Vinyl and analog with "Mickey" Michael Fremer
An exclusive interview with Michael Fremer. Read on why vinyl and analog never left the homes of some music lovers etc.
How did all started for becoming a Mr. Vinyl?
When did you got “hooked” to the music and hi-fi?
What made you keep using vinyl replay?
What was your entry to high-end industry?
In 1986 Harry Pearson of The Absolute Sound, which I used to read cover to cover, asked if any reader was interested in being Pop Music Editor. I'd written some pieces for the Los Angeles magazine "Music Connection" about how bad recorded sound was becoming and also some record reviews. I sent them to him, he liked them and he hired me. It was a part time job that didn't pay much but that was fine with me. The funny thing is, much of what I wrote was based on what I'd learned reading TAS so I was feeding back to HP what he'd taught me. So no wonder he liked what I'd written!
Would you consider yourself as an audiophile?
The term "audiophile" has become pejorative (negative). I got into high quality audio because I am a music lover first, who likes it to sound good. The "gooder" it got the "gooder" I wanted it to sound! We all know that quest, but the driving force is music not gear. I know guys who collect "stuff" and obsess over "stuff". That wouldn't be me, really.
Who were your inspirations and people, that made biggest impact on you (and still are)?
Kindly list your reference audio system.
If you had told me 30 years ago when I had Spica TC-50 speakers and modified Hafler DH 101 preamp and Hafler amplifiers built from kits plus a Denon direct drive motor turntable with Lustre GST-1 tonearm, that some day I'd own the stuff I own now, I'd tell you you were crazy!
Top carts are too many to list but what separates them from lesser ones include the body material, construction, stylus profile, coil material and the hand-tuning that only the most expensive can have. Low resonance bodies of Titanium and the selective laser melt bodies of the Ortofon A90 and Anna contribute to their great sound quality. Severe profile styli like the Geiger and Ortofon Replicant contribute to the super detail heard from these cartridges. I'm leaving out great ones from Benz, Transfiguration, Koetsu, Sound-Smith etc.....can't name them all....
The best way to get that would be to buy my DVD "21st Century Vinyl: Michael Fremer's Practical Guide to Turntable Set-up" (plug). I do set up seminars all over the world and I show people how to set overhang, zenith angle, anti-skating, SRA/VTA and azimuth. I believe all of this should be done by measuring first listening later. If you use one of the severe styli getting VTA/SRA correct is ESSENTIAL or you'll get Intermodulation Distortion that's easily audible. The correct SRA (stylus rake angle) is 92 degrees for every cartridge and every record, with only a few exceptions. That's two degrees beyond perpendicular for the stylus "contact patch" (the ridges that read the vertical modulations). Virtually every cutter head stylus is set to 92 degrees. Has to be two degrees beyond perpendicular so the just cut lacquer thread and be sucked out the back and safely stored. It's very flammable. Anyone who tells you it's necessary to change VTA/SRA with different thickness records is deluding themselves.
Easy: it sounds much better.
It certainly can sound as good as it's ever going to sound! Some of the difference in the higher priced cartridges is stricter tolerances. If you set up a cheap cartridge using measurements you can get them to sound surprisingly good.
All recordings are "illusions". There is no "absolute sound." Of course there are some GREAT illusions! And many poor ones. Many "audiophile" recordings done with simple but distant miking tend to sound "pure" but dead. This is an art not a religion!
I'v seen some secret tonearm designs that I think will take vinyl playback to another level and better performing turntables continue to be manufactured at lower prices. The people making the great records of the 50s and 60s had no idea how good those records really are. It just keeps getting better and better.
To my ears analog remains "state of the art" sound—the most lifelike and convincing, while the best digital now sounds very very good.... until you switch back to the turntable.
There are so many.... best cheap is Pro-Ject Carbon. Best expensive? Mine is in limited production so leaving that aside, I like TW Acustics, Brinkmann, AMG, VPI Classic, Kuzma, Acoustic Signature, Avid, Basis (though I'm not a fan of acrylic platters in expensive 'tables), some of the Clearaudios (not their big 'table), Dr. Feickert, Funk, J.A. Michell, Nottingham, Origin Live, SME, Simon Yorke... there are soooo many good ones... can't name them all....
It is critical. Don't bother with records if you're not willing top get set up correct. When that's accomplished and your records are clean you shouldn't hear that you are playing a record....
The best part of my job is helping people and getting nice comments from grateful readers. You cannot imagine the pleasure that brings me. Especially from the skeptics who finally break down and buy a turntable after years of digital. Their lives are literally transformed! That's what they say.
