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In Reply to: RE: The mystery deepens posted by Botanico92007 on July 25, 2007 at 18:48:18
I can’t comment on the Everest open reel tapes (either 2-track or 4-track), since I didn’t get in to open reel until the Barclay Crocker era. However, the series of Vanguard/Omega Everest CD reissues from the mid-90’s, produced and supervised by Seymour Solomon, does appear to have used the 35mm magnetic film originals. I quote:
Everest used the 35mm magnetic films to master its LP’s, but after the company’s original owner relinquished control, most subsequent editions were made from two-track 1/4” tape copies. Since the 35mm masters had been used for only a short time, Vanguard Classics’ engineers found the 35mm masters to be in excellent condition even though more than a generation had passed since they were recorded.
. . . Vanguard Classics transferred all of the original source masters in this collection from a modified 35mm recorder using Everest’s original recording curves and specifications.
This was in the mid-90’s, and the 35mm masters appeared to be in fine shape. I have 12 CD’s from the Vanguard/Omega series, and not one of them exhibits the kind of pitch vagaries we hear in the Classic Records HDAD’s. There are some (Pines/Fountains, 3-Cornered Hat, Gayne) where I’ve done a direct comparison between the HDAD’s and the CD’s, so I’m absolutely certain about this. So the question is, what happened in the 10 or so years between the Vanguard/Omega CD’s and the Classic Records HDAD’s? More importantly, don’t the folks at Classic Records hear the pitch problems??? It’s interesting what you relate about Michael Hobson NOT using a 35mm master for his La Valse reissue, since he’s nominally in charge (as executive producer) of these Everest / Classic Records HDAD’s, which DID use the 35mm originals (although Bernie Grundman was the mastering engineer). I just can’t figure this out.
Regarding the Mercury reissues from 35mm magnetic film, the only problem I remember is some tape (film?) deterioration/distortion right at the beginning of the Liszt Triangle Concerto (Janis/Kondrashin). There are certainly no pitch problems that I recall on any Mercury reissue. Also, there’s a funny place right near the end of the Paray/Detroit recording of Suppe’s Morning Noon and Night in Vienna Overture, where it sounds to me as if there’s been a mistake in the editing and some of the music got chopped out. (This is true of both the CD and the SACD reissue.) I don’t have a score, so I can’t be sure what exactly is going on here, but I don’t notice this problem on other recordings of the piece.
Oops – I just remembered that the Suppe recording was not recorded on 35mm – oh well, it’s still a mystery (to me!).
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