Produktsuche

Gesamtkatalog

• Audiophile Pop -Rock LP's
  • MFSL - HALFSPEED-LP`s USA (Out of Print )
  • DCC-audiophile LP`s USA(180gVinyl-Out of Print)
  • Nautilus-audiophile Half-Speed Lp`s(Out of Print)
  • Sweet Thunder-Halfspeed Lp`s-USA (Out of Print)
  • A & M Half-Speed LP`s (Out of Print )
  • Simply Vinyl - LP`s (180g Reissue´s)
  • Audiophile Pop-Rock Lp`s (viele Japanpressungen)
  • Pop-Rock-Folk Lp`s (Normalpressungen)
  • EASY LISTENING LP ( ORIGINALE & REISSUES )
  • Testpressungen - LP (Pop-Jazz-Classic)
  • Sheffield Lab - LP`s USA (Jazz/Pop & Classic)
  • Stereoplay-Highlights (audiophile Halfspeed LP`s)
  • American Grammaphone LP`s (Mannheim Steamroller)
  • CBS-Mastersound LP`s (Half-Speed-USA)
  • Telarc (audiophile LP`s / Classic-Jazz)
  • Audiophile Cassetten (MFSL)
  • 45RPM-SINGLES / MAXI-SINGLES POP/ROCK
  • POP-ROCK-LP´s / JAPANPRESSUNGEN
• Audiophile Jazz LP's
• Audiophile Classic LP's
• Audiophile Pop - Rock - Jazz - Classic CD's

Produkt Detailansicht:

MILES DAVIS ----- GEORGE GERSHWIN - PORGY ABD BESS ------ ANALOGES, AUDIOPHILES RE-MASTERING BY MOBILE FIDELTY SOUND LAB IN USA ----- AUDIOPHILES MOBILE FIDELITY SOUND LAB(MFSL) RE-MASTERING 2020 - ORIGINAL MASTER RECORDING - MADE IN USA ----- GAIN 2™ ULTRA ANALOG 45RPM 180GRAM SERIES ----- 45RPM DOPPEL-LP/RECORD IN EINEM WERTIGEN KLAPPCOVER (GATEFOLD-JACKET)----- SPECIAL LIMITED EDITION -- WITH SPECIAL LIMITED NUMBER #0977 ----- OUT OF PRINT ----- ( ...... OVP = ORIGINAL VERSIEGELT = FACTORY SEALED !! / ..... BESONDERS WERTVOLLE ANALOGE 45RPM-MFSL-DOPPEL-LP/RECORD IN EINEM WERTIGEN KLAPPCOVER(GATEFOLD JACKET) / ..... ORIGINAL PRODUCTION AND RE-MASTERING BY MOBILE FIDELITY SOUND LAB, USA 2020 / ..... ORIGINAL MASTER RECORDING USA WITH SPECIAL LIMITED EDITION NUMBER #0977 !! / ..... 180g HIGH DEFINITION VINYL / ..... MFSL-GAIN 2 ULTRA ANALOG SYSTEM / ..... MASTERED FROM THE FIRST ORIGINAL STEREO TAPES BY KRIEG WUNDERLICH AT MOBILE FIDELITY SOUND LAB, SEBASTOPOL IN CALIFORNIA USA ON THE GAIN 2 ULTRA ANALOG SYSTEM / ..... ORIGINAL AUFNAHMEN 1959 BEI COLUMBIA RECORDS IN USA / ..... ORIGINAL RECORDING 1958 BY COLUMBIA RECORDS IN USA / ..... ANALOGUE RE-MASTERING BY MOFI = MOBILE FIDELITY SOUND LAB, USA 2020 / ..... ORIGINAL MFSL PACKAGING !! / ..... WITH SPECIAL LIMITED EDITION NUMBER ..... EINZIGES ORIGINAL EXEMPLAR(EINZELSTÜCK)IN MEINER PRIVATEN AUDIOPHILEN MFSL-LP/RECORD SAMMLUNG !! = ONLY ONE ORIGINAL SAMPLE IN MY PRIVATE AUDIOPHILE MFSL-LP/RECORD-COLLECTION (ONE EXEMPLARY)!! ...... DIESE WERTVOLLE MFSL-45RPM-DOPPEL-LP/RECORD IST NOCH ORIGINAL VERSIEGELT = OVP = FACTORY SEALED!! ...... VERY-HARD-TO-FIND-WORLDWIDE IN THIS " FACTORY SEALED " QUALITY !! ..... )

*************************************************************************************************** Porgy And Bess (Vinyl, 12", 45 RPM, Album, Limited Edition, Numbered, Reissue, Remastered, Stereo) album cover Miles Davis ‎– Porgy And Bess Label: Mobile Fidelity Sound Lab ‎– MFSL 2-485, Columbia ‎– 88883731681, Sony Music Commercial Music Group ‎– 88883731681 Series: Original Master Recording – , Gain 2™ Ultra Analog 45RPM 180g Series – Format: 2 × Vinyl, 12", 45 RPM, Album, Limited Edition, Numbered, Reissue, Remastered, Stereo, Gatefold, 180g Country: US Released: 17 Jan 2020 Genre: Jazz Style: Big Band, Modal Tracklist Show Credits A1 The Buzzard Song A2 Bess, You Is My Woman Now A3 Gone B1 Gone, Gone, Gone B2 Summertime B3 Bess, Oh Where's My Bess C1 Prayer (Oh Doctor Jesus) C2 Fishermen, Strawberry And Devil Crab C3 My Man's Gone Now 6:21 D1 It Ain't Necessarily So D2 Here Come De Honey Man D3 I Loves You, Porgy D4 There's A Boat That's Leaving