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Mark Stebbeds
 
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Default And the Grammy for Engineering goes to....

Found this in the LA Times today. Anyone know this guy?

I posted the text as well as the link.

http://www.latimes.com/news/local/la...,2174231.story

Mark



Recordings Are Seized at Engineer's Home



Terry Howard, who won three Grammys last month for work with Ray
Charles, is arrested after police find singer's master tapes.


By Geoff Boucher, Times Staff Writer

A recording engineer who worked for Ray Charles for two decades and
who won three Grammys last month for his work on the late singer's
final album was arrested four days later after police pried open the
door of his Burbank loft and found 300 original master recordings that
belonged to Charles.

Terry Howard, 48, was in custody Wednesday after his arrest Feb. 17,
but his attorney, Steve Crom, said they would post bail today. A judge
reduced it from $1 million to $100,000 this week because Howard had no
criminal record.



"These are recordings that he contractually and logically had every
right to have in his possession," Crom said. A recording engineer, he
said, often works at home.

Los Angeles Police Det. Donald O. Hrycyk said the boxes of recordings
carted out of Howard's home — which consisted of a bed, refrigerator
and other amenities in a commercial property in a recording industry
district — were not digitally recorded discs brought home for
tinkering. The detective said the stacks of music included old
reel-to-reel recordings of Charles and other artists whose work had
been stored in the singer's library.

"There were tapes that were stored in climate-controlled rooms at Ray
Charles Enterprises, and they are so fragile that they need to be
heated to be played or else they can be destroyed," Hrycyk said. "When
we got to them, some of them were molding."

Jerry Digney, Charles' former publicist and spokesman for his estate,
said in a statement: "Whatever the outcome, Ray Charles Enterprises
puts a high value on its assets, especially its master tapes, and will
do its utmost to ensure their safety and proper handling along with
protecting other irreplaceable valuables belonging to the late
entertainer and to his estate."

Howard's attorney and his credits describe him as an Ohio native, an
Air Force veteran and a highly acclaimed technician in his field who
not only had the trust of Charles for years but worked with Barbra
Streisand, Stevie Wonder, Fleetwood Mac and Tom Jones.

As one of several engineers who worked on Charles' "Genius Loves
Company" album of all-star duets, released shortly after his death,
Howard shared in the Grammys awarded for record of the year, album of
the year and best-engineered non-classical recording.

A source in the recording industry said Howard was "a guy they brought
in when they needed him, a guy they trusted." Others in the Charles
camp said the singer would call on "Mr. T" when he was working late
nights at his famed RPM Studios on Washington Boulevard.

"Ray had the key, and Howard would meet him, and they'd work on stuff,
sometimes just them, but Ray couldn't see this guy was walking out
with all this stuff," Hrycyk said. "And that would be pretty sad if
that was the case."

If that were the case, it would add a posthumous chapter to the
betrayals of the singer, documented in the Oscar-nominated film "Ray,"
which showed that the iconic entertainer fought exploitation from his
earliest days in the business because of his blindness. Charles died
last summer at age 73 at his Beverly Hills home.

Hrycyk said an associate of Howard's told Ray Charles Enterprises
about the master recordings in Howard's loft, and police were
notified.

"When we got there, he wouldn't come to the door, but when we pried it
open, he came out," the detective said.

Crom and police said Howard had a flare-up last March with the
leadership at Ray Charles Enterprises. That led to "someone at Ray
Charles Enterprises wanting Howard to be less close to things," Crom
said

The attorney said that the filings in the case that have put the value
of the items in excess of $8 million are "ridiculous" and are based on
their value to a record company that could legitimately record, press
and distribute them exclusively. But once that's done, the quality of
every CD is as good as the master, he said, so after its release, its
value is diminished.

"Somebody is making a lot more of this than they should be," Crom
said, as if this were "Babe Ruth's bat."

Phil Ramone, a Grammy-winning producer who had worked with Charles,
said that he did not know Howard but that the topic was ricocheting
around the industry. "The value of these things would have been
limited," Ramone said. "It's like having a Picasso. Sure, you could
sell it, but everybody's going to know it, and if you try to make a
lot of money off it, you're not going to get far."

Police have not been able to catalog the items due to their fragility
and the fact that many are unlabeled. Police also seized a tour travel
box, used by touring concert bands for their gear, at Howard's
residence that was labeled "Ray Charles Enterprises," Hrycyk said.
  #2   Report Post  
John
 
Posts: n/a
Default

On 3/3/05 10:40 PM, in article ,
"Mark Stebbeds" wrote:

Found this in the LA Times today. Anyone know this guy?


