Welcome to one of the most active flamenco sites on the Internet. Guests can read most posts but if you want to participate click here to register.
This site is dedicated to the memory of Paco de Lucía, Ron Mitchell, Guy Williams, Linda Elvira, Philip John Lee, Craig Eros, Ben Woods, David Serva and Tom Blackshear who went ahead of us.
We receive 12,200 visitors a month from 200 countries and 1.7 million page impressions a year. To advertise on this site please contact us.
|
|
|
Still Not Fully Using Available Technology
|
You are logged in as Guest
|
|
Users viewing this topic: none
|
|
Login  | |
|
   
Ricardo
Posts: 14806
Joined: Dec. 14 2004
From: Washington DC
|
 RE: Still Not Fully Using Available ... (in reply to dformell)
|
|
|
quote:
good point about Mr. Faucher; he’s an example of a person/company that’s losing money through lack of utilizing technology.
You guys don't seem to care much about what goes into the work to make transcriptions, followed by what is involved with securing copyrights, licensing, and royalties, publishing responsibility to artists, etc, etc. The thing is when large books or compilation books are sold, more royalties go to the artists, all of em and other consumer students are exposed to more music that way. If only single HOT numbers are offered, only a few people make anything out of it, so the exact OPPOSITE of what you guys thinking in terms of economics. Die a quick death vs the slow death happening now. About Faucher, he has been doing his work, albeit good work, UNDER THE TABLE for years...meaning he is bypassing publishers licenses etc, and the artist he has been making money off of get NADA (zero $)....until his collection books were finally made.
The reason PDL is not offered directly is because with him (closest thing in flamenco to what would be something to make publishing money off of) his bro and other flamencos got mad at Faucher for doing this for so many years. So his own company is doing the publishing, and they are larger size collections so that sales will justify the costs it takes to take on the venture.
On the one hand lots of work goes into a transcription, and the transcriber deserves some good chunk of money...but at the expense of the composer???
the reason the industry is dying slow is because of internet....every one wants and gets free pdfs or whatever....no money is made at all off of free stuff. People sharing trading etc. Now everyone wants just one song, just what ever they want and demand it NOW and CHEAP....99cents for one song, pffffffff. Only pop artists can make GOOD money off their art.
But at the same time technology allows the artist HIMSELF to do it on his own and secure all the rights and sell as you guys request, one tune at a time. That is what I am doing, and for me I am sure it is more lucrative then if I had been going through a publisher. But is if fair some other guy like Faucher was doing it with MY pieces? Sorry, that would not really be fair.
_____________________________
CD's and transcriptions available here:
www.ricardomarlow.com
|
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Oct. 9 2011 18:26:32
 |
|
Northern Rock
Posts: 87
Joined: Oct. 12 2008
From: London UK
|
|
RE: Still Not Fully Using Available ... (in reply to Ricardo)
|
|
|
quote:
You guys don't seem to care much about what goes into the work to make transcriptions,
Ricardo I agree all or at least im interested in every point you make but please dont say we dont care because the opposite is true . The point being made was with a bit more imagination and better organization the needs of the customer and both the publisher and artiste can be met and more business generated.
We,ve all got to eat even guitar players !
I,ve e-mailed Alain many times and his always very polite and says he is open to suggestions but I do some times wonder if he is listening,
In the late 1970s when I started playing very little teaching matrial was availible
in any style of guitar music let alone Flamenco guitar and I bought every thing that was availible , in any style , and I developed a good ear out of necessity .
This proved its worth in the ninties when I worked as a full time music teacher and did transcriptions for my pupils [we,re talking rock and finger picking here noy flamenco] One pupil asked why a certain track was,nt availible and i replied be patient and in afew years every thing will be .
One of the few predictions I,ve got right in my life ! !
I know its tough being a working musician but to be successful you have to be good at more than just music and unfortunatly most are,nt .
I,m sorry but I can,t see that situation ever changing and I can only wish people good luck out thier, but please don,t say I don,t care .
All the best Craig McTaggart
P.S nice CD wish I could do that and ironically I,ll be e-mailing you for some of your transcrptions soon,
_____________________________
"Now Im retired I,ve got my practise time down to 4 hours aday".................Julian Bream
|
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Oct. 11 2011 17:26:52
|
|
Ricardo
Posts: 14806
Joined: Dec. 14 2004
From: Washington DC
|
|
RE: Still Not Fully Using Available ... (in reply to dformell)
|
|
|
quote:
ORIGINAL: dformell
Hello Everybody,
Thank you for your posts. Some good good points for having e-Music books & e-single sheets:
1. Artist - Paid immediately and can completely bypass the publisher plus makes more money.
2. Environment - Energy and raw materials, mainly paper, are being saved. No fuel being burned through shipping and no paper, tape etc. being used for packaging.
3. Customer - Not stuck buying a whole book if they don't want it, having to wait for mail or physically go to a store.
Certainly an Artist should receive more than 99 cents for a single sheet. More like the 5-20 dollar range, depending on length of piece, would be fair. In conclusion, with digital sheet music the Artist, Customer and Environment win.