Soon For New York Companies, etc. Manufactured By – Sony Music Entertainment Manufactured For – Mobile Fidelity Sound Lab, Inc. Copyright (c) – Columbia Records Pressed By – Record Technology Incorporated – 29960 Pressed By – Record Technology Incorporated – 31537 Produced At – Mobile Fidelity Sound Lab Remixed At – Sony Music Studios, New York City Mastered At – Mobile Fidelity Sound Lab Lacquer Cut At – Mobile Fidelity Sound Lab Credits Arranged By – Gil Evans Bass – Paul Chambers (3) Directed By – Gil Evans Drums – Philly Joe Jones* (tracks: A1, A3 to C1, C3, D3, D4), Jimmy Cobb (tracks: A2, C2, D1, D3) Engineer – Frank Laico Flugelhorn – Miles Davis Flute – Jerome Richardson (tracks: A1, B3, C1), Phil Bodner (tracks: A2 to B2, C2 to D4), Romeo Penque French Horn – Gunther Schuller, Julius B. Watkins*, Willie Ruff Lacquer Cut By – KW* Liner Notes – Charles Edward Smith Mastered By – Krieg Wunderlich Mastered By [Assisted By] – Shawn R. Britton Photography By – Roy De Carava* Photography By [Liner Photography] – Don Hunstein Remix – Mark Wilder Saxophone – Julian Adderly*, Danny Banks* Trombone – Frank Rehak, Jimmy Cleveland, Joseph Bennett, Dick Hixon* Trumpet – Bernie Glow, Ernie Royal, Johnny Coles, Louis Mucci*, Miles Davis Tuba – John "Bill" Barber* Notes Comes in a gatefold cover with special static free and dust free inner sleeves, and heavy duty protection packaging. From back cover: © 1959, 2018 Columbia Records. Originally released 1959. Limited edition of 4,000. Remixed by Mark Wilder, Sony Music Studios, NYC Mastered by Krieg Wunderlich, assisted by Shawn R. Britton and at Mobile Fidelity Sound Lab® in Sebastopol , CA on the GAIN 2 ULTRA ANALOG SYSTEM™ Mastered from the Original master tapes Specially Plated and Pressed on 180g High-Definition Vinyl Production by Mobile Fidelity Sound Lab® in Sebastopol, CA Printed in the U.S.A. Recorded 7/22/1958: A3, B1, C3 Recorded 7/29/1958: A2, C2, D1, D2 Recorded 8/4/1958: A1, B3, C1 Recorded 8/18/1958: B2, D3, D4 No durations on the release Barcode and Other Identifiers Barcode (Text): 8 21797 24851 8 Barcode (String): 821797248518 Matrix / Runout (Side A): MFSL 2-485 A1 KW@MoFi 29960.1(3)... Matrix / Runout (Side B): MFSL 2-485 B1 KW@MoFi 29960.2(3)... Matrix / Runout (Side C): MFSL 2-485 C2 KW@MoFi 31537.3(3)... Matrix / Runout (Side D): MFSL 2-485 D2 KW@MoFi 31537.4(3)... ************************************************************************************************* Miles Davis - Flügelhorn, Trompete Gil Evans - Arrangements, Dirigat Cannonball Adderley - Altsaxophon Danny Bank - Bassklarinette, Altflöte Bernie Glow, Ernie Royal, Louis Mucci, Johnny Coles - Trompete Dick Hixon, Frank Rehak, Jimmy Cleveland, Joe Bennett - Posaune Willie Ruff, Gunther Schuller, Julius Watkins - Waldhorn Bill Barber - Tuba Romeo Penque, Phil Bodner - Flöte, Klarinette, Bassklarinette, Oboe (A2C1, C3D2) Jerome Richardson - Flöte, Klarinette, Bassklarinette, Oboe (A1, B2-C1, D3, D4) Paul Chambers - Kontrabass Jimmy Cobb - Schlagzeug (A2, C2, D1, D2) Philly Joe Jones (A1, A3-C1, C3, D3, D4) Die Aufnahmen entstanden am 22. und 29. Juli sowie am 04. und 18. August 1958 im Columbia 30th Street Studio in New York City und wurden erstmals im März 1959 bei Columbia als CS 8085 veröffentlicht. George Gershwins dreiaktige Oper "Porgy & Bess" nach dem Roman "Porgy" von DuBose Heyward, von welchem auch das Libretto (bis auf wenige Liedtexte von Ira Gershwin) stammt, gilt weithin als das Hauptwerk des Broadway-Komponisten und wurde am 10. Oktober 1935 im Alvin Theatre in New York City uraufgeführt. Der große Erfolg blieb der Oper allerdings zunächst versagt, Kritiker