> Put another way, and taking the gamut of the list which runs from the
> professional to the rank amateur, how people see the facsimile is going to
> be very different, and maybe it would not be a bad idea for the publishers
> (seeing as two of them are on the list) to explain their market (and I don't
> mean by this "justify their prices"). What a print run on the average
> facsimile is, who buys it, etc. From what Mr Reyermann said the cost of
> production must be extremely difficult to recuperate if the market is
> represented by lutelisters or even if it only represents a percentage of
> players, but this isn't really just a matter of profit. It would be of no
> interest to publish something that wouldn't be bought because the price was
> too high. I may not be prepared to pay that price for that object, but that
> simply proves that I am not part of the target public.
Lutenists have NEVER been the target public, with them being 3000 worldwide
max.
All such publications are made for university libraries. The prices are set
to compensate future losses from students' copying.
Blank CD's sold "for music" are priced in the same way in the US.
RT
