Oh, I know YOU have some thoughts on this, Phil, being a mastering engineer...Plenty of thoughts, probably, and very unique ones, too, since you were "behind the boards" and I can't wait to hear them!! =D>
I did have a few questions, though, Phil...Did you ever hear of anything similar happening to other masters like this in your time as an engineer? Also, how do you know that the records you personally mastered are safe and where/how are they stored, if you know? Lastly, if something ever did happen to those masters in a similar fashion like this fire, how would you handle it knowing those are like your "babies" that you helped bring to life with your own inimitable production techniques and/or are there back-up copies of all or any of the tapes, to your knowledge?
Also, wouldn't it be preferable to store these masters in a climate-controlled underground-type situation or in a fireproof room, or are there other factors (economy-wise, construction-wise or otherwise) that would make this either not viable, doable or feasible? Am I missing something or are the record companies really this callous and foolish about their history and/or historical artifacts? :-k
On top of that, when you think about all the UNRELEASED material (bonus tracks, live versions, studio banter, alternate versions, etc.) on those burned tapes that no one will ever get to hear (if there is still any), it does make your blood boil if you're a fan of any of the artists whose music was burned! :evil:
Whatever you might have to say on the subject (stories, thoughts, comments, anecdotes, rants, etc.) whenever you feel ready would be appreciated, I'm sure, by many of us who don't have the same "inside the music business" experiences as you have had! You do have a fascinating and unique window into processes most normal audiophiles and music fans don't get to see, so feel free to share away! 8)