Only what I learned from the MIX article on the production of Ray's last
record that this guy was a big part of.
Strange...




I posted the text as well as the link.

http://www.latimes.com/news/local/la...,2174231.story

Mark



Recordings Are Seized at Engineer's Home



Terry Howard, who won three Grammys last month for work with Ray
Charles, is arrested after police find singer's master tapes.


By Geoff Boucher, Times Staff Writer

A recording engineer who worked for Ray Charles for two decades and
who won three Grammys last month for his work on the late singer's
final album was arrested four days later after police pried open the
door of his Burbank loft and found 300 original master recordings that
belonged to Charles.

Terry Howard, 48, was in custody Wednesday after his arrest Feb. 17,
but his attorney, Steve Crom, said they would post bail today. A judge
reduced it from $1 million to $100,000 this week because Howard had no
criminal record.



"These are recordings that he contractually and logically had every
right to have in his possession," Crom said. A recording engineer, he
said, often works at home.

Los Angeles Police Det. Donald O. Hrycyk said the boxes of recordings
carted out of Howard's home — which consisted of a bed, refrigerator
and other amenities in a commercial property in a recording industry
district — were not digitally recorded discs brought home for
tinkering. The detective said the stacks of music included old
reel-to-reel recordings of Charles and other artists whose work had
been stored in the singer's library.

"There were tapes that were stored in climate-controlled rooms at Ray
Charles Enterprises, and they are so fragile that they need to be
heated to be played or else they can be destroyed," Hrycyk said. "When
we got to them, some of them were molding."

Jerry Digney, Charles' former publicist and spokesman for his estate,
said in a statement: "Whatever the outcome, Ray Charles Enterprises
puts a high value on its assets, especially its master tapes, and will
do its utmost to ensure their safety and proper handling along with
protecting other irreplaceable valuables belonging to the late
entertainer and to his estate."

Howard's attorney and his credits describe him as an Ohio native, an
Air Force veteran and a highly acclaimed technician in his field who
not only had the trust of Charles for years but worked with Barbra
Streisand, Stevie Wonder, Fleetwood Mac and Tom Jones.

As one of several engineers who worked on Charles' "Genius Loves
Company" album of all-star duets, released shortly after his death,
Howard shared in the Grammys awarded for record of the year, album of
the year and best-engineered non-classical recording.

A source in the recording industry said Howard was "a guy they brought
in when they needed him, a guy they trusted." Others in the Charles
camp said the singer would call on "Mr. T" when he was working late
nights at his famed RPM Studios on Washington Boulevard.

"Ray had the key, and Howard would meet him, and they'd work on stuff,
sometimes just them, but Ray couldn't see this guy was walking out
with all this stuff," Hrycyk said. "And that would be pretty sad if
that was the case."

If that were the case, it would add a posthumous chapter to the
betrayals of the singer, documented in the Oscar-nominated film "Ray,"
which showed that the iconic entertainer fought exploitation from his
earliest days in the business because of his blindness. Charles died
last summer at age 73 at his Beverly Hills home.

Hrycyk said an associate of Howard's told Ray Charles Enterprises
about the master recordings in Howard's loft, and police were
notified.

"When we got there, he wouldn't come to the door, but when we pried it
open, he came out," the detective said.

Crom and police said Howard had a flare-up last March with the
leadership at Ray Charles Enterprises. That led to "someone at Ray
Charles Enterprises wanting Howard to be less close to things," Crom
said

The attorney said that the filings in the case that have put the value
of the items in excess of $8 million are "ridiculous" and are based on
their value to a record company that could legitimately record, press
and distribute them exclusively. But once that's done, the quality of
every CD is as good as the master, he said, so after its release, its
value is diminished.

"Somebody is making a lot more of this than they should be," Crom
said, as if this were "Babe Ruth's bat."

Phil Ramone, a Grammy-winning producer who had worked with Charles,
said that he did not know Howard but that the topic was ricocheting
around the industry. "The value of these things would have been
limited," Ramone said. "It's like having a Picasso. Sure, you could
sell it, but everybody's going to know it, and if you try to make a
lot of money off it, you're not going to get far."

