You can check the history page on their website to find out what's true. Mobile Fidelity Sound Lab Inc.| Audiophile Vinyl, CD, SACD You'll see that they got into making CDs like anybody else in the late '80s and '90s. In fact, they stopped making vinyl records for a while. Even with the CDs, they went to an analog source when possible. Steve has said that MFSL's gold Ultradisc CD version of Elton John's Madman Across The Water, which was released in 1989, sounds like the master tape to him. In 1994 they started making LPs again with their ANADISQ 200 technology. I certainly hear an analog transfer on my LP copy of the Moody Blues' Every Good Boy Deserves Favour, which came out 1995. Those 1990s records, like ones from other labels, are worth quite a bit today.
I just ordered Layla up from Acoustic Sounds. I'll compare it with a WLP version and add my opinion to the mix. I thought I was done buying this record between the WLP and a terrific sounding Simply Vinyl version (its heritage is unknown, as were all Simply Vinyl releases). I guess not. God knows I'm not done enjoying this record. Between LP and CD versions, Layla is one of those that starting in 1971 with college, I've played nearly every month of my life. Back in college, I was playing it all the way through at least once a week.
Yeah, it's been my experience that if you hear any deficiencies in something put out by MFSL, it's from the source they had to work with, and not something they did. I just wish their inner-sleeves weren't so flimsy
The MFSL, 1990's releases were limited to 5000. That is at a time when nobody saw vinyl as collectible. In a more positive market for vinyl today, MFSL is limiting some of their 2017 vinyl pressings to 3000. Connect those dots.
The Donald Fagen is limited to 5000. The Layla isn't limited at all. I think it has a lot to do with a reissuing company's contract with the label.
I also have a copy of this and it sounds terrible to me. Big fan of Derek and the Dominos. I would really like to see 'In Conert' re-done. Every copy I have ever owned has Whitlock buried in the mix and they suffer for it. Check out the D and D performance on The Johnny Cash Show. Whitlock is all over that and it's that much better for it.
I presume the anniversary box version is the 2011 Miles Showell version. I infer that the MFSL is an improvement but have you done a direct comparison - or anyone else? I don't think there's one in the thread unless I've missed it - the comparisons mostly seem to be with 70s pressings. My original UK version is long gone and I have the 2011 which is good. I'm prepared to pay the high costs of the MFSL version here in the UK but would like to hear how it sounds against what I have. Thanks.
I have the 2011 on vinyl, only. I'm just about ready to order the new one. I think the 2011 is a slight improvement over my original 70's Polydor. Is the current MFSL even more of an improvement or would I be wasting 40 bucks?
6,000 on Fagen actually. Twice Santana or Evans. If they sell out on Fagen then what? 10,000 on Bridge? At what point does this stop being a "special release"? Well, as soon as they can't sell them all about as soon as they're released. That's more up to us than them. Have at it guys. I'm about to tap out.
One of the best mastering engineers around cut the Mobile Fidelity reissue. There have been balanced, positive reviews on this thread. There is really nothing else to be said at this point. Either dip your collective toes in the water and buy it or as they **** or get off the pot.
Really? I've been following this thread since the beginning and it seems to me few people have it at this point. I do know you're really happy with it.
I think it's worth the price. I don't know if you'd agree because what I think sounds good might not fit your definition. I have collected quite a few MFSL releases over the years and there's only been a few I didn't like. I think that their Deja Vu release is the best. Better than my Classic Records reissue or the original pressings that I own. But there are people who don't agree with me.
Wanted to chime in as I finally had time to spin this tonight. First off, it's sounds fantastic. It seems to be a quieter mastering than other records that were on my playlist this evening, but it's nothing that a few extra ticks up on the volume didn't help. But, once I turned up the volume the recording opened up nicely and it sounded very nice and clear. I'm not sure where all this murky stuff is coming from, but it sounds like a rock and roll recording from the early 70s. It's a raw recording that sounds like a band that wanted to capture some great performances rather than overthink the recording of it. Not sure if that makes sense but that the vibe I get from it. Anyway, if you are interested in hearing this album and want a clean, excellent sounding version buy this. Or, if you want to chase a mysterious German pressing or give up your first born for a first press U.K., than by all means do that. But, if you're not satisfied or impressed by this version you're a very tough customer! (Not meant in a bad way) For everyone's information I'm listening to it on a Technics SL 1200mk2 with Ortofon Bronze through Sony MDR 7508 headphones.
There have been 4 or 5 who have said some good things about it. We know it's a flawed recording, so it's never going to be audiophile like. We've had comparisons to German, UK and the 2010 reissue. The MoFi is probably the best bang for the buck.
Okay I'm sold. I'm going to look for it this week at a couple of the local record shops who specialize in new vinyl.