I just wrote a review of the big Lamm ML3 Signature amps and I discuss that in the review. Both are wrong obviously. Neither sounds like real music. But choose your favorite. I don't think one is "better" sounding but we know which is better measuring, not that that's critical. If I went by that, I'd be listening to CDs! I am in the solid state camp right now for amp and preamp but I like a tube in there somewhere so mine is in the phono preamp.
A sense of musical flow and harmonic grace. A more believable instrument attack and more generous sustain and for whatever reasons a greater illusion that a live performance is occurring in front of you. Vinyl makes you want to pay attention and do nothing else. Once I start playing records I can stay up all night. With digital I get bored after a short while. I think vinyl is quieter than digital. It's a different kind of quiet that's difficult to explain but when you go from digital to analog there's a sense that an unheard but felt "noise" disappears. When it does, your body relaxes.
Yes. There are products designed by technocrats and products designed by music lovers and best of all are those designed by people with a firm technological grasp and a love of music. There are too many ridiculous 'contraptions' out there with no basis in science or technology...just fanciful "stuff".
"High Performance" is a much better term because "High End" attaches to a price whereas "High Performance" is about performance not related to price. I thought my Spica, Hafler set up in the '70s was "high performance" though not high prices. I just reviewed Pioneer speakers designed by Andrew Jones of TAD (formerly with KEF). Andrew's $150 3 way towers are definitely high performance but not high price! I bought a pair for my family room home theater system and they are great as is his $79 center channel speaker. These speakers measure remarkably well too considering the cabinet is molded plastic! "Luxury" is when cost is no object and when you pay for the "jewelry" aspect of the hobby. Gorgeous wood finished, chromed accents, etc. There's nothing wrong with any of that especially if it means wifey will let the stuff in the living room!
"Ultra" is when you spend $150,000 on a turntable or $200,000 on speakers. Or $200,000 on a car. My favorite material possession is the Continuum turntable. Not because of what it cost (I got an industry accommodation price) but because of how it sounds. Every manufacturer who visits immediately hears how exceptional it sounds. BTW: some people are skeptical of how I can afford this stuff even with a discount. So consider this: my first DVD cost $20,000 to produce. I hoped to sell a few thousand at $15.00 wholesale. That would allow me to recoup my investment and make a few bucks. That's all I'd hoped for. I didn't do it for the money. BUT now I've sold 16,000! And they continue to sell. I just ordered another 1000. So do the math and you'll understand how I can afford this stuff...
Because of the distribution system and the size of the industry, that's unfortunately true. There are no "economies of scale" at the top, no more than there is for automobiles that are essentially hand built. The hi-fi passes through more hands so gets marked up more but there are really no good alternatives unless you're willing to buy directly from hobbyist/manufacturers. You can save money that way but you'll inevitably lose it when you sell to buy something else.
I am not sure what you mean by "built in elements". Need for 'exotic parts'? Some people swear by certain brands of capacitors and resistors for instance that are far more expensive than commercial ones. I sat through a demo at Ypsilon in Greece where designer Demetris Backlavas swapped out but ONE capacitor in a very simple amp circuit he was working on and the sonic difference was ENORMOUS. So yes, I believe the designers who listen through, part by part, get the best results.
If the goal is performance, yes. If the goal is looks or ease of use, no. then function follows form.
I would say acoustic music, whether classical, jazz or folk. I don't see how one can review audio gear and not use well recorded acoustic music. A good mix of symphonic and chamber, jazz vocals and small group is also essential in the mix.
I think it caused an emotional breakdown between artist and listener. MP3's value and the value of streaming formats like Spotify, Pandora, MOG etc. is as a means to find out about new music. For that it is fantastic. Then after you hear something you like, you can buy a version that you can actually sit down and listen to!
Rather than drawing a line, find a good balance. High resolution without "musicality" gives you an analytical sound that's at first exciting and then you stop listening. Fetishing over "musicality" (whatever that means but let's assume like pornography, we know it when we hear it) usually gives you soft, soggy, overly romantic and warm sound that bears little resemblance to live music. Transparency is always good but only in the context of a good balance of the other elements. For example, if you like the fast, transparent, analytical sound of a Soulution amp, try to balance it with a somewhat warm and forgiving speaker. If you go for one that's more analytical, say, like a Magico Q5, which is a great speaker, but on the analytical side IMO. So putting together those two products will probably not give you a good balance of transparency, resolution and musicality....
