These Titles Are Good for Testing Presence in the Midrange
Many audiophile records suffer from a bad case of midrange suckout.
Vocals and other instruments seem to be so far back in the soundfield that they might as well be coming from another room.
Yet somehow there are still audiophiles who defend the records put out by the ridiculous label that single-handedly created and produced that sound. What is wrong with these people?
(On a side note, yes, I was one of the audiophiles who fell for their phony EQ trickery in the 70s and 80s. In my defense, that was a long time ago.)
I Have a Theory
Actually, I have a good idea why so many so-called audiophile records have a sucked-out midrange.
A midrange suckout creates depth in a system that has difficulty reproducing it.
Imagine that instead of having your speakers pulled well out from the back wall the way you should, you instead have your speakers shoved flat up against that wall.
This arrangement has the effect of seriously limiting your speakers’ ability to reproduce the three-dimensional space of the recordings you play.
Kind of Blue on MoFi
I hinted back in 2022 I was going to discuss their pressing down the road, and like most things that I was supposed to write about down the road, we’re still waiting to see it.
The short version of that future commentary will note that the drums in the right channel of All Blues are about five feet further back in the soundfield than they are on our reference too-noisy-to-sell Six-Eye pressing, or any other pressing of the album we’ve played for that matter.
At the time I could not wrap my head around how Mobile Fidelity could have gotten hold of the multi-tracks in order to remix the album and place the drums further back in the mix.