Mobile Fidelity - the digital step in MFSL vinyl debacle

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barfle

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The theoretical dynamic range of 16-bit audio is ~96dB—i.e. from 0dBFS down to -96dBFS. That's more dynamic range than is actually usable for music. If you turned up the volume high enough to hear sounds at -95.9dBFS, the sounds at 0dBFS would deafen you. In practice, though, no converters—be they analog-to-digital or digital-to-analog—achieve perfect conversion, so a good modern 16-bit converter might have a noise floor of -92dBFS or so; early converters would have fared worse. Still not an issue.
Modern technology has the ability to accurately record from inaudible to painful. I don’t see much need for more than that. Far too many producers don’t give a rip about range, though. Loud is all that matters to them, soft doesn’t count.
😡
 
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The theoretical dynamic range of 16-bit audio is ~96dB—i.e. from 0dBFS down to -96dBFS. That's more dynamic range than is actually usable for music. If you turned up the volume high enough to hear sounds at -95.9dBFS, the sounds at 0dBFS would deafen you. In practice, though, no converters—be they analog-to-digital or digital-to-analog—achieve perfect conversion, so a good modern 16-bit converter might have a noise floor of -92dBFS or so; early converters would have fared worse. Still not an issue.
This reminds me of the time shortly before CD's came out, when I got into 'analogue' dbx records (and cassette tape recorders). The records would include various information about dbx including funky charts like this: -

CompandingChart.gif


And who doesn't like a funky chart?
 

ar surround

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This reminds me of the time shortly before CD's came out, when I got into 'analogue' dbx records (and cassette tape recorders). The records would include various information about dbx including funky charts like this: -

View attachment 82179

And who doesn't like a funky chart?
I had a Tandberg TD20A reel-to-reel and a DBX 224 Type II Noise Reduction System. These two devices in tandem made perfect copies of my vinyl that were indistinguishable from the original...clicks and pops included.

Of course, I copied my dbx records directly to the tape and only used expansion processing on playback. I loved those dbx records.
 

ssully

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It is. ~96dB in theory. Much more than vinyl, compact cassette and other analog storage.
But it's about mastering and loudness war. If you prefer classical music your decision was 100% right.
Rock & Pop: depending on your taste. Often I prefer the "not remastered" versions with more dynamics.
But not always. As an example: My Pink Floyd remastered CDs sound always fine. But as I went into
surround I prefer DVD-A, BD-A and SACD in 4.0, 5.1 etc.

And I found out that almost every surround mix has more DR than the stereo version.

to really compare fairly, you should compare just front left and right surround DR to CD DR. Or even FL, FR, + Center redirected to FL and FR.

DR readings that attempt to combine all 5 channels are surely going to be perceptually erroneous (given the often much low levels in LFE, surround, or center channels compared to FL and FR)
 

jimfisheye

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You can't just compare 6db x 16bit = 96db dynamic range to the dynamic range above the noise floor in an analog system. How does that 2 bit signal sound? :D A more apples to apples comparison would be to call the first 8 bits in any digital system the "resolution floor". With that - a 16 bit system gives you 48db usable dynamic range. That's actually neck and neck with vinyl. 24 bit systems give you 96db dynamic range with the lowest signal still keeping 8 bits resolution. Enough to shred any speaker and/or cause permanent hearing damage if someone wished.

Some of the crap I hear nowadays sounds like 8 bit video game music. The delivery formats aren't the issue. "Garbage in, garbage out" is the issue.

My alternate post was going to be a claim that I use 4 Leslie speakers for quad surround and how this is more accurate because something something spinning around and "native" for surround.
 

ssully

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Your first part is nonsense. It's not just the lowest signal (the noise floor) but also the loudest. At both extremes, the 96dB of CD (112 dB if dithered from a higher bit source) offers better performance than vinyl. There is no question of this, objectively. At the low level extreme , vinyl (the medium) adds more of *its own* noise than CD (the medium) does -- the 'resolution floor' is higher -- and vinyl could not encode the loudest signals that CD can.