befanden sie zunächst für zu musicalhaft und erst Jahre nach Gershwins Tod sollte dieses Werk die ihm gebührende Beachtung erfahren. Dennoch, einzelne Stücke - allen voran "Summertime" - erfreuten sich bereits früh großer Beliebtheit und wurde schnell zu Jazz-Standards. Ob "I Loves You, Porgy", "It Ain't Necessarily So" oder "I Got Plenty O' Nuttin'" - es gibt kaum einen Jazzer von Rang, der nicht mindestens ein Stück aus Gershwins Oper interpretierte. So auch Miles Davis, der gemeinsam mit Gil Evans ein Album mit Stücken daraus aufnahm. Davis und Evans musikalische Zusammenarbeit begann schon 1948 mit der legendären "Birth Of Cool"-Session und setzte sich mit "Miles Ahead" 1957 fort. Ein Jahr später entstand "Porgy And Bess" und gilt vielen als der Höhepunkt ihres gemeinsamen Schaffens. Dabei löste Evans die Stücke aus ihrer ursprünglichen Erzählstruktur und schuf aus Gershwins Material ein künstlerisch eigenständiges Werk, das bereits an vielen Stelle modalen Jazz vorwegnahm. Davis bekam so die nötige Freiheit sein Genie zu zeigen, während Evans' raffinierte Arrangements dieses kongenial einbetteten. "Porgy And Bess" sollte Miles Davis' erstes Album in Stereo sein und setzte damals auch sonst aufnahmetechnisch Maßstäbe. Dass es immer noch besser geht, beweist die nun erschienene MFSL-Ausgabe, die wie so oft bei MFSL als der Endpunkt einer audiophilen Entwicklung gesehen werden darf. Besser als hier kann "Porgy And Bess" nicht klingen - eine Offenbarung für Jazz-Fans! Das von Krieg Wunderlich mit Shawn R. Britton remasterte Doppelalbum kommt auf 180g-schwerem audiophilen Vinyl mit 45UpM in antistatischen Innenhüllen im Klappcover und ist auf 4.000 Exemplare limitiert sowie fortlaufend numeriert. rr Titel: A1: The Buzzard Song A2: Bess, You is My Woman Now A3: Gone B1: Gone, Gone, Gone B2: Summertime B3: Oh Bess, Where's My Bess? C1: Prayer (Oh Doctor Jesus) C2: Fisherman, Strawberry and Devil Crab C3: My Man's Gone Now D1: It Ain't Necessarily So D2: Here Come de Honey man D3: I Loves You, Porgy D4: There's A Boat That's Leaving Soon For New York ************************************************************************************************ Rezension: Die Kombination der kreativen Geister Miles Davis und Gil Evans warf nur Sternstunden ab. Bei ihrer dritten Gemeinschaftsarbeit nahm sich das Dream Team (zusätzlich zu Evans' Orchester spielen auch noch ein paar Miles-Kollaborateure aus der jüngeren Vergangenheit mit: Adderley, Paul Chambers, Philly Joe Jones) erstmals ein Großprojekt vor – und erfand die Gershwin-Oper komplett neu. Man wüßte zu gern, was der Komponist wohl zu den unglaublichen Harmonien und Klangfarben gesagt hätte, aber man darf wohl mit absoluter Zustimmung rechnen. Neben der berühmten Aufnahme von Ella und Louis (die man freilich kaum zum direkten Vergleich heranziehen kann) ist dies wohl die definitive Jazz-Adaption des Werkes – und man ist geneigt, diese Aussage auch für jeden einzelnen Song, selbst die meistgespielten, zu treffen… Die differenzierten Klangfarben der Evans-Arrangements verlangen geradezu nach einem 45 UPM-Umschnitt. Hier ist er endlich! (1958/2020) *********************************************************************************************** * MFSL - Mobile Fidelity Sound Lab *** Gatefold Cover George Gershwins Oper »Porgy & Bess« war nach ihrer Broadway-Uraufführung im Jahr 1927 kein großer Erfolg. Einzelne Titel jedoch wurden schnell populär und zu beliebten Jazzstandards. Arrangeur Gil Evans und Trompeter Miles Davis schufen 1958 eine Bearbeitung, die für Musikkritiker die beste Zusammenarbeit der zwei Musiker darstellt. So umstritten