Michael Fremer

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Michael Fremer  |  Mar 22, 2018  |  17 comments
Designers of hybrid amplifiers can use solid-state devices in an amp's input stage and tubes in its driver and output stages, as Music Reference's Roger Modjeski did in his RM-200 Mk.II—or they can use tubes in the input and transistors in the output, as Ypsilon Electronics' Demetris Baklavas prefers.

The advantage of solid-state at the input stage can be lower noise. In the RM-200 Mk.II's fully balanced design, carefully matched input devices result in high common-mode rejection and low-noise operation close to the levels achieved with the best input transformers. The RM-200 Mk.II's signal/noise ratio measured a healthy 95.4dB.

Michael Fremer  |  Oct 19, 2017  |  21 comments
People often ask me how I listen to music when I travel. I play MP3s on my iPhone.

That answer always surprises, and sometimes disappoints: "You listen to MP3s?"

The response is moderately tempered when I add that I use good in-ear monitors (IEMs)—either Westone ES50s (ca $995) or Jerry Harvey Audio Laylas (ca $2725), both with eartips made from molds of my ear canals.

Michael Fremer  |  Jul 25, 2017  |  8 comments
What? Johnny-come-lately turntable manufacturer Brinkmann Audio now makes a DAC? Are they desperate? What sampling rates does it support—162/3, 331/3, 45, and 78? I guess the vinyl resurgence is over! Why else would Brinkmann make a DAC?

If that's what you're thinking, consider that Helmut Brinkmann began designing, manufacturing, and marketing electronics well before he made the first of the turntables for which his company is best known in the US.

Michael Fremer, Herb Reichert  |  Jul 06, 2017  |  First Published: Nov 01, 2014  |  12 comments
Palmer Audio's 2.5 turntable, with its laminated plinth of Baltic birch and metallic features, looks Scandinavian but is made in the UK. It shares a few conceptual similarities with the turntables made by Nottingham Analogue, another British brand. The review sample had the optional side panels of cherrywood veneer.
Michael Fremer  |  Jun 15, 2017  |  0 comments
Maybe you've seen the widely circulated New Yorker cartoon: Two guys stand in front of a nicely drawn, tubed audio system, under which are shelves full of LPs. One guy says, "The two things that really drew me to vinyl were the expense and the inconvenience."

If you can't laugh at that, you've lost your sense of humor—even acknowledging that, oddly, convenience is the raison d'etre of some recent phono preamplifiers—including Dan D'Agostino Audio's Momentum and the CH Precision P1, both of which offer multiple, switchable, configurable inputs saved in memory. Today's well-heeled vinyl enthusiast might have two or more tonearms mounted on a single turntable—or even two turntables, each with two arms. Zesto Audio's new Andros Téssera tubed phono preamplifier takes aim at that market segment.

Michael Fremer  |  Apr 27, 2017  |  22 comments
Having discontinued the MAXX3 loudspeaker ($68,000/pair in 2009, when I reviewed it), Wilson Audio needed to plug the resulting gaping hole between the Alexia ($48,500/pair) and the Alexandria XLF ($210,000/pair). Company founder Dave Wilson was busy with the limited-edition WAMM Master Chronosonic loudspeaker ($685,000/pair), so son Darryl Wilson set about creating a speaker with a retail price of about $100,000/pair. The result, the Alexx, finally came in at $109,000/pair.
Michael Fremer  |  Jan 24, 2017  |  32 comments
"I'm a recording engineer, so I value accuracy," said a panelist in a discussion—titled "How to Read Between the Lines of Audio Advertising"—at last October's Rocky Mountain Audio Fest. I, too, was on the panel, which was moderated by Brent Butterworth, a writer for the SoundStage! Network of online audio magazines.

"Accuracy is overrated," I interjected from the other end of the dais. "Accurate to what? To your sonic tastes? To what you hear on your preferred loudspeakers? Other than one's personal preferences, I'm not sure the term accuracy has much meaning."

Michael Fremer  |  Jan 02, 2017  |  First Published: Jul 01, 2017  |  5 comments
My 0.56mV-output Lyra Atlas moving-coil cartridge ($11,995) has put in four years of heavy-duty use. But not long ago I began to hear some problems with sibilants from records that previously hadn't given me trouble in that department. Lyra's Jonathan Carr and Stig Bjorge suggested I bring my Atlas to the 2016 Consumer Electronics Show, held last January in Las Vegas, where they would exchange it for a new one.
Michael Fremer  |  Nov 23, 2016  |  12 comments
The last time I reviewed an Audio Research component—it was the VTM200 monoblock amplifier in January 2001—my hair was mostly dark brown. The wait since has been not of my choosing, but that's now flux under the circuit board. Since then, much has happened to both me and to the Audio Research Corporation, a long-lived company for which the descriptor "legendary" is well deserved.
Michael Fremer  |  Sep 22, 2016  |  2 comments
In 1967, in Los Angeles, Morris Kessler, with Ted and Beth Winchester, founded Scientific Audio Electronics (SAE), which enjoyed a successful run of 21 years. In addition to Kessler, Sherwood Electronics cofounder Ed Miller, as well as the legendary James Bongiorno, contributed designs. (If you don't know Bongiorno's résumé, please do a web search.) Some SAE products, particularly their big-metered power amplifiers, became objects of desire for audiophiles on the West Coast and, especially, in Japan.

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