch up a bit here.  Paul, re the stars in
    the flyer... I scanned in an ad I'd done for a distributor catalog, and
    somehow the ground, tree and sky all went black.  As I was just
    experimenting, rather than re-scan and play with the contrast values, I
    used paint to put in some stars.. sort of a nice graphic connection 
    between the album cover and the flyer, and the print ads.  I even used
    the scanned in script name and starry picture on my ticket artwork...
    
    Looks like a logo to me.
    
    Been knocking off items on my incredibly lengthy 'to-do' list.  Found a
    way to print flyer address labels directly from MACwrite.  Have built a
    direct mailing list of over 100 names, already printed.  Musician and
    workshop-giving friends have kicked in another several hundred names,
    so I WILL be doing a mass flyer mailing right after returning from CXO
    next week.  A columnist for one of the two daily papers here has
    committed to coming to the un-concert and doing a review. Unfortunately, 
    he's off on vacation almost until the show.  I'm hoping that the press 
    release encourages an article in one of the papers prior to the show.  
    That kind of exposure is priceless.  I emphasized the uniqueness of this 
    event - the first time a local musician's taped music (digital, no less!) 
    has been featured in a planetarium laser show.  Might just work. 
    
    BTW, I dumped the idea of quickly making an album out of set two's
    material.. the cover would be black and white, and I'm jammed for time
    already.  If I even break even, this will still serve to kick off Ayers
    Rock sales locally, and I can do this all again when the next album is
    really, really ready, and use that un-concert to kick off ITS sales.
    
    karl

    Another thought.  I'm having fun with my mailing list.  On it I placed
    the addresses of :
    
    	Synthesist Steve Roach, who though nice, stopped far short of taking 
    	me by the hand to meet
    
    	Eckart Rahn, who owns Celestial Harmonies (Tucson) and Kuckuck
    	Schallplatten in Germany, and his general manager
    
    	Ethan Edgecombe, who has resolutely ignored my mail and phone calls
    
    .. only costs me a quarter each.  I bet Steve comes, he was talking
    about doing a live concert at the planetarium here come spring..
    
    karl

    			< The Return........> 
     	
    
    Just to add my little bit,  I just starting my own label at the moment
    in the UK and working with a very interesting guy.  This guy owns a
    recording studio where several people have done their demos.   Now, my
    friend has his own label as well and has just released a single a few
    weeks back.   
           So far, he has made a PROFIT of over a thousand pounds from
    airplay alone.  He printed 800 copies and has not really sold anything
    but the airplay is giving him some cash.  I have heard his single which
    I do not care much for (cos it's just some instrumental house track).
           My friend says that all I need is only one GOOD track to make a
    profit over all that I have ever spent on music.  So I have just
    re-written a "possible" hit and I am reworking it at the moment
           To be blunt, I am going commercial (totally) just to make the
    money to support my label.  After that....who knows.
          I'll keep you informed.
    
    KF
                                             

    
    Gee, how do you get money from airplay without selling records....maybe
    we should all move to the UK to soak up this good cash...8^)  8^)
    
    						Brian

    
    
    
    
    
    
    
    
    Brian, and all those of you are unfortunately not living un the UK with
    our nice new smiling Prime Minister, John Major. - that was a ;-)
    
    I might be wrong but I beleive that some sort of royalties are paid
    when a record is played on air, mainly Radio 1 the national/commercial
    radio station.
    
    I also think there is some sort of union that can be used to ensure
    that the artist gets paid.  Not a bad situation eh?
    
    KF,  What's this Instrumental House track?  Sounds good to me!  What
    yer mate's name?
    
    
    matty
    matty

    matty, my friend's name is Eddie and I have got tomorrow and the day
    after off.  I shall be in the studio all of those 2 days recording.  I
    will also tape the house track and send to you by monday  and find
    out what the tittle is as well.
          Wish me luck guys....hopefully his success will rub off on me.
    
    KF                            

    contd...
           There is a late night programme on the Independent Televison
    Netwok called "The Hit Man & Her", my friend's record has been palyed
    twice on the show (on TV!!!!!).  I think that is where he made a lot of
    the cash.
    
    KF

    It must have heard of it if it got played on the `Hitman And Her'.
    
    
    matty

re paying for air time:

I think that royalties happen in the US too, although it is sort of indirect.
I know this from having been a DJ on a radio station for a few years.

There are a couple of organizations who coordinate this.  One is BMI (Broadcast
Music I???) and ASCAP (American Society of Composers and Performers).  It is
done via sampling.  As I understand it, radio stations are assessed some sort
of fee by ASCAP and/or BMI to allow them to play records issued under the
auspicies of these groups (virtually all are so issued).  Every once in a
while, a radio station is required to keep a log of what it plays for a week or
so.  As I understand it, these samples are used to dole out the fees to the
artists.  So the idea is that the record producers give the media for free to
the stations as a promotion, but the stations still are paying some sort of
royalty to the artists.

Dredging up ancient, but interesting knowledge from the deep past,

Burns

    re airplay royalties in the US :  ASCAP & BMI are indeed the channels
    for this.  However, like the Musician's Union, you start to wonder who
    they benefit.  The 'sampling' of radio station logs, etc. is mighty
    skimpy, to "keep costs down".  This of course benefits the really
    really big guys like M Jackson, etc.  So I see ASCAP and BMI as just a
    method to enrich the people that don't really need it.
    
    In no way do they accurately reflect real radio play patterns.  Of
    course, radio "programming" is another rathole.  
    
    karl

    
    Re: royalties
    
    Karl is right...recently a coffeehouse where I do sound refused to pay
    either BMI or ASCAP since the singer/songwriters who actually play the
    place (and are registered with BMI and ASCAP) never see any royalty
    checks.  
    
    						Brian
    
    P.S.  The proposed tape taxes were going to work the same way...
    *obviously* if Michael J sells 30% of the records in the world, 30% of
    all blank tape is being used to boot his records, right?  Gag me....

    Life's a bitch, or should that be Life's a Dog.  Whichever.

    and better yet try getting registered with BMI or ASCAP, it's not for
    us that's for sure
    
    dbii

    Hi guys,  like to say that my 2 days in the studio turned out to be
    most rewarding.  I didn't know that I had so much commercial streak in
    me.....the result is pretty good. (matty, a copy is heading your way).
    
    I also have some very valuable info for everyone.
    
    Info 1.   Since my friend owns a label and a studio, he has been
    receiving letters from Record Promoters (big and small alike). They
    have asked him to get people to send demos and completed work to them. 
    If they like the demo or the complete work they will pay for the
    processing, release and distribution of the record.  So you are
    gauranteed that your record would be heard on the radio and you might
    even do a few PAs.  I also listened to his record and I still do not
    like it but he was asked to do a PA for the record on The Hit Man & Her
    show.  He could not do this cos the rapper on the record lost interest. 
    He also did not promote the single at all.   But he has just completed
    an album which is being pressed in Czechoalovacia (SP)...cos it is
    cheaper.   I will be sending my songs to one of the record promoters in
    Scotland (when I finish recording it of course).
    
