Peter Lundin wrote:

>Karl wrote:
>
>>As for my company, I rather doubt that is an issue, however...  My
>>daytime job is that of Curator of a recordings collection.  We often
>>get donations.  In one of our donations I was taken back when I found a
>>pirated copy of one of the discs on my label!  I felt like our record
>>company had "arrived." At least I haven't seen our stuff in the used
>>bins...yet.  Guess I wouldn't mind seeing a used copy, but the pirate
>>copy...
>
>It would be quite interesting to know in which format this pirated disc
>surfaced, ie. was it a commercially pressed disc with full reproduction
>of the printables - and I guess when You say pirated, on a different
>label.

Dubbed on a CD duplicator with a photocopy of the notes.  Even one
unauthorized duplication is a pirate copy for me.

>I'm not out to get Karls Discs cheaper, but some elaboration would
>be interesting. And also, was this one of Your historical releases or
>one with "original" recordings, I hear the reissue market of historical
>recordings can sometimes be a hornets nest of buzz.. (You can leave out
>the pirate label name to protect Your assets!)

It was a disc of Welte rolls which were transferred by a Austin man who
has devoted most of his spare time these last 40 years to working with
the Welte rolls.

While that one unauthorized duplication cost us about $7.  your mention
of the historical reissue market brings up an interesting point.  We try
our best to do everything by the book.  Even the place that presses our
stuff trys its best.  We recently released a disc of all of the Ravel
recordings, his rolls and the Bolero.  I did the Bolero transfer.  When
it got to the pressing plant they refused to press because they ran it
through a tracking system which noted that Pearl had already released a
transfer of the same performance.  Before our the pressing plant would
deal with our disc, I had to demonstrate that my transfer was different.
That can be quite a challenge.

Karl