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Malachi Lui  |  Feb 18, 2020  |  66 comments
(Vinyl Reports is a new AnalogPlanet feature intended to create a definitive guide to vinyl LPs. Here, we’ll provide sound quality, LP packaging, notes about the overarching vinyl experience, and sometimes music reviews. Today’s vague theme is what this recurring feature is generally about: records new and old, good and bad. Let the fun begin…)

Malachi Lui  |  Jun 28, 2020  |  36 comments
(Vinyl Reports is an AnalogPlanet feature aiming to create a definitive guide to vinyl LPs. Here, we talk about sound quality, LP packaging, music, and the overarching vinyl experience.)

As the world moves to reopen, record stores are slowly allowing customers back in. Here in Portland, OR, Music Millennium recently held a week of appointment-only personal shopping experiences (charitable donation necessary), then subsequently reopened with a 10 person limit and new safety measures. I shopped during the “be the only customer inside!” period and reviewed below are four recent acquisitions.

Malachi Lui  |  Dec 19, 2021  |  3 comments
(Vinyl Reports is an AnalogPlanet feature aiming to create a definitive guide to vinyl LPs. Here, we talk about sound quality, LP packaging, music, and the overarching vinyl experience, this time in a shorter format than usual.)

Malachi Lui  |  Nov 28, 2021  |  14 comments
(Vinyl Reports is an AnalogPlanet feature aiming to create a definitive guide to vinyl LPs. Here, we talk about sound quality, LP packaging, music, and the overarching vinyl experience.)

Real-life used record shopping is as joyful as it is potentially frustrating. These days, I mostly find used record bins of previous decades’ detritus; however, a recent browse through Asheville’s Harvest Records yielded luck. Following are reviews of three of those finds, plus one used LP ordered on Discogs.

Malachi Lui  |  Sep 30, 2020  |  31 comments
(Vinyl Reports is an AnalogPlanet feature aiming to create a definitive guide to vinyl LPs. Here, we talk about sound quality, LP packaging, music, and the overarching vinyl experience.)

Malachi Lui  |  Nov 30, 2021  |  1 comments
(Review Explosion, curated by contributing editor Malachi Lui, is AnalogPlanet’s guide to notable recent releases and reissues. It focuses on the previous few months’ new releases for which we don’t have time or energy to cover more extensively.)

Malachi Lui  |  May 31, 2022  |  10 comments
(Review Explosion, curated by contributing editor Malachi Lui, is a guide to notable recent releases and reissues. It focuses on the previous few months' new releases for which we don't have time or energy to cover more extensively.)
Malachi Lui  |  Oct 03, 2021  |  28 comments
(Review Explosion is a recurring AnalogPlanet feature covering recent releases for which we either don't have sufficient time to fully explore, or that are not worthy of it. Curated by AnalogPlanet contributing editor Malachi Lui, Review Explosion focuses on the previous few months' new releases. This particular Review Explosion discusses four Vinyl Me, Please releases from June-September 2021.)

Michael Fremer  |  Dec 31, 2006  |  0 comments

The Labels

The original Warner Brothers label was gold colored with “Vitaphonic Long Play” on the bottom, separated by “Stereo” in red letters, boxed in black. In small red letter above that it reads “Warning:reproduce only with stereophonic cartridge and stylus. Pressure not to exceed 6 grams” (mono releases were originally gold as well, but were later changed to grey). This label continued into the mid-sixties. Original pressings of records like 1962’s Peter Paul and Mary (WS 1449) feature that label, as does Peter Paul and Mary’s Moving album (WS 1473) from 1963.
Promo copies were black and white

Michael Fremer  |  Dec 31, 2010  |  0 comments
I wrote this article, originally published in Music Connection magazine, back in 1985 after becoming increasingly disgusted with and alarmed by the deteriorating sonic quality of new releases from familiar artists. Little did I realize then that 1985 was a 'golden age' of good sound compared to what most pop and rock recordings sound like in 2008! I remain grateful to editor Bud Scoppa for giving me the platform to spout a then unpopular view in a magazine read by Los Angeles engineers, artists and music business executives.

