Vinyl audiophilia in the New York Times

I think the article raises all kinds of interesting questions about master provenance and conservation... Traditionally, wasn’t there one master tape coming out of the recording studio, from which duplicates were made and dispatched to pressing plants and such?

In the case of major recordings, that one master tape is now worth its weight in gold. So why would an owner ever let it out of its vault and risk it being lost, damaged, or simply allow wear to be added to it?

So what do these boutique publishers really use for masters?

In a way, from a strict standpoint of conservation, MoFi’s approach treaded the lightest, though of course there were other problems.

"So what do these boutique publishers really use for masters?"

MP3 files recorded from the radio?

Further to my above comment, I will say, that when Chad compared (demoed) the original 50s/60s recordings (on vinyl) with the new remastered pressings, I generally preferred the older records. I have a solid collection of originals and many are my preferred listening material. If you know, you know.

I had the pleasure of sitting in on a comprehensive demo of AS remasters with Chad some years ago in New York.