Id like to know if anyone has compared the new mfsl 45 with the new mfsl sacd. Yes, I realize its apples to oranges in some respects; but Id like to know how it compares in soundstage, eg, balance. There are some qualities that can be compared. Again, I know the two may be tonally different, so no need to jump all over this post with pitchforks and torches
I've just listened to "So What" for the first time, and I really like what I'm hearing, especially from Paul Chambers and Bill Evans. The horns don't sound rolled off, to me, but my equipment isn't the best either. The bass doesn't sound bloated or tubby to me, at all, but there is more of it than I've been used to with other versions (97 CD, mono CD box, mono RSD vinyl, Classic 33 vinyl). But it does sound balanced with the piano, drums, and horns, to me. My hypothesis that more Paul Chambers wouldn't be a bad thing has, so far, proved correct, at least to me.
Having listened to side 2, I think Paul Chambers is less prominent on "Freddie Freeloader" and "Blue in Green" than he is on "So What." And that makes sense, given his lead role in the call-and-response melody of "So What." Sadly, my copy has lots of pops on side 2. I'm going to play it several times to see if it evens out; I recall MOFI saying that RTI doesn't "de-horn" their vinyl and the stylus will polish the grooves on the first several plays through.
Now listening to the Classic 33, and without attempting to match the volume level between the discs, the Classic sounds louder and more up front than the MFSL. Could be a meaningless comparison without level matching, I know, because this could just describe a difference in perceived volume. But I do think the bass on the Classic is less detailed and refined than on the MFSL. I think the cymbals are better separated on the MFSL, too. Coltrane might have a little more bite on the Classic. Hard to say that one knocks out the other. If you're wondering whether you need another copy of Kind of Blue, you probably don't. If you're curious enough to buy the MFSL, though, it's a worthy addition to any collection. I need to listen more, but at first blush, I prefer it to the Classic, though they both have their obvious charms.
One impression I had is that on the MoFi Coltrane was a little low in the mix (left channel) on a couple of tunes. But maybe that's the way it was recorded. I haven't had a chance to compare my Classic 33.
My copy arrived this morning and I'm giving it a late night spin. I really like it and I think it one-ups the Classic 33, though not by a huge margin; definitely more defined bass, every instrument seems to have more definition and air, it's more lush, and the soundstage is a little bigger as well. I also had to crank it some as initially it was a really quiet at my usual volume setting, and if it weren't so late I'd definitely go even louder. I have a feeling it gets even better. This issue is really beautiful.
I find with all MFSL vinyl releases I have to up the volume. I have all the Band, most Dylan, most Miles and a few others and they're all cut at lower than normal volume. Or conversely everything else over the last 60 years has been cut at higher than normal volume
I assume when you say "life like" you mean as near to in the room as possible. Anyone that thinks "life like" as if you were there is not taking a reasoned stance. Even if you were "there" it would depend where you were in the studio. Still waiting for my copy but, and I just counted, I have ten versions on vinyl or CD, no original though, and I'm hoping this will give me the best listening experience of my favourite ever album. I have a strange test for this album. Part way into So What there is a short bass reverb. How well this is conveyed tends to be my benchmark.
Received mine today, played it and was lost in the music, sounds very open, detailed and what a dynamics, for me a wonderful pressing. I also have the first original mono, the cr 33 rpm and 3 different music on vinyl pressings. You know, this music is so beautiful, after 5 minutes i forget what pressing i am playing.
Absolutely. In the broad strokes, I think SergioRZ spelled it out very well. Off the cuff, I'm defining it as the illusion of: instruments in space; some capacity to hear the room; sufficiently full extension of frequencies, high and low; and instrumental decay. However, from my viewpoint, as I've mentioned I wouldn't wish to sacrifice many records that reveal some of the artifice of the recording process - many Columbia 2 eye rock and roll pressings spring to mind, for example - any more than I would the more life-like or realistic artifacts, as I define them. I think an interesting comparison - and one that I guess tends to indicate where my preferences lie, at least with acoustic music - is that between the Music Matters vs the original Van Gelder Blue Notes. In the cases that I've heard both, each time I've preferred the Music Matters 45s. (FWIW, in the realm of MM 33s, I do think I prefer the early-80's Japanese King special edition pressing of Maiden Voyage to the Music Matters.) Next time I listen to the Mofi, I'll tune into this.
I'll probably pick this up soon enough. I have the two track reel to reel tape, the Classic 33 and 45 and an original six eye pressing to compare it to. Of these, the Classic 45 is my current favorite. The details are stunning and everything seems just right. The bass on the two track tape is more full and more focused than on any other version I have heard, with the Classic 45 a close second, so it wouldn't surprise me if the extra bass on the MoFi version is a fuller reproduction of what is on the master tapes.
I just made this exact same point in another thread about this album- the bass is more emphasized on So What because it is the lead instrument. The bass on my system is fast and has a great tone on all cuts.
So here's an update on my WONDERFUL customer service experience from MusicDirect Today I received the package that should contain my replacement disc 1 and box lid. What did I find? Let's find out. 1. The lid - honestly looks like the same cover to the box that I sent them, except worse. Pretty sure they didn't replace it. Oh well. It's about the music, right? 2. The record - appears to be heavily dusted in a powdery coating of... lord knows what. On both sides. A lot of it. I don't think I could get a record this dirty if I tried. Not sure how it was considered acceptable to send a record out like that or how it even got like that, maybe someone dropped a spice rack nearby. It needed some serious cleaning. Upon inspection on the turntable, side 1 is yet again moderately off-center, is anyone else's? Luckily, there are only surface marks and upon playback of side 1 - So What is as silent as it should be. That's a positive. Problem solved. Side 2 is good as well. 3. - there is no 3. 3 is missing. 3 would be the jacket. You see, when MusicDirect had me send back the damaged disc, they instructed me to send it back in an LP jacket. I assumed this was to keep the disc clean and secure and not have it damaged further in shipping. For this reason I chose a clean and sturdy jacket from my collection worthy of housing a prestigious Mobile Fidelity release, a thick tip-on style 1950's era Columbia jacket from a Duke Ellington LP (which for the past month or so has been jacket-less, just as the rest of my Kind Of Blue set has been cover-less) and slipped the disc/sleeve into that prior to boxing it up. I must have assumed incorrectly, as they simply sent back the disc in the sleeve. Not only have they kept my Duke Ellington LP jacket (why?) but they sent me back the good disc exactly as they instructed me NOT to send the damaged one to them. Not following any sense of logic here. I ended up paying more out of pocket just only to still have a partially damaged set. At least the music is good, ultimately that's what matters. The discs are fine. But now I have to try and get my jacket back. This isn't really doing much to improve my experience with them regarding this transaction.