Mobile Fidelity - UDSACD 2229 - SACD Hybrid Stereo - 

Numbered Limited  Edition - Plays On All CD Players

Half-Speed Mastered by Rob LoVerdeh from the Original Master Tape at MFSL

Mastered on the Mobile Fidelity GAIN 2 Mastering Technology for Ultradisc UHR SACD  

TAS Rated 4/5 Music, 4/5 Sonics in the December 2021 Issue of The Absolute Sound!

Easily the best digital version of the album that I have heard.Spacious, full and detailed sounding with all that analogue smoothness transferred from the master tape.SACD review

MASTERED FROM THE ORIGINAL ANALOG MASTER TAPES FOR DEFINITIVE SOUND: HYBRID SACD PLAYS WITH STUNNING DETAIL, BALANCE, AND DYNAMICS
Originally released in June 1972, the Eagles' self-titled debut played a significant role in changing the face of mainstream music while setting up a dominant run that's continued for nearly five decades. Produced by Glyn Johns, and home to three massive hits, Eagles established a cleverly restrained, Los Angeles-bred style that would sweep the country and position the group as superstars.

Mastered from the original analog master tapes, Mobile Fidelity's numbered-edition hybrid SACD pays tribute to the record's merit and enhances the intimate program for generations to come. Playing with reference sonics that elevate an effort forever prized by audiophiles, this spectacular version provides a clear, clean, transparent, balanced, and intimate view of an album that permanently made California-style rock a style of its own.

Visually, the front cover of the album brilliantly captures the fundamentals of the Eagles' aural essence. Photographed at Joshua Tree National Park, it portrays a seemingly endless blue sky arched over the hovering copper glow of a sunset. In the foreground, shadow-bathed cacti hugs a slice of desert, both illuminated by nature above and beyond. Peaceful, easy, breezy, organic, laidback, cohesive, warm yet cool: The picture parallels the tone and timbre of the content lurking in the songs, and helps elevate Eagles to that rare place where every single aspect (and participant) is united in theme and purpose.

As just one of two Eagles albums created by the original quartet of Glenn Frey, Don Henley, Randy Meisner, and Bernie Leadon, the record remains unique in the band's history for the shared songwriting and vocal performances. Each member takes the lead on at least one track, extending to Meisner on "Most of Us Are Sad," "Take the Devil," and "Tryin'" as well as Leadon on "Train Leaves Here This Morning" and "Earlybird."

The mellifluous blending of the Eagles' distinctive voices, the very aspect that drew Johns to the project, lingers throughout. Such harmonizing – in combination with textured sonic tapestries stitched with acoustic guitars, steady bass lines, banjo notes, folk constructs, and edgy rock elements – informs arrangements bolstered by golden melodies and brilliant craftsmanship. Nowhere is that approach more evident than on "Take It Easy," an opening tune that quickly became a signpost of the collective's mentality, technique, and philosophy. Rambling, and related themes of traveling or returning home, resurface in "Train Leaves Here This Morning" and the restless "Take the Devil."

Women, another of the Eagles' other long-running inspirations, occupies much of the album's other focus. Frey's opportunistic "Chug All Night," the Top 25 smash "Peaceful Easy Feeling," and Jackson Browne's devotional "Nightingale" continue the light-streaked vibes. In contrast, Henley's cautionary "Witchy Woman" portends the darker concepts the band would explore going forward even as the song maintains a voodoo-kissed, feel-good mood. Indeed, few albums of the era felt better in both scope and spirit.

Producer, Engineer – Glyn Johns
Vocals, Bass – Randy Meisner
Vocals, Drums – Don Henley
Vocals, Guitar, Banjo – Bernie Leadon
Vocals, Guitar, Slide Guitar – Glenn Frey

Chasing the Dragon -  Limited Edition 

Espana a Tribute to Spain - Rosie Middleton : Debbie Wisemman : National Symphony - 

legendary Air Studios for yet another session, each more ambitious than the last. 
 
Entitled ‘A Tribute To Spain’ the programme included two pieces from Bizet, concert performances with mezzo-soprano Rosie Middleton, together with Rimsky Korsakov’s Capriccio Espagnol and Chabrier’s Espana,  these classical showpieces. 

It was a large orchestra, filling the ‘large hall’ recording auditorium at AIR, this long established performing group is called the National Symphony Orchestra (which is freelance),  here conducted by the noted Debbie Wiseman. Mike ambitiously masters in multiple formats to get many bites at the sonic cherry, including direct cut to vinyl lacquer, this done at the silent mastering suite high up in the building. 

