From the article:
>'2. The Truest Capture It is sonic fidelity, first and foremost, that defines the importance of masters. “A master is the truest capture of a piece of recorded music,” said Adam Block, the former president of Legacy Recordings, Sony Music Entertainment’s catalog arm. “Sonically, masters can be stunning in their capturing of an event in time. Every copy thereafter is a sonic step away.”'
There is no recording with fidelity greater than the master tapes. It is the canonical "lossless" audio source. To state that the loss of a retail outlet that sold consumer products is somehow greater than the loss of 175K original audio recording from which all retail products were generated from is truly bizarre. I didn't take the OP's tone aggressive just one of astonishment.
But they might be. The article itself gave examples of music long ignored that was rediscovered and became of interest, at which point the company could go to its archive and digitize the masters again with the latest tech. They did keep it archived in the first place for a reason after all. Alternatively with advancing tech and changing management the time may come when they'd be able to and decide to floor-perfectly digitize it all. Or down the road the public zeitgeist might change and support requiring the above.
Whether or not they were private, they at least represented potential, real and significant potential. Just like the Brazil museum that burned, or so many other sad losses. Having that potential destroyed forever can be rued even if it's not fully certain it'd be realized can't it?
For anyone interested check out the part-isolated "mogg" files from the Rockband games.
They care far less about the stems they put out in the pre-RB days, in GH1/2/80s. But they were mostly covers in the first place (except for the bonus songs, and a small handful of main setlist songs).
Because they are they are the source for the products that music fans by. Remixes, re-issues, box sets and alternate takes all come from master tapes. Without the masters none of these things are possible. You are in fact "hearing" those master tapes just a copy of them. It's an incredibly privileged few who are able to sit and listen to the original 24 track 2 inch reels in a recording studio. VH1's show "Classic Albums" show often does with the artist and producer/engineer as the format of their TV show. It's worth watching for this aspect alone. There is a great example of why this is important in the article regarding the 50th Anniversary release of The Beatles's Sargent Peppers. These things would not be possible without the master tapes. The first generation of CDs in the 1980s are laughably bad fidelity. Now imagine the masters for many recording disappeared after those horrible fist early 1980s releases. Those terrible CD versions would be our source of everything going forward.
When you record music to a multitrack magnetic tape like most of the recordings in this vault, you then get the ability during playback, for example, to fade individual tracks in and out. This would allow you to, e.g. isolate the sound of just McCoy Tyner's piano track on a classic Coltrane recording. Hearing his playing on it's own, without the rest of the band, could allow a music researcher to hear notes and sounds that might be masked by the final product recording, which flattens the recording.
One way of understanding this issue, which might appeal to the HN audience, is this: The process of "flattening" tracks to make the final sound recordings that we end up hearing as consumers is a lossy form of compression, even if the sound file format you consume it in is described as "lossless."
The digital copies often is all there is.
The database of various rare releases, artist graphs, user collages, etc. were the biggest loss.
Too late for that of course, but couldn't that data have been stored somewhere away from the questionably legal stuff?