When The Absolute Sound's Harry Pearson announced he was looking for a new popular music editor, I applied for the job by sending him this article. He liked it enough to give me the job. That gave me an ideal platform from which to advocate saving the vinyl record and extolling its unique set of virtues, sonic and otherwise.

Watching the LP section at the huge Tower Records on Sunset shrink by the week, never did I imagine that in 2008 the LP would be back and Tower would be gone. —Michael Fremer, 1/15/08

Michael Fremer  |  Apr 30, 2004  |  0 comments

Note: due to current website technical limitations, accompanying photos can be found in the “gallery” section, accessible near the bottom of the home page.

Last fall, I was invited to visit the Hornslet speaker cabinet manufacturing facility in Denmark. The company builds high-tech boxes for Audio Physic, Linn, Dali, Naim, Aerial Acoustics and a number of other companies. Take a look at a map and you’ll see that Denmark is but a short distance from both Hamburg and Hanover, Germany, home of the big Universal Music tape vault and the Emil Berliner studio. I’ll be in the neighborhood, I figured, so why not swing by on my way to Denmark?

I’d made contact with Gunther Buskies, senior product manager in charge of vinyl reissues at Universal, who worked out of Hamburg, and he offered to drive me to Hanover so I could visit the facility and talk with veteran LP mastering engineer Willem Makkee. Makkee cuts the Universal LP reissues as well as the Warner Music (Europe) series, and most of the Speakers Corner vinyl.

Michael Fremer  |  Apr 30, 2004  |  0 comments

Arriving at the Universal facility in Hanover, I was confronted by a large, multi-storied modern facility. I had been led to believe that the site was the original home of Berliner, but in fact, that was elsewhere in Hanover, and instead a small section of the mastering facility’s first floor had been turned into a small museum showcasing artifacts from among Berliner’s effects. Among them was Berliner’s original flat disc gramophone, early plated lacquers and finished discs, his original “Nipper” drawings, other Berliner designed playback devices, and some photos of the inventors. It was thrilling to see the first flat disc playback device “in the flesh.”

Photos lined the walls and corridors: photos highlighting the rich recording heritage of Deutsche Gramophone and other labels now under the Universal umbrella. There were pictures of recording sessions from the 30’s, 40’s, 50’s and beyond, featuring Herbert Von Karajan conducting the Berlin Philharmonic while a team of recording engineers and technicians in an adjacent control room oversaw the capture to analog tape. There were shots of Karl Bohm, Leonard Bernstein, Seji Osawa, and other luminaries of a bygone era, exuding a gravity, importance and grandeur that people no longer seem to possess anywhere on the planet. That goes for musicians, politicians, you name it. And if you don’t sense it in everyday life, you surely would walking down that corridor taking in those black and white photos.

Michael Fremer  |  Jul 10, 2020  |  15 comments
A vinyl-loving physics professor at Florida State University emailed to tell me that William Stead, a "brilliant film student" was in his astronomy class and came up to the prof one day and told him he was a huge Bowie fan and that he loved vinyl. Stead made a short documentary about Doug and Michelle Allen, owners of Banana Records who I profiled in my Banana Records video, which you can find on the AnalogPlanet YouTube channel.

Michael Fremer  |  Feb 10, 2018  |  42 comments
Beginning in the late ‘70s, continuing throughout the 1980s and once in 1994 Wilson Audio Specialties founder Dave Wilson released a series of records that he co-produced with wife Sheryl Lee, many of which he also engineered. They were minimally miked—often a spaced pair of Schoeps was all—and mastered by an all-star lineup of disc cutters including Bruce Leek (who also shared engineering credit on some), Stan Ricker and Doug Sax (Google if any of the names are unfamiliar). The tape machine for all but the very early organ record Recital (Wilson W-278) was an Ultramaster™ by John Curl, a highly modified Studer 1/2" deck running at 30 IPS.

Michael Fremer  |  Sep 30, 2012  |  6 comments
We have a copy to give away of Paul Simon's new concert Blu-ray disc "Live in New York City," courtesy Concord Music. WARNING: It will not play on your turntable!

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