This is an old arguement, your idea is not new. People want what they want on a silver platter, of course it would be great, and internet makes it seem possible.
But you can't BYPASS the publisher of stuff ALREADY RECORDED BY A RECORD LABEL. Perhaps independent labels and flamenco's recording out of home studios can do it....but not stuff you probably are really after like PDL, M. Sanlucar, Amigo, Tomate, etc etc. You have to get permission first, then second, who is gonna do the work?
That is why they do collections, so everyone can make some kind of money. Anyway, I am independent and doing what you guys ask, I sell fairly cheap which ever piece from MY recording you want...and I can because I own it. PDL, M. Sanlcur, Vicente, etc don't OWN their own recordings. You can't even get THEIR permission if you know them, you have to go through the publisher or who ever owns (p) and or (c) rights.
Environment? Ok, maybe one or two trees are saved by pdf or gp5 files, ASSUMING nobody is printing them out for the music stand! 
Overall you have the right idea regarding future recordings and transcritptions....go independent and own and do all alone. but what about the whole marketing machine? The licensing and promotion, distribution advertising, printing of scores, booking performances, collecting royalties, etc etc.....sure some artists can and DO all that themselves, but there will always be the lazy guys that just sign on the line and let the publishers/record label/agents etc do all that stuff.
Ricardo
_____________________________
CD's and transcriptions available here:
www.ricardomarlow.com
|
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Oct. 13 2011 20:14:31
|
|
Ricardo
Posts: 14806
Joined: Dec. 14 2004
From: Washington DC
|
|
RE: Still Not Fully Using Available ... (in reply to dformell)
|
|
|
quote:
Perhaps if it’s not worth a company’s while to offer a transcription like say that of Antonio Reyes’ Alegrias in the $5 - $20 range then Senhor Reyes should sell it directly from his website and keep all the money for himself. Indeed he could use free software to write his music and then sell it from his website and make all the money!
Ok, I get what you are saying but what you still don't understand is that HE CAN'T legally. He signed a contract with (as the back of the album says) EMI Spain....They own both (p) the audio and (c) the written score. That means it has ALREADY been written down by somebody so any transcriptions of the future or printed versions of whatever was jotted down for (c) (probably by some pianist that works for EMI...that would be his JOB, the transcriber and he gets a royalty too if not a flat rate for having done that), will be licensed out by EMI, and THEY will collect the money and pay out Royalties to Antonio, as per their original contract.
So lets say Antonio is inclined to do as you say. He will have to get a license to do it, which they may or may not give to him since they may feel if it is worth the effort they would do it themselves. In addition to doing the work as you say, he will have to pay EMI (unless he gets a special contract where they let him keep it all, doubtful) a percentage. It might still work in his favor, but is HE willing to go through that effort? Someone like Mel Bay IS willing to go through at least the licensing efforts, that is their job. But it is not so simple as "I am the artist, so now I want all the money for my art". Would be different if he used new, un published work, or was independent and self produced.
Having said all that, he could still probably get away with simply doing it under the table as faucher and so many others do.
Incidentally, many years ago (1995 ish) some select scores of flamenco pieces by PDL WERE available for individual sale, notes and tab. I remember, el tempul, guajiras, and percussion Flamenca, the score done by a German guy, but I don't have any here to check the publishing. They were expensive scores, I think $18 for the single piece....the reason is because of all this licensing etc. Of course for a download this cost can be reduced. So that is a perfect example of what you guys are talking about, it has in fact been done. I would say it was not so successful as we don't see that type of thing done often, and this was even for PDL!!!
For what it is worth, I think falsetas fall into the domain of what is known as "fair use clause", at least for educational purpose, and should be fine for free downloading and such. So something like a falseta collection would be perfect. But I base this on USA law, not sure how spain and other countries view "fair use" or if they even have it at all. I know from experience that the owners of (p) and (c) in spain, (such as Polygram iberia etc) are notorious for not giving permissions so easily. They actually don't care much about making the money, but are happy to be the owners.
Wish things would be easier, but the reasons I am saying what you want are difficult are because of my understanding of this licensing crap. Del monte got it right perhaps because he knew in advance that he could sell his own stuff if he did the work. I also know it that is why I am doing it. Antonio Rey doesn't know and maybe doesn't care right now. Hope you get my point.
Ricardo
_____________________________
CD's and transcriptions available here:
www.ricardomarlow.com
|
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Oct. 16 2011 16:35:36
|
|
 New Messages |
 No New Messages |
 Hot Topic w/ New Messages |
 Hot Topic w/o New Messages |
 Locked w/ New Messages |
 Locked w/o New Messages |
|
Post New Thread
Reply to Message
Post New Poll
Submit Vote
Delete My Own Post
Delete My Own Thread
Rate Posts
|
|
|
Forum Software powered by ASP Playground Advanced Edition 2.0.5
Copyright © 2000 - 2003 ASPPlayground.NET |
0.0625 secs.
|
Printable Version
