Behind-the-Scenes at the Original Source - Your Questions Answered Part 4

RAINER MAILLARD AND SIDNEY C. MEYER AT EMIL BERLINER STUDIOS SPEAK!

Continuing this video series produced by Emil Berliner Studios that takes you behind-the-scenes of the Original Source Series. 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 fourth of what has been an ongoing series of videos.

In Part 4 you’ll learn why EBS keeps making analogue records, the differences between mastering for analogue vs digital target media, why EBS works in PCM and not in DSD, and why the OSS masters are not being released digitally.

You can watch the previous episodes in this series as follows:

Part 1, here.

Part 2, here.

Part 3, here.

Comments

2025-10-18 05:04:49 PM

Come on wrote:

Well done again!

And the latest Viennese set is so good! Interpretation, music sound sound match perfectly.

The part of the video explaining the case of high dynamic peaks that can be transferred to vinyl but not to digital media meaningfully, was interesting. Probably also surprising for those few most dogmatic digital technology preachers of our high-end scene, one of them even producing phono amps.
- 2025-10-19 10:35:46 PM
  
  Audx wrote:
  
  There seems to be contentment that 24/192 is good enough digitally. But many times the digital file is the source.
  
  So we're happy that they're going to all this additional effort.
2025-10-18 05:05:36 PM

dean kagawa wrote:

excellent. Thank you again, Sidney and Rainer.
2025-10-19 03:30:07 AM

Jennnifer Martin wrote:

Fascinating. Thanks, Mark, and of course, Sidney and Rainer!
2025-10-19 08:22:52 PM

SJ wrote:

I have followed Original Source (a great endeavor) from the beginning and have purchased every title for collection purposes. Sadly, a few of the titles are big disappointments. The end of Side 3 of the Brahms is totally compressed and distorted—it should have been been split into 2 sides. I had DG replace my original 2023 copy multiple to no avail, and then bought a new one in the recent sale and it had all the same flaws. Super disappointing given the other 3.5 side are mostly amazing. And the recen Chopin also has a terrible side. Again got multiple replacements frm DG and all had exactly the same flaws and I finally just got a refund. I respect EBS, RM and SM a lot, but while most of the releases are very good, it’s not 100% (I’ll add the Verdi Requiem to the list of disappointments). And don’t get me started on the UMG totally lack of customer service. I no longer will buy directly from them. Their customer serice acts like we are still in the pandemic….
2025-10-20 03:36:11 PM

EAD wrote:

Thanks Mark for informing us about the new video. Thanks Sydney and Rainer for an excellent video!!!
2025-10-20 03:46:37 PM

Jeff 'Glotz' Glotzer wrote:

Really insightful... thanks for the education. Your English is so refined and beautiful- both of you.
2025-10-20 05:08:18 PM

Come on wrote:

The information about the radio transmission on the short passage, as well as the strange frequency in the background of the other - and the effort of fixing it - was very interesting.

A very perfectionist approach to get it all done, for sure. It reminded me a bit of what kind of bits the Phoenix people are fixing with their digital tech options. I’m sometimes not sure, if, with all the meticulous attention they pay to improving small details, they still have their eye on what's really important. I think if we had to choose, if the time is spent on fixing a few seconds off pitch variation, hiss or drop out, or getting string tone, tonal balance or air really right or near perfect, we’d chose the latter.