Audition a "Master Lacquer" in September

[Warren M.]

Wow.

 

I have just won at auction a "master lacquer" of Canteloube's "Songs of the Auvergne" Volume 1, performed by the legendary Netania Davrath (died 1987) conducted by Pierre de la Roche.  This is the performance of these gorgeous song arrangements (I have others but none compare - Davrath's exquisite voice was absolutely unique and her ability to make these songs her own just has to be heard).

 

On September 1, at ASoN, I shall be playing one of these songs, firstly played off a fine original Vanguard pressing, followed by the same song off the master lacquer.

 

For those who do not understand what I am talking about, the master lacquer is cut on a cutting lathe by the vinyl mastering engineer, directly from the original master tape.  This master original, cut from lacquer on an aluminium base, is then used to create the "father" and "mother" which are used to create the stampers to press all the vinyl records.  There is a separate lacquer for each side.  Except where a master lacquer was rejected for some reason, there would only normally be one set of these for an entire record issue.  This is the case here, with only one set ever cut for this Classic Records reissue - this is that set.

 

In other words, the master lacquer is as close to the original master tape as it is possible to get.

 

This master lacquer was produced at Vanguard for Classic Records in order to press the Classic Records 180g reissue of this outstanding performance and recording.

 

Actually, lacquer is a better medium than vinyl for records in many respects (way too expensive though), but the aluminium base means that the instantaneous shock waves caused by the stylus in the groove are less able to be absorbed, so the cost in damage to the lacquer, by playing it, is high.  Unprotected, old lacquers like this one, may have a reproduction life as a record of perhaps 40 playings (newer lacquers much less, and brand new lacquers [still quite soft and inelastic] would be destroyed after just one or two plays!)  After discussions with The Last Factory in the U.S.A., it is clear that use of Last Record Preservative has a dramatic (but not perfect) ability to reduce the huge potential impact damage of the stylus hitting the lacquer.  They believe it may double or even triple the life of the lacquer.  Archives tasked with maintaining such lacquers for posterity use Last Record Preservative for this purpose, in case the lacquers ever need to be played.

 

So, before my first play, I'll be using Last on both sides.

 

I shall be attempting a single high resolution digital recording off it (still to arrange the recording environment - any offers?).

 

Then on September 1 at the ASoN meeting I'm running in Epping (that's in Sydney), I shall play one of these tracks, and depending on interest, perhaps a second.

 

Cheers,

Warren