RMMGA CD Volume III FAQ (Frequently Asked Questions)
The information in this document is provided by multiple contributors.
The foundation of this FAQ is heavily based upon the FAQ
for CD Vol. II, which I also compiled.
If you volunteered to work on a section of the FAQ and have something
to contribute now, go for it.
Even if you didn't volunteer but want to add or modify info, tell me.
Send me a message: musicaddict47 at yahoo dot com.
Last update to the FAQ: 8 January 2004.
News in a nutshell (current CD status):
All 500 sets have been sold or reserved.
Those folks who pre-ordered and paid should have received their sets long
ago. Some folks on the waiting list should have been contacted about payment
information, so please be sure to send in your payment so we can close
out this chapter of history!
The CD-III project is complete, but the information
contained within this document will remain as a reference ("current"
language largely intact) for those curious about the project, and for
future projects. Please keep this in mind as you read the page.
Contributors to the FAQ
I attributed chunks of information to the appropriate info-provider.
Here's the key to the code names:
| [Al] |
Al Evans |
| [Bob] |
Bob Alman, head honcho for CD I |
| [Daniel] |
Daniel Nestlerode |
| [Harold] |
Harold Hedberg, licensing guru |
| [Jan] |
Jan Vail, da boss for CD II |
| [Jim] |
Jim McCrain, the mastering master for CD III |
| [John] |
John Sorell |
| [Shirley] |
Shirley Worrall |
If you don't see an attribution to something, the reason is because I
(Jennifer, liner notes and FAQ editor) wrote it myself.
- Some basics about the CD project
1.1 - What is RMMGA CD III (a.k.a. CDIII, CDiii and CD3)?
(updated)
1.2 - Can anyone from RMMGA be on the CD? / What kind
of music may I submit?
1.3 - How many pieces can I submit?
1.4 - What do I need to do to be on the CD?
1.5 - When is the deadline?
1.6 - When can I start submitting music?
1.7 - What pieces have already been submitted? / Who's
aboard?
1.8 - Who volunteered to work on the CD project? (major
credits)
- Copyright issues
2.1 - What if I am doing music written by someone else?
2.2 - How is a mechanical license obtained?
2.3 - What if I am doing an arrangement of a "public
domain" work?
2.4 - How were the appropriate licenses handled for CD
I/II?
2.5 - What do I have to do in order to obtain a mechanical
license for a song I'm contributing?
2.6 - What if I am doing an original piece that I wrote?
2.7 - How do I copyright my original work (i.e.
songs that I wrote)?
- Submission formats
3.1 - What formats are acceptable for submissions?
- Recording resources
4.1 - What are some recording-related resources on the
web?
4.2 - Are there any newsgroups that discuss recording
techniques, tips, help?
- Recording help/tips from RMMGA-ers
5.1 - Recording Basics (in 6 steps) [Al]
5.2 - How do I get rid of extraneous hiss if I'm recording
on tape? [Shirley]
- I'm done recording and am ready to submit!
6.1 - Where/How do I send in my submission(s)?
6.2 - What information do I write for the liner notes?
(updated)
6.3 - How/Where do I send the liner notes?
6.4 - Is there anything else I need to do?
- RMMGA CD Volume III - The final product
7.1 - How much is CD III? / Who & what music is on
it? / What do I get if I buy a set?
7.2 - How is the price determined? / What does the price
cover?
7.3 - How do I order a set (or multiple sets)?
7.4 - How do I pay for my order?
7.5 - How do I check the status of my order?
7.6 - What if I have more questions about my order?
7.6 - What if I have more questions about my order?
[Note: If you click on an external link
from the FAQ, the web site will be opened in a separate browser window]
This is the third CD project to be put out by RMMGA (the Usenet newsgroup
rec.music.makers.guitar.acoustic).
The first and second volumes are sold out. At this point we do not know
how many submissions there will be, how many CDs will be in the set,
or what the price will be. It will be made up of musical submissions
by the members of the RMMGA newsgroup. [Jan]
The official site for CD III, including final artwork and liner notes,
is available here: http://www.rmmga.org/CDIII/
If you want to learn more about RMMGA CD I and II, check out the RMMGA
web site, put together by Tim Wampler: http://www.rmmga.org/.
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Yes. The only requirement to being to be on this CD is that it has
to be acoustic guitar based (after all this is an acoustic guitar newsgroup).
There can also be other instruments, and/or vocals. It can be an original
work or a cover of someone else's work. Even if you submitted a piece
or two for CD I or II, you can be on this CD. [Jan]
Solo instrumental, band/group arrangements and "vocal" works
are considered appropriate for inclusion, as long as the main thrust
of the music is acoustic guitar. [Jim]
If you are doing a cover, you will need to provide the required information
so that we can obtain the license for it (see section 2:
"Copyright issues").
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Members/readers of RMMGA may submit a maximum of two (2) works, either
original or cover for inclusion on the new project. There will be no
limit to the number of contributors allowed, but it is urged that people
who have already contributed to previous projects to please limit themselves
to one (1) submission. Duos, trios and other "arrangements"
will be considered as one (1) submission for each listed performer.
