Most 3000 run MFSL titles are around for at least a couple of years. Longer runs were I got a number into 6000+ can be around for a decade or more. Awaiting the vinyl version of this one. The one Step releases appear to be the exception so far but there are indications the Marvin Gaye is selling slower due to being a less popular title or the increased price. I wonder if they will be using the 'super vinyl' on all releases in the future?
How do you reach that conclusion? Just because you purchased #994 out of 3,000, at a local music shop in the Netherlands, how can you say whether numbers #1-993 and #995-3000 aren't also being purchased around the same time as your purchase, at various retail outlets around the world? Or that you are the only one who purchased the item so far, and numbers #1-993 and #995-3000 are all sitting unsold on shelves of stores and warehouses around the world? What I mean is, the single number of a limited edition that a single person purchases is not an indication of how many units have sold so far, the daily rate at which they are selling, etc., when copies of this title (each with a different limited edition number) are being shipped out to stores/merchants/vendors around the world to be sold, in addition to being sold directly by MFSL/Music Direct. This fallacy of correlating the purchase of a certain limited edition number to forecasting overall sales of a title drives me nuts. It would only be valid if the mode of distribution were singular and tightly controlled. For example, if everyone worldwide could only purchase MFSL titles from a single vendor with inventory held at a single location, and if that vendor guaranteed that they would only pull from their inventory in sequential order of the limited edition numbers. Only in a scenario like that could we have some assurance that knowing item #994 was just sold is reliable proof that items #1-993 have definitely been sold, and items #995-3000 have not yet been sold. Then we could use the release date and see data about number of units sold per day so far, make forecasts about the rate at which units might continue to sell per day in the future, etc., to tell us whether it's a "slow seller" or not. Craig.
relax man, You are geting angry over Nothing There are not so many distributors in the world who sell MFSL The old days You can see the mfsl cd in shops in every city are over. A friend of mine wil buy The item in The near future, I predict It is not far away from My number. And if I'm wrong than I'm wrong. Nothing to get upset over i'ts not that Important.
I have listened to It and compared It to 3 other editions i have And i can say i i have compared it to 3 other versions i have And I can really say I recommend the MFSL. It's in My opinion The best version i've heard. A Natural sound,open and relaxed, every instrument it's own Colour. Deep soundstage. And in his voice you can hear every nuance. I like this MFSL it's a winner.
Has anyone seen a visual spectrum analysis from the SACD layer? Given this was almost certainly a digital recording, I was wondering if a spectrum analyis showed they got something other than a 44.1/16 bit digital file to master from. Maybe there was a safety analog tape that could be used, like with Billy Joel's "Nylon Curtain"?
The next Dylan Mobile fidelity title on vinyl seems to be "Oh Mercy" and "Pat Garrett & Billy The Kid". Does anyone know what other titles will follow? Is there any chance for "Time out of mind" or "Modern times"?
The real answer is: No one knows -- outside of MoFi and Sony -- and I haven't read here anything that looks like a solid rumor either. We can suspect that MoFi would like to continue with Dylan so long as that remains more or less profitable and we can be optimistic that they have an established working relationship with the parties concerned. On the other hand, the industry is in a strange place these days, as it tries to figure out how to position itself in a changing marketplace, and that very general state of affairs has given rise to some dark speculation around here (e.g. maybe Sony will no longer license its catalogue to audiophile labels! maybe the big catalogue companies are trying to kill physical media!). What does that all amount to? See point number one: No one knows -- outside of MoFi and Sony -- and one might reasonably suspect that they don't know either! Not a very satisfying answer for those of us seeking reassurance, but that's where we are at this point. (just my own take, of course, RH)
It's interesting that no one is talking about the fact that MFSL aren't using the original master for this? Can anyone else chime in on SQ. I already have the CD remaster and the wonderful MOV vinyl reissue. Is the SACD seriously better than these?
I just wanted to chime in that I absolutely agree with your thoughts on these MoFi Dylan titles. Note, I am not saying these SACDs aren't done well, it is just that the mastering approach MoFi has taken tends to sound a bit on the darker side...and can be a bit veiled at times. While I actually enjoy the tonality of Blood On The Tracks (that has always sounded like a dark, moody album to me anyway and this just enhances that feel), I have a hard time with the MoFi Blonde On Blonde SACD and still prefer the 2003 Sony SACD. Of course, many of these titles (Before The Flood was a real treat), are the best digital versions I have ever heard. Still saving up to grab Oh Mercy.
I know what you mean. You'll probably prefer the MFSL SACDs mastered then by Shawn Britton, over those mastered by Rob LoVerde. Rob's the mastering engineer with that darker approach.
Not so sure that Rob has a darker approach, just that he doesn't do a treble boost like Shawn on some of his masterings.
Blonde on Blonde MFSL SACD style to my ears is just bliss - arguably their best Dylan release. BOTT, Oh Mercy and L&T also must haves .
It's a delicious listen and the sq has probably resulted in me putting Oh Mercy back into my top 10 Bob albums after a long stay hovering around no 12
I'm no Mofi fanboy, but the Dylan SACDs are generally sublime. I expect the soundtrack album and Oh Mercy to be delivered this evening. Yay!
Curious to see how you get on with Pat Garrett & Billy the Kid soundtrack. Seems a lot of folk have been wowed by it .
So both HDtracks and Acoustic have sales right now. Which is the better sounding version of Oh Mercy, Mobile Fid SACD or HDtracks 96/24? My only Dylan HD is Love and Theft which sounds very nice to me. The others are all Mobile Fidelity that never disappoint.
I found the HDTracks download to have some digital peak limiting. The MFSL SACD is wonderful and the definitive digital version IMO. Better than the download, the SACD and the original CD.
I want to get this, but, someday I imagine there will be a 5.1 mix, and maybe a box set of some kind. I love the album and I have two versions already…I’m not made of money… This hobby is going to kill me.
