But usually I can when it’s PCM on titles where no source was ststed. And I did hear problems with many Mo-Fi titles and wrote about it. But I believed their basic assertion about cutting from analog so looked elsewhere for the cause of the problems. Some of the digitally sourced reissues sounded very good but could they have sounded better?

@@trackingangle929 That your simple belief clouded your hearing seems to indicate that 90% number is way high :D

Oh wow you can tell it’s digital when the source isn’t stated. when the source isn’t stated the probability is it’s digital because if it was all analog it would be used to hype it. So it’s an easy determination. You have like a 99% chance of being right. Just be honest and say you couldn’t hear it! “Oh I knew it but thought it was EQ!” I knew peoples would come out of the woodwork and say they always knew. If you did you would of questioned it like everything else you question. This whole situation shows how the audiophile is a dying age. I went to PacNW audio fest and if you look around at the attendance and what they quibble about in the rooms most will understand how outdated and ridiculous this hobby is and it’s hard to be a part of it. Buy the pressing Yamamoto’s misty direct to disc and the dsd pressing and see if you can tell the difference. I guarantee you can’t. Stop worrying about all analog and more of quality craftsmanship regardless of source chain.

@@trackingangle929 Maybe the "elsewhere" is in the rest of the mastering chain or the engineer's decisions regarding EQ? If I send you five albums to listen to, some 100% analog and others from a digital source, can you identify the analog ones more than 50% of the time? I'm asking because I spent thirty years making analog records in some of the best studios in the world and another twenty making digital records in those same studios. I can't make that claim and question whether anyone can. But I will leave that door open.

So the remaining 10% where he can't tell the difference are the Mo-Fi records :D LOL

He blocked this part out of his mind lol

It is hardly disrespectful to say he was not exactly qualified to conduct an interview since he walked into this one having never conducted one. I promise you I am not qualified to run a record store though I’ve worked in a few and produced the radio advertising for more than a few. There is still a lot I’d like to know about how Mo-Fi produces its records, for instance how many digital conversions occur before cutting. DSD was intended as a storage not work medium so how do they apply EQ (which clearly they do), or other mastering possibilities.

Nope. You were not paying attention. He made it clear that he respected Esposito as a person. “You didn’t just say he wasn’t a journalist you called him a fanboy”, both statements are true: he is not journalist and he definitely is a Mofi fanboy based on what he had said about Mofi previously. He drools over Mofi in his videos. The problem is Fremer is from a time when men said what they thought and didn’t worry so damn much about “feels”. Also, 45 didn’t “step in” to defend Esposito as an honorable man…you made that up. If you would have listened to the interview you would hear 45 saying to the viewers that Fremer is CORRECT and to not be to hard on him. Nowhere does Fremer backpedal. It’s a great interview if you have time to actually watch it.

@@trackingangle929 I'd like to know those things too. but that wasn't the point of Mike Esposito's interview. The point, the one and only point was whether or not they cut records from a digital source. And *that* question was answered in great detail. the only information we didn't get on that specific question was due to what the mastering engineers could not specifically remember and no level of interviewing experience was going to fix their memories.

@@conanthemodeler858 I did listen to the thing - hence why I made the comment. The interviewer stepped in to say “we;re all fanbois’`. I resent your suggesting I didn’t listen. It stood out at the time as a slightly awkward moment. But heh, let’s rewrite what happens. The video’s up there for anyone to watch and see. What’s so hypocritical is that on the one hand there;s the arrogance of “He’s not a professional journalist like me so shouldn’t;t have gone” vs a whole video complaining about what a professional journalist (working for “The Washington Post”) has said, demonstrating that silly labels like fanboy or professional journalist designed to insult or self-aggrandise, are just that - silly labels!

Not really but if that makes you happy go on believing that.

@@trackingangle929 obviously believing nonsense makes you unhappy. :)

That’s a wrong thing to take home. You need to compare cases where there are both AAA and from digital records. Compare “Couldn’t Stand the Weather” cut from master tape AP and Mo-Fi “One Step”. Or “What’s Going On” from tape and DSD. And many others. No comparison. I began doing these comparisons for people a few years ago thinking the differences were only because Mo-Fi used copies but as we now know…… . I wrote negative and positive reviews but yes I got fooled sometimes. they did produce some good sounding ones. Many more that sounded bad that I never bothered to review.