Gershwins Oper war, so magisch ist diese Einspielung, in der Davis einige seiner besten Soli spielt. Die Neuauflage von MFSL lässt die Arrangements so klar, offen, unmittelbar und multidimensional klingen wie nie. Miles Davis wird unter anderem begleitet von Saxophonist Cannonball Adderley, Bassist Paul Chambers und Schlagzeuger Jimmy Cobb, die Produktion beim Label Columbia übernahmen Cal Lampley und Teo Macero. Das Remastering für diese Doppel-LP auf 180-Gramm-Vinyl mit 45 RPM übernahm Krieg Wunderlich, assistiert von Shawn R. Britton. Die auf 4.000 Exemplare limitierte Auflage mit fortlaufender Seriennummer erscheint im Klappcover. Rezensionen »Das originale Dreispur-Band hat Sonys Ton-Altmeister Mark Wilder (der auch viele Monomixe von Miles-Alben gemacht hat) zu einem neuen – analogen – Stereomix gefügt, der schlicht und einfach grandios gelang. So kommen alle Nuancen von Evans’ zum Teil hochkomplexen Arrangements für eine sensationell gute Bigband zum Tragen, und über allem schwebt Davis’ wunderschöner Ton auf der meist gestopften Trompete und dem Flügelhorn. Großartig in jeder Beziehung.« (Good Times, April / Mai 2020) »Wer auf das Optimum an Klangqualität gewartet hat, kann jetzt zugreifen.« (LP, Ausgabe 3 / 2020) ************************************************************************************************* 180-gram 45 RPM 2LP set! Mastered from the original master tapes, pressed at RTI Strictly limited to 4,000 numbered copies! Miles' and Gil Evans' legendary interpretation of the Gershwin opera, originally released in 1958 on the Columbia label, a division of Sony Entertainment. Take George Gershwin's Porgy & Bess, add Miles Davis and arranger Gil Evans, and what do you get? A classic jazz album that — despite the fact that the material has been rendered almost overly familiar due to countless interpretations — still sounds remarkably fresh four decades after its initial release. Miles' soft yet piercing trumpet style is perfectly suited to Gershwin's melancholy melodies, Evans' musical direction of his 18-piece orchestra is impeccable, and their version of "Summertime" may well be the finest ever waxed. Davis and Evans teamed up for several recordings after this one (including the landmark Sketches of Spain), but Porgy & Bess still stands as one of their most successful collaborations. Mastered from the original tapes, pressed at RTI, and strictly limited to 4,000 numbered copies, Porgy and Bess attains previously unheard degrees of clarity, openness, immediacy, and depth on Mobile Fidelity's 180g 45 RPM 2LP set. Here, the arrangements unfold amidst practically limitless soundstages and burst with multi-dimensional images. Separation between instruments allows you to locate individual band members and trace the decay of the notes. Davis' iconic solo passages take on borderline-surreal qualities of realism and shape. The magisterial scope of the Evans-conducted orchestra emerges with room-filling bloom, color, and dynamics. While difficult to pinpoint its single-best strength, Mobile Fidelity's reissue gives reference-level credence to what may remain the album's most crucial aspect: tone. Based not on chords but on scales and feeling, Porgy and Bess teems with emotions and possibilities – characteristics conveyed by the nuances, timbre, and temper delivered by the array of horns, woodwinds, basses, and percussion involved. Whether the combination of Bill Barber's tuba in unison with Paul Chambers' bass during "Buzzard Song," Davis' improvisational flights on "It Ain't Necessarily So," or the doubling up on alto flutes on several compositions, never before have they been