[Jim]
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- You need to get your work recorded, and then send it in. There are
many ways to record your piece. It can be recorded into a cassette deck,
a multi-track recorder, a Mini Disk recorder, a DAT recorder, into your
computer, or even a professional recording studio. Whatever way works
for you. [Jan]
Acceptable final submission formats are discussed in section
3. If you have no experience recording or would like tips, don't
worry, that will come later in section 4 and section
5.
- You should sign up for the RMMGA CD mailing list to keep up with what's
going on with the CD... all RMMGA CD news, all the time! (Actually,
the activity level of the list varies quite a bit.) Just go to Yahoo
Groups (formerly eGroups) (http://groups.yahoo.com/group/rmmga_cd)
and subscribe to the "rmmga_cd" list. You can choose whether
you want individual messages or a digest. Check out the archives! Don't
worry, it's all free (but you do have to register if you haven't already).
[Note: If you hear/read about references to Onelist or eGroups (e.g.
"subscribe to the rmmga_cd list on Onelist.com or eGroups.com"),
don't worry about this. Explanation: the RMMGA CD list was originally
created using Onelist but the service later merged with eGroups, and
then Yahoo bought eGroups.]
- When you're done recording/mixing/whatever, you'll need to send in
your submission and some liner notes (covered in detail in section
6) and the required copyright information, if necessary (covered
in detail in section 2).
- As a contributor, you will be expected to buy one CD set from the
project. [Bob]
This is how it was for CD I and CD II, as well. This might sound obvious,
but this guideline insures that the people who want to be on the CD
(which is not for profit, and produced on a volunteer and goodwill basis)
help contribute toward CD production costs.
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All submissions must be received before October 1, 2002. The
deadline has been extended to October 7th, 2002.
Deadline has now passed. No more submissions will be accepted.
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A full track listing of the CDs is available in section
7.
As of 13-Jun-03 (these credits supercede the actual printed credits
in the CDs):
RMMGA CD Vol. III Credits
Compilation mastered by James B. McCrain
Mechanical licensing manager: Harold Hedberg
Online liner notes & FAQ editor: J. Y. Whang
CD artwork/layout designer & payments administrator: Tim Wampler
Orders administrator: John Sorell
Distribution managers: Bill Chandler & Carla Chandler
Production/replication coordinator: Michael A. Wong
Special thanks to:
Fran Guidry and Joel Wummer for underwriting and to
Mike Horsley and Gene Leb of RLX Video for CD replication
services.
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In order to include material which is copyright controlled, a mechanical
license must be obtained. If the work which is desired to be
included has been previously recorded (by the composer or by someone
else), the publisher/composer/copyright owner is mandated by law to
grant the license. "Standard" licensing fees are set by statute. In
1999 these fees were, as I recall, 7.1 cents per copy. Rates have gone
up for 2000 to, I believe 7.5 cents. [Editor's note: As of January 2002,
the rate is now 8 cents (US) per copy of songs that run 5 minutes or
less.] Probably, you won't be able to obtain a license for less than
500 copies (which is what we did for CD I). [Harold]
To find out what you need to do to help obtain a mechanical license,
read section 2.5.
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===
A license can be obtained directly from the publisher/composer/copyright
owner under any terms which you can negotiate. Otherwise, for many many
works, a license can be obtained from "The Harry Fox Agency" (http://www.nmpa.org/hfa/mechanical.html).
Publishers and record companies use Harry Fox as sort of a clearance
house to funnel licenses and cash back and forth between license grantors
and license grantees.
The only information required to apply for a license is the name of
the work, the name of the composer, the name of the publisher and information
about the recording (who and how long). Most music of interest will
be listed in either the BMI (http://repertoire.bmi.com/)
or ASCAP (http://www.ascap.com/ace/ACE.html)
on-line data bases where publisher information can be ferreted out.
[Harold]
===
If you're doing a cover song for RMMGA CD II, you do not
have to send in the forms to obtain the licensing yourself. See section
2.5 for more on this.
If you want to find out more about licensing in general and how The
Harry Fox Agency and BMI and ASCAP fit in, Harry Fox has a helpful FAQ
(http://www.nmpa.org/hfa/hfafaq.html).
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===
A copyright for an arrangement cannot (as I understand it) be obtained
for a work which is not in the public domain. This means, for example,
that Charles and Donna cannot copyright their stirring arrangement of
"Blowin' in the Wind." A copyright of an arrangement of a
public domain tune, though, can be copyrighted and if a copyrighted
arrangement of a public domain tune is used, a mechanical license is
technically required--the statutory rate for an arrangement is 20% of
that for an original work, I have been told. Fortunately, we didn't
have any of these for CD I; I'm not sure how to obtain such a license.
Exactly what constitutes an arrangement is not real clear. It can't
be the melody (obviously) and you can't copyright a chord progression
(thank god). You also can't use the arrangement path to copyright control
something which has previously been in the public domain (though it
has been suggested that A.P. Carter sure did try).
