When editing, the Columbia people apparently let the master tape run a tad faster. For comparison: The maximum level here is about 0.5.įun fact: MoFi takes almost six seconds longer for Rainy Day Women #12 & 35 than Columbia. The compressor almost does not intervene at all. In contrast, the MoFi leaves plenty of room for the dynamics of the voice and the instruments to unfold. There is little room left for intermediate tones and dynamics.
The result is almost a straight line along the peaks. The level peaks here very often come up against the limiter’s limit. The Legacy pressing (blue wave) is not only very high, it has also been heavily processed by compressor/limiter to make it even louder. The waveform for Rainy Day Women #12 & 35 left us speechless: With levels peaking at 0.7, the Legacy Blonde On Blonde surpasses all the Lps analysed so far. How do the levels and dynamics of the Legacy and MoFi pressings differ? Waveform diagram for Bob Dylan – Rainy Day Women #12 & 35 For example, the bass drum and bass guitar act with greater clarity. The instruments also separate better from each other. In contrast, the MoFi creates a harmonic image, and works out the intermediate tones. The Legacy is mastered much hotter (see below) and sounds like it: namely loud. Overall, this applies to the entire sound characteristics of both pressings. In contrast, the harmonica on the MoFi is embedded, not imposing itself on the listener. The harmonica is similarly affected on Pledging My Time, for example: on the Legacy, it dominates its passages and some mid frequencies create a harsh, intrusive sound.
On Sad Eyed Lady Of The Lowlands, for example, the hihat fits into the overall picture in the MoFi version, whereas on the mono mix of Legacy it is quite annoyingly in the foreground. Here, especially the voice on the MoFi version stands out positively from the comparative pressing. This is also the case with this stereo mix. MoFi master craftsman Krieg Wunderlich has the audiophile touch when it comes to making Bob Dylan’s voice more pleasant via equaliser without completely discolouring it. How good do the MoFi and Legacy pressings of Bob Dylan – Blonde On Blonde sound? The vinyl itself is in the popular MoFi inner sleeves and last but not least there is a twelve-page insert with great photos, apparently taken during the recording sessions for Blonde On Blonde. The records are in a cardboard box set, in which the records are securely padded by two foam pads. The MoFi was also very carefully produced at RTI, flat and neatly centred.
#Bob dylan blonde on blonde album covers series#
It belongs to the series of Original Master Recordings, which are usually cut from the original analogue master tape. The cover speaks of “180g High Definition Vinyl”.
Mobile Fidelity Sound Lab has distributed Bob Dylan’s double album Blonde On Blonde on three LPs running at 45 RPM. The fold out cover closely follows the original and the (blurred) cover motif of Blonde On Bl54 The pressing has pleasingly little extraneous noise, is flat and correctly centred. The Columbia from Sony Music’s Legacy series sets the bar high with 190g heavy vinyl. Bob Dylan – Blonde On Blonde by Columbia/Legacy Which versions of Blonde On Blonde are we comparing?
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