Interviews

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Michael Fremer  |  Mar 09, 2016  |  26 comments
Intervention Records' Shane Buettner was at Sterling Sound yesterday to oversee the mastering of Big Audio Dynamite's 1985 debut album This is Big Audio Dynamite

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Michael Fremer  |  Feb 26, 2016  |  13 comments
Graham Nash held a "listening party" for his new album "This Path Tonight" at New York's Electric Lady Studios, Wednesday, February 24th. The album ships on April 15th, including on vinyl mastered at Bernie Grundman Mastering. Here's a half hour interview I conducted with Graham in the Electric Lady control room.

Michael Fremer  |  Nov 14, 2015  |  11 comments
A friend of mine recently alerted me to his friend's son, Lux, who is a nine year old record collector and vinyl enthusiast.

Michael Fremer  |  Oct 14, 2015  |  14 comments
In his ninety-nine years on this earth Norman C. Pickering has seen and done more than most of us would manage were we lucky enough to live to be a hundred and ninety-nine.

Michael Fremer  |  Oct 04, 2015  |  9 comments
U-Turn Audio's three founders were at this year's Rocky Mountain Audio Festival but I almost missed them.

Michael Fremer  |  Aug 20, 2015  |  0 comments
Singer-songwriter Jack Tempchin is best known for having written the Eagles classic "Peaceful Easy Feeling" and for co-writing "Already Gone", " The Girl From Yesterday", "Somebody" and "It's Your World Now".
Michael Fremer  |  Mar 25, 2014  |  47 comments
While in Los Angeles recently I had visited Chris Bellman and Bernie Grundman at Bernie Grundman mastering.
Michael Fremer  |  Mar 19, 2014  |  31 comments
On Wednesday March 12th Blue Note President Don Was sat down with me to talk about the Blue Note vinyl reissues he's producing for the label.
Michael Fremer  |  Nov 03, 2013  |  5 comments
I drove to record producer and musician John Simon’s Catskill mountaintop home on a gorgeous, unusually mild November 1st day. Simon is best known for producing Songs of Leonard Cohen, BS&T’s Child is Father to the Man, Big Brother and the Holding Company’s Cheap Thrills and of course The Band albums Music From Big Pink, The Band and The Last Waltz
Michael Fremer  |  May 30, 2013  |  1 comments
Before touring the Record Industry pressing plant Analogplanet's Michael Fremer sat down with Ton Vermeulen to get the factory's history and a figurative finger on the pulse of a man who would buy a record pressing plant as the vinyl record lay on its supposed death bed.

Michael Fremer  |  Sep 17, 2012  |  11 comments
While effective isolation from both air and ground borne vibrational energy is important throughout the audio playback chain, it is essential for vinyl playback. It can be built into a turntable in the form of spring or "O" ring suspensions but current thinking downplays that in favor of separate isolation stands rather than incorporating it into the turntable itself.

Michael Fremer  |  Apr 30, 2010  |  3 comments

Swiss-born recording engineer Marc Aubort began his career in the late 1940’s working first with wire recorders and later with tape. Aubort first came to America in 1955 to inspect the American operation of European budget label MMS (Musical Masterpiece Society).

Michael Fremer  |  Apr 30, 2009  |  0 comments

Back in the 1950’s, with major labels like Capitol, RCA and Columbia owning their own Los Angeles recording complexes, small, independent recording concerns were left to pick up the scraps: voice-overs, song demos, commercial jingles and other small-time bookings.

Michael Fremer  |  Jul 31, 2008  |  0 comments

>(Editor's note: back in 1985, with the release of Richard Thompson's Across A Crowded Room and Linda Thompson's One Clear Moment, the two were in Los Angeles at the same time and I got to interview them, both on the same day.

The assignment brought back still-raw memories of the legendary June, 1982 Roxy appearances by Richard and Linda Thompson in support of their final collaboration, the masterpiece Shoot Out the Lights, recently reissued on 180g vinyl by 4 Men With Beards.

Everyone knew the couple had broken up and this would be the last chance to see them live. To add personal insult to musical injury, I called my ex-girlfriend who'd left me four months earlier, and with whom I was still in love, and asked her if she'd like to attend the show. She said yes, and so there we were sitting once again across from each other as we'd done so many times at concerts and clubs for the previous four plus years. Whatever was going on in our heads (or at least mine) played out that evening on stage. Here's the piece written in the aftermath of the two interviews—M.F.)

Michael Fremer  |  Jul 01, 2005  |  0 comments

You won't find Roy Halee's name on many great sounding records. Not because the veteran recording engineer hasn't made them, but because Columbia Records' policy for many years was to not credit the engineer on the jacket. So, aside from the few that do credit him, the others require you to know who they are. That's one reason I tracked Roy down through Sterling Sound's Greg Calbi who has mastered many of Halee's recent projects. But more importantly, as with Bill Porter, I just wanted to sit down face to face with someone who has consistently provided us with great sound, and find out why and how he managed to do it, when so many others failed.

Some of Halee's recording credits are well known:all of Simon and Garfunkel's records, the best sounding Byrds albums (Notorious Byrd Brothers and Sweetheart of the Rodeo), and of course, Paul Simon's two fascinating and extremely successful projects (both commercially and artistically) Graceland and Rhythm of the Saints.

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