Half-Speed Mastered Winners

Bloomfield / Kooper / Stills – Super Session – A MoFi Winner

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Sonic Grade: B

Another MoFi LP reviewed.

Super Session is one of the best-sounding MoFi pressings. The midrange sounds wonderful — silky sweet and transparent. Not having been cut by Stan Ricker, the top end doesn’t have that SR/2 boost. Overall it’s a very nice sounding record, and the music just can’t be beat. 

Fleetwood Mac – Fleetwood Mac – A MoFi Winner

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Sonic Grade: B

Another MoFi LP reviewed, and this one is actually pretty good

The Mobile Fidelity pressing of this album can actually sound quite good (if you get hold of a decent copy that is). Audio perfection it ain’t, but all in all it’s a very enjoyable record. Its strengths are many and its faults are few. Let’s give credit where credit is due; the MoFi is rich, transparent, sweet, and natural, and you won’t hear us saying that about very many MoFi pressings.

It belongs in their Top Ten, toward the bottom I would guess, due to its own sloppy bottom, but that’s half-speed mastering for you. Like most new audio technologies it was a giant step in the wrong direction: backwards. (more…)

George Benson – Breezin’ – Hot Stamper MoFi Reviewed

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Sonic Grade: B-

Another MoFi reviewed, and surprisingly this one isn’t awful.

It has an excellent side two backed with a pretty good side one. Side two has excellent bass — for a MoFi — and lots of energy — for a MoFi. It’s slightly smooth but overall it’s very musical. The best domestic copies are going to eat its lunch, but try to find one that sounds good. Most of them are awful. 

This MoFi copy, though lacking in many ways, is MUCH BETTER sounding than the other MoFi copies we played it against, which were muddy and compressed.

Side one of this copy has some of that sound. Side one lacks the transients we found on other copies and it’s a tad recessed and compressed. However, it does have relatively good bass definition and the strings are nicely textured. (more…)

Supertramp Crime of the Century on MoFi – We Was Wrong, It Can Sound Great

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This MoFi Crime of the Century has two superb sounding sides. I have to admit I was DEAD WRONG about MoFi’s Crime of the Century — on this pressing, anyway. But I can tell you that this is one of the few I have ever played that sounded right to me.

It’s not that MoFi couldn’t cut a record that’s tonally correct. It’s just that most of they time they didn’t. This time they did. 

I’ve been telling people for years that the MOoFi was junk, and that they should get rid of their copy and replace it with a tonally correct version, easily done since there is a very good sounding Speakers Corner 180g reissue currently in print which does not suffer from the ridiculously boosted top end and bloated bass that characterizes the typical MoFi COTC pressing. (more…)

Rickie Lee Jones – Rickie Lee Jones – MoFi Reviewed

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Sonic Grade: B

Another MoFi LP reviewed, and this one’s pretty good for a change

The Mobile Fidelity pressing of this album can actually be pretty decent (if you get a good one, that is). Audio perfection it ain’t, but all in all it’s a very enjoyable record. Its strengths are many and its faults are few. Let’s give credit where credit is due; the MoFi is dynamic, transparent, sweet, and open, and you won’t hear us saying that about very many MOFI pressings. It belongs in their Top Ten, toward the bottom I would guess, due to its own sloppy bottom, but that’s half-speed mastering for you. Like most new audio technologies it was a giant step in the wrong direction: backward. 

We suppose you could live with the blubbery MoFi bass found on their remastered LP — most audiophiles seem more than happy to, right? — but instead, we’re happy to report that it will no longer be necessary. All our Hot Stamper copies are guaranteed to trounce it. (more…)

Red Norvo Quintet – The Forward Look (UHQR)

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This is a BRAND NEW UNPLAYED Reference 45 RPM Half-Speed Mastered UHQR LP. They only made 1,000 of these, so sealed or unplayed copies are virtually non-existent.

This is actually one of the best sounding Reference Records. It was recorded in the ’50s on location and has very natural sound. 

Grateful Dead – American Beauty – An Honest-to-Goodness Hot Stamper MoFi

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Sonic Grade: B

Another MoFi LP reviewed

This is a Mobile Fidelity LP with SURPRISINGLY GOOD SOUND. The transparency and presence in the midrange is OUT OF THIS WORLD. The bass actually sounds in control on this copy, there’s no typical bloated MOFI bass to be found here. This is the best sounding Mobile Fidelity American Beauty we have ever heard. It’s not perfect by any means, but it’s hugely better than we expected. 

Lee Ritenour – Rit – Nautilus Half-Speed Reviewed in 2010

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A distinguished member of the Better Records Jazz Hall of Fame.

This very nice Nautilus Half-Speed Mastered LP has SURPRISINGLY GOOD SOUND and plays pretty quiet, mostly Mint Minus. We played this against the 180g Discovery reissue that Doug Sax remastered and it SMOKED it. What a piece of muddy trash that Discovery pressing is. 

Members of both Toto and Chicago play on this album, so fans of either should get a kick out of this music. 

AMG Review

Lee Ritenour has long been the perfect studio musician, one who can melt into the background without making any impact. While he possesses impressive technique, Ritenour has mostly played instrumental pop throughout his career, sometimes with a Brazilian flavor. His few jazz efforts have found him essentially imitating Wes Montgomery, but despite that he has been consistently popular since the mid-’70s. After touring with Sergio Mendes’ Brasil ’77 in 1973, Ritenour became a very busy studio guitarist in Los Angeles, taking time off for occasional tours with his groups and in the mid-’90s with Bob James in Fourplay. He also recorded many albums as a leader.

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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John Klemmer – Touch – A Forgotten Smooth Jazz Classic

Some sections on our site are hard to find. Here’s one with lots of cool records in it:

Forgotten Jazz Classics

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John Klemmer – Touch

A distinguished member of the Better Records Jazz Hall of Fame.

This Super Hot Stamper copy of Touch is one of the best sounding records Mobile Fidelity ever made, and the ONLY record of theirs I know of that can’t be beat by a standard real-time mastered pressing.

We’re talking DEMO DISC QUALITY SOUND here. The spaciousness of the studio and the three-dimensional placement of the myriad percussion instruments and bells within its walls make this something of an audiophile spectacular of a different kind — dreamy and intensely emotional.

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Mobile Fidelity, maker of some of the worst sounding records in the history of audio, is the KING on this title.
Klemmer says pure emotion is what inspired the album’s creation. Whatever he tapped into to find the source of that inspiration he really hit pay dirt with Touch. It’s the heaviest smooth jazz ever recorde. Musically and sonically, this is the pinnacle of Klemmer’s smooth jazz body of work. I know of none better. (If you want to hear him play more straight-ahead jazz try Straight from the Heart on Nautilus.)

High Frequency Testing

MOFI was famous for demonstrating on an actual scope that the standard domestic ABC pressing had nothing above about 8 or 10 thousand cycles up top, which is why they all sound insufferably dull and dead. Some MoFi copies have no real top end either, which is the reason to we do these shootouts — to find the copies that are actually mastered and pressed right, not just the ones that should have been. (more…)