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Here's Little Richard - comparison between MFSL and 2012 RSD reissue?

Discussion in 'Music Corner' started by MrRom92, Aug 3, 2012.

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  1. MrRom92

    MrRom92 Forum Supermodel Thread Starter

    Location:
    Long Island, NY
    There have been a fair number of threads posted on each release, and questions have been raised in pretty much all of them regarding how they sound compared to eachother, however none have been answered yet.

    Is there anyone here who owns both issues?

    Im sure the pressing quality of the MFSL is better, the cover on the RSD reissue is nicer though. Plus, it was pressed on red vinyl :winkgrin: I would like to think the MOFI sounds nicer, but when it comes to these things, one can never be so quick to make assumptions. Anything from different sources to a different mastering chain could heavily effect the sound, and that's not even taking into account the choices made by the dude doing the mastering!
     
  2. Neonbeam

    Neonbeam All Art Was Once Contemporary

    Location:
    Planet Earth
    Well...I DO own both but....the RSD version is still sealed. From the outside your observations are correct. The RSD album does look cooler.
     
  3. schelti

    schelti Forum Resident

    I will try to compare tonight.
     
  4. tubesandvinyl

    tubesandvinyl Forum Resident

    I finally snagged a RSD copy. Will have it next week. I'll do a heavy weight championship bout with the MFSL and post results.

    The MFSL sounds wonderful. Very authentic. I have a SP100 original and I prefer the MFSL.

    I agree about the MFSL cover. Pretty cheap. They are getting better, though. The Dylan 45 RPM Freewheelin' has a much nicer jacket, though still not at the Music Matters level of quality.
     
  5. Neonbeam

    Neonbeam All Art Was Once Contemporary

    Location:
    Planet Earth
    Hmmmmm....I wouldn't call the MFSL cover "cheap". I always thought it looked posh and super important while the RSD sleeve simply looked cool. Which I think is all this album was about when it came out first time around ;)
     
  6. schelti

    schelti Forum Resident

    I compared the MOFI pressing to the RSD pressing 2012, the MOFI wins.
    It sounds smoother, very inviting to set the volume to something like |
     
  7. tubesandvinyl

    tubesandvinyl Forum Resident

    Considering it is $30, I think they could have used heavier stock and done a better job on the graphics. Look at the improvement on their Freewheelin' LP. Much, much better.

    Put another way, the record mastering is outstanding; why not have an outstanding jacket to match?
     
  8. MrRom92

    MrRom92 Forum Supermodel Thread Starter

    Location:
    Long Island, NY
    I just don't like how MoFi uses that banner at the top of every release. Sure, it's iconic, but it just screws with the artwork. A sticker of some sort across the shrink would do just as well.
     
    hishou likes this.
  9. tubesandvinyl

    tubesandvinyl Forum Resident

    I agree with you. I'd rather have the full artwork. And I'd prefer they have a nicer label on the record. Silver on black is a nice color combo, but the logo and printing could be a little more upscale to match the outstanding quality of the sound.

    Those beefs aside, I applaud MFSL for giving us some of the best sounding reissues the last couple years, and for releasing non-audiophile recordings like Here's LR and Genius Sings the Blues, Ray Charles.
     
    hishou likes this.
  10. MrRom92

    MrRom92 Forum Supermodel Thread Starter

    Location:
    Long Island, NY
    I'd safely say that MFSL is doing better today than ever before. They certainly have the reputation and the money to license big titles from the majors. Their mastering philosophy has certainly improved since the 70's/80's, and now they seem to be focusing their attention on 45 RPM wherever they feel it is well warranted.

    I'm especially excited for Weezer, and the Kind of Blue 45 rpm set.
    The artwork is a minor annoyance to deal with when we're getting reasonably priced audiophile reissues of great titles.
    Here's Little Richard, although I haven't spun it in over a year, from what I remember sounds reallll smooth, yet detailed. Barely any hiss. It was surprisingly well recorded. I'd venture to say that's about as audiophile as rock and roll will ever get. We're the original masters 30 ips tapes? Wouldn't surprise me, many machines back in the 50's ran that speed by default. It certainly sounds like it.

    The sound just leaps from the speakers, even if it ain't stereo, it's still live, and in the room. If anyone has been on the fence about picking it up for the past few years that it's been available - do it. You'll regret having not done so sooner.
     
  11. tubesandvinyl

    tubesandvinyl Forum Resident

    Oh I agree about HLR. To me, it's great sounding RnR, and those straight ahead 50's recordings are brilliant, and some of the best sounds ever. I said "non-audiophile" because many 'philes want full 20k Hz dynamics. To me, straight ahead mono recordings are about as good as it gets. HLR rocks like mad. Earl Palmer on drums! And the mighty Mr. Lee on saxophone.