    Info no 2.  There is a magazine called "UK Demo"..this magazine is sort
    of exclusive to some small labels, recording studios and ALL the MAJOR
    record labels.  Now every month people send in their songs and pay
    14pounds.  The songs are then listened to by a jury who then combine the UK
    Demo charts top 100 which appears in the magazine.  If your songs get
    into the top 100 you are gauranteed that Most Record labels would
    listen to it.  Some people have just got a deal with CBS with a tape
    which they sent to CBS MONTHS ago and recieved no reply. The song on
    the tape made it to the UK demo charts at no 67.  My friend's song from
    last year got to no 80.  Before I forget, If your song makes it to NO 1
    Your band or group or you ge to appear on the front cover of the
    magazine!!!!.  You can send as many songs as you like in.  SO my songs
    are going there as well.
         This Demo magazine started this year as a 3 page newsletter.. Now
    it is 50 pages long..and getting bigger.   So something to check out
    guys.
         Back to me....I am still working on the songs and they will be
    ready by next Saturday.
    
    Not bad info for 2 days eh?
    
    KF
                                                                       

                         Planetarium show report :

I received some advance press, listed in the calendars of most of the local
papers. One columnist (not a music person) gave a nice one-paragraph preview.  
Though I'd sent out a solid press release, the rest of the local music 
columnists had various reasons for ignoring this event.  Oh, yes, they
were off at the M.C. Hammer dance-a-thon that night.

Attendance was gratifying.  Filled 124 of 140 seats.  I had placed tickets 
in several outlets, one of whom LOST them.. it turned out that outlet hadn't
sold any seats anyway, and only had 10 tickets.  Won't use THEM again.

The show was two hours long total, 2 sets with a 15-minute intermission, 
140 minutes of music.  I sold Ayers Rock tapes during intermission and 
after the show.  Actually, my wife and stepdaughter did at-the-door ticket 
    sales/collection and tape sales.

                      Set One, entirely on PCM tape:
Ripping Off the Monks (on CMVIII), introduction, entire Ascending Ayers Rock 
album: Ascending Ayers Rock, Easter Morning, La Chatte Noire, The Kiss, New 
Life Cycle, In the Blue Garden, The Procession, New Waltz.

           Set Two, some on PCM, some on the laser guy's TASCAM 38:
Relentless (on CMVIII), Sunscape (on CMVIII), The Minefield, The Aerobic 
Bull, January Piano, Native Speakers, Seven, Walk In Music, Meeting of the 
Spirits (J. McLaughlin).

My guesstimates about the show were completely off.  I thought I'd fill 80-90
seats, thus losing money, but that I'd sell lots of Ayers Rock tapes at $10.00
per.  In reality, I only sold 10 tapes, total $100, but had almost 90% 
attendance, making $15.00 profit on seating alone.  So for a month's effort, 
I made $115.00.  I had told myself if I broke even I'd do it again.  So I 
am going to do it again, probably in February 1991.

My music support group of professionals tells me that it's amazing that I 
broke even the 1st time out, especially in a new venue.  This is the first 
time a local musician has tried to get attendance at a show of taped music.  
Of course, the regular planetarium visuals and the laser visuals were a draw.  

                     How will I be smarter next time ?  

Money :  I didn't bargain at ALL with the planetarium staff.  Also, as I 
have traded for the TASCAM 38 1/2" tape with my music and the FM laser 
encoding, that's 5 tunes that are all ready for the next show - so I may be 
able to get the laser company's price down a bit.  Gonna try to get the 
planetarium AND the laser company to share the risk, and share the promo 
costs.  The planetarium, being a part of the University of Arizona, has 
access to a publicity department, an approach I didn't know about before.  

Won't print 11x17 posters.  Will get tickets printed more cheaply.  

Musical :  The music was very well received.  My home mixes worked perfectly
with their 1000-watt sound system.  Sequencing the second set made me look 
at my material just like I'd sequence an album. So most of set 2's material 
will definitely be the next tape.  And maybe it'll become a CD... (eek)

Visuals:   know a lot more now about the planetarium's visuals, and lots 
more about the laser technology and capability.  I will INSIST that ALL 
the visuals be slowly metamorphosizing/evolving instead of the frenetic 
light scribbling that these guys devolved to occasionally.

Overall, it was a WONDERFUL way to showcase my music.  The real test is to
do it again, recognizing that the local press isn't going to be any help,
try to get different people in this time, and try to maximize tape sales 
at the event.

karl

p.s. My show program, in Postscript form is located in a public directory:
KEYS::DUA1:[DISTRIBUTIONS]PROGRAM.PS  It's a two-page form, meant to be
printed double-sided, landscape, 'tumble' two-sided.. one 8 1/2x11 sheet
on its side, folded vertically, making an openable 4-page program.

>Visuals:   know a lot more now about the planetarium's visuals, and lots 
>more about the laser technology and capability.  I will INSIST that ALL 
>the visuals be slowly metamorphosizing/evolving instead of the frenetic 
>light scribbling that these guys devolved to occasionally.

huh.  When I used to frequent laser light shows, I couldn't wait for the
slowly metamorphosizing blobs to get off the dome so that I could enjoy
some more of that frenetic light scribbling...

Of course, I was much younger then.

>huh.  When I used to frequent laser light shows, I couldn't wait for the
>slowly metamorphosizing blobs to get off the dome so that I could enjoy
>some more of that frenetic light scribbling...
>Of course, I was much younger then.
    
    My point exactly.  the planetarium and laser guys are used to the
    midnite Pink Floyd shows that drag in the college-age druggies.
    My audience, while including some collegiates, was clearly older and,
    uh, more sedate.
    
    karl

Gee, somehow I doubt that Jeff was ever a college-age druggie.

	Eirikur, drawing from off-line acquaintance :-)

    
    You know, once in a while someone in the record industry does something
    sensible.
    
    Today I got a cassingle in the mail, a tune called "Highway" by a power
    trio called the Beautiful who record for Giant/Reprise.  My cost? 
    Free...
    
    I responded to an ad in OPTION magazine, offering a free tape from the
    band, so I invested my 25 cents and in response got the cassingle, a
    sticker, a photo of the band and a postcard with questions on it. 
    
    Questions like: Would I go see the band live?  Would I like to hear the
    whole album?  From hearing the single would I like to *buy* the album? 
    What were the three best shows I went to this year?  What were the
    three best records I bought this year? Who are my three favorite
    artists?  What radio station do I listen to?  Where do I get
    information about new music?
    
    It's easy to see what the band's manaagement is trying to figure out,
    and it's cool, I get to hear some of their music for free (I actually
    hated the A-side, but the B-side was OK) and they pick the brains of
    the people who hear it, and can figure out how to better market the
    band.  Sweet idea.
    
    						Brian

    Alesis did this with their micro-effects series.  Their magazine
    ads said "call this 800 number and get a free tape demonstrating
    all these units".  When you call the number they ask you some
    market reasearch questions.  (They also send you the tape.)
    
    The tape is the come-on to the marketing survey.  Also provides
    a demo better than any store salesman could ever do.  (We know
    about them.  "I dunno, we just got these things.  Frank knows how
    they work but he's out having lunch right now.")

    I sent out a letter to my press list; everyone who had been sent a
    press release received a follow-up letter stating that the planetarium
    show had been a relative success, and that there will be another show
    (and another album) in mid-late February.
    
    It's beautiful here then.
    
    karl

    Update.  Booked 4 hours in a studio here in town yesterday, guy had good
    references in terms of being familiar with CD mastering requirements.
    I went in thinking my PCM stuff would need massive EQ and compression -
    we ended up using all the pieces (but one) totally as-is.  I felt
    really vindicated  !  So I've got the album on RDAT (x2) with all the
    test tones and timecode.
    
    The cover is almost ready.  I commissioned some artwork, a saturated
    pastel color piece, that will wrap around from the CD front to back.
    Doing the layout for typesetting on DECwrite - they will use my stuff
    to lay it out on a Lintronic (1200 dpi doncha know).  
    
