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I'm with Jared

You want to make money with a classical recording? Good luck - the odds are against you. Add it up:

How many days of tracking, and at what cost per day, including engineers who know how to do it. (A small pool, that, and getting smaller every day.)

Small ensemble/soloist, or full orchestra/opera? The latter need huge live rooms, serious mic closets, and engineers who have done it before - all expensive. (That vintage Neumann U47 is worth $8-10k if it's working right. How many did you say you needed? The *tube* for it will set you back $750, thanks to Telefunken USA who are reproducing it; they used to go for $1,000+ **used**.)

Cost to mix with an engineer who has done orchestras before. Then cost of mastering for each delivery medium.

Then Jared's hardware/bandwidth cost for distributing via download or streaming, and let whoever provides that make some money on it as well. (This is not intended to be a charity.)

Balance this against likely sales revenue. How many copies of another Bruckner 7th will you sell? A couple thousand? Oh - by the way, what's your marketing budget; what will it cost you to get the word out and induce people to buy it?

But wait a minute. Who is paying to get it done? The orchestra? Or maybe a co-op effort of the orchestra and the label? Remember, anything involving orchestra outlays has to go past their board. Boards are responsible for raising money to support the orchestra, and they can be understandably hesitant. "You want to spend all that, and you think we'll get it back?" It can be tricky, especially if it's a union shop. (Let's leave aside whether unions are good or bad; for this question, they just "are.")

Fifty years ago, I paid $4.98 to $6.98 for an LP. I don't see $25-30 bucks for a record, in any format, as out of line today. I suspect I'm in the minority.

WW


"Put on your high heeled sneakers. Baby, we''re goin'' out tonight.

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