Cheap Trick/at Budokan Original US Mobile Fidelity Sound Lab

A CD reprint series of “Mobile Fidelity” which has attracted a lot of attention. The latest bullet has been decided to be released. Mobile Fidelity Sound Lab (MFSL), a manufacturer specializing in analog masters, is a trusted brand that is highly supported by audio enthusiasts around the world. With all of his passion, the sound craftsman has digitized many great albums from master tapes. Among such series, this work includes the CD “UDCD 709” released in 1997. CHEAP TRICK’s breakthrough work and symbolic live album “AT BUDOKAN” is. [Mobile Fidelity’s emphasis on master tape sound] Many high-quality CDs appeared in the 1990s, when analog works were at their peak on CD, but MFSL was in a class of its own. Other high-quality CDs are based on the idea of ​​“suppressing digital deterioration” by using new technology to reduce the discomfort of compression, and by reducing reading errors in the material. On the other hand, MFSL’s policy is to “faithfully reproduce the sound engraved on the master tape and not add anything unnecessary.” We place the utmost importance on the “analog recorded sound itself,” including developing our own “half-speed mastering” technology that also focuses on the stage of extracting sound from magnetic tape. Since 1987, MFSL has borrowed original master tapes from record companies and meticulously digitized many masterpieces one by one. We have released the “Ultradisc” series, which transfers the sound of master tapes to CDs. Currently, it has expanded into the SACD and LP fields, but the point is that this work was released on CD in the first half of the 1990s. Magnetic tape masters are susceptible to deterioration over time, and the more time passes, the more the original sound is lost. There are cases where the tape becomes distorted or stuck, but even if it is stored precisely, it cannot prevent the tape from losing its magnetism. Nowadays, LPs recorded with physical grooves have a better sound than the master tape itself… and so on. In that respect as well, the “Ultradisc” series was a great achievement. It began in the 1980s when CDs were popular, and the sound of master tapes was digitized even before the advent of new CD technology that claimed high sound quality. [“AT BUDOKAN” revived by the master sound of the original version] “AT BUDOKAN” of this work conveys the master sound “19 years after recording”. Most of the MFSL series that I have introduced so far are studio masterpieces, and you might think that stage live performances with cheers mixed in would have little meaning, but that is actually not the case. The first thing that catches your attention is the vividness of the bass. While you can enjoy the density and heavy texture of an analog sensation, the three-dimensional effect is also beautifully drawn. The rise of each note is sharp, and it draws a beautiful curve, disappearing into pitch black silence…even the subtleties of its outline remain. This is the taste of MFSL. It is not an unnatural feeling that has been raised by modern mastering, but a sound unique to master tapes that perfectly depicts the presence of the instruments. These virtues can be felt even in studio works, but in fact, their true value is demonstrated only in live recordings. Studio production involves repeating the take over and over again until you are satisfied with the take, and then assembling it three-dimensionally. It’s natural to have a three-dimensional feel, but it doesn’t work that way at live performances where everyone plays all at once. Especially in recordings from the 1970s, the sound of one instrument is often recorded on the tracks of other instruments, and this creates a sense of unity in the ensemble, but on the other hand (at a subconscious level), the sound of one instrument is often recorded on the track of other instruments. It tends to spoil the three-dimensional depth. If you try to forcibly create a three-dimensional effect by remastering without understanding this, it may end up looking unnatural. What is important here is master freshness. By leaving even the smallest details that you might not even be aware of, the original three-dimensional effect of the performance itself appears naturally, and the finer the details, the more natural and vibrant the performance will be. Yes, this is even the true value of MSFL mastering. In fact, the expanded version “AT BUDOKAN: THE COMPLETE CONCERT” was also released the following year in 1998, so this work, which still has fades on sides A and B, did not attract much attention, but the original master tape. The sound is alive in this work. The master sound of a famous album that has been preserved until the present day because it is a CD by “Mobile Fidelity”. Even if you want to get your hands on the actual product now, it will be difficult because it was originally produced in limited numbers. A release to let as many people as possible experience that beautiful sound. Taken from the original US Mobile Fidelity Sound Lab CD(UDCD 709) from Mobile Fidelity Sound Lab “Original Master Recording” Collection 1. Hello There 2. Come On, Come On 3. Lookout 4. Big Eyes 5. Need Your Love 6. Ain’t That A Shame 7. I Want You To Want Me 8. Surrender 9. Goodnight Now 10. Clock Strikes Ten