Mobile Fidelity Settlement Update

I am not a Lawyer, and I hadn’t been following the story since it first came out, but after reading the link it appears that the settlement was reached a while ago; but that some people were claiming that the Lawyers involved were colluding with MoFi to limit the payout, and it’s this latest claim that was rejected.

I do believe that MoFi was being intentionally dishonest in their marketing, and don’t wish to rehash that, but the settlement seems more than fair to me. What do people expect? Would that every company that misleads with its advertising suffer some sort penalty..  If MoFi somehow manipulated the process to get “Friendly “ Lawyers then they did a lousy job.  With Friends Like These…”

@zgas-music  In 2017-8 Purchased a MoFi Gain2 Japanese version(SUP 46-8) of Santana Lotus. Had the US released CD version which just sounded OK. Played the MoFi vinyl and it sounded nearly identical. This was my most expensive vinyl purchase at that time, to say I was diappointed would be an understatement. Did I still think that Lotus was from an analog master tape? Since I have not heard the original Japanese Lotus pressing who knows. Since then I have never even considered purchasing newer MoFi vinyl. Take in consideration many of the customers that have  been purchasing MoFi vinyl the past 5+ years.... Many are only record collectors NOT Audiophiles. Many have no concept of Hi-End sound when playback is on a sub-par system. In conclusion don't assume all Audiophiles were fooled by Mo Fi.

It just so happens a good number of the MoFi's I bought were made without the digital conversion step: the three Ry Cooder's, for instance.

But ya know, a lot of original mastering jobs used an intermediary copy tape as the source---what's called a production or safety master---not the original 2-track mixdown tape. A MoFi digital file---made off a 1st or even 2nd generation analogue tape---may sound better than does the tape the original lacquer was cut from.

MoFi claims they found the above to be true, but they didn't disclose that fact to the public, knowing that audiophiles would then perhaps not buy their LP's. A lot of them are no longer going to, that's for sure. 

You don’t have to have intelligence to be an audiophile and this case proves it. So many so called audiophiles/reviewers/analog purists thought the albums they bought sounded excellent until they found out that some of the albums were cut with DSD. Then these so called experts/purists/audiophools who bought these great sounding albums all of a sudden thought they sounded like sh$t. 
 

When does it matter what process is used to cut an album/cd? Don’t you let your ears do the listening, not somebody else’s propaganda? 
I got rid of all of my analog products and albums when dsd/hires digital was perfected because I heard better sq thru these formats than analog. The experts/analog audiophools did too until somebody told them dsd was involved. Glad I’m not part of that audiophool group (analog).

There were a fair number of negative reviews of MoFi Lp’s before the digital step was revealed. Michael Fremer was removed from MoFi’s promo list because of his panning of certain MoFi titles.

Analogue Productions, Speakers Corner, Intervention Records, and a couple dozen more companies continue to make outstanding LP reissues (mostly pure analogue, if you care about that), and some contemporary artists make a point of recording and pressing LP’s to the highest audiophile standards: Gillian Welch, for one. She owns her own LP lacquer-cutting lathe (a VMS 80 with Ortofon amplifiers)---the first step in LP production, and her Acony Records LP’s sound stunning.