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Post by Michael Messer on Jun 14, 2010 23:38:30 GMT
Thank you Honeyboy. The difficult job now is finding which version of each song will go on the album. Live recordings from a portable hand-held recorder are never perfect, but the vibe captured by us playing to an audience and not worrying about the red recording light being on makes up for those imperfections in the recordings.
I will post more info about this project as it materialises.
Shine On Michael.
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Post by Deleted on Jun 15, 2010 15:39:16 GMT
Just listening to Laura Marling's album I Speak Because I Can, and hadn't noticed before (probably never would have without this discussion) the surprising amount of string/finger squeaking on the quieter tracks. Not that it detracts from the record in anyway, but I was rather pleasantly surprised to find this kind of 'rough and ready' approach on a pretty mainstream album (you know what I mean). But then, Ethan Johns (the producer, also Ray Lamontagne's) seems to be a chap who knows what he's about. Too many modern records are polished to destruction On the subject of new MM releases, the live project sounds great! A shame that the state of the record industry makes studio recording unlikely.......Course, the new-fangled solution to this would be to get us forum members to fund a project! I for one would be in LR
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Post by Michael Messer on Jun 15, 2010 17:34:51 GMT
Hi LR,
Ethan Johns is a wonderful producer and as the son of THE great producer, Glyn Johns, he has production in his blood.
Ethan Johns has produced some great records, some of which have included the keyboard player on my last three albums, Richard Causon. One of the things I love about working with Richard is his Ethan influence on the sessions. Richard is also a great producer and a wonderful energy in the studio,
Ethan has just produced the new Tom Jones record that could take a few people by surprise. My friend and pedal steel guitarist, BJ Cole, plays on the album and also speaks very highly of Ethan's work. So your comment about Ethan leaving in string noise and allowing al that to add to the atmosphere, doesn't surprise me at all.
I don't think record company financed studio albums are out of my life forever, but in this present climate it is very hard to get investors. I like your suggestion idea of fan-based finance. I have heard of it before, but I don't know anyone who has actually done it. I assume a group of people finance a project and become shareholders, is that right? Interesting.
Shine On Michael.
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Post by Stevie on Jun 15, 2010 18:44:24 GMT
"...but I don't know anyone who has actually done it..."
Marillion?
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Post by Deleted on Jun 15, 2010 21:26:00 GMT
I was trying to think of examples myself and I think Stevie's is the most high profile. If I recall correctly, Marillion have done this for some time now, as it suits the nature of their fanbase. In recent times, websites have sprung up designed to encourage this kind of interaction between creators and fans, not just in music but the arts generally. Coincidentally someone I watch on youtube started one here www.pledgemusic.com/ just the other day. Basically, you decide how much money you need for a given project (it can be anything, it's not just for albums) and your fans pledge certain amounts and get rewards depending what they pledge. Starts with a preorder for a modest some, but can get fairly lavish! Obviously, you'd control what you offered. It may be clearer to look at an example: www.pledgemusic.com/projects/davethomas(I am no connection to Dave Thomas or pledgemusic, this is just what I happen to know on the subject!) Or there's the shareholder kind of option that you mention. I know (even) less about this, but it's often used to finance indie films I think? A quick search of www.musicthinktank.com revealed this article which has links to a few other sites and describes how one band are attempting to use 'crowd funding': www.musicthinktank.com/mtt-open/crowd-funding-and-the-art-of-the-album-pre-sale.html#comment7944677Not sure exactly how Marillion themselves actually do it, anyone know more? LR
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Post by honeyboy on Jun 15, 2010 22:19:02 GMT
Imogen Heap is a good example. Since she got screwed by a division of Sony Music, she always funds the recording of her own albums (in a variety of ways) so she owns the IPR. Then she 'leases' the CD to a record company for a fixed period of time. Whilst they have a 'license to publish' they try and sell as many copies as they can, but ultimately the rights to the music always revert back to her. More about her business model here.. This is riskier for her, but allows her to get a better deal, and ensures she is never in the position of many artists where they have no control of their output. In many contracts, if the record company decides it doesn't want to sell your CD, they can just sit on it forever (Warner Music Group is a classic example of this kind of behaviour)
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