The Who/Tommy 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 533” released in 1990. Yes, it’s Tommy, synonymous with THE WHO and a monumental figure in rock opera. [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. [“Tommy” conveys natural dynamism with master freshness and three-dimensionality] This work’s “Tommy” conveys the master sound as of “21 years after recording”. Its splendor will take your breath away. In modern times, the era of “loudness war” (sound pressure competition) has passed and “fidelity to the master sound” has become the default, but even compared to the current remastered version, the freshness is completely different. That is already clear from the intro of the opening song “Overture”. On the current version, the guitar sound is unstable and shakes a bit dirty, but on the MFSL version, even the smallest details are really glossy and stable. There is no way to know the current state of the master tape, but this may be because the original material has deteriorated. What I had previously thought was “this is what recordings from the 1960s were like” turned out to be completely beautiful. It is a sound that confronts you with such a fact. When the high-pitched horns come in, the three-dimensional effect also blows my mind. It resounds over a rock band sound, but while the current version has a sound that sounds like the backing and horn are two layers, in this work the horn dynamically draws a large mountain. The gap between the instruments in the band ensemble below is vivid, and it has a great three-dimensional effect on its own. Acoustic guitars have a strong presence as each string vibrates, and the peaks are beautiful even when the song reaches its highlight. The sound of horns like thunderclouds spreading majestically above the band, which looks like a rugged rocky mountain…it even evokes an image. This is not a world created by equalization. Just by accurately reproducing the details that were still left on the master tape, the expressive power is completely different. Although the opening was long, you can enjoy the monumental rock opera in its entirety with such “expressive power of sound”. That is what this work is. To be honest, some of the songs have a vintage feel, like they were recorded in the 60’s, and since they are unrestored MFSL discs, there are some parts that reflect the reality of the master tapes. However, even such parts are completely natural, and you can enjoy the “freshness of 1990” that cannot be expected from later remastered editions. Taken from the original US Mobile Fidelity Sound Lab CD(UDCD 533) from Mobile Fidelity Sound Lab “Original Master Recording” Collection (74:59) 1. Overture / It’s A Boy 2. You Didn’t Hear It 3. Amazing Journey / Sparks 4. Eyesight To The Blind 5. Christmas 6. Cousin Kevin 7. The Acid Queen 8. Underture 9. Do You Think It’s Alright / Fiddle About 10. Pinball Wizard 11. There’s A Doctor I’ve Found 12. Go To The Mirror Boy 13. Tommy Can You Hear Me 14. Smash The Mirror 15. Sensation 16. Miracle Cure 17. Sally Simpson 18. I’m Free 19. Welcome 20. Tommy’s Holiday Camp 21. We’re Not Gonna Take It