Original Master Recording LP
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Drybasement
Hold the ketchup...
These were manufactured by Mobile Fidelity Sound Lab (MFSL or MoFi). Original Master Recording references the fact that Mobile Fidelity used the original master tapes (not a second generation copy) when reproducing these to vinyl and cd. They were marketed as high end, or reference recordings, for the audiophile crowd. Many were produced in the mid 80's and all through the 90's until the original company went bankrupt in 1999. The label was restarted again in 2002 by Music Direct and has since seen quite a resurgence over the years producing vinyl, SACDs and CDs for the audiophile market.
Incidently, all vinyl and cds produced pre-1999 are out of print and very collectable including yours.
Cheers
Incidently, all vinyl and cds produced pre-1999 are out of print and very collectable including yours.
Cheers
Last edited:
www.records
Quality over Quantity
What he said, plus they were pressed in Japan on high quality vinyl. Enjoy!
mhardy6647
Lunatic Member
The classic MoFi LPs were half-speed mastered by Stan Riker (far more "overhead" available to the amps driving the cutting heads plus, presumably, a more precisely inscribed groove) and pressed on ultra-quiet JVC SuperVinyl (the latter developed by JVC for their CD-4 "compatible, discrete" four channel multiplexed quad LP format). Check for "SR/2" in the deadwax to ID the Stan Riker halfspeed masters.
Ol' Stan rode gain and EQ on the cutting jobs. Seemed like a great idea at the time, but revisionist history finds the old MoFi LPs rather phat and sassy sounding in the modern era. I likes 'em just fine, though.
Ol' Stan rode gain and EQ on the cutting jobs. Seemed like a great idea at the time, but revisionist history finds the old MoFi LPs rather phat and sassy sounding in the modern era. I likes 'em just fine, though.
Schanz
Well-Known Member
Says on the cover: "half speed mastering by Stan Ricker JVC"
I scanned this from the insert if you're interested in a little light reading:
AN AUDIOPHILE'S DREAM COME TRUE!
For as long as there has been "hi-fi'', there also has been an abundant array of esoteric, premium quality records; of organ recitals, traditional musical performances, and sound effects. While the program material was admittedly limited in appeal and notoriety, it appeared to pacify even the most true blue audiophile.
Today, "hi-fi'' has truly become a household word, and with it, a clamor for more popular artists and their most respected performances. Until now, the contemporary artist had been overlooked in the world of "super hi-fi", left to succumb to mass produced records in very large volume. But it is also a fact of life that large volume production and sales are absolutely necessary for the creative health of the music industry, in order to meet the tremendous costs incurred for recording, production, promotion, and advertising.
However, in a world of alternatives, Mobile Fidelity Sound Lab, proprietor of "Original Master Recording(s)" (trade-mark), has truly made the audiophile's dream come true. Captivating stereo buffs everywhere, Mobile fidelity's executive producers Brad Miller and Gary Giorgi, have begun a holy crusade; to offer significantly superior pressings of favorite artists and their very best recorded performances. The hi-fi superstars entrusting their original master recordings to Mobile Fidelity Sound Lab include, Steely Dan, John Klemmer, The Crusaders, Supertramp, Al Stewart, Fleetwood Mac, George Benson, Little Feat, Grateful Dead, Emmylou Harris, Pink Floyd, Emerson, Lake and Palmer, Poco - the list goes on. Participating record labels include A & M, ABC, Arista, Atlantic, Capitol, Capricorn, Chrysalis, London, MCA, United Artists/ EMI America, and Warner Bros. Records. Other labels are expected to join momentarily, for it is recognized by those who are street-wise, that alternatives must be encouraged, in order to satisfy the special high quality demands from owners of "super stereos" '
Mobile Fidelity's premium quality pressings are sold primarily through hi-fi dealers, but you may also find them at certain select record retailers, both independents and some chain outlets. Retailers who view our phonograph records as so many shoe laces, rather than as a true work of art, simply do not become Mobile Fidelity dealers.
Our High Fidelity Components (records) are not inexpensive. But then, the most severe and conscientious quality control supervision in the business today isn't inexpensive either. Let us explain. Because we insist upon quality, rather than quantity, our pressings are in limited supply. We do not guarantee to exceed more than 200,000 copies of any release. That is a small number compared with todays average of three to ten million units sold by a top name artist. But for the restricted
quantity reason alone, we do guarantee that our press- Our pressings will be as close to a hand crafted disc as you are likely to ever own.
