RMMGA CD Volume IV 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 and CD
Vol. III, 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: rmmgacdnotes "at" the domain of gmail "dot
com".
Last update to the FAQ: 16 July 2006, to reflect changes
in sending cover song information and the breadth of the CD set.
News in a nutshell (current CD status):
If your submission was accepted, please
do not forget to send liner notes (see section 6.2+)
and, if applicable, details for cover song licensing (see section
2.5). CD-IV will be a 7-CD set that features 131 songs from 78 contributors.
FYI: This document location may be temporary...the
FAQ may move elsewhere as the project progresses. Please bookmark rmmgcd4.wordpress.com
and subscribe to the RSS feed there to keep up-to-date with major changes
to the FAQ.
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
and CD IV |
| [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 IV (a.k.a. CDIV, CDiv and CD4)?
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?
- 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/III?
2.5 - What do I have to do in order to obtain a mechanical
license for a song I'm contributing? [updated]
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?
- 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?
6.3 - How/Where do I send the liner notes?
6.4 - Is there anything else I need to do? [updated]
- RMMGA CD Volume IV - The final product
7.1 - How much is CD IV? / Who & what music is on
it? / What do I get if I buy a set? [updated]
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?
This is the fourth CD project to be put out by RMMGA (the Usenet newsgroup
rec.music.makers.guitar.acoustic).
The first, second and third 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]
If you want to learn more about RMMGA CD I, II and III, check out the
RMMGA web site, put together by Tim Wampler: http://www.rmmga.org/.
[Return to the table of
contents]
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/II/III, 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").
[Return to the table of
contents]
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]
[Return to the table of
contents]
- 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.
- As a contributor, you will be expected to buy one CD set from the
project. [Bob]
This is how it was for CDs I, II and III, 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.
- 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).
- 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://launch.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.]
[Return to the table of
contents]
All submissions should have been received before June 4, 2006.
The submissions window is now closed.
[Return to the table of
contents]
Since the project is still underway, more on this will be posted
later on.
Many people have volunteered to help for CD IV. Once the project really
gets rolling, the credits will be listed here.
[Return to the table of
contents]
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 2006,
the rate is now 9.10 cents (US) per copy of songs that run 5 minutes
or less. See the Harry
Fox rates page for more details.] 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.
[Return to the table of
contents]
===
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.harryfox.com/public/licenseeServicesMechanical.jsp).
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/)
on-line data bases where publisher information can be ferreted out.
[Harold]
===
If you're doing a cover song for RMMGA CD IV, 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).
[Return to the table of
contents]
===
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]
[Return to the table of
contents]
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]
[Return to the table of
contents]
You will have to send the pertinent information Harold Hedberg -- he
and Mike Pugh, who have volunteered to handle the mechanical licensing
for CD IV. Harold will handle the Harry Fox-related licenses, and new
volunteer Mike Pugh will handle the non-Harry Fox licenses. 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 (NOT the record
label. See the databases listed below.)
- Performer's name (a.k.a. your name or your band's 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/)
on-line data bases where publisher and composer information can be ferreted
out. [Harold]
[new] Some songwriters (including Bob
Dylan and Robert Johnson) are affiliated with SESAC (http://www.sesac.com/repertory/repertory_main.asp).
As with CD Vols. I, II and III (for the most part), the licensing fees
for CD IV 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 must make
that clear), you don't have to worry about them.
[updated] When you have finished recording
your song(s) for CD IV, you'll need to e-mail the necessary information
to Harold so that he and Mike can take care of the licensing for you.
Also send a copy to or cc Jennifer because she needs the same information
for the physical liner notes. Send an e-mail message (include
all of your pertinent information above!) to Harold at hhedberg
[at] swbell [dot] net and you must cc or send a copy
to Jennifer at rmmgacdnotes [at] gmail [dot] com.
[Return to the table of
contents]
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.
[Return to the table of
contents]
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.copyright.gov/)
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 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).