A mix of acoustic, electric, jazz, rock, classical, etc. Always female voices (Ella, Joan Baez, Sandy Denny, Joni Mitchell, etc.) male voices (Johnny Hartman, Mel Tormé, etc.) folk (Incredible String Band, Dylan, Fairport, Richard Thompson, John Renbourn, etc.) classical (symphonic, chamber, some opera, etc.) and the usual rock suspects.
I've met them in all shapes, sizes, colors, nationalities, ethnicities, income brackets, etc. It is NOT a "rich man's hobby" by any means. I once imported a finite-elemente rack to America after seeing one at a show in Frankfurt in the 90s before they had an American importer. I had to pick it up at the freight depot at Customs at Newark Airport. The guy who took the paper work from me was what could be described as a "working class stiff." A "regular guy". He looked at the paperwork and recognized my name. He was a Stereophile reader and a vinyl fan. From that day I realized any fixed idea I had in my mind about who was reading what I wrote or who was an "audiophile" was WRONG!
Please elaborate more on top of the range cartridges. State of the art cartridges. What makes them so special?
Please tell us more about your view on proper setup of turntable?
Why do you think vinyl is belowed by many audiophiles?
Would you say that even an entry range cartridge can perform very good with the state of the art tonearm and turntable?
Can you kindly tell us more about your view of “the real sound”
What would be the the ultimate dream turntable design?
With digital revolution do you think that state of the art analog cartridge can be used in ultimate playback?
Best tonearms and turntables on the market in your view?
How important is the right cartridge setting for ultimate reproduction?
It must be great feeling to know, that your writings helped people enjoy the analog music worldwide?
Can we hear your thoughts about tubes vs Transistors?
What would you say that sets analog above digital?
Would you say, that ones love for music reflects in his product?
Prices can go quite high within high-end. Where is the border line between luxury and real high-end?
There is the high-end and ultra high-end. What is the difference in you view?
Are high prices a must for some of the top class products?
What importance do you think to the use of built in elements in products? Is there a need of exotics parts?
Form follow function in high-end audio?
Is classic music the top most test material for state of the art vinyl replay?
What is your opinion on digital music revolution and the birth of mp3?
How to draw the line between, resolution, transparency and musicality when building the system?
What is the reference material for your when you listen to new products?
Would you say that master tape quality is possible with cartridge and turntable?
Very very close. I compared Tape Project 3rd generation tape playback with 45rpm reissue sourced from same master tape and tape won for "smoothness" but record was actually quieter.
Is there a need for a high prices in high-end?
If the hobby grew much larger prices would drop. For instance as turntable sales grew, Pro-Ject was able to produce better and less expensive 'tables. The Carbon for $399 is MUCH better than the Debut for $399. They could afford the upgrade because they sold so many Debuts! At the top were products are hand made and in limited production prices will always be very high as with cars. The key here is that if you're smart you can assemble a fantastic system for not that much especially if you're willing to buy used gear.
Who would you say is exactly an audiophile?
What is a true meaning of high-end audio through your eyes?
Digital audio era is here and ever changing. How far did we come with it?
Do you think digital will ever come close to analog?
Best system ever heard in you life?
Einstein talked about simple, but not over simplified. When is it simple enough for you?
Michael Fremer audio philosophy?
How do you see the state of present high-end society?
Would you say that high quality is more affordable today or you have to pay premium price for best components and sound?
Where does usual hi-fi stops and high end comes in for you?
What do you see the future of analog?
It seems that physical medium are not obsolete at all?
What is your opinion on rising sales of vinyl?
More please!
Do you think analog master tape quality can be matched withing digital domain?
Who are your musical inspirations?
Can you state few of your all time favourite vinyl albums?
10 must have vinyl albums!?
Is it possible to achieve concert feeling within analog high-end audio?
Is there a place for mystics in audio or simply good and great engineering?
What is the difference between audiophile and music lover?
What is the real high end reproduction for you?
Any last thoughts for our readers?
http://www.analogplanet.com
Matej Isak. Mono and Stereo ultra high end audio magazine. All rights reserved. 2006-2013. www.monoandstereo.com. ..:: None of the original text, pictures, that were taken by me, links or my original files can be re-printed or used in any way without prior permission! ::..
Matej Isak. Mono and Stereo ultra high end audio magazine. All rights reserved. 2006-2013. www.monoandstereo.com. ..:: None of the original text, pictures, that were taken by me, links or my original files can be re-printed or used in any way without prior permission! ::..