1,729 thoughts on “General Questions”

  1. Just saw this FB post by Jingle Punks. Congrats Art!

    Congratulations JP Artists!!!
    by Jingle Punks on Friday, September 9, 2011 at 7:22pm. We just processed all our quarterly Artist Payments and wanted to send a big “Congratulations!” to all the Jingle Punks Artists who are receiving checks this quarter. After back-to-back record disbursements, we’ve done it again with our largest payout to date! Some of the more notable placements this go round were:

    James Desmond “Entourage”
    Damien Heartwell “NFL”
    Joel Dean “Cheerios”
    Wellington Lora, Jr. “30 Minutes or Less (film)”
    *Art Munson “Kia”*
    Ashley Mounts “Parks and Rec”

    Congratulations to all of our artists and we look forward to many more successful placements!

    ~Get Your Jingle On~

  2. Does everybody think it’s worthwhile doing all the cutdowns? 30s, 60s, loops, stingers, etc.
    Do they get bought individually much? Does it lead to a higher priced full package sale?

    • I stopped doing them as it didn’t seem to help my sales very much. Most of my sales are full tracks or DnBs. A few loop sales though.

      • That was my hunch. I suppose that’s why I asked the question. 🙂 I was starting to cut things down, older projects that might be in a little bit of disarray so it isn’t terribly simple to cut them down gracefully. And began to ask myself, “can this possibly be worth it? I could write two more tunes with this time.”

        • I too have stuck with just full length tracks. as you said it is time consuming to do the edits, and I’d rather take that time to write more tracks.

  3. Hello everyone. I’m new here, and new to the music library scene. Just started uploading last week!

    I had a question and a comment. Does anyone know what the best selling genres are? or does this completely depend on which library you’re talking about? I asked yookamusic just recently, and they told me the top 3 are: “The three musical genres which sold the most are NewAge/Ambiant (21%), Soundtrack (17%) and Pop/Rock Instrumental (16%).” Do you think other libraries are much different? Assuming all libraries will accept all genres, I think mathematically they probably wouldn’t differ that much.

    Here’s my comment: Whoa. I’m amazed at how time consuming it is to upload, categorize, etc. this music. There’s got to be a better way. FTP seems to be better, right? But I guess I have to have at least 50 songs to qualify for that.

    By the way, yookamusic accepted 8 out of 13 of my tunes. I knew a couple of them were dogs, so I have a better idea now at what they want now. Feel free to visit my site.

    • I am always surprised on what tracks sell on what sites, and look at their best sellers. It can be very different. My advice to you is to write in as many genres as you can realistically, and see what comes of it. You never know what people are looking for. Good luck to you!

      • Thanks GaryW, but how do I find out what the best sellers are? I haven’t found that information on any library sites so far. It seems like composers would benefit a lot from this information. Perhaps a sorted list of genres could be made somehow?

            • Thank you MichaelL and 50Styles for turning me on to audiosparx and musicloops. This is so helpful. Feeling a little overwhelmed sometimes. Have a good weekend. Back to the muse. Peace.

  4. Quick question – for those of you with tracks in multiple libraries, how do you justify the price differences? I’ve done it in a few instances but have mostly tried to avoid it. However, I’ve seen a number of folks with lots of tracks at wildly different prices for basically the same license.

    Thanks in advance,

    rgames

    • Hi Richard,

      I’m intrigued by your choice of the word “justify.” I guess my answer would be twofold:
      1) we’re a pretty pragmatic bunch
      2) it’s just business

      Cheers,

      Michael

      • I guess I don’t follow – I’m trying to figure out how folks decide when to list tracks on multiple sites at very different price points. For example, say you have one track on a site listed for $200 and the same track listed for basically the same license on another site for $50. What drives the decision to list at $200 on one site and $50 on the other?

        Maybe “rationalize” is a better word than “justify”. I’m just trying to get a glimpse into the thought process behind the decision.

