Interpretation and conclusions by Gregory Parry. For the complete results, click here. Please send any questions or comments to greg@tenso-vocal.eu


INTRODUCTION

Twelve ensembles filled out our Live after Live Music Survey, and the results show a clear consistence in the responses. At least seven Tenso choirs completed the survey, with the rest of the responses being anonymous choirs or other musical ensembles. It is very likely that at least some of the anonymous responses are Tenso choirs who did not wish to be identified. I have looked at the results and, with the benefit of the general discussion (which was attended by representatives from most Tenso choirs) during the presentation of the survey results on Thursday 16 June, 2011, have come to the following general conclusions. There is other information revealed in the survey and I urge anyone who wants to have a look at the raw results by using the above link.

The Results

WHY
The main reason respondents make recordings is to document artistic achievement. While none of the respondents looked at recordings as a way to generate significant revenue, recordings are seen, in addition to documenting artistic achievement, as important tools to be used to reach new audiences, to sell as souvenirs at performances and to use as a gift or presentation. Another important use was to document national composers or compositions. Recording is not as much a priority as live concerts, although it is important to record most performances to fulfill archival requirements.

HOW
The respondents are generally quite conservative in the distribution of their recordings, with a heavy reliance on radio and compact discs. Only three respondents use digital downloads as a means of distribution. All the respondents are broadcast on the Radio, most on TV, and all have existing CDs and/or are actively working to create new CDs.

EFFICIENT?
80% of respondents indicated that they spend more producing recordings than they receive in revenue, and they were evenly split on the effectiveness vs. effort & money spent in obtaining desired results for PR, touring and prestige.

TRENDS
Respondents were asked about changes in recording matters for the last five years, and the answers indicate that the trends were flat in terms of recordings produced and revenue generated. In discussions during the presentation of the survey results, it was pointed out the collapse of the traditional CD market occurred 10 to 15 years ago, and that recording activity and revenue generation had dramatically shrunk from that time.

NUMBERS
The respondents create and average of 2.2 studio recordings each year, and one half (a total of six ensembles) have contracts with a CD company. All the respondents have performances broadcast on the radio and most are broadcast on TV. None of the respondents receive significant revenue from their recording activities - three respondents receive no recording income. Most report that recordings do not represent a significant added expense; with two respondents indicated that recording is a significant expense. None of the respondents sold over 10,000 individual units of any given CD in a year and, during the discussion, it was noted that for a recording of new works, a run of less than 500 units was not uncommon.

INTERNET
Four respondents distribute through iTunes, and three have videos available on YouTube. One respondent used Wimp and Spotify. Total downloads did not exceed 5,000 for any given recording, with two respondents receiving some, but not significant, income from internet sales. In some cases, presence on iTunes was controlled by the record company and not the ensemble. Barriers to on-line presence, which were identified during the discussion or through survey comments, include CD Companies blocking ensembles from distributing music files via the internet, and the necessity to re-open contracts to post older recordings. Most of the respondents saw music streaming/downloads as an added feature to their web site. There was no significant expense related to posting or distributing recordings on the internet.

CONCLUSIONS
If we assume that most of the respondents are current Tenso members (at least seven of the respondents are confirmed Tenso members) we can say that the current recording and distribution practices of Tenso choirs are quite conservative. Recordings are seen as important tools, mainly for PR, and not seen as a potential source of significant revenue. In addition, it appears that Tenso choirs in general do not use the Internet as an effective means of distribution. While these are the common views and are consistent across respondents, we did hear during the Friday afternoon panel Do You Need a Middle Man, that there are chamber choirs and recording companies who are generating significant income through the recording and distribution of music. In addition, the discussions clearly indicate a desire to generate more income from recordings and a desire for more widely distributed recordings through the internet.