Pink Floyd/Dark Side of the Moon Mobile Fidelity Sound

Mobile Fidelity is a brand that is highly trusted by audiophiles around the world. The masterpiece series created by sound craftsmen with all their passion has been decided to be released. This work includes “UDCD 517” released in 1988. PINK FLOYD’s “Madness” was digitized by “Mobile Fidelity Sound Lab (MFSL)”, a manufacturer specializing in analog masters. [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,” such as using new technology to reduce the discomfort of compression or read 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 CD technology, which boasted high sound quality. [The original form of rock music’s masterpiece “Madness”] This work, “Madness”, conveys the master sound “15 years after recording”. Its delicate and natural sound is truly a sound universe. For ears accustomed to later digitally remastered editions, you may feel for a moment that it’s “plain”, but that’s because dynamism is not particularly emphasized. If I have to say this without fear of misunderstanding, the recent digital reimagined version is a 3D movie. The three-dimensional effect pops out, and the distinctive sound is pushed forward as if to show off the effect. In contrast, this work depicts the natural scenery seen through an open window. There’s no need to stage it; it’s natural that it’s three-dimensional, and all the sounds create a “world” without going out of their way to emphasize it. When you first watch a 3D movie, you might think, “Wow, it jumps out!”, but you might get tired of the unnaturalness and decide that 2D movies are better in the end. On the other hand, this work drifts in a real three-dimensional sound universe, and you can be immersed in it forever. For example, the highlight part of “Us And Them”. Both the rhythm section and the chorus have a great time, but as a result of the luxurious finish of each sound on the digitally reimagined version, the flood of sounds causes traffic jams. Although it was a powerful force, this work, which is a master sound, clearly shows the composition of the ensemble, and you can feel like you are “immersed in it”. It can be said that this accurately conveys FLOYD’s intentions in 1973. Digi-rimmed discs were created by later engineers. In other words, it is a sound that deciphers, interprets, and produces “the world that a legendary album should depict” from the original sound. On the other hand, it was PINK FLOYD himself in 1973 who created the sound of this work. The songs were created one by one by the artists who wrote the songs and grew up feeling the space on stage. For example, the legendary intro to “Money.” The digital reimagined version is just like saying, “Here we go, those legendary registers are flying around!”, but the main focus of this work is the “songs” rather than the “registers.” Of course, although the registers of this work fly around three-dimensionally, the symmetry with the band sound is extremely natural. What we are insisting on is the “goodness of the song” that is brought out by the effect rather than the “greatness of the production”. And it is the unprocessed nature that underpins that natural feel, and the beauty that only comes with master sound. Each instrument and each SE has a delicate vibe from its rise to the moment it disappears, and there is no distortion at the peak of the attack, and no ultra-weak notes are cut off by the highlights. Perhaps thanks to the fact that digitization was achieved in 1988, which was the first of many MF series models, its beauty is so expressive that it almost resembles a natural landscape. You can truly enjoy the original sound world of “Madness”. The master sound of the famous album has been preserved until today 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 (UDCD 517)from Mobile Fidelity Sound Lab “Original Master Recording” collection (42:59) 1. Speak To Me 2. Breathe 3. On The Run 4. Time 5. The Great Gig In The Sky 6. Money 7. Us And Them 8. Any Color You Like 9. Brain Damage 10. Eclipse