Starting with a most unique master disc cutting process known as half-speed mastering, our chief engineer Stan Ricker begins one of the most crucial aspects of our process - accurate recovery of the pre-recorded analog or digital program, and transfer to disc. Only the original stereo master tape is used - no copies, no second or third generation tapes. The disc cutter turntable is driven at 16 2/3 rpm, and the master tape is played at exactly one-half the actual recorded speed. When the completed disc is played back at real time (normal 331/3 rpm), the program is heard as though nothing unusual had occurred, except that the musical accuracy, clarity and imaging is truly startling! You simply will not believe your ears!! This half-speed disc cutting method allows the cutting stylus twice as much time to carve an accurate groove. Because the cutting head amplifiers have six hundred watts per channel available to them, yet half speed only requires one-quarter of the power that is needed for real time or normal speed cutting, there is a significant amount of head room available. This means a far superior top end and overall frequency and transient response, Normal speed cutting, on the other hand, would require an equivalent power availability of twenty four hundred watts per channel to achieve the same head room, which is impossible. Because our entire transfer chain (from tape deck to cutting head) is transformerless, we have elected not to induce other distortion producing elements during the master disc cutting process. Therefore, we do not employ limiting or compression which, when applied, may sound better on AM radio but certainly squeezes the life and breath from a hi-fi pressing. Limiting is also used by many disc cutting engineers to save space on the disc. We simply lower the cutting level as necessary, to accomplish the same thing, without distorting the original recording. Our lathe is driven by a quartz-lock motor, designed. engineered and installed by JVC. Our SX 74 cutting system has been modified as well, in order to fully compliment our mastering process. We intend to modify an Ortofon cutting system for future mastering.
Next, if we were to press records with noisy stampers, and/or soft poor-quality vinyl, everything that the artist created, and that which we transferred to disc, would go for naught. And it really makes no difference whether the program source is from an analog or digital master tape. The next two steps that are about to be described are equally as important as the half-speed disc cutting method. Each step fits like a glove with the other.
Our plating, i.e., the making of the metal master (negative), the mothers (positives), and the stampers (negatives) is most critical.
Currently, the Victor Co. of Japan (JVC) performs this most arduous task for the Mobile Fidelity Sound Lab to our specifications and requirements. It requires nearly four weeks to obtain satisfactory metal, and subsequently test pressings, after the master lacquer disc is cut.
Once the test pressing has been approved for production yet another crucial step is necessary: the selection of the vinyl. Quiet playing surfaces are mandatory, but only part of the story. Mobile Fidelity specifies a particular material formula known as Super Vinyl. It was originally developed for CID-4 discs, which required antistatic properties, longer wear, quiet surfaces, and rigid groove walls. Because Super Vinyl has no "memory", you are encouraged to play our discs over and over, without "rest" between plays. It is necessary, if you have noticed, to "rest" ordinary pressings (soft vinyl) between plays, sometimes up to twenty-four hours, because the groove walls tend to give and stretch out of shape with each play. The audible difference is most annoying, particularly when an ordinary pressing is compared with our Super Vinyl pressing. Unfortunately, Super Vinyl is not available in the United States at this time. The Victor Co. of Japan (JVC) is the sole producer of this vinyl and also presses our discs.
As is evidenced, our standards for making records are quite different from those used in the commercial record industry. We are not concerned with mass-media performances or use of our records. We are only concerned with producing an exact sonic replica of the original master tape on vinyl and with how that record will perform in your listening room. The first part requires painstaking attention to minute details to make the master lacquer right; the second part is verified on our own reference equipment which is representative of the finest audio gear available in the world today. Super-fi stereo cassettes will be introduced soon, employing our proven state-of-the-art principles.
To accommodate the mass-media, certain sacrifices must be made in terms of sonic values and manufacturing speed- Since we only rare about each individual person who owns one of our records or tapes, and only about each individual product itself, we have the time and desire to strive for perfection.
Each customer is not an obscure face in the crowd, but rather. a real person whose individual tastes and values are of particular concern to us.
Thanks for listening.
I scanned this from the insert if you're interested in a little light reading:
AN AUDIOPHILE'S DREAM COME TRUE!
For as long as there has been "hi-fi'', there also has been an abundant array of esoteric, premium quality records; of organ recitals, traditional musical performances, and sound effects. While the program material was admittedly limited in appeal and notoriety, it appeared to pacify even the most true blue audiophile.
Today, "hi-fi'' has truly become a household word, and with it, a clamor for more popular artists and their most respected performances. Until now, the contemporary artist had been overlooked in the world of "super hi-fi", left to succumb to mass produced records in very large volume. But it is also a fact of life that large volume production and sales are absolutely necessary for the creative health of the music industry, in order to meet the tremendous costs incurred for recording, production, promotion, and advertising.
However, in a world of alternatives, Mobile Fidelity Sound Lab, proprietor of "Original Master Recording(s)" (trade-mark), has truly made the audiophile's dream come true. Captivating stereo buffs everywhere, Mobile fidelity's executive producers Brad Miller and Gary Giorgi, have begun a holy crusade; to offer significantly superior pressings of favorite artists and their very best recorded performances. The hi-fi superstars entrusting their original master recordings to Mobile Fidelity Sound Lab include, Steely Dan, John Klemmer, The Crusaders, Supertramp, Al Stewart, Fleetwood Mac, George Benson, Little Feat, Grateful Dead, Emmylou Harris, Pink Floyd, Emerson, Lake and Palmer, Poco - the list goes on. Participating record labels include A & M, ABC, Arista, Atlantic, Capitol, Capricorn, Chrysalis, London, MCA, United Artists/ EMI America, and Warner Bros. Records. Other labels are expected to join momentarily, for it is recognized by those who are street-wise, that alternatives must be encouraged, in order to satisfy the special high quality demands from owners of "super stereos" '
Mobile Fidelity's premium quality pressings are sold primarily through hi-fi dealers, but you may also find them at certain select record retailers, both independents and some chain outlets. Retailers who view our phonograph records as so many shoe laces, rather than as a true work of art, simply do not become Mobile Fidelity dealers.