As per your second part, we all know that *in practice*, neither medium tends to commercially offer recordings that exploit 95+ dB of DR, nor would it be fun to play such content in a room (you'd be riding the volume control to hear the quiet bits or dampen the loud bits)
 

jimfisheye

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What's nonsense IMHO are claims like vinyl can never achieve a 50 - 70db dynamic range or that 16 bit delivers 96db USABLE dynamic range. Record something into 4 bits and see what you have left. Or the suggestions from the other end that suggest 96db dynamic range just doesn't make the cut.

Vinyl had a robustness to it. (On a good day anyway.) I was disappointed about 85% of the time with the pressing/mastering back in the day and I think digital is happiness and light.

It's still more about garbage in, garbage out. I can pull out examples of recordings with the better copy coming from an mp3 vs a 24/96 file from HDTracks and a picture disc vs a 180 gram black vinyl pressing. The devastating loss from the restricted format couldn't come near to touching the botched mastering job.
 

HomerJAU

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to really compare fairly, you should compare just front left and right surround DR to CD DR. Or even FL, FR, + Center redirected to FL and FR.

Comparing the only Front DR of a multichannel file to a stereo release is flawed. Most MCH mixes have plenty going on in the rears and centre.

DR readings that attempt to combine all 5 channels are surely going to be perceptually erroneous (given the often much low levels in LFE, surround, or center channels compared to FL and FR)

The right way to measure MCH DR is to ignore channels with very low RMS and spikes which can be included in the DR calculation.
 

ar surround

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Hey guys..If it sounds good, it's good. If it sounds great, it's great. If it sounds like a turd, it's a turd.

Yesterday, I rented a CD from our local library. It included a song for which I had purchased the iTunes+ version (256 kbps)quite some years back. The iTunes+ version was at much lower volume than the CD version. Along with being much louder, the CD version had bass and treble boost. So after equalizing sound levels to a reasonable extent, guess which version sounded better? Of course, it was the lowly iTunes+ download, and it wasn't even close...so much more pleasant to listen to.
 

ssully

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Comparing the only Front DR of a multichannel file to a stereo release is flawed. Most MCH mixes have plenty going on in the rears and centre.



The right way to measure MCH DR is to ignore channels with very low RMS and spikes which can be included in the DR calculation.


I agree. But IME subwoofer and center (and more rarely, surrounds) have significantly lower RMS than FL and FR. But sure, your general rule is the correct one.
 

windhoek

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Newly released mastering info:

