Audiophiles are basically synesthesiacs.
Sad to read how many commenters there thought it was a 'great article' and 'real in-depth journalism'. Nice to see a few skeptics, though.
we need someone like Fremer up on that wall, a preservationist of archival recordings and an ombudsman for new recording techniques, because one day you'll want to hear it, and it'll be there because of audiophiles.These guardians in and outside of the recording industry ensure that, whether it's in a movie theater tomorrow or in your own home listening room on some far off future date, you'll be able always get back to a recording that expresses every frequency, every ounce of warmth and life, of the original performance. Because if you can hear, it, if you ever get to live in that 3D space, you'll be glad Fremer helped defend it.
So it's typical journalistic sloppiness, and probably getting carried away in the moment.And let's face it - we do need people wanting better quality than can be heard on 99% of pop releases in the 21st century. Does anyone think CDs (as actually sold, rather than as theoretically possible) sound that good in the pop world in 2009?
My first question is who paid $350,000 for the equipment Fremer uses? It is worth that today? Is he a trust-fund baby? Does he get paid that much by Stereopihile? Or, has Fremer fanned the flames of Fremer-celebrity or possbily Fremer-fear so well that enough high end audio dealers and/or manufacters have been cowed into giving or loaning him most if not all of that equipment?
If I had a $350,000 stereo system I wouldn't probably listen to any lossy codec. Since I'm not that well equiped, my lame 3.98.2 v3 files do the job!
Unlike most people who post here, I've had the *privilege* of meeting Michael Fremer in the flesh...After a few seconds in my presence, he started loudly screaming profanities about an ABX demo that some of my friends did at an AES meeting back in the very early 1990s. His friends had to forcably restrain him and drag him out of the room.
I've come to a very definitive conclusion regarding my ears' abilities to resolve sonic information: there's a finite limit. Investing $350,000 in an ultra-high-end stereo isn't going to suddenly grant my ears the ability to hear atoms bonding or to be able to resolve the sound of a mosquito sucking blood from an elephant in Zimbabwe.
They "see" music in three-dimensional visual space. You close your eyes in Fremer's chair, and you can perceive a detailed 3D matrix of sound, with each element occupying its own special space in the air.
They use logarithmic scales to measure the awesomeness of Framer's gear, pure science man!
I'm interested in what the HA community thinks about this new Gizmodo article, or blog, about Michael Fremer, an audio reviewer from Stereophile, which clearly goes completely against the grain around here.
Sad to read how many commenters there thought it was a 'great article' and 'real in-depth journalism'.
Unlike most people who post here, I've had the *privilege* of meeting Michael Fremer in the flesh. Well sort of. This was in 2005. After a few seconds in my presence, he started loudly screaming profanities about an ABX demo that some of my friends did at an AES meeting back in the very early 1990s. His friends had to forcably restrain him and drag him out of the room.
IN his 'real life' Fremer was/is a psychiatrist, and in in NYC that can pay pretty well.
Indeed. Fremer's pricey system didn't restore his ability to hear the LP hiss that the reporter heard.