Our High Fidelity Components (records) are not inexpensive. But then, the most severe and conscientious quality control supervision in the business today isn't inexpensive either. Let us explain. Because we insist upon quality, rather than quantity, our pressings are in limited supply. We do not guarantee to exceed more than 200,000 copies of any release. That is a small number compared with todays average of three to ten million units sold by a top name artist. But for the restricted
quantity reason alone, we do guarantee that our press- Our pressings will be as close to a hand crafted disc as you are likely to ever own.
Starting with a most unique master disc cutting process known as half-speed mastering, our chief engineer Stan Ricker begins one of the most crucial aspects of our process - accurate recovery of the pre-recorded analog or digital program, and transfer to disc. Only the original stereo master tape is used - no copies, no second or third generation tapes. The disc cutter turntable is driven at 16 2/3 rpm, and the master tape is played at exactly one-half the actual recorded speed. When the completed disc is played back at real time (normal 331/3 rpm), the program is heard as though nothing unusual had occurred, except that the musical accuracy, clarity and imaging is truly startling! You simply will not believe your ears!! This half-speed disc cutting method allows the cutting stylus twice as much time to carve an accurate groove. Because the cutting head amplifiers have six hundred watts per channel available to them, yet half speed only requires one-quarter of the power that is needed for real time or normal speed cutting, there is a significant amount of head room available. This means a far superior top end and overall frequency and transient response, Normal speed cutting, on the other hand, would require an equivalent power availability of twenty four hundred watts per channel to achieve the same head room, which is impossible. Because our entire transfer chain (from tape deck to cutting head) is transformerless, we have elected not to induce other distortion producing elements during the master disc cutting process. Therefore, we do not employ limiting or compression which, when applied, may sound better on AM radio but certainly squeezes the life and breath from a hi-fi pressing. Limiting is also used by many disc cutting engineers to save space on the disc. We simply lower the cutting level as necessary, to accomplish the same thing, without distorting the original recording. Our lathe is driven by a quartz-lock motor, designed. engineered and installed by JVC. Our SX 74 cutting system has been modified as well, in order to fully compliment our mastering process. We intend to modify an Ortofon cutting system for future mastering.
Next, if we were to press records with noisy stampers, and/or soft poor-quality vinyl, everything that the artist created, and that which we transferred to disc, would go for naught. And it really makes no difference whether the program source is from an analog or digital master tape. The next two steps that are about to be described are equally as important as the half-speed disc cutting method. Each step fits like a glove with the other.
Our plating, i.e., the making of the metal master (negative), the mothers (positives), and the stampers (negatives) is most critical.
Currently, the Victor Co. of Japan (JVC) performs this most arduous task for the Mobile Fidelity Sound Lab to our specifications and requirements. It requires nearly four weeks to obtain satisfactory metal, and subsequently test pressings, after the master lacquer disc is cut.
Once the test pressing has been approved for production yet another crucial step is necessary: the selection of the vinyl. Quiet playing surfaces are mandatory, but only part of the story. Mobile Fidelity specifies a particular material formula known as Super Vinyl. It was originally developed for CID-4 discs, which required antistatic properties, longer wear, quiet surfaces, and rigid groove walls. Because Super Vinyl has no "memory", you are encouraged to play our discs over and over, without "rest" between plays. It is necessary, if you have noticed, to "rest" ordinary pressings (soft vinyl) between plays, sometimes up to twenty-four hours, because the groove walls tend to give and stretch out of shape with each play. The audible difference is most annoying, particularly when an ordinary pressing is compared with our Super Vinyl pressing. Unfortunately, Super Vinyl is not available in the United States at this time. The Victor Co. of Japan (JVC) is the sole producer of this vinyl and also presses our discs.
As is evidenced, our standards for making records are quite different from those used in the commercial record industry. We are not concerned with mass-media performances or use of our records. We are only concerned with producing an exact sonic replica of the original master tape on vinyl and with how that record will perform in your listening room. The first part requires painstaking attention to minute details to make the master lacquer right; the second part is verified on our own reference equipment which is representative of the finest audio gear available in the world today. Super-fi stereo cassettes will be introduced soon, employing our proven state-of-the-art principles.
To accommodate the mass-media, certain sacrifices must be made in terms of sonic values and manufacturing speed- Since we only rare about each individual person who owns one of our records or tapes, and only about each individual product itself, we have the time and desire to strive for perfection.
Each customer is not an obscure face in the crowd, but rather. a real person whose individual tastes and values are of particular concern to us.
Thanks for listening.
