Comments on: The Destiny of Your Master http://www.musicalamerica.com/mablogs/?p=2333 Wed, 12 Dec 2012 04:48:46 +0000 hourly 1 http://wordpress.org/?v=3.0.6 By: Edna Landau http://www.musicalamerica.com/mablogs/?p=2333&cpage=1#comment-154869 Edna Landau Mon, 22 Aug 2011 21:37:44 +0000 http://www.musicalamerica.com/mablogs/?p=2333#comment-154869 I am very grateful to each of you for lending your personal perspective and expertise to this question. It is of great benefit to our readers. I am very grateful to each of you for lending your personal perspective and expertise to this question. It is of great benefit to our readers.

]]> By: Brian Goldstein http://www.musicalamerica.com/mablogs/?p=2333&cpage=1#comment-152192 Brian Goldstein Fri, 12 Aug 2011 18:44:57 +0000 http://www.musicalamerica.com/mablogs/?p=2333#comment-152192 Excellent advice! While the right to purchase at $2 is a good price (especially as a manufacturer would require a minimum order and the record label will, presumably, allow you to purchase "as needed"), the fact that B.V. has funds to pay for the mastering, as well as the artwork and some of the manufacturing, means he/she is bringing a lot more to the table than is reflected in the deal being offered. Ownership of the recording in perpetuity is a non-starter and a deal-breaker as far as I'm concerned. For all of the reasons Edna states, the "prestige" of a large label no longer carries the weight it once did--particularly if they are not even investing the money to pay for the recording itself. There are too many other options. I would definitely explore negotiations with the label, but also explore smaller labels and distributors as well. Given where you are in your career, a smaller label/distributor that is willing to license the recording for distribution for a fixed period of time, and is willing to enter into more favorable terms, would probably allow you to achieve more of your goals. Excellent advice! While the right to purchase at $2 is a good price (especially as a manufacturer would require a minimum order and the record label will, presumably, allow you to purchase “as needed”), the fact that B.V. has funds to pay for the mastering, as well as the artwork and some of the manufacturing, means he/she is bringing a lot more to the table than is reflected in the deal being offered. Ownership of the recording in perpetuity is a non-starter and a deal-breaker as far as I’m concerned. For all of the reasons Edna states, the “prestige” of a large label no longer carries the weight it once did–particularly if they are not even investing the money to pay for the recording itself. There are too many other options. I would definitely explore negotiations with the label, but also explore smaller labels and distributors as well. Given where you are in your career, a smaller label/distributor that is willing to license the recording for distribution for a fixed period of time, and is willing to enter into more favorable terms, would probably allow you to achieve more of your goals.

]]> By: Jeffrey Biegel http://www.musicalamerica.com/mablogs/?p=2333&cpage=1#comment-151910 Jeffrey Biegel Thu, 11 Aug 2011 16:23:53 +0000 http://www.musicalamerica.com/mablogs/?p=2333#comment-151910 Great response you provide for B.V. Since BV already has more funding toward the cd project than the master recording, your idea to retain ownership and approach Onyx and/or Avie is appropriate. If BV is middle-aged and already known, he/she might benefit in the long term in retaining the rights in perpetuity and earn funds as a result rather than as a vanity project. I should add, however, $2 a pop per cd after the complimentary 50 is a good price should BV go that route. Another topic to consider is if BV needs reviews for the cds. BV would need to discuss this with the companies if BV decides to retain ownership. BV should know if the smaller companies have access to the pool of reviewers. Great response you provide for B.V. Since BV already has more funding toward the cd project than the master recording, your idea to retain ownership and approach Onyx and/or Avie is appropriate. If BV is middle-aged and already known, he/she might benefit in the long term in retaining the rights in perpetuity and earn funds as a result rather than as a vanity project. I should add, however, $2 a pop per cd after the complimentary 50 is a good price should BV go that route. Another topic to consider is if BV needs reviews for the cds. BV would need to discuss this with the companies if BV decides to retain ownership. BV should know if the smaller companies have access to the pool of reviewers.

]]> By: Ljova http://www.musicalamerica.com/mablogs/?p=2333&cpage=1#comment-151889 Ljova Thu, 11 Aug 2011 14:22:46 +0000 http://www.musicalamerica.com/mablogs/?p=2333#comment-151889 Dear B.V., From what I can see, this record company's deal actually sounds pretty good. If they're willing to charge you $2 per CD, then that's quite generous - your manufacturing costs would probably be around $1.50-2 anyway, unless you're going to print more than 3,000 copies. And if you're able to sell those CDs for $15-20 at concerts, then you're making a considerable profit. If you were a composer-performer, I would strongly advocate for self-releasing. With my luck, more than 80% of the music I've released on CD has been licensed for TV / Film and Dance projects, and keeping my master & publishing rights has meant not only additional revenue but also a simple path for 1-stop licensing, and greater flexibility in pricing. However, since you are a pianist recording works by other composers, you do not have those royalty streams at stake, as far as I can tell. Good luck! Dear B.V.,

From what I can see, this record company’s deal actually sounds pretty good. If they’re willing to charge you $2 per CD, then that’s quite generous – your manufacturing costs would probably be around $1.50-2 anyway, unless you’re going to print more than 3,000 copies. And if you’re able to sell those CDs for $15-20 at concerts, then you’re making a considerable profit.

If you were a composer-performer, I would strongly advocate for self-releasing. With my luck, more than 80% of the music I’ve released on CD has been licensed for TV / Film and Dance projects, and keeping my master & publishing rights has meant not only additional revenue but also a simple path for 1-stop licensing, and greater flexibility in pricing.

However, since you are a pianist recording works by other composers, you do not have those royalty streams at stake, as far as I can tell.

Good luck!

]]>