More easily organised in the main control, the stereo signal also goes to a Studer A80 analogue tape recorder , and to a Nagra stereo digital recorder, plus the Air in-house facilities  these including  real time HD and DSD encodings.

Decca tree elevated, centre right, tubed Neumann M50

By definition these were live takes, recorded in their entirely after some rehearsal and will not be subject to editing. In any case editing cannot be performed on a direct cut lacquer master disc. The sessions were in part chosen to fit successive sides of an LP master and in the event over 90% of the available space was used. Filling a disc up, as used to be done, makes no sense at all for an audiophile production where the intention is to maintain high quality sound to the end of the piece and not to use up the  disc to the end of the physical record. 

The National Symphony Orchestra is well practiced in playing to order, and got on with the job in timely fashion helping the whole production to run quite smoothly. In addition to the multiple formats CD LP and High Res downloads,  the recording was captured with several independent mic arrays including Mike’s own favourite Decca tree spaced array with vintage valve powered Neumann microphones and also a binaural head for an exclusive binaural headphone compatible replay format release. 

"The audiophile world involves a staggering amount of minutia. Everything leads, however, to an emotional payoff, as you're constantly reminded while rubbing shoulders with people devoted to good sound. So while, if you study the literature on, say, speaker placement or multichannel audio, you might expect everyone who cares about such matters to walk around with a pencil protector in his shirt pocket, instead you're much more likely to encounter someone whose passion for audio can hardly be contained and who has a lively sense of humor. Those points were underscored when I began correspoding with Mike Valentine, the owner of the UK audiophile label Chasing the Dragon...He isn't afraid to say something controversial (certainly his statement, "The sound quality here...is better than sex!" could spark a heated debate), and because he's filmed underwater sequences for over 90 films, including five James Bond movies, you quicky understand that he knows how to pursue lofty professional goals and have fun." - Jeff Wilson, The Absolute Sound Read more! 

"The orchestra rehearses downstairs while upstairs the mastering room engineers record and play back a test lacquer. Finally, it's time for a recorded take of the "Carmen" excerpts with Mezzo-Soprano Rosie Middleton. The tension is palpable in both the control room and upstairs. It's quickly clear that the free-spirited rehearsal has given way to a darker, more constrained performance that satisfies no one, especially Ms. Middleton. The second take is better but is still missing the required "magic". Take three is "the one". Everyone is relieved and it's technically perfect." 

"Then, after a lunch break, it's on to the Chabrier "España". After a recorded rehearsal playback, it's time for a take. The first performance is spirited but an orchestral crescendo causes the cutting stylus to crash through the groove wall into an adjacent groove, requiring a second take. There's another great performance, but higher drama could be found in the mastering suite, all of which is captured on the video. Quick, decisive thinking and gutsy actions by mastering engineer John Webber saves the lacquer from disaster (as you'll see) but a third take (not shown) proves to be by far the best and it will be the one you'll hear on the final vinyl record. Please keep in mind the sound you hear on this video was captured by an Audio-Technica "shotgun" microphone attached to a camcorder and is not the actual recorded sound (given what it is, though, it's pretty good!)." - Michael Fremer, analogplanet.com 

"Using the legendary valve Neumann U47 microphone and plethora of microphones including DPA, plus the famous Decca-Tree set up of three omin-directional microphones, this was a well set up recording. What is very important in this new disc is that as well as producing it on Direct Cut Disc it will also be released on double DSD (5.6MHz), and for headphone lovers like myself as part of a binarual album using the excellent Neumann KU100 binaural microphone, carefully placed above the conductor. Listening on Sennheiser HP600 cans the "out of the head" effect of the dummy-head-stereo recording was like being on the conductor's rostrum... This was a brilliant day with great performances and great balancing." - HiFi Pig Magazine, February 2017 

Musicians:
Rosie Middleton - mezzo-soprano
The National Symphony Orchestra
Debbie Wiseman, conductor

Selections:
Georges Bizet (1838-1875)
Carmen
1. Habanera
2. The Gypsy Song

Emmanuel Chabrier (1841-1894)
3. Espana

Nikolai Rimsky-Korsakov (1844-1908)
4. Capriccio Espagnol

Mobile Fidelity - UDSACD 2226  - Hybrid  SACD Stereo   

3,000 Numbered Limited Edition

Half Speed Mastered by Rob LoVerde at MFSL from the Original Mastertape

The old adage about Elvis Presley is that his soundtrack work never held a candle next to his studio albums. Though true for a majority of his film-related outings, the traditional notion is forever disproved by his Blue Hawaii set. Originally released in 1961 in support of the film in which he starred, the triple-platinum LP spent nearly five months at the top of the Billboard album charts; outsold his two prior studio efforts; and ultimately, remains the second-best-selling soundtrack of the musical-dominant 1960s. And now, it has received sonic treatment befitting rock royalty.