I think that the solution to the whole arrangement thing is that any
public domain tunes that are included should have "original"
arrangements. [Harold]
===
Here's something more from Harold -- this was in answer to a question
from John BJ, who wanted to know if his performance of "Jesu, Joy of
Man's Desiring" (public domain, but based on a Leo Kottke arrangement)
was a copyright issue:
It seems that if you created your adaptation directly from Kottke's
arrangement then we need to consider your performance as a use of his
arrangement and secure a proper license from his publisher. I think
that is the proper thing to do. My understanding is that Harry Fox doesn't
handle arrangement licensing, but the good news is that Kottke's publisher
is Bug Music and that Bug appears to be quite easy to deal with. [Harold]
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On CD I, some people secured permission from the writer/publisher to
include copyrighted works. These we didn't worry about other than an
annotation in the liner notes indicating who composed the work and the
fact that it was used by permission. For all the other cover tunes (about
9, as I recall), I secured the license from Harry Fox. Worked well.
[Harold]
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Harold Hedberg has generously volunteered to take charge of the copyright
licensing again for CD III. So if you are contributing some version
of a copyrighted song (not copyrighted by yourself), then Harold says:
- "If the performer has personal contact with the composer/publisher
and wants to get individual permission to include a tune, that's fine."
- "For all others, I will fill out the forms and do the leg work
so long as I know the tune details (copyright owner, title, publisher)."
The only information required to apply for a license:
- Song title
- Songwriter(s)/composer(s)
- Publishing company of the song
- Performer's name (a.k.a. your name)
- Length of your rendition (minutes and seconds)
Most music of interest will be listed in either the BMI (http://repertoire.bmi.com/)
or ASCAP (http://www.ascap.com/ace/ACE.html)
on-line data bases where publisher and composer information can be ferreted
out. [Harold]
As with CD Vols. I and II (for the most part), the licensing fees for
CD III will be added to the overall cost of the CD. So unless you want
to take care of the fees yourself (in which case you should make that
clear), you don't have to worry about them.
When you have finished recording your song(s) for CD III, be sure to
e-mail the necessary information to Harold (hhedberg [at] swbell
[dot] net) so that he can take care of the licensing for you.
Write "RMMGA CD licensing info" or something of that nature
in the subject header. Adding a "Thanks" would be nice, too.
:-)
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If you're submitting an original work written only by you, then that's
fine. Since you own the work, you can give RMMGA permission to use it
on the CD. There are no forms to fill out for this, and no licensing
is required. If copyrights on this issue is a new subject for you, please
read section 2.7 below.
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I'm not an expert on copyrights -- I'm neither a copyright lawyer nor
a professional musician, but from experience here's what I've learned.
Technically, you acquire a copyright on an original work the
moment it gets written or recorded in some concrete way, whether onto
paper or onto a sound recording.
e.g. Say you're Pat Songwriterperson, and you recorded an original
song onto a tape recorder just by singing into it, then technically
it's copyrighted as of then.
Let's say you name that little ditty "Song #1" -- then legally,
"Song #1" is yours. And you can record it however you want, and submit
it to as many compilations as you want. So legally you don't need to
have "Song #1" registered with the copyright office (I'll get into this
next) to submit a recording of it for the RMMGA CD. As mentioned, it's
yours and you can do whatever you want with it. In other words, registering
your songs is not required as a step to have them included on this CD
or any other compilation. You can also submit the songs now and register
them later, if you so choose.
Getting your stuff registered, though (in the United States,
with the U.S. Copyright Office (out of the Library of Congress a.k.a.
LOC)) is a different thing. Registration with the Copyright Office is
just a formal way of getting your copyright documented, and provides
proof of your ownership and rights -- in case you're afraid of someone
stealing your work or somehow coming up with a song that sounds like
yours later on.
To register, you can submit a sound recording or sheet music of your
work, along with a fee and the appropriate application to the Copyright
Office (tip: I've read that it's a good idea, when submitting a sound
recording, to include printed lyrics for whatever's on the recording).
If you're really serious about retaining the rights to the song (and
are afraid someone may write something similar down the road, or might
copy your own song and pass it off as their own), then I'd recommend
the registration. IIRC you can record a bunch of original songs onto
one recording + register that collection of songs under one fee. Or
you can register individual songs, separately, but pay a fee for each
one. But be certain and check the current info from the LOC links below.
The U.S. Copyright Office site (http://www.loc.gov/copyright/)
has a lot of good info, plus you'll need to visit anyway to get details
and forms on registration. For musical composition registration, you'll
want to check out the "Performing Arts" section of How to
Register a Work. And do not miss Information Circular
50: "Copyright Registration for Musical Compositions (http://www.copyright.gov/circs/circ50.html).
For more info (official info! and not my sad little primer above) on
the world of copyrights (what it is, what's protected, what's not protected,
how you get it, etc.), check out the Copyright Office's Information
Circular 1 (it's #1 for a reason): "Copyright Basics" (http://www.copyright.gov/circs/circ1.html).
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Submissions may be made to Jim on the following media, listed in preferred
order:
- CD (WAV file)
- DAT
- electronic (WAV file)
- electronic (MP3 file)
- minidisk
- cassette
- vinyl
Update: Jim can no longer accept media e-mailed to him, nor can he download
files from a website. Please see section 6 for the explanation.
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4.1 - What are some recording-related resources on
the web?
Even if you're not a beginner, you might find something helpful in
these links. Also see section 4.2.
