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Past Masters Mono'
TruthJeff Becks position in the pantheon of great electric guitarists is indisputable. As visionary a musician as Jimi Hendrix, Beck made his name as the second of three hall of fame stringbenders for the legendary Yardbirds (following in the Slowhand shoes of Eric Clapton and preceding the pre-Zep/session gigging Jimmy Page). Known for his blistering leads and the wild chances he took as one of the first axemen to widely employ feedback during a solo, Beck immediately launched his solo career upon leaving the Yardbirds in 1967. Together with vocalist Rod Stewart and multi-instrumentalist Ron Wood on bass, he cut a pair of albums that expanded on the greatness of his previous work.
In late 1966, Beck began work on Truth, his solo LP debut. Recording with his core group of Stewart, Wood and drummer Mickey Waller, Beck ventured far beyond the established rock guitar lexicon, forging a unique style which would influence generations of future acolytes. The LPs grand masterstroke, Becks Bolero, is recognized as one of the greatest guitar instrumentals of all time. Notably, the session musicians on this track represented the cream of the British rock scene: Jimmy Page on guitar, John Paul Jones on bass, Nicky Hopkins on piano and a Moon-lighting drummer from a mega-band who could not be listed in the credits for contractual reasons. Rumor had it he could see for miles, though.
The influence the album inflicted on the current and future rock scene could hardly be overstated. It showed the way forward toward a heavier, blues-based guitar sound (hello, Led Zeppelin) and provided essential instruction to guitarists from Tom Scholz to Stevie Ray Vaughan. The opening track, Shapes of Things, reworked a Yardbirds song and literally built a bridge from Becks immediate past to his present. The albums cover of the Willie Dixon classic, You Shook Me, beat Zeps version to wax by several months. Throughout the disc, Becks razor-sharp fretwork and enormous tonal palette surprises and amazes at every turn.
This benchmark recording is sourced from the original analog mono masters and is proudly pressed on high-definition vinyl. As another rock legend once said, Just gimme some Truth!1. Shapes of Things
2. Let Me Love You
3. Morning Dew
4. You Shook Me
5. Ol' Man River
7. Rock My Plimsoul
8. Beck's Bolero
9. Blues De Luxe
10. I Ain't Superstitious$28.99Vinyl LP Mono - Sealed Buy Now
Milestones (Mono)Masterwork is Oft-Overlooked Link Between Round About Midnight and Kind of Blue
Vanguard Sonics: Mobile Fidelity Reissue Presents The 1958 Standard with Unparalleled Sound Quality
In MONO You Will Not Hear a Better Analog Edition
Only Record to Feature Davis Original Sextet, Including Rhythm Section of Paul Chambers and Philly Joe Jones
Title Track Stands as First-Ever Modal Composition Even as Blues and Hard-Bop Flavors Make LP One of Davis Most Explosive Affairs
Sketches of Spain, Kind of Blue, Round About Midnight, Four & More, and In a Silent Way Also Available from Mobile Fidelity
Miles Davis created just one studio album with his original sextet. He made every moment count. Pairing with Cannonball Adderley, John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones, the trumpeter not only laid the groundwork for the modalism that immediately followed but tailored a genuine modern-jazz masterwork laden with performances among the most explosive of his distinguished career. Due to its sandwiched position between the more famous Round About Midnight and epochal Kind of Blue, Milestones remains, for too many music lovers, an overlooked classic.
Part of Mobile Fidelitys Miles Davis catalog restoration series, Milestones has been restored to mono for the first time as to expose the records standing as one of the all-time great jazz efforts.Mastered from the original master tapes and pressed at RTI, this unsurpassed 180g mono LP edition grants each musician their own space in a well-defined, broadened soundstage. Colors, shapes, and dimensions appear in the manner they do when beheld from behind a studio-control rooms window.
Davis burnished trumpet? Rendered in three-dimensional perspective, coaxing his mates out to play with unburdened zest and commotion. Coltranes trademark saxophone? Witness it in life-size proportion, his solos working in tandem with and against the driving rhythms. Garlands swaggering piano lines? Visualize the 88 keys as he hits full stride, the chords and fills slithering around skeletal frameworks.
If anything, Milestones is as famous for its title track as the players that produced it. The launching pad for many of Davis (and later, his contemporaries) improvisational flights, the singular piece invites the tessellated explorations Coltrane would forever chase as well as the headliners argyle solo work, who broaches territories that far exceed what he had done with his bop-rooted past. Every song is a highlight, whether its the bravado No Jackle, featuring a hot-foot pace and bebop strains, or Sids Ahead, which continues the albums blues theme while tossing around edgy harmonics and inside-out structures.