Mastered from the original master tapes and limited to 3,000 numbered copies, Mobile Fidelity's hybrid SACD of Blue Hawaii transports listeners to both the carefree innocent escapism of the early ‘60s and calming, breezy atmospherics of the famous Pacific Islands. If you've ever wondered what it might be like to have Presley inhabit your room, this collectible reissue makes it happen via lifelike presence, clarity, immediacy, and transparency.

Recorded before the King started to burn out on soundtracks and go into a creative tailspin, Blue Hawaii presents him in tremendous voice. The newly uncovered layers of detail, body, emotionalism, and tonality on this SACD bring that treasured element – as well as the brilliance of the arrangements and accompaniment – to light like never before. Presley's warm crooning alone warrants unmitigated attention. It's not for nothing that this record – replete with panache, whimsy, romance, and seriousness – forever altered the course of his career.

Much like the film itself, the music on Blue Hawaii subscribes to a feel-good aesthetic. Presley plunges into a stylistic deep end with equal parts fearlessness and fun. He delves into early rock ‘n' roll ("Rock-A-Hula Baby"); touching balladry ("Hawaiian Wedding Song"); playful rumba ("Beach Boy Blues"); relaxing luaus ("Hawaiian Sunset"); and naturally, island-inspired fare ("Ku-U-I-Po"). It becomes immediately evident that the King is enjoying himself and committed to the mission. Is Blue Hawaii all serious art? No, but it was never intended to be. Rather, it serves as a showcase of Presley's outgoing personality and chameleon-like ability – like that of Frank Sinatra – to inhabit different roles and entertain.

Of course, Blue Hawaii remains timeless for another reason: The inclusion of the timeless, gorgeous, and still-untouchable staple "Can't Help Falling in Love." Penned by Hugo Peretti, Luigi Creatore, and George David Weiss, the love song quickly transformed into an international standard – with Presley's definitive version hitting No. 2 on the charts and ultimately becoming the closing song to his concerts. Ranked among the 500 Greatest Songs of All Time by Rolling Stone, its conviction, sentiment, and depth testify on behalf of why Presley still reigns as the King.

However subtly, the staple also underscores another reason Blue Hawaii should never be overlooked in Presley's canon: the ace musicians involved in its creation. Guitarists Scotty Moore and Hank Garland; drummer D.J. Fontana; percussionist Hal Blaine; pianist Floyd Cramer; bassist Bob Moore; and iconic gospel backing vocalists the Jordanaires all contribute masterful performances. Hearing them with such expressiveness, openness, and realism on this SACD should forever alter how Presley's 1961 soundtrack – the finest of his career – is viewed. As he sings in the title track, dreams come true, indeed.

Blue Hawaii
Almost Always True
Aloha Oe
No More
Can't Help Falling in Love
Rock-a-Hula Baby
Moonlight Swim
Ku-U-I-Po
Ito Eats
Slicin' Sand
Hawaiian Sunset
Beach Boy Blues
Island of Love
Hawaiian Wedding Song

Mobile Fidelity believes that mastering systems should be neutral and transparent. The essential idea is to unveil all the detailed musical information on the original master recording without adding deterioration, coloration or other sonic artifacts. 

It is worth noting that Mobile Fidelity Sound Lab stands out as one of few record labels that independently invests in research and development of audio technology. With proprietary innovations such as GAIN 2™, general music enthusiasts and audiophiles alike have reaped the benefit of a higher consumer audio standard without investing in costly new hardware. Mobile Fidelity is pleased to work with a variety of engineering legends and companies including Tim de Paravicini, Ed Meitner, Pass Labs, Theta Digital and Sony Electronics. 

Our joint efforts to seek out the ultimate audio experience, has resulted in significant advances for the technology of music reproduction. 

GAIN 2™ Mastering Technology for Ultradisc UHR™ Hybrid SACD and Ultradisc II™ 24kt Gold CDs 

For over twenty years, Mobile Fidelity Sound Lab has continually searched for the ultimate audio experience. During this search MFSL engineers and associates created The GAIN™ System, a proprietary mastering technology which brought warmth and ambience to the compact disc format. A few years ago - with higher resolution formats on the horizon - the vision of GAIN 2™ began. As it stands today, GAIN 2™ is one of the greatest technical advancements in analogue and digital technology in the last ten years. It consists of a series of critical modifications and new components to Mobile Fidelity's proprietary mastering chain. 

