Clark Johnsen wrote:
> Which leads one to wonder, just how safe are any of the masters? And for
> that matter, where *do* they reside?
> "Proliferation is preservation."
For artists and records that were very popular, there is a good chance
that duplicate metal parts exist in archives of various record labels
who were licensed to press the material for foreign consumption.
For most of the history of "records", the major labels in each country
had either foreign affiliates owned by the parent, or foreign licensees
(in some cases owned by their competitor in their own home market) to
press their releases in that territory. Sometimes these were from dubbed
masters, but quite often the licensees were provided with matrices
plated from the original mothers.
I like to think that some of this destroyed material survives
*somewhere*, notwithstanding the very real decimation of record vaults
on both sides of the Second World War as metal was needed for the making
of munitions, and the record companies just happened to have a supply o fit.
...who just thought to ask our LC contingent: was it ever a requirement
for copyright for a record company to deposit a phonorecord with the
Library of Congress? If so, perhaps there are at least unplayed
pressings available should Universal ever decide it wants to digitize
something they had not yet done. (Probably wouldn't include outtakes
and alternates, though.)