There is a relatively simple test you can use to find out if you have a good Mobile Fidelity pressing of Abbey Road. Yes, as shocking as it may seem, they actually do exist, we’ve played them, but they are few and far between (and never as good as the best Brits).
The test involves doing a little shootout of the song Golden Slumbers between whatever MoFi pressing you have and whatever British Parlophone pressing you have. If you don’t have both LPs this shootout will be difficult to do. The idea is to compare aspects of the sound of both pressings head to head, which should shed light on which one of them is more natural and which is more hi-fi-ish sounding.
The Golden Slumbers Test
I’ve come to realize that this is a Key Track for side two, because what it shows you is whether the midrange of your pressing — or your system — is correct.
At the beginning Paul’s voice is naked, front and center, before the strings come in. Most Mobile Fidelity pressings, as good as they may be in other areas, are not tonally correct in the middle of the midrange.
It’s really hard to notice this fact unless one plays a good British pressing side by side with the MoFi.
Then the typical MoFi EQ anomaly become obvious. It may add some texture to the strings, but the song is not about the strings.
Having heard a number of audiophile systems (especially recently) that have trouble getting this part of the spectrum right, it would not be surprising that many of you do not find the typical MoFi objectionable, and may even prefer it to the good British copies. The point I’m belaboring here is that when it’s right, it’s RIGHT and everything else becomes more obviously wrong, even if only slightly wrong.
The Heart of the Midrange
For a while in my record reviewing system many years ago I had a relatively cheap Grado moving magnet cartridge. The midrange of that cartridge is still some of the best midrange reproduction I have ever heard. It was completely free of any “audiophile” sound. It was real in a way that took me by surprise. I played Abbey Road with that cartridge in the system and heard The Beatles sound EXACTLY the way I wanted them to sound.
Exactly the way I think they SHOULD sound, in my mind’s ear. Playing the very same record on much more expensive front ends, with much more expensive moving coils, was disappointing at that time. It’s easy to lose sight of the heart of the music when the equipment dazzles us by doing so many other things well.
Good moving coils are amazingly spacious, refined, sweet, extended, three-dimensional and all that other good stuff.
But they don’t always get the heart of the music right. And it’s good to hear something that may be more crude but at the same time more correct in order to bring our listening journey back to a truer course.
I think that people who listen to CDs exclusively — One Format listeners as I like to call them — suffer greatly from a lack of an alternative or comparison sound. It’s easy to get used to the “CD sound” and forget that all that digital garbage doesn’t really belong in music. Records have their own problems, but their problems don’t give me a headache the way the problems of CDs do.
FURTHER READING on the subject of Half-Speed Mastering
People have been known to ask us:
At the very least let us send you a Hot Stamper pressing — of any album you choose — that can show you what is wrong with your copy. And if for some reason you disagree that our record sounds better than yours, we will happily give you all your money back and wish you the best.
To learn more about records that sound dramatically better than any Half-Speed ever made (with one rare exception, John Klemmer’s Touch), please consult our FAQs:
Below you will find our breakdown of the best and worst Half-Speed mastered records we have auditioned over the years.
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