"Arny Krueger" wrote in message
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"Iain M Churches" wrote in message
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"Arny Krueger" wrote in message
...

"Iain M Churches" wrote in message
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"Arny Krueger" wrote in message
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IOW Iain, you are a wage slave, who works at the
pleasure of others who are sometimes known as
businessmen or capitalists.

Arny, my dear fellow. You have clearly no understanding
of how the record industry works.

Delusions of ominscience noted.

Sarcasm ignored:-)

There are thousand of us within the industry
who know exactly how it works. We have to.
I am surprised that you do not.

Then all you have to offer is news that is both old and
irrelevant. I was focusing on the irrelevant parts. Sorry.

No need to apologise. Most successful freelancers
have held staff jobs earlier in their careers.
It's the only way to get the training we need.

I can pick and choose my projects, and take a three months
summer holiday and one month in the winter.

Nevertheless, you still are a hiree with very limited
responsibilities and control.

I am contracted to oversee a project. I also have
a say in the choice of the location at which it
is recorded.


Standard Contract
This is all reasonable given that no individual listed has
any innate moral right to call the whole work theirs.

No-one calls the whole work theirs.
The conductor gets a credit for his
conducting and interpretation of the
performance. The orchestra gets a
credit for executing the performace.
Likewise soloists.
The producer gets a credit for the
production. The recording engineer
gets a credit for the recording.
The editor gets a credit for cutting
it all together. The artwork designer
gets a credit, the mastering engr
gets a credit, the orchestral manager
gets a credit etc etc etc.

Each and every one of my recordings has a printed credit,
usually in three languages as Recording Engineer: There
are separate credits for production and editing.
In the case of pop and jazz recordings there is also
a separate credit for mixing. What could be clearer
than that?

It's very clear - a small piece of the recording is your
work.

The record sleeve/booklet states very clearly
who is responsible for what. No record company
gives credit to anyone where none is due.

The point that you don't seem to understand is
that the logistics of the type of work I do, demand a team
not a one-man-band.

Wrong. There are people who still do it all themselves.

I would like to see you at the Sofiensaal in Vienna, or at
Royce Hall, LA, "doing it all yourself" Arny, and paying for
it too:-)))

It's pretty amazing that there are people who lead such
teams, make all the major decisions, have their hands on the
equipment, and own the production lock, stock and barrell.
Said productions are often so good that they, well they even
win prizes for technical and artistic quality.

Correct. I have worked on several albums that have sold
gold. Decca has the Grand Prix du Disque award for the
recording of The Fires of London, by Peter Maxwell Davis
produced by Peter Wadland and recorded by myself.

In addition I have a scrap book of reviews, many of them
A*/1* I also have some Scandinavian awards, Record of
The Year etc etc

Some of my former colleagues have gone on to have
incredibly successful careers, and have made
huge sums of money. But that in itself has a price.
I am very satisfied indeed with what I have achieved.

Trouble is Iain, that's neither you nor I.

I have done quite well I think. So have you, I am
sure, in your own field.

But I come far
closer, and your miniscule contributions to the final
product you claim are by the standards of my work, well
miniscule.

:-)))


In contrast, my recordings are my property. I have
worked
and provided finances to obtain the services of a music
director, and the musicans who perform willingly so that
among other things, I can record them. I personally own,
specfied, acquired all of the recording equipment and am
even responsible for such significant details such as ha
ll
acoustics.

Of course they are your property, as no commercial label
has found them to be of sufficient value for commercial
release.

Never even tried, Iain.

Please do. But as they say in the record business, "Don't
give up your daytime job" :-)) I venture to say that A+R people
in the US are far more "direct" (less polite) than they are in
the UK

I find it rather alarming that you cannot hear what is wrong
with the recording of yours that was presented to us. I
can understand there may be some emotional attachment,
as a father loves his child, but looking beyond that......

But, "hei-ho" as the Swedes say, if you are happy Arny, then
we are all happy:-))

The point is that you're figurative
a 9-5 slob standing next to a production line that makes
Rolls-Royces casting aspersions at a car that some craftsman
built from scratch on his own nickle.

No. I have no connection with any kind of production line.
I have the greatest admiration for what you do.
But Arny, you must see it for what it is.....
It's a bit of fun. It's not the Berlin Symphony Orchestra
on DGG.


Iain, when you get a clue about the meaning of the
difference, post again.

Here I am:-))
I asked you once before if you were a professional
recording engineer. For you it's a hobby - for me it's
a profession:-))

I would expect to be able to produce better results
than you (there would be something very wrong
if I could not, considering the amount of time and
money that has been invested by the companies
for which I have worked in my training :-)
But on the other hand, as I have said before,
your knowledge of electronics is clearly vastly
superior to mine. Horses for courses..

I am convinced Arny, that one cannot teach oneself
recording. It's a bit like re-inventing the wheel. You
need to be an assistant, and then a junior, and work
with people who have huge amounts of experience.

Bottom line Iain, only a fool would compare what we do and
pretend that there is much common ground. That fool is
obviously you and not I.

Please try not to be insulting Arny. It does not strengthen
your case. There is common ground in that we both make
recordings. As I said before we approach from totally
different directions. Surely that's enough for an
interesting discussion.

I notice you practiced heaving snipping of my original in
your reply. Let's talk about music and recording, in a friendly
civilised and realistic manner.

Cordially,

Iain