We feel that GAIN 2™ has come extremely close to meeting this goal. The key accomplishments of GAIN 2™ System are 1) the ability to extract all the musical information as possible through the Ultra High bandwidth analogue tape playback system with proprietary custom tape playback heads, reproducer electronics and 2) transparently capturing and storing that information with the Direct Stream Digital recording system. 

Analogue Productions - CAPP 147 SA - Hybrid SACD Stereo 

Mastered By Kevin Gray - Limited Edition

Perfect demo record captures genres that include blues, jazz, classical, R&B and female vocal

Mastered by Kevin Gray!

Celebrate audio craftsmanship with the finest album sampler ever assembled!

The Wonderful Sounds Of Quality Record Pressings includes music handpicked Every song meets the criteria of excellent performance, perfect recording and flawless mastering. What better way to celebrate such a monumental anniversary — our 10th anniversary for Quality Record Pressings — one of the absolute leading brands in analog high fidelity — than with this to-die-for LP sampler? Contains most genres of music — blues, jazz, classical, R&B and female vocal. From now on, you'll only need to carry one demo disc around with you.

 Stereophile, gives you a track-by-track tour of the history and production of the songs on this special album. And because we knew that SACD collectors would be just as interested, we've made this disc available in Hybrid Stereo SACD as well.

Disc One
FEMALE VOCALS
Show Biz Kids - Rickie Lee Jones
Nobody's Buying - Nancy Bryan
Angel From Montgomery - Susan Tedeshi
The Spider And The Fly - Myra Taylor
Low Spark Of High Heeled Boys - Rickie Lee Jones
CLASSICAL (REFERENCE RECORDINGS)
Rimsky-Korsakov: Dance Of The Tumblers, From The Snow Maiden
Mozart: Piano Concerto #21 in C, K. 467 - Andante
Jack End: Blues For A Killed Cat
Stravinsky: The Firebird Suite, 1919 Finale
BLUES (APO RECORDS)
Driving Wheel - Little Hatch
You Had Quit Me - Wild Child Butler
I'll Be Around - Jimmie Lee Robinson
Last Night - Eomot RaSun
Walking Thru The Park - Big George Brock
The Sun Is Shining - Harry Hypolite
Disc Two
RHYTHM & BLUES
I'll Take You There - Staple Singers
Theme From Shaft - Isaac Hayes
Mr. Big Stuff - Jean Knight
Rock Me Right - Susan Tedeschi
Just Won't Burn - Susan Tedeschi
JAZZ
Sounds Unheard Of (Poinciana) - Shelly Manne
The Alternate Blues (alternate one) - Clark Terry, Freddie Hubbard, Dizzy Gillespie
September Song - Chet Baker
My Foolish Heart - Bill Evans
'Round Midnight - Wes Montgomery
Abangoma - Hugh Masekela
Stimela - Hugh Masekela

Mobile Fidelity - UDSACD 2220 - Hybrid  SACD Stereo   

2,500 Numbered Limited Edition

Half Speed Mastered by Kreig Wunderlich fromm the Original Mastertape

I sang my balls off for you baby." Harry Nilsson's bold proclamation on the opening track to Son of Schmilsson immediately makes it evident the singer had no intention to repeat the approach of his commercial breakout, the preceding Nilsson Schmilsson – and harbored no desire to hold back on any front or advance any traditional notion of a career. The madcap album goes all out, delivering a wild ride infused with horror-movie effects, crass jokes, then-shocking profanity, snoring, and even a belch – strangeness that belies the fact it went gold and landed a Top 40 single in the form of "Spaceman." Hindsight further shows the gonzo work endures as a stroke of defiant genius, ego-grounding facetiousness, and raucous fun – all the way down to the iconic artwork depicting Nilsson as a vampire.

Mastered from the original master tapes,  Son of Schmilsson presents the music with full-range dynamics and astute clarity. Recording with producer Richard Perry and at London's Trident Studios for the second time, the singer again captures a natural sound marked by lively tonalities, generous air, and stellar presence. All these aspects come to the fore with unprecedented degrees on this first-ever audiophile reissue of Nilsson's most controversial (and self-sabotaging) turn.

Listeners who prize separation and spaciousness are in for a treat. While Nilsson and Perry juggled everything from unusual percussion to horn sections to choirs and an orchestra, Mobile Fidelity's version of Son of Schmilsson never seems muddled or congested. The versatile array of instruments have room to breathe, while notes emerge with palpable immediacy and fade with realistic decay. It goes without saying that Nilsson's elastic voice projects with you-are-there resolution and transparency. Make no mistake: You'll hear exactly why the 1972 work continues to spark debate and persist as a fan favorite to this day.

