 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
What I wanted was already sold out..
What the hell is this speed..! Or is it too small a supply?
|
|
|
|
|
|
I see that Spartacus, Under Siege 2, and Stanley & Iris are now missing along with the others that weren't given warnings a couple months ago. But these get "final copies" warnings. Curious.
|
|
|
|
|
|
|
|
|
|
Sad to see premiere score releases from Bill Conti and Laurence Rosenthal and Dave Grusin practically being given away.
Doesn't bode well for future new stuff, against the plethora of tweaked/expanded editions that probably cost much less to reissue.
The Conti and Rosenthal scores are two of my absolute favourites of recent years.
Sadly, I think you've pegged it Kev. The CD market is steadily drying up for multiple reasons (collectors dying away, people's collections reaching the breaking point, people have most of the scores they really want, and of course the pandemic has hit most people hard and we are all having to be more choosy in our purchases...) It's becoming harder and harder to break even on a release, and if it's not a score by a Big Name (and sad as it is to say, Conti, Rosenthal, and Grusin don't quite qualify any more) or at least for a really popular film (Karate Kids, The Goonies, etc.) then I think the chances are getting smaller and smaller for release.
I don't think the expanded editions are likely to cost Varese less to do, though. I just think they tend to have better sales potential (again, given they pick the right titles to expand). Strange as it may seem, a lot of people seem more eager to re-buy something they already own and know they like (especially if it is significantly improved with substantial more music -- i.e. they're getting new music but they know roughly what it'll be like), than take a gamble on something they're unfamiliar with.
There are a whole lot of never-released scores which back in the heyday of FSM I had hopes of seeing one day, but now I have to temper my expectations and feel lucky at least that my absolute favorite composer is a popular one (but many other composers on my top 20 are sadly not...who knows how many Hugo Friedhofer or Alfred Newman releases are still to come on CD, for example? Well, they've probably got more coming than Roy Webb, another favorite of mine...)
Yavar
|
|
|
|
|
|
|
|
|
|
|
Strange that these titles, down to their "final copies", have an "Email When Available" caption to them.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Sad to see premiere score releases from Bill Conti and Laurence Rosenthal and Dave Grusin practically being given away.
Doesn't bode well for future new stuff, against the plethora of tweaked/expanded editions that probably cost much less to reissue.
The Conti and Rosenthal scores are two of my absolute favourites of recent years.
Sadly, I think you've pegged it Kev. The CD market is steadily drying up for multiple reasons (collectors dying away, people's collections reaching the breaking point, people have most of the scores they really want, and of course the pandemic has hit most people hard and we are all having to be more choosy in our purchases...)
Yes, that seems to be so. And I find some of these things are true for me as well; I'm running out of shelf space, and I have most of the film scores I ever really wanted. Also, there is one more thing: international shipping cost double or tripple CD costs in some cases now.
Worst case example so far was ordering RUNNING MAN from Varèse Sarabande International. That CD cost Price of CD (23,99) + Shipping (14,50) plus import fees since Brexit (about €20), which I had to pay TWICE since they sent the wrong CD the first time (so it was €40!) so this one CD cost me around €75! Now fortunately, that's an extreme example (I also paid €26 for return shipping the wrong CD but got that reimbursed, so I did not even figure that in), but it sure only for the most coveted albums that I would normally even consider spending that... and I already own my most coveted albums. It used to be when I was on the fence on a release, I often took the plunge. Nowadays, if I'm on the fence on a release, I often let it go by.
Fortunately, I also see more and more releases, even specialty releases by Varèse or Quartet or FSM show up on Qobuz, in lossless or even high-res format. If I get to chose between a high-res release for €15 or a CD release of the same music for €50, it's a very easy choice for me. The music is there right away and I save both shelf space and money.
I don't think the expanded editions are likely to cost Varese less to do, though. I just think they tend to have better sales potential (again, given they pick the right titles to expand). Strange as it may seem, a lot of people seem more eager to re-buy something they already own and know they like (especially if it is significantly improved with substantial more music -- i.e. they're getting new music but they know roughly what it'll be like), than take a gamble on something they're unfamiliar with.[/startquote]
Yes, that's also odd. Though I can at least understand where that comes from.
I sure have bought my share of multiple copies of some releases, most recently the Quartet issue of THE GOOD, THE BAD, AND THE UGLY, for potentially better sound and/or expanded content, but by and large, I try not to do that anymore either. However, to take the example: THE GOOD, THE BAD, AND THE UGLY is among my all time favorite scores... and this release aimed to be the definitive release... including all the music, a good booklet, expertly restored and remastered sound... so in this case I took the plunge. Simply because it is a favorite score.
But indeed, if there is as new score release for a film I barely know by a composer I have less attachment to than Goldsmith or Morricone, it's a more difficult sell.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