    Disc Makers of Philadelphia will be doing the work, 500 CDs and 500
    cassette package initial order.
    
    The album is called "Hot Cognitions".  contents in order :
    Ripping Off The Monks 3:48
    Relentless 4:20
    The Aerobic Bull 5:15
    Meeting Of The Spirits v9.Edd 7:22 (J. McLaughlin)
    The Minefield 5:35
    Native Speakers 3:19
    The Electric Pueblo 4:43
    January Piano 5:34
    Anthem 6:18
    Sunscape 3:11
    Walk In Music 6:23
    Andean Agogo 2:36
    
    karl

    > v9.Edd
    
    Do I get liner credits??????
    
    Edd

       <<< Note 1833.106 by WEFXEM::COTE "The keys to her Ferrari..." >>>
    >                             -< Oooooo!  >-
>> v9.Edd
>    Do I get liner credits??????
>    Edd
    
    From the liner notes :
    
    "Enduring credit to the DEC COMMUSIC conference attendees for holding
    my hand every step of the way toward being a confirmed MIDIholic."
    karl
    

    Might wanna skip that reference to DEC....
    
    Edd

    >Might wanna skip that reference to DEC....
    
    really ?  I thought it'd be obscure enough.. we've discussed that it's
    taboo to write an article about COMMUSIC in the music comix..  tell you
    what, noters, if you have feelings either way, please send me VAXmail
    and I'll go with the majority.. let's not clutter this topic.
    
    thanks. karl

    Don't think it's really any different from saying "thanks to the
    my co-workers at DEC".
    
    But I want royalties on the use of the term "MIDIholic" (TM)    ;-)
    
    	db - originator of the term "MIDIholic"
             My only contribution to the field of music

re: .105

 >   So I've got the album on RDAT (x2) with all the
 >   test tones and timecode.

How did you get timecode and (I assume) a stereo mix on RDAT ?

I'd also like to purchase a copy of your CD when it comes out - will you
post details for European "fans" :-) ?

All the best ....

Karl, will we be able to orders copies of this MasterWork? I hope so, from
hearing your stuff on CM7...

Gavin

    I won't have stock for probably 6-8 weeks.  thanks for the query.
    
    re Zayed's query on RDAT timecode.. certainly the mix is stereo.  
    DAT timecode/ID :  I didn't know at all about this stuff.  The TASCAM
    DA-30 DAT deck we used had the capability of automatically (!) placing
    timecode ID's at the beginning of each selection.  This ID allows 
    shuttling around on the tape, similar to CD.  The ID itself is
    expressed in HR:MIN:SEC format - thus my terming it 'timecode'..
    The test tones were generated by some unit in the studio's racks.. 
    2 minutes of digital black followed by 1KHz 30 secs left channel, 
    30 secs right channel, some more digital black, then the first piece.  
    
    This evening I'm going back to make a digital port backup of the DAT to
    another machine whilst simultaneously making a PCM dub for my use. 
    I've got the music, but it's spread across 4 videocassettes.
    
    karl

             <<< COOKIE::DISK$SYSTEM_3:[NOTES$LIBRARY]CD.NOTE;1 >>>
                             -< Compact Discs V2. >-
================================================================================
Note 779.6      Tell (off) the small, unknown music publisher ...         6 of 6
RICKS::SHERMAN "ECADSR::SHERMAN 225-5487, 223-3326"  32 lines   1-AUG-1991 11:57
--------------------------------------------------------------------------------
Just read the article as suggested to me by Mike Falivena in note 779.4
of the CD notes file.  It's in the July 25 (?), 1991 issue on page B1 of
the WSJ.  Basically, it says that by spring of 1992 it is expected that a new 
type of CD packaging will hit stores that will replace both jewel and long-box
packaging.  It is possible that jewel packaging may still put up a fight,
but it may lose because even though it is probably best for the environment,
retailers refuse to sell anything that does not have long-box measurements 
because of the costs of changing shelf sizes (which formerly held LPs) and
because of shoplifting costs.  Consumer testing is being done now and results
are expected by September so that the major record companies can retool.
The three choices are called Eco-Pak, Laserfile and Inch Pack.  All three
can be shrink-wrapped in long box dimensions and fold up to jewel box size.
It is expected that consumer preference will be the deciding factor on which
form will be chosen by the record industry.  Whichever is chosen may cost about
the same or be slightly more (about 25% or so more) than jewel boxes.

The major differences are:

Eco-Pak			Laserfile		Inch Pack
------------		--------------		----------------

plastic-reinforced	plastic			plastic
cardboard		

panels fold over CD	CD slides out 		CD slides out
			of drawer,		of drawer,
			locks together		hinge folds down
			when stacked		in middle to make it easy
						to pull out the CD

lots of print area 	minimal print area	minimal print area
can replace pamphlet	

    Received my shipment yesterday.  Fun in the office today, playing the
    Hot Cognitions CD in an RRD42 attached to a DS5000-200, self-powered
    speakers, using the xcd tool.  Played the album all day at low volume
    in our demo room.  Wanderers-in gave good reviews.  Amazing how much
    work I had to do in the demo room today...
    
    karl

    Rumor has it that Tower Records has picked up Hot Cognitions for its
    U.S. East Coast stores and will stock it for Christmas.  further, as
    they function as their own distributor, they may be paying wholesale,
    not distributor, prices.  More as this evolves.
    
    karl

    wow ...  Merry Christmas, Karl!
    
    Steve

>    Rumor has it that Tower Records has picked up Hot Cognitions for its
>    U.S. East Coast stores and will stock it for Christmas.  

Congratulations! Is that through TRIP? A friend of mine used to work for
them (she still works for Tower in Boston).

alan

 re .118, alan starr : >Is that through TRIP? 
    
    Yes, and another division/geography whose name I forget right now.
    
    Lot of pressure in the system to put Ascending Ayers Rock on CD (and
    get a barcode for it).  Some of the distributors (including TRIP) that
    ignored it before like it now but want it on CD.  What's another $3K?
    
    karl

    Barcode!?!  How do you go about doing that!?!  I have seen a bar code
    generating program at Digital.  I guess it's standard stuff.  But, how
    do you get a number assigned?  I thought there was some sort of formal
    procedure or something.
    
    Steve

    This isn't ON-TAP stuff, not bar code 39..
    
    Yes, I'm taking about a registered UPC, Universal Price Code.  There
    are companies that will, for a fee, register you and send you bar code
    in film form (say that fast) suitable for use by a printing firm's art
    department.  I got one for the CD and one for the cassette.
    
    UPC has profound implications for marketing.  It gives the relase
    legitimacy.  Getting registered means that every store that carries 
    music in my format is a possible outlet.  They just have to scan the 
    code and the suggested retail price comes up.  If they're automated, it 
    will reduce their inventory, put it on reorder, AND make the data 
    available for the new BILLBOARD chart collection/analysis dweebs.  ;-)
    
    karl

	Karl - are you registered with BMI or ASCAP? I've spent the last
7 months trying to get BMI to send me applications for my publishing efforts
and registering my self (and a number of others) as song writers. I've delt
with both the New York & Los Angeles offices (and not getting very far very
fast).

								Jens

    BMI.  There were two applications in the first package they sent me.  I
    agree, they're incredibly slow.  I returned that stuff long ago,
    requesting additional song registration forms, to the L.A. office..
    Another thing to chase down.  Frankly, I expect to see $0.00 from any
    BMI affiliation, assuming I actually AM registered.  But it's part of
    the game.
    
    karl

    Similar song and dance here.  I sent in an application, what, a month
    or so ago?  Haven't heard anything yet.  From what I understand, BMI
    registration gets you two things.  First, royalties from the play your
    music gets on the radio (bwaaaahahahahahah!).  Second, (and this is the
    important thing) one more thing to stick on your album to make it look
    official.
    
