This denotes the original release year of the album (1971) paired with the specific year this praised digital master was manufactured (1988).
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The 1988 pressings of Meddle —most notably the Japanese Toshiba-EMI pressings (such as the CP32 or early EMI Swindon/West German variants)—are celebrated for several technical reasons: 1. Flat Transfers and Zero Dynamic Compression pink floyd meddle 1971 1988 eac flacoa top
The sixth studio album by Pink Floyd, famous for the 23-minute track and the opener "One of These Days" 1988/1989 CD Reissue: This often refers to the Mobile Fidelity Sound Lab (MFSL) Ultradisc
: Created by Storm Thorgerson of Hipgnosis, the cover depicts a close-up of an ear underwater , meant to represent sound waves rippling through a medium. 2. Digital Preservation & The 1988 Peak
Even in blind listening tests, early digital transfers, when ripped with EAC, are often picked out by listeners as having superior "texture, good space, sweetness" compared to their modern, compressed counterparts. The existence of such tests—like a blind taste test where all samples were ripped with EAC—only cements the software's status as a gold standard for critical listening. Guides and tutorials for setting up EAC to achieve a perfect FLAC rip remain some of the most viewed and referenced in the audiophile community. This denotes the original release year of the
: Soft, acoustic, open-tuned textures that require immense dynamic breathing room.
is viewed as the bridge between Pink Floyd's early psychedelic experiments and their "Golden Era".
is considered the transitional link between Pink Floyd’s early psychedelic sound and the progressive rock mastery of The Dark Side of the Moon A Group Effort : Unlike later Roger Waters-led albums, Flat Transfers and Zero Dynamic Compression The sixth
These CDs utilize the same mastering as the early UK Harvest Blackface (CDP 7 46034 2) pressings, known for being flat-transfers of the original master tapes.
Roger Waters and David Gilmour played two separate bass guitars. One instrument was strung with old, dull strings, while the other used fresh, bright strings. The tracks bounce aggressively between the left and right stereo channels.
The 1988 master preserves the dramatic headroom. When the band hits the heavy, synchronized groove halfway through "Echoes," the impact is massive because the preceding section was genuinely quiet. Final Thoughts