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On 18/11/2014, Tom Fine wrote:


> 
> Find a top-rate orchestra in a good acoustic space, get some serious
> funding to restore the vintage equipment (last I checked, Schoeps
> wants several thousand dollars per mic to factory-restore M201's, and
> they can't guarantee results since they have no original parts on
> hand; Steve Jackson at Pulse Techniques can make near-clones of the
> Pultec preamps for several thousand dollars per channel), gather up a
> whole bunch of digital gear to test, and we're ready to roll, just for
> the feasibility-testing stage though! I won't hold my breath. ;)
> Seriously, I thought about this at one point and came up with a $25k
> budget just to get started, just for gear and gear restoration (figure
> several multiples of that to pay a producer/editor, recording engineer
> and mastering engineer). Maybe 10-15 albums per year, at a cost of
> about $15k per album factoring in travel costs, and then add more for
> manufacturing of the end product (which is what? single CDs? they're
> supposedly toxic to profits in the classical business. SACDs? can't
> live on sales of a few thousand units. downloads? what format? how
> will you market them?), marketing, etc. There is no classical
> recording business plan except a crazy rich patron that works for that
> kind of craftsmanship today.
> 
I wonder how companies such as CPO or BIS manage to finance their steady
stream of issues of single CDs of often little-known orchestral works.

Regards
-- 
Don Cox
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