This is one of the MoFi LPs we’ve reviewed on the site. This MoFi link will take you to reviews of more than 90 more.
We also have a Hall of Shame for bad sounding records such as these. It currently has 250 members but could easily have double that if someone wanted to take the time to make entries for all the bad audiophile pressings we’ve played over the years. (That person would have to be me and I don’t want to do it.)
Santana is a record we admit to having liked a bit when it first came out. Since then we have changed our minds. As embarrassing as it may be, clearly We Was Wrong.
It’s just too damn compressed and lifeless. The Whomp Factor on this pressing is Zero. Since whomp is critical to the sound of Santana’s music, it’s Game Over for us. The review below is exactly what we wrote at the time the record came in. We tried to like it, but it’s clear to us now that we tried to like it too hard. Please accept our apologies.
This is an older listing that illustrates how We Was Wrong when we thought the best domestic copies were not competitive with the A&M Half-Speed or better British pressings.
We touch on other much-loved themes in this commentary, such as the myth that the original pressing is going to be better than a reissue or later stamper. On this album that is definitely not the case.
TWO AMAZING SIDES, including an A+++ SIDE ONE! It’s not the A&M Half Speed, and it’s not a British pressing either. It’s domestic folks, your standard plain-as-day A&M pressing, and we’re as shocked as you are. Hearing this copy (as well as an amazing Brit; they can be every bit as good, in their own way of course) was a THRILL, a thrill that’s a step up in “thrillingness” over our previous favorite pressing, the Half Speed. (more…)
The last time I played the MoFi I could not believe how ridiculously COMPRESSED it was. On top of that, the midrange is badly sucked out (as is the case with most MoFi’s) making the sound as dead as dead can be. You think 180 gram records are lifeless? Play this piece of crap and see just how bad an audiophile record can sound.
And to think I used to like this version! I hope I had a better copy back in the ’80s than the one I played a few years ago. I’ll never know of course. If you have one in your collection give it a spin. See if it sounds as bad as we predict it will.
Sonic Grade: F More Mofi Bashing, But Boy Does The MOFI Deserve It.
I remember back in the ’70s when I thought this album sounded pretty good on my plain old ABC original. Then I got a copy of the Mobile Fidelity pressing and I thought it sounded even better. Side two of the MoFi had bass that was only hinted at on my domestic copy.
Sometime in the ’80s I realized that the MoFi was hideously phony sounding, and that all the bass on side two was boosted far out of proportion to what was on the master tape. The song Home At Last must have at least an extra five DBs added at 40 cycles. It’s ridiculous.
And that’s just the bottom end; the highs are every bit as wrong.(more…)
The last time I played a copy of the MoFi I could not believe how ridiculously phony and compressed it was. And to think I used to like their version when it came out back in the ’80s!
A good example: on Yer Blues, the MFSL pressing positively wreaks havoc with all the added bass and top end The Beatles put on this track. The MoFi version is already too bright, and has sloppy bass to start with, so the result on this track is way too much BAD bass and way too much BAD spitty 10k-boosted treble, unlike the good imports, which have way too much GOOD bass and treble.
Yer Blues ROCKS! Listen to the big jam at the end of the song, where John’s vocal mic is turned off but his performance is still caught by a room or overheard mic. They obviously did this on purpose, killing his vocal track so that the “leaked” vocal could be heard.
Those crazy Beatles! It’s more than just a cool “effect”. It actually seems to kick the energy and power of the song up a notch. It’s clearly an accident, but an accident that works. I rather doubt George Martin approved. That kind of “throw the rule book out” approach is what makes Beatles recordings so fascinating, and The White Album the most fascinating of them all.
The EQ for this song is also a good example of something The Beatles were experimenting with, as detailed in their recording sessions and interviews with the engineers. They were pushing the boundaries of normal EQ, of how much bass and treble a track could have. This track has seriously boosted bass, way too much, but somehow it works! (more…)
Those of you who have had the misfortune to play the MoFi LP know that they absolutely ruined this album. They boosted the hell out of the top end, the last thing in the world this recording needed.
Actually, that’s probably not true. People who collect MoFi records probably like the kind of phony sound found on the MoFi of this title.
To the extent that a MoFi collector is not happy with the sound, my guess is he would more than likely place the blame on the recording, not the mastering.
Of course, since such a collector would never lower himself to buy a plain old domestic copy of the record, he would have no way of knowing that it trounces his so-called audiophile pressing. If your stereo likes that MoFi sound in this day and age, you shouldn’t be buying records. You should be buying new equipment.(more…)
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.
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…)
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 can be, are not tonally correct in the middle of the midrange. The middle of the voice is a little sucked out and the top of the voice is a little boosted. 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.(more…)
I played the MoFi pressing of this record many years ago, some time back in the early ’90s if memory serves, and at the time I could hardly believe that the good people of MoFi would release a record that was so ridiculously SPITTY. The sibilance is positively out of control, the result of their wacky cutting system and phony EQ.
But then I remembered that there has never been a title produced by these people with sound so bad that they would have cancelled its release,
The audiophile public was clamoring for remastered pressings of their favorite albums and MoFi saw it as their duty to serve them.
In other words, to paraphrase a famous wag, their fans had spoken and now they must be punished.
It started with their execrable remastering of Katy Lied and continued all the way to the turgid muck of the Anadisc series and beyond. Those who have visited our Hall of Shame have seen many of their worst productions on display. If we had more time to write listings for them I’m sure I could come up with double or triple the number that are in there now.