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If we eventually go to download only, what in the world will I have these composers sign 
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If we eventually go to download only, what in the world will I have these composers sign
Well, if you were a lady... *cough*
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"I've got a bad feeling about this" 
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In that case, could somebody please post a summary of the article? I find the NYTimes page to be paywalled, and I'm certainly not signing up for an account just for this article.
When you access NYT articles from an outside link (like the one on this page), it bypasses the paywall. (Even so, it's not very difficult to circumvent the paywall, even if you're clicking on a link from the NYT site.)
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Cutting Edge as far as I understand is basically interested in owning a record company as a tool to release the scores that they own. Their goal is to have the rights to the filmmusic and then sell it to the Trailer and advertising industry. And this business model apparently is very successful. Which doesn`t have to be a bad thing since they`ve been working with very good composers. So I can imagine that they will release interesting scores in the future. But it`s a totally different business model and a totally different approach than the "old" Varese approach. They`re simply not former "fanboys" turned record producers but guys who want to make money. Period. No way Cutting Edge is interested in spending a lot of money in the restoration of stuff like THE RED PONY and then not even having the rights to that music other than releasing 3.000 physical CDs. So I guess that`s the end of the Varese Club. And who knows how long Townson will stay on board with the new direction of Varese. But this could also mean that since they don`t care about releasing expanded 90s Goldsmith scores they might license them to Intrada or LLL. And as long as those 2 companies maintain their philosophy there will be all those wonderful releases in the future. Just no more Varese Club. Probably.
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This sounds like a flashback to the 90s- soundtracks with songs that rights holders can leverage, with less thought given to the scores themselves.
I though producers finally got their heads out of their asses over song compilations, leading to the score renaissance we have been experiencing lately.
This deal appears to help Cutting Edge by giving them more material they can leverage, songs and score cues.
Varese gets an infusion of cash to release more music (not necessarily scores) in the years to come.
Like so many deals like this, the fan, (the customer) still seems like an afterthought.
This also feels like it goes along with the consolidation of the the larger music corporations- more control in fewer people's jands and less consideration for the fan.
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Cutting Edge as far as I understand is basically interested in owning a record company as a tool to release the scores that they own. Their goal is to have the rights to the filmmusic and then sell it to the Trailer and advertising industry. And this business model apparently is very successful. Which doesn`t have to be a bad thing since they`ve been working with very good composers. So I can imagine that they will release interesting scores in the future. But it`s a totally different business model and a totally different approach than the "old" Varese approach. They`re simply not former "fanboys" turned record producers but guys who want to make money. Period. No way Cutting Edge is interested in spending a lot of money in the restoration of stuff like THE RED PONY and then not even having the rights to that music other than releasing 3.000 physical CDs. So I guess that`s the end of the Varese Club. And who knows how long Townson will stay on board with the new direction of Varese. But this could also mean that since they don`t care about releasing expanded 90s Goldsmith scores they might license them to Intrada or LLL. And as long as those 2 companies maintain their philosophy there will be all those wonderful releases in the future. Just no more Varese Club. Probably.
Yes.
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Since Varese is one of the less prolific issuers of vintage scores, their output could probably be picked up by Intrada, La-La Land, Kritzerland, etc. without too much disruption. I don't believe that Varese has any exclusive arrangements with any studios that the other labels wouldn't have access to. I'm more concerned with who, if anyone, will fill the hole left by FSM, which HAS been the sole issuer of pre-1986 MGM scores.
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