LATEST ADDITIONS

Michael Fremer  |  Nov 06, 2005  |  First Published: Dec 31, 1969  |  0 comments
If compact discs are so damned dynamic and vinyl is so dynamically limited, why do they sound just the opposite? Why do LPs sound so "live," so explosive, so "there," and CDs so dead? Even the best CDs usually sink to second-rate when you switch to their vinyl versions. I've heard it, you've heard it. Only those in deep denial, those who refuse to listen, don't. They'd rather read the published specs and consider the actual listening some kind of mass delusion among Luddite LP fans.
Michael Fremer  |  Sep 04, 2005  |  First Published: Dec 31, 1969  |  0 comments
"My original goal was simply to design a better turntable than the Linn because at that time in the UK, Ivor Tiefenbrun was the man—he was the patron saint and all that. And all the hi-fi mags were full of Linns. He did for turntables, in a way, what Mark Levinson (the man) did for amplifiers."
Michael Fremer  |  Jul 10, 2005  |  First Published: Dec 31, 1969  |  0 comments
Michael Fremer wrote about the EAR 834P Deluxe in August 2003 (Vol.26 No.8):

I've been meaning to review this Tim de Paravicini design for years. Finally, egged on by readers, here goes.

Michael Fremer  |  Jul 01, 2005  |  First Published: Dec 31, 1969  |  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.

Michael Fremer  |  Jun 30, 2005  |  First Published: Dec 31, 1969  |  0 comments
MF: Sonically, the 3 CD set (issued by Columbia in 1991) is a real disappointment.

RH:  Yea, well hey! It's fourth and fifth generation tapes! They lose tapes now. They had a foolproof filing system at one time. I don't know what happened. Anyway, here come these things in the studio, what am I supposed to do with this stuff? So my first reaction is send it back! I call CBS. I say “Hey, give me a break! Let's get the originals. I'll remix it. I'll  do anything. Anything you want! I don't care. It's history, I want to do it right.

Michael Fremer  |  May 15, 2005  |  First Published: Dec 31, 1969  |  0 comments
The $3000 moving-coil (MC) PhD, available from Chad Kassem's Acoustic Sounds operation, is a monumental achievement that, for me, sets new standards for the cleanness and transparency possible in a phono preamp—and I've had a lot of experience with phono preamps.
Michael Fremer  |  May 01, 2005  |  0 comments

Petra Haden, the very talented daughter of bassist Charlie Haden, and former member of That Dog has released an a cappella version of The Who Sells Out that is charming, entertaining, ingenious and loads of fun.

Michael Fremer  |  Apr 03, 2005  |  First Published: Dec 31, 1969  |  0 comments
Audio Research's long-promised "final statement" phono preamplifier has finally arrived, and its price is $3500 less than the originally rumored $10,000. That's a pleasant deviation from the audiophile norm, but at $6495, the Reference phono still boasts a steep ticket. That's more than twice the price of the $2495 PH3 SE, AR's previous best—a class sonic act itself.
Michael Fremer  |  Oct 03, 2004  |  First Published: Dec 31, 1969  |  0 comments
If the sole criterion for choosing a winner in today's hotly contested premium arms race was original thinking, the Immedia RPM-2 might well come out on top. While some of its design details resemble those found on other products, in many significant areas the arm is unique—not for uniqueness's sake, but in order to efficiently implement some clearly considered goals. If the unipivot RPM-2 bears a resemblance to any other contemporary arm, it is Naim's highly regarded ARO—which I've never heard. The similarity, though, would appear to be superficial.
Michael Fremer  |  Apr 30, 2004  |  First Published: Dec 31, 1969  |  4 comments

MF: For the most part, you chose the material; it was only a few people who…

Martin: Pretty well, pretty well. I mean the idea of Vanessa Mae doing "Because": The idea of a mini violin concerto came first, and I had to find someone to play it.

MF: But she put so much into that. Sometimes that kind of thing doesn’t work—when you try to “classical-ify” something. But that was very good.

So aside from the Beatles, who were the most memorable artists that you’ve produced? Any standouts?

Martin: Any other artists? Well, I’ve been so lucky to produce so many people. It’s difficult to name one. It’s like saying, what’s your favorite track? Obviously, Peter Sellers comes pretty high on that list. We worked very well together.

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