        Thanks,

        rgames

        • If you want to have the same tracks in multiple libraries there’s likely no avoiding it. Just cross your fingers the dear one’s found first and the buyer hasn’t the time to shop around 🙂

        • Some of that is driven by the site. For example, AudioSparx sets the initial price for your tracks.
          As the sales of any given track increase they may raise the price on it.

          • OK – I was thinking that maybe folks were analyzing some characteristics of the particular site and adjusting prices accordingly. For example, maybe one site has a particularly good search feature, so clients are willing to pay more. Because that feature is missing on another site, the track would sell for less. I have’t seen that in the sites I’ve looked at, so I thought maybe I was missing something. Maybe not…!

            The thing that confuses me is that it’s so easy to search for the lowest price on a track: once a client finds one he likes, all he has to do is a google search to see if it’s cheaper somewhere else. This fact would seem to preclude any type of price disparity on different sites.

            I gather folks have not found that to be the case?

            Thanks again,

            rgames

    • Hi Steven,
      From a recent ASCAP statement:

      1:57 on the Discovery Health Channel paid $2.42

      1:04 on Discovery Health paid $1.32

      :01 on the History Channel paid $.41

      BMI pays the following for Local Broadcast Per Performance: Local Television Rates @ 200% PERFORMANCE TYPE DAYPART A (4:00 PM-12:59 AM) DAYPART B (all other times)
      FULL FEATURE (45 secs or more)* $5.00 $1.50
      THEME (per show) $2.00 $1.00
      BACKGROUND (per minute) $0.76 $0.42
      LOGO (per show) $0.18 $0.16
      *Performances of less than 45 seconds are paid on a prorata basis.

      200% means the writers AND publishers share.
      SO…one minute of BG music on a local network affiliate pays the writer(s) $.21, during day-part B.

      Local Blanket rates are considerably higher. Satellite rates are considerably lower.

      However…if the show is broadcast on all of the network affiliates that’s another story. One minute of BG on 135 affiliates @ $.21 per minute = $28.35 compared to $1.32 on Discovery Health.

      By contrast a broadcast network placement during day-part A is a lot higher. I recall about 3:00 on CBS Sports Spectacular paying about $1,500 ten years ago. Maybe it was broadcast more than once. I don’t remember.

      Any way you slice it, one placement of a short cue isn’t going to make you rich. That’s why we keep saying that quantity matters

      Hope that info helps.

      Cheers,

      Michael

      • Why quantity matters: Think of it this way…there are millions of kids shooting hoops or kicking soccer balls on playgrounds all over the world. Only .0001% are likely to make it into the NBA, or to the World Cup. Everyone else needs to do something in addition to just playing ball.

        Likewise, there are millions of writers and only .0001% of them are going to score feature films, like John Williams, or become pop stars. Maybe .0005% will score television series.

        The rest of us need multiple revenue streams writing library music, scoring documentaries, composing for advertising or video games, playing live, etc.

        But when it comes to writing for libraries, the MORE cues that you produce, the more opportunities you have to earn a living from writing alone. Do not focus solely on broadcast placements. One sale on MusicLoops or AudioSparx will in many cases pay MORE than a cable placement. And..you don’t have to wait 6 months to three years to get your money. I got paid in 2009 for music that aired in Singapore in 2006!

        Diversify.

        Just food for thought.

        Michael

          • The History Channel show was broadcast 23 times so I made a lot more…like $15, for 23 airings. 😆

            Just like the networks, cable rates depend on the day-part. The lowest ASCAP paid for that show was $.08. (remember that was just one second of music!)

            Not all cable networks are created equal. But, what kind of money did you think cable placements generate? That is why you literally need thousands of tracks.

            • The cable show route is just for resume building.
              It it not worth the effort at all.

              That is worse than minimum wage!
              Plus you have to wait 6-9 months just to get a $1.00,

              Ill pass on this for sure.