- The Recording FAQ (http://go.to/recordingfaq)
If you haven't already checked this
out, please do! This frequently updated index
of recording-related links by Erwin Timmerman is posted regularly to
the newsgroups rec.audio.pro and alt.music.4-track. It covers a great
range of recording topics: gear (including a lot on microphones), tips
for beginners, tips for non-beginners, PC recording and more.
- HomeRecording.com: Learn how to record and mix your
own music tapes, CDs, MP3s... (http://www.homerecording.com/)
Lots of helpful info including tutorials and FAQs; recording
and mixing tips, reviews.
- ProRec: Pro and Home Recording Resources on the Internet
(http://www.prorec.com/)
A web magazine covering industry news, product reviews,
and feature articles.
- Home Recording Quarterly (http://www.geocities.com/woodenmusic/hrq/hrqintro.html)
It's apparently not being updated anymore, but this
page has a bunch of good tips that cover a broad range of topics. Especially
helpful for people on a budget. Also has 4-track tips.
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4.2 - Are there any newsgroups that discuss recording
techniques, tips, help?
- alt.music.4-track.
It's pretty receptive to questions from complete beginners, so don't
be nervous. It's also more geared for budget or non-professional recordists
and musicians. Not only for those who have 4-track cassette machines,
either, but also multi-tracking in general. The FAQ for alt.music.4-track
is at http://www.homerecording.com/4trackfaq.html.
- rec.audio.pro.
Posts can get pretty technical, since the newsgroup seems to be populated
by people familiar with recording. There are also frequent threads helpful
for the home or budget user. The activity level is extremely high. The
FAQ for rec.audio.pro is at http://recordist.com/rap-faq/current.
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Section 5: Recording help/tips from RMMGA-ers
5.1 - Recording Basics (in 6 steps) - by Al Evans
Since I record myself a lot, and other people are trying to do that
right now, I thought I'd try to describe a procedure that works for
me. Well, it gets me close to what I want right now, anyway.
In another thread, Christopher said, "I would suggest that to learn
how to NOT use the punch in and instead for each of us to learn how
to play something all the way through 'correctly' and thus to live with
one's 'humanity' will make us all the stronger for doing so." I agree
with him to a great extent. I'm not particularly interested in making
a recording that "sounds like a record" -- I want to put out something
that sounds like me, sitting there, playing and singing for you.
- Preparation: My main tool is my minidisc recorder.
For some days before I'm going to do a "real" recording, I record
sets of three of the song I'm planning to record. Record, listen,
record, listen, record, live with it until tomorrow. I find that little
corrections get made from the first to the third recording. I listen
to the third somewhere between three and ten times, played back on
my stereo. There's a simple method to this madness: I've heard LOTS
of songs on my stereo. Is this one of them? If not, why not? This
is a "lather, rinse, repeat" thing. I try to keep doing it until,
one day, the song doesn't get any better. Then I'm ready to record
it.
- Setup: All you really need are two good mics, one
for voice and one for guitar. I have a pro friend who says, "if you
can't get good sound out of any $250 mic, it's probably not the mic's
fault." I think he's largely right (except that the price of a good
mic is a lot lower now than when he said it, probably more like $100).
There's no way to find the "best" sound except to look for it. But
you should be able to get a very reasonable sound out of almost any
guitar in at least two places. The first is 8-12 inches from the 12th-14th
fret, pointed directly toward the guitar and maybe a little toward
the soundhole. The second is 4-6 inches from the lower bout below
the bridge, pointed straight at the guitar and maybe a little toward
the bridge. I set my vocal mic up with the centerline even with my
lower lip, 6-8 inches away, and a little off to the left pointed toward
my mouth. I use a pop filter. Get your levels set -- if you're recording
digitally, you want the absolute peaks somewhere in the range of -4
to -1 dB on your meters.
- Recording: Push "record" and do three
or four takes in a row. Your limit may vary. If you screw up too badly,
just start the song over. Generally, my first take sucks, but I'm
happy to have gotten through the whole thing. After the fourth, I'm
too involved in the recording process to do justice to the song.
- Assembly: This depends on what you have available
to edit with. If the answer is "nothing", then you've got to just
accept one of the takes you've got, or go back to step 3. What *I*
do is make a little chart, for example:
intro | v1 | ch1 | v2 | ch2 ...
1
2
3
4
for four takes. Then I listen, and make some notation that will
guide me in comping together the best recording from these four takes.
Sometimes, nothing will work but to erase it all and come back to
it another day (for me, tomorrow is one of those days for one song:-).
Usually, though, I can put together a nice recording by taking parts
from two, maybe three, of the "takes." My recorder (Roland VS880-EX)
allows me to do this easily. I do my cuts on the leading edge of a
note, right at the beginning of the sound made by the pick contacting
the string. If it takes more than three or four edits to assemble
a good version, I probably need to work on the song some more.
- Editing: If I have to edit more than one or two
little glitches, I probably need to work on the song some more. But
this recording technique gives me enough separation between the voice
and the guitar that if I flub a bass note, I can probably copy the
same note from another chorus or something, and it'll sound fine.
If there's a bad "skreek" of string noise one place, I can often erase
it. Important note: an edit you can "barely detect" today will probably
be inaudible tomorrow!