Police have not been able to catalog the items due to their fragility
and the fact that many are unlabeled. Police also seized a tour travel
box, used by touring concert bands for their gear, at Howard's
residence that was labeled "Ray Charles Enterprises," Hrycyk said.


  #3   Report Post  
EGO
 
Posts: n/a
Default

My dad is an Ohio native and an Air Force Vet. But he has no ****ing
talent, so this ain't him!!!

Anyway, I think this guy had a strange way of contributing to his IRA.

  #4   Report Post  
Fletcher Fletcher is offline
Member
 
Location: Foxboro, MA
Posts: 58
Default

Quote:
Originally Posted by Mark Stebbeds
Found this in the LA Times today. Anyone know this guy?

I posted the text as well as the link.

http://www.latimes.com/news/local/la...,2174231.story

Mark



Recordings Are Seized at Engineer's Home

snip happens

"These are recordings that he contractually and logically had every
right to have in his possession," Crom said. A recording engineer, he
said, often works at home.

Los Angeles Police Det. Donald O. Hrycyk said the boxes of recordings
carted out of Howard's home — which consisted of a bed, refrigerator
and other amenities in a commercial property in a recording industry
district —

snip happens


"When we got there, he wouldn't come to the door, but when we pried it
open, he came out," the detective said.

In talking with some friends... it seems that someone at RCE kinda jumped the gun on this for at the moment an unknown reason. Turns out that there was well over a 20 year relationship between artist and recordist, that there was a reason for this 20+ year relationship [like Mr. Howard is an EXCELLENT engineer kind of a reason]... and there was less than no intent to steal anything from anyone when it came to these masters... or at least that's the word on the street in LA with people that know the other side of this debacle.

Apparently the subject of this article did indeed live in his studio, hence the bed, refrigerator and "other amenities" [like a shower?]... the studio, not being your average piece of **** home studio, was "soundproof" [hence why he didn't answer the door but came out after they "pried it open"].

While the original article was obviously skewed by some publicist for the person or persons who were pulling the strings from RCE, the fact of the matter is that anyone who works on any "real" product should be very worried right about now... imagine you happen to have some masters from something you were working on... and all of a sudden the Gestapo is kicking in the door?

I know I have "masters" at my house, as well as at my office... many of these masters are indeed owned by record companies who didn't want to store them/"outtake reels" at the end of the project, and the studio didn't want to store them at the end of the project... so in many cases, I got stuck with them.

Some of these masters have the work of dead people on them... after this bullsh*t I'm going to figure out how to send them back to the labels/artists/anyone in the fukking world but me!!!
__________________
Fletcher
http://www.mercenary.com

Roscoe Ambel once said:
Pro-Tools is to audio what fluorescent is to light
  #5   Report Post  
Joe Sensor
 
Posts: n/a
Default

I thought this story was a bit fishy. What was he going to do with these
"stolen" masters anyway?


Fletcher wrote:
Mark Stebbeds Wrote:

Found this in the LA Times today. Anyone know this guy?

I posted the text as well as the link.

http://www.latimes.com/news/local/la...,2174231.story

Mark



Recordings Are Seized at Engineer's Home

snip happens

"These are recordings that he contractually and logically had every
right to have in his possession," Crom said. A recording engineer, he
said, often works at home.

Los Angeles Police Det. Donald O. Hrycyk said the boxes of recordings
carted out of Howard's home — which consisted of a bed, refrigerator
and other amenities in a commercial property in a recording industry
district —

snip happens


"When we got there, he wouldn't come to the door, but when we pried it
open, he came out," the detective said.




In talking with some friends... it seems that someone at RCE kinda
jumped the gun on this for at the moment an unknown reason. Turns out
that there was well over a 20 year relationship between artist and
recordist, that there was a reason for this 20+ year relationship [like
Mr. Howard is an EXCELLENT engineer kind of a reason]... and there was
less than no intent to steal anything from anyone when it came to these
masters... or at least that's the word on the street in LA with people
that know the other side of this debacle.

Apparently the subject of this article did indeed live in his studio,
hence the bed, refrigerator and "other amenities" [like a shower?]...
the studio, not being your average piece of **** home studio, was
"soundproof" [hence why he didn't answer the door but came out after
they "pried it open"].

While the original article was obviously skewed by some publicist for
the person or persons who were pulling the strings from RCE, the fact
of the matter is that anyone who works on any "real" product should be
very worried right about now... imagine you happen to have some masters
from something you were working on... and all of a sudden the Gestapo is
kicking in the door?