              • Of course, theme music pays about 2X as much as background music, and music with vocals pays something like 5X as much as theme music, if it’s featured, i.e., not background.

                Background vocal music still pays more than BG without vocals, just not as much as if it’s featured.

                All of the information regarding what the PROs pay for different types of broadcasts, music, day-parts, etc. is on their websites.

                • @Michael;
                  You are correct on most accounts. The difference in a prime time show and a cable show is large.Heres one reason and I’m sure there are more,when a prime time show plays it gets played and replayed in different markets all over the world,there happens to be a world of sub publishers out there that collect foreign royalties from all different countries for the writers.
                  Some of the exclusives have deals with many sub publishers around the world,because America
                  Exports entertainment like no one else in the world.
                  Most people are tight lipped about it.I do know one writer who has about 60 -70 songs in major movies and is making 200-300 thousand a year from the residuals.
                  I gave other accounts of people making a Million from being one of the writers on a prime time show.The biggest exclusive companies are looking for this pie for sure.

        • Michael your posts are always really interesting to me – thanks for all the information you are sharing, its really helpful.

      • FWIW – last domestic ASCAP statement the highest cable placement payment was 29.36 one minute three seconds on OXY primetime. Lowest was .01 three seconds on DIHD morning time.

        >I recall about 3:00 on CBS Sports Spectacular paying about $1,500 ten years ago.<

        Same for me ten years ago with the daytime Soaps…

          • Yeah, and you were right on in a previous post that said music business income needs to come from a variety of sources. Last year my income was made up of library music placements, custom composition, writing articles for Recording Magazine, playing live and working with clients in my studio. I’ve been thinking about adding some teaching, but haven’t.

            • @Mike Nicholas;

              I spread it out and do some part time teaching @$70 an hour.
              My live band continues to make more when we play too.

    • It depends on the network. I’ve had cable placements that have ended up paying more than network placements. But yeah, if you are talking about the real “fringe” channels like the Science Channel, Oxygen etc. then the rates are going to be pretty low.

      I actually posted a few lines of my last royalty statement in either “General Questions” or “Newbie Questions” so you can do a search for my screen name and see some rates from TLC, Discovery, MTV, and maybe one or two others. Can’t remember all of the ones I posted.

      • Can’t find that post. Maybe I’m just tired.

        Art –can you help out? Is there an MLR (not google) search function that I’m missing?

        THX,

        Michael

          • Hey Steve,

            Thanks. Ironically, your original post was in response to my post regarding cable royalties.

            I’m creating a proprietary library for two television production companies, and a lot of their shows air on cable.

            You can really see where repetition is the key. You do much better with shows that air multiple times. For comparison, a :60 cue that airs on 135 FOX affiliates — non prime time — would pay about $56.7.

            Thanks again.

            Michael

        • I’ve been thinking about a way to group particular topics together by user name and persistent questions. The search function works but there must be a better way so I’ve been searching for a plug-in to hopefully accomplish that.

  6. How do you use Soundcloud? Can it be a good place to showcase your music? How many tracks/what fraction of your catalog do you post there? Any concrete results (other than interesting critiques) from having your music on Soundcloud?

    • I have been using Soundcloud for well over a year. I actually have all of my tracks on there. I find it a good site for people to be able to hear my tracks without audio watermarks, or low-res previews. I do not allow downloading.

      They have some free plans, but I opted for their premium plan which allows me to upload over 30 hours of music. The cost is around 39.99 per month. I upload Mp3’s at a 160 kbps.

      There is one caveat, due to their transcoding, the tracks can sound a bit wobbly at times, but still decent quality. To date I have had over 3700 plays.

      Hope that helps.

      • Concerning the transcoding – In the FAQs they suggest that the files be 320 kbps, 44.1 Hz, with at least -3dB headroom. I’ve been uploading WAV files this way and so far haven’t noticed any problems with sound quality.