- MFSL2-500 Alan Parsons Project – Eye in the Sky 1/2″ / 30 IPS analog master to DSD 256 to analog console to lathe
- MFSL2-455 Alan Parsons Project – I Robot 1/4″ / 15 IPS analog master to DSD 256 to analog console to lathe
- MFSL33UD1S-041 Alan Parsons Project – I Robot (33RPM) 1/4″ / 15 IPS analog master to DSD 256 to analog console to lathe
- MFSL45UD1S-040 Alan Parsons Project – I Robot (45RPM) 1/4″ / 15 IPS analog master to DSD 256 to analog console to lathe
- MFSL2-453 Big Brother and the Holding Company – Cheap Thrills 1/4″ / 15 IPS analog copy to DSD 256 to analog console to lathe
- MFSL2-446 Bill Withers – Live at Carnegie Hall 1/4″ / 15 IPS / Dolby A analog master to DSD 64 to analog console to lathe
- MFSL1-525 Bill Withers – Still Bill 1/4″ / 15 IPS analog copy to DSD 256 to analog console to lathe
- MFSL2-388 Billy Joel – An Innocent Man 1/4″ / 15 IPS / Dolby A analog master to DSD 64 to analog console to lathe
- MFSL2-385 Billy Joel – Glass Houses 1/4″ / 15 IPS / Dolby A analog master to DSD 64 to analog console to lathe
- MFSL2-383 Billy Joel – The Stranger 1/4″ / 15 IPS / Dolby A analog master to DSD 64 to analog console to lathe
- MFSL1-350 Billy Joel – Turnstiles 1/4″ / 30 IPS / Dolby A analog master to DSD 64 to analog console to lathe
- MFSL45UD1S-016 Blood, Sweat & Tears – Blood, Sweat & Tears 1/4″ / 15 IPS analog master to DSD 256 to analog console to lathe
- MFSL2-379 Bob Dylan – Another Side of Bob Dylan 1/2″ / 30 IPS analog remix master to DSD 64 to analog console to lathe
- MFSL2-461 Bob Dylan – Another Side of Bob Dylan 1/4″ / 15 IPS analog mono master to DSD 256 to analog console to lathe
- MFSL3-45009 Bob Dylan – Blonde on Blonde 1/2″ / 30 IPS analog remix master to DSD 64 to analog console to lathe
- MFSL45UD1S-006 Bob Dylan – Blood on the Tracks 1/4″ / 15 IPS / Dolby A analog master to DSD 64 to analog console to lathe-
- MFSL2-458 Bob Dylan – Bob Dylan 1/4″ / 15 IPS analog mono master to DSD 256 to analog console to lathe
- MFSL2-416SV Bob Dylan – Desire 1/4″ / 15 IPS analog master to DSD 256 to analog console to lathe
- MFSL2-416 Bob Dylan – Desire 1/4″ / 15 IPS analog master to DSD 256 to analog console to lathe
- MFSL2-422 Bob Dylan – Highway 61 Revisited 1/4″ / 15 IPS analog copy to DSD 64 to analog console to lathe
- MFSL2-423 Bob Dylan – John Wesley Harding 1/4″ / 15 IPS analog copy to DSD 64 to analog console to lathe
- MFSL2-464M Bob Dylan – John Wesley Harding 1/4″ / 15 IPS analog mono master to DSD 256 to analog console to lathe
- MFSL2-489 Bob Dylan – Love and Theft 1″ / 30 IPS analog master to DSD 256 to analog console to lathe
- MFSL2-424 Bob Dylan – Nashville Skyline 1/4″ / 15 IPS analog copy to DSD 256 to analog console to lathe
- MFSL2-488 Bob Dylan – Oh Mercy 1/4″ / 15 IPS analog copy to DSD 256 to analog console to lathe
- MFSL1-487 Bob Dylan – Pat Garrett & Billy the Kid 1/4″ / 15 IPS / Dolby A analog master to DSD 256 to analog console to lathe
- MFSL1-443 Bob Dylan – Planet Waves 1/4″ / 15 IPS analog master to DSD 64 to analog console to lathe
- MFSL2-421 Bob Dylan – The Times They are a-Changin’ SIDE ONE: 1/4″ / 15 IPS analog master to DSD 64 to analog console to lathe SIDE TWO: 1/4″ / 15 IPS / Dolby A analog copy to DSD 64 to analog console to lathe
- MFSL2-460M Bob Dylan – The Times They are a-Changin’ 1/4″ / 15 IPS analog master to DSD 256 to analog console to lathe
