EL & P Emerson,Lake & Palmer/Tarkus 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 598” released in March 1994. Yes, it’s EL&P Keio’s masterpiece “Tarkus”. [Mobile Fidelity prioritizes master tape sound] Many high-quality CDs appeared in the 1990s, when the conversion of analog works to CD was at its peak, 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 sound better than the master tapes themselves…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. [“Tarkus” has a synth vibe with a “presence of instruments”] This work, “Tarkus”, conveys the master sound “23 years after recording”. The freshness will blow your mind. Super clear from the beginning of the big song “Tarkus”. The opening synth has a delicate waveform level, and the complex riff has a completely different presence. Each note stands out sharply, and its outline is amazing. Since it is a studio recording, it is natural that you can hear the touch, but you can also feel that the rise of the sound is vibrating the body of the organ in the studio. The resulting abnormal sound, which is less than noise, makes the edges even sharper, and the aggressive feel of the historic riff stands out. Then, a deep bass roar unfolds and explodes. That vast and impressive thing! As mentioned above, MF is supposed to be non-equalized, but it is much more intense than the current remastered version. Even if you listen carefully and compare, there is no evidence that the sound pressure has been increased, and if the peak is not exceeded, it does not feel like it was raised forcibly. Still, it still sounds much more powerful than the later remasters. This is probably a feat that can only be accomplished with great attention to detail. Even without unreasonably raising or directing the sound, every part of the vibration is preserved neatly, making the contrast with the high notes and the depth of the silent parts stand out, creating a tremendous vividness. Even at a live performance, the deep bass of a synth is powerful enough to shake the whole venue, but the bass of this work has a “presence” to it. Of course, the deep bass of a synth is just one example. The presence of musical instruments can be felt in the piano and organ, and the drumming, which has the same number of notes, has a soulful vibe in every stroke. Even the slightest cymbal work remains clearly until the moment the sound is muted, giving an overwhelming sense of “it’s ringing right there”. The same goes for Greg Lake’s bass and singing voice. Every note has a strong instrumental presence, and it stands in the middle of the EL&P ensemble, which combines complexity, depth, and aggression. This realism may surpass even the live album “Pictures at an Exhibition”. Taken from the original US Mobile Fidelity Sound Lab from Mobile Fidelity Sound Lab “Original Master Recording” Collection 1. Tarkus a (1) Eruption b (2) Stones Of Years c (3) Iconoclast d (4) Mass e (5) Manticore f (6) Battlefield g (7) Aquatarkus 2. Jeremy Bender 3. Bitches Crystal 4. The Only Way (Hymn) 5. Infinite Space (Conclusion) 6. A Time And A Place 7. Are You Ready Eddy?