Then theres Straight, No Chaser, the absolutely definitive rendition of Thelonious Monks signature piece. Coltranes marbled playing pulls at the tunes lobed borders, Adderley takes liberty with solos, and Davis dances around his mates, at one point quoting When the Saints Go Marching In while demonstrating his knowledge of tradition and eye towards the future. A milestone if there ever was. And now, in resplendent mono.
This title is not eligible for discount.1. Dr. Jackle
2. Sids Ahead
3. Two Bass Hit
5. Billy Boy
6. Straight, No Chaser$34.99180 Gram Audiophile Virgin Vinyl Mono LP - Sealed Buy Now
Bob Dylan (Mono)Bob Dylan On Numbered Limited Edition 180 Gram Mono 45RPM 2LP From Mobile Fidelity
Understated 1962 Debut Launched Immeasurably Influential Career
Album Stands as Clearest Connection to Dylan's Purist Folk Roots
Ghosts of Woody Guthrie and Blues Legends Appear Throughout Recording of Originals and Covers
Mastered From The Original Master Tapes And Strictly Limited To 3,000 Copies
Mobile Fidelity Mono 45RPM 2LP Features Unparalleled Directness And Sound Dylan, Producers Originally Intended
Made when mono was still king, Bob Dylan's self-titled 1962 debut is as understated of an entrance as any significant musician as ever made. Already well-versed in American roots music, Dylan simultaneously pays homage to tradition and extends it by putting his own stamp on classic material that metaphorically functions as the soil of our contemporary songs and styles. Free of ego, and performed with masterful conviction, Bob Dylan ranks with the debut efforts of similar artistic giants Elvis Presley and the Rolling Stones.
Mastered from the original master tapes, pressed at RTI, and strictly limited to 3,000 copies, Mobile Fidelity's restored 180g mono 45RPM 2LP analog version brings the contents of this seminal release as closest as they've ever come to master tape-quality in the original mono configuration. Transparent to the source, the simple sounds of Dylan's voice, acoustic guitar, and harmonica take on lifelike perspective and directness-the husk and bark to which Robert Shelton referred in his now-legendary New York Times review of a Dylan appearance at Gerde's Folk City. MoFi has made possible an inexpensive time-traveling trip back to the Greenwich Village coffeehouses and folk clubs in which Dylan cut his teeth, albeit in much better fidelity and without any annoying background chatter. Wider grooves mean more information reaches your ears.
As the preferred mix at the time of the recording, the mono version presents Dylan as he and his producers originally intended. Since the separation of the stereo versions isn't as sharp, the mono edition places Dylan's vocals in the heart of the musical action and as one with the accompaniment. It paints listeners an incredibly accurate portrait of the attention-getting, concrete mass of sound that features no artificial panning and straight-ahead immersion into the music. This is how almost everyone first heard this timeless album-making the mono mix all the more historically valuable and truthful.
Much has been made of the commercial indifference that greeted the album upon its low-key release. Yet focusing on sales figures and the reaction of a public not yet hip to Dylan's name or music is to miss the forest for the trees. Distinguished from the era's other folk efforts by way of the determination, brazenness, and lived-through-this worldliness Dylan approaches the material and sings the songs, Dylan lays the groundwork for the path he'd soon trailblaze and everyone else would follow.
By nodding to Woody Guthrie at the same time he completely re-imagines a sobering tune such as Blind Lemon Jefferson's See That My Grave Is Kept Clean, Dylan straddles the past and future. He also displays, with challenging authority and savant-like expertise, the ability to handle weighty topics such as death, sorrow, and lamentation with the vaudeville flair, bluesy mannerisms, and poignant command of an artist three times his age.
As Dylan scholar and pop-culture critic Greil Marcus observed in 2010, Everybody knew Joan Baez and the Kingston Trio; if you knew Bob Dylan, you knew something other people didn't, something that soon enough everybody had to know. Within a year, an album could put an adjective in front of the singer's name as if it were already common coin. It all starts here.
This title is not eligible for discount.1. You're No Good
2. Talkin' New York
3. In My Time of Dyin'
4. Man of Constant Sorrow
5. Fixin' to Die
6. Pretty Peggy-O
7. Highway 51
8. Gospel Plow
9. Baby, Let Me Follow You Down
10. House of the Risin' Sun
11. Freight Train Blues
12. Song to Woody
13. See That My Grave Is Kept Clean$49.99180 Gram Audiophile Virgin Vinyl LP Mono 45 RPM - 2 LPs Sealed Buy Now
John Wesley Harding (Mono)Ranked 301/500 On Rolling Stone Magazine's 500 Greatest Albums Of All Time
John Wesley Harding On Numbered Limited Edition Mono 180 Gram 45 RPM 2LP From Mobile Fidelity
Stripped-Back, Unobtrusive 1967 Album A Mellow Return To Dylan's Roots And Harbinger of Country Rock
Includes Original Version Of All Along The Watchtower
Leave it to Bob Dylan to follow three of the most pioneering electric-based albums in history by deviating from the norm and straying from expectation - but continuing to work in the mono format. Hinting at a return to his folk roots and firmly pointing toward the field that became country rock, John Wesley Harding breathes with reassurance and freshness, the unobtrusive sound of an artist re-engaging with the past, forging a future, and stepping into new realms after recovering from an accident and unimaginable pressure.
Mastered from the original master tapes, pressed at RTI, and strictly limited to 3,000 copies, this restored mono version presents the 1967 album with finite details and in the original sound Dylan intended. Immediately notable for the slimmed-down instrumentation, brisk flow, and simple approach, the record continues to endure via a rustic, era-defying naturalism tied to the organic sounds and warm production swathing Dylan's acoustic guitar, mellow voice, breezy harmonica, and minor accompaniments. All these traits translate with incredible realism and lifelike air on this reissue, which also brings out the low end of Charlie McCoy's bass with previously unheard character. With the advantage of wider and deeper grooves, the 45RPM pressing also affords the opportunity to detect more information and lavish in the extra richness.
The preferred mix at the time of the recording, the mono version presents Dylan with unparalleled directness. Since the separation of the stereo versions isn't as sharp, this mono edition places Dylan's vocals in the heart of the musical action and as one with the all-star accompaniment. It paints listeners an incredibly accurate portrait of the attention-getting, concrete mass of sound that features no artificial panning and straight-ahead immersion into the music. As much as any Dylan record, the music here fits the mono spectrum to a proverbial 't.'
Recorded around the same time as the sessions that yielded The Basement Tapes, John Wesley Harding came together after just three studio sessions and approximately 12 hours of time. While many specifics are shrouded in mystery, a majority of songs are tied to Biblical figures, ominous matters, and morality themes. Making not just a clear sonic break from his most recent efforts, but a songwriting transformation as well, Dylan embraces a strict economy of scale, dropping beat-poetry techniques in favor of stanzas that waste no words and progress narratives at every turn. It's as if the Bard is saying that truth is spoken here. Few, if any artists, have captured the American myth and its population of immigrants, drifters, and outlaws with such convincing scope and parabolic sagacity.
Combined with the lyrical evolution and unabashed move towards country conventions, Dylan manages to turn popular music on its side, forging a subdued hybrid style no other peers had yet attempted. Arriving during a period of intense experimentalism and psychedelia, John Wesley Harding functions as a sigh of relief, a piano- and pedal steel-flavored set steeped in requisite simplicity in an environment that was increasingly marked by chaos and madness.
Climbing to number two on the Billboard charts and quickly tallying one million in sales, the pared-down work resonated with a public ensnared by its myriad charms. Then, of course, there's the utter brilliance of every one of the songs here, each seemingly occupying a timeless space that suggests they could've been made in 1967, 1937, or 2007. With All Along the Watchtower, Dylan landed upon a tune that would soon become one of the most-covered and revered tracks in history. And yet it isn't even a standout on an album on which every note just belongs.
This title is not eligible for discount.1. John Wesley Harding
2. As I Went Out One Morning
3. I Dreamed I Saw St. Augustine
4. All Along the Watchtower
5. The Ballad of Frankie Lee and Judas Priest
6. Drifter's Escape
7. Dear Landlord
8. I Am a Lonesome Hobo
9. I Pity the Poor Immigrant
10. The Wicked Messenger
11. Down Along the Cove
12. I'll Be Your Baby Tonight$49.99180 Gram Audiophile Virgin Vinyl LP Mono 45 RPM - 2 LPs Sealed Buy Now
The Ultimate Analogue Test LP
Analogue Productions set out to produce the ultimate test record.
We've consulted many experts in the field, including mastering engineers, audio experts, turntable experts and audiophile listeners, to create a test record that's never been made before. When Barry Wolifson from Sterling Sound in New York City called us with the same idea we had been thinking about - that being to create the ultimate test record - he and our audio expert Clark Williams began to brainstorm and research ideas until they were both completely satisfied with what should go on the record.
Most of the test records in the past have been made to test a variety of equipment. This test record excludes silly cannon shots, typewriters, voices on one channel and other useless fluff. This one specifically addresses your turntable and cartridge. It's designed to provide the basic test signals necessary to calibrate a turntable or cutting lathe as simply as possible. Most of the signals have specific implications, but it is certainly possible to use them in any number of novel ways.
This record was mastered and cut on a Neumann VMS 80 lathe at Sterling Sound and pressed at Record Technology, Inc. on high-quality, 180-gram virgin vinyl.
General Reference Level
This 1 kHz reference tone will allow you to establish a "base level" for all measurements.