      • Thanks, GaryW, for your thoughts, but your post raises a related question: a high play count is nice, of course, but have you seen placements as a result of using Soundcloud? Placements are meaningful. Play counts were wonderful when I first started out; but now, well…they don’t do much for me anymore.

        • I understand what you are saying for sure. It’s had to tell whether those plays turned into people going to the libraries and purchasing tracks or not. I have links to them (the libraries I am selling through) in my profile on Soundcloud, so you never know. For me Soundcloud is about getting feedback from people, and getting my name out there.

        • Hi Bren, I use soundcloud for a few purposes but getting placements isn’t one of them.

          1) it’s great for hosting for starters and I use the ‘set’ feature to create various collections, the links to which I will send to publishers I’m wanting to make contact with. That way they’re just shown the tracks you want them to audition and they don’t have to wade through everything else or click on multiple links out of an email. It’s been very useful for this.

          2) networking, it can be a great place to make collaborative contacts. As I said in our emails, I’m full up for collabs at the moment and that’s mostly due to soundcloud. So listen around, post comments, approach people you might want to work with, it can be fruitful 🙂

          3) posting WIPs to get feedback, eg. I’ll put the link on the Taxi forum and ask for critiques there. A group of my Taxi colleagues also use it for this purpose. I don’t tend to put a lot of weight on the random comments on soundcloud unless I’ve gotten to know the person, their music and their ability.

          • I used soundcloud to put up some of my tracks a little while ago and I know this sounds paranoid – but my idea was nicked off I think – it was a track I did that went on univesal lib and some young kid copied it and made a massive hit off it. I dont care too much but I dont put all my stuff on soundcloud as any old random gets to hear it all. He couldve heard it on uni lib but my guess is from soundcloud. it was a great novelty idea track and im pretty sure he took my idea. ( i will track him down, no one crosses a lib writter ;-)))

            • Adam,

              One of my tracks was copied from MySpace a few years ago — a big, romantic piano track that had taken a long time to write. I understand your frustration; and the memory of that MySpace experience has kept me from posting more of my stuff on Soundcloud.

              • Hi Bren,

                I’m sorry to hear that.

                How did you find out that your track was taken?

                What did they do with your track?

                Guess my lawyer brain is curious.

                Best,

                Michael

                • Hi, Michael,

                  When my lyrical CD started getting a lot of radio play in ’08, I spent a lot of time on MySpace promoting the antiwar songs to radio stations. At the same time, I was posting an occasional piano track on the MySpace page to gauge audience reaction to my next CD (and real love): impressionist piano. One night, I started to check out who my new MySpace “friends” were (yup, serious writer’s block that night), and it turned out that a new “friend,” one who did electronica, had posted his version of my piece on his page. Michael, it sounded like he took my track and ran it through an Apple II. I wasn’t able to determine if the guy ever placed the track. I can’t imagine anyone wanting his version of it (I have had better luck with my version). So much for copyright “protection.” It doesn’t stop someone from committing theft; and who wants to spend time and resources chasing down a broke musician with no ideas of his own? (I’m a recovering lawyer, too).

                  Yes, it still hurts. And I still ponder Soundcloud. I know you have made great use of the platform. I’d welcome your thoughts and suggestions.

                  Thanks. Bren

                  • HI Bren,

                    Yikes, if I’m on Soundcloud someone else put me there!

                    “who wants to spend time and resources chasing down a broke musician with no ideas of his own? (I’m a recovering lawyer, too).” 😆

                    Another refugee from the dark side! …who obviously remembers the phrase “judgement proof.”

                    Did this person actually acknowledge that their track was a version of your song?

                    I don’t use Soundcloud or Myspace.

                    I could see using Soundcloud if you want too provide someone with a restricted link to audition your tracks. I have a website that’s a work in progress. I will post my new tracks there on a dedicated player.

