Naxos Really Knows How to Find Talent!

Discussions relating to the classical guitar which don't fit elsewhere.
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Arash Ahmadi
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Re: Naxos Really Knows How to Find Talent!

Post by Arash Ahmadi » Wed Jan 10, 2018 9:19 am

tubeman wrote:
Fri Jan 05, 2018 10:28 pm
So many wonderful players seem to make one Naxos CD then disappear.
Seems like a recipe for disaster...
To send light into the darkness of men's heart, such is the duty of the artist. (Robert Schumann)

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MartinCogg
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Re: Naxos Really Knows How to Find Talent!

Post by MartinCogg » Sun Jan 14, 2018 4:19 pm

DLMJ-1234 wrote:
Tue Jan 02, 2018 1:40 pm
your aware that NAXOS is one of the worst labels for paying musicians....

musicians give up their entire PRS and mechanical royalties for "promotion".

I dont buy their CD's on principle.
So, DLMJ-1234, I'm rather a fan of Naxos - especially for the many 'off the beaten track'
world premiere recordings they release...

what are 'PRS and mechanical royalties' ?

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MartinCogg
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Re: Naxos Really Knows How to Find Talent!

Post by MartinCogg » Sun Jan 14, 2018 7:29 pm

And while awaiting a reply from DLMJ-1234,
Arash Ahmadi wrote:
Wed Jan 10, 2018 9:19 am
tubeman wrote:
Fri Jan 05, 2018 10:28 pm
So many wonderful players seem to make one Naxos CD then disappear.
Seems like a recipe for disaster...
I'm not quite sure what you're implying - but it sounds like you are blaming Naxos for something.
One of Naxos's habits is to provide competition winners with a recording opportunity -
the competition Prize perhaps just being the recording of a CD...
How can that be a recipe for disaster?
Naxos can hardly be blamed if no further recordings, or 'career success' follow.

Some never get to make even just one recording with a well-known label.
I suppose you can't 'disappear if you never managed to 'appear' in the first place :?

Some musicians make only one recording, regardless of which label provided the opportunity.
Some musicians record a good many cds with Naxos.
Some musicians record with other labels first, then record with Naxos.
Some musicians record with Naxos first, then record with other labels...etc.

and do we imagine these are all being offered the :contrat: scenario that DLMJ-1234
presents... having to pay all the recording costs, receiving no fee - gettin' absolutely nothin' back?

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Arash Ahmadi
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Re: Naxos Really Knows How to Find Talent!

Post by Arash Ahmadi » Sun Jan 14, 2018 8:30 pm

MartinCogg wrote:
Sun Jan 14, 2018 7:29 pm
And while awaiting a reply from DLMJ-1234,
Arash Ahmadi wrote:
Wed Jan 10, 2018 9:19 am
tubeman wrote:
Fri Jan 05, 2018 10:28 pm
So many wonderful players seem to make one Naxos CD then disappear.
Seems like a recipe for disaster...
I'm not quite sure what you're implying - but it sounds like you are blaming Naxos for something.
One of Naxos's habits is to provide competition winners with a recording opportunity -
the competition Prize perhaps just being the recording of a CD...
How can that be a recipe for disaster?
Naxos can hardly be blamed if no further recordings, or 'career success' follow.

Some never get to make even just one recording with a well-known label.
I suppose you can't 'disappear if you never managed to 'appear' in the first place :?

Some musicians make only one recording, regardless of which label provided the opportunity.
Some musicians record a good many cds with Naxos.
Some musicians record with other labels first, then record with Naxos.
Some musicians record with Naxos first, then record with other labels...etc.

and do we imagine these are all being offered the :contrat: scenario that DLMJ-1234
presents... having to pay all the recording costs, receiving no fee - gettin' absolutely nothin' back?
I suppose all the artists do sign a contract with NAXOS. They are a reputable distributor, I didn't know about the details before this post but from what I have read here it doesn't sound like a fair deal. Nowadays, it is not that hard to record or release an album, thanks to distributors like CDbaby. On the other hand, albums are not financially beneficial to most of the classical musicians. The main income is from the concerts/recitals or teaching as far as I am concerned. Again given that these recordings have a lot of income for NAXOS (recordings that NAXOS apparently do not pay a penny for), it's not fair that the artists who have created/performed and paid for them do not get their share.

Again I am not sure to what extends do we know these to be facts, if so, the artists are only hoping to achieve some fame and reputation by signing with NAXOS. In fact, not all of these artists have disappeared, they probably just don't like to release another album and are happy uploading new videos on YT or giving live concerts...
To send light into the darkness of men's heart, such is the duty of the artist. (Robert Schumann)

milchmanuk
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Re: Naxos Really Knows How to Find Talent!

Post by milchmanuk » Wed Jan 17, 2018 9:23 am

yes I liked the video,
as for naxos I wonder if they do recordings of artists own material as well , I only just discovered naxos. only been in to buying classical cd,s for about 6 months ,, but I can tell the difference between quality of some recordings and makes me wonder if they all get the same setup for recording,,or perhaps they have preference and choose in naxos recording studios.

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Arash Ahmadi
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Re: Naxos Really Knows How to Find Talent!

Post by Arash Ahmadi » Wed Jan 17, 2018 1:32 pm

milchmanuk wrote:
Wed Jan 17, 2018 9:23 am
but I can tell the difference between quality of some recordings and makes me wonder if they all get the same setup for recording,,or perhaps they have preference and choose in naxos recording studios.
Yes, you are right. I used to think all artists are recorded in NAXOS studio before this post too :D
To send light into the darkness of men's heart, such is the duty of the artist. (Robert Schumann)

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MartinCogg
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Re: Naxos Really Knows How to Find Talent!

Post by MartinCogg » Wed Jan 17, 2018 10:42 pm

milchmanuk wrote:
Wed Jan 17, 2018 9:23 am
but I can tell the difference between quality of some recordings and makes me wonder if they all get the same setup for recording,,or perhaps they have preference and choose in naxos recording studios.
It is usual for Naxos cds to have some info on back cover declaring where and when the recordings
were made, venue/studio, engineers, and producers named.

Meself, when I was younger, never paid attention to such things, but one day it dawned on me that
the (classical) sound quality depended rather significantly on location and engineer (engineer in particular)...

some studios/venues please me more than others, some engineers please me more than others...

if you start taking an interest you'll start to remember some of the names, which then may
cause pleasant anticipation before a first hearing.... or trepidation.

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AndreiKrylov
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Re: Naxos Really Knows How to Find Talent!

Post by AndreiKrylov » Wed Jan 17, 2018 11:25 pm

withdrawn
Last edited by AndreiKrylov on Thu Jan 18, 2018 12:37 am, edited 1 time in total.
I'd better speak by music...Please listen my guitar at Spotify, Apple Music, Amazon, etc.

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AndreiKrylov
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Location: Canada

Re: Naxos Really Knows How to Find Talent!

Post by AndreiKrylov » Wed Jan 17, 2018 11:43 pm

withdrawn
I'd better speak by music...Please listen my guitar at Spotify, Apple Music, Amazon, etc.

Luis_Br
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Re: Naxos Really Knows How to Find Talent!

Post by Luis_Br » Fri Jan 19, 2018 4:59 pm

I've heard from Fabio Zanon that Naxos pays a fixed amount for the recording. Then the recording belongs to Naxos and the artist receives nothing more.
Naxos naturally also takes care of the recording, or it is in the negociated amount for the recording.
Most guitar recordings from competition winners are the prize for winning the competition.
Most guitar recordings are made inside Naxos, with same equipment and style, by Norbert Kraft. Zanon said he didn't like the kind of recording, so he negociated doing it with John Taylor and Naxos accepted.
He said after the recording he was invited to start recording Bach transcriptions for guitar, but he gave up because he thinks the money wouldn't afford the great work he would need to make a good recording. He thinks a recording will last forever, so it is important to be the best he can in it.
His Naxos recording he did with no preparation right after the competition, so he recorded the pieces he used to play more in the concerts and competitions at that time, except the Tarrega selection, which were a Naxos request.
At the end, he thinks recording for Naxos is good for someone starting a career, due to the great visibility this label has. It has worldwide marketing and distribution, something difficult to achieve with a small label.

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