Queen/The Game Original US 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 610” released in September 1994. QUEEN’s “The Game” 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 Game” is beautiful from the start of every sound to its disappearance] “The Game” conveys the master sound “14 years after recording”. Its freshness is shocking. The sound pressure is a little lower than the 2010s remaster, which tweaked the sound itself, but this is not a drawback, but a benefit. By never stepping out of the range where it can be reproduced beautifully, all subtleties are depicted as stagnant and distorted. On top of that, it has a dynamism and three-dimensional feel that is comparable to the processed remaster, so it’s amazing. This is probably due to the depth of the silence and the fineness of the details. The processed remaster has a sound that raises the peak and creates unevenness, but the MF version has depth in the silent parts, and you can clearly hear the “edges of notes” disappearing into the darkness at the vibe level. For this reason, I wrote that this is “as good as a processed remaster” that allows you to enjoy the “original spatial feeling” and “three-dimensional feeling of a recording studio” without having to go out of your way to create a three-dimensional or spatial feeling. I don’t mean “equal quality”, but “equal in equalizing expertise”. On the contrary, it is overwhelmingly superior in the area of ​​equalizing’s disadvantages. For example, the natural feel of the strings and leather that resonates in the studio. Especially the drum hitting sounds and guitar cutting sounds. This is not limited to “The Game”, but the sharp attack sounds on digitally reimagined discs tend to be clogged with peaks, and in severe cases can become distorted. However, this work has none of that. Even the unusually tight drums that cut out the reverberation of “Need Your Loving Tonight” don’t get clogged, and the sharp cutting of “Crazy Little Thing Called Love” doesn’t feel strange like only the peaks pop out. Furthermore, the synths and vocals are also wonderful. On the digitally reimagined version, when Freddie sings, there is a roughness on the verge of noise, but the original master sound had none of that. I can’t say for certain whether it’s a bad effect of equalizing or the freshness of the master when digitized, but aside from the cause, how beautiful is the glossy singing voice without any air bubbles… Taken from the original US Mobile Fidelity Sound (UDCD 610) Ultradisc II from Mobile Fidelity Sound Lab “Original Master Recording” collection (35:40) 1. Play The Game 2. Dragon Attack 3. Another One Bites The Dust 4. Need Your Loving Tonight 5. Crazy Little Thing Called Love 6. Rock It (Prime Jive) 7. Don’t Try Suicide 8. Sail Away Sweet Sister 9. Coming Soon 10. Save Me