                    Best,

                    Michael

                  • I use SoundCloud – uploading all my stuff there.
                    I like its interface, features of grouping your tracks in ‘sets’, embedding features and awesome statistic.

                    Also, there are a lot of music people and I believe many other people who navigate music tides for something special.

                    I do not care about the ones who may capture my streams of mp3 audio and use it (illegaly) in their projects (business use).
                    I think if such kind of people wants to steal – they will steal even from regular music licensing site (by copying non-watermarked parts or etc).
                    It means that their project budget is too poor to spent even 30-100usd for a track.
                    Btw, I know libs who allows to download their non-wmarked mp3s for evaluation.
                    As for ‘personal-use’ users – I see no loss from them because my music is more ‘production’ than ‘artistic’.

              • Sure it is possible – man, I will be honest here, I copy chart stuff, note for note, basslines and then match the exact kick the exact snare, copy the lead line then I alter the notes about…some people will think this terrible, I understand, when I do it ( dont do it all the time, I do it when I love a track and want to do similar ) , my repoducting someone elses work is pretty accurate now, and taught me loads. The track that I got copied on was an absolute original thing that I put tons time into, so I guess what goes around comes around in my case.

    • I have begun to stop adding new music to my Soundcloud account and have instead started syncing my music with video. I bought a few hundred dollars of video clips from a royalty-free site and started making short videos. I have about five videos on Vimeo and have sent out a few links to some production companies. Having a visual to go along with a song is much more entertaining than listening to an mp3 file.

  7. hi michael

    thanks for that – interesting

    one thing i found out last night – i went on a forum and chatted to some top libary guys – is that alot of the high end libarays composers use hi quality samples (like they said abstrat hip hop from elab for instants) using stuff like this gives you’re music a cutting edge feel – over and above using trad synths like triton and korg m1 and suchlike

    whilst such things are good – very good in fact – it is clear now that you cant write for kpm/universal or extreme using just a triton etc – your literally gonna have to back up your rig with a good selection of state of the art sample cds as mentioned above

    ok this is cotsly in the short term – especially considering the cost of sample cds – but as a composer your basically working for the back end payback

    my uncle has this saying ‘you have to speculate to acumulate’ and in library well thats the nature of the business!

    • “it is clear now that you cant write for kpm/universal or extreme using just a triton etc”
      I dont think you could write for ANY library, Extreme or otherwise with just a triton . Nothing wrong with them but in this era of relatively cheap computers and software if you want to stay ahead of the game you need the best tools you can afford.

      • And beyond that, Tritons and other hardware synths are really expensive. Not to mention you have to deal with importing all of the stuff you do on the Triton into a computer based DAW. Software synths are cheaper, faster, and more flexible.

        IMO, the only reason to by a Triton, Motif, Phantom etc. is if you are gigging or literally have more money than you know what to do with. You have to run your composing “business” lean and mean if you want to be profitable.

        • Good point. Triton,motif etc are gigging machines and very expensive. Also without the ram and expandability of a DAW based system.

    • on the topic of e-lab abstract hip hop does anyone know where to find it online? Supposedly Big Fish Audio handles e-lab U.S.Sales but when I called them they were of no help and the title doesn’t come up when searching their product base.

  8. analasis of cue sheets and osbervations

    i was on the prs database analysing the cue sheets and what i found was that basically kpm (music libary based in uk and owned by universal) get used way more than anyone else

    so this got me thinking and after researching various things i came up with this hypotheis

    basically their way out in front – so ask yourslef why? is it because there music is miles better than anyone elses? well i have been to partners in rhyme and jingle punks and pond5 and all those type of places and listened to literally hundreds of tracks – its good stuff on there – its very good in fact and wouldnt be out of palce in any mainstrem documentary series

    my concluison? its not that kpm are way better than the rf libs is simply that the others arent as good as kpm! theirs a very suttle diffrence and until composer’s writing for rf libs realise and appreciate how to bridge the divide then theirs always going to be that differentiation between exclusivity and royalty free libs

    albeit the difference as stated above is suttle – very suttle but in the library business that extra 5% can go a helluva long way

    • @trailer composer

      The question of which library model contains better music is not all that relevant. Exclusive libraries like KPM serve a different client base than RF libraries. Their sync fee structure and licensing agreements are different.

