Ted Carroll Emails

My tutor has been "middle man" between me and Ted Carroll, hence the "Hi Sue", and has been forwarding the emails he has sent with the information about this live brief.

apologies for not getting back to you sooner in more detail regarding Ace masters that your students might be able to use for videos.

Although Ace Records has almost 100,000 masters in its catalogue, we only own and control rights to a much smaller number, (still, probably in excess of 20,000).Approx. 15 to 20 second snippets of most of these are available to listen to on the ACE website    http://acerecords.co.uk/

If your students go into the Ace Records website, they can then search under Artists, labels, genres etc etc.For instance if you click on artists, the first one you come to is a Kenyan band named Abana Banasery, now if you scroll down you come to a pack shot of their MP3 album 'Nursery Boys Go Ahead'. If you click on this you get a list of all the tracks on it and as we own these we have snippets of all 11 tracks on the site for you to listen to.

01 Preview Esiessi Siolle (Availability: World) - See more at:http://acerecords.co.uk/nursery-boys-go-ahead-mp3#sthash.PEGZmvtK.dpuf

You just click on the little arrow next to each track number.

If you click on any artist / genre or label, you'll reach a list with pack shots of  CDs or LP covers. AND if you scroll down to the bottom, you'll reach a section that says 'customers who bought this item also bought ?? and you can scroll across to look at similar CDs and in turn listen to tracks from these

So far so good!

Anyway, when synchronizing a piece of music to a visual image, there are 2 permissions you need to obtain [1] from the owner of the master sound recording and [2] from the music publisher that controls the musical composition embodied in the actual recording.

For instance, if you wanted to use 'Driver's Seat' by SNIFF 'N' THE TEARS (our biggest hit!), you would need permission from Ace Records Ltd to use the master and ALSO a separate permission from Rockin' Music to use the actual composition [the song]

Normally in the commercial world, these rights can cost quite a lot of money. For instance, we get paid up to $100,000 for the use of both the master AND the song copyright for a big TV add in the USA for a year. [that's $100,000 for each!). So you can see that these rights need to be carefully controlled.

Now for your students to us an Ace recording synched to a visual image of their own, that's OK for private use, however if you want to do something commercial with it, put it up on You tube for instance, then you need to get permissions.

I've put together a few CDS /CD singles with tracks that we own or that I own. We also own the music publishing as well for SOME of these, so if necessary could clear both sets of rights. You could pop by this evening after College or I'll drop these off to you in the next day or two. Just for clarification, we obviously would not be looking to charge anything to your students for use of these permissions (unless they ended up making some kind of TV or movie commercial)

We have quite a few CDs by the guitarist Link Wray and we own most of these and most are guitar intrumentals, here's the URL for one of these, I think that it's pretty cool.

08 Preview Wild Side Of The City Lights (Availability: World) - See more at: http://acerecords.co.uk/wild-side-of-the-city-lights-mp3#sthash.UuD0jP36.dpuf

Email me if you need anymore details or help

 

regards

 

ted

Ace records

Ace Records

Rockabilly / Hillbilly, Blues, Country, Doo Wop, Girls, Gospel, Instrumentals,Louisiana/New Orleans, Pop, Rhythm & Blues, Rock'n'Roll, Surf, 60s Soul, Mod/Club,70s Soul, Deep Soul, Funk, Northern Soul, Southern Soul, West Coast Jazz, Bebop/Hard Bop, Fusion, Modern Jazz, Folk, Vocal Jazz, Soundtracks, World / Africa, 70s Rock,Punk Rock, Psych / Garage, 70s Jazz, Bluegrass, Latin Soul, Avant-garde, 80s Rock

Ace is the original label that we created specially to deal with re-issues, and the one that deals with the earliest American recordings within our brief. Give or take, the brief starts at around 1945 and finishes in 1963. That's not to say that all of the recordings on the label were made between these dates, but that their inspiration comes from recordings that were made then. Over the last few years this brief has broadened out as certain projects that do not necessarily fit within these parameters are deemed to be appropriately issued on Ace.

