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In Reply to: RE: Safety copies of master tapes on ebay posted by Bill Way on August 03, 2014 at 10:24:40
Starting price: $9.99
finished at: $760.00
Without knowing the actual origins of this dupe.
Perhaps the bidders know something we don't?
One can imagine all of the mastering engineers that have had access to these tapes over the years. Who was the last....Bernie Grundman while doing a remaster for Classic Records?
-Steve
Follow Ups:
A few years ago I sold a case of 10.5 inch maxell recording tapes to them. I suppose they could make their own 'protection tapes' providing they are sourced from 'protection tapes'. Can someone here definitely define what a 'protection tape' is? Can a fifth generation meet the criteria?
Oh, it's tremendously relevant.
Vbr,
Sam
Reel Lady's ebay store now lists zero titles following the big sale on that merc Stravinsky Firebird safety copy.
There had been at least a dozen protection copies listed at the link. Now the store is empty. Something must be up.
-Steve
That happened after the first batch she sold a couple weeks ago. Probably took a little time to get paid and send that batch to the buyers. Nothing sinister, IMO. Could be she's run out of these tapes except maybe any that didn't meet the reserve she had on them.
Now it seems the store shows a similar stock of protection copies. Plenty of titles. Zero bids at this time.
I wonder if she doesn't have a warehouse full of tapes. She certainly gets a supply from somewhere. While the rest of us wonder.
-Steve
She will never run out of tapes, she has a wharehouse full of them!!!
She will never run out of tapes because they are copies that she has made.
Why is she allowed to flout US copyright laws, and why does the tape community reward this skullduggery?
Most of her tapes are on stock that has been out of production for some time, so the notion that she is making copies seems to me unlikely. (The one I have is on BASF LGR50, which was last produced in 1998.)
I'm glad she's doing it. It would be a shame to have these recordings, some of which sound terrific, locked up somewhere or thrown out. If you look through my past posts, you'll know I am a huge advocate of paying artists for their work - I often turn down offers of CDs from artists who come in the studio where I assist, and I go out and buy them. But... in this case I think having these recordings out is worth it, especially given the *extremely* low volume involved. There are precious few people with 15 ips half-track decks, and very few of those people shell out the serious money for these tapes.
Sadly, I am no longer one of them. My Otari is on its way to a new home. I kept my tapelady Egmont (Abbaddo, Berlin, 1981 - never released as far as I can tell) and some day I'll have another machine; at least that's the plan.
WW
"A man need merely light the filaments of his receiving set and the world's greatest artists will perform for him." Alfred N. Goldsmith, RCA, 1922
Hi Bill,
We may disagree about whether breaking the law, and not paying artists/labels for their work in this case, is something about which to be glad. If you are saying that you know that your Egmont was never released, then you also know that you possess an illegal copy, right? Of course, as far as I know, the onus is not on you legally, but I do think it is on the seller. It is surprising, though, to see that even people who are clearly concerned with and sensitive to artists' rights still see this as a victimless crime.
Earlier in this thread it was pointed out that your experience is not everyone's: plenty of these are made on tape stock that is more "modern" than its recorded content.
Be sure to show us the photographs.
I don't think they know anything special, other than the seller's good feedback rating. Yes, they are probably 3rd, 4th, or 5th generation tapes, but may sound better than any other publicly available medium. If I had the budget, I'd get one, along with one or more of the Tape Project issues.
WW
"A man need merely light the filaments of his receiving set and the world's greatest artists will perform for him." Alfred N. Goldsmith, RCA, 1922
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