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Re: [ARSCLIST] Article about digital archiving in the NY Times


Some of us out here have multiple DASH/ PD machines and 1630s. Since we work with multi-tracks every day, it is more of a budgetary issue within the labels than with those of us who maintain the equipment.


On Apr 9, 2008, at 7:10 PM, Tom Fine wrote:

Here's one avenue I didn't explore at all. What about the digital multi-track session tapes? Sony, Mitsubishi and 3M, among others, made many-tracks digital reel machines. I wonder if any are still in operation and if these tapes are being transferred to Protools sessions and hard drives? Was DASH a standard? Didn't Sony and Mitsubishi make DASH machines?

But, if you count up every single master made on these Dawn of Digital early systems, it's probably a handful compared to how many 1630 masters sit un-transferred in record company vaults. Why should these be transferred? Let's look at one example, Polygram/ Verve's extensive program of jazz reissue compilations. Many of the specific albums I know of were assembled to a 1630 master from multiple tape and even disk sources. The cost of that production was assembling the 1630 master. Thus the valuable asset of that release is the 1630 master as well as the old analog masters of which it is made. In the case of the Mercury Living Presence, the ONLY place where the producer's 3-2 mix existed was the 1630 master and the second safety master made at the same time. I think this was also the case with many Sony/Columbia and BMG/RCA CD's mastered from new mixdowns of old multi-track tapes. So these are not just CD manufacturing masters, these are valuable intellectual property of the record companies. I just hope everyone has been busy for at least the last decade migrating this material to managed hard drive farms. I sense they might have had other priorities ... Considering how much classical and jazz material once available on CD is now out of print, this is a big worry for me.

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