@@trackingangle929coping haaaaaaaard

Do you have a link to that quote please Scott?

@@jamesboyle8828 In the comments. kzfaq.info/get/bejne/edp6hcykkqjFYYU.html

I did discover and reported in 2015 (see “Kind of Blue” review in my previous website AnalogPlanet) that when Mo-Fi cut Sony titles they worked with tape copies because Sony did not send masters to Sebastopol or anyplace other than to Sterling Sound and that they brought their reel to reel machine to New York and made copies. Did anyone else report this? Not that I know of. I’m ok with copies if carefully done because most of the great records from the original vinyl era were produced using cutting masters (copies) not original master tapes. But why do you think I or anyone should have suspected a company that seemed to make a fetish over sourcing and which went so far as to not use the “original master” banner on its “The Band” reissue because it wasn’t certain the tape it used was the actual master though with splices throughout it gave every indication of being the master would switch to using digital files??? I started hearing things I didn’t like at some point and wrote negative reviews of many (and positive reviews of some) but I never suspected nor thought to ask if they were cutting using digital files because it seemed like doing so and getting caught could destroy a business if it got caught doing that. When MoFi’s “Couldn’t Stand the Weather” was released I compared it to the 33 1/3,Analogue Productions version cut at Sterling using the actual master tape when Sony still allowed it to go there and the differences were fundamental. The One Step 45 sounded soft, diffuse and boring. I did the comparison for visitors and every one of them having bought into the “One Step”’hype (myself included because it seemed to make sense) could not believe how much better the 33 3 step sounded. But since I knew the One Step had been sourced from a copy and the AP from the original I figured that explained the difference. If you read my “Love and Theft” review I surmised it was cut using DSD because from what I knew (based on actual research not rumor), the individual tracks though recorded and mixed analog had never been assembled into a single side length tape. Couldn’t get a straight answer from Mo-Fi but in that case its version sounded so much better than the original vinyl clearly cut from probably a CD resolution file that who cared? There are times when cutting from hi res digital makes complete sense (compilations for instance like AP’s “The Wonderful Sounds…”!series for which I write the liner notes. As late as this May when “Thriller” was announced i speculated on how MoFi would cut 40 lacquers. They’d never admitted to using copies of Sony tapes and though I’d already made that public in 2015, when I speculated “Thriller” might be cut using either a tape copy or a digital file, they freaked out and implored me to take down that speculation because “after the Munich show” they would make an announcement explaining all, which they never did. I don’t understand how you think I should have known they’d been cutting from digital files. I’ll say this:?their DSD or DSD quad transfers are far less detectable than the 96/24 PCM files used by other labels that is audible!!!

@@trackingangle929 I think you may have finally hit the nail on the head, Michael. Except, maybe not quite enough. I understand that you raised some questions when you listened to "Kind Of Blue" and "Can't Stand The Weather". But what about when you heard "Abraxas"? What about when you heard "Portrait In Jazz"? I can only assume that you knew something was up when you heard "Blood On The Tracks", since that one was only cut from DSD 64. Point is, you have been very explicit in stating numerous times, and with emphasis, that you CAN hear the difference between digital and analog. And yet, even your discerning ear wasn't hearing that difference when you listened to the Abraxas UD1S, or the Portrait In Jazz UD1S, among others. If it is truly accurate that you CAN hear the difference, then I (and probably countless others) would have expected that you, of ALL people, would have promptly raised the flag way back then, saying something to the affect of "hey guys, something's not right here. This sounds digital, not analog". Now, I get it. You DID make a similar observation on two occasions but A) Why didn't you make that same observation with the other ones, if you can supposedly hear the difference? And B) Why didn't you ask the harder, more difinintive questions once you suspected something was up, and with the right people, so that you could get to the bottom of it as only a thorough journalist would instinctively insist on doing? It's okay to admit that sometimes you just CAN'T hear the difference, Michael. And I think it's important to admit it, too. Because if you could have heard the difference, you WOULD have heard the difference, when you heard Abraxas, Portrait in Jazz, and the now-growing list of others that were cut digital, and no one, including you, detected that. I get that you're NOW admitting that DSD is more difficult to detect, but I'd say that you're still cutting the assessment short. The reality is (based on actual events), sometimes you flat out CANNOT tell the difference, plain and simple. And, that really is the only logical explanation as to why you didn't catch this sooner, and get to the bottom of it years ago, when it was happening right