LATEST ADDITIONS

Michael Fremer  |  Dec 27, 2010  |  First Published: Dec 31, 1969  |  0 comments
Michael Fremer  |  Nov 07, 2010  |  First Published: Dec 31, 1969  |  0 comments
Why bother with three phono preamps most of us can't afford? For the same reason the enthusiast automobile magazines cover the newest Ferraris and Lamborghinis: just reading about them is fun.
Michael Fremer  |  Oct 31, 2010  |  First Published: Dec 31, 1969  |  0 comments
Ideally, LPs should be played with the pickup stylus remaining tangential (ie, at a 90° angle) to the groove—just as the lacquer from which the LP was ultimately stamped was cut in the first place. Over the years, many attempts have been made to accomplish this. Back in 1877, Thomas A. Edison's original machines tangentially tracked his cylinders, but Emil Berliner's invention of the flat disc put an end to cylinders altogether. In the 1950s, a number of companies marketed so-called "tangential" trackers that used dual arms, based on conventional pivoting arrangements, to change the angle at which the headshell was mounted as it moved across the LP side. In 1963, Marantz introduced the SLT-12, which used a plastic pantograph to move the stylus across the record surface. Garrard's Zero 100 pivoting arm controlled its independently pivoting headshell with a bar that extended from the main bearing of the tonearm.
Michael Fremer  |  Sep 23, 2010  |  First Published: Dec 31, 1969  |  0 comments
This massive, two-box beauty from Denmark costs $60,000, and I wish I could tell you it wasn't really better in most ways than the already outlandishly priced and sonically superb Boulder 2008. I can't.
Michael Fremer  |  Aug 19, 2010  |  First Published: Dec 31, 1969  |  11 comments
As long as you're spinning an LP for your listening pleasure, and if digitizing it at a resolution of 24-bit/192kHz is transparent to the analog source, why not record and store the LP on your computer at that high sampling rate for future convenient playback via iTunes or for iPod use, or for burning to CD-R? And, while you're at it, why not record the LP unequalized and apply the RIAA curve in the digital domain, where you're not dependent on capacitors and resistors that are imprecise to begin with, and can drift over time? With no drift of phase or value, the virtual filter's results should be better than with any analog filter. And in the digital domain, you can program in any curve known, and select it at the click of a mouse. Aside from the sweat equity invested in programming it in the first place, it wouldn't add a penny to the program's cost.
Michael Fremer  |  Aug 19, 2010  |  First Published: Dec 31, 1969  |  2 comments
The minuscule electrical output of an analog signal from a moving-coil cartridge needs to be boosted before it can be converted to digital and equalized in the digital domain. Of course, you could use your current phono preamplifier and record an equalized signal to hard disk, but then you wouldn't get to experience Pure Vinyl's digital RIAA correction—nor would you be able to avail yourself of all the equalization curves provide by Pure Vinyl, of which there are almost too many to count.
Michael Fremer  |  Aug 19, 2010  |  First Published: Dec 31, 1969  |  0 comments
The minuscule electrical output of an analog signal from a moving-coil cartridge needs to be boosted before it can be converted to digital and equalized in the digital domain. Of course, you could use your current phono preamplifier and record an equalized signal to hard disk, but then you wouldn't get to experience Pure Vinyl's digital RIAA correction—nor would you be able to avail yourself of all the equalization curves provide by Pure Vinyl, of which there are almost too many to count.
Michael Fremer  |  Jul 06, 2010  |  First Published: Dec 31, 1969  |  1 comments
Why bother with three phono preamps most of us can't afford? For the same reason the enthusiast automobile magazines cover the newest Ferraris and Lamborghinis: just reading about them is fun.
Michael Fremer  |  Apr 30, 2010  |  First Published: Dec 31, 1969  |  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  |  Jan 28, 2010  |  First Published: Dec 31, 1969  |  0 comments

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