Interviews

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Michael Fremer  |  Jul 31, 2006  |  0 comments

Editor's note (please read!). This story was written in the late 1980's. I don't remember the exact date. At the time, Greg Calbi and Ted Jensen were working for Sterling Sound. Between then and today (2005), Calbi left Sterling and went to work for competitor Masterdisk for a few years. He later returned to the new Sterling Sound (www.sterling-sound.com), a sprawling complex on Manhattan's west side near the "meat packing district," where Ted Jensen and George Marino also work as part of one of the most distinguished teams of mastering engineers anywhere in the world.-MF

Michael Fremer  |  Jun 01, 2021  |  2 comments
I first met Brilliant Corners Artist Management Founding Partner Jordan Kurland back in 2017 at my friend David Hyman’s former home Northern California, holding in his hands a new Transfiguration Axia cartridge.
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  |  Jul 03, 2018  |  30 comments
A friend of AnalogPlanet editor Michael Fremer texted a few weeks ago "There's a kid on WFMU who sounds like you! He's talking about vinyl and different pressings and mastering engineers". Fremer responded "cool". Then came another text: "He just name checked you!"

Michael Fremer  |  Jul 31, 2020  |  2 comments
Annette Funicello’s The Doors connection, Walt Disney’s role in creating famed Sunset Sound Recorders and 15 year old Ron Howard’s role in “The Haunted Mansion” Record album released when the Disneyland attraction first opened are only a few among the many fascinating items gleaned from my interview with Randy Thornton, long-time Walt Disney Records Supervising Producer and Musical Historian.

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  |  Oct 26, 2018  |  20 comments
Tom Fine, re-mastering producer of the first two soon-to-be-released Analogue Productions Mercury "Living Presence" titles talks with AnalogPlanet editor Michael Fremer about the all-analog mastering process, with lacquers cut by Ryan K. Smith from the original 3 track master tapes.

Michael Fremer  |  Apr 19, 2014  |  17 comments
Last Thursday morning April 17th Joe Harley (Audioquest V.P. and record/reissue producer) and I visited Colorado Public Radio Studios where OpenAir host (and vinyl fanatic) Scott Carney interviewed us about vinyl for a show that would air on Record Store Day.
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, 2005  |  0 comments

M.F.: I remember when we were working on "Tron" we were in London in the Royal Albert Hall, we had about 108 pieces waiting, and the guy's sitting up at the organ waiting, while a fight broke out between Wendy Carlos and her associate on one side, and a guy named John Mosley who we'd hired to supervise the recording sessions. And there was a copy of the score being pulled back and forth till it just about ripped in half, so that was a swell time.

S.M.:All about how it was gonna be done?

M.F.:How it was gonna be miked, and.....

S.M.:Yeah, you see that's not the time to have the discussion.

Michael Fremer  |  Apr 30, 2005  |  0 comments

(This Interview originally appeared in Volume 1, issues 5/6 of The Tracking Angle, published in the winter of 1995/96)

Ever hear an LP copy of Maurice Jarré's soundtrack to "Dr. Zhivago"? It was released by MGM during the label's "Sounds Great In Stereo" era. They'd put that statement on the record jacket whether or not what was inside was really recorded in stereo. "It would sound great if it had been recorded in stereo, but unfortunately, it wasn't, " is what MGM meant to put on the cover, I'm sure, but they probably didn't have room.

Michael Fremer  |  Apr 30, 2009  |  0 comments

Back in December of 1986, I flew to Denver, Colorado to interview the great recording engineer Bill Porter. Part II of that interview has already been published on musicangle.com.divided into multiple parts If you search Porter’s name you’ll find it. Why was part II published before part I? Don't ask! As promised, here’s part I of part I— MF

Note: The intro that follows was written in 1986

Face it: Too many of today’s popular music recordings are garbage. I just slipped Bryan Adams’s new album Into The Fire on the Oracle. It’s a Bob Clearmountain co-production (with Bryan Adams). Although he’s responsible for popularizing the Yamaha NS 10M as a nearfield studio monitor (thereby earning him a place in my Hi-fi Villains’ Hall of Shame [along with Dr. Amar Bose]), Clearmountain also co-engineered (along with Rhett Davies) and mixed Roxy Music’s Avalon, a musical classic and one of the finest recordings in the modern rock ear. So I was hopeful.

Michael Fremer  |  Apr 30, 2009  |  0 comments

Few people know this, but Orbison’s voice initially was very thin-sounding. It didn’t have much body to it. And in a mix you couldn’t make it stand out. I had to figure out a way to fatten it up. Equalizers weren’t available. Of course, you can broaden the image electronically very easily today.

Mike Mettler  |  Aug 25, 2022  |  15 comments

Freedom is 73 minutes of prime 21st century Journey, whether it’s the affecting balladry that made the band a household name or the more adventurous, progressive-leaning epics that hearken back to the band’s early/mid-’70s roots. Founding guitarist Neal Schon speaks exclusively to AnalogPlanet about the challenges of sequencing Freedom for double vinyl, how listening to jazz and blues records growing up influenced his playing and arranging skills, and what vintage deep cut he’d like to pull out of the vaults to play during Journey’s upcoming 50th anniversary celebrations. Don’t stop readin’ . . .

Mike Mettler  |  Sep 21, 2022  |  16 comments

Let’s face it — January 1977’s Animals has always been considered to be somewhat of a dark horse in the Pink Floyd recorded canon. Yet here in Year 45 of Animals, the album is finally getting a rightly deserved re-evaluation, thanks to the just released Animals 2018 Remix. To learn more about the process of getting from there to here, AnalogPlanet spoke exclusively to Pink Floyd drummer Nick Mason about what elements of the original album stand out more on the remix, which Pink Floyd albums sound better in mono on vinyl, and why the band was compelled to make new music in 2022. Read on to find out why that Animals 2018 Remix is breaking away from the pack . . .

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