- Finishing Touches: After I've got the song assembled
and edited, I'll probably add some compression on the voice and some
reverb on both guitar and voice when I'm doing the final mixdown.
I try to set up my mics so that I don't need to use any EQ, but if
I need it, I use it. It's like dodging and burning in darkroom work:
I do it to make it sound MORE realistic, not more "produced." The
sound you've got recorded is an abstraction of the real sound, and
you've got to "fluff it up" a little so that it will be correctly
reconstituted through a stereo and a set of speakers.
So there ya go. You can listen to some of my results on my web site
(http://www.alevans.com/).
In particular, "Fairy Lullaby" and "Gotta Leave This Town" were recorded
using variations of the above procedure.
I agree with Christopher that the best recording is the one that best
reflects the performance. On the other hand, as you can see, I don't
have a problem with editing the recording so that it reflects the BEST
performance, and so that it is adapted to the medium in which it will
be released and heard. The audience forgets a mistake in a performance
immediately, but a recording gets listened to over and over, and I don't
hesitate to fix things that would interfere with the song.
Because the music is the important thing!
(Whew! I sure hope someone finds this helpful! :-) [Al]
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5.2 - How do I get rid of extraneous hiss if I'm recording
on tape?
It's a good idea, once having recorded onto tape, to run the tape into
the PC (via a simple lead) and save the track as a .wav file in one
of several available shareware music editing programmes. It's then possible
to use the programme to remove quite a lot of tape hiss. (I used the
demo version of Cool Edit [http://www.syntrillium.com/cooledit/],
which cost nothing.) [Shirley]
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Section 6: I'm done recording and am ready to submit!
All submissions should be sent to Jim McCrain, who's mastering CD III.
Include your correct e-mail address as well as your
name, so that he can clearly identify each submission and confirm that
he received your song(s).
[Submissions window has closed; this information is here for reference's
sake.]
(Thanks Jim!)
Once you mail out your package, it would be helpful to e-mail Jim (cd3
[at] mccrain [dot] net) to let him know that your submission is
on its way to him. In your message be sure to include what songs you've
sent, and what format, and of course your name and e-mail address.
If you have any questions about submission formats, or the method of
getting your submission to Jim, e-mail him or post a message on the
Yahoo rmmga_cd group (http://groups.yahoo.com/group/rmmga_cd).
If you've sent your stuff to Jim, congrats! But you're not quite done
yet...make sure you read the rest of this section (6.2 - 6.4) and take
care of the rest.
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6.2 - What information do I write
for the liner notes?
Jennifer is once again taking care of compiling everyone's notes, and
editing them for inclusion into the online master liner notes. She'll
be sticking with the original template to format the notes (originally
created by Daniel Nestlerode, with suggestions from Jan and Peter).
So here are some things you might want to include in your notes:
|
[Name
& Song Title]
- Technical
info:
- - Guitar:
make, model & style (if style is not readily apparent in
the make or model names)
- Strings: make & gauge (if you can remember)
- Tuning used (if other than standard)
- Sonic capture devices: microphones, transducers/pickups, etc.
- Other goodies like preamps, DI boxes, etc. Any special picks,
tools or effects used.
- Sonic recording devices, including any software
- Any credits you might have (if not done on your own): producer,
engineer, mixer, etc.
-
- Song
roots / esoteric stuff:
- - If this
is a cover song, the names of the songwriters (this should be
the same as the licensing info you'll be sending to Harold (see
section 6.4))
- What inspired you to choose (or write and choose) this song?
- Is there a story behind it? (check the CD II notes for examples
of this)
- Lyrics (if you like -- and if you have permission
to reprint them)
- Something about you
- Again, any thanks or credits you have (other than technical)
- URL (if available)
- Your e-mail address, if you are open to people contacting
you about your submission(s)
(Basically,
if there's anything else you want us to know, go ahead. Don't
feel limited by this template -- you can say more (or less) if
you want, as long as it's all relevant to your submission.)
|
Anything you e-mail (to Jennifer) regarding the technical and artistic
composition of your cut(s) will be edited into this format and transferred
to the person or persons who will be handling the CD's artwork. [Daniel]
Don't worry about spelling or grammar -- I'm editing the notes, but
I won't do anything drastic to change your writing character/style.
If I have any suggestions that aren't related to spelling, etc., I will
contact you. (You'll be able to preview your notes later, to check if
I have any typos or errors of my own.)
The full liner notes for CD III will be published exclusively on the
Web -- the CD inserts will only have general info. Printing the full
notes in CD booklets just wouldn't be practical... e.g. a paper version
of the liner notes for RMMGA CD Vol. 2 would have been over 30 pages
long, on standard letter-sized sheets (even using a variable, 8 pt.
size font)!
[Update: The complete liner notes for CD III are available: http://www.rmmga.org/CDIII/
]
For CD II, the liner notes were made available on the web. See them
here: http://www.rmmga.org/CDII/cdii_liner_notes_pg1.htm.
For CD I, liner notes were made available with the CD packaging. A
"full" version of them was posted on Tim Wampler's site as
well. Visit http://www.rmmga.org/CD1/rmmga_linernotes.htm
to see it as well as the notes that actually accompanied the CD on the
inserts.