    BTW, my current list of
    things-to-stick-on-my-album-to-make-it-look-official include:
    
    	1. My own professionally done "indy label" logo. (Cost me about $50
    	   to have one designed from a sketch.  Looks sharp.)
    	2. One o' them "DDD" things and the "Digital Compact Disc" logo
    	   if I ever make it to CD. 
    	4. A UPC symbol.
    	5. A BMI affiliation.
    	6. The name of the photographer that did the mechanical for the cover.
    
    Steve

    Karl,
    
    For our enlightenment and edification, would you mind disclosing how us
    blighters can find a company that assigns UPC codes?  I looked in
    Boston area business directories and yellow pages and came up with
    nada.  Also, there ain't nuttin' in the MIX Sourcebook.  :|  
    
    BTW, I'm not so enchanted with the Sourcebook.  I'm not convinced that
    it's all that comprehensive.  But, since there's not much else like 
    it ...
    
    Steve

    Oh, yeah.  That's right.  I forgot about the album number.
    
    Steve

    7. An album number like "SS100CD" which matches the last part of 
       the UPC code.  The high-order bits of the UPC code hold things like
       product classification and suggested retail price.
    
    Will search for the name of the firm that registered me/ sent me UPC
    film.
    
    karl

===============================================================================
Note 2753.0           On Making the CD "Distant Relations"            No replies
STAR::RMARCELLO                                      29 lines  21-OCT-1991 11:02
--------------------------------------------------------------------------------
My name is Rich Marcello and I am a songwriter.  My partner, Susannah
Keith, and I have just released our first self-titled CD Distant Relations
on my own record label, Pinnacle Records.  Susannah does most of the 
singing and I handle most of the playing and writing.  Susannah's vocal 
style is somewhat of a cross between Stevie Nicks and Bonnie Raitt.  The 
music is in that general style as well. Everything is sequenced using a 
Roland W30. If anyone is interested in hearing the music or  discussing 
the process we went through to make the CD, you can contact me at 
STAR::RMARCELLO.  Don't forget the "R" or my wife Maribeth, will get the note.

The CD contains eleven songs which vary both topically and musically.
Topics range from my father to divorce to the question of a Palestinian
homeland to the Graphenberg spot to a woman's lost hope.  Musically the
songs vary from the soft folk oriented Goodbye to the more hard-edged
like Happy Anniversary and Father.   I didn't plan it this way - 
the songs pretty much just reflect my interests emotionally,
intellectually, and musically over the last year.

Our goals are reasonably modest this time around.  We hope to attract 
some local attention and sell enough CDs to fund our next project.
Not an easy task, but one which we hope to successfully complete with a
lot of hard work. It is with our next project that we hope to fully 
realize our musical vision.

Anyway, thought some of you might find this interesting and want to discuss
it.

Rich

 re 2753/1833.x , Rich Marcello :
    >My partner and I have just released our first self-titled CD 
    >Distant Relations on my own record label, Pinnacle Records.  
    
    Congratulations !  And as you brave the shoals and shallows of finding
    distribution and promotion, would you share your experiences here ?
    
    It seems there's about a 10X effort to compile a CD over and above a
    cassette release.  Not to mention $$ involved..
    
    karl

    Speaking of formats. If duplicating a master reel-to-rell on 100 tapes
    cost $300 how much would having it in CD format cost> Is it like a $200
    initial payment and then like $5 for everyone? My band is making a demo
    in December and I would love to have atleast one CD version of it.
    

    CD is big bucks.  Instead of $200, think $2000 or so for a first press.
    Cost per is about $2 or so each afterwards in minimum lots of around
    500.  All depends on where you go and what you have done.  You can do a
    promo DC for maybe a little less.  Like, what, $1500?
    
    Steve

re: CD prices

There are several companies that advertise in Billboard. The one that sticks
in my mind offered 500 CDs and 500 Chrome casettes for $2999. I think that
inlcuded some labelling and stuff also, but I don't remember the exact text.

alan

    Just found out some info on getting UPC (bar code) registration.  If
    you want to put UPC on your cassette, call the UPC Council at 
    (513) 435-3870.  They will register your product for $300 per number.
    (You'll need a separate number for each product, such as one for
    cassette and one for CD.)  You will get back a number.  If you are
    working with Disk Makers, they will create a UPC symbol for you for the
    regular logo charge on your artwork.
    
    This is only something that needs to be done if you are planning to go
    national.  It probably is not that necessary if you're working with
    just a few retail stores directly and they are accustomed to labeling 
    pieces.  (Tower does this now.)  When your sales go national, then you can 
    add a UPC symbol.
    
    Steve

    Ever fantasize about adding more gear to your studio ?
    Ever fantasize about having TIME to work on music ?
    I've discovered the wildwackywonderful world of GRANTS.
    
    Yes, grants.  As in 'foundation grants'.  Living in a college town,
    there are lots of grant writers with arts research experience.  I've
    contracted with a researcher/writer to find funding sources, inquire as
    to their areas of interest, methods of applying, and format for the
    written grant request.  It appears that there are a LOT of funding
    sources that can be persuaded to part with (in some cases) considerable
    funds to support the efforts of both art groups and individuals.  With
    NO deliverable.  These grants are generally NOT tied to one's academic
    record in the area of interest, only adequate demonstration of
    capability... like submitting an album, or two, or three.  ;-)
    
    If one's request is granted, this is (IRS excepted) free money.  Couple 
    a large grant with a leave of absence or the 'package', and one might 
    have a year to year.5 to develop one's music career.
    
    karl

    From the FWIW Department - Symphony Pro Musica did this type of thing.
    That is, they hired a professional researcher to locate grants that
    could support the symphony.  This is a substantial community orchestra
    that enjoys a lot of local support and is regarded by many to be the
    best in the area (Metrowest).  Anyway, some grants were found, but as I
    recall the effort only just barely paid for itself.  It was a one-shot,
    just to make sure we weren't leaving any stones unturned for funding.
    The downside to it is that with all of the cutbacks, much of this type
    of funding has dried up.
    
    I did take a look once at a book of grants.  There are sure a lot of
    grants around.  Mostly, they seemed to me to favor efforts that would 
    result in helping employment in particular geographies or ethnic groups.  
    Or, they involved doing work that nobody would pay for anyway.  I seem to
    remember seeing several NEA grants listed.  (My music is not tasteless
    enough for that ...  Rosanne Barr would qualify easily ...  sorry,
    couldn't resist.)  
    
    I suspect that if you had the time and the energy you could locate a copy 
    of the comprehensive list of grants and wade through it.  There's
    usually some annual deadline you have to meet to qualify.  But, the
    real trick is in knowing how to write the letter that gets a grant.  I
    suspect that's the area where the pro's earn their keep.  Might be a
    good idea to make phone calls to feel it out, too.  There's a copy in the 
    Natick library that I've looked through.  It was the closest library to me
    that has one.  (I live in Marlboro, MA.)
    
    This reminds me of the issue about how to promote yourself.  I've heard
    two sides to the idea of promoting yourself and working with a
    promoter.  On the one hand, I'm told you need to work through a
    promoter because he/she knows the people in the business.  On the
    other, I am told that you need to promote yourself: to personally visit
    broadcast stations, stores and clubs (if you're doing dance music) to get 
    to know the people in the business.  The message that I wound up getting 
    is that you should promote yourself to your local market and use a 
    promoter when you can't be there.
    
