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On Mon, Nov 1, 2010 at 6:28 PM, Bob Hansmann <bobbybmusic@...>wrote:

Angelo!

It seems odd that we are talking about the great loss to piracy(?) and

how

it affects the musicians' livelihoods on the one hand, but when it
comes to
the wonderful record companies, it's the profligate life-styles of the
musicians that are to blame. Ya just can't win, I tell ya!!

Not even close! That is such a deliberate twisting of words and meanings
as to not be deserving of a response.

And yet, you do...

The studio I was referring to was paid as billed, and by the record
company. How does the fact that so many newly signed are too young to be
trusted with that kind of money at all imply that copyrighted materials
should be pirated?

First of all I don't propose piracy... That's your convenient twisting of my
statements.
I also say that musicians are being ripped off. I think we agree an that...
My point is, and always has been, that you and some others here, blame
everything on "piracy" and give the record companies a free pass...
You sound like an apologist for them, quoting THEIR figures as facts...
Dismissing others personal dealings with them as not valid, whereas yours
are gold...

There are many factors to consider when it comes to the issue of who is
getting paid, and by whom? Are you (or Will, for that matter, because he
never seemed to consider this, either) assuming that a newly signed
talent has even the slightest clue about how to produce a recording, no
less the art work, and all other considerations? Hell, they wouldn't
even know which studios and graphic artists were worth a rat's ass, and
even if they did, those studios and graphic artists would not accept
their calls.

Just because these things might be arcane to you, it does not mean that they
are to many young musicians. I know quite a few who know how to promote
themselves, quite nicely.

Are you suggesting that, say, the Bealtes would have had a clue how to
make a success of their early recordings? If so, you are most naive.

I think they had enough sense to hook up with Brian Epstein... They didn't
need to micro-manage their careers...

All this is showing me is that you 1) know next to, if not totally,
nothing about the music business;

And with all you know, I suppose we'll be hearing about your next Euro/Asian
tour, your HBO special and your very own reality show?? Do keep us informed.

2) that your politics interfere
with your judgment to the point that you will never understand any
business, music or otherwise.

Here, you're really starting to wander....

Just be glad that there are enough
successful businesses out there without your point of view to support
our Public School Systems.

Can anybody say "Left field"??

best,
Bobby



------------------------------------



Yahoo! Groups Links

To all,
There are so very many people of diverse skills necessary for the making and marketing of a successful recording. Producers, engineers (not the same thing, btw), assistant engineers, mastering engineers, equipment engineers, studio carpenters specialized in acoustics, artists, PR people, TV people, musical lawyers, entertainment lawyers, contract lawyers, agents, accountants, publishers, .... the list goes on and on and on - I haven't even scratched the surface.

A quick look at Beyonce's live concert DVD which is all over the place now will reveal that she's got well over 100 people up there with her just to make her live show work, and that's just who you see. The credits at the end go on for several minutes. These people are not hacks, but are, rather, very specialized artists and pros at what they do.

For a band or artist to think they can successfully self-produce is ,more often than not, an exercise in absolute futility. I would bet that not even 1% of 1% of all self-produced recordings and musical projects even break even, and that the greatest reason for the high degree of failure is that of ignorance.

To imply that the recording industry is just a bunch of Mafioso, sitting around screwing over talent is simply not true.

To think that making a recording at all is an inexpensive endeavor is nothing short of stupid.

To pirate by uploading to the Internet that which is the fruit of all this necessary expense, labor, and time is absolutely grand theft, by any standard. Think what you want, but i think all the bastards should be sued, and often. i really don't care if they are 5 years old or 95 years old.

To find that NY Congressman John Hall is unwilling to protect copyright law (because he WAS a musician?) is inexcusable. His office should be bombarded every hour of every day by irate creative people and supporters of the arts with letters telling him just what a pussy he is.

best,
Bobby

OMG the comments are priceless. I hope you guys read through them. I want to give so many of those guys high fives, a few of whom are comic geniuses in my book.

"Looks like a retarded Jazzmaster". Snort!

Jeff

It looks to me like it has the same Hi/Lo impedance
out and the robot tuning as the robot les paul.

Will

Bobby,

I am not going to name the labels or studios I was involved
with back in the 1980s for legal reasons. However what I posted
is quite true.

The business model of the 1960s is dead - back then a top
ten recording had to sell 100k units to make the charts, when I
was in the industry it was just 3k per week. The interest
in owning the latest recordings died long before the digital
age.

The kids who download and share would not ever purchase a recording
they pirate for it`s own sake. Closing every single file sharing
site will not make a significant difference to legal sales.

The labels need to look to themselves for their loss of profits,
we are talking about people who couldn`t even store Zappa`s
tapes properly.

Will

At 04:13 PM 11/1/2010, akmbirch wrote:

Gibson Announces the Revolutionary Firebird X

They say it's very light, and I wonder how that affects its sound compared to a traditional Firebird.

Hi Ron,

Someone, maybe Bobby said I was a socialist
the other day.

No. I asked you over the phone if you were a socialist.

As it was a private phone conversation, you'll all just have to wait and see if Rob divulges his answer over the list.

:-)
Bobby

Angelo!

It seems odd that we are talking about the great loss to piracy(?) and how
it affects the musicians' livelihoods on the one hand, but when it comes to
the wonderful record companies, it's the profligate life-styles of the
musicians that are to blame. Ya just can't win, I tell ya!!

Not even close! That is such a deliberate twisting of words and meanings as to not be deserving of a response.

The studio I was referring to was paid as billed, and by the record company. How does the fact that so many newly signed are too young to be trusted with that kind of money at all imply that copyrighted materials should be pirated?