I know I have "masters" at my house, as well as at my office... many of
these masters are indeed owned by record companies who didn't want to
store them/"outtake reels" at the end of the project, and the studio
didn't want to store them at the end of the project... so in many
cases, I got stuck with them.

Some of these masters have the work of dead people on them... after
this bullsh*t I'm going to figure out how to send them back to the
labels/artists/anyone in the fukking world but me!!!




  #6   Report Post  
Steve King
 
Posts: n/a
Default

"Fletcher" wrote in message
...

Mark Stebbeds Wrote:
Found this in the LA Times today. Anyone know this guy?

I posted the text as well as the link.

http://www.latimes.com/news/local/la...,2174231.story

Mark



Recordings Are Seized at Engineer's Home

snip happens

"These are recordings that he contractually and logically had every
right to have in his possession," Crom said. A recording engineer, he
said, often works at home.

Los Angeles Police Det. Donald O. Hrycyk said the boxes of recordings
carted out of Howard's home - which consisted of a bed, refrigerator
and other amenities in a commercial property in a recording industry
district -

snip happens


"When we got there, he wouldn't come to the door, but when we pried it
open, he came out," the detective said.



In talking with some friends... it seems that someone at RCE kinda
jumped the gun on this for at the moment an unknown reason. Turns out
that there was well over a 20 year relationship between artist and
recordist, that there was a reason for this 20+ year relationship [like
Mr. Howard is an EXCELLENT engineer kind of a reason]... and there was
less than no intent to steal anything from anyone when it came to these
masters... or at least that's the word on the street in LA with people
that know the other side of this debacle.

Apparently the subject of this article did indeed live in his studio,
hence the bed, refrigerator and "other amenities" [like a shower?]...
the studio, not being your average piece of **** home studio, was
"soundproof" [hence why he didn't answer the door but came out after
they "pried it open"].

While the original article was obviously skewed by some publicist for
the person or persons who were pulling the strings from RCE, the fact
of the matter is that anyone who works on any "real" product should be
very worried right about now... imagine you happen to have some masters
from something you were working on... and all of a sudden the Gestapo is
kicking in the door?

I know I have "masters" at my house, as well as at my office... many of
these masters are indeed owned by record companies who didn't want to
store them/"outtake reels" at the end of the project, and the studio
didn't want to store them at the end of the project... so in many
cases, I got stuck with them.

Some of these masters have the work of dead people on them... after
this bullsh*t I'm going to figure out how to send them back to the
labels/artists/anyone in the fukking world but me!!!


--
Fletcher


In helping to clear up a friend's estate, I'm having similar problems.
Years of annual requests for disposition instructions for session tapes have
apparently been ignored by labels and/or artists. My friend should have
disposed of the tapes as he threatened in the letters I suppose, but he was
reluctant to destroy the artists' work. Also, even if you send a registered
letter to a label or artist and get a receipt that it was delivered but
receive no reply, as happened in many cases, how do you carry out the threat
of destruction? You can't just pitch a couple hundred pounds of 24 track
reels into the trash, where some enterprising dumpster diver might dig them
out. The result, in the case I'm trying to resolve, is the equivalent of a
large bedroom stacked floor to ceiling with boxed session tapes, including
masters, not a few of which are very big sellers by known artists. I've got
it! I'll threaten to send the tapes to a well know pirate operation in
China that has agreed to assume responsibility for 'storing' the tapes.

Steve King


  #7   Report Post  
Joe Sensor
 
Posts: n/a
Default

Steve King wrote:



You can't just pitch a couple hundred pounds of 24 track reels into
the trash, where some enterprising dumpster diver might dig them out.



Bulk eraser?
  #8   Report Post  
John
 
Posts: n/a
Default

On 3/6/05 10:29 AM, in article , "Steve
King" wrote:

"Fletcher" wrote in message
...

Mark Stebbeds Wrote:
Found this in the LA Times today. Anyone know this guy?

I posted the text as well as the link.

http://www.latimes.com/news/local/la...,2174231.story

Mark



Recordings Are Seized at Engineer's Home

snip happens

"These are recordings that he contractually and logically had every
right to have in his possession," Crom said. A recording engineer, he
said, often works at home.

Los Angeles Police Det. Donald O. Hrycyk said the boxes of recordings
carted out of Howard's home - which consisted of a bed, refrigerator
and other amenities in a commercial property in a recording industry
district -

snip happens


"When we got there, he wouldn't come to the door, but when we pried it
open, he came out," the detective said.