    Knowing this, I suspect that if you are after local government grants 
    you should probably do the footwork yourself.  But, if you want federal
    grants or grants from government that is not local to you, you should
    use a pro.  I suspect also that just as it is best to build your local
    base for promotion, it may also be a good idea to try for small local
    grants first as this may help you to go for grants outside your area.
    This is just a guess, based on the parallels I detect here.
    
    Steve

    Steve, you may be right re sources of funding drying up; however
    several local dance troupes have garnered MAJOR bux recently.  So it's
    worth it to check things out, using a person instrumental in the
    abovementioned process.
    
    Re promotion efforts - conventional wisdom is useless.  It all depends
    on need, time, and money, but to me the overriding issue is
    personality.  I have admitted that I am very poor at self-promotion.
    I can't even get myself to go pick up consignment bucks from album
    sales at local record stores.  Therefore it behooves ME to work through 
    others.  Your mileage WILL vary.
    
    karl

    Well, me?  I'll do anything for money.  Just ask my wife ...  ;^)
    
    Steve

	Steve about summed it up.
	There are different kinds of funding however, some for institutions
	to continue operating, and some (little) for individuals.  
	The pendulum has swung a few times in favor of institutional grants
	(such as dance companies with inter-cultural content and personel)
	and individual grants.  The grants are often tiny.
	Fellowships are out there.  I won a tiny award for being a finalist
	in a fellowship competition.  A friend of mine won  that fellowship
	(about $5K) after working in Boston art for 15+ years, founding
	and running a unique gallery for performance for 14 years, teaching
	performance art at Museum of Fine Arts for 3 years, and touring the
	USA for years with her own works.
	Le Momma's in New York on All Things Considered hasn't gotten
	an institutional sustaining grant after doing influential work
	for 30 years (see Lenny?, it's a commerical derivative).
	In short, you must be established so well that you don't need the grant
	any more, or quite so much anyway ;-).
	The competition for grants is murder, the return is small.
	Unless you intend to work for 20 years in a field and achieve
	a position of having influenced many artists, you will never get 
	an individual supporting grant, where you could take a year
	sebbatical for example; only the top-notch established artists who
	have been written up on journals for years do that, such as the 
	people NEA's chairman nixed grants for when the committees all
	recommended them (I think that's all been fixed and they finally	
	got the grants).  Those are world-known artists in the avant-garde.
	The ones Helms railed against.
	To compete, art must be innovative, technically grounded,
	and influential to get the kind of attention over 30 years
	to merit getting a sustaining grant.
	I would add that these little grants are directed artists lucky to
	earn $10-20 grand/year, not to engineers over $50K.
	
	On the other hand, you could get a small grant since the southwest
	east of LA is so sparsely populated there could be softer
	competition.  There is also softer funding probably.
	You are doing things a lot like Laurie Anderson.  She was getting
	grants (from ZBS media, for example, probably an old vocoder) in
	the late 70's and signing with Warner's in the early 80's.
	
	There is a book about getting grants in the mill MLO library, but
	it is 10 years old.  I think it is in there, I read it a year
	ago.

	Tom

    
    	well, Steve and Tom have obviously tasted the down-side, and from
    the little experience i've seen, i think it's best to try and learn how
    to write your own - it can be hard to recoup any paid expenses.
    
    	that said, they are worth persuing. In trying to suplement public
    school cuts in the arts, sometimes you win and these days, every bit
    helps.  The big mistake would be to count on receiving one, probably
    only slightly better odds than playing the lottery, with hardly the
    payback.
    
    	mr. sherman, what do you play in symphony pro-musica? (I know a
    few musicians there)
    
    	bob

	Digital Mill library,
	White
	Grants for the Arts
	NX
	398
	.W46
	DEML

	I think it was 1980.

	I have folders filled with dated regional information.  The 
	organizations for which I have folders are folding fast.
	Mass Artists Foundation probably just gave its whole fellowship
	program to NEFA (new eng foundation for the arts) and has little
	else to justify existing.
	You ask your local city librarian for local regional references.

Tom

    thanks, Tom.  I have another pointer to funding sources, but I forget
    its name right now.
    
    karl

    re: .139
    
    Well, I don't play anything for SPM.  My wife plays violin.  I play(ed)
    trombone.  Nowadays, I get much more satisfaction from my synth.  (I'll
    be going to digital tape at a studio next month.)  I'm just the Treasurer 
    for the orchestra.  
    
    Steve

FZ on how it is :  

"How do you think(public)  taste is made ?  It works like this :  A guy's 
writing in a magazing which some insecure record company executive has been 
told is hip by his secretary... And in this magazine he'll read "There's an 
iconographic problem with guitar solos."  And a trend is set in motion
where the next person who bears these dangerous iconographic tendencies
comes to get a record contract and moght be refused.  In the hands of
insecure record company executives, A&R men and pootheads, the writer's
article can be a dangerous force in shunting off certain types of expression,
just because it's no longer HOT... 

Because you're dealing with real mental pygmies in these record companies.
These guys just do not have musical priorities.  Their priority is, "Keep 
my job, keep my job."  They get up in the morning, look in the mirror, 
spray their hair and say "I'm going to KEEP MY JOB.  I don't care how many
dicks I have to suck, how many Milli Vanillis I gotta sign, I'm keepin' 
my job."  And they do.  They recycle from one company to another.  They
get fired because they made a mistake, they signed the wrong Milli Vanilli
and they got caught.  They'll wind up at another record company.  These
guys never go from record company to gas station; they move sideways,
from record company A to record company B.  The top executives just rotate.
Now, how did they earn the RIGHT to be the gods of the record industry ?
These fuckers came from the shoe business, a lot of them.  And they're the
ones who decide who gets the zillion-dollar contract, the big tour, the
big hosejob on MTV.  

These esteemed gentlemen, based on advice received from hip magazines that 
tell you what's hot, will then reshape the size and texture of American 
musical culture in their own pinhead image."

    
    
                      You're not bitter.....are you, Karl??

    FZ's right.  Even though, like Karl, I'm starting my own "record
    company", I wake up in the morning and tell myself, "I'm going to keep
    my job (at Digital)."  ;^)  
    
    It really is interesting what the public tastes are driven by.  There
    is a tiny town in Missouri (my home state) that is threatening Nashville 
    in terms of drawing in the public.  In a TV documentary I saw recently, 
    they said they have a rather simple formula for success.  It is to surprize 
    the public with the familiar.  This explains to me why a band can become a 
    success by putting near-porn pictures on the cover.  Nakedness continues 
    to surprise would-be album purchasers.  And, a naked body IS familiar ...
    
    With this in mind, I think it is more straightforward as far as why some 
    stuff fails with the public and some stuff succeeds:
    
    	1. The public is never surprised and it's all familiar:  This is
    	   maybe why the estimated 3000 bands in the New England area are 
    	   mostly Rock and Roll and can't understand why big record labels 
    	   don't sign them up after years of playing gigs in bars.  What
    	   these bands do is play familiar music, but there is nothing new
    	   to catch their attention.  
    
    	   Even though I realize this and that my decision will not help album 
    	   sales, I have decided NOT to pose naked for my album cover but
    	   to remain fully-clothed ...
    
    	2. The public is surprised and it's all unfamiliar:  This is why 
    	   nobody gets excited about hearing or buying albums that are put out 
    	   by unknowns and that have nothing that the customer can relate
    	   to.  Who cares if the "artist" used a Waldorf Microwave to get a 
    	   new sound the customer never heard before?  Who cares if the
    	   "artist" refused to quantize?  Who cares if the "artist"
    	   performed it all in real time while juggling razor blades and
    	   reciting the complete works of Shakespeare backwards?  If the
    	   customer can't relate to it, he/she will figure the money was
    	   blown.
    
