The reason I remember those two mags covering this short-lived controversy is that the audiophile community (one I pay attention to only glancingly) was furious about this idea, not because they liked taping music so much as they despised the idea of any audio degradation, even theoretical.

IIRC — and this might be apocryphal — the dénouement of the whole thing happened when a hardcore audio scientist/nerd at one of the publications produced a gotcha! moment: a record where the addition of the high-pitched signal eliminated the entirety of, like, a woodwind in an orchestra or some-such. The lab working at the RIAA’s behest conceded the point, and the effort was dropped.