Ok, you have started a vinyl collection and you want to get a few of those classic records you loved so much back in the day. Unfortunately, the used copies you found sound like crap and you don’t know where to turn. Well, first place to stop is… http://www.mofi.com/Articles.asp?ID=255
Mobile Fidelity Sound Lab has been around (with a brief absence) since 1977 and are known for making the best quality vinyl on the market. All their vinyl is put together using the original master tapes and then recorded onto the vinyl at half speed to make sure the music is recorded with “greater precision”. Essentially, Mobile Fidelity are the biggest name in the audiophile vinyl market. Actually they have done similar things with CD’s, and over time I’ve come to own a few of their products. You’ll pay a bit more than the standard vinyl and CD prices, but the end result is worth it.
For the collector out there ‘mofi’ does all of their vinyl in limited edition quantities of 5000, and once an album has ‘sold out’ you’ll see people asking for huge dollars in the re-seller market. (see Joe Walsh/e-bay links below)
While my first foray into mofi was a ‘silver’ or CD copy of Joe Walsh’s Barnstorm,
it was my quest to find the first B-52’s record on vinyl that got me into discovering the lengths Mobile Fidelity goes through to release a quality record.
As it stands, I managed with only a bit of work to get my hands on a copy. Ordering direct from Mobile Fidelity in Canada is costly. The shipping is almost the price of the vinyl itself. However, if the album is still in print, it can be ordered from your local record retailer, or can be found by online retailers within your country of choice. I got mine from Northern Volume and the shipping was free as my order was over $60. (http://www.northernvolume.com/the-b-52s-self-titled-silver-label-audiophile-vinyl-lp-record-from-mobile-fidelity/)
Overall, when the vinyl is put up against the CD copy I own, the vinyl wins hands down. One listen to the opener “Planet Claire” is proof enough. The keyboard/synthesizer is warm and more present within the mix while the guitar seems to hum with slightly more depth. The result is a record that slaps you upside the head with just how damn fine it is – all over again.
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Reblogged this on barrettbites.