Mobile Fidelity Sound Lab LPS--Why are they special?

[Jimmy James]

Mobile Fidelity started it all. Anybody that enjoys records should know that. If it weren't for Mobile Fidelity the bar would never have been raised for pop recordings and who knows what would have happened. They were desperate towards the end and started re-issuing stuff that they hoped would generate sales and save the business, but alas, this plan is a big part of what drove them out of business. When I think about it I guess this sad tale proves that most people don't know **** from shine-ola.

[Fish]

Interesting,I think I'll go through my old albums.I'm pretty sure I have a Cat Stevens Tea for the Tillerman MFSL,maybe a Lynyrd Skynyrd.

[scriven]

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On 5/26/2005 1:48:54 PM Clipped and Shorn wrote:

"Half-Speed Mastered"

I have not been able to obtain any consensus among engineers that this technique is without question all that desirable. It means that the lathe is running twice as fast during mastering and this can be problematic.

C&S

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Unless I completely misunderstand the method, the lathe is running at half the speed during mastering and that is the advantage!

[Seadog]

I have two of the MFSL LPs that I bought over 20 years ago, Styx Grand Illusion and Rolling Stones Some Girls. Although I thought then that they were better than standard LPs, apparently I did not think that they were worth twice the price. But then I had a fairly average Technics / AudioTechnica TT. Now that I have a much better TT, I wish that I had bought more when they were readily available.

[Clipped and Shorn]

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On 5/27/2005 11:56:48 PM scriven wrote:

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On 5/26/2005 1:48:54 PM Clipped and Shorn wrote:

"Half-Speed Mastered"

I have not been able to obtain any consensus among engineers that this technique is without question all that desirable. It means that the lathe is running twice as fast during mastering and this can be problematic.

C&S

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Unless I completely misunderstand the method, the lathe is running at half the speed during mastering and that is the advantage!

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Yes, of course, that is what I meant to say....... doughhhh.. The engineer I worked with recently also did no prefer the 30ips to 15ips, and now I cannot remember how he explained his reasons, (not least of which was maintaining the fussy ATR machine versus his older classic AG440). We had to use the ATR because the 440 didn't run at 30ips and could only take a 10.5" reel.

I believe Mobile is still in business in some form and apparently they are right here in my neighborhood (Sebastopol CA).

C&S

[ben.]

30 ips is only worth the extra tape cost if you use heads optimzed for 30 ips. Otherwise, you get uneven LF response. There is a connection between tape speed and the width of the gap on the tape head that causes irregular frequency response. With standard heads, 15 ips is the way to go.

[Clipped and Shorn]

Ben,

Are you or have you ever been a recording engineer, sounds like you know some stuff.

I am thinking of getting into a little of this on a very scaled down amatuer level, eg. making some simple 4 track recordings here on a recycled AG440c and then going directly into this guy's Scully, eg. mixing the 4 tracks as it goes to the lathe...simple and direct from his 440.

C&S

[ben.]

I had the privelege of going through Tonmeister training at SUNY Fredonia. This was before the focus shifted to a more modern skill-based curriculum. Anyway, I had two outstanding teachers who had gone through the program in its heyday. (70s, early 80s). Dave Fridmann (independant producer as well) and Dave Kerzner (now at William Patterson U) were really great.

I never got a career going as an engineer/producer. I couldn't convince myself to move to a major market. I had offers, and I regret it, but such is life. I've been dreaming of an analog-niche studio, but ATRs are so damn expensive, plus 2" tape has a questionable future as well. The non-linear digital world is really so much more cost-effective, between the time and the gear being so much cheaper.

If you can learn to maintain the ATRs, and can find a 1/2" 4 or 8-track cheap, that'd be a fun thing to do. Aligning the deck is easy with a test tape and scope, but we never learned any maintanance.

[scotbuck]

Greetings,

I have several MoFi's and, in general, I don't think they really *are* very special. I got better sonics when I later purchased early "regular" pressings of the same LPs.

If the MoFi's are sealed, of course, at least you're not buying someone else's scratches, pops, clicks, warps, etc. I would simply recommend keeping the purchase to a reasonable price-point (and 25 cents certainly qualifies in that regard!).

Hope this helps...

Take care,

Scott

[jerohm]

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On 5/26/2005 12:52:21 PM garymd wrote:

... I personally do not care for Supertramp and would sell it in a heartbeat.

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blasphemy !

[Clipped and Shorn]

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On 5/28/2005 3:08:58 PM ben. wrote:

I had the privelege of going through Tonmeister training at SUNY Fredonia. This was before the focus shifted to a more modern skill-based curriculum. Anyway, I had two outstanding teachers who had gone through the program in its heyday. (70s, early 80s). Dave Fridmann (independant producer as well) and Dave Kerzner (now at William Patterson U) were really great.

heaper.

If you can learn to maintain the ATRs, and can find a 1/2" 4 or 8-track cheap, that'd be a fun thing to do. Aligning the deck is easy with a test tape and scope, but we never learned any maintanance.

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Actually I am getting an AG440C 4-track which I think I can get working. My friend with the Scully said he can help me with the rest, eg. making a test tape etc. , learning the maintenance, and supplying the missing/broken parts etc. The 1/2" tape is less expensive than 2" and easier to find and will probably be around

for a good while. Later I can add some digital recording technology to the the process and combine the best of both worlds, analog and digital, into a hybrid project. For now, just want to fool around with 4 track analog. Next, finding the right microphones.

C&S

[Parrot]

These microphones will work for you nicely.

http://www.coutant.org/u472.html

Then if you find one, you can put one of these tubes in it:

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&category=41466&item=7321362274&rd=1&ssPageName=WDVW

[ben.]

Yeah, Fridmann's got a couple of those. You can just kind of stick it in front of things and they sound a little bit better than they actually do. Pretty neat trick.

C&S, email me if you want regarding all this. I'm certainly not the authority, but I'd be happy to share my perspective and opinions. I can't spell maintenance, but if I can help flesh this out for you, I'd be glad to.

[Clipped and Shorn]

thanks Ben, will do.

yeah, I know all about Neuman mics, the studio where I recorded the '86 project I am currently reissuing used them, they had a beautiful Steinway grand piano as well, he had two of those Neumans. That album was recorded on 2" tape etc.

Now for fun, I am setting up a simple "amateur" studio and from what I understand there are many newly produced very affordable microphones which compete favorably with these old collectible and pricey classic microphones of yesteryears.

Simple analog four track recording on high quality tape with a great old Ampex, acoustic instruments, good mics, then mixed direct to vinyl (45rpm -- my preference). Should be pretty nice from an audiophile standpoint. Forgot to mention I will probably also use an older Ampex tube mic preamp/mixer as well for that warm rich sound.

C&S

[ben.]

Clipped, I look forward to it.

[Jimmy James]

http://www.elusivedisc.com/products.asp?dept=1072&pagenumber=1&sort_on=&sort_by=