Behind-the-Scenes at the Original Source - Your Questions Answered Part 1

Rainer Maillard and Sidney C. Meyer at Emil Berliner Studios Speak!

It's been just over two years since Deutsche Grammophon launched its series of AAA vinyl reissues mastered directly from the original 4 and 8-track master tapes of treasured recordings from its 1970s catalogue. In response to collectors' numerous questions concerning every aspect of this important audiophile reissue series, Rainer Maillard and Sidney C. Meyer of Emil Berliner Studios take you behind-the-scenes of every aspect of the Original Source. This is the first of what will be an ongoing series of videos.

In Part 1 you’ll learn all about the origin and development of the series, which tapes are suitable for remastering and reissue, why there’s so little chamber music, how the recordings are selected, and the challenges faced so far.

Comments

2025-05-30 04:40:36 PM

EAD wrote:

This is a well-made and informative video from Sidney C. Meyer and Rainer Maillard!! I appreciate even more the great job they are doing at Emil Berliner Studios. Kudos to them!

As a side note: Mark on your recommendation, I recently acquired Pierre Monteux’s Brahms Haydn Variations (on a Diapason double CD). The performance is stellar (on par with Bruno Walter in my view) and the sound is amazing (even better than the Bruno Walter recording which is already very good). As a bonus I also got Pierre Monteux’s Beethoven 3rd with the Concertgebouw Orchestra. Great performance! Now on the hunt for a version on vinyl!

Apart from the Richter Beethoven, I am waiting patiently for Pollini’s Chopin Polonaises. I have good hopes that will be spectacular ;-) .
- 2025-06-01 03:22:30 PM
  
  Mark Ward wrote:
  
  Going to be taking out the Polonaises for a spin shortly... Very optimistic! Be on the lookout for the Classic records reissue (or an OG) of Monteux's Haydn variations and the Elgar Enigmas variations. So happy you connected with this performance - my fave of my fave Brahms work.
2025-05-30 05:12:34 PM

Come on wrote:

This is the most interesting and best done video on this kind of topic I saw so far, congratulations!

There’s one thing I wonder about. The team seems to be extremely ambitious getting the best possible sound out of recordings. Wouldn’t the whole series have been even more successful if not only less than half of the source material, but all of it had been also selected for best sound quality potential of the initial recordings? My impression from the releases so far was, that less than half is on a 10-11 sound quality rating level, while more than half is on 8-9 level. This seems to be a matter of the recording potential only, not a matter of how the various reissues are produced.

Wouldn’t DG have enough recordings in their archives which are compatible for this series and on very top level not only in interpretation but also in sound quality (the level of the Ravel box, Berlioz Fantastique etc)? It’s just my opinion, but it seems to me the immense effort and good work in remastering, cutting..the whole production process, is a bit wasted on some of the source material, which in terms of recording quality potential is not on that level. Important repertoire yes, but wouldn’t there be enough important repertoire with sound quality on top level?
- 2025-05-31 02:28:37 PM
  
  Dennis wrote:
  
  Agree wholeheartedly. Almost gave up on the series after two mediocre pressings. Bought the Ravel Seiji box and wow, what a difference.
- 2025-06-01 03:27:37 PM
  
  Mark Ward wrote:
  
  Ours not to reason why on choices of which recordings to reissue - although I can see the reasoning behind every one. There's definitely been a learning curve, and I know Rainer has built and fine-tuned equipment as he's gone along - as you would expect. I for one am happy to go along with slightly less than ideal sound if the performance is worthy - but in general the sound on this series has been very good indeed to superb. Right now they are knocking it out of the park.
  - 2025-06-01 05:45:06 PM
    
    Come on wrote:
    
    Thanks, Mark, yes, I understand that some want certain recordings they adore, a little bit better sounding, even if their absolute sound quality isn’t that good.
    
    But I dare to assume, that the majority of customers of such series buy the records in order to get top notch sound quality combined with similar interpretations and don't buy if the sound quality isn’t on the appropriate level. I think this is especially valid in case of DG, because only their top notch sound quality is on par with good sounding Decca or Mercury. That's why I think the decision-makers are commercially well advised to select only the best recordings for the series (if they have that many).
  - 2025-06-01 08:29:19 PM
    
    Jennnifer Martin wrote:
    
    They sure ARE knocking it out of the park! The Ravel/Ozawa set...HOLY COW! As always, thanks for this, Mark!
2025-05-31 03:41:20 AM

Swann36 wrote:

This is a great film and Mark Ward is name checked too … my thoughts on the video

It is absolutely wonderful that you have taken the time to explain in such detail how this super series is being curated and made and particularly how open you are the issues with the tapes.

I appreciate the records I have all the more for it, you clearly take great care in producing them ready for pressing, so it is really sad that many times I have to return the records and try 2 and 3 times copies to get a record without pressing issues far too much non-fill, scratches or badly warped.

It seems to me the great care and attention to detail that is shown in creating the lacquer is let down by the pressing plant, DG need to up their game with Optimal and push them to make the records with the same level of attention to detail and care that has been demonstrated in the video or sadly I think many will give up on the series especially at the premium prices
- 2025-06-01 03:33:03 PM
  
  Mark Ward wrote:
  
  I think if you knew the lengths to which DG is going to address the QC issues on the pressings you would be impressed - I was. They are very aware of the problems and doing everything they can to solve them. I myself have had one immaculate pressing after another, with only one side of one record being unplayable (an invisible scratch that would not yield). Pretty good for the number of records that have passed through here. I really hope people do not give up on the series - DG is trying to make it as easy as possible for people to replace defective copies.
  - 2025-06-01 07:08:43 PM
    
    Thomas Ream wrote:
    
    In general I seem to have been luckier here than most. Most of my copies have been pristine, and the ONLY one that requires a replacement is the Tchaikovsky Sym 4 with Abbado, which arrived with a long scratch at the beginning of side 2, right at the worst time. I purchased this directly from DG....I am in the US, of course - how might I receive a replacement?
2025-06-01 08:59:19 AM

dean kagawa wrote:

great! thank you very much.