![]() Luckily, the masters still survive and in very good condition. Once we decided to present this album in its mono format, it was then time to audition and evaluate the master tapes. Clearly, mono was still the boss during the making of this record. Additionally, the last section of "Take Me For A Little While", when the background vocals shouting "Please!" appear, was only mixed to mono, as well. The album's biggest hit, "You Keep Me Hanging On" was only mixed to mono at the conclusion of its performance. However, there is an even better reason, which guided our decision. The fact that the complete mono album has never been issued in any digital format would be a good enough reason for Mobile Fidelity to select it, instead of the stereo album, for our reissue. Since 1967 was the last full year of mono LP production in the U.S., the mono mix became scarce only a short while after its release. Vanilla Fudge delivered this LP in both mono and stereo. But, it is what the creators of this album intended and, therefore, is to be entirely respected. High sound pressure levels and overloaded equipment clearly ruled the room at these sessions. The results of those recordings were certainly brash and exciting, but one would hardly describe the resulting sound as pure or polished. Franklin Street in Hempstead, NY now houses a laundromat), Vanilla Fudge's first album was produced and "directed" by Shadow Morton and recorded by Joe Veneri & Bill Stahl. Recorded at Ultra-Sonic Recording Studios in 1967 (the address, 149 N. Vanilla Fudge's self-titled debut album, a new addition to our catalog, could be considered as an example of that type of recording. Although, some recordings may not reach the sonic heights of certain studio masterpieces, they are surely worthy of our attention and preservation. It is generally felt that, if the master tape of a recording sounds fantastic before we even come into the picture (Pink Floyd's "The Dark Side Of The Moon", Steely Dan's "Aja", Beck's "Sea Change", to name a few) then our process will only help that recording speak more clearly to the audiophile.Īnd, while that is a logical, tried-and-true philosophy, it is just as exciting and rewarding to apply our mastering techniques to recordings which may not be status symbols of high technological refinement. ![]() Since the beginning, Mobile Fidelity Sound Lab has typically sought to acquire recordings with stellar sonics. From the MFSL Facebook page, some comments made by mastering engineer Rob LoVerde:
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