I didn’t follow that all the way. Was it deliberate & intended or was he simply unable to deliver what he promised?
https://www.discogs.com/label/35095-Mobile-Fidelity-Sound-Lab
Think the digital crept in 10-15 years ago. Not sure about the early MFSL JVC JPN pressings.
Not intentional but he was/is fully capable of delivering what was agreed with the investors.
There’ll be lots about John being autistic and forever chasing measurements/perfection but that excuse doesn’t last 9 years
MoFi are US based so it will be very easy for US customers to setup a tort or class action case.
If MoFi have any sense they’ll be filing for chapter 11 fairly quick.
Maybe some people will actually play the fucking things. Who knows, they might even enjoy it!
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Thousands of middle aged men suddenly discover bum sex vibe here
I’m waiting for Pete to drop that bomb on a stamp collecting forum - “Stick that penny black on a post card and cram it in your ass”.
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I worked with a guy once who collected Penny Reds
No other stamp would do.
He was in demand on the stamp club lecture circuit.
It is all about the letters in the corners and the plate number.
This one sold for £495,000.00 in 2016
“…Moving forward…”
They fucking wish!
I only mentioned it in jest 
I have a few direct metal master types, early ones were all analogue. I’m sure many here have the first direct digital recording by Ry Cooder, 90s I think.
As an aside from this discussion, would really like to know how major record companies managed global releases back in the day. Albums would be concurrently pressed around the globe. Assume they didn’t send copies of the master tape on the basis that it was the mother load so to speak. Not sure if they sent stampers or master discs, allowing local pressing plants to create their own stampers. Likely the latter given the differing matrices?
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Often fresh stampers if it were only a shortish run
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They usually sent the master tape which would be copied and the copy would be used. There was often more than one master created during the recording. Artists were even given masters. that’s how lost or destroyed masters suddenly reappear when presumed gone forever.
Also back in the day only major artists had international releases smaller bands albums were imported.
There were definitely Safety copies made, however a lot of those, from the 70’s onwards as well as the Master, will have been on the ubiquitous Ampex Grand Master 456, because it was the industry standard. Unfortunately that tape degrades really badly (Ican’t be bothered going into it, Google sticky shed syndrome tape) and requires quite specialised handling to preserve the contents, if that is even possible. So anything resurfacing that’s on that tape stock would probably be best preserved (if possible, etc) by t/f to high quality digital.
I guess that is one of the reasons MoFi did what they did.
There is so much myth and Legend surrounding master tapes now. Even major labels can’t always verify what “master tape” they have or how many copies were made originally. Holding master tapes was as much about control as preserving an artists work, the industry were crooks and controlled artist output ruthlessly. That’s why many major artists set up their own studios and even labels to take back control of their intellectual property.
The people who make the money out of artists always want control. It has always happened and always will. Art and business is rarely a happy union unless the artist owns the business side.
Hasn’t changed much from the days of Turner’s mistress having the paintings he left her dismissed as fakes.
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One of the main claims. They only mark a label with their Original Master Tape banner if it can be verified and that goes for the entire record. If for example there are 11 different tracks on 11 different tapes for an album (not unheard of) and 10 of them can be verified but the 11th not, the album doesn’t get the OMT banner. All part of the mystic…
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This didn’t help
Those are the ones that tend to interest, especially if the price differential between say a UK first press and a German one is substantial. Assuming those involved in the subsequent pursuing processes in both countries are equally good, then good quality first press can be had for a lot less money.
True, Also true for singles tapes which were a massive part of an Artists output in the sixties especially.
You mean if the MQA light turns on?