Miles Davis Kind of Blue MFSL 45rpm

I had no idea! Thanks.

 

For me it's close between the Classic 33 and the 50th for stereo mixes. My mono originals aren't in the greatest shape and the Sony Legacy mono trounces all of them even though it's not AAA. I prefer the mono mix over the stereo so I was bummed that the MoFi would be stereo but as I said, I've been really pleased with all of their Miles releases so far.

Bill

 

By the way, I may have been a little unfair to the 2014 MOV release - although I stick by 4th place, in hindsight I really should have got my copy replaced but I hate having to return vinyl, especially as I know in most cases the seller takes the hit. The 'groove echo' is I believe, on side one only - most noticeable on the first track. I made the assumption that they are probably all like it, but that isn't necessarily true. What causes groove echo anyway? It's a post-echo not a pre-echo by the way, I'm listening again on my upgraded cart and it is actually a really nice sound - lacks the depth and totally jaw-droppingly natural sounding 50th Blue vinyl, which is my go-to copy, along with the recent mono, but the 2014 MOV is still good sounding nonetheless. I really don't know how I can justify the new MOFI, but then, I did upgrade to the AP 45rpm Tea For The Tillerman, and certainly didn't regret it...

 

I have an early Columbia 2-eye and the Classic 33 (2LP, with corrected speed and alternate "Flamenco Sketches" at 45). The 33 has its strengths. It's full-bodied with lots of ambient room information. It's also a little dark sounding and the bass is a little flabby. If you own this, notice the almost indiscriminate pitch of the opening bass notes to "So What?"

The 2-eye is drier, sounding a bit more solid state, which is what it is. The bass is tighter, but not as deep. A good copy, but I like the harmonic complexity and depth of the Classic.

If the MoFi gets great reviews, I'll get it, but they do use solid state in their mastering.

You know what sounds VERY good? The late '90s CD, which was mastered with tubes from the original master tapes.

 

Appreciate your take. I like the Classic 33 a lot as well for the air and Jimmy Cobb's ride cymbal has a beautiful shimmer/decay/tone.
I wish my two Classic copies weren't so noisy (200g pressing issues...).

Can you provide more info re MoFi using solid state? I thought they were running a total tube-based system installed by Tim de Paravicini?

Do you have any more details about the late 90s CD? Didn't know about that & would love to pick it up. Is that the one with the "wrong" artwork on the cover?

Thank you.

 

I think it is the one from 1997 barcode 5099706493525 it say it was master from all tube gear in the blurb on back.
You can puck one up for about £1.50 on discogs.

 

I think the CD is this one. It was put out pretty close in time to when the Classic was put out:

http://www.amazon.com/Kind-Blue-Miles-Davis/dp/B000002ADT/ref=sr_1_1?s=music&ie=UTF8&qid=1441888134&sr=1-1&keywords=kind of blue

"GAIN 2 Ultra Analog™ is a proprietary cutting system built and designed by legendary design genius Tim De Paravicini, with consultation from one of MFSL’s founding fathers – Stan Ricker, an audio engineer responsible for many of MFSL’s most heralded past releases.

The GAIN 2 Ultra Analog™ system is comprised of a Studer™ tape machine with customized reproduction electronics* and handcrafted cutting amps that drive an Ortofon cutting head on a restored Neumann VMS-70 lathe. (*It is worth noting that independent studies have confirmed that the GAIN 2 Ultra Analog™ system can unveil sonic information all the way up to 122kHz!)"

I'm pretty sure that this is solid-state. All of the recent (past decade or more) releases I have from Mobile Fidelity have a solid-state sound. There's none of that lushness that you associate with tubes. It's one of the gripes that certain listeners had when comparing the Mobile Fidelity Roy Orbison All-Time Greatest Hits 2LP set to the one Steve Hoffman and Kevin Gray did for S&P. Mobile Fidelity went back to the original master tapes of each individual album for each individual song, getting permission to cut and then restore each tape. The detail on their version is astonishing. But it's a bit cool sounding compared to the S&P. Other than using the one generation away from the individual album masters, Hoffman and Gray used tubes in their chain. All of the Hoffman/Gray work have a liquidity and lushness that are often lovely to listen to. Sometimes, for me, the leading edge transients can be softened a bit with tube mastering. That's why Bernie Grundman keeps both solid-state as well as tube mastering equipment in his facility. You want the sharpest transients and quickness? Go for solid-state. You want harmonic juiciness and intrumental body? Go for tubes.

It's why I mentioned that the 2-eye is drier. I have heard original 6-eye copies and instrumental body sounds more dimensional and sweet. With the 2-eyes, Columbia went solid-state. The 2-eye, though, is way better than a lot of crap put out. I picked mine up about 10 years ago, a minty copy, for about $15.

 

Prices on 2-eyes are now on the rise - thanks for letting THAT cat out of the bag!

 

I've been told by my supplier that his shipment is on it's way so shouldn't be long before we'll get to hear this. It's been a long wait but hopefully worth it, he also mentioned that it's also deleted already and his order got cut 50%.

I've even ordered another copy for future investment as he had some he'd not sold on his order yet.

 

How could this title be deleted already?

 

By the way, is "Side 1" going to be at the original speed or the adjusted speed on this reissue?

 

It's not. Maybe in the UK allocation, not deleted here in the US.

 

Is this coming in a box as advertised?

I have a few MFSL records, including the last few MilesDavis 45RPM releases.
But the only MFSL release I own in a box is the Patricia Barber: Companion box, also released as 45 RPM.

Will the Kind Of Blue box be similar?

 

From the picture on their email it appears to be in a box.

 

Just spoken to Paul at Diverse. He's expecting his shipment from the US at the beginning of October. He already has pre-orders for several hundred copies and is hopeful of being able to fulfil them all.

 

The seller does not take the hit in the UK. If the supplier supplies defective goods he takes the hit. I know this from when I've returned stuff to Diverse and called to apologise. So don't feel bad. I don't use Music Direct because they refused to cover the return cost if a record is defective.

 

The MFSL CD is excellent. IMO more slightly more detail than the Classic issues I have though I prefer the vinyl. However I'm expecting great things from the MFSL vinyl.

 

Which retailers, other than Amazon, pay for return shipping on a defect as part of their policy?

 

Complete nonsense and the usual scar mongering about an as yet unreleased product along with the grabby/greedy it's so rare i bought 2 statement.

 

Look I'm just going by what I was told, sorry if I offended you with my scar mongering.

Also I'm not on my own by a long shot buying one for an investment, this forum is full of people making a some money out of ltd pressings.

 

What the hell does scar mongering mean?

 

Wonder if it's related to shark jumping.

 

It's what special effects professionals do. They always need to have a sizeable aged stash.

 

In the UK all. It's law.

 

http://www.merriam-webster.com/dictionary/scaremonger

http://www.collinsdictionary.com/dictionary/english/scaremonger