Universal Music Fire & Audio Fidelity Multichannel SACDs

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It is true that seeking legal action won't bring back the original Master tapes, but we need to see Universal Music pay dearly for this. Sorry for the language, but what kind of fucking idiots gather the most important music ever recorded, essentially America's and the world's cultural history, and put's it in the middle of a stupid amusement park? Universal Music and all the fucking idiots who ran it, still do, and continue to pat themselves on the back and give each other awards for "A Job Well Done."

I understand getting angry accomplishes nothing constructive. So, we need to look forward to what can be done at this point. But I don't see how we do this now until Universal Music is held to account. UMG cannot today after 11 years even say what exactly was lost. And we need to know this if the music industry expect's us to buy anything in the future. Just what exactly are we buying?

We need a paradigm shift in Hollywood's thinking how materials from the 20th and 21st century are handled. Obviously they're not able to handle the most basic but important job of protecting their Intellectual property. Suing Grandma in 2005 for downloading a few mp3s at Napster didn't accomplish anything. Protecting the original Master tapes was Universal Music's one simple job, and they failed miserably.

But what about the tapes that do exist now? Are things just going to go back to normal with no one in charge? No money spent right now backing up tapes? We're just one more fire away from losing more music.
 
EDIT:
The Podcast above is a must listen, IMHO, at a little over an hour. The articles below sort of go over the same material. I was looking for reactions to the NYT articles by, perhaps, music industry insiders. But this is just the beginning, not the end of a whole lot of crap to hit the fan, one would think. Will keep an eye out. Stay frosty and post what info you find. We have a hell of a lot of work to do.

https://www.google.com/amp/s/pitchf...rehouse-fire-story-but-cites-no-evidence/amp/
https://www.google.com/amp/s/www.la...recordings-20190611-story.html?outputType=amp
https://www.google.com/amp/s/variet...008-vault-fire-new-york-times-1203239661/amp/

UMG simply seems to be arguing that the article overstated the “loss” since most of that music exists in high-quality on CDs, streaming, etc.

That’s true to the degree anyone may have read that article and come away believing they will never be able to hear, say, some particular Billie Holiday song again.

But the loss is obviously tremendous. Especially for those of us hoping the multi-track masters might be put to use again someday.
 
I hope those unreleased Greg Penny mixes of Caribou and Don't Shoot Me weren't in that.
Fredblue, (do you know?)
btw - finally saw Rocketman this past weekend. Excellent from a filmmaking standpoint. Weirdly not accurate and accurate at the same time.
As Elton said, “it’s not all true, but it’s the truth”.
 
Here in La the Times is carrying an article that lawsuits are imminent with one atty saying he has between 10 and under 100 clients preparing to file Individual claims not a class action lawsuit. This means UMG will have to defend each individual claim. More claims are sure to be filed.

They hid the true facts for 11 years. In 2009 universal music sued NBCUniversal alleging negligence in the storage unit and reached a confidential settlement in 2013. They did not inform their music artists nor share the proceeds with the artists.

We all have a right to feel outrage. But it isn't only fires that destroy original masters and multitracks.
Ever wonder why there are no deluxe editions of groups like Steppenwolf albums with studio outakes alternate versions or original mono recordings? There was a studio guy named. I will leave out his name because I am not 100% confident in the Identity I believe who decided to throw out multitrack tapes mono recordings and just keep the stereo masters so he could save storage costs. He still works in the industry. It is this type of business thiinking like recording over and reusing tape reels that has destroyed artistic heritages.

There is always tension between art and commerce. There wouldn't be art without a business and way to make money from it. Musicians make recordings and music companies sell them to make money. Art happens along the way. Popular music was looked at as ephemeral and nobody knew there would be a lucrative reissue economy.

But at the time of the fire they knew they should have been protecting those tapes in fireproof storage backing them up and documenting the inventory.

Thank God for the bootleggers and collectors that stole/copied tape reels. That is all there is now.
 
Here in La the Times is carrying an article that lawsuits are imminent with one atty saying he has between 10 and under 100 clients preparing to file Individual claims not a class action lawsuit. This means UMG will have to defend each individual claim. More claims are sure to be filed.

They hid the true facts for 11 years. In 2009 universal music sued NBCUniversal alleging negligence in the storage unit and reached a confidential settlement in 2013. They did not inform their music artists nor share the proceeds with the artists.

We all have a right to feel outrage. But it isn't only fires that destroy original masters and multitracks.
Ever wonder why there are no deluxe editions of groups like Steppenwolf albums with studio outakes alternate versions or original mono recordings? There was a studio guy named. I will leave out his name because I am not 100% confident in the Identity I believe who decided to throw out multitrack tapes mono recordings and just keep the stereo masters so he could save storage costs. He still works in the industry. It is this type of business thiinking like recording over and reusing tape reels that has destroyed artistic heritages.

There is always tension between art and commerce. There wouldn't be art without a business and way to make money from it. Musicians make recordings and music companies sell them to make money. Art happens along the way. Popular music was looked at as ephemeral and nobody knew there would be a lucrative reissue economy.

But at the time of the fire they knew they should have been protecting those tapes in fireproof storage backing them up and documenting the inventory.

Thank God for the bootleggers and collectors that stole/copied tape reels. That is all there is now.

Surprised litigation at this late stage of the game since I thought the 5 year statute of limitations has expired.

And it also seems surreal that major artists' masters included in the loss had NO fu**cking clue their precious masters were lost in 2009? And if you really read the COMPLETE article, TO THIS DAY there are masters stored in vaults throughout the USA that will never be retrieved because of poor storage records and/or improper labeling/coding. The list only GROWS and nothing is really being done to rectify it.
 
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Statute of limitations is generally tolled to when the cause of action was discovered.

Ubertrout, can you even imagine how long this lawsuit will wage on since the records kept were shoddy to begin with and some of those 'perceived' missing masters/multitracks might have been moved to another storage facility [like the Iron Mountain Storage Vaults] where even shoddier records are kept to this day.

And I'm sure this litigation will put a damper on UMG which is currently trying to sell off 1/2 of its holdings valued at $33B. Good luck with that.
 
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I hope those unreleased Greg Penny mixes of Caribou and Don't Shoot Me weren't in that.
Fredblue, (do you know?)
btw - finally saw Rocketman this past weekend. Excellent from a filmmaking standpoint. Weirdly not accurate and accurate at the same time.

oh i've absolutely no idea but i hope not, though at this point it feels like we're doomed never to hear those remaining Elton mixes! it puts hangin' around for the next Dutton Vocalion batch into perspective cos its been a long old 15 years waiting for the next Elton 5.1 batch, thankfully there have been many multichannel musical distractions in the interim! :phones
 
Apropos of nothing, I guess, but the older I get the more things I find to be pissed and/or worry about.
Usually just listening to the news/political hijinks as of late gets me fired up...but enough about that.
...but WTH, man, my music??? Don't mess with "my" music.
Maybe it's also time to give up hope that the missing masters from Aja will magically appear and a surround release following tout de suite.
...and I guess I'll give up on the hair fairy restoring my head to it's former glory. lol.
 
Maybe it's also time to give up hope that the missing masters from Aja will magically appear and a surround release following tout de suite.

I'm a glass half full sort of guy, so I must admit, the Japanese SACD of AJA is really sweet! Better than nothing, I guess, and keeps my blood pressure (somewhat) down, lol.
 
Uni needs to call Iron Mountain and retrieve everything ever sent to them for storage. And catalog the whole thing every reel. They may discover many masters and multis are there and safe.

It would be expensive but at least they may discover “some” complete catalogs of their artists are there and fine. Maybe some of the burned up tapes were the working digital copies and the originals went to storage at Iron Mountain?

I have not read the article but I knew about the Chess catalog and other things gone.

I figured that if the Allman Brothers were remixed to 5.1 not long ago that the Polygram section or at least some of it survived.
 
Someone on the ARSC list posted this earlier today:

Ironically, humprof, one of the LOST titles mentioned in that Twitter feed was Gene Clark's [founding member of the Byrds] album WHITE LIGHT which was very recently released by Intervention Records on 180g Vinyl and Stereo SACD. Here is a blurb from their website regarding remastering the album:

71QRCoL0QLL._SL1500_.jpg

White Light






Mastering Notes
White Light was 100% Analog Mastered by Kevin Gray at CoHEARent Audio from the best source available- phenomenal-sounding 1/2" safety copies of the original stereo master tapes. The results are amazing! The beautiful guitar playing is finally full and rich, and you can hear the full body of the instruments, not just the strings. Gene's aching vocals have never been so emotive and immediate.
 
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