    	   Nobody is really interested in seeing pictures of naked aliens
    	   on my album cover ...
    
    	2. The public is never surprised and it's all unfamiliar:  Would
    	   you be interested in a copy of "John Cage's Greatest Hits?"  How
    	   about a copy of "200 12-tone Tunes for Tuba and Timpani".  Even
    	   though you might think it's the cat's meow, or the cat's meow
    	   after being stuffed into a tuba that's being played by a teenager 
    	   wearing newly-adjusted dental braces, it is guaranteed not to
    	   have general appeal.  This in spite of the fact that your theory
    	   teacher give you high marks and you won Keyboard's coveted
    	   Keybaord Player of the Year award.  Too off the wall and the public 
    	   doesn't know what to expect, but it's pretty much guaranteed to not 
           have any neat hooks or to not be something they'll want to snap 
    	   their fingers to or hum down the hallways.
    	   
    	   Actually, nobody is really interested in seeing pictures of 
    	   fully-clothed aliens on my album either ...
    
    The trick is to be both familiar and a surprise.  To me, that says that
    you need to be a real artist in that you bring together things that are
    familiar, but in a way that makes them seem new.  Or, you bring together
    things that are new, but in a way that makes them seem familiar.
    
    
    Steve

    re .144 :
    
    Chris, I might be.. some days I am.  It's just that I found this
    copyrighted article on a well-known iconoclastic musician I'll call
    'FZ'.  Those were HIS views I quoted, not mine.  I am not in a personal
    position to know that most record company execs came from the shoe
    business.. I'd have thought they come from a much older profession ;-)
    
    karl

    I don't know who this FZ character is, to be completely frank.  Just a
    little zappa this and a little zappa that.  Probably, just a malcontent
    ...  ;^)  As far as I'm concerned, any efforts to court the big labels
    is a waste of time.  Even some of the independent labels can be pretty
    pompous, but I'm told that they have a tendency to take you more
    seriously, to stick with you over the long haul, and in some cases to
    pay about as much (sometimes more).  I like Karl's idea of becoming
    your own record company.  Things are cheap enough now that you can do
    this for about the same money that you sink into a good synth.
    
    Steve

Everything is popular in the United STates.  The gimmick is to spend only 
the smallest amount you can to produce/distribute it.  This may mean giving
the tapes away for free ( ;-) ) or selling cassettes for a few dollars 
through "underground" cassette catalogs etc.  The fact is, no matter how many
records someone sells, they want to sell more.  Look at Laurie Anderson.
She's not Madonna in popularity, but I 120 miles to see her (and get an
autograph).  I wouldn't cross the street to see Madonna.  Other people also
drove a long way to see LA that night, I spoke to them.  There's room for
everybody.

Anyway, the rule is, don't try to be popular; make the music you like to make
(as I do, or did); spend effort trying to show it to people, and if you
find the right avenue, it will move; but it will seek it's own level, it may
not be huge, but what is huge?  How many records did Bonnie Raitt sell
before 1989? (Bet you didn't think I knew about her, did you? ;-) ).
Was she a bad musician before her Grammies?  There are people in the United
States who like most of my music.  Sure, I can count them on one hand,
but I've only sent the tapes to 25 people.  If I sent tapes to everyone in the
US, that means about 50,000,000 people in the US would like most of my music.
You just have to find them.

Let's see, 6 90-minute cassettes for 250,000,000 people, that's 1.6G tapes,
@$2 ea., $3G in production, $4G with mailing.  I need a loan.

Tom

    Popularity can be bought.  But, if you want the contempt of millions,
    you have to earn it.  ;^)
    
    Steve

Has anyone heard of this outfit ?  They want $58.00 for a year's membership.

        "INCREASE YOUR RECORD SALES AND DISTRIBUTION" join the
                    Independent Music Association
317 Skyline Lake Drive - PO Boxc 609 - Ringwood NJ 07456 - (201)831-1317 

bennies include:
Trade Show Representation 
	- booth at all major trade shows, can get display space for $$

IMA New Releases Catalogue
	- mailed to over 2500 retailers, distributors, and radio stations

Cooperative Marketing Programs
	- contact other indie labels, network for distribution etc.

Subscription to 'Soundtrack', the bi-monthly journal of the IMA

    Here's another along similar lines:
    
Article        20849
Xref: engage.pko.dec.com rec.music.misc:85020 rec.music.industrial:5704 rec.music.makers:20849
Newsgroups: rec.music.misc,rec.music.industrial,rec.music.makers
Path: engage.pko.dec.com!e2big.mko.dec.com!uvo.dec.com!hollie.rdg.dec.com!decvax.dec.com!news.crl.dec.com!deccrl!caen!usenet.coe.montana.edu!milton!jeremy
From: jeremy@milton.u.washington.edu (Jeremy York)
Subject: Cassette Culture
Message-ID: <1991Dec18.070323.20437@milton.u.washington.edu>
Followup-To: rec.music.misc
Reply-To: jeremy@stat.washington.edu
Organization: The Erland Cult
Date: Wed, 18 Dec 1991 07:03:23 GMT
 
 
Is anyone out there into, or interested in, cassette culture?
 
What I'm speaking of are artists, bands, and labels who put together
wild, non-commercial music, and distribute it (usually on cassette,
at low prices) through a loose and widespread network of friends,
fellow artists, fanzines, etc.  For most, the emphasis is on the
art, and sharing it, rather than making dough or breaking into the
big time.  Much of the music is experimental and/or electronic, but
not all of it.
 
I've had occasional brushes with this sort of thing on the net,
bumping into people who sent me compilation tapes they had organized
or music they had done; these tapes have usually been a lot of fun
and very rewarding.
 
Recently, I picked up issue 6 of a magazine called Electronic Cottage,
which caters to the cassette culture community (before I go any
further let me give you this info :
 
	Electronic Cottage International Magazine
	P.O. Box 3637
	Apollo Beach, Florida 33572
	USA
	3-issue subscription rate : $9.00 US; $12 Canada/Mexico;
		Overseas $15 air-mail or $12 surface mail
	Make checks payable to Hal McGee).
 
It's got a pretty small circulation (there were 700 copies of issue 6
printed), but it's chock full of good stuff.  Lots of interviews and
commentary from people who make and/or distribute the music, lots of
ads from places selling assortments of cassettes from weird unknown
bands...
 
Anyway, this is not intended to be just a plug for the Electronic
Cottage magazine; I'd like to stir up some discussion on how the
Net can be used to further this sort of music.
 
See, since these artists aren't concentrating on fame and glory, and
aren't signing with major or minor labels, there's very little in the
way of promotion or distribution.  You hear about them through an ad
in a mag like EC, or by word of mouth; you get ahold of the tapes
by mailing directly to the artist or to some little home cassette
"label".  Artists getting in touch with each other, and finding ways
to release their music, happens in a similar way.  Networking.
 
Well, the net is a fantastic place for this sort of interaction (for
those lucky enough to have the access and know-how), so I'm just
brainstorming on ways we can help this movement along and get more
into it ourselves.  I would especially *love* to see some response
from netters who are already plugged in.  The recently completed
rec.music.misc compilation, and the upcoming r.m.industrial compilation,
are two good examples of net people putting together their own stuff; it seems
like next we should be trying to interface with the existing non-electronic
network...
 
