Quote:
Originally Posted by resound  Any position in those top 10-15 orchestras will start over $100k. Even for the person on the last stand. That's beyond what I consider a middle-class income.
Speaking of perfect storms: high salaries, big administrative budgets, diminishing (or shifting) patronage, etc. all contribute to the crisis orchestras face today. This all too often creates a climate where the programming simply beats old battle-axes to an even duller point to attract the casual or unadventurous concert goer with recognizable anachronism. |
i'm sorta shocked to see no one has brought up the musician unions. these have certainly been a factor in the slow demise of classical music recording, whether it be for standard music release or film soundtrack. this pertains mostly to the u.s., but not exclusively. from what i gather, eastern european orchestras are coming up steadily.
from my perspective, i'm still (thankfully) finding enough work between editing, concert recordings and the occasional session. again, thankfully. the recording portion -the most challenging and enjoyable to me- does seem to be on the decline, and i am worried about the future. a couple of things in this thread have struck a chord, like taking into consideration the cost of mics that meet my standards probably won't make a difference either way to the client. would i record an orchestra or choir with a pair of something sub-standard? no. would "they" notice if i did? probably not.
in the end, i only have myself to answer to. i'm not the kind of person to lower my standards just because i can. not when it comes to audio. eventually i may be working for peanuts or working at a loss. still that would be better than listening to a recording i loathe with my name all over it...
depressedly yours,
-c