[Return to the table of
contents]
6.3 - How/Where do I send the liner
notes?
E-mail your notes to me, Jennifer (musicaddict47 [at] yahoo [dot]
com). Guidelines:
I'd prefer that your notes be in the body of your e-mail message or
as a plain text file (however, if you really want to show formatted
text, please use HTML formatting in your mail, or attach a file -- I
much prefer RTF over Word docs. Please, no other formats). Write "RMMGA
CD liner notes" or something of that nature in the subject heading,
because my incoming mail is filtered into different folders.
6.4 - Is there anything else I need
to do?
If you contributed a cover song and/or used someone else's arrangement,
be sure to send the appropriate info to licensing manager Harold Hedberg
so that he can take care of the licenses. See all the details, including
Harold's e-mail address, in section 2.5.
[Return to the table of
contents]
Section 7: RMMGA CD III - The final product
7.1 - How much is CD III? / Who &
what music is on it? / What do I get if I buy a set?
Final pricing will happen once we get all the orders in. It looks like
it will be under US$20 for a set (around $15). Update:
each 6-CD set will be US$16, including shipping. For delivery overseas/foreign
countries, this price will be higher depending on your location.
The RMMGA CD Vol. III (aka CD-III) project began in late 2001. CD-III
consists of 6 discs with 130 songs from 82 contributors. Distributing
this new 6-disc set will mark the culmination of 16 months of discussion,
cooperation, problem-solving and just plain work by volunteers and track
contributors.
The music represented in the recordings covers a spectrum of styles,
all featuring acoustic guitar in some way: solo guitar, guitar with
vocals, guitar with other instrumentation; original songs written by
RMMGA-ers, covers; pop, folk, country, rock, Hawaiian slack key... CD-III,
like the RMMGA CDs preceding it, really is a collection of diverse music,
all performed by RMMGA followers: from regular posters, to occasional
posters, to lurkers.
As Bob Alman said way back for CD-I: the range of skill and equipment
used is a cross-section of our group and is presented in the spirit
of sharing.
A full track listing:
RMMGA CD Vol. III Master Track Listings
CD 1
----
01. Joel Wummer - Walk with Me
02. Mark Banach - Norwegian Wood / Lucy in the Sky with Diamonds
03. Peepmatz - Have a Heart
04. Jim Graham - Dundee, O'Flynn, Etc.
05. Ralph Goff - My Old Dad
06. El McMeen - Le Mans
07. Michael Brown - The Heart of Saturday Night
08. Bill Gardella - Lookin' for a Southbound
09. Steve Hawkins - To My Friend
10. Brian McCarthy - El Noi de la Mare
11. Bill Chandler - Coming Back
12. Steven Dillon - Solar Eclipse
13. Mark Carleton - Spring Creek
14. Brooker & Bullen - Phoenix
15. Greg West - Inside Passage
16. Alan Dunwell - Life on the River (Goes On)
17. Brian Rachford - These Mountains
18. Larry Pattis - Hands of Time
19. Stan Milam - Simple Gifts / Arcadia
20. Barry Hansen - Spindrift
CD 2
----
01. Lance McCollum - Jig
02. Brent Pellegrini - Stolen Kisses, Stolen Licks
03. Al Evans - Minuet in G
04. Tom Risner - Lake of Pontchartrain
05. J. Y. Whang - Surprise, AZ
06. Gary Hall - Go Spoonman, Go
07. Val Goodfellow - Lass at Patie's Mill
08. Mark McDonald - Great Long Time
09. Dick Thaxter - Sibella
10. Greg Zinkus - I Am
11. Donna Havens - Scarborough Fair / Canticle
12. Craig 'Lumpy' Lemke - Cumulus 19
13. Mike Marquis - Would You Like to Play Guitar?
14. Geoff Duncan - Leggato
15. Chris Stern - Mr. Tambourine Man
16. Tom Lamson - Out for a Walk
17. Adrian Foden - A Song for James
18. Jeff Scott - Carly's Song
19. Joe Carpenter - Blind Lemon Bernie
20. David Prunty - Roseville Trio
21. Burle McGhee - Don't Think Twice, It's All Right
22. Tim Wampler - Her Brown Hair
22. David Wellborn - Butterfly
CD 3
----
01. Kathy Wingert - A Case of You
02. Timothy Juvenal - All Blues
03. Will Clinger - Hewlett
04. Rahul Patwari - A Temporary Matter
05. Phillip Wages - Less Than What You Are
06. Jerry Gant - Telma and Eugene
07. Jim McCrain - Dear Prudence
08. Gaetano Bevilacqua - Colin Charlton's Reel / Conjewoi Polka
09. Stephen Lee Veal - New World Order Blues
10. Bill Hoff - Happy Little Tire Swing
11. Jeff Bernstein - The Gathering
12. Jim Whelan - From the Beginning
13. Keith Marzullo - Isa Lei / Aloha `Oe
14. Dar Shelton - Dream Garden
15. Mark Banach - Wonderful Tonight
16. Michael W. Pannell - Nearer the Woods
17. Phil Stevenson - From the White Meadow
18. Pete Gay - Red House
19. Ed Bianchi - Flier
20. Paul Kingston - Mama Don't Allow
21. Andy Most - Resolution Boogie
22. Stephen Boyke - Accordian Bells
23. Amy Katriel - Old String Blues
24. Jeff Carter - Northern Lights
25. Jeff Sherman - In the Bleak Midwinter
26. Michael Dunnigan - Better Not Try to Stop Her
CD 4
----
01. Steve Hawkins - Peanut Butter Pie
02. Dave Wood - Go Ahead Buddy
03. Christopher Grener - Do You Believe in Magic
04. Noah Zable - The Last Thing On My Mind
05. Joe Jordan - Barney
06. David Kilpatrick - The Last Farmer
07. Russell Letson - Malihini Slack Key
08. Kevin O'Donovan - Fiddler's Dram / Whiskey Before Breakfast
09. Rick Marciniec - Help!
10. George Wirth - Radio Road
11. Gerry Mason - Just Like You Said
12. Robert Van Niel - Maple Leaf Rag
13. Andy Wang - NJ Exit 142 Slack Key
14. Fran Guidry - Monorail Slack Key
15. John Pearse - Sally Where D'You Get...?
16. Michael Brown - Don't Blame Me
17. Jim Graham - Morison's March
18. El McMeen - Greensleeves
19. Kathy Wingert - Troubled Mind
CD 5
----
01. Bill Chandler - Who Cares?
02. Steven Dillon - Best of Both Worlds
03. Mark Carleton - Dubois
04. Greg West - The Hearts of the Fathers
05. Alan Dunwell - The Desert Wind Breathes Your Name
06. Brian Rachford - When It Snows
07. Stan Milam - Chasing My Sun Away
08. Brent Pellegrini - Melaque Sunset
09. Tom Risner - Jamie Allen
10. J. Y. Whang - Twilight
11. Gary Hall - One More Time
12. Val Goodfellow - Wasatch Snow
13. Mark McDonald - Porch Pie
14. Greg Zinkus - Part of Your Own
15. Lance McCollum - Summer Moon
16. Craig 'Lumpy' Lemke - Walk Don't Run
17. Tom Lamson - Summer Storm
18. Jeff Scott - The Only Road
19. Joe Carpenter - Funky Monkey
20. Burle McGhee - Early Morning Rain
21. Will Clinger - Storekeeper
22. Stephen Lee Veal - Your Memory Won't Burn
CD 6
----
01. Michael W. Pannell - Greenbriar Romp
02. Pete Gay & Phil Stevenson - Something Broken
03. Ed Bianchi - & 50 Cents Gets You a Cup of Coffee
04. Paul Kingston - Tomorrow Never Knows
05. Andy Most - There Will Come A Day
06. Amy Katriel - Wanderings
07. Jeff Carter - Jock O'Hazeldean
08. Michael Dunnigan - The Raggedy March
09. Christopher Grener - Homeward Bound
10. Noah Zable - Pleasures of the Harbor
11. Joe Jordan - River Rat Jimmy
12. David Kilpatrick - Over Edinburgh
13. Rick Marciniec - All My Life
14. George Wirth - Shenandoah
15. Fran Guidry - Waialua Slack Key
16. John Pearse - Sally Free and Easy
17. Geoff Duncan - For Ted's Twenty-Fifth
18. Rahul Patwari - Stone
19. Phillip Wages - Wrong is a Frame of Mind
20. Dar Shelton - Circle of Knowing
21. Jim Whelan - Doobie-Do
RMMGA CD Volume II was a 6-CD set and sold for $15.00 (U.S.) per set,
including postage and handling for U.S. delivery. [Editor's note: That's
right! Six CDs for 15 bucks!] Delivery outside the U.S. was handled
on an individual basis. [John]
As with Volume II, CD III will also include liner notes and cover art.
To get an idea of what Volume III might be like, you can see a track
list of all the music and performers of Volume II, as well as images
of the cover art, on the rmmga.org site (http://www.rmmga.org/CDII/cdii_list_artist.htm).
[Return to the table of
contents]
7.2 - How is the price determined?
/ What does the price cover?
The RMMGA CD Volume III sets will be priced to cover all production
expenses of the project: professional CD replication and artwork printing,
as well as mechanical licensing fees (for cover songs) and packing/shipping
costs. No profit will be made. If there are any leftover funds at the
end of the project, the money will be saved and used to underwrite the
next RMMGA CD project (Vol. IV).
CD Volume III will be US$16.00 per 6-CD set for
delivery within the U.S. For delivery overseas/to foreign countries,
this price will be higher depending on your location.
If you submitted a song or songs, you will be expected to buy one CD
set from the project. [Bob]
This is how it was for CD I and CD II, as well. This might sound obvious,
but this guideline insures that the people who want to be on the CD
(which is not for profit, and produced on a volunteer and goodwill basis)
help contribute toward CD production costs.
[Return to
the table of contents]
Official CD-III Ordering Instructions:
"Pre-ordering" in this case means that you can reserve your
copy (or copies) of the CD set now. By doing so, you are agreeing to
pay for your designated number of sets when payment instructions are
released.
John Sorell is collecting the advance orders and tabulating the quantity.