- MFSL2-426 Bob Dylan and The Band – Before the Flood 1/4″ / 15 IPS / Dolby A analog copy to DSD 64 to analog console to lathe
- MFSL1-336 Bread – Baby I’m-A Want You 1/4″ / 15 IPS analog master direct to lathe
- MFSL45UD1S-022 Cannonball Adderley – Somethin’ Else 1/4″ / 15 IPS analog master to DSD 256 to analog console to lathe
- MFSL45UD1S-030 Carole King – Tapestry 1/4″ / 15 IPS analog master to DSD 64 to analog console to lathe
- MFSL1-414 Carole King – Tapestry 1/4″ / 15 IPS analog master to DSD 64 to analog console to lathe
- MFSL45UD1S-010 Charles Mingus – Mingus Ah Um 1/4″ / 15 IPS analog master to DSD 256 to analog console to lathe
- MFSL2-401-2 Count Basie – Live at the Sands (Before Frank) Digital clone of PCM digital master direct to lathe
- MFSL45UD1S-021 Crosby, Stills and Nash – Crosby, Stills and Nash 1/4″ / 15 IPS analog master to DSD 256 to analog console to lathe
- MFSL2-481 Curtis Mayfield – Super Fly 1/4″ / 15 IPS / Dolby A analog copy direct to lathe
- MFSL2-496 David Crosby – If I Could Only Remember My Name 1/4″ / 30 IPS analog master to lathe
- MFSL2-470 Derek and the Dominos – Layla and Other Assorted Love Songs 1/4″ / 15 IPS analog master to DSD 256 to analog console to lathe
- MFSL2-441 Dire Straits – Brothers in Arms Digital clone of Sony 1630 U-Matic digital master
- MFSL2-467 Dire Straits – Communique 1/4″ / 15 IPS analog master to DSD 256 to analog console to lathe
- MFSL2-466 Dire Straits – Dire Straits 1/4″ / 15 IPS analog master to DSD 256 to analog console to lathe
- MFSL2-469 Dire Straits – Love Over Gold 1/2″ / 30 IPS analog master – Plangent Processed – to DXD to analog console to lathe
- MFSL2-468 Dire Straits – Making Movies SIDE ONE: 1/4″ / 30 IPS analog copy to DSD 256 to analog console to lathe SIDE TWO: 1/4″ / 30 IPS analog master to DSD 256 to analog console to lathe
- MFSL45UD1S-025 Eagles – Desperado 1/4″ / 15 IPS analog master to DSD 256 to analog console to lathe
- MFSL45UD1S-024 Eagles – Eagles 1/4″ / analog master to DSD 256 to analog console to lathe
- MFSL45UD1S-028 Eagles – Hotel California 1/4″ / 15 IPS / Dolby A analog master to DSD 256 to analog console to lathe
- MFSL45UD1S-026 Eagles – On The Border 1/4″ / 15 IPS Dolby A analog master to DSD 256 to analog console to lathe
- MFSL45UD1S-027 Eagles – One Of These Nights 1/4″ / 15 IPS / Dolby A analog master to DSD 256 to analog console to lathe
- MFSL45UD1S-029 Eagles – The Long Run 1/4″ / 15 IPS analog master to DSD 256 to analog console to lathe
- MFSV1-001 Electric Light Orchestra – Eldorado 1/4″ / 15 IPS / Dolby A analog master to DSD 256 to analog console to lathe
- MFSL45UD1S-015 Electric Light Orchestra – Eldorado 1/4″ / 15 IPS / Dolby A analog master to DSD 256 to analog console to lathe
- MFSL1-335 Elvis Costello – Almost Blue 1/4″ / 15 IPS analog master direct to lathe
- MFSL45UD1S-017 Elvis Presley – From Elvis in Memphis 1/4″ / 15 IPS analog master to DSD 256 to analog console to lathe
- MFSL1-295 Foghat – Fool for the City 1/4″ / 15 IPS analog master direct to lathe
- MFSL1-343 Foreigner – 4 1/4″ / 15 IPS analog master to DSD 64 to analog console to lathe
- MFSL1-341 Foreigner – Double Vision 1/4″ / 15 IPS analog master direct to lathe
- MFSL1-338 Foreigner – Foreigner 1/4″ / 15 IPS analog master to DSD 64 to analog console to lathe
