Magic and mystery of master tape

I have heard master tapes (1) from the NJ Symphony's recording engineer, Tim Martyn, in my system, (2) at a demonstration we held for the NJAS where we made a recording using three recording mediums, and (3) from Wilson Audio demonstrations where Peter McGrath brought some of his master files, in two cases digital files and in one case from analog tape, digital files and the Edison Cylinder(!). In those cases I did not hear the final product, but I also have been able to listen to the master tapes and the CDs of a couple of concerts that some of the choirs I sing in have made. I can say that there is a good deal of information in all areas that gets lost in the final product, as good as it may be. I'd also think that one of the reasons Wilson gets such good press at audio shows is the use of Mr. McGrath's master files, which truly sound superb.

Apart from that, though, I would think only true industry insiders or those who make their own recordings (John Atkinson, for example, in the reviewing ranks) have really had the chance to hear the master tapes of recordings that are available commercially.

Now whether you want your system to get you closer to the master tape, or to provide you an involving musical presentation, that's another question and another thread.

"The term most of us use is Master dub and It is indeed possible to get them."

I don't think we are talking about the same situation here. I was thinking of masters from one of the big recording companies, like Sony, that have them locked in a vault somewhere. I didn't consider the possibly of getting masters from an individual or a smaller recording company.

Probably a bluff. You know, like "closest to live unamplified music."

The argument of the Master Tapes...a nice argument, but it is worthless when you don't have it. But stop, do your own...connect a mic to your Tape and sing "Mary had a little Lamb...."

I am a happy customer of this recording company. You can listen to samples at this link.

Ultra Analogue Recordings

Zd542
I don't think we are talking about the same situation here. I was thinking of masters from one of the big recording companies, like Sony, that have them locked in a vault somewhere. I didn't consider the possibly of getting masters from an individual or a smaller recording company.

Speaking from personal and a couple of friends experiences; anyone that acquires a 15 IPS machine, develops the hunting skills necessary to find master tape dubs outside of small recording companies.

Rcprince
Now whether you want your system to get you closer to the master tape, or to provide you an involving musical presentation, that's another question and another thread.

In regards to the Ultra Analogue Recordings. They are very musical and involving. Some of the reasons behind this are explained by Roger Ginsley Studer Rep for Canada. He set up the machines for UAR.

Roger Ginsely

"Initially we debated over using butterfly heads (0.75mm gap) versus the more standard 2mm stereo heads. We opted for butterfly as there is more recorded area used. This does have the slight drawback of more crosstalk between channels (they are closer together) but for classical recording this works out extremely well. There is far more `blending' between channels producing a wider and fatter result. Of course butterfly used for say rock recording would not be advise able as instruments panned hard left and hard right would tend to be dragged more towards the centre which would result in some clutter and lack of definition."