Whether we set up a mailing list, start an edited newsletter/fanzine,
or try to get a Usenet group, here are some of the things that would
be beneficial :
 
Trading reviews/impressions of artists and releases
	From what a couple of people in this EC magazine say, there's
	a fair bit of self-indulgence going on in this medium.  People
	just selling every single noise they've made.  There's often
	no objective person sitting there saying "those last two pieces
	are really sloppy, they don't work; give it another go".  So
	quality of releases varies dramatically.  Sharing opinions on
	stuff we've actually bothered to order and listen to would
	be extremely valuable, I think.
 
Providing a forum for artists to discuss their work with other artists,
potential collaborators, and listeners
 
Advertising for available releases :
	whether it's happy customers typing in info from an ad or catalog,
	or direct or indirect links between the net and small distributors,
	names &addresses of contacts, news of releases, etc etc.
 
All of the above are the sort of things that seem to be provided by EC;
if we had a critical mass of people on the net, it would really reinforce
the whole thing.
 
I personally think that a newsletter and/or a mailing list would serve
this purpose well (an edited newsletter can do a lot to increase the
signal to noise ratio; when coupled with a regular mailing list for
quick direct conversation, the potential seems very good), as long
as there's plenty of advertising to the net to get new people in on it.
 
Finally, notice that I'm not volunteering to do this myself; I'm already
moderating a newsletter for the small distribution comic Tales of the
Beanworld.  But I think that this is an idea who's time has come, if
there are some souls out there who are willing to put some time and
effort into getting something going.
 
What do YOU think?  ***Follow-ups to rec.music.misc***
-- 
jeremy@stat.washington.edu

			Sherman Goes to the Studio (sort of)
			------------------------------------

Last Saturday I headed into Boston with my synth and all to do my album. 
Here's basically what happened.

First, I had an appointment with Platinum Sound for 9AM.  I was there early.
But, because of a (rare) screwup nobody showed.  I waited about an hour and a
half.  To Platinum's credit, the owner contacted me later and apologized, will 
send me a refund check, and would still like to find some way to make it up to 
me, perhaps in terms of free studio time.  Even though I didn't get to work 
with them this time, I appreciate how they treated me and will likely do 
business with them in the future.  I would still recommend them or any of the
folks I've worked with thus far.  This was a particular disappointment 
because they are the ones that got me invited to the Fall Music Conference.
This incident came as a surpise to all the other folks I met that day.  I
mention this because there really seems to be a commitment to quality as well 
as a feeling of community shared by all.

So, anyway, I headed over to Allston Cassette.  They loaned me a DAT recorder
for a couple of hours for $50 and I did the master in the session room.  (It 
was just dumping about 46 minutes of music straight from my D70 to DAT.)  
Wayne Johnson is the owner and was quite gracious.  We hit it off well.  Found 
out we share a common interest (trombone) though I'm not in his league.  (I'm 
only doing synth now, don't gig and was into stage band, marching band and 
orchestra in high school and college.  He's got a more serious musical 
background.)  Anyway, it was pretty uneventful and pleasant.  Allston Cassette 
insists that they put out the BEST cassette and were recommended to me by other
folks for cassette work.  It will be on super-chrome and recorded in real time 
from digital master.

This was my first time diddling with a DAT recorder.  In spite of that, it went
pretty well.  I was surprised at a couple of things.  First, I had lots of
headroom with the DAT that I didn't have at home.  Going full blast, the D70
simply never hit the DAT limits.  Second, I was surprised at how much noise I
could notice coming off the D70.  Now, this machine is one of the quietest
machines I've ever used.  But, coming off the DAT I could definitely hear the 
noise.  I suppose that when I go to cassette the noise will pretty much vanish 
into the cassette background noise even though the process and cassette quality 
will be very good.  I can see getting "spoiled" by the quiet of DAT and trying 
to find a way of getting rid of even the small amount of noise that the D70
generates.

One other thing, even though I had headroom on the DAT, I was careful at home
to set all my levels using a spectrum analyzer.  I prefer this now to tying to
use a compressor or limiter.  I have already "tested" levels this way and made 
demo tapes to play in the car with the volume cranked up.  So, I know that 
levels will be correct when the music is cranked up.  It's just that I thought 
I might constantly be hitting the limits of the DAT recorder and I didn't even 
come close.

Then, I headed over to Rhino Graphics and worked with Jim Infantino on the
J-card design.  (This is a cassette-only release.)  It'll be full-color.  We
spent about an hour working on the basic ideas from my sketches.  I also
brought several color prints that a pro-photo friend of mine did for the cover.
And, I brought my proofs of my logo that Disc Makers did for me.  It went
really smoothly.  He'll be doing the J-card design as well as the templates for
the on-cassette printing and a side job that may be used for B&W promos.  Disk
Makers did my logo design as well as my business cards and stationery.  I don't
know who locally could have done this as well as they did.  I've gotten nice
compliments on my logo and business cards and feel I got a good deal there.

I will be getting about 100 cassettes made and, including the costs of going to
DAT, will be paying a total of about $950 for this first run.  Thereafter, it 
will cost just under $3 per cassette in quantities of 100.  This includes
shrink-wrapping.  My costs per cassette are probably higher than had I gone 
with Disc Makers.  But, according to several folks in the "biz", the quality 
is expected to be much higher and I did get to do lots of "custom" stuff with
the J-card design that might have cost more with Disc Makers.  I don't have to
buy in as high quantities locally, either.  Quality is extremely important to 
me since this is my first "professional" release.

These guys, all of them (including the folks at Platinum Sound), are an
absolute joy to work with.  I much prefer doing business this way than trying
to do it all by mail order.  The personal interaction allows you to get it done
just the way you want.  And, you make potentially long-term friends with people 
that share your love for quality music.  I anticipate further such friendships
to develop as things continue.

I have already made some store contacts.  By the way, even though they can do
the shrink wrapping, they really like it when you have it done before you bring
them in.  Basically, what I expect to do now is show up at each store (starting
with Tower and HMV, then going to stores local to me) with about 10 cassettes 
each and we'll then set up commission sales.  I also expect to continue my 
correspondence with the radio folks to get airplay.  And, my friends are asking 
about where they can get the tape.  I'm not giving them away like I did some 
years ago.  At $3 a pop I can't afford to give them away much unless it's for 
serious promo.  I'm also going to do some other stuff to promote.

One of the things I plan to do is have a bunch of my tapes with me when I go to
the Spring Music Conference.  There will be folks there that will be accepting
tapes that might be able to provide other assistance.  BTW, if you haven't
already, I'm still taking names of folks that want to go in with me to get the
group rate to the Spring Music Conference.  Send me mail if you want to sign
on or you want other info.  At the end of this month I'll be collecting 
deposits and sending in the order form.

That's all for now ...  :)

Steve

>..and I did get to do lots of "custom" stuff with
>the J-card design that might have cost more with Disc Makers.  
    
    'might have' ?  Every time they insert the (already done) logo
    somewhere they charge $18.00.
    
    Congrats on completion.
    
    karl

    re: .150
    
    I went ahead and sent in the $58 today.  I apparently got the same
    flyer you did, Karl.  I imagine Disc Makers sent both our names to
    them.  I hope this wasn't a stupid move.  One reason I did it is
    because their hype indicates they can help with distribution and
    promotion nationally and internationally.  It'll cost, but this may be a 
    start.  I'll plan on reviewing the responses I get.
    
    Steve

    So when are you newly crowned CD artists going to let your community of
    fans know how to acquire your "product"?
    
    len.
    

