[William Sommerwerck]

The current "Fanfare" has a review of a CD of Burt Bacharach's score for
"Casino Royale" (p202), which was considered an audiophile recording "back
in the day". (I've never heard it.)

According to the review, the "original tape" was severely damaged. This
recording is a dub from an LP.

The reviewer doesn't state what the "original tape" (his words, not mine)
was. Presumably, it was the "mastering" tape -- the tape used to cut the
lacquer master. If the original "original" tape -- the studio master --
still exists -- which it should -- there would be no problem -- other than
money -- in creating a new mixdown.

On the other hand, if the original studio tape was damaged, then the
mastering tape -- which one assumes would not have been intentionally erased
or destroyed -- should provide a source no more than one generation from the
original recording.

Do you see where I'm coming from? What, exactly, is going on here? I don't
understand how both "master" tapes could have been lost or destroyed.

If this doesn't make sense, kick me politely and I'll explain again.

--
"We already know the answers -- we just haven't asked the right
questions." -- Edwin Land

[Doug McDonald[_6_]]

On 5/5/2011 6:15 PM, William Sommerwerck wrote:


Do you see where I'm coming from? What, exactly, is going on here? I don't
understand how both "master" tapes could have been lost or destroyed.

If this doesn't make sense, kick me politely and I'll explain again.

You do, of course, know that this was for long the ultimate cult record?

I've heard it. The reputation was well deserved.

Does the name Harry Pearson ring a bell?

In any case, the cult applies to the LP. The master
tape likely won't do, as it is the specific euphonic coloration
that "happened" through the whole process of studio master
to stamper that created the cult.

Doug McDonald

[William Sommerwerck]

"Doug McDonald" wrote in message
...
On 5/5/2011 6:15 PM, William Sommerwerck wrote:

Do you see where I'm coming from? What, exactly, is going on
here? I don't understand how both "master" tapes could have
been lost or destroyed.

You do, of course, know that this was for long the ultimate
cult record?

Of course! I alluded to that in my comments.


I've heard it. The reputation was well deserved.
Does the name Harry Pearson ring a bell?

HP long had this LP on his "recommended recordings list".


In any case, the cult applies to the LP. The master tape
likely won't do, as it is the specific euphonic coloration that
"happened" through the whole process of studio master to
stamper that created the cult.

This is almost certainly true. But I'm still curious as to what happened to
the studio recording and the mix-down mastering tape. It's unlikely both
were lost and/or damaged.

[Scott Dorsey]

William Sommerwerck wrote:

On the other hand, if the original studio tape was damaged, then the
mastering tape -- which one assumes would not have been intentionally erased
or destroyed -- should provide a source no more than one generation from the
original recording.

Do you see where I'm coming from? What, exactly, is going on here? I don't
understand how both "master" tapes could have been lost or destroyed.

They were in the same room when the fire happened. They were in the same
vault which was cleared to make space for new material. The duping master
was destroyed to make space for new material and someone stole the studio
master. All kinds of stuff happens.

I have rescued master tapes out of dumpsters before.

If this doesn't make sense, kick me politely and I'll explain again.

Given the way most of the major labels treated archive material back then,
it's a wonder any of this stuff survives at all. A lot of folks just
considered this ephemeral pop music that would never last beyond a few weeks
on the charts and with no hope of re-issue.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[William Sommerwerck]

Given the way most of the major labels treated archive material
back then, it's a wonder any of this stuff survives at all. A lot of
folks just considered this ephemeral pop music that would never
last beyond a few weeks on the charts and with no hope of re-issue.

But not -- gasp! -- Burt Bacharach!

[mcp6453[_2_]]

On 5/6/2011 10:13 AM, Scott Dorsey wrote:
William Sommerwerck wrote:

On the other hand, if the original studio tape was damaged, then the
mastering tape -- which one assumes would not have been intentionally erased
or destroyed -- should provide a source no more than one generation from the
original recording.

Do you see where I'm coming from? What, exactly, is going on here? I don't
understand how both "master" tapes could have been lost or destroyed.

They were in the same room when the fire happened. They were in the same
vault which was cleared to make space for new material. The duping master
was destroyed to make space for new material and someone stole the studio
master. All kinds of stuff happens.

I have rescued master tapes out of dumpsters before.

If this doesn't make sense, kick me politely and I'll explain again.

Given the way most of the major labels treated archive material back then,
it's a wonder any of this stuff survives at all. A lot of folks just
considered this ephemeral pop music that would never last beyond a few weeks
on the charts and with no hope of re-issue.
--scott

As I understand it, ABC Dunhill threw a bunch of masters into the dumpster to
make room. Gone are masters for The Mamas and The Papas as well as Three Dog Night.

[William Sommerwerck]

"mcp6453" wrote in message
...

As I understand it, ABC Dun[g]hill threw a bunch of masters into
the dumpster to make room. Gone are masters for The Mamas
and The Papas as well as Three Dog Night.

That's nuts. What happened to the session tapes?

[ChrisCoaster]

On May 6, 3:44*pm, mcp6453 wrote:
as Three Dog Night.- Hide quoted text -

- Show quoted text -
___________

mama told me not to come...



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