Reference Tracks: A Conversation With Michael Fremer

Michael Fremer of Tracking Angle on the Four Different Types Of Recordings to Test a Stereo Like a Pro

Welcome to Reference Tracks, a new series from KLH where we talk to people in the music and audio business about what songs, albums and artists they listen to when testing out a stereo or speakers. 

If you spend any time in the hi-fi and audiophile world, it’s only a matter of time before you’re introduced to the work of Michael Fremer. Called both the ‘Pied Piper of Vinyl’ and the ‘Dean of Audiophile Writing’, he’s written about great-sounding music and audio equipment longer than, well, basically anyone. He’s contributed to some of the industry’s leading publications, including Analog Planet, The Absolute Sound and now his own operation, Tracking Angle. If there’s a new piece of equipment or reissue series claiming to be the best, you can bet Fremer has an expert opinion on how it sounds.

His legacy in the industry is undeniable, which is why we thought he’d be the perfect guest to kick off our new KLH ‘Reference Track’ series. We know everyone’s stereo is different, and the records they choose to test that stereo are different too. In this conversation, Fremer shares his thoughts on different types of recordings to test a stereo system (and why), touches on a rare percussion record from the 1960s and a little about what keeps him in the ever-evolving hi-fi game. Some answers were lightly edited for length and clarity.

KLH: Do you remember the first record, CD, or whatever that made you say, “This sounds incredible?” Or, that made you sit up and realize: this sounds different from the other things I’ve been listening to?

Michael: Well, how far back do you want to go? You want to go into the ‘50s when stereo started? Because I was there pretty much.

Go for it.

The record was called Persuasive Percussion by Enoch Light and the Light Brigade. You can't get it anymore, except for used copies. It was recorded by Robert Fine, who did all the great Mercury Living Presence records, and it was one of these early ping pong stereo records. When I play that for people, their jaws drop and they say: ‘It's incredible’.

When you're testing a stereo, what are you listening for?

Well, I don't test a whole stereo at once. I would test a particular piece of equipment that I’m replacing. So if it's a cartridge or, or if it's an amplifier, or a phono pre-amplifier, I focus on each individual component. One of the most fun things to do is something I discovered late in life: play something you never played before.

Whoa. Haven’t heard that before.

Just something that you know is going to be a good recording, and just play it without any context. It's interesting to do that because then you come to some sort of conclusion about whether what you're hearing is good or whether it's stunning or whether it's bright or hard, and then you have to figure out whether the recording is that way or whether it's what you're hearing.

Then you go to records you know. One of the records I use is called La Folia. It's a very famous well-known audiophile record on the Harmonia Mundi label. You have to use a good classical recording: that's essential. If you're, you know, if you're talking about a serious piece of gear where you're trying to create a sound stage and make it sound like you're in a hole with an orchestra, you need something like that. So this record features the Atrium Musicae De Madrid. It’s a group that is playing all acoustical instruments from the pre-1700s.

It's an amazing sounding recording, and you get a three-dimensional picture and sound staging and imaging, and the finest of percussive hints and transients, and you see this large space in front of you when it's a good piece of equipment.



Another useful kind of recording would be a solo piano record.

Really? Why?

It's really difficult to get right. I use a Chopin solo piano for that. And then I just think it’s a good idea to play records at random that you know have good dynamics and bass.

I also use a jazz record. It’s called Unity by the organist Larry Young. It’s got Woody Shaw on trumpet, Elvin Jones on drums and Joe Henderson on it too. That's a great record that used to give me a lot in terms of telling how good something sounds.

What else do you listen to?

I also like a good male vocal record. I like to use Nat King Cole’s Love is the Thing. With that one you want to hear a guy with a really deep, chesty baritone. Does the sound get muffled? Does it still sound clear? And then you want a good female voice. Is it going to make everything sound warm, or is it going to make Joni Mitchell sound like Nat King Cole? I use Joni’s For the Roses for that, a record I’ve had since 1972.

So, you want to have a female vocal, a male vocal, a symphonic recording, and solo piano. At that point you have it pretty much covered.

I’m a layman. Explain why those four types of music.

Because there are various things you’re looking for when you’re listening. You want dynamic range. Do the instruments sound like real instruments? Do the vocals sound the way they’re supposed to sound? Is the sound stage present? Imaging? Dynamics? All the usual things.

But most of all, does the music make you feel good? I mean, that’s what it comes down to: does it make you feel good? That’s the ultimate thing.

Totally. So my last question for you. You've been in the hi-fi game longer than most at this point. What keeps you in it at this point?

That’s an interesting question…It’s something I’ve loved my whole life, since I was a child. And I still love it. That hasn’t gone away. I’ll stay in it as long as I can hear.