Michael Fremer

Michael Fremer  |  Mar 16, 2003  |  0 comments
Dense, compact, and built to run O-rings around the competition, SME's flagship turntable makes every other design I've encountered—with the possible exception of Rockport's System III Sirius—look almost homemade. I don't mean to insult the many fine, well-engineered designs out there, but I've seen nothing else to compare with SME's tank-like approach to spinning a record. Comparing the Model 30/2 to a tank isn't exactly fair: the machining is done to higher than mil-spec tolerances. I don't think anyone else building turntables today is capable of this level of construction quality, never mind design ingenuity and fit'n'finish.
Michael Fremer  |  Jul 14, 2002  |  0 comments
It's not every Consumer Electronics Show that someone introduces a $29,000 solid-state phono preamplifier—and I miss it. The 2002 CES was one. My show report in the April issue made it seem as if I'd found out about it there, but the fact is, someone clued me in after I'd returned home. I needed to come clean on that.
Michael Fremer  |  Dec 05, 2001  |  0 comments
The Manley Steelhead tube MM/MC phono preamplifier was first demonstrated at the 2001 Consumer Electronics Show. Nine months later, my long-promised review sample of Eveanna Manley's new baby was delivered. While Ms. Manley may have given birth to the audacious product, it was conceived by the company's chief hi-fi designer, Mitch Margolis.
Michael Fremer  |  Aug 20, 2000  |  0 comments
Andy Payor hurls a briefcase full of engineering and scientific mumbo-jumbo at in an attempt to justify the $73,750 price of the latest and greatest edition of his Rockport Technologies turntable, but really—isn't this all-air-driven design a case of analog overkill? After all, defining a turntable's job seems rather easy: rotate the record at an exact and constant speed, and, for a linear tracker, put the stylus in play across the record surface so that it maintains precise tangency to a radius described across the groove surface. By definition, a pivoted arm can't do that, so the goal there is to minimize the deviation. That's basically it. Right?
Michael Fremer  |  Apr 15, 2000  |  0 comments
What do you want from a 21st-century record-playing device? I hear you: you want one that's compact, well-made, easy to set up, holds its setup, sounds great, and doesn't cost a lot.
Michael Fremer  |  Mar 19, 2000  |  0 comments
This is an era in which products and websites are "launched," but in the past two years Herron Audio has sort of oozed its way into the public ear. With little visible promotion or splashy advertising, Herron is now spoken of within an ever-widening audiophile circle.
Michael Fremer  |  Jul 03, 1999  |  0 comments
At a hi-fi show in Germany a few years ago, an audio club had set up a room filled with a dozen well-known turntable/tonearm combos. I recall seeing the Clearaudio/Souther, Immedia RPM-2 and arm, VPI TNT Mk.IV/JMW Memorial, Basis 2500/Graham 2.0, Oracle/Graham, Linn LP12/Ittok, SME Model 20/SME V, and some others I can't remember, including a few not exported from Germany.
Michael Fremer  |  Mar 28, 1999  |  0 comments
I literally dropped everything when Rega's new Planar 25 turntable arrived a few weeks ago. I'd heard the 'table compared with the Planar 3 at designer Roy Gandy's house when I visited Rega last fall—see "Analog Corner" in the January '99 Stereophile—and was anxious to audition it in my own system and tell you what I heard.
Michael Fremer  |  Feb 26, 1998  |  0 comments
When Bob Graham introduced his 1.5 tonearm at the end of the 1980s, many thought he was dreaming: Vinyl was going the way of the console radio—who would invest two-grand-plus in a tonearm? But there was a method to Graham's madness—he'd designed his arm to be a drop-in replacement for more than 20 years' worth of SME arms, all of which shared the same mounting platform. Perhaps, in his wildest dreams, Graham had already envisioned the current "analog revival"—but even without it, he figured there'd be a robust replacement market, and he was poised to exploit it with what he thought was a superior product.
Michael Fremer  |  Sep 11, 1997  |  0 comments
Larry Archibald presents Liza Austin with a K101-FM shopping-spree certificate at HI-FI '97. Ryan Seacrest makes an appearance. Photo by Natalie Brown-Baca.

I've been reading your column for about a year now and I've always thought you were full of shit!" an attendee cheerfully volunteered at the conclusion of the "Vinyl in the '90s" seminar I hosted at HI-FI '97. So it's that kind of gathering, I thought to myself, remembering how the hour had commenced with an audience member accusing panelist Steve Hoffman of messing with the master tape of Nat King Cole's Love is the Thing for DCC Compact Classics' superb-sounding vinyl and gold CD reissues.

"But at this Show I got to hear records for the first time," the young reader continued, "and you're right! Records do sound better than CDs—much better! Now I have to get a turntable and start buying records! What should I buy?"

"Well, how much can you spend?," I asked.

"Cost is no object."

"Well then, call Andy Payor at Rockport Technologies and order yourself a Sirius III record player for $53,000."

"Cost is an object!" he shot back faster than you could say "second mortgage."

"Well then, you've got a hotel's worth of choices and a day and a half to make up your mind," I told him. "Check out the VPI TNT Mk.3, the Basis 2000 series, the Immedia RPM-2, the Oracle Delphi, and the others that are here—I can't tell you what to buy."

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