This rare boxed set was produced in a limited edition, individually hand numbered run of 5000. The UHQR itself stood for Ultra High Quality Record.
The vinyl is 180gm 'Super Vinyl', developed from improvements made during the creation of CD-4 Quadraphonic records. It is designed to be flatter, more consistent, harder wearing & pressed on an extreme precision press, almost totally eliminating disc eccentricity or warpage.
This gives excellent channel separation & is designed for a flat frequency response across the range with negligible distortion or mid-range disc surface vibration.
The box itself contains two carbon foam anti stain pads, one fold over stiffening card, a fold-out technical specification manual, a UHQR individually numbered & signed Certificate Of Authenticity, and the 13 Track vinyl LP in a unique hand numbered picture sleeve with anti-static inner.
The box itself is high quality, textured & embossed with red text.
Originally released in 1967.
Limited edition of 5000 custom pressings. It was made from the master stamper at the Victor Company of Japan (JVC) plant in Yokohama, Japan during the July 1982.
Barcode and Other Identifiers
Matrix / Runout (A side label): MFSL-1-100-A3
Matrix / Runout (B side label): MFSL-1-100-B3
Matrix / Runout (Runout side A ): MFSL-1-100-A2 H121 ** SR/2 Ortofon
Matrix / Runout (Runout side B): MFSL-1-100-B3 UH131*** SR/2 Ortofon
This is hands down the best presentation of Sgt Pepper that I own. I have several Capitol pressings (stereo and mono), stereo and mono CD, MFSL "The Collection" Japanese boxset version, UK Parlophone first mono (wide spine) and the Giles Martin remix. This one wins on all fronts, but clarity, soundstage and separation are premier. I don't have a first UK stereo, so I have not compared that one. Although this one is very expensive. If you love this album, like I do, it is worth every penny.
“MFSL’s” ultimate edition, this presentation of “...Pepper” has it’s perks, one being the very unique and futuristic “Blade Runner”-esque’ packaging to be sure! The pressing quality ain’t bad either—perfection! The mastering on the other hand is sort of a mixed bag, but there is some improvements to be heard since 1967. The vocals for one are more centered here, they sit much better within the instrumentation overall—a “correction” to the original U.K.’s wide lopsided panning and placement. However, there is a bit of a compressed feeling on this 1982 effort, a sort of reservation to the music if you will. The mastering at times sounds less natural, and less inviting than it’s predecessor, and at other times it seems to reveal greater details that were buried underneath a blurred mess. I also took notice of some added and unnecessary treble boost here and there, especially on “With A Little Help...”, which makes Ringo’s drum set on that track sound like a “clinking, clanking, clattering collection of”,....well, you get the picture, it sticks out...Anyways, for me, this was a step in the right direction in getting a better “Stereo” version of “...Pepper”, but still, it ain’t no 67’ U.K. Mono, not by a long-shot.