Mobile Fidelity Sound Lab has been perfecting the art of remastering audio since 1977. It currently offers a broad catalog of music, from Frank Sinatra and the Pixies to Yes and Little Richard on LP, SACD, and CD.
I recently chatted with Rob LoVerde, one of MoFi's mastering engineers, about how the company's remasters differ from the original label's product.
First and foremost, he said that every MoFi LP--which was originally recorded to analog--is cut from an analog master tape. That's interesting because ever since digital came onto the scene, most, probably about 99 percent, of LPs for sale now are cut from digital masters. So unless you're already buying MoFi LPs, you still haven't heard what a pure analog recording sounds like--older LPs, pressed before the 1980s are all-analog.
Second, LoVerde said that MoFi never uses dynamic range compression. Virtually every new recording is compressed during recording, mixing and mastering. But MoFi eliminates the last compression stage. He also said that equalization is either avoided completely or used sparingly.
LoVerde came to MoFi from Sony, so I was curious about how the two companies approached mastering. At Sony, LoVerde worked within a team, at MoFi each mastering project he takes on is controlled entirely by him. And at Sony, LoVerde had to work fast and complete one or two projects a day. At MoFi he can take his time and track down the best possible master tape. I was surprised to learn that LoVerde doesn't go out of his way to listen to previous remasters. Instead, he's trying to transfer as much of the original master's sound to the final product as possible.
The analog master is also used for MoFi's SACDs and CDs. That means MoFi's analog sourced SACDs are totally PCM-free, which is extremely rare. Most SACDs on the market have at least some PCM digital in them, which means they're not really delivering the format's true potential. MoFi SACDs are the real deal, pure SACD--using Direct Stream Digital DSD coding.
LoVerde said he knows that MoFi customers expect the best possible transfer, so he can't let a "good enough" mastering leave the plant. MoFi has occasionally bailed on a project because the sound wasn't up to its standards.
I listened to a stack of MoFi vinyl and the sound was awesome. Yes, there's more bass, a near absence of vinyl's old friends--clicks and pops--but it's the clarity improvements that were the most impressive. … Read more