Just look at the invited guests – the "cast," to quote text from the back cover – who participated in the merriment. George Harrison, Ringo Starr, Lowell George, Nicky Hopkins, Peter Frampton, and Bobby Keys join session pros such as Klaus Voorman, Ray Cooper, and Milt Holland stitching together arrangements that encompass rock, torch, country, pop, blues, and old-world European-styled sing-a-longs. Indulgent, certainly, yet always in the service of a singer-songwriter whose multifaceted aims and daring versatility speak to the lasting appeal, wit, and melodicism of the primarily upbeat fare.

Experiencing a painful divorce at the time, Nilsson crafted multiple "anti" love songs, none more memorable than the boogie-tilted "You're Breakin' My Heart" whose vulgar lyrics at the time were borderline scandalous. Its taboo nature, along with the brass-driven romp "Take 54" – about a groupie and the vocalist's lust, and the ditty prominently mentioning "balls" in the chorus – meant the record's two most radio-ready tracks couldn't be aired. Nilsson's combination in-joke and protest of convention, expectation, and hypocrisy carries over to "Joy," a delightful pastiche of country-and-western tropes that ultimately saw the light of day as an RCA single.

For sheer mayhem and lunacy, nothing tops "I'd Rather Be Dead" – an anthem replete with the declaration "I'd rather be dead/Than wet my bed" – taken to extremes by two choirs comprised of senior citizens who passed a bottle of sherry around in the studio. No topic or theme, not death, sadness, or loss, remains safe on Son of Schmilsson.

Yet the presence of the breathtaking piano ballad "Remember (Christmas)," mellifluous "The Lottery Song," and eloquent "Turn on Your Radio" reveal that underneath the bizarre disguises, off-beat humor, and intentional confusion, Nilsson identified as an inimitable tunesmith and singer whose particular blend of personality, approach, and vision would never again be seen. Son of Schmilsson, indeed.

Bass – Klaus Voorman
Engineer  – Ken Scott
Guitar – Cris Spedding, Peter Frampton 
Lead Vocals, Electric Piano – Harry Nilsson
Piano – Nicky Hopkins
Producer – Richard Perry

Take 54
Remember (Christmas)
Joy
Turn on Your Radio
You're Breakin' My Heart
Spaceman
The Lottery Song
At My Front Door
Ambush
I'd Rather Be Dead
The Most Beautiful World in the World

Mobile Fidelity believes that mastering systems should be neutral and transparent. The essential idea is to unveil all the detailed musical information on the original master recording without adding deterioration, coloration or other sonic artifacts. 

It is worth noting that Mobile Fidelity Sound Lab stands out as one of few record labels that independently invests in research and development of audio technology. With proprietary innovations such as GAIN 2™, general music enthusiasts and audiophiles alike have reaped the benefit of a higher consumer audio standard without investing in costly new hardware. Mobile Fidelity is pleased to work with a variety of engineering legends and companies including Tim de Paravicini, Ed Meitner, Pass Labs, Theta Digital and Sony Electronics. 

Our joint efforts to seek out the ultimate audio experience, has resulted in significant advances for the technology of music reproduction. 

GAIN 2™ Mastering Technology for Ultradisc UHR™ Hybrid SACD and Ultradisc II™ 24kt Gold CDs 

For over twenty years, Mobile Fidelity Sound Lab has continually searched for the ultimate audio experience. During this search MFSL engineers and associates created The GAIN™ System, a proprietary mastering technology which brought warmth and ambience to the compact disc format. A few years ago - with higher resolution formats on the horizon - the vision of GAIN 2™ began. As it stands today, GAIN 2™ is one of the greatest technical advancements in analogue and digital technology in the last ten years. It consists of a series of critical modifications and new components to Mobile Fidelity's proprietary mastering chain. 

We feel that GAIN 2™ has come extremely close to meeting this goal. The key accomplishments of GAIN 2™ System are 1) the ability to extract all the musical information as possible through the Ultra High bandwidth analogue tape playback system with proprietary custom tape playback heads, reproducer electronics and 2) transparently capturing and storing that information with the Direct Stream Digital recording system. 

