every new mofi i've purchased is just fine....as good as anything from the original company for sure.
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The very first series of MoFi remasteres - note that, for the the most part, other than trains and thunderstorms, MoFi never made recordings, remasterings and pressings is more like it - were mastered by the great Stan Ricker and are complete standouts. Subsequently Gary Giorgi started mastering the reissues and his masterings were boosted in the bass and treble, the so called "smiley face" equilization. The horrible "Aja" is a good example of this and highly available, but there were lots of them. People react to this tinkering quite differently, some like it, and some do not. IMHO it is an abomination.
The very limited UHQR recordings are probably the best reissues ever produced and command prices commensurate with their extreme level of achievement.
The second coming of MoFi, since they were aquired by Music Direct has produced excellent recordings as well. They probably have a good future ahead of them.
The knock on MoFi has always been the, rather strange, titles that were selected for remastering. In the old days we shook our heads at some choices like Bernie Kruss' "Citidels of Mystery" and Steeleye Spann's "All Around My Hat". This seems to continue even today. Though they are fine recordings, of all the available recordings, why the Marc Cohn album? Even the Richard Thompson and Aimee Mann outings seem strange condidering all of the available possibilities.
There is nothing at all wrong sound wise with the original cd of 'Tiger lily' by Natalie Merchant it sounds superb. Mastered by Bob Ludwig. If one has to keep resorting to 'souped' up versions then there must be something amiss in the hi-fi chain.
Funnily enough I was listening to Paula Cole's 'this fire' cd and the tracks are well recorded, ie not complaints, except for track 4 'Carmen', mastered by Mr Ludwig, It is the weakest mastered track on the cd, especially if one compares it to track 5. 'Mississippi', Mr Ludwigs track whilst by means is it bad it seems he likes a duller sound as it sounds like someone has taken the fluff out of a male belly button and put it on a stylus, or should that be styli? as it is well duller, I prefer the snare 'snap' to have a real 'snap', seems like Mr Ludwig prefers the the snare drum sound to have a towel placed over it. Makes me wonder why Ms Cole chose the services of Mr Ludwig when the rest of the cd is excellent. I am a little grumpy today because I am having a girlie cd listening sesh and I can't find any of my Lisa Loeb cd's..............
Sorry this thread has nothing to do with Mofi (who ever they are?).Apology.
All IMHO, naturally.
Ps- I never really got into Rush, saw them way way 70's?, they were very good live, but boy where they LOUD!
I think my ears are still ringing, oh no that's from when The Who played at a Football (soccer to Americans, football to the rest of the world) ground in London in the 70's, now THAT was more than loud!
I'm not sold on the explanation that the strange MoFi releases are a consequence of what they had access to. For instance, since they released two Dylan Columbia Albums, my guess is that they had access to the whole catalog and chose not to produce any more. Their best selling album was "DSOTM", but they didn't even do "Atom Heart Mother" until the very end of the first incarnation and never did "Wish You Were Here" at all, both being Columbias (in the US), as well. Let's see, "Wish You Were Here" or Steeleye Spann's "All Around My Hat" or Huey Lewis and the News for that matter? I can see them sitting around the table, "Yes, let's take Huey Lewis and the News, there's a notion!"
Interesting that they stopped at one Yes album and one Led Zep album too. No Janice Joplin, even though they seem to have had access to the Columbia Vaults. And don't get me started on the classical and jazz choices.
It has to do with cost and if the manufacturer would bring out thier own audiophile version. If they were thinking about it or some other company offered more money then they would revoke the licence on the spot, like the Columbia Halfspeed, Direct Disk & others.Thats what happened to MFSL Janis Joplin's Pearl.
How much money would you gamble if that happened to your company?
sony has a vinyl agreement with scorpio in perpituity for thousands of sony/cbs/columbia titles(so mofi may indeed be restricted). on the pink floyd stuff(then and now) the band controls who gets what. sublicensing is an incredibly convoluted process, and every 'title'(even from the same artist) is really indeed a different bag of worms.
I'm personally curious about the 2xLP of Faith No More's 'Angel Dust' that MoFi recently released, mostly because it's their first step into remastering heavy metal (along with the Megadeth album they just issued). It's one of my favorite albums, and even at $40 it's cheaper than buying an original.
IMHO, I think one of the reasons MoFi's selections are so odd (at least currently) is that the big record companies have realized they can release high-quality reissues themselves at a lower cost and tap into the current vinyl resurgence. For instance, all of the WB/Rhino reissue LPs I have sound great and are about half the cost. (Note: I've never been a huge MoFi fan).
The new Rhino stuff has been great. ZZ Top, The Replacements, Black Sabbath all have been great. I can't wait for my Van Halen to show up on Monday!!! I have also been waiting for the Faith No More, I think I will wait for Patrick to give us a review of it....
I am actually listening to the Joshua Tree right now, the current reissue on 2 discs, and it's just sublime. Great pressing, of course the first one I got was terrible and I returned it to MusicDirect.