I have a theory about why MoFi’s mastering approach here tended to work for the album when it failed so miserably for so many others. It goes a little something like this.
Back in their early days MoFi tended to add bass and treble to practically every record they mastered, regardless of whether or not the master tape they were using needed any such boost. A little extra sparkle up top and a little extra slam down below was what the audiophile public seemed to want. Truth be told, I was a member of that group and I know I did.
Fortunately for them Waiting for Columbus is an album that can really use a little at both ends. Rarely did The Mastering Lab supply it, making the original domestic pressings somewhat bass-shy and dull up top. The MoFi clearly corrected the poor EQ choices The Mastering Lab had made for the most part.
But at what cost? At a very high one, revealed to us during our shootout by the killer pressings we uncovered. On the MoFi the bass, although there is more of it, just the right amount in fact, is BLUBBER. The lack of definition is positively painful, once you’ve heard how well-recorded it is, which is what the best copies can show you. (more…)