Mobile Fidelity - UDSACD 2048 - SACD Hybrid Stereo 

Numbered Limited  Edition - Plays On All CD Players 

Mastered by Rob Lo Verde  from the Original Master  tape

Mastered on the Mobile Fidelity GAIN 2™ Mastering Technology for Ultradisc Hybrid SACD

1970 Set an Organic, Iconic Rock Landmark - In Special Textured Finish Gatefold Jacket Record Shivers With Raw Emotions, Dark Confessionals, and Intense Singing A sharp stylistic and thematic detour away from its first two albums, the Band’s Stage Fright is a compelling snapshot of a group coping with massive success and internal changes. Recorded in 1970 at the Woodstock Playhouse, the set shivers with raw emotions, dark confessionals, and intense singing.

Largely devoid of the quintet’s trademark all-for-one harmony vocals, Stage Fright is an utterly distinctive piece of the Band’s catalog—and a historic landmark that’s a necessary part of any music collection. Such splintered camaraderie and personal demons appear in now-famous songs such as the title track, “The Shape I’m In,” and “The W.S. Walcott Medicine Show.” The music is rife with palpable tension, and as a credit to the Band’s unique sound,absolutely singular. It’s impossible to think of any other group playing these tunes. Robertson’s balladic ode to his daughter, “All La Glory,” featuring a gorgeous vocal turn from Levon Helm, provides a sunny contrast to the darker compositions. Circumstances behind the recording sessions also reflected the mood.

While the Band had intended to capture the album in one take in front of a small crowd at the theater, the town residents vetoed the idea due to concerns over being inundated by too many visitors. Consequently, the Band played to an audience of no one, sometimes with the curtains closed and other times, with them open. Todd Rundgren, who engineered the album, couldn’t even see what was going on—he was sitting in a canvas prop tent that became the control room, behind the theater.

As always, Mobile Fidelity mastered this numbered limited-edition  from the original master tapes for a superior sonic experience. This analog edition of Stage Fright bursts with supreme tonal clarity and an airiness that brings the genius of Rundgren’s preservation of high frequencies to complete realization. Even the fine textures of the hand drums on the stunning “Daniel and the Sacred Harp” come to light with microscopic detail. Perfectly blended, MoFi’s Stage Fright takes its place as the most balanced and punchy record in the Band’s oeuvre.

Musicians:

Levon Helm, vocals, drums, guitar, percussion
Rick Danko, bass, fiddle, vocals
Garth Hudson, organ, electric piano, accordion, tenor saxophone
Richard Manuel, vocals, piano, organ, drums, clavinet
Jaime Robbie Robertson, guitars, autoharp

The Band Stage Fright Track Listing:

1. "Strawberry Wine" 
2. "Sleeping"  
3. "Time to Kill" 
4. "Just Another Whistle Stop" 
5. "All La Glory" 
6. "The Shape I'm In" 
7. "The W.S. Walcott Medicine Show"  
8. "Daniel and the Sacred Harp"
9. "Stage Fright"  
10. "The Rumor"

Mobile Fidelity believes that mastering systems should be neutral and transparent. The essential idea is to unveil all the detailed musical information on the original master recording without adding deterioration, coloration or other sonic artifacts. 

It is worth noting that Mobile Fidelity Sound Lab stands out as one of few record labels that independently invests in research and development of audio technology. With proprietary innovations such as GAIN 2™, general music enthusiasts and audiophiles alike have reaped the benefit of a higher consumer audio standard without investing in costly new hardware. Mobile Fidelity is pleased to work with a variety of engineering legends and companies including Tim de Paravicini, Ed Meitner, Pass Labs, Theta Digital and Sony Electronics. 

Our joint efforts to seek out the ultimate audio experience, has resulted in significant advances for the technology of music reproduction. 

GAIN 2™ Mastering Technology for Ultradisc UHR™ Hybrid SACD and Ultradisc II™ 24kt Gold CDs 

For over twenty years, Mobile Fidelity Sound Lab has continually searched for the ultimate audio experience. During this search MFSL engineers and associates created The GAIN™ System, a proprietary mastering technology which brought warmth and ambience to the compact disc format. A few years ago - with higher resolution formats on the horizon - the vision of GAIN 2™ began. As it stands today, GAIN 2™ is one of the greatest technical advancements in analogue and digital technology in the last ten years. It consists of a series of critical modifications and new components to Mobile Fidelity's proprietary mastering chain. 

We feel that GAIN 2™ has come extremely close to meeting this goal. The key accomplishments of GAIN 2™ System are 1) the ability to extract all the musical information as possible through the Ultra High bandwidth analogue tape playback system with proprietary custom tape playback heads, reproducer electronics and 2) transparently capturing and storing that information with the Direct Stream Digital recording system. 

Chasing the Dragon - VALCDBR001 - Binaural Recording - Limited Edition -

Binaural Recording For Headphones On CD!