      If you are assuming that RF composers aren’t good enough to get into exclusive libraries, you are not correct. Many composers ARE in both.

      RF is a different business model, with a different client base that provides composers with an opportunity for an additional revenue stream.

    • Hi Gary,

      Of course to get an accurate idea, “most” composers would have to respond. I have been in 9 libraries… 8 exclusive and one Royalty Free (out of business).

      I’m not in any re-title libraries at this time. I have not submitted any cues to re-title libraries. When I do, it will be after careful research and I will treat that library as if it IS exclusive.

      The Royalty Free library was back in the 1980’s. I had 20 albums, about 200 tracks in that library. They sold music on 1/4 inch reels and are now out of business, because they didn’t make the transition to CDs. However, while they were in business, I did very well.

      The very first “album” that I did for an exclusive (NFL) is no longer available. It didn’t get converted to digital. The rest are a blend of exclusives from the US, Europe and Australia.

      As you may know, from previous posts, I took time off to get a law degree and to practice law for a few years. I’m now writing full-time again…writing for three television series, and creating a proprietary library for the production company.

      I am actively preparing to enter the “new” online royalty free market. I think it’s a viable revenue stream, if you find your niche and if there is a market for that niche. I have a large catalog and I think that RF is a good place for many of those cues. Probably too much information, but I hope it answered you question.

      Best,
      Michael

      • Thanks. You posts are always informative. So you have been at this for awhile! Although I have been composing for many years, I just got in to this about a year and a half ago so I’m still relatively new, and learning more all the time. I am in 4 libraries now, no exclusives. So far it’s going very well.

    • Hi Gary,

      I’m in in 4 or 5 re-title libraries but only two are doing anything. I’m in two very small exclusive libraries and just starting to have decent placements with them. I’m also in 4 or 5 royalty free sites but they are sporadic. Just when you think they are doing well the bottom falls out. Then again, judging by the MLR poll, it may be just a seasonal thing.

      • Art:
        Thanks. I’m a bit confused on what exactly a re-title library is. Also, when you say exclusive libraries, does that mean they have tracks of yours that are exclusive to them, and you don’t put in any other libraries?

        • Hi Gary,

          A re-title library by definition is non-exclusive. Maybe there are exceptions but I don’t know what they would be. They re-title so they can register that title with my PRO and collect the publishing side of the performance income (generally TV uses). The exclusive libraries I’m with are very small and the music they have is exclusive to them. They did not pay anything up front but I like the people and I have easy outs for both of them. One is on a “handshake” and the other has to earn a certain amount of money within a specific time frame or they revert back to me.

          • Art:
            Thanks for clearing that up, appreciate it. BTW Bet you are happy you are not back in CT today! Looks like the storm is heading right for the NW part of the state.

        • HI Gary,

          To clarify further on my end. The exclusive libraries that I’m in all paid upfront, with the exception of the proprietary library that I’m creating now for the television production companies. In that instance, I am one of the publishers as well.

          Dan P (below) makes a good point when he says he “mixes it up.” The television stuff, provides a good revenue stream and library music is another revenue stream. One of my friends does live gigs and other things, like voice overs.

          Best,
          Michael

    • @Gary:Over the last couple years i’ve signed with 10 non-exclusive
      and one exclusive Library. .Just signed up 2 more yesterday.
      3 are paying something every quarter.
      Those are the companies I signed up with about 4 years ago and i did not have
      many tracks then,couple dozen at tops,now we are approaching 75.
      A long road but I mix it up with playing live,and teaching both which are paying pretty good these days.