But the Ace label has its heart in Rock and Roll, its precursors and offspring. It all started with Country, Blues, Vaudeville and Sacred Music in the first part of the 20th Century. Gradually a music industry grew alongside the publishing business, as demand for records was fuelled by the ever increasing access to Radio. After a shaky start and a hiatus during and immediately after WWII, a strong and vibrant music industry finally emerged, issuing hundreds of 78s per week across America. Independent record companies soon thrived, providing local music, mainly for local consumption. It is from these Indies that much of the Ace label catalogue is drawn. Country and its cousins, Western Swing and Hillbilly (Boogie) catered to the white rural market. The Devil's Blues and Gospel fought it out on Saturday night and Sunday morning and the former added an Urban beat to be coined as Rhythm and Blues. Doo Wop evolved across the racial divide with an accent on melody. Local variations appeared in far-flung corners, with each genre producing distinct regional styles. New Orleans Rhythm and Blues had its own unmistakeable feel, and also in Louisiana the Cajuns produced their own French rockin' boogie and its Afro American counterpart, Zydeco. Influences were taken on board later from the outside world to produce Swamp Pop. But this whole cacophony coalesced in 1955 and exploded across the Nation as Rock N Roll. The impact of the original Hillbilly cat and his Rock-A-Billy sound was to reverberate for decades. It shook, rattled and rolled over Beethoven and anyone else who got in its way for a few spectacular years, before being arranged back into a neater and tidier Teen Pop. Such flames burn bright but briefly. And all of the above can be found on Ace Records, producing the very best from the Golden Age of Rock and Roll, and its immediate progenitors.

- taken from www.ace records.co.uk

Ace records comes across as one of the founding fathers of record labels and stands for the rocknroll golden age. This record label represents the years whereby lps and 78s were the life of music. Record labels like Ace records increased accessibility to music in times where being able to listen to music was a case of switching between around 5 radio stations. Not only did it make listening to music easier but it also made making a name for yourself as a musician slightly more easier, Ace records would have given most musicians a chance to make a name for themselves and have taken on hundreds of people.

Making a visual film for such a loved record label is, amongst other things, an honour. I think that whichever piece of music I choose to study and visualise for, there will be an underlying focus on portraying Ace records as well. I will have to give a sense of this rocknroll golden age, a sense of nostalgia perhaps. 

Project proposal

Throughout the course I have learnt many new skills. For example practical skills in textiles such as silk painting, dark room film development within photography and kiln use within 3d when working with clay, plus a whole plethora of other skills. Not only have  my practical skills increased, so have my written skills and organisation skills, the biggest being time management. A lot of my inspiration has come from colleagues, seeing a wide range of different art styles and techniques allows you to think more freely and ideas seem to spontaneously bounce off each other. I'm very much inspired by a lot of 'practical/purposeful' art such as Jonathon Ives revolutionary Apple product design and H.R.Gigers set design and influence within the Alien films, art that provides a service. I have chosen film, as this is where I feel I work best and my long-term aspiration is to move onto university to do media production. Once the project is eventually realised I hope that it will demonstrate my understanding of film as an art form and it will provide an outcome for Ace records.

The basis of my project is a live brief called 'the big picture' which has been provided by Ted Caroll who is one of the founders of Ace records. The live brief is to produce some visual material that can accompany the promotion of the records on YouTube. The tracks of music are owned by Ace records (therefore I will not need permission from both the artist and the publishing company to allow me to legally use their music). They also have no visual material to go with them and therefore my project will potentially be a benefit to Ace record, promoting their future sales. By evaluating the various music that Ted Caroll has provided, I will choose a track and produce a short film/piece of visual material that will accompany it. I plan for this to be a bit more abstract than live action or documentary as I believe, after looking at some of music, a more creative approach would be more suitable for this genre of music. Practically wise I will be developing my cinematography and editing skills alongside time management. I will also be responsible for pre-production and post-production. Technical resources will be the use of cameras and computers with the correct editing software; I will need to do further research into software to make the final film. The final product will be a film that accompanies a chosen track and helps to promote and connect with its audience.

Reflection of my project will be shown through a continuous blog that pieces together all my influences, research and ideas with summative stage evaluations throughout. A final evaluation will be written that shows to what extent the piece could be deemed successful and what flaws it may have. Throughout this blog I will also include any learning curves that I come across, almost like progress reports, which show any improvements in my understanding of cinematography and editorial work. To show that my project is meeting its aims I will use questionnaires, comments books and reviews for feedback, hopefully in turn allowing me to push this project to its full potential. Feedback from peers, tutors and practitioners and my client Ted Caroll will be most effective for this.