Debbie Wiseman conducts the National Symphony Orchestra and mezzo-soprano Rosie Middleton for this tribute to Spain. The album includes compositional works by Chabrier, Bizet, and Rimsky-Korsakov.

"The audiophile world involves a staggering amount of minutia. Everything leads, however, to an emotional payoff, as you're constantly reminded while rubbing shoulders with people devoted to good sound. So while, if you study the literature on, say, speaker placement or multichannel audio, you might expect everyone who cares about such matters to walk around with a pencil protector in his shirt pocket, instead you're much more likely to encounter someone whose passion for audio can hardly be contained and who has a lively sense of humor. Those points were underscored when I began correspoding with Mike Valentine, the owner of the UK audiophile label Chasing the Dragon...He isn't afraid to say something controversial (certainly his statement, "The sound quality here...is better than sex!" could spark a heated debate), and because he's filmed underwater sequences for over 90 films, including five James Bond movies, you quicky understand that he knows how to pursue lofty professional goals and have fun." - Jeff Wilson, The Absolute Sound  

"The orchestra rehearses downstairs while upstairs the mastering room engineers record and play back a test lacquer. Finally, it's time for a recorded take of the "Carmen" excerpts with Mezzo-Soprano Rosie Middleton. The tension is palpable in both the control room and upstairs. It's quickly clear that the free-spirited rehearsal has given way to a darker, more constrained performance that satisfies no one, especially Ms. Middleton. The second take is better but is still missing the required "magic". Take three is "the one". Everyone is relieved and it's technically perfect." 

"Then, after a lunch break, it's on to the Chabrier "España". After a recorded rehearsal playback, it's time for a take. The first performance is spirited but an orchestral crescendo causes the cutting stylus to crash through the groove wall into an adjacent groove, requiring a second take. There's another great performance, but higher drama could be found in the mastering suite, all of which is captured on the video. Quick, decisive thinking and gutsy actions by mastering engineer John Webber saves the lacquer from disaster (as you'll see) but a third take (not shown) proves to be by far the best and it will be the one you'll hear on the final vinyl record. Please keep in mind the sound you hear on this video was captured by an Audio-Technica "shotgun" microphone attached to a camcorder and is not the actual recorded sound (given what it is, though, it's pretty good!)." - Michael Fremer, analogplanet.com 

"Using the legendary valve Neumann U47 microphone and plethora of microphones including DPA, plus the famous Decca-Tree set up of three omin-directional microphones, this was a well set up recording. What is very important in this new disc is that as well as producing it on Direct Cut Disc it will also be released on double DSD (5.6MHz), and for headphone lovers like myself as part of a binarual album using the excellent Neumann KU100 binaural microphone, carefully placed above the conductor. Listening on Sennheiser HP600 cans the "out of the head" effect of the dummy-head-stereo recording was like being on the conductor's rostrum... This was a brilliant day with great performances and great balancing." - HiFi Pig Magazine, February 2017  

• Binaural recording for headphones

• Mastered on Stax 009 Headphones

Musicians:
Rosie Middleton - mezzo-soprano
The National Symphony Orchestra
Debbie Wiseman, conductor

Selections:
Georges Bizet (1838-1875)
Carmen
1. Habanera
2. The Gypsy Song

Emmanuel Chabrier (1841-1894)
3. Espana

Nikolai Rimsky-Korsakov (1844-1908)
4. Capriccio Espagnol

Impex - IMP8319 - SACD Hybrid Mono 

Limited Edition - Mastered by Chris Bellman at Bernie Grundman

Includes Extra Track Not Found On The Vinyl Edition!

Expanded 70th Anniversary  Audiophile Reissue Of Iconic 1950 Columbia Records LP!
Restored & Remastered From Original Analog Tape Masters by Andreas Meyer!
Cut by Chris Bellman at Bernie Grundman Mastering !

IMPEX Records is pleased to announce the Limited Edition release of Frank Sinatra's iconic 1950 Columbia Records ten-inch LP Sing and Dance with Frank Sinatra. Originally issued in October 1950, the title was the singer's first fully-conceived big-band jazz album to appear on a modern, long-play vinyl record. The 70th-anniversary limited edition LP brims with rare, previously unreleased session material, outtakes and alternate vocal takes from the original sessions and offers the exquisite audiophile-quality sound that IMPEX Records is noted for.