- MFSL1-342 Foreigner – Head Games 1/4″ / 15 IPS analog master direct to lathe
- MFSL2-429 Grateful Dead – American Beauty 1/4″ / 15 IPS analog master direct to lathe
- MFSL2-483 Grateful Dead – Blues for Allah 1/4″ / 15 IPS analog master to DSD 256 to analog console to lathe
- MFSL2-482 Grateful Dead – From the Mars Hotel 1/4″ / 15 IPS analog copy to DSD 256 to analog console to lathe
- MFSL2-428 Grateful Dead – Workingman’s Dead 1/4″ / 15 IPS / Dolby A analog master direct to lathe
- MFSL1-413 Hall and Oates – H2O 1/2″ / 30 IPS analog master to DSD 64 to analog console to lathe
- MFSL1-412 Hall and Oates – Private Eyes 1/2″ / 15 IPS analog master to DSD 64 to analog console to lathe
- MFSL2-498 Harry Nilsson – Nilsson Schmilsson 1/4″ / 15 IPS analog master to DSD 256 to analog console to lathe
- MFSL2-499 Harry Nilsson – Son of Schmilsson 1/4″ / 15 IPS analog master to DSD 256 to analog console to lathe
- MFSL1-368 Iron Butterfly – In-A-Gadda-Da-Vida 1/4″ / 15 IPS analog master to DSD 256 to analog console to lathe
- MFSL1-368SV Iron Butterfly – In-A-Gadda-Da-Vida 1/4″ / 15 IPS analog master to DSD 256 to analog console to lathe
- MFSL1-415 J.Geils Band – The Morning After 1/4″ / 15 IPS analog master direct to lathe
- MFSL45UD1S-013 Janis Joplin – Pearl 1/4″ / 15 IPS analog master to DSD 256 to analog console to lathe
- MFSL2-454 Janis Joplin – Pearl 1/4″ / 15 IPS analog master to DSD 256 to analog console to lathe
- MFSL2-502 Jeff Beck – Truth 1/4″ / 15 IPS analog master to DSD 256 to analog console to lathe
- MFSL2-456 Jefferson Airplane – Surrealistic Pillow 1/4″ / 15 IPS analog mono master to DSD 256 to analog console to lathe
- MFSL2-457 Jefferson Airplane – Volunteers 1/4″ / 15 IPS analog master to DSD 256 to analog console to lathe
- MFSL2-430 Jerry Garcia and David Grisman – Garcia/Grisman 1/2″ / 30 IPS analog master direct to lathe
- MFSL2-495 Johnny Cash – I Walk the Line 1/4″ / 15 IPS analog mono master to DSD 256 to analog console to lathe
- MFSL1-357 Keb’ Mo’ – Keb’ Mo’ 1/2″ / 15 IPS / Dolby SR to DSD 64 to analog console to lathe
- MFSL1-472 Linda Ronstadt – Heart Like a Wheel 1/4″ / 15 IPS analog copy to DSD 256 to analog console to lathe
- MFSL1-306 Linda Ronstadt – Prisoner In Disguise 1/4″ / 15 IPS / Dolby A analog master direct to lathe
- MFSL1-299 Little Feat – Little Feat 1/4″ / 15 IPS analog master direct to lathe
- MFSL1-307 Little Feat – Sailin’ Shoes 1/4″ / 15 IPS analog master direct to lathe
- MFSL1-371 Los Lobos – Kiko Digital clone of original PCM digital master direct to lathe
- MFSL2-402 Love – Forever Changes 1/4″ / 15 IPS analog master to DSD 256 to analog console to lathe
- MFSL1-505 Mark Knopfler – Local Hero (Soundtrack) Digital clone of 3M digital master
- LMFUD1S042 Michael Jackson – Thriller 1/2″ / 30 IPS analog master to DSD 256 to analog console to lathe
- MFSL1-440 Miles Davis – A Tribute to Jack Johnson 1/4″ / 15 IPS analog master to DSD 64 to analog console to lathe
- MFSL33UD1S-039 Miles Davis – Bitches Brew 1/4″ / 15 IPS analog master to DSD 64 to analog console to lathe
- MFSL2-451 Miles Davis – E.S.P. 1/4″ / 15 IPS analog copy to DSD 256 to analog console to lathe
- MFSL2-438 Miles Davis – Filles de Kilimanjaro 1/4″ / 15 IPS analog master to DSD 256 to analog console to lathe
- MFSL1-377 Miles Davis – In a Silent Way 1/4″ / 15 IPS analog master to DSD 64 to analog console to lathe