experienced with such richness, roundness, and palpability. Just as identifying singular sonic highlights proves virtually unfeasible, so does underlining which songs feature the most memorable exchanges, melodies, and scoring. Davis and Evans' adaptation of Porgy and Bess remains of a piece, an American touchstone, a recording that immediately separated itself from the multiple other versions released during the same period and continues to make waves decades after its creation, assuming a place in the historical canon alongside collaborative masterworks by Duke Ellington/Billy Strayhorn and Frank Sinatra/Nelson Riddle. ************************************************************************************************* Mobile Fidelity - MFSL2-485 - 180 Gram Virgin Vinyl - AAA 100% Analogue Mastered by Kreig Wunderlich from the Original Master Tape AAA 100% Analogue - 4,000 Numbered Limited Edition - Pressed at RTI Half Speed Mastered on the Mobile Fidelity The Gain 2 Ultra Analog System AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only, from the Master Tapes through to the Cutting Head The original (CS 8085) has its own more murky atmospheric charms, though finding a quiet copy can be a chore. This double 45, a Mark Wilder remix to analog tape from the original 3 track and pressed on much quieter vinyl, is treat even for well acquainted owners of the original pressing. The mix is more cohesive than the early stereo original. The gatefold "Tip on" jacket features session photos that add value to this outstanding reissue. If you're unfamiliar with this recording be ready for an opening fanfare blast that's bright, shrill and not at all like the rich, atmospheric sonics that follow for four sides. Highly recommended - Sound 10/10 Michael Fremer Analogue Planet Miles Davis and Gil Evans' Porgy and Bess Is a Landmark of Arrangement, Performance, and Emotion: 1959 Adaptation of George Gershwin Opera Advances Jazz Idioms and Modal Playing Mastered from the Original Master Tapes and Strictly Limited to 4,000 Numbered Copies: Mobile Fidelity 180g 45RPM 2LP Set Features Reference-Level Tonality, Depth, and Openness If a more significant, influential, and lasting result of a creative musical partnership exists than that of Miles Davis and Gil Evans' Porgy and Bess, society hasn't seen it. It's impossible to overstate the importance of the pair's collaboration on the landmark 1959 update of George Gershwin's opera. Transcending genre, time, and place, the profound statement finds Evans and Davis implementing modal approaches in a mainstream context and advancing jazz idioms that would become the foundation of the form's still-classic era. And that's saying nothing of the soulful playing – legendary performances by Davis' first great quintet that can now be heard in pristine detail courtesy of this definitive analog edition. Mastered from the original tapes, pressed at RTI, and strictly limited to 4,000 numbered copies, Porgy and Bess attains previously unheard degrees of clarity, openness, immediacy, and depth on Mobile Fidelity's 180g 45RPM 2LP set. Here, the arrangements unfold amidst practically limitless soundstages and burst with multi-dimensional images. Separation between instruments allows you to locate individual band members and trace the decay of the notes. Davis' iconic solo passages take on borderline-surreal qualities of realism and shape. The magisterial scope of the Evans-conducted orchestra emerges with room-filling bloom, color, and dynamics. While difficult to pinpoint its single-best strength, Mobile Fidelity's reissue gives reference-level credence to what may remain the album's