reedman

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About reedman

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  • Gender
    Male
  • Location
    Oklahoma
  • Interests
    bassoon, violin/viola, retired from professional orchestra management

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  1. Sorry for a delayed response, as I usually don't watch the piano forum. Do your child a favor by buying a full 88 key keyboard with weighted keys. 88 keys because when your child sits down to a real piano, if they learned on a keyboard with less that 88 keys, they will not know where middle c is. And weighted keys, because there is a large amount of technique in "pressing down" and a piano key, rather than pushing down an organ key that has no resistance.
  2. There are rules everywhere, so don't give a blanket excuse that the private concert expectation "does not apply" to a concert hall experience. What doesn't apply is the correlation between classical concerts and the NFL. What makes a classical concert "successful." It sure isn't ticket sales or a full house, so public exposure does them very little good. Nor does a sell-out for ASM or the orchestra--ASM certainly doesn't make a higher fee based on box office receipts like someone like Andres Bocelli (who, last I heard, won't even consider any venue smaller than a stadium--granted, there are a few exceptions). Classical concert ticket revenue generally generates no more than 35-38% of expenses in American orchestras. And they have little or no licensing agreements for merchandising (Juilliard probably makes more on merchandise from their bookstore sales of shirts/mugs than an orchestra does with their name/logo). So hoping for a sell-out because of "public exposure" does no good. I know of NO soloist, orchestra, or performance venue that allows concert recordings without approval. Public concerts in a performance hall have rules prohibiting recording, front-of-House managers have policies prohibiting recordings of concerts, soloists have prohibitions or restrictions of recordings in their performance contracts with the orchestras or venues, orchestra players have restrictions on recordings through their CBA, and management of those orchestras try to enforce all of those contractual obligations. Some soloists don't even allow archive recordings. It is the resurgence in the past few years of the mindset that "what you own should be mine also, because it is what I want" is the most troubling. Yes, it IS sanctified looting, in order that the looter has no guilt in association with their theft. As far as "The pursuit of money loves to wrap itself in the robes of morality"--some things are just illegal, and this is one of them. It is called "artistic control." But then, some people don't care. So don't talk to me about classical music needing all the "exposure" it can get through illegal recordingsI will not feed the troll any further.
  3. "Whether it is illegal or not to record a clip for personal use, I very much doubt it." I can tell you are not a professional musician, otherwise you would be concerned about releasing "your artistic and intellectual property" and having no control over it whatsoever. Regarding " No one is afraid this bootleg recording will outsell a commercial recording" --you also must be unaware how many classical CD's actually sell in the US these days--a once-only pressing of 2000 is a BIG production run these days. Watch the weekly recording sales figures--the TOP Classical recording of the week may have sold 200 or less copies across the country. That is why so many recording companies have gone belly-up, or why orchestras become their own recording company. The issue is it is illegal to make ANY recording of a live concert if it is an AF of M orchestra (and I am sure that includes the 2-3 orchestras- represented by the IGSOBM-Seattle Symphony, Seattle Opera, and Pacific NW Ballet), and it is up to the orchestra to enforce that segment of their CBA. This is for the protection of all of the musicians on stage--soloist and orchestra members alike, because it is THEIR PRODUCT. The only exception to getting approval is if the orchestra is also operating under the separate "Integrated Media Agreement" which allows, without the necessity of having the orchestra committee initiate a vote, a specific length for "news type" releases. There are guidelines on the total length of taping, along with how much is actually available to use of that taping. And yes, many orchestras post small segments of a concert (rarely is it a rehearsal) that they post on social media for marketing. But it is THEIR product to market as THEY see fit, they OWN it, and they still have to follow the rules that they operate under. I seem to remember the last Integrated Media agreement we were signatories to included a 30 minute length of actual recording was allowed, and only three 1 minute segments could be used. It doesn't make any difference whether it is solely for personal use, or the individual wants to put it on YouTube, or sell it commercially. What if the soloist or the orchestra didn't think it was a good performance? Neither parties want something that they didn't approve floating around, after all, it it IS THEIR intellectual and artistic property! Soloists are notorious for not releasing sessions that they were not pleased with--consider the Rubenstein recordings that still haven't seen the light of day that CBS Masterworks/Sony Classical have. As far as the venue allowing or disallowing recording, their blanket or individual performance licenses from ASCAP/BMI/SESAC and others covers a live performance ONLY--NOT recordings, and that doesn't matter who is doing the recording. The venue is responsible. The only thing that audience member paid for is to enjoy the live performance in real time. So they should sit back and enjoy the music.
  4. There is not only the concern of the soloist being recorded illegally, but the orchestra players. All recordings have to be approved by the players also.
  5. Disguised advertising? The article begins with "Penske Media may earn a commission from purchases made from our links." I still remember a wonderful pair of interviews with Glenn Gould in 1973(?). I had a subscription back then.
  6. Might I suggest you post this question on the Mandoline Cafe forum. mandolinecafe.com has a classified listing, and also a forum.
  7. We own one that came down through the family. I always thought it was from Sears.I didn't know they carried such high end equipment back then.
  8. Merz Huber got sold to Huntington Block https://www.huntingtontblock.com/ a number of years ago. They are our current insurers, and we have a discount through ASTA membership.
  9. Some insurers will ask if you have ever made money playing your instrument... Also check Total Dollar. One thing to ask is whether your instrument or bow is covered while in the shop being worked on, and oops...your bow head cracks when getting a rehair.
  10. Didn't see that one specifically, but Ricordi-Milan carries the 3 vln concerti (only No. 3 with pno), so they might be worth a contact. I saw a vln/vla sonata published by Mercury Music Corp, and Tango (Heifetz) published by Carl Fisher.
  11. I am actually a bassoonist in a family of 5 great string players. Reading tenor clef is just standard operating procedure for me, just as it is for cello or trombone (trombones get thrown a curve-ball with an edition of Messiah that has them in alto clef). I have to read bass, tenor, and treble clef. The whole point of moveable clefs was to get rid of ledger lines when possible. There are 4 clefs left in standard usage, but you've got 15 to choose from historically.
  12. I actually prefer, when it is a solo and in that range and higher, that it is in tenor clef. But it generally isn't an issue. What I hate is A4 and higher that ISN'T in tenor or treble clef. I actually just did a recently new movie chart that went up to D5 and they wrote it in bass clef! It was something probably scratched out during a recording break (it was a rarity now days--written out by hand), because there wasn't a bit of tenor clef to be seen, and the copyist actually wrote "D" under the note under the staff (where my eye was NOT going because my brain was trying to process all the ledger lines). Tenor clef just takes practice.
  13. New River Grove in Davie (just south of Ft Lauderdale) has what used to be one of the best Key Lime pies (and others) by Terri. Orchard right there. Griffin Rd just off of I95.
  14. Took the wide loop out of the Suzuki Leadership Retreat in Ohio back to Oklahoma and drove to the National Museum of Musical Instruments in Vermillion SD on Tuesday. What a place! Besides the Amati collection (that entire room was absolutely amazing), the guitar collection, keyboards, early brass, woodwinds...it was terrific!! A son-in-law is now on the lookout for a Gibson mandobass. And I hadn't a clue as to the early ergonomic designs of violins--the Chanot display was eye-opening, as were his bridges (with a tip of the hat to Craig, they looked like they should have been displayed at the Alien Museum in Roswell).
  15. Nice article in yesterday's Wall Street Journal magazine (the Style and Design issue) on makers James McKean, Sam Zygmuntowicz, Guy Rabut, David Wiebe, and Jason Viseltear.