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Interesting. I'd be curious as to which A/D converters you're using for the transfers. --Scott Scott D. Smith Chicago Audio Works, Inc. Quoting Mark Jenkins <[log in to unmask]>: > Scott, > > We actually didn't have a 35mm machine when we bought the catalogue, so > we went out and invested in one, and we have been doing straight > transfers from tape to 24-bit copies, just to have an archival digital > version. The DVD-A versions being put out by Classic Records should > enable you to hear the true three-channel transfers for the first time. > > Mark > > > > -----Original Message----- > From: Association for Recorded Sound Discussion List > [mailto:[log in to unmask]] On Behalf Of Scott D. Smith > Sent: Tuesday, December 16, 2008 3:01 PM > To: [log in to unmask] > Subject: Re: [ARSCLIST] Everest masters > > Mark: > > That pretty much confirms what I had heard second-hand. Too bad that > someone along the way didn't realize the value of them and put them > into archival containers. > > It would be interesting to hear some of these recordings in their > original three channel form (even though that's not what Robert Fine > and the producers had necessarily intended). It's just tragedy that > they weren't cared for. > > I hope that you were able to make some decent transfers, as my guess > is they won't stand many more. > > --Scott > > Scott D. Smith > Chicago Audio Works, Inc. > > Quoting Mark Jenkins <[log in to unmask]>: > >> Scott, >> >> The Everest 35mm masters were in VERY poor condition. The storage >> containers we received them in were decades old, rusty, and the >> vinegaring process had already started in many of them. They were >> immediately transferred to new stable containers; however, I have been >> unable to locate a few of the tapes that evidently (from what I have >> been told) had already deteriorated beyond retrieval prior to our >> purchase of them. >> >> As for the other portions of the catalogue, certain areas (such as the >> Fine Arts Quartet recordings) were actually in fair condition, and > many >> of these have already been transferred, and will eventually appear on >> digital retail sites such as classical.com. We're still in the > process >> of getting through all of the material in order to make it available >> again in disc-on-demand, as well as digital (and in some cases CD) >> formats. >> >> Mark >> >> Mark Jenkins >> President, Licensing Division >> Madacy Entertainment LP/Countdown Media >> >> >> -----Original Message----- >> From: Association for Recorded Sound Discussion List >> [mailto:[log in to unmask]] On Behalf Of Scott D. Smith >> Sent: Monday, December 15, 2008 1:39 PM >> To: [log in to unmask] >> Subject: Re: [ARSCLIST] Project 3 masters >> >> Mark, >> >> Fascinating. I would be most interested in knowing what you find in >> the Project 3 catalog. >> >> What kind of condition were the Everest masters in? They have really >> gotten bounced around over the years... >> >> --Scott >> >> Scott D. Smith >> Chicago Audio Works, Inc. >> >> >> Quoting Mark Jenkins <[log in to unmask]>: >> >>> Scott/Tom, >>> >>> We actually represent the current owners of the Project 3 catalogue, >> SPJ >>> Music, for licensing. We have not exploited this particular > catalogue >>> as of yet (as our initial interest was in the Vox catalogue, which is >>> also owned by them). I'm in the process of getting a list of the > type >>> of masters in the archive still extant (multi-channel, 35mm, quad, >>> etc.). Presently, the masters for these are in storage in >>> Massacheusetts. I do not, as of yet, have a good handle on the >>> condition of these, but will update you when known. >>> >>> >>> Mark Jenkins >>> President, Licensing Division >>> Madacy Entertainment LP/Countdown Media >>> >>> >>> -----Original Message----- >>> From: Association for Recorded Sound Discussion List >>> [mailto:[log in to unmask]] On Behalf Of Scott D. Smith >>> Sent: Sunday, December 14, 2008 5:54 PM >>> To: [log in to unmask] >>> Subject: Re: [ARSCLIST] 35mm magnetic film as a music-master > recording >>> method >>> >>> Tom, >>> >>> To the best of my knowledge, Command stopped using 35mm as a > recording >>> medium after Enoch Light sold the label to ABC Records in 1965. ABC >> then >>> >>> sold it to MCA, who promptly relegated it to the trash heap of >>> re-issues. A sad story... >>> >>> Richard Gradone did a doctoral dissertation on the career of Enoch >> Light >>> >>> and his record labels while at NYU in 1980. I have never read it, so > I >>> don't know if it might contain any pertinent information or not. >>> >>> I have only a few Project 3 original releases. I know that "Patterns >> in >>> Sound" series was done on 35mm, but after that, I'm really not sure. >>> There is also the entire catalog of Project 3 quad releases, which I >>> assume were probably done on 4 track tape, but could have been >> recorded >>> on 35mm 4 track mag as well. >>> >>> In general, the recordings that Enoch Light did under the Command >> label >>> were considered by many to be both artistically and technically >> superior >>> >>> to the Project 3 