Michael Fremer

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Michael Fremer  |  Sep 03, 2013  |  44 comments
The success of the Audio Desk Systems’ ultrasonic record cleaning machine made it inevitable that others would follow. A few have since been marketed that use existing technology and hardware such as Bob Ratcliff’s V-8, a stainless steel vat that can clean but not dry eight records simultaneously. It uses available hardware adapted by Mr. Ratcliff along with his motor driven rotating spit-like contrivance.

Michael Fremer  |  Jun 27, 2017  |  First Published: Jun 27, 2017  |  25 comments
It's an age-old problem and a problem of old age— particularly in a cluttered listening room: you put the record on the turntable, put the jacket down and then forget where you put it. Has that ever happened to you?

Koeppel Design, maker of neat record dividers and the snazziest LP carrying bag has the solution with its new LP Block.

Michael Fremer  |  May 07, 2006  |  1 comments
What makes a phono cartridge worth $3500 or $4000? Pride of ownership? Snob appeal? Sound? Tracking ability? Exotic materials? Styling? Labor cost for skilled artisans? Special ether? Cool wooden box? All of the above?
Michael Fremer  |  Jun 11, 2014  |  17 comments
Let's first diffuse the price outrage. This reissue of Leonid Kogan's epic performance of Tchaikovsky's Violin Concerto and Meditation by The Electric Recording Company, limited to 300 copies, costs £300 or about $504.

Michael Fremer  |  May 14, 2016  |  First Published: May 14, 2016  |  2 comments
Kondo introduced the GE-10, its first new phono preamplifier in many years.

Michael Fremer  |  Jan 17, 2017  |  First Published: Jan 17, 2017  |  4 comments
KORG's new DS-DAC-10R seen at C.E.S. 2017 in the AXXIS Audio room where one usually finds expensive products, is a $595 full-featured, compact analog/DSD digital product.

Michael Fremer  |  Feb 01, 2009  |  1 comments

Before there was an Internet, before cell-phones but after smoke signals, news of this remarkable Leo Kottke album with the black and white armadillo cover spread throughout the “underground” almost immediately upon its release in 1969 on John Fahey’s Takoma Records label.

Michael Fremer  |  Dec 01, 2010  |  1 comments

How many Diana Krall albums does one need? That's a personal decision of course. However, if you have more than three but no Shirley Horn albums in your collection, you have a few too many. Ditto Sarah Vaughan, Ella, etc. That's not meant as a slight against Krall. In fact I think she'd probably agree with me.

Michael Fremer  |  Feb 01, 2003  |  0 comments

Explaining the platinum success of Alison Krauss (with or without Union Station) is about as difficult as doing the same for the Buckingham/Nicks incarnation of Fleetwood Mac: melodic pop tunes; sexy, intimate female vocals; and genre-bending arrangements. Fleetwood Mac mixed lots of ABBA into its blues/rock sound; Krauss threw in bluegrass and folk accents. It's as silly to dismiss Krauss because she's not real bluegrass as it is to think that she really is bluegrass! And if you don't think ABBA is at the root of the Buckingham/Nicks Mac, listen to the harmonies on ABBA's "S.O.S."--hell, listen to all of "S.O.S." and then throw on Fleetwood Mac or Rumours.

Michael Fremer  |  May 10, 2016  |  First Published: May 10, 2016  |  4 comments
Designer Louis Desjardins explains the new D.C. accumulator power supply for the top of the line Pro turntable.

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