Re: Solo ea and "tick"ing

Subject: Re: Solo ea and "tick"ing
From: Rick (
Date: Tue Feb 22 2005 - 17:17:33 EST

Just an anecdote:

I bought a DX7 years ago from a guy living out in the Alabama suburbs.
He worked for a country singer who was, in 6 weeks, going to have a
top ten hit. The band was told they had to upgrade equipment quick so
they could go on tour, and the record company advanced them some cash
to get it done. I thought it was pretty funny, that it had all been
sussed beforehand.

Sure enough, this unknown pop-country woman named Lorie Morgan popped
out her first number one 6 weeks later. She had a few after that as
well, but I haven't kept up.

Now, sure, the company had her figured right. And I'm sure the ad
campain figured in 6digits. But she sounded like what was already
going on in pop country radio. Just a little different, not too much,
just the right amount of good looks for MTV, TMT, or CMT or whatever
its called in Nashville.

Good marketers finds products that people want. The advance market
"cool hunters" are made just FOR that. They go out, figure out what
people are into, bring in the results and the producers comply with
the demand and help it out as best they can.

The skaters were the fastest co-opped market ever. The cool hunters
were ready. they went to the shows, went to the skate shops. Went back
to work. The designers copied the styles, added some flash and sent
the hunters BACK into the mix with the flash threads. X says,
"wheredya get it?" Y says "There!" and points to home.

Everybody happy (ish)


On Tue, 22 Feb 2005 20:14:40 +0000, Richard Wentk <> wrote:
> At 01:41 20/02/2005, you wrote:
> >thats called marketing - and in this day and age, that is how records are
> >sold.
> Marketing fails as often as it works and A&R departments are littered with
> heavily marketed failures.
> It might look like you can potentially market anything, but clearly - that
> word again - potential sales of Kontakte to the MTV demographic are never
> going to match the potential sales of Bwitney or U2, no matter how big the
> marketing spend.
> You can't market something if there's zero audience interest in it. Just as
> you can't hope to make mass sales of a soft drink that people find unpleasant.
> And that's not a trivial analogy. If you're looking for basic perceptual
> commonalities between musics, there's a lot that can be learned by looking
> at what people like and dislike, and the network of perceptual associations
> that underpin those likes and dislikes.
> >if one were to look at smaller, independent record companies, then you
> >would find more interesting answers - /in correlation/ with personality
> >studies.
> Perhaps, but then what? Does that mean those personality types don't also
> listen to more popular music?
> Or from a compositional point of view, that the 'merely popular' should be
> excluded just because it's the music of the rabble?
> Not entirely laterally to this thread - I'm bemused by the idea that some
> EA composers apparently dismiss pop engineering techniques as 'aural MSG'
> when there's potentially so much to investigate in those techniques - to
> learn about how and why they create the effects they're famous (or possibly
> notorious) for.
> If you're looking for loudspeaker music, music that most people listen to
> everyday is likely to tell you as much about musical values as a PhD in Ye
> Venerable Olde Classical Tradition would.
> The ideal might well be to have both, and to cross-fertilise the two
> extremes without prejudice.
> Richard

Rick Nance
De Montfort University
Leicester, UK

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