most crucial aspect: tone. Based not on chords but on scales and feeling, Porgy and Bess teems with emotions and possibilities – characteristics conveyed by the nuances, timbre, and temper delivered by the array of horns, woodwinds, basses, and percussion involved. Whether the combination of Bill Barber's tuba in unison with Paul Chambers' bass during "Buzzard Song," Davis' improvisational flights on "It Ain't Necessarily So," or the doubling up on alto flutes on several compositions, never before have they been experienced with such richness, roundness, and palpability. Just as identifying singular sonic highlights proves virtually unfeasible, so does underlining which songs feature the most memorable exchanges, melodies, and scoring. Davis and Evans' adaptation of Porgy and Bess remains of a piece, an American touchstone, a recording that immediately separated itself from the multiple other versions released during the same period and continues to make waves decades after its creation, assuming a place in the historical canon alongside collaborative masterworks by Duke Ellington/Billy Strayhorn and Frank Sinatra/Nelson Riddle. Defined by Davis biographer Jack Chambers as "a new score, with its own integrity, order, and action," Porgy and Bess has been identified by nearly every major outlet and expert as a must-have album. Davis' phrasing alone cements the effort with a genius quality. As Brian Cook and Richard Morton explain in The Penguin Guide to Jazz: "‘Prayer' is an astounding tour de force, harmonically suspended, and with Miles' most extraordinarily recorded solo to date punctuated by agonized screams and shouts, whether of affirmation or suffering it isn't easy to judge. Miles was not in good physical condition during the making of the record, which perhaps explains the twisting intensity, the bent notes and slurs which seem to express some inner pain." Then there's the immortal rendition of "Summertime," the epitome of calm, understatement, and beauty. At once sweet and spiritual, sure and steady, graceful and exuberant, happy and poignant, Porgy and Bess is a phenomenal jazz dance that has never been equaled – and likely, never will. Hear it as Davis, Evans, and company intended and secure your limited numbered copy today! Bass – Paul Chambers Composed By – George Gershwin Conductor – Gil Evans Drums – "Philly" Joe Jones , Jimmy Cobb Engineer – Ray Moore Flute – Jerome Richardson French Horn – Gunther Schuller, Julius Watkins, Willie Ruff Producer – Cal Lampley, Teo Macero Saxophone – Cannonball Adderly, Daniel B. Banks Trombone – Frank Rehak, Jimmy Cleveland, Joseph Bennett, Dick Hixon* Trumpet – Bernie Glow, Ernie Royal, Johnny Coles, Louis R. Mucci Trumpet, Flugelhorn – Miles Davis Tuba – Bill Barber Miles Davis - Porgy And Bess - 45rpm 180g 2LP The Buzzard Song Bess, You Is My Woman Now Gone Gone, Gone, Gone Summertime Oh Bess, Where's My Bess? Prayer (Oh Doctor Jesus) Fisherman, Strawberry and Devil Crab My Man's Gone Now It Ain't Necessarily So Here Come de Honey Man I Wants to Stay Here (a.k.a. I Loves You, Porgy) There's a Boat That's Leaving Soon for New York Image result for mofi mobile fidelity sound lab GAIN 2 Ultra Analog™ is a proprietary cutting system built and designed by legendary design genius Tim De Paravicini, with consultation from one of MFSL’s founding fathers – Stan Ricker, an audio engineer responsible for many of MFSL’s most heralded past releases. The GAIN 2 Ultra Analog™ system is comprised of a Studer™ tape machine with customized reproduction electronics* and handcrafted cutting amps that drive an Ortofon cutting head on a restored Neumann