Emerson Lake & Palmer / Trilogy Mobile Fidelity Sound Lab / 1CDR

Emerson Lake & Palmer / Trilogy Mobile Fidelity Sound Lab / 1CDR / Non Label
Taken from the original US Mobile Fidelity Sound Lab 24 KT Gold CD(UDCD 621)
Ultradisc II 24 KT Gold CD from Mobile Fidelity Sound Lab “Original Master Recording” Collection

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The gold CD reprint series of “Mobile Fidelity”, which has attracted much attention. The latest bullet is a gift release decision.
Speaking of “Mobil Fidelity Sound Lab (MFSL)”, a manufacturer specializing in analog masters, a trusted brand with great support from audiophiles around the world. The master of sound put the limit of passion and digitized many famous plates from master tape. In such a series, the 24K Gold CD “UDCD 621” released in January 1995 is included in this work. Yes, it is EL & P’s masterpiece “Trilogy”, which is an ideal fusion of three personalities.

[Mobile fidelity with the highest priority on master tape sound] A lot of high-quality CDs appeared in the 1990s when the CD production of analog works reached its peak, but MFSL was exceptional. Other high-quality CDs are based on the idea of ​​“suppressing digital degradation” such as reducing the uncomfortable feeling of compression with new technology and reducing reading errors with materials. On the other hand, MFSL’s policy is to faithfully reproduce the sound engraved on the master tape and not add extras. The company puts the highest priority on “analog-recorded sound itself,” such as developing its own “half-speed mastering” technology that focuses on the stage of extracting sound from magnetic tape.
MFSL has borrowed original master tapes from record companies since 1987 and has digitized numerous masterpieces one by one. We released the “Ultradisc” series, which transfers the sound of the master tape to CD. Currently, we are also expanding into the field of SACD and LP, but the point is that this work was made into CD in the first half of the 90s. The master of magnetic tape is vulnerable to aging deterioration, and the sound at the time of recording is lost as time passes. There are cases where the tape is distorted or stuck, but even if stored precisely, it cannot prevent the loss of magnetism. Currently, LPs recorded with physical grooves have better sound than the master tape itself, and so on. In that respect, the “Ultradisc” series was a great achievement. It was started in the 1980s when the CD was in widespread use, and the sound of the master tape was left digitally earlier than the advent of a new technology CD that demands high sound quality.
MF encapsulated the master sound that was pulled out in a 24-gold gold CD. Gold-plated coating with a purity of 99% or higher usually has higher reflectivity than CD metal thin film, and can reduce errors. The aim was also important, but preservation is now considered more important. CD polycarbonate is water-retaining and corrodes (ie rusts) the internal metal film (aluminum). When you hold an old CD over the light, you may see a small spot, but this is a corroded hole that is said to be one of the causes of reading errors. In contrast, gold is the most stable metal and does not rust in nature. Of course, since it is a coating, it is limited, but it has a preservative power that is not comparable to a normal CD.

[“Trilogy”, where the delicate and natural feeling is left to every corner] So, the “Trilogy” of this work tells the master sound as of “23 years after recording”. Its natural master sound is exquisite. In the case of EL & P, the recent digital remastered version has a natural finish, but the MF board has the advantage of being produced relatively early. For example, “Hoedown” opening. The synthesizer’s siren sounds loudly, but the freshness is already different from here. This siren sound will produce a feeling of frustration by overlapping one after another, but the current version is somewhat flat and weakens and disappears as soon as it passes the peak. On the other hand, this work remains firmly until the moment when each sound disappears, and the siren sounds that overlap one after another are thick, boasting a three-dimensional feeling. It gives you exactly the frustration that Keith Emerson had intended. And the organ ranbu that bursts afterwards is also exquisite. Whereas the current version has a glossy finish by emphasizing the echo, the sound of the instrument itself is vivid. There is a sense of reality that there is a Hammond right in front of you, and there is no need for directing.
Of course, not just the keyboard. As a matter of fact, the recording of “Torology” is not ideal, and there are some parts where the drums sometimes overrun, intended for dynamism. For example, “The Endless Enigma (Part 1)”. The first highlight will be reached in about two and a half minutes, but the drums here are just barely distorted. In the current edition, these non-peak drums are hard, and when listening to a loud speaker, you get tired from your ears and want to remove the headphones without thinking. Of course, since this is the one at the time of recording, there is a lasting feeling even in this work, but ears are not tired because it is so natural. Stretching just before the peak sound penetrates, and the sound immediately after it is seamlessly beautiful. As a result, there is no abrupt sensation of being struck by sticks and sticks, and the natural dynamism of the music can be tasted naturally. These are just examples, but this work has been fully penetrated with such a natural feel. “The original master sound was like this,” the sound testifies.

The master sound of the Daimyo board that can be kept up to the present age because it is a gold CD by “Mobile Fidelity”. Even if you want to get the actual product now, it is difficult because the original production is limited. A gift release for as many people as possible to touch the beautiful sound. Please enjoy it carefully.

アナログ・マスター専門メーカーの“モービル・フィデリティ・サウンド・ラボ(MFSL)”と言えば、世界のオーディオ・マニア達が絶大な支持を寄せる信頼のブランド。音の匠が情熱の限りを込め、大名盤の数々をマスター・テープからデジタル化していきました。そんなシリーズの中で、本作に収められているのは1995年1月にリリースされた24KゴールドCD『UDCD 621』。そう、3人個性が理想的に融合したEL&Pの名作『トリロジー』です。


もちろん、キーボードだけではありません。実のところ、『トリロジー』の録音は理想的とは言えず、ダイナミズムを意図するあまりドラムがところどころオーバーしかけるパートもある。例えば「The Endless Enigma (Part 1)」。2分半ほどで最初のハイライトを迎えますが、ここでのドラムはまさに歪むかどうかのギリギリ。現行盤ではこうしたドラムノンピークがキツく、大音量スピーカーで聴いていると耳に疲れ、ヘッドフォンだと思わず外したくなる。もちろん、これは録音時のものなので本作でもギリギリ感はあるのですが、グッとナチュラルなので耳疲れしない。ピーク音も突き抜ける一歩手前で踏ん張り、その直後の鳴りもシームレスに美しい。その結果、ガンガンと棒で突かれるような唐突感がなく、楽曲本来のダイナミズムを自然に味わえる。これらはあくまでも例ですが、本作はこうした自然な感触で全編が貫かれている。「本来のマスター・サウンドはこうだった」と音が証言しているのです。


1. The Endless Enigma (Part One)
2. Fugue
3. The Endless Enigma (Part Two)
4. From The Beginning
5. The Sheriff
6. Hoedown (Taken From Rodeo)
7. Trilogy
8. Living Sin
9. Abaddon’s Bolero

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