In talking with some friends... it seems that someone at RCE kinda
jumped the gun on this for at the moment an unknown reason. Turns out
that there was well over a 20 year relationship between artist and
recordist, that there was a reason for this 20+ year relationship [like
Mr. Howard is an EXCELLENT engineer kind of a reason]... and there was
less than no intent to steal anything from anyone when it came to these
masters... or at least that's the word on the street in LA with people
that know the other side of this debacle.

Apparently the subject of this article did indeed live in his studio,
hence the bed, refrigerator and "other amenities" [like a shower?]...
the studio, not being your average piece of **** home studio, was
"soundproof" [hence why he didn't answer the door but came out after
they "pried it open"].

While the original article was obviously skewed by some publicist for
the person or persons who were pulling the strings from RCE, the fact
of the matter is that anyone who works on any "real" product should be
very worried right about now... imagine you happen to have some masters
from something you were working on... and all of a sudden the Gestapo is
kicking in the door?

I know I have "masters" at my house, as well as at my office... many of
these masters are indeed owned by record companies who didn't want to
store them/"outtake reels" at the end of the project, and the studio
didn't want to store them at the end of the project... so in many
cases, I got stuck with them.

Some of these masters have the work of dead people on them... after
this bullsh*t I'm going to figure out how to send them back to the
labels/artists/anyone in the fukking world but me!!!


--
Fletcher

... My friend should have
disposed of the tapes as he threatened in the letters I suppose, but he was
reluctant to destroy the artists' work. Also, even if you send a registered
letter to a label or artist and get a receipt that it was delivered but
receive no reply, as happened in many cases, how do you carry out the threat
of destruction?


The movie BLOW OUT comes to mind.
THAT was a scary scene I tell you...

  #9   Report Post  
Agent_C
 
Posts: n/a
Default

On Sun, 6 Mar 2005 03:57:16 +0000, Fletcher
wrote:

[...] imagine you happen to have some masters
from something you were working on...


Yeah, but 300?

I can see a 'few' from current and recent projects, but 300?
Something's not right here, I agree, but that number just doesn't
sound kosher.

A_C


  #10   Report Post  
Agent_C
 
Posts: n/a
Default

On Sun, 6 Mar 2005 09:29:18 -0600, "Steve King"
wrote:

I've got it! I'll threaten to send the tapes to a well know pirate operation in
China that has agreed to assume responsibility for 'storing' the tapes.


LOL, be sure to let us know when you're up for parole...

A_C



  #11   Report Post  
hank alrich
 
Posts: n/a
Default

Steve King wrote:

The result, in the case I'm trying to resolve, is the equivalent of a
large bedroom stacked floor to ceiling with boxed session tapes, including
masters, not a few of which are very big sellers by known artists. I've got
it! I'll threaten to send the tapes to a well know pirate operation in
China that has agreed to assume responsibility for 'storing' the tapes.


Send 'em to hev and he'll put 'em line for ya.

--
ha
  #12   Report Post  
hank alrich
 
Posts: n/a
Default

Agent_C wrote:

Fletcher wrote:


[...] imagine you happen to have some masters
from something you were working on...


Yeah, but 300?


If he worked with Ray for twenty years, and especially if he worked on
the duo project, I could see that, even easily.

I can see a 'few' from current and recent projects, but 300?
Something's not right here, I agree, but that number just doesn't
sound kosher.


I think we're reading RCE hype, passing mostly for news, and that if one
reads it carefully there are lots of things that don't sound kosher.
Most newspapers readers might want to convict the guy on the basis of
the news items, while they knwo absolutely nothing of sound studios or
mixing/producing practices.

--
ha
  #14   Report Post  
Agent_C
 
Posts: n/a
Default

On Sun, 06 Mar 2005 19:43:56 GMT, (hank alrich)
wrote:

Agent_C wrote:

Fletcher wrote:


[...] imagine you happen to have some masters
from something you were working on...


Yeah, but 300?


If he worked with Ray for twenty years, and especially if he worked on
the duo project, I could see that, even easily.

I can see a 'few' from current and recent projects, but 300?
Something's not right here, I agree, but that number just doesn't
sound kosher.


I think we're reading RCE hype, passing mostly for news, and that if one
reads it carefully there are lots of things that don't sound kosher.
Most newspapers readers might want to convict the guy on the basis of
the news items, while they knwo absolutely nothing of sound studios or
mixing/producing practices.


