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Mobile Fidelity, ‘One Step’ etc

All valid questions and I’m sure ones with no fixed answers as different labels and artists will hold different views. You are certainly correct that mastering a finished product from a tape is never a single run-through, there will be multiple tape runs to set levels, EQ, compression etc before firing the lathe up.

My guess is it will also depend on the condition of the tape, which will of course be largely dependent on tape stock used and storage conditions for the past 50+ years. It sounds like the BN tapes are all in great condition.
 
Yes, very much, especially when we get to the late-70s and ‘80s with the dreaded sticky Ampex 456 etc. Those may only have a couple of plays left so archiving to high-res digital is always the top priority.
 
I’m surprised suspicions weren’t aroused when when Marc Cohn came out which was recorded using a digital Studer Dyaxis comprising of an Apple Mac and hard drive storage when first recorded in 1991.

The MOFI states mastered from the 'stereo tape' doesn’t say anything about analogue. Presumably the files were then transferred to some sort of digital tape format form the hard drive.

I’ve also noticed that Dire Straits Making Movies is only the master tape for side two and a copy for side one so presumably not technically a OMR but a MFSL??
 
Not Mofi, but have you guys watched Esposito and Fremer battling it out in November 2021, get's fairly heated at times.

There is no way that I can be convinced that Fremer's "opinions" are not somewhat motivated by the Comps he receives..
 
There is no way that I can be convinced that Fremer's "opinions" are not somewhat motivated by the Comps he receives..

To be fair I think Fremer has had his doubts about some MoFi releases, but that doesn't excuse him for keeping quiet. He keeps using the phrase journalistic professionalism and I'm really not sure what he means by that in this context.

My main interest in the entire affair is how it will - positively? - affect the industry in the future. 'From the original master tapes' really doesn't mean very much. One could argue a grey import LP mastered from CD is from the original master tapes, as they must have been used at some point in the long lineage of its creation, or else the recording wouldn't exist. IMO any litigation should be aimed at clarification of process, not Mobile Fidelity's obfuscation.

OTOH if it sounds good then it sounds good, after all Fremer apparently gave Santana Abraxas One Step 11/10.
 
I think he means that he doesn't want to publish (and therefore add weight to) unsubstantiated rumour. He queried MoFi (which is the responsible journalistic act) who promised a statement that never came, and then events. This is in the context of the Thriller issue which was obviously going to need a digital step given the numbers promised which seems to have triggered the whole debacle.

I don't think Fremer is the problem here.

And obviously in the context of producing vinyl, a digital step, even a mid-80s digital step, is neither here nor there. Townhouse (going from memory here unfortunately...) cut many excellent records using a digital delay rather than an extended tape path. A big dose of affectation and more money than sense.
 
Another fine video on the topic by Poetryonplastic. His last on this topic. Slightly long-winded but covers the angles nicely and with examples.

 
Interview with Jim Davis of Mofi. He gives entirely plausible technical explanations, but he isn't asked the key question: "Why didn't you mention any of this before?"

https://www.theabsolutesound.com/articles/mofi-president-jim-davis-on-the-companys-mastering-process
The J.D. interview helps to fill in a lot of the blanks regarding the actual mastering process, which is great to finally have clarification on, but like you I do find it extremely odd that the interviewer didn't even touch on the issue of honesty/accountability...
 
Interview with Jim Davis of Mofi. He gives entirely plausible technical explanations, but he isn't asked the key question: "Why didn't you mention any of this before?"

https://www.theabsolutesound.com/articles/mofi-president-jim-davis-on-the-companys-mastering-process

Lots of mentions of their custom Tim de Paravicini analog gear but no mention of what converters they use. Doesn't really matter, I'm just curious as they seem to be taking a lot of trouble over the rest of the equipment.
 
Good studio converters are much of a muchness these days, the money is in the channel count and the connectivity

Certainly it's diminishing returns. But I wonder. I've heard plenty of mastering engineers say the biggest upgrade they've made to their signal chain is investing in better converters. And presumably Mo-Fi would be using two channel mastering converters?

Like I say, just curious ;-)
 
Certainly it's diminishing returns. But I wonder. I've heard plenty of mastering engineers say the biggest upgrade they've made to their signal chain is investing in better converters. And presumably Mo-Fi would be using two channel mastering converters?

Like I say, just curious ;-)

Yes I agree people sank an arm and leg into studio converters but technology overtook them all pretty quickly. RME built the 2 channel fs range, for example, originally for higher quality monitoring.
 
I have been covering The MoFi Predicament https://www.dagogo.com/the-mofi-predicament/ over at Dagogo.com. My commentary piece along with the information updates in the comments section should provide a workable overview for the uninitiated and a heads-up on subsequent events for those more closely following.

Yes, indeed the Class Ac6ion certification paperwork was filed with the Federal Court on August 2nd, 2022. In order for this matter to proceed the certification must be granted. In the later comments, I have written not only about the thrust of the suit but provided links to the legal code and a primer on class actions.

For those across the pond who may not be aware, Impex has jumped on the transparency bandwagon informing the public, subsequently updating their website, to include "digital" in the features for their most recent Saturday Night in San Francisco offering

FYI, Prices in the States are dropping. For example, the Carole King Tapestry One=Step officially retails for $125.00 can be had on the secondary market (eBay) for $89.98 + shipping. This is for a SEALED NEW album/box not something pre-owned. Interesting times indeed.
 


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