Crowd Sourced Remastering

I've had this idea for a little while, but want to know what you think. There are many music enthusiasts on the SHFs. If each one were to 1) vote for the album needing remastering and 2) chip in whatever they could afford to "produce" the remastering effort, might this be a way to get albums in greatest need of mastering accomplished? I was thinking the venture could be a 'mastering club' of some kind, with a yearly due to join. In return for the dues, a portion of that money would then go to the mastering efforts, in addition to any additional contribution that the member might want to add (if the voted upon album were one that they REALLY wanted in remastered form). I'm not the most eloquent writer, so I'll try to propose this idea with a scenario as well.

According to this thread, 'Hotter Than Hell' is a mess!

Step 1 - Set up the 'club', with it's own page within the SHF's (or it's own site).
Step 2 - Members are asked (like the thread above) to voice which albums need mastering most. A list is then compiled.
Step 3 - A quarterly(?) poll takes place where the members of the 'club' vote amongst the top 5 titles on the list from Step 2.
Step 4 - (For sake of this exercise) 'Hotter Than Hell' is voted as the album to be re-mastered.
Step 5 - Someone (who) within the 'club' contacts the rights owners for 'Hotter Than Hell' and speaks on behalf of the 'club'
Step 6 - The album is remastered (m.e.t.i.c.u.l.o.u.s.l.y). The mastering sessions are filmed (which would then be bonus content accessible by the members of the club. (Would be REALLY cool if the artist or other involved with the making of the album sat in during some of the remastering)
Step 7 - Once the mastering is complete, members of the 'club' are allowed to purchase a discounted copy of the final product. There could be different tiers for the finished album. Maybe a signed (by the remastering team), numbered version that costs a premium amount. Then a more affordable version.

A portion of the profits from the remastered album would go back into the pot for the next voted album on the list.

Concerns? What would keep this from working. IMO, the voting might be a contentious endeavour, but - majority rules. Maybe (if it were quarterly) there could be a different genre each quarter?

Also, thought that contributions would be accepted from the general public as well. If you are a KISS fan for example, and want to contribute, have at it. There could be a page in the album with all contributors to the remastered album, and each contributor could add a small personal message maybe?

 

Apparently not a good idea

 

"Someone (who) within the 'club' contacts the rights owners for 'Hotter Than Hell' and speaks on behalf of the 'club'"

And what happens if the rights holder (and KISS themselves) say "Sure - that will cost $150,000"?

I see insurmountable issues ($$$) and mysteries aplenty with:

1. Getting actual masters /record companies /rights holders
2. What is actual re-master source? The original cutting master of an album (In this case - the original 1974 HTH master tape)? A ripped copy of audio from a CD? Or what?
3. Who does the work? Us? A real mastering engineer? Or who?


VP

 

This sounds more like crowd sourced funding would be a better method to get this done. You'd have to secure the rights. A club just seems bad. The members would have to come to consensus. The example of Hotter than Hell seem like a good enough example. I'm pretty sure that there aren't going to be a lot of audiophile members that would agree that's the album they's want their membership dues to be spent towards. However there are probably a bunch of KISS army members who would be willing to support this, but they wouldn't be interesting in albums by any other bands.

 

All of this. Plus, if you want to read about the struggles trying to license and put out reissues, just read the Rubellan or Intervention threads. There's a lot of effort these guys put into trying to secure the rights to reissue and in a many cases, they're denied (for any number of reasons). Also, there's a ton of hoops to jump through once rights are secured including things like getting the actual tapes, artwork approval, etc. Sorry, it's an interesting idea, but I can't see any path where the "club" idea would work.

 

It’s a cool idea but like others have mentioned, it just feels like there’s some major, possibly insurmountable, hurdles.

 

You bring up some valid points. My answers would be

1. There would have to be some sort of legal intermediary representing the 'club' towards the record label. I would think once the label realizes legal representation is involved, they would consider the offer legit and want to work with the 'club'
2. The actual source would have to be first generation tapes (if possible) or as close to first-gen as possible, provided by the label (I'm assuming they know where their masters are)
3. A real mastering engineer - Steve perhaps?

 

Also, I would think that the rights holder would want something like this to happen - not try for a big payday. I mean, let's face it, as time marches forward, I'm not sure if the next generation or two of listeners are going to care. Look at how classical music is treated. you can buy whole boxed sets for next to nothing. Same with early jazz. A professional mastering and presentation of their best work would only help the artists legacy.

 

1. I firmly believe that labels (by nature) do not want to work with anyone - but themselves. Having a lawyer on retainer sounds very expensive and does not guarantee any success for the "club".
2. That's is insurmountable for many reasons. A quick read of any of Steve's historical yarns (on 100% licensed legit) releases he was able to work on will tell you just how difficult this is. Not to mention insurance, liability etc etc. No "club" (properly repped or not) would be able to waltz in and nab a first gen master of some big album and then whisk it away to mess around with.
3. More $$$. Maybe even like $$$$$.

VP

 

I think it would be far simpler if a label such as Mobile Fidelity was in charge of the whole thing. First coming up with a list of potential titles, and then do the crowdfunding for each one of those albums. I think this would allow them to see how much interest there is in particular albums, instead of gambling on the current popularity of them. I know I read some comments about people not really caring for the Twisted Sister, Vanilla Fudge, and Iron Butterfly albums. Even the recently released Grateful Dead SACDs had some people talking about how they didn’t care for those releases.

 

Well - records labels and artists alike are in a "business" and the product was fine and is fine. While I get that Hotter Than Hell might sound like @$$ to us here in 2020 - I honestly do not think Gene is pacing up and down the mansion wondering if a remaster would line his pockets a bit more.

And - let's not forget that "media" (Physical and digital) is a dying thing these days...there is no incentive (for Gene or the record company) to create overhead to make more versions of many records. Not to mention - in many cases - what we got is as good as it's going to get. For those that believe that every master tape "retool" is going to make something sound 100% better is fooling themselves.

VP

 

The recent Mobile Fidelity release schedule pretty much sums up (for me anyway) the state of the remaster world. When MFSL is reaching for Twisted Sister etc - I would think the end is nigh (Sad to say).

And the fact that they have not issued any real "majors" in a long while. Major being something on the level of a Brothers In Arms or Breakfast in America etc (Not saying you need to like these - just comparing the "global reach" of a BIA (huge) to say - Iron Butterfly (very small and specific))

Then to the "club" model - if Mobile Fidelity is not able to source your typical "sellable" releases as of late - not sure how a crowdsourcing angle would do it.

VP

 

Some forum members here have started (or are working for) a reissue label. You can read one of those stories here.
Starting my reissue label, it seems to finally be happening
It might give some insight in the difficulties in starting such an endeavor and getting a foot between the door with the record labels.

 

I like this idea, but think it should be used on records other than Hotter Than Hell.

That album sounds like it was poorly mixed (and maybe even poorly miked). I don't think just re-mastering it could do all that much. I think it needs a complete remix from the multitrack tapes done by someone who knows how to expertly mix hard rock so the sonics contain both power and a bit of spaciousness.

 

Your first hurdle is getting permission to get access to the stems.

The second hurdle is, the look on the Industry's protective face, should you succeed in making a superior product. They'll start lighting their hair on fire.

Remember what happened when Ultra Rare Trax came out? EMI had to move heaven and earth to throw Anthology at it, to quiet down the ruckus.

 

Sounds pretty easy peasy.