Created in cooperation with Sony Music's Legacy Recordings, the new deluxe reissue was produced by noted Sinatra producer, author and historian Charles L. Granata, and restored/remastered by six-time Grammy-winning recording engineer Andreas Meyer. The 33-RPM LP was cut by Chris Bellman at Bernie Grundman Mastering, Hollywood  booklet designed by Robert Sliger, featuring a comprehensive historical essay, full discography/personnel listing and detailed technical notes authored by Granata, PLUS a generous array of rare photographs, promotional artwork and unpublished visual ephemera pertaining to the album. The executive producers are Abey Fonn and Bob Bantz.

Rich in musical texture, this essential Sinatra classic - featuring the swing-style arrangements of George Siravo - marked a pivotal moment in 20th-Century pop music history, and represented the singer's transition from tender crooner to hip, swinging sophisticate. These performances offer a flawless snapshot of Sinatra's legendary musical craftsmanship as he reinvents himself for a new direction in his career - one that would hail his unparalleled success of the 1950s and '60s.

with a dazzling array of PREVIOUSLY UNRELEASED BONUS TRACKS including alternate takes, orchestra-only tracks and a revealing glimpse of Frank Sinatra in Columbia's famed 30th Street Studio (circa 1949), personally directing every facet of the recording session. This exquisite, high-fidelity session offers the most concise, in-depth illustration of Frank Sinatra working his magic in the studio, and functioning as his own producer.

The IMPEX team has spared no expense or effort in the creation of this milestone recording. In keeping with the prestigious label's reputation for meticulous sound,  has been transferred, restored and mastered in the analog domain from the original 15-ips session tapes: superior-sounding masters that have lain untouched in the Columbia Records vault for more than fifty years. These analog, monophonic tape masters sound spectacular, and shine as never before.

The high-resolution SACD/CD hybrid version was authored by Gus Skinas at Super Audio Center/Sonoma Systems.

The Complete, Original 10-inch Album
Lover
It's Only A Paper Moon
My Blue Heaven
It All Depends On You
You Do Something To Me
Should I
The Continental
When You're Smiling (The Whole World Smiles With You)
Bonus Tracks, Alternate Takes & Sessions
Farewell, Farewell To Love ("Barbecue Riffs") [with Harry James & His Orch.]*
Deep Night (with Harry James & His Orch.)*
It's Only A Paper Moon (Alternate Vocal Take - Prev. Unissued)
You Do Something To Me (Orch. Only Take, False Starts + Vocal Alternate Take) [Prev. Unissued]
American Beauty Rose (Alternate Vocal Take - Prev. Unissued)
It All Depends On You (Session Recording [SHORT version - Prev. Unissued] + 'Test' Take)
(*) These recordings have been restored and remastered from a recently discovered, first-generation MASTER tape from the original sessions, and offer sound that is superior to all previous issues.

Please Note: Due to additional time afforded by the SACD/CD format, this version contains material not included on the 33-RPM vinyl edition.

Chasing the Dragon - VALCDBR002 - Binaural Recording - Limited Edition - 

Programme: Mozart  Eine Kleine Nachtmusik,  Mozart  Concerto for Flute and Harp,  Bach Air ‘on the G string’,  Mozart  Symphony No 29 in A, with Rimma Sushanskaya, conductor and solo violin, Jean Kelly harp and Fiona Kelly flute. Chasing the Dragon’s founder, the irrepressible Mike Valentine was at work recently recording this live Mozart concert at St Martin in the fields. The playing was spirited and communicative, the acoustic rich, with delightful sting tone HIFI Critic

Rimma Sushanskaya conducts The Locrian Ensemble of London with Fiona Kelly on flute and Jean Kelly on harp. 

"For many of our albums I have been using 3 microphones used in a "Decca Tree" array to capture the main stereo image. Recently I have been experimenting with a Neumann Binaural Head. Although normal stereo sounds great on headphones, I have found that when using the head, the effect can become almost three dimensional. I have therefore decided to create a series of albums for headphone listeners. This is our second release and I hope when listening, you will be transported to St. Martin in The Fields in London, enjoying the fun of Mozart by Candlelight!" - Mike Valentine

St. Martin in The Fields, because of its wonderful acoustics, has become an iconic concert hall and recording venue. It's amazing to think that Mozart himself played in the church in the 1760s. If he was alive today I hope that he would enjoy this binaural recording!

• Binaural Recording
• • Recorded at Air Studios

Musicians:
Fiona Kelly, flute
Jean Kelly, harp
The Locrian Ensemble of London
Rimma Sushanskaya, conductor

Selections:
Side A:
Wolfgang Amadeus Mozart (1756-1791)
Eine Kleine Nachtmusik
1. Allegro - Romance - Andante con moto - Menuetto and Trio - Rondo
Flute & Harp Concerto
2. Rondo
Symphony No. 29 in A
3. Rondo