Top Producers – John Simon

Thoughts on MoFi’s Midrange Suckout

Our Favorite Roots Rock Albums with Hot Stampers Available Now

I was already a huge Mobile Fidelity fan in 1982 when they released Music from Big Pink, which, for some strange reason, was an album I knew practically nothing about.

I was 15 when the second album came out and I played that album all the time. For some reason 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.

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. Recordings from different studios, by different engineers, in different eras.

The midrange suckout effect is easily reproducible in your very own listening room. Pull your speakers farther out into the room and farther apart and you can get that MoFi sound on every record you own. I’ve been hearing it in the various audiophile systems I’ve been exposed to for more than 40 years.

Nowadays I would place it under the general heading of My-Fi, not Hi-Fi. Our one goal for every tweak and upgrade we make is to increase the latter and reduce the former.

And note also that when you play your records too quietly, it creates an artificial sense of depth.

That’s one of the main reasons we play them loud; we want to hear the pressings that have real presence and immediacy, because they’re the ones that are most likely to win our shootouts.

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Letter of the Week – “It’s mind blowing!”

Hot Stamper Pressings of the Music of Blood, Sweat and Tears Available Now

One of our good customers had this to say about some Hot Stampers he purchased a while ago:

Hey Tom, 

I just received my shipment and played Blood Sweat and Tears – it’s mind blowing! Exquisite and pristine with no surface noise.

Absolutely worth it. 

Sujay

Sujay,

That’s great news, mind-blowing and exquisite were exactly what we were going for!

Glad to hear that this pressing justified its high price. And if you ever end up with one of our records that doesn’t sound every bit as good as we say, feel free to return for a full refund.

Best,

TP

Further Reading

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Bookends – Album Background and Reviews

More of the Music of Simon and Garfunkel

Reviews and Commentaries for Bookends

Wikipedia on the Music

The “Bookends Theme” that opens and closes side one is played on the acoustic guitar, with no additional instruments. An audio sample of the band’s first hit, “The Sound of Silence”, softly plays during a cacophony of sounds near the end of the second track, “Save the Life of My Child”. John Simon, who was credited with production assistance on the song, created the bassline by playing a Moog synthesizer with help from Bob Moog himself.

James Bennighof, author of The Words and Music of Paul Simon, finds that “textural elements are variously supported by a churning groove, percussive, and distorted electronic sounds” that compliment the song’s subject matter, suicide suburban youth. “Overs” explores a more jazz-oriented style, with a larger selection or chords and looser form than the group’s previous styles.

“Voices of Old People” is a sound collage, and was recorded on tape by Garfunkel at the United Home for Aged Hebrews and the California Home for the Aged at Reseda. The collection of audio recordings of the elderly find them musing on treasured photographs, illness and living conditions.

In “Old Friends”, the title generally conveys the introduction or ending of sections through repetition, and the song builds upon a “rather loose formal structure” that at first includes an acoustic guitar and soft mood. An additional element is introduced midway through the track: an orchestral arrangement conducted by Jimmie Haskell, dominated by strings and xylophone notes. Horns and other instruments are added when the duo cease singing, creating a turbulence that builds to a single high, sustained note on the strings. The song then segues into the final song of side one, the reprise of the “Bookends Theme”.

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Our Last Shootout for Cheap Thrills Was in 2019

We’ve rarely been able to get this shootout off the ground, but we finally managed to stumble upon enough clean copies to get this round going. It’s been well over two years since we’ve had any copy of this album on the site!

This album has got that trippy ’60s San Francisco sound, no doubt about it. Those of you who are familiar with Jefferson Airplane’s Surrealistic Pillow or the early Grateful Dead albums know what I’m talking about. The tubey magic of the guitars is worth the price of admission alone; you just don’t hear this kind of sound on modern records.

Like you might expect from this mixture of blues and psychedelic rock, the sound can be a bit raw. Of course, that’s probably the way the band wanted it to be — I don’t see what a mastering engineer might have done to make this music work any better. Much of this material is recorded at The Fillmore (check out the one and only Bill Graham introducing the band at the beginning) and the sound is surprisingly good for live ’60s sound. (more…)