    Well, mine is just gonna be on cassette for now.  I plan to get it
    placed at Tower and HMV in the Boston area and maybe a store or two local 
    to Marlboro.  It'll come out in February or so.  I'll post a note when 
    it's out.  Most of the current album is stuff y'all have already heard, 
    just redone for the album/D70.  But, I don't mind if you plan on going
    into the store and saying something like, "Say!  Here are some copies of
    that new Sherman album!  Wow!  This store still has 'em in stock! 
    Everybody else is sold out!  This is my lucky day!  They sure make great 
    stocking stuffers!  Isn't he the guy that said 'no' to Madonna and
    Julia Roberts?  ... "  ... or, something along those lines ...  :)
    
    Steve

    I thought the traditional strategy was to go in and *ask for it* by
    name, mumbling something like, "I've been looking all over for this".
    It was a bunch of requests for "My Bonnie ..." at Brian's record store
    that got him interested in the Beatles.
    
    len.
    

    Oh ...  well ... I guess if you insist on doing it the EASY way ... 
    ;^)
    
    Steve

The review :

"Jet Fandango" is the most amazing piece of junk that I've heard in 
ages.  As a listening experience it's up there with Dumpster Diving.  
Spectacularly, superlatively bad, the styles range from punkabilly to 
fusion polka.  Evocative of a long call to Ralph on the big white phone, 
I couldn't listen to the whole thing.  Even in my dreams, I heard it 
over and over and over again.  Hear me now : Avoid this album at all costs !

Gila Bend NECROMANCER

The ad :                  "Jet Fandango"

".. the most amazing piece.. that I've heard in ages.  As a 
listening experience it's.. spectacularly, superlatively.. evocative..
.. listen to the whole thing.. over and over and over again.  
Hear.. this album at all costs !"

Gila Bend NECROMANCER
    
    karl ;-) (working on Marketing Chops 101)

    This is not far from reality.  I read a review of a local band's album. 
    The reviewer liked one cut but really couldn't stand the rest of the
    album.  Then, I read the portions of the review included in an ad the
    band put in another publication.  It was a riot.  It's also real life.
    
    Then again, I read another review recently where the reviewer mentioned
    that he panned the first album from a particular band.  But, now he
    found he actually liked the album.  It all evens out.  
    
    "Ralph's Big White Phone"  ...  say, that could be an interesting
    piece.
    
    Steve

This was a joke in Mad Magazine ca. 1965.
I got a mixed review.  I just quoted out of context "Obviously, no.  And
just as obviously, yes."

(they were deciding whether my flub with a phone queu was planned or a mistake)
tom

    >This was a joke in Mad Magazine ca. 1965.
    
    I just KNEW we had some influences in common..
    
    karl

I just got my first issue of "Soundtrack", which is the magazine of the
Independent Music Association.  It comes out bi-monthly and this issue was the
November/December 1991 issue.  I suppose it's delayed since I'm a new member.

It had several articles in it that I found interesting.  Among them were an
article or two on "how I did it" talking about marketing and promotion.  There
was a page in it with the IMA logo in different sizes.  IMA members are
encouraged to stick one of these logos on promo materials.  (I might just do
that!)  And, with each issue you have a couple of interesting sections.  In the
front is a section that has about a paragraph on each of several IMA members
interested in co-op efforts.  Basically, IMA members are encouraged to work
with each other in a co-operative fashion to promote, market and distribute
product.  And, there are other contacts listed that are recommended by IMA 
members.  In the back is a listing of new members.  Looks like they get about
15 new members a month or so.  

This listing of national and international contacts is probably the most 
valuable part of the mag.  When my album comes out I'll probably submit my own 
blurb as well as contact some of the ones that are listed to see if they'll 
want to include my label in their catalog.  There were also ads by Disc Makers, 
Europadisk and a few others.  "Soundtrack" articles can be back-ordered at a 
cost of about $5.50 per.  I may grab one or two of those one of these days.  
We'll see.

One of the eye-openers for me was comparing the numbers.  Looks like a label
that is selling about 600 copies per year is considered to be pretty small
time.  Such are encouraged to work with indies elsewhere that are dealing with
bigger volumes and are trying to expand their catalog.  I'm starting out with
a "volume" of only 100 units.  I got the impression that it won't be long until
I'm working with much larger volumes if I start getting a little success.
They indicated that if you hit gold, you could quickly be talking about
volumes on the order of 50,000.  Both a blessing and a nightmare because with
volumes that large they sometimes want it real fast, too.  

Anyway, I enjoy reading articles written by folks that are being successful at 
it.  This issue has a photo of someone's studio on the front.  Looks like they
converted a giant ballroom into a recording studio.  Big bucks.  Oh, yeah.
They also mentioned that it looks like independent distributors are going 
bankrupt big time nowadays.  Hence, there is a big need for indy labels to 
work together and network.

I think "Soundtrack" is worth the membership price.  The only other music mag 
I'm subscribing to now is "New England Performer".  It has the latest on the
local music scene and has a similar flavor.  Together, I think these two
publications will pretty much balancing out what I need to know as a label in
this area.


Steve

"As the disk jockey, I am always hard pressed to find something that is
unique, supportive and inspirational rather than invasive.  Karl Moeller's
music certainly fits that category.  I have enjoyed listening to his 
music.  His work is definitely along the lines of the music that we use
in the Breathwork - we combine ethnic, classical, drumming, rhythms, 
spritual chanting of various cultures, and GOOD electronic music."  
    -  Christina Grof, co-founder, Holotropic Breathwork

"Karl Moeller's solo piano pieces place him in a league with George
Winston." - Tucson Weekly

                         Hot Cognitions

"This highly polished New Age, fusion and world-music CD might serve
well as dance scores or movie soundtrack material... Moeller's work
reveals many interesting elements... Imagine Vollenweider with more 
intensity, or Vangelis with more heart... a very respectable achievement." 
- Arizona Daily Star

"'Hot Cognitions' is a powerhouse.. it showcases Moeller's astounding
virtuousity with the use of electronic keyboards and orchestration in
a wide range of compositions.  His background in classical piano 
invests this music with a depth not usually found in music of our
times.  Most certainly, this is NOT New Age music in disguise.  These 
pieces of varying lengths have more in common with contemporary 
jazz-rock fusion or perhaps straightforward tone poems.  Moeller's 
is a distinctive musical voice and I urge you to find this CD..." 
- EcoCultural Perspectives

                    Ascending Ayers Rock

"Karl Moeller's 'Ascending Ayers Rock' indeed captures the awe and
wonder, immensity and timelessness of this sacred space." - Heartsong
Review

"... a singular creative vision, complex and hypnotic, touchingly
lyrical... Startlingly original and deftly performed, 'Ascending Ayers
Rock' is carefully composed music... in fact, the title track just might
be a masterpiece of its kind, an extraordinary 'healing' document,
magical in its rhythms and dramatic with its orchestral and choral
background.  Moeller's composing and performing skills seem infinitely
varied... Find 'Ayers Rock' and take it for a drive... it might change
your life."  - Tucson Lifeline

    >..highly polished New Age, fusion and world-music CD..
    
    >..Most certainly, this is NOT New Age music in disguise.  
    
    I think this is pretty funny.  The boundaries are so blurred these
    days, two reviewers listening to the same music can't agree on its
    category.  I kind of like CONTEMPORARY TONE POEMS or PROGRESSIVE 
    ELECTRONIC, except that it's as meaningless as any other label.
    
    karl

    Very impressive reviews, Karl!  I'm curious, how many copies of these
    are you actually selling?  
    
    Greg