- MFSL2-45-011 Miles Davis – Kind of Blue 1/4″ / 15 IPS / Dolby SR analog remix master to DSD 64 to analog console to lathe
- MFSL2-437 Miles Davis – Miles in the Sky 1/4″ / 15 IPS analog master to DSD 256 to analog console to lathe
- MFSL2-486 Miles Davis – Miles Smiles 1/4″ / 15 IPS / Dolby SR analog remix master to DSD 256 to analog console to lathe
- MFSL1-374 Miles Davis – Milestones 1/4″ / 15 IPS analog mono master to DSD 64 to analog console to lathe
- MFSL1-431 Miles Davis – My Funny Valentine 1/4″ / 15 IPS analog copy to DSD 64 to analog console to lathe
- MFSL2-436 Miles Davis – Nefertiti 1/4″ / 15 IPS analog master to DSD 256 to analog console to lathe
- MFSL1-452 Miles Davis – On the Corner 1/4″ / 15 IPS analog master to DSD 256 to analog console to lathe
- MFSL2-485 Miles Davis – Porgy and Bess 1/4″ / 15 IPS analog master to DSD 256 to analog console to lathe
- MFSL1-373 Miles Davis – ‘Round About Midnight 1/4″ / 15 IPS analog master to DSD 64 to analog console to lathe
- MFSL1-375 Miles Davis – Sketches of Spain 1/4″ / 15 IPS analog master to DSD 64 to analog console to lathe
- MFSL45UD1S-038 Miles Davis – Sketches of Spain 1/4″ / 15 IPS analog master to DSD 64 to analog console to lathe
- MFSL2-435 Miles Davis – Sorcerer 1/4″ / 15 IPS analog master to DSD 256 to analog console to lathe
- MFSL45UD1S-023 Muddy Waters – Folk Singer 1/4″ / 15 IPS analog master to DSD 256 to analog console to lathe
- MFSL2-45-008 Natalie Merchant – Tigerlily 1/2″ / 15 IPS / Dolby SR analog master to DSD 64 to analog console to lathe
- MFSL2-396 Patricia Barber – A Distortion of Love Digital clone of original PCM digital master direct to lathe
- MFSL2-427 Patricia Barber – Smash Original PCM digital master direct to lathe
- MFSL45UD1S-014 Paul Simon – Still Crazy After All These Years 1/4″ / 15 IPS / Dolby A analog master to DSD 256 to analog console to lathe
- MFSL45UD1S-019 Paul Simon – There Goes Rhymin’ Simon 1/4″ / 15 IPS / Dolby A analog master to DSD 256 to analog console to lathe
- MFSL1-337 Ray Charles – The Genius Sings the Blues 1/4″ / 15 IPS analog master direct to lathe
- MFSL2-476 Richard Thompson – Rumor and Sigh 1/2″ / 30 IPS / Dolby SR analog master to DSD 256 to analog console to lathe
- MFSL2-494 Run DMC – Raising Hell 1/2″ / 30 IPS analog master to DSD 256 to analog console to lathe
- MFSL1-405 Ry Cooder – Boomer’s Story 1/4″ / 15 IPS / Dolby A analog master direct to lathe
- MFSL1-465 Ry Cooder – Chicken Skin Music 1/4″ / 15 IPS / Dolby A analog master direct to lathe
- MFSL1-449 Ry Cooder – Paradise and Lunch 1/4″ / 15 IPS / Dolby A analog master direct to lathe
- MFSL2-45-012 Santana – Santana 1/4″ / 15 IPS / Dolby A analog master to DSD 256 to analog console to lathe
- MFSL1-484 Simon and Garfunkel – Parsley, Sage, Rosemary and Thyme 1/4″ / 15 IPS analog copy to DSD 256 to analog console to lathe
- MFSL45UD1S-005 Stevie Ray Vaughan – Texas Flood 1/2″ / 30 IPS analog master to DSD 64 to analog console to lathe
- MFSL2-490 T. Rex – Electric Warrior 1/4″ / 15 IPS analog copy to lathe
- MFSL2-434 The Allman Brothers Band – At Fillmore East 1/4″ / 15 IPS / Dolby A analog copy to DSD 64 to analog console to lathe
- MFSL1-324 The Cars – Candy-O 1/4″ / 15 IPS analog master direct to lathe
- MFSL1-442 The Cars – Heartbeat City 1/4″ / 30 IPS analog master direct to lathe
