But in both case they still are the using the original MASTER tapes. Just masters from different mixes.Same goes for Megadeth's Countdown To Extinction, which used the Dave Mustaine remixes, although they did mention that in the ad copy.
But in both case they still are the using the original MASTER tapes. Just masters from different mixes.Same goes for Megadeth's Countdown To Extinction, which used the Dave Mustaine remixes, although they did mention that in the ad copy.
Not sure what you mean, the EQ of the MFSL LPs seemed to be flatter than the originals, so the record would sound more like the original tape. We see the same thing with "audiophile" CDs, they sound flatter than other releases. I'm not saying that's necessarily better. The main attraction to those records was the high quality vinyl and yes the half speed mastering. Other "audiophile" labels did the same thing.It always amuses me that people still fall for “the 70s/80s MFSL vinyl were great” because they’ve been conditioned to believe it. And that half-speed mastering is some sort of mastering fairy dust rather than a marriage of convenience for MSFL back in the day. By and large, the MFSL pressings of that era were generally surpassed by the original pressing and often many repressings because the EQ was often so hyped and phony sounding on those LPs. The vinyl itself was great though.
This is Snood's dilemma and think it is evident
IMHO, Much ado about nothing.This is Snood's dilemma and think it is evident
Yeah was just about to come on and mention to watch it til the end. I am sure Mofi knew they were misleading people and being untruthful. All the apologies does not make up for all the years of lying to customers. Hoping for a nice class action suit......put them out of business or close to it.I watched that video the other day and the guy does some great Colombo work for sure, especially the brief clip at the end with MoFi talking about their cutting process and how it's all-analogue.
Vinyl doesn't have to be state of the art to sound good or more importantly, to be enjoyed. I'm very fortunate in that I've got two very enjoyable systems. The system in my living room does big sound quite well while the system in my bedroom does modest volume really well but more than that, it boogies like hell. In some ways, it boogies even better than my living room system, despite costing much less and being farther away from anything remotely resembling state of the art. Plus, in both systems, vinyl just happens to be the best option in most cases as records just boogie along in a more enjoyable way than does digital playback in my two systems, according to my ears. In most cases, not all.IMHO, Much ado about nothing.
The entire vinyl - analog revival thing is built on a mountain of lies and mis-marketing. The attitude of "analog is the gold standard" is yet another example of an industry that was built on snake-oil BS.
The best possible end result for the handling of all our old classic analog recordings that exist would be to have them digitized to something along the lines of a 24-96 file and delivered to us in that manner.
Anything else will just be lessened in the possible sound quality for home audio reproduction.
Vinyl LP's may be enjoyable for some to play with from a nostalgic point of view but they haven't been relevant as a SOTA audio medium for something like 50 years now.
And I almost forgot: The Beach Boys' Pet Sounds is from the modern stereo remix, not the original mono master tape.Same goes for Megadeth's Countdown To Extinction, which used the Dave Mustaine remixes, although they did mention that in the ad copy.
Hey, that reminds me...It's time for the annual replacement of the stylus on my Oppo disc player. Oh wait, I play about 99.9 % of my stuff from the USB ports, so I guess I can wait a bit longer. And I need more Discwasher fluid.IMHO, Much ado about nothing.
The entire vinyl - analog revival thing is built on a mountain of lies and mis-marketing. The attitude of "analog is the gold standard" is yet another example of an industry that was built on snake-oil BS.
The best possible end result for the handling of all our old classic analog recordings that exist would be to have them digitized to something along the lines of a 24-96 file and delivered to us in that manner.
Anything else will just be lessened in the possible sound quality for home audio reproduction.
Vinyl LP's may be enjoyable for some to play with from a nostalgic point of view but they haven't been relevant as a SOTA audio medium for something like 50 years now.
vengeance for all the years of Quadblocking..?Yeah was just about to come on and mention to watch it til the end. I am sure Mofi knew they were misleading people and being untruthful. All the apologies does not make up for all the years of lying to customers. Hoping for a nice class action suit......put them out of business or close to it.
Stil in for the SACDs though lol
Vinyl playback errors may also masquerade as ambience. Pivoted tonearms, even properly set up, only provide two points on the LP where the stylus is tangential to the groove. Everywhere else, the slight angular offset introduces phase shifts, especially at high frequencies. You can see this on an oscilloscope. Also, channel separation in phono cartriges can be all over the map, depending on the quality of the cartridge and the care in setup. Right channel bleeds to left, left to right. Combined with the phase shift, you get "ambience" that may not exist in the LP itself. I can sound great, though.I have several records that I also have on CD. Many of them have much more ambient content than the CD does.
I can think of several reasons why this was done:
1. The ambience was garbled by being down in the sampling mud and was expanded out.
2. The record company did a remix.
3. Someone at the record company hates ambience content and had it removed.
It's a false argument either way. Great mastering trumps format as does bad mastering.The argument for vinyl being superior to digital is as absurd as me saying something along the order that no modern speaker out there can outdo my rebuilt and reworked 45-year old AR9 speakers...
An APT term, Adam, created by QQ Posters to incriminate MOFi for their exclusive 5 year [or so] licensing rights to [at the time] prevent Audio Fidelity from releasing a Multi~CH 5.1 or 4.0 SACD from Music Direct's clutches on choice music releases which previously had a surround remix!vengeance for all the years of Quadblocking..?
No. Sony owns Columbia, so they are first party to the Simon & Garfunkel catalogue, whereas Mobile Fidelity is a third party to every catalogue. Sony can release a Columbia album at any time—artist contract limitations notwithstanding—even if a title is currently licensed out to a reissue label like MoFi. Whatever stopped that release, MoFi had nothing to do with it. Speculation is that Simon himself put the kibosh on it, having no love for the quad mixes of his material.And then there was that BRIDGE OVER TROUBLED WATER fiasco whereby SONY Japan canceled their Multi~CH SACD to accomodate MoFi's 1 step vinyl release.
We'll probably NEVER know the true story, JJ .... but I know CDJapan received a lot of pre~orders for BOTW and then had to cancel! Ironically, all those Q8 and SQ vinyl copies are in the hands of many collectors and SONY/Paul Simon did sign a more lucrative deal with MoFi for their 1 step vinyl version and we may never hear what SONY Japan might've accomplished with their QUAD SACD remaster in special 7" packaging ... nor for that matter BOOKENDS which I understand was likewise fully remixed into QUAD!No. Sony owns Columbia, so they are first party to the Simon & Garfunkel catalogue, whereas Mobile Fidelity is a third party to every catalogue. Sony can release a Columbia album at any time—artist contract limitations notwithstanding—even if a title is currently licensed out to a reissue label like MoFi. Whatever stopped that release, MoFi had nothing to do with it. Speculation is that Simon himself put the kibosh on it, having no love for the quad mixes of his material.
Enter your email address to join: