The latest release of the popular "Mobile Fidelity" CD reprint series has been confirmed. Mobile Fidelity Sound Lab (MFSL), a manufacturer specializing in analog masters, is a trusted brand that is highly supported by audiophiles around the world. Sound masters have digitized many of the greatest albums from master tapes with all their passion. Among the series, this work includes the CD "UDCD 2-558" released in 1992. It is the monumental live album "AT FILLMORE EAST" by THE ALLMAN BROTHERS BAND. [Mobile Fidelity places the utmost importance on master tape sound] In the 1990s, when the conversion of analog works to CDs was at its peak, many high-quality CDs appeared, but MFSL was in a class of its own. Other high-quality CDs are based on the idea of "suppressing digital degradation" by using new technology to reduce the discomfort of compression or reduce 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 extra." They place the utmost importance on "the analog recorded sound itself," developing their 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. They released the "Ultradisc" series, which transfers the sound of the master tape to CD. They are now expanding into the fields of SACD and LP, but the point is that this work was made into a CD in the early 1990s. Magnetic tape masters are vulnerable to deterioration over time, and the more time passes, the more the sound at the time of recording is lost. There are cases where the tape is distorted or stuck, but even if it is stored carefully, it cannot prevent the loss of magnetism. Nowadays, it is becoming the case that LPs recorded with physical grooves sound better than the master tape itself. In that respect, the "Ultradisc" series was a great achievement. It started in the 1980s when CDs were in widespread use, and the sound of the master tape was digitally recorded before the arrival of the new technology CD, which boasted high sound quality. [At Fillmore East's extremely thick three-dimensional effect is possible because of the high-resolution details] This work, At Fillmore East, conveys the master sound 21 years after recording. When it comes to "high-quality CDs," not only the MFSL series but also other works, it is often thought that they are best shown in studio works, but in fact, they are also great in live recordings... no, live performances are the best. This comes from the process itself. (Although there are many exceptions) Studio works basically progress from drums → bass → guitar → vocals, from rhythm to the top. At each stage, each player plays the same song many times, and the best take is chosen and layered. In other words, each performance is an independent part, and it is natural that they are beautifully separated without being mixed together. However, live performances are different. Although each instrument is recorded in multiples, the players gather in one place and spin out sounds that resonate with each other while being bathed in loud sounds. The sounds of other instruments are mixed in the microphones of each instrument to a greater or lesser extent, and the instruments themselves that are being played on site also carry the vibes of other instruments. While this creates a sense of unity in the ensemble, it also results in poor separation and a sense of mass (compared to studio works). When trying to master such live recordings vividly, the standard method is to raise the peaks. The rise of each sound is emphasized and the subsequent decay is suppressed. This enhances the presence of each instrument and creates a three-dimensional feel in the ensemble. However, this is not natural. The reverberation is processed into a curve that is different from the sound of the instruments, and the suppressed reverberation is flat, and the three-dimensional feel with only the peaks sticking out from there is obviously artificial. Visually speaking, it creates a sense of incongruity like a "movie that is produced in three dimensions" and an "actual three-dimensional space." I've used a long analogy, but this difference is the difference between this work and other remastered versions of "AT FILLMORE EAST". The current remaster "creates a three-dimensional effect", while this work is a methodology that carefully picks out the "three-dimensional effect of the scene" that is recorded on the master tape. In fact, the current remaster has a thin peak protruding from the flat ensemble, but this work is thick because the details of the sound remain even in the fine parts. Moreover, since it is thick after increasing the resolution, it does not become muddy or cloudy. It is so realistic that you can see the instruments vibrating on the stage, and each sound is powerful, but there is no sense of being pushed up, and it is natural and beautiful. This is the awesomeness of the master sound, and the sound that MFSL is truly known for. The master sound of a great masterpiece that has been preserved until the present day because it is a CD by "Mobile Fidelity". Even if you want to get the actual thing now, it is difficult because it was originally produced in limited quantities. This release is to allow as many people as possible to experience that beautiful sound. A gift release of "Live at Fillmore East" from the high-quality CD label "Mobile Fidelity". This is the best sound version of the masterpiece that can be said to be the symbol of live albums. Taken from the original US Mobile Fidelity Sound Lab CD (UDCD 2-558) Ultradisc II CD from Mobile Fidelity Sound Lab "Original Master Recording" Collection Disc 1 1. Statesboro Blues 2. Done Somebody Wrong 3. Stormy Monday 4. You Don't Love Me Disc 2 1. Hot 'Lanta 2. In Memory Of Elizabeth Reed 3. Whipping Post
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