releases, which had arrangements which were tended > to >>> be less interesting than those that were done under the Command > label. >>> In general, they didn't sell as well as the Command releases did. >>> >>> I have no idea what Essex is doing with the current catalog, or even >>> where the masters are. My guess is that they are probably in about > the >>> same condition as the Everest masters. >>> >>> The only other possible release I can think of might be the 1957 >>> (Stokowski) version of "Fantasia", release by Walt Disney under the >>> Buena Vista label. Sadly, the original 1939 recording has been lost > to >>> time, having been recorded on 35mm nitrate film, and later > transferred >>> to 3 track magnetic film over a jury-rigged class A phone line >>> arrangement in 1955. Despite this, Terry Porter managed to clean it > up >>> fairly well for the 1980 re-release. >>> >>> There were also a number of other movie soundtracks which were done > on >>> 35mm mag for film release, some which ran simultaneous session tapes. >> I >>> know a few scoring mixers who worked in Hollywood during the early >>> seventies. They have told me that practices varied from session to >>> session. Some would run tape and film, others were done only on film >>> (usually four track or six track), and later mixed to a 2 track tape >>> master for album release. Since liner notes seldom contained these >>> details, they are probably lost to time. Nearly every mixer I've >> spoken >>> to has preferred the quality of the mag film masters over those done >> on >>> tape. This is probably primarily due to the faster speed of the film >>> (equivalent to 18 IPS), thicker oxide formulations, and wider track >>> configuration (150 mil for 3 track, 100 mil for 6 track). >>> >>> Nearly all the mag film that I have worked with from the mid-1950's >>> through the late 60's has suffered from some degree of VS, some much >>> more so than others. Even film that has been stored in decent vault >>> conditions has suffered, primarily due to the fact that most of it > has >>> been stored in sealed film cans, which doesn't allow for venting of >> the >>> film. Most of the films also suffer from various degrees of base > warp, >>> which makes for a difficult situation when it comes to maintaining >>> film-to-head contact. >>> >>> Scott D. Smith >>> *Chicago Audio Works, Inc.* >>> >>> Tom Fine wrote: >>>> Hi All: >>>> >>>> I'm cookin' up some research here and I figured I throw a few >>>> questions out to the group. The topic: the use of 35mm mag-film as >> the >>> >>>> main recording medium for music albums. >>>> >>>> 1. As far as I can tell, before Everest Records started using 35mm > to >>>> do classical music recording sessions, the only prior use of 35mm as >>>> an album-recording or album-mastering medium was a few cases of >>>> film-soundtrack albums where the LP master was cut right from the >> 35mm >>> >>>> soundtrack magnetic master. I think RCA issued a few of these early >> in >>> >>>> the LP era but I'm not positive those were from 35mm magnetic > masters >>>> (they might have been from optical masters from pre-magnetic film >>>> days). Any specific pre-Everest titles would be most appreciated. >>>> Everest's use of mag-film was circa 1959-60. >>>> >>>> 2. The mag-film trend was short-lived, I think. As far as I can > tell, >>>> by 1964 or so, only Command Records was still regularly making 35mm >>>> mag-film masters for music albums. Any information on other labels >>>> aside from Command and Project 3 regularly using 35mm as their >>>> recording and mastering medium in the mid-60's would be appreciated. >>>> The last Mercury Living Presence film sessions were 1963. Mercury's >>>> pop Perfect Presence series ended in late 1961, if I recall >> correctly. >>>> >>>> 3. By the late 60's, I think only Enoch Light's Project 3 Records > was >>>> still regularly recording and/or mastering to 35mm. If anyone has >>>> information different from this, I'd be most appreciative if they'd >>>> share it. I think Project 3 continued to use 35mm regularly into the >>>> early 70's, even creating 4-track quad masters. But I don't have any >>>> specifics about that era and Project 3, so any additional > information >>>> is greatly appreciated. >>>> >>>> For those shy and/or discreet, please feel free to ping me off-list >>>> and thank you in advnace. >>>> >>>> Thanks! >>>> >>>> -- Tom Fine >>> The information in this email is confidential and may be legally >> privileged. >>> Access to this email by anyone other than the addressee is >> unauthorized. >>> >>> >> > ************************************************************************ >> **** >>> >>> >> The information in this email is confidential and may be legally > privileged. >> Access to this email by anyone other than the addressee is > unauthorized. >> >> > ************************************************************************ > **** >> >> > The information in this email is confidential and may be legally privileged. > Access to this email by anyone other than the addressee is unauthorized. > > **************************************************************************** > >