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I was reading this list and then realized that in all my years as a
recording engineer, I have always pleaded with the artists to pay the extra
studio time to run a duplicate master just for this reason that should the
label lose their masters, they will have their own master. With automation
in place, it's really easy to just run the tape twice (the studio I worked
at that time only had one 1/4" master recorder and two DAT machines). Some
agreed, some didn't. For my label, I have duplicate masters stored in two
separate continents. Just cause I can.

Reading that list gave me shivers. It's really the whole music history of
our time. I hope Sony takes better care of their archives.

Cheers
Shai Drori
Expert digitization services for Audio Video
3K scanning for film 8mm-35mm
Timeless Recordings Music Label
www.audiovideofilm.com
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On Wed, Jun 26, 2019 at 7:31 PM Railroads On Parade <
[log in to unmask]> wrote:

> As a museum worker involved with collections at The National Academy of
> Design and The Guggenheim Museum I can profess the attitude was one I'd
> hear "it is not a perfect world" when in fact the job is to create a
> perfect world.
> Guy Walker
>
> On Wed, 26 Jun 2019 at 11:29, Dennis Rooney <[log in to unmask]>
> wrote:
>
> > Attention to detail is paramount in archival storage. Unfortunately,
> > trained staff and best practices cost money. Until the culture is ready
> to
> > de-monetize such audio assets and master recordings, and video assets
> like
> > camera negatives and lavender prints in addition to the associated
> > elements, there can be no guarantee that anything owned by a for-profit
> > entity is adequately protected.
> >
> > DDR
> >
> > On Wed, Jun 26, 2019 at 11:01 AM Railroads On Parade <
> > [log in to unmask]> wrote:
> >
> > > Notre Dame burned under similar circumstances.  Would history have been
> > > changed if UMG not been negligent?   There is a systemic relation to
> many
> > > facets these days of what we care about, then how we care and then
> often
> > > choose it is not worth the care finding a convenient way to move on.
> > >
> > > On Wed, 26 Jun 2019 at 10:42, Dennis Rooney <[log in to unmask]>
> > > wrote:
> > >
> > > > As I read the posts on this catastrophe, I note the absence of the
> > names
> > > of
> > > > Decca's classical artists — admittedly, not many — whose masters were
> > > > surely destroyed. Jascha Heifetz, Andrés Segovia, Rudolf Ganz, Percy
> > > > Grainger, Robert Goldsand et al. all recorded for Decca in the
> forties,
> > > > which were mastered on 16.5-in. lacquers cut vertically. Like
> Columbia,
> > > > approved takes from the lacquers were dubbed to produce the released
> > > 78rpm
> > > > shellac discs. Heifetz's preserved some extraordinary performances of
> > > > encore pieces in which virtuosity was explored to the utmost. Due to
> > the
> > > > dates, those lacquers were all glass-based, and were either broken in
> > > > transit or burned up in the vault fire. A similar fate befell the
> > others.
> > > > It is perhaps a small part of what was destroyed, to be sure, but as
> > > > grievous a loss our cultural patrimony as anything else.
> > > >
> > > > DDR
> > > >
> > > > On Wed, Jun 26, 2019 at 1:44 AM Jeff Willens <[log in to unmask]>
> > wrote:
> > > >
> > > > >
> > > > >
> > > >
> > >
> >
> https://www.nytimes.com/2019/06/25/magazine/universal-music-fire-bands-list-umg.html
> > > > >
> > > >
> > > >
> > > > --
> > > > 1006 Langer Way
> > > > Delray Beach, FL 33483
> > > > 561.265.2976
> > > >
> > >
> >
> >
> > --
> > 1006 Langer Way
> > Delray Beach, FL 33483
> > 561.265.2976
> >
>