[Return to the table of
contents]
Submissions may be made to Jim on the following media, listed in preferred
order:
- CD/DVD (WAV file)
- CD/DVD (audio)
- DAT
- electronic (WAV file)
- electronic (MP3 file) - Please encode your MP3 at the highest bitrate
that you can. (256kbps or higher is better!)
- minidisk
- cassette
- vinyl
[Return to the table of
contents]
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 index of recording-related
links by Erwin Timmerman used to be regularly updated and posted to
the newsgroups rec.audio.pro and alt.music.4-track. It may be old, but
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.
- Home Recording Quarterly (http://www.geocities.com/woodenmusic/hrq/hrqintro.html)
It hasn't been updated in a long while, 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.
[Return to the table of
contents]
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://www.recaudiopro.net/faq/index.htm.
[Return to the table of
contents]
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]
[Return to the table of
contents]
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. [Shirley]
You can try using the filter in the free audio editor Audacity
for this (Audacity is a great recording software for the price, in any
case).
[Return to the table of
contents]
Section
6: I'm done recording and am ready to submit!
(The deadline has passed, but most of the info
will remain for reference.)
All submissions should be sent to Jim McCrain, who's mastering CD IV.
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).
If you would like to submit your songs in a physical form,
address your package to:
RMMGA CD IV
[Jim's address]
(Thanks Jim!)
Once you mail out your package, e-mail Jim (rmmgacd [at] texianmedia
[dot] com) to let him know that your submission is on its way
to him. In your message be sure to include:
- The names and file names of the songs you've sent
- What format they're in
- Your name
- Your e-mail address (important!)
If you would like to submit electronically, you must
e-mail Jim first with your song information only --
do NOT send an email attachment with your song before
contacting him first. Jim will set up an FTP account that you can use
to upload your songs. [Jim]
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://launch.groups.yahoo.com/group/rmmga_cd/).
If you've sent your stuff to Jim, congrats! But you're not
done yet...make sure you read the rest of this section (6.2
- 6.4) and take care of the rest.
[Return to the table of
contents]
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 III 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 IV 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. II would have been over 30 pages
long, on standard letter-sized sheets (even using a variable, 8 pt.
size font)!
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 (rmmgacdnotes [at] gmail [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).
6.4 - Is there anything
else I need to do?
[updated] If you contributed a cover song
and/or used someone else's arrangement, you need to send the appropriate
info to licensing managers Harold Hedberg and Mike Pugh so that they
can take care of the licenses, and cc a copy of the licensing info to
me. See all the details in section 2.5.
[Return to the table of
contents]
Section
7: RMMGA CD IV - The final product
7.1 - How much is CD IV? / 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. (For a point
of reference, though, CD III (the last project, which was completed
in 2003) consisted of 6 discs with 130 songs from 82 contributors, and
at the time, cost US$16 per 6-CD set including delivery within the US
(delivery outside the US cost extra).
[new] CD-IV will be a 7-CD set that features
131 songs from 78 contributors.
If past projects are any indication, the music on CD IV will cover
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, multiple music genres and styles.
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 will be posted once the compilation is complete.
As with Volumes II and III, CD IV will also include credits and artwork,
and detailed liner notes written by the contributors will be published
on the Web. To get an idea of what Volume IV 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 IV 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.
Any funds received that exceed production expenses will be saved to
underwrite the next CD project (Vol. V). If a new project is not started
within a period of three years, the excess funds will be donated to
a charitable cause. This cause will be selected by the members of the
current "project committee" and then submitted to the members
of RMMGA for approval (NOT for discussion, but for approval). [Jim]
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/II/III, 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]
Details will be posted once applicable.
Pre-orders for the finished set will begin once we have a better idea
of how many discs will be included in the final set. [Jim]
Again, if you submitted a song or songs, you will be expected to buy
one CD set from the project. [Bob]
Payment instructions will be announced after the CDs have been pressed.
Watch for these announcements on RMMGA as well as on this FAQ.
[Return to the table of
contents]
=== End of the road ===
QEF :-)
|