- An outstanding copy of Mirage, with solid Double Plus (A++) sound from top to bottom – fairly quiet vinyl too
- Most copies are washed-out, recessed, and lack weight, but this one will show you just how right this music can sound
- The producing-engineering team of Ken Caillat and Richard Dashut return to provide top quality Rumours-like production
- The album spent five weeks at Number One, probably on the strength of the amazingly fun single “Hold Me.”
It’s a surprisingly good album if you can find the right copy, with mids and highs that are really silky and sweet. The whole album has that glossy sound, clearly the influence of Lindsay Buckingham and his production team. The sound of Fleetwood Mac in this period is their doing, and with a phenomenal run of success that’s rarely been seen in pop history, it’s hard to argue with either their approach to the material or the sound. It sounds like they used every track on the multi-track recorder and then some.
This vintage pressing has the kind of Tubey Magical Midrange that modern records rarely even BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing signs of coming back. If you love hearing INTO a recording, actually being able to “see” the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It’s what vintage all analog recordings are known for — this sound.
If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it — not often, and certainly not always — but maybe one out of a hundred new records do, and those are some pretty long odds.
What the best sides of Mirage have to offer is not hard to hear:
- The biggest, most immediate staging in the largest acoustic space
- The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes even as late as 1982
- Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
- Natural tonality in the midrange — with all the instruments having the correct timbre
- Transparency and resolution, critical to hearing into the three-dimensional studio space
No doubt there’s more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.pur
What We’re Listening For on Mirage
- Energy for starters. What could be more important than the life of the music?
- Then: presence and immediacy. The vocals aren’t “back there” somewhere, lost in the mix. They’re front and center where any recording engineer worth his salt would put them.
- The Big Sound comes next — wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
- Then transient information — fast, clear, sharp attacks, not the smear and thickness so common to these LPs.
- Tight punchy bass — which ties in with good transient information, also the issue of frequency extension further down.
- Next: transparency — the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.
- Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.
Love In Store
Can’t Go Back
Book Of Love
Only Over You
Eyes Of The World
Wish You Were Here
Fleetwood Mac retreated from the insular strangeness of Tusk and returned to straightforward pop songcraft for Mirage. Boasting a glossy, friendly production that makes even the lesser numbers pleasant and ingratiating…