I don't know... I managed the traffic in and out of the vault at EMI
New York for three years and don't recall ever coming across an
engineer, producer or musician who had that many tapes in their
possession. (With the possible exception of Ian Anderson, who as a
matter of policy keeps copies his own masters - all of them)

We tracked masters zealously after each project and had to account for
everything. On the rare occasion we came across tapes that were laying
around studios and someone's home, we always followed up and tried to
get them back.

This strikes me as either a sanctioned arrangement, or colossal
negligence on the part of the label(s).

This guy is not a bootlegger...

A_C

  #15   Report Post  
Jim Klein
 
Posts: n/a
Default

I'm just now dealing with a vault with over 3000 master tapes. The studio
went under, defaulted on their storage lease, and now, according to the
lease, the owner of the storage company "owns" the contents of the vault.
Of course, he has no legal right to exploit the recordings, but we have a
team of lawyers trying to figure out some of the ramifications.

All of the labels involved have been contacted repeatedly for the last ten
years, and only one has expressed interest in recovering their tapes. They
came by a couple of years ago, pulled about 300 masters, and left without
taking the tapes or paying the back storage on them. We're talking about
masters from some of the biggest artists of the last three decades, but once
the CD is out, the labels don't have much interest.

My gut tells me that there is no criminal activity in the Ray Charles
situation. Who knows what this guy was doing for Ray...maybe cataloging,
pulling alternate takes for a project, editing.....anything. I know I would
much rather do that kind of stuff at home as well. Just some people trying
to make a name or a case on someone else's misfortune.

Oh well.




On 3/6/05 4:15 PM, in article ,
"Agent_C" wrote:

On Sun, 06 Mar 2005 19:43:56 GMT,
(hank alrich)
wrote:

Agent_C wrote:

Fletcher wrote:


[...] imagine you happen to have some masters
from something you were working on...


Yeah, but 300?


If he worked with Ray for twenty years, and especially if he worked on
the duo project, I could see that, even easily.

I can see a 'few' from current and recent projects, but 300?
Something's not right here, I agree, but that number just doesn't
sound kosher.


I think we're reading RCE hype, passing mostly for news, and that if one
reads it carefully there are lots of things that don't sound kosher.
Most newspapers readers might want to convict the guy on the basis of
the news items, while they knwo absolutely nothing of sound studios or
mixing/producing practices.


I don't know... I managed the traffic in and out of the vault at EMI
New York for three years and don't recall ever coming across an
engineer, producer or musician who had that many tapes in their
possession. (With the possible exception of Ian Anderson, who as a
matter of policy keeps copies his own masters - all of them)

We tracked masters zealously after each project and had to account for
everything. On the rare occasion we came across tapes that were laying
around studios and someone's home, we always followed up and tried to
get them back.

This strikes me as either a sanctioned arrangement, or colossal
negligence on the part of the label(s).

This guy is not a bootlegger...

A_C




  #16   Report Post  
hank alrich
 
Posts: n/a
Default

Agent_C wrote:

I don't know... I managed the traffic in and out of the vault at EMI
New York for three years and don't recall ever coming across an
engineer, producer or musician who had that many tapes in their
possession. (With the possible exception of Ian Anderson, who as a
matter of policy keeps copies his own masters - all of them)


We tracked masters zealously after each project and had to account for
everything. On the rare occasion we came across tapes that were laying
around studios and someone's home, we always followed up and tried to
get them back.


And that's how it's supposed to be done. But not every entity owning
such tapes kept such diligent track of them.

This strikes me as either a sanctioned arrangement, or colossal
negligence on the part of the label(s).

This guy is not a bootlegger...


Agreed. Can't imagine he'd risk his successful career on those tapes.

--
ha
  #17   Report Post  
Mark Stebbeds
 
Posts: n/a
Default

On Sun, 6 Mar 2005 03:57:16 +0000, Fletcher
wrote:

I know I have "masters" at my house, as well as at my office... many of
these masters are indeed owned by record companies who didn't want to
store them/"outtake reels" at the end of the project, and the studio
didn't want to store them at the end of the project... so in many
cases, I got stuck with them.


Yeah, I have dozens of master 24 tracks here also, but most of the two
track masters ended up at the label after mastering. I've also been
on the receiving end of managing a major artist's tapes at a storage
facility here in LA, when the artist ****ed off in England for years
and didn't pay his bill.