- MFSL1-325 The Cars – Shake It Up 1/4″ / 15 IPS analog master direct to lathe
- MFSL1-274 The Cars – The Cars 1/4″ / 15 IPS analog master direct to lathe
- MFSL1-473 The Knack – Get the Knack 1/4″ / 30 IPS analog master to DSD 256 to analog console to lathe
- MFSL1-339 The Pretenders – Learning to Crawl 1/2″ / 30 IPS analog master direct to lathe
- MFSL1-372 The Pretenders – Pretenders 1/4″ / 15 IPS analog master to DSD 256 to analog console to lathe
- MFSL1-450 The Spinners – Spinners 1/4″ / 15 IPS analog master direct to lathe
- MFSL2-503 The Young Rascals – Groovin’ 1/4″ / 15 IPS analog mono master to DSD 256 to analog console to lathe
- MFSL45UD1S-011 Thelonious Monk – Monk’s Dream 1/4″ / 15 IPS analog master to DSD 256 to analog console to lathe
- MFSL1-448 Tom Waits and Crystal Gayle – One from the Heart 1/4″ / 15 IPS / Dolby A analog master to DSD 256 to analog console to lathe
- MFSL1-444 Train – Drops of Jupiter 1/2″ / 30 IPS analog master to DSD 256 to analog console to lathe
- MFSL1-492 Twisted Sister – Stay Hungry 1/4″ / 15 IPS analog master to DSD 256 to analog console to lathe
- MFSL45UD1S-032 Van Halen – Van Halen 1/4″ / 30 IPS analog master to DSD 256 to analog console to lathe
- MFSL2-491 Vanilla Fudge – Vanilla Fudge 1/4″ / 15 IPS analog mono master to DSD 256 to analog console to lathe
- MFSL1-393 Weezer – Pinkerton Digital clone of original digital master to analog console to lathe
- MFSL1-480 Weezer – Weezer (Blue Album) 1/2″ / 30 IPS analog master to DSD 64 to analog console to lathe
- MFSL45UD1S-012 Yes – Fragile 1/4″ / 15 IPS / Dolby A analog master to DSD 256
 

Snood

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Sigh would be best if they just said all all digital except these few :rolleyes: Oh and by the way... we have been ripping you off and not telling you the truth for ages. Oh yeah, and so sorry , please do not sue us. :giggle:
 

uselessoldman

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The point is all those who claimed to "love vinyl" and Mofi was the source reference to the best of the best vinyl money could buy now have serious egg on their face. Sure it was, not. I love my first pressings thanks, why do I need another copy of the same album unless the one I have is warn out? The result is that it has made fools of a lot of people on YouTube who being deluded and short of a few brain cells bought into the myths without appreciating the true difference between analogue vinyl and digital remasters. Or those on YouTube who promote Mofi to sell their records cos they own record shops have swindled their customers out of their hard earned cash. If anyone ever thought Mofi was 100% analogue bought their records for that specific reason, they got what they deserved, swindled !!!
 

ssully

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A DSD transfer on its own adds no colorations whatever to the audio. The only legitimate complaint is that Mofi didn't 'tell' . Which was because Mofi knew its market is marked by hysterical superstition about digital. A circle of foolishness.

Hopefully Mofi will negotiate to release its own digital versions from its DSD copy of the masters it was allowed to copy. The would of course be competing with anything the labels have released to HDTracks et al.
 
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