    My original SP 100 lists Abe Robyn as the recording engineer. Abe did a magnificent job capturing LR's powerful voice and Lee Allen's incredible saxophone blowing. Imagine recording that session without pinning the VU meters??

    On my original Fats Domino records, they state 15 ips in the liner notes. AFAIK Little Richard was recorded at J&M in New Orleans, so I'd guess 15 ips. Maybe Steve can chime in...
     
  12. MrRom92

    MrRom92 Forum Supermodel Thread Starter

    Location:
    Long Island, NY
    Often back then, if session tapes were recorded at 30 ips, there wasn't enough room on a 10.5" reel to hold a full album side, so the session tapes would be dubbed down to 15 ips, most likely with eq/compression and whatever filtering was deemed necessary. It wasn't until much later when we got decks like the ATR100 and Studer a820 with the capacity to use 14 inch reels, that mastering full album sides from original 30 ips session tapes became feasible. It wasn't impossible before hand - but it sure as hell was difficult. I believe Classic records (and Bernie Grundman) pioneered this technique in their masterings. 14 inch reels hold pretty much exactly double what a 10.5" reel can. A thick, backcoated high quality tape filled on a 14 inch reel can run for 25-30 minutes at 30 ips. Not that this type of tape would have been used back then, but still most likely a tape of similar thickness. Impressive. :righton:
     
  13. Steve Hoffman

    Steve Hoffman Your host Your Host

    No Little Richard was ever recorded at 30 ips. We were lucky to get 15.
     
  14. MrRom92

    MrRom92 Forum Supermodel Thread Starter

    Location:
    Long Island, NY
    Haha, good to know Steve. I figured it sounded like 30, just based on my memory of how the bass sounded and how relatively noiseless it was. It sure sounds good at whatever it was recorded at, but if anyone knows this stuff, it'd be you. Thanks again for sharing your much-valued insight. :)
     
  15. Todd Fredericks

    Todd Fredericks Senior Member

    Location:
    A New Yorker
    I have the record store day vinyl and the MFSL SACD. They both sound great! Remember, these recordings were not meant to be sonic masterpieces. Most producers were looking for the bathroom sound.
     
  16. Steve Hoffman

    Steve Hoffman Your host Your Host

    Well, not insight really, I was there when ACE UK transferred all of the Little Richard session reels to digital. All 15 ips, some 7 1/2. Take after take. At least Scotch 111 was used. Great tape.
     
  17. MrRom92

    MrRom92 Forum Supermodel Thread Starter

    Location:
    Long Island, NY
    Agreed. For a tape which had its last production run around 1967, it sure has held up beautifully. I have one 10.5" reel of the stuff which I have recorded a few of my songs on, and I found it very easy to work with. Virtually no shed whatsoever.

    Having heard the masters, how would you say they compare to what is out there? Especially the MFSL? Did they need a bit of tweaking to get the sound they had on the MFSL, as compared to other cuttings of the record, or was that done flat (or close to it) and thus ended up very close to how the tapes normally sounded?
     
  18. tubesandvinyl

    tubesandvinyl Forum Resident

    That's what I thought. Thanks Steve, as always.
     
  19. Steve Hoffman

    Steve Hoffman Your host Your Host

    I have the MFSL Little Richard SACD and I'm happy with it.
     
    clhboa likes this.
  20. Todd Fredericks

    Todd Fredericks Senior Member

    Location:
    A New Yorker
    The SACD sounds great and had 24 tracks! Well worth it.
     
  21. gamma goochee

    gamma goochee Forum Resident

    Location:
    Toronto, Ontario
    Anyone have info on who mastered the RSD pressing or what it was cut from? Concord has a regular pressing on the market now that I would guess has the same mastering. I'm trying to decide whether to buy it or not.
     
  22. JuanTCB

    JuanTCB Senior Member

    Location:
    Brooklyn, NY
    Go for it. I just snagged a copy and am listening for the first time right now - it's remarkably vivid. And the bass drum cuts through nicely.
     
  23. gamma goochee

    gamma goochee Forum Resident

    Location:
    Toronto, Ontario
    Any dead wax info?
     
  24. JuanTCB

    JuanTCB Senior Member

    Location:
    Brooklyn, NY
    It's the Fantasy/Specialty 180g reissue from last year as seen here: amazon.

    SP-2100A1 RES / SP-2100B1 RES hand-written and then each side has what appears to be either a hand-drawn "u" or "n" in an oval/half-circle. Black vinyl.
     
  25. gamma goochee

    gamma goochee Forum Resident

    Location:
    Toronto, Ontario
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