I question the fact that the guy had 300 tapes, and the fact that they
were removed from RCE's temperature controlled vaults. It's a well
known fact that RC was one of the first artistst to own his masters
while under contract with a major. In a local newspaper here in town,
there was specific mention that RCE was looking for the master of
"Georgia On My Mind" which they found at Howard's place. And in the
article, it says the tapes in question were missing over a one year
period, not twenty years.

I am aware that Howard had a twenty year relationship with RC. The
guy's attorney is quoted as saying he suspects there was jealosy with
certain people at RCE, and this was a revenge thing.

We'll see how it all plays out. Like you, I am going to make an
effort to get some of these tapes out of my office, even the demoes.
If someone kicks the bucket, I dont' want the gestapo knocking my door
down because of some ex-wife looking to get in the middle.

Mark


  #18   Report Post  
Mark Stebbeds
 
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On Sun, 6 Mar 2005 09:29:18 -0600, "Steve King"
wrote:

In helping to clear up a friend's estate, I'm having similar problems.
Years of annual requests for disposition instructions for session tapes have
apparently been ignored by labels and/or artists.


Years ago I was working at a studio where Rick Nelson had recently
recorded in the months before his death.

The next day after the plane crash, his engineer came storming into
the studio to scoop up any masters that were there. I don't know if
he was representing the artist's estate, or if he was just trying to
be a good guy and prevent any funny business.

In any case, we didn't have anything because they always carried the
tapes with them when they came and went, but we had to let the guy
rummage through the tape vault to get him to shut up and go away.

mark
  #20   Report Post  
Steve King
 
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"hank alrich" wrote in message
.. .
Agent_C wrote:

Fletcher wrote:


[...] imagine you happen to have some masters
from something you were working on...


Yeah, but 300?


If he worked with Ray for twenty years, and especially if he worked on
the duo project, I could see that, even easily.

I can see a 'few' from current and recent projects, but 300?
Something's not right here, I agree, but that number just doesn't
sound kosher.


I routinely made dupes of masters for many clients, labeled them as
M2-2T-######, our designation for a back-up stereo master, put the charge on
the job sheet, and took them home with the clients full knowledge and
approval. It was a CYA thing in case the studio got swallowed up by one of
those Midwest volcanic eruptions that happen every million years or so. A
few times they actually saw use. Always after the client had signed them
out of the studio and lost them or, in one case, splattered most of a reel
around a west coast control room, when an old Presto deck had a brake
failure.

Steve King




  #23   Report Post  
John
 
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On 3/7/05 9:02 AM, in article znr1110197228k@trad, "Mike Rivers"
wrote:

Someone told me that story. The studio where he was recording had one
of those newfangled 8-track recorders and the engineer needed a takeup
reel. He found a 1" reel with a small amount of tape on it which he
cut through with a razor blade to free up the reel. Then someone asked
for that reel that had a good take on it.

Of course they spliced all the pieces together and they were good to
go.



Can you do that with a hard drive?

  #24   Report Post  
Jay Kadis
 
Posts: n/a
Default

In article , John
wrote:

On 3/7/05 9:02 AM, in article znr1110197228k@trad, "Mike Rivers"
wrote:

Someone told me that story. The studio where he was recording had one
of those newfangled 8-track recorders and the engineer needed a takeup
reel. He found a 1" reel with a small amount of tape on it which he
cut through with a razor blade to free up the reel. Then someone asked
for that reel that had a good take on it.

Of course they spliced all the pieces together and they were good to
go.



Can you do that with a hard drive?


The hard drive does it automatically.

-Jay
--
x------- Jay Kadis ------- x---- Jay's Attic Studio ------x
x Lecturer, Audio Engineer x Dexter Records x
x CCRMA, Stanford University x http://www.offbeats.com/ x
x---------- http://ccrma.stanford.edu/~jay/ ------------x
  #25   Report Post  
Kurt Albershardt
 
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John wrote:
On 3/7/05 9:02 AM, in article znr1110197228k@trad, "Mike Rivers"
wrote:


Someone told me that story. The studio where he was recording had one
of those newfangled 8-track recorders and the engineer needed a takeup
reel. He found a 1" reel with a small amount of tape on it which he
cut through with a razor blade to free up the reel. Then someone asked
for that reel that had a good take on it.

Of course they spliced all the pieces together and they were good
to go.



Can you do that with a hard drive?



NSA probably could, but not us mortals.

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