Advice – Audiophile Half-Speeds

Pink Floyd – Meddle – Another Lifeless Mess from MoFi

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Sonic Grade: D

A Hall of Shame pressing and another MoFi LP debunked.

Same problems as the MoFi Thick As a Brick: The MoFi is super-TRANSPARENT and OPEN, and the top end will be lush and extended. If you prize clarity, this is the one!

But if you prize clarity at the expense of everything else, you are seriously missing the boat on Meddle (and of course Thick As A Brick too). The MoFi is all mids and highs with almost nothing going on below. 

This is a rock record, but without bass and dynamics the MoFi pressing can’t rock, so what exactly is it good for?

Another Half-Speed Mastered Pressing Debunked.

Jethro Tull – Aqualung – An Album We Are Clearly Obsessed With

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AQUALUNG is an album we admit to being obsessed with — just look at the number of commentaries we’ve written about it.

We love the album and we hope you do too. If you have some time on your hands — maybe a bit too much time on your hands — please feel free to check out our commentaries. (more…)

Romantic Russia – Who on Earth Could Possibly Take This Kind of Sound Seriously?

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Borodin, Glinka & Mussorgsky / Romantic Russia / Solti

 

Sonic Grade: F

Another MoFi LP debunked.

A well-known reviewer has many kind things to say about this pressing, but we think it sounds like a hi-fi-ish version of a ’70s London, which means it’s opaque and the strings are badly lacking in Tubey Magic.

The bass is like jello on the MoFi, unlike the real London which has fairly decent bass.

More orchestral music conducted by Georg Solti

MoFi had a bad habit of making bright classical records. I suppose you could say they had a bad habit of making bright records in general. A few are dull, some are just right, but most of them are bright in one way or another. Dull playback equipment? An attempt to confuse detail with resolution? Whatever the reasons, the better and more accurate your equipment becomes, the most obvious this shortcoming will be. My tolerance for their phony EQ is at an all time low. But hey, that’s me. (more…)

The Beatles Please Please Me – We Review the Mobile Fidelity Half-Speed

 

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Sonic Grade: C

Another Half Speed reviewed.

If you own the MoFi LP, do yourself a favor and buy one of our Hot Stamper pressings. (Actually any good British import pressing will do.) What’s the first thing you will notice other than correct tonality, better bass and a lot more “life” overall?

No spit! As we’ve commented elsewhere, because of the wacky cutting system they used, MoFis are full of sibilance. 

As I was playing this record many years ago, maybe by about the fifth or sixth song it occurred to me that I hadn’t been hearing the spit that I was used to from my MoFi LP. You don’t notice it when it’s not there. But your MoFi sure has a bad case of spitty vocals. If you never noticed them before, you will now. (more…)

Gino Vannelli – Powerful People – What Was I Thinking?

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Sonic Grade: F

Hall of Shame pressing and another MoFi LP debunked. 

At the time of our last shootout in 2014 I still had the MoFi pressing of Powerful People in my personal, very small (at this point) record collection. Almost all the best sounding records from my collection had long ago been sold off, going to good homes that I can only assume would play them more than I had in the last ten years. If it’s a record you see on our site, chances are good I have listened to it until I’d practically turned blue in the face.

But I had kept my Powerful People half-speed these 30+ years because the domestic pressings I’d played were just too damn midrangy to enjoy. At least the MoFi had bass, top end and didn’t sound squawky or hard on the vocals.

Well, let me tell you, played against the best domestic pressings, of which this is one, the MoFi is laughable. (In that respect it shares much with the current crop of audiophile reissues.) It’s unbelievably compressed, a problem that is easily heard on the biggest, most exciting parts of the tracks — they never get remotely as big or as loud on the MoFi as they do on the lowly A&M originals. (more…)

Crisis? What Crisis? The Exception that Probes the Rule

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[This is an old commentary from about ten years ago so take it with a grain of salt. The best domestic pressings kill this audiophile record. That said, the better half-speed copies are actually surprisingly good.

This Hot Stamper A&M Half Speed of Supertramp – Crisis? What Crisis? today joins a VERY ELITE GROUP: Half-Speeds that hold their own in a head to head shootout against some of the BEST Hot Stamper Non-Audiophile pressings we can find. There are presently a total of three titles that fit the description: Dark Side of the Moon on MoFi, Crime of the Century on MoFi, and this title on A&M.

Most half-speed mastered records we throw on our table have us scratching our heads and asking, What the hell were they thinking? They SUCK! Tubby bass, recessed mids, phony highs, compression — the list of bad qualities they almost all have in common is a long one. Playing these kinds of records on a properly set-up modern system is positively painful.
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Our Audiophile Vinyl Scorecard – Now 162 Strong

Our Audiophile Vinyl Scorecard

Winners and Losers

 

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Click here to sort the section alphabetically by manufacturer.

We have a section specifically devoted to our favorite pastime here at Better Records, a little something we like to call Debunking The Pseudo-Audiophile LP. The Audiophile’s Choice — the record that will do the best job of communicating the music through its superior sound quality — is almost never going to be the one marketed to him as an Audiophile Pressing. If you find this in any way hard to believe, we encourage you to read on.

Thoughts on MoFi’s Midrange Suckout

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The Band – Music From Big Pink

I was a big — huge even — Mobile Fidelity fan in 1982 when they released this album, which, for some strange reason, I knew practically nothing about. I was 15 when the second album came out and I played that album all the time, but the first album had eluded me. How it managed to do that I cannot understand, not at this late date anyway. A major malfunction on my part to be sure.

At some point in the early ’90s I got hold of an early British pressing of the album.

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Comparing it to my MoFi I was shocked to hear the singers in the band so present and clear. Having only played MoFi’s remastered LP I had never heard them sound like that. The MoFi had them standing ten feet back; the Brit put them front and center. There was no question in my mind which presentation was right. Around that time I was noticing that many Mobile Fidelity pressings seemed to be finding that same distant-midrange sound, and finding it on wildly different recordings.

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What Kind of Audio Fool Was I?

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Today’s audiophile seems to be making the same mistakes I was making as a budding audiophile more than thirty years ago. Heavy Viny, the 45 RPM 2 LP pressing, the Half-Speed Limited Edition — aren’t these all just the latest audiophile fads, each with a track record progressively more dismal than the next?

The Story Starts with One Man Dog

One Man Dog has long been a favorite James Taylor album. It didn’t catch on too well with the general public when it came out but it caught on just fine with me. I used to play it all the time. As a budding but misguided audiophile back in the early ’70s, I foolishly bought the import pressing at my local record store, The Wherehouse, assuming it would sound better and be pressed on quieter vinyl. The latter may have been true, probably was true, but the former sure wasn’t. Turns out even the average domestic original is far better sounding, but how was I to know?
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Are All MoFis Created Equal? A Pair of Pink Floyd LPs Proved They Aren’t

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Many if not most audiophiles are still under the misapprehension that Mobile Fidelity, with their strict ’quality control’, managed to eliminate pressing variations of the kind we discuss endlessly on the site.

Such is simply not the case, and it’s child’s play to demonstrate how false this way of thinking is, assuming you have these four things: good cleaning fluids and a machine, multiple copies of the same record, a reasonably revealing stereo, and two working ears. With all four the reality of pressing variations for ALL pressings is both obvious and incontrovertible.

The discussion below of a Hot Stamper Pair of Dark Sides may shed light on some of the issues involved.
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