Ordering has now closed -- HOWEVER, if you still
would like to order, try posting a query to the newsgroup. If you were
on the waiting list and received payment instructions, please send in
payment.
[Return to the table of
contents]
HOW MUCH TO PAY:
The cost for delivery is as follows:
Within USA:
Please pay $16.00 per CD set. This price includes delivery to the domestic
USA.
Outside of USA:
All amounts are in U.S. Dollars and all payments must be made using
USD. Please pay $16.00 per set, PLUS the shipping cost
(see chart below).
COUNTRY SHIPPING COST in USD*
for 1 set 2 sets
--------------------------------------
Australia $9.25 $8.50
Canada $5.25 $3.50
France $8.25 $7.50
Germany $8.25 $7.50
Ireland $8.25 $7.50
Netherlands $8.25 $7.50
New Zealand $9.25 $8.50
Norway $8.25 $7.50
UK $8.25 $7.50
--------------------------------------
Examples:
1 set ordered for UK = $16 USD + $8.25 = $24.25 total payment
2 sets ordered for Australia = 2 X $16 + $8.50 = $40.50
2 sets ordered for Canada = 2 X $16 + $3.50 = $35.50
* If you ordered more than 2 sets, AND/OR the chart above does not
include your location, please email Bill Chandler (cd3ship [at] yahoo.com)
to find out your payment amount. In your message, include:
- your country and
- the number of sets you ordered.
Bill is going to be busy packing and shipping all of these sets to
places around the world, so please be patient while he gets back to
you.
Foreign deliveries will be handled via USPS Global Priority mail. Transit
time is typically estimated at 4-6 days (this is not guaranteed, but
it's still fairly speedy for international postal mail).
HOW TO PAY:
First calculate how much you need to send in, based on how many sets
ordered and where you want your CDs delivered. (If you don't remember
how many sets you ordered, you can check the final pre-order list in
section
7.7.)
You may pay with one of the following two methods:
Option A:
- Write a personal check, money order, or cashier's check in U.S.
Dollars payable to Tim Wampler. (If you are located outside of the
U.S., you can buy an international money order in USD from your
bank.)
- Along with your payment, be sure to include a note with these
details:
- Your name
- Shipping address
- E-mail address
- The quantity of sets you have pre-ordered (and for which
you are sending payment).
- Mail the payment to:
TIM WAMPLER
PO BOX 429
LENOIR CITY TN 37771
USA
[Note: Do NOT send self-addressed mailing labels. They will not be
used.]
Option B:
You may pay with PayPal if you have a PayPal account funded by a bank
account (i.e. NOT funded by a credit card...sorry, we cannot take credit
card payments). If you do not have a PayPal account already, you can
sign up for free (http://www.paypal.com).
To pay using PayPal:
- Log on to PayPal (http://www.paypal.com).
- Click the "Send Money" tab near the top.
- Enter the following:
- Recipient's Email: rmmgacd@fbico.com
- Amount: (If you are in the U.S., calculate $16.00 per CD
set...if you are not in the U.S., please refer to the "HOW MUCH
TO PAY" section above)
- Currency: U.S. Dollars
- Type: Goods (Other)
- Subject: RMMGA CD3 Payment
- Note: (Type in your name, email address and shipping address
-- don't forget the country, if you are not in the U.S.!)
- Click "continue" and double check everything, then send when ready!
Once you've paid, Tim will post updates on payments received (if you
pay using PayPal, you will get an e-mail receipt from PayPal).
[Return to the table of
contents]
Bill & Carla Chandler are handling the delivery/shipping/packing of
your sets, which will typically be mailed using the U.S. Postal Service.
Foreign deliveries will be sent via USPS Global Priority mail.
You can check the status of your CDs (whether payment has been received,
and whether they've been shipped) online at: http://www.rmmga.org/CDIII/cdiii_orderslist.htm.
Tim will do his best to update this Web page at least once a day, so
keep checking back and remember to hit "refresh" on your Web browser
to get the latest page. If you ordered AFTER the pre-order phase, and
do not see your name, please check the end of the list. The tail end
includes some un-alphabetically ordered names after the Zs.
Bill will post updates on whose sets have shipped on the newsgroup.
Look for the headers with "CD-III Sets Shipped" surrounded
by asterisks.
[Return to the table of
contents]
If you have any questions specifically about your order, contact:
[Payments]
Tim Wampler - rmmgacd [at] fbico.com
[Shipping/mailing]
Bill Chandler - cd3ship [at] yahoo.com
[Pre-order quantity/waiting list/status]
John Sorell - rmmga_cdiii [at] attbi.com -OR-
j.sorell
[at] comcast [dot] net
General queries about the CD can be made to the newsgroup.
[Return to the table of
contents]
The final list of pre-orders is available at: http://www.rmmga.org/CDIII/cdiii_orderslist.htm
-- please check to see how many sets you've reserved before making your
payment. If you ordered AFTER the pre-order phase, and do not see your
name, please check the end of the list. The tail end includes some un-alphabetically
ordered names after the Zs. (Note: the waiting list is still in effect,
but not listed here...if you're on the waiting list, you'll be notified
of your status later on.)
[Return to the table of
contents]
=== End of the road ===
QEF :-)
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