Track 1 1Khz reference tone 7cm/s Mono, in phase (Lateral)
Basic reference for all measurements, adjust meter for maximum convenience (in the studio 0VU).
Adjust preamp channel balance for equal output.
Also used to check the offset angle of the photo cartridge; L&R signals should be exactly in phase as displayed on an oscilloscope.
Track 2 1kHz reference level Left channel only
Measure Right channel output.
Track 3 1kHz reference level Right channel only
Measure Left channel output.
The object is to sit the stylus exactly perpendicular in the groove.
Twist cartridge about its radial axis until the measurements from Track 2 and Track 3 are equal or very close to equal for both channels.
High Frequency Adjustment
Tracks 4, 5 and 6 are used to calibrate the RIAA high frequency equalizer of a phono preamp. This will be used to calibrate a mastering lathe's phono preamplifier or any phono preamplifier that has these adjustments.
Track 4 1 kHz tone at -20 below reference level, Lateral
Reference for High Frequency test.
Track 5 10 kHz reference tone at -20dbu, Lateral
Adjust the high frequency until the output level equals that of Track 4.
Track 6 1 kHz to 20 kHz sweep at -20dbu, Mono (Lateral)
The AC millivoltmeter reading should stay constant across all frequencies. There are a number of factors which can affect frequency response, including cable capacitance, cartridge loading, tracking force and worn parts. Because of this, it can be difficult to achieve perfectly flat frequency response. Sometimes by making small compromises in the 10 kHz adjustment, a better overall frequency response can be achieved.
Low Frequency Adjustment
Tracks 7 & 8 are used to calibrate the RIAA low frequency equalizer of a phono preamp.
Track 7 1 kHz to 20 Hz sweep at 0 VU (Lateral)
Play Track 7 and measure the output with your AC millivolt meter.
Ideally, the output will be flat across all frequencies. When viewed on an oscilloscope, the amplitude would remain constant during the frequency downsweep.
Track 8 100 Hz reference tone at 0 vu (Lateral)
Adjust LF Eq to reference (which is your reading from Track 1).
Track 9 VTA adjust
This is an IEC intermodulation distortion (IMD) test signal; 60Hz & 4kHz 4:1 ratio.
Using an IMD tester, adjust VTA by raising or lowering the tonearm for minimum distortion.
Track 10 Standard Wow & Flutter test signal; 3150Hz
The Wow & Flutter meter will give dynamic speed variations as a percentage deviation from nominal.
Also, the frequency counter should read exactly 3150 Hz for nominal speed. You can use the Hz function on your multi-meter (if so equipped) to verify speed here as well. You can also use to find the measurements at 45RPM. The correct reading at 45RPM would be 4253 Hz (45/33.33) x 3150.
Track 1 Anti-skating test; 315Hz amplitude sweep to +12dbu (Lateral)
Signal should remain clean in both channels up to the highest level, both audibly and as viewed on an oscilloscope. In case of distortion, increase anti-skating force or decrease anti-skate until breakup occurs equally in both channels. The left channel information is inscribed on the inner groove wall, the right channel information, on the outer groove wall. Because of the offset angle of a pivoted tonearm, a constantly varying vector force biases the arm towards the center of the record causing the stylus to lose contact with the outer (i.e. right channel) groove wall. Both linear and modulated groove velocity, tracking force, stylus profile, and vinyl composition are contributing factors. The anti skating force attempts to ameliorate this by applying an opposing similar force.
It is also accepted that the overall force vector increases as the tonearm approaches closer to the spindle or end of the record.
Track 2 Pink noise lateral
Track 3 Pink noise vertical
Used for cartridge "demagnetizing"
You can also use this track to loosen up the cantilever's suspension to help break in a new cartridge. Play these tracks five to ten times after every 300 hours of normal LP playback.
Track 4 1kHz @ reference level, vertical
This out-of-phase signal should cancel to nothing when summed to mono.
Any signals still present are distortion artifacts, lack of channel balance, or timing (phase) anomalies. This test can be a second confirmation of anti-skate adjustment.
Track 5 1kHz to 10Hz sweep @ -20 below
reference level, vertical
Resonance anomalies in the tonearm / cartridge interface will show up as amplitude peaks and dips as the frequency sweeps down.
Once again, by listening in 'Mono' it is easier to hear the distortion artifacts.
Track 6 Silent groove for bearing rumble and table isolation
During playback of this track, nothing should be transmitted from the turntable to the speakers. Replay the track and gently tap on the rack or base that the turntable is resting on. There should be little or no thump transferred to the speakers. This track will help you experiment with turntable isolation methods and products to be able to get the most out of your playback system. You may want to use a closed or sealed headphone for best listening results, or a stethoscope on the plinth.
This title is not eligible for discount.$39.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now