VMS-70 lathe. (*It is worth noting that independent studies have confirmed that the GAIN 2 Ultra Analog™ system can unveil sonic information all the way up to 122kHz!) First and foremost, we only utilize first generation original master recordings as source material for our releases. We then play back master tapes at half speed enabling the GAIN 2 Ultra Analog™ system to fully extract the master’s sonic information. Our lacquers are then plated in a specialized process that protects transients in the musical signal. (Due to this process, there may be occasional pops or ticks inherent in initial play back, but as the disc is played more, a high quality stylus will actually polish the grooves and improve the sound). We further ensure optimum sound quality by strictly limiting the number of pressings printed for each release. These limited editions, in addition to being collectors’ items, ensure that the quality of the last pressing matches the quality of the first. As you can imagine, all these efforts involve a tremendous amount of time, technology, cost and effort. The introduction of GAIN 2 Ultra Analog™ maintains Mobile Fidelity Sound Lab’s position as the world’s leading audiophile record label, where a passion for music with extraordinary sound quality matters most. https://store.acousticsounds.com/images/FormatIcons/180gram.jpg RTI 180 HQ Vinyl Record Technology is a world class record pressing plant located in Camarillo, California. We have been operating since 1974, pressing for most audiophile record labels and for many quality minded independent and major record labels from around the world. ***********************************************************************************************

Zustand121: OVP = ORIGINAL VERSIEGELT = FACTORY SEALED !! ----- ANALOGES, AUDIOPHILES RE-MASTERING BY MOBILE FIDELTY SOUND LAB IN USA ----- AUDIOPHILES MOBILE FIDELITY SOUND LAB(MFSL) RE-MASTERING 2019 - ORIGINAL MASTER RECORDING - MADE IN USA ----- GAUN 2™ ULTRA ANALOG 45RPM 180GRAM SERIES ----- 45RPM DOPPEL-LP/RECORD IN EINEM WERTIGEN KLAPPCOVER (GATEFOLD-JACKET) ----- SPECIAL LIMITED EDITION -- WITH SPECIAL LIMITED NUMBER #0977 ----- OUT OF PRINT ----- ( ..... EINZIGES ORIGINAL EXEMPLAR(EINZELSTÜCK)IN MEINER PRIVATEN AUDIOPHILEN MFSL-LP-SAMMLUNG !! = ONLY ONE ORIGINAL SAMPLE IN MY PRIVATE AUDIOPHILE MFSL-LP-COLLECTION (ONE EXEMPLARY !!) ...... SIEHE XXL-FOTOS(LOOK THE XXL-PICTURES !!) ..... BITTE FOTOS ANKLICKEN(CLICK ON THE XXL-PICTURES !!) ..... VERY-HARD-TO-FIND-WORLDWIDE IN THIS " FACTORY SEALED " QUALITY !! ..... )

Best.-Nr.: MFSL 2-485 ----- ANALOGE ORIGINAL 45RPM-MFSL-DOPPEL-LP/RECORD ---- LIMITED EDITION - WITH SPECIAL LIMITED NUMBER #0977 ----- (OVP = ORIGINAL VERSIEGELT = FACTORY SEALED !!)

Preis: EUR 799,99 (minus 50% discount with invoice/rechnungsrabatt = 399,99 euro) ----- OVP = ORIGINAL VERSIEGELT = FACTORY SEALED !! ----- ANALOGES, AUDIOPHILES RE-MASTERING BY MOBILE FIDELTY SOUND LAB IN USA ----- AUDIOPHILES MOBILE FIDELITY SOUND LAB(MFSL) RE-MASTERING 2019 - ORIGINAL MASTER RECORDING - MADE IN USA ----- GAUN 2™ ULTRA ANALOG 45RPM 180GRAM SERIES ----- 45RPM DOPPEL-LP/RECORD IN EINEM WERTIGEN KLAPPCOVER (GATEFOLD-JACKET) ----- SPECIAL LIMITED EDITION -- WITH SPECIAL LIMITED NUMBER #0977 ----- OUT OF PRINT ----- ( ..... EINZIGES ORIGINAL EXEMPLAR(EINZELSTÜCK)IN MEINER PRIVATEN AUDIOPHILEN MFSL-LP-SAMMLUNG !! = ONLY ONE ORIGINAL SAMPLE IN MY PRIVATE AUDIOPHILE MFSL-LP-COLLECTION (ONE EXEMPLARY !!) ...... SIEHE XXL-FOTOS(LOOK THE XXL-PICTURES !!) ..... BITTE FOTOS ANKLICKEN(CLICK ON THE XXL-PICTURES !!) ..... VERY-HARD-TO-FIND-WORLDWIDE IN THIS " FACTORY SEALED " QUALITY !! ..... )