    • Hey Gary,

      I’ve limited my non-exclusive stuff to:
      one RF library
      one TV based library
      three license fees based (needle drop) libraries, all target different markets

      This is in addition to the music I write for exclusive libraries, who either pay me upfront (most of them), or give me at least 50% of high end license fees.

      I also have at least 500 tracks sitting in a couple of libraries that didn’t pay me upfront, and took the music exclusively. I gave it all to them when I was fresh to the business, not knowing that the deals were bad! One of those libraries has made me a trickle of royalty income, maybe $1000-$2000 a quarter (not really much when you consider how much music I gave them). The other library, just about zilch so far.

      • >I also have at least 500 tracks sitting in a couple of libraries that didn’t pay me upfront, and took the music exclusively. I gave it all to them when I was fresh to the business, not knowing that the deals were bad!<

        Hi Matt, thought I would let you know you're not the only one. I did the same thing fresh to the business but with only about 75 tracks. Did get some good placements though, NBC, ABC, CBS…

    • Hi Gary

      As a newbie in the library business like you I am in 6 non exclusives at the moment. I will definitely diversify into exclusives this year. I think having multiple income streams is essential to make a decent living.

      • Denis:
        I am currently in 5 non-exclusives. I am a bit confused on the exclusives thing. Of what I have read it seems that most of them pay you up-front for your tracks, and you get some back-end royalties?? How do you go about getting in those libraries…

        • Gary

          There are many ways as discussed here before. Study the libraries you want to pitch at, and
          contact them either by email or otherwise.

          Definitely harder than the non exclusive route. Good commercial tracks will ultimately get used and signed, it may take a lot of time of course. As MichaelL says “multiple revenue steams” is the way to survive in this biz.

          There is no definitive answer to this. I got responses from a few exclusives by simply emailing them and directing them to my website.

          As Matt said in his post just being in an exclusive does not guarantee anything, 500 tracks for 4-8k a year isn’t’ great. The beauty of this site is that a lot of the hard work in finding good libraries, exclusive or not has been investigated by MLR members.

    • As I’ve said previously – I’m UK based, I write mostly for UK exclusive libraries, very few of which pay up front. Thats where I make my money. I have tracks with a few non-exclusives, maybe 3 or 4, but only one of which makes me anything and it’s a fraction of my total income.

    • Thanks Denis.

      We’re battening down the hatches, expecting 80 mph winds and flooding.

      This..after a 5.8 earthquake earlier in the week!

      What next..locusts and pestilence?

      Michael

      • Good luck MichaelL. I have family and friends on the East coast. I know how you feel about “what’s next”. In 94 we had fire, Rodney King riots and a major earthquake. Felt the same way to us!

        • Thanks Art!

          I think NYC and New England are going to take a direct hit, although the storm should be considerably weaker.

          My best wishes for your family and friends.

          Michael

              • I’m on the east coast also. Yes, tonight should be FUN!! That earthquake was pretty crazy, I remember having one about 15 years ago also. Stay safe and dry!!

            • Again thanks for all the good wishes.

              We dodged the bullet. But, a number of towns and several parts of the city are severely flood damaged.

              I just got my studio back together. I dismantled the whole thing and moved it to the other side of the building, away from a large tree.

              I hope the rest of you in Irene’s path fared as well.

              Best,
              Michael

      • Are you in VA MichaelL? I’m in Virginia Beach, should be an interesting weekend! Cheers!! Winds and rain are just picking up.

        • Without giving up my semi-secret (for now) identity—HA!

          Mid-Atantic further north is all I’ll say 😉

          My best to you.

          Michael

      • >This..after a 5.8 earthquake earlier in the week!<

        Hi Michael, don't forget the blizzards last winter and here in MA the June tornadoes! Crazy times, good luck to you (and all east coast readers)! We also are expecting flooding and 80mph winds here in central MA.

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