There are many factors to consider when it comes to the issue of who is getting paid, and by whom? Are you (or Will, for that matter, because he never seemed to consider this, either) assuming that a newly signed talent has even the slightest clue about how to produce a recording, no less the art work, and all other considerations? Hell, they wouldn't even know which studios and graphic artists were worth a rat's ass, and even if they did, those studios and graphic artists would not accept their calls.

Are you suggesting that, say, the Bealtes would have had a clue how to make a success of their early recordings? If so, you are most naive.

All this is showing me is that you 1) know next to, if not totally, nothing about the music business; and 2) that your politics interfere with your judgment to the point that you will never understand any business, music or otherwise. Just be glad that there are enough successful businesses out there without your point of view to support our Public School Systems.

best,
Bobby

--- In jazz_guitar@..., Angelo <angelo.nyc@...> wrote:

I have Sibelius and Finale ... and never the twain shall meet ... they both > want > their own proprietary territory ... one would think it good business to > welcome > the > community of musicians using both formats ... but, no, the almighty buck > reigns!

Just buy both.... You don't want to stand in the way of commerce, do you?

Very funny, Angelo. It's hard enough keeping track of different file versions from the same product - especially if you have updated the software and the older version can't read the newer one's files.
The correct way to do this is to demand from both software publishers that they make their files compatible with each other.
Ammo

Please use commonly openable formats for your files - for example, "docx" and "xlsx" are new Microsoft formats that older Microsoft products can't open. Use "doc" and "xls" instead, if it absolutely essential for others to edit your writing.
Most compatible format: PDF. TXT is usable but often the text does not wrap.
Similarly, if sharing a chart from Sibelius or Finale, export your file to MusicXML 1.0 format - the newer formats are incompatible with anything but the newest versions of these products.
Ammo

Let me ask again, where did you meet Rikki?

B

[Non-text portions of this message have been removed]

Gibson Announces the Revolutionary Firebird X

I didn't ask. I said I was pleased to meet her, shook her hand and left it at
that.

I've got my own, personal Rikki. That's enough for me.

R.

[Non-text portions of this message have been removed]

--- In jazz_guitar@..., Ron Becker <ron45@...> wrote:

I met Rikki

Did she still have the number?

No, there was no change of heart, she did not want go out driving on slow hand row. She could not even believe he dared to suggest it.

;-)

Mark

You don't want to stand in the way of commerce, do you?

MEeeeeeeee, I do...... Someone, maybe Bobby said I was a socialist
the other day. I didn't mind. I don't think I am, I see both systems,
ours theirs, as big reverse funnels sending money to the top of the
shit heap. Some of what both ideologies say on paper is ok with me
but in practice you just get the neo con same as the old con. It's
jist biddniss. May your day be full of pretty ladies and Primo extra
specail sandalwood. If you can still find it.

Ron
Living and playing outside the box.



[Non-text portions of this message have been removed]

hahaha good point mark.

I met Rikki

Did she still have the number?

Ron
Living and playing outside the box.




[Non-text portions of this message have been removed]

--- In jazz_guitar@..., "musicmaker1245" <musicmaker1245@...> wrote:

--- In jazz_guitar@..., Ron Becker <ron45@> wrote:

Admittedly I didn't carefully read the original post because I
figured ten people would mention BIAB. Perhaps the concern was for
notation transposition. It does that too when you transpose the tune.
I have missed something obviously since nobody as brought it up.

I did. I think biab is probably the best solution. Loads of tune
files available, one button to transpose both melody and chords and chord can be displayed in standard, Roman Numeral notation, Nashville notation, Solfeggio notation, or Fixed Do notation and the whole sheet can be displayed using the lead sheet window (alt-W).

Something else that I only found about about recently is you can
set up "Set Lists". You can now choose a specific set of songs in a specific order, using the Song Set list window. This is useful for live situations when playing a set of songs where quick access is required. *.FSO files. From the help file

This file contains info about favorite song/style set lists that have been saved under a user-defined name (with the .FSO extension.) These files allow you to make "set lists" of favorite songs and/or styles in an organized fashion, regardless of their actual physical location on the computer system.

Mark

Dear Friends, Fans and Fiends:

Any of you San Fransico, Berkeley, Sebastapol CA, Eugene OR, Seattle WA or Spokane WA folks? Please check my webpage for info on concerts and workshops in your area coming up Nov 4-13. I don't get out that way often, so now's your chance to say hello in person....

hope to see you there!
www.sherylbailey.com
peace:
SB

--- In jazz_guitar@..., John Amato <jamato316@...> wrote:

Also, does anyone know the relationship, if any, between Sibelius files and Finale (.mus) files? I already have a few charts in Finale--if they can be re-formatted.

I have Sibelius and Finale ... and never the twain shall meet ... they both want their own proprietary territory ... one would think it good business to welcome the community of musicians using both formats ... but, no, the almighty buck reigns!

I can confirm the nuisance of MusicXML as a method to translate file formats - even between different versions of Finale (from Finale PrintMusic in MusicXML Export to Finale (full version) 2010, even trying several different versions of MusicXML, many incompatibilities remain, suchas music font, text font, page numbers, text boxes assisnged to pages, music spacing, chord assignments - a rather long list. And I am always promoting Finale as a great tool!
There used to be a free plug-in called Dolet - version 5 is now available for both Finale and Sibelius. It costs $200. Or you could hire them to translate your music for $20 a piece.

This may be an example of software publishers deliberately crippling their product - or it may be a sign of incompetence. In any case, the two major players do not seem to be interested in letting their users play with users of the other company's product.

Still, I'm willing to try using MusicXML in this group of yours, Greg.
Ammo