DCI Audio/Video

[tesmusic]

They also don't produce a bunch from the "Legacy" year's because they don't sell like they used to and it costs them money to create more, so if there's no profit, why should they?

As it is they lose close to $100,000 on DVD/Blueray's because not as many people purchase to offset the costs.

[JimF-LowBari]

They also don't produce a bunch from the "Legacy" year's because they don't sell like they used to and it costs them money to create more, so if there's no profit, why should they?

As it is they lose close to $100,000 on DVD/Blueray's because not as many people purchase to offset the costs.

Maybe they should try DCWs way with the historic CDs. They don't make a CD until they receive an order. Takes a few weeks to get it that way but doesn't kill DCWs budget. Also IIRC DCW uses the profits to clean up and convert the master tapes. Again longer but safer money wise.

[N.E. Brigand]

My understanding through this has always been that the problem lies in both the sync rights and the streaming media rights. If that is correct, why no 2015 CD's yet?

I seem to remember someone explaining earlier in the year that mechanical licenses, i.e., those for audio recordings, are "compulsory", meaning they cannot be denied, and there is an automatic payment structure attached. (Write your Congressional representatives to change copyright law to make the same true of syncronization rights.)

So apart from a few master license uses, DCI should indeed be clear to release CDs.

They could be hoping to be able to announce both audio and video products at the same time.

Or they could be holding back on the CD release as a good faith gesture while the video rights are still being negotiated.

In a recent post to the Music for All forums, a letter to a customer from Mr. Video, the Bands of America a/v company, was quoted, and it included the following curious passage: "Tresona, the company who now works for BOA on their music clearance is supposed to be working on all remaining music, so we can be given the go ahead to ship the outstanding orders for BOA products".

Tresona works for BoA? Do they also work "for" DCI? I was under the impression that Tresona was the "enemy", as it were, in this affair. Per that post, the major holdup for the 2014 BoA video (still not released) was the inability to reach an agreement with Sony and Universal.

[Peel Paint]

In a recent post to the Music for All forums, a letter to a customer from Mr. Video, the Bands of America a/v company, was quoted, and it included the following curious passage: "Tresona, the company who now works for BOA on their music clearance is supposed to be working on all remaining music, so we can be given the go ahead to ship the outstanding orders for BOA products".

Tresona works for BoA? Do they also work "for" DCI? I was under the impression that Tresona was the "enemy", as it were, in this affair. Per that post, the major holdup for the 2014 BoA video (still not released) was the inability to reach an agreement with Sony and Universal.

You're correct. Typo or misunderstanding. They mean BoA works with Tresona on music clearance.

And kudos to BoA for continued clarity and openness. We learn more from them on this mess than our own DCI.

[Jeff Ream]

BOA is clearly the leader in forthright communication.

[MikeN]

They also don't produce a bunch from the "Legacy" year's because they don't sell like they used to and it costs them money to create more, so if there's no profit, why should they?

As it is they lose close to $100,000 on DVD/Blueray's because not as many people purchase to offset the costs.

Yet DCI planned their whole online content delivery strategy to force you to buy those same physical media products.

Mike

[N.E. Brigand]

This article about how much information, especially online material, is lost with time reminded me of the need to have drum corps videos from a sheer preservationist p.o.v.:

Raiders of the Lost Web

[Tim K]

my hunch is we're screwed going forward, but I don't blame DCI for the most part. I blame the mega company trying to rewrite the rules and the courts for letting them

While I agree that mega companies may want to maximize profits, the hold outs may not be the bigger composers. We can easily forget that lesser known composers need the royalties for survival. My guess is that Vienna Teng needed the royalties she was paid from Bluecoats in 2014 for "Hymn of Axciom" than David Bowie did for Crown using "Space Oddity" and there were probably far more requests for "Space Oddity" than "Hymn of Axciom."

[cixelsyd]

I seem to remember someone explaining earlier in the year that mechanical licenses, i.e., those for audio recordings, are "compulsory", meaning they cannot be denied, and there is an automatic payment structure attached. (Write your Congressional representatives to change copyright law to make the same true of syncronization rights.)

So apart from a few master license uses, DCI should indeed be clear to release CDs.

Audio downloads are also covered by the mechanical licensing process.

They could be hoping to be able to announce both audio and video products at the same time.

Or they could be holding back on the CD release as a good faith gesture while the video rights are still being negotiated.

Good faith to whom? Why not show good faith to the fan base, instead of holding everything back?

In a recent post to the Music for All forums, a letter to a customer from Mr. Video, the Bands of America a/v company, was quoted, and it included the following curious passage: "Tresona, the company who now works for BOA on their music clearance is supposed to be working on all remaining music, so we can be given the go ahead to ship the outstanding orders for BOA products".

Tresona works for BoA? Do they also work "for" DCI? I was under the impression that Tresona was the "enemy", as it were, in this affair. Per that post, the major holdup for the 2014 BoA video (still not released) was the inability to reach an agreement with Sony and Universal.

Someone postulated earlier that Tresona might be positioning themselves to be the one stop shop for licensing and production of A/V media for scholastic programs and the marching arts. If BOA has decided to pay Tresona for such services, then Tresona works for BOA to that extent.

[perc2100]

When I purchased a Legacy DVD a few years ago at Indy, the clerk thought they were sold out, and implied once they were gone, they'd be gone, so not replenishing supplies may not be related to the current issues. They probably have to have enough copies to make it worthwhile, and as those of us who attended shows in the 70's and 80's purchase the DVD's, the demand decreases. However, now is the time to complete collections. I get so much enjoyment watching the whole slectrum of shows, from the fragments from 1974 to 2014.

Same reason why I absolutely love the 'Essentials' collections. I still need to get Vol. 3 but the HD remastered shows on the first 2 volumes is off the hook awesome! I have some of the Legacy DVDs, but I can't watch them anymore as I've gotten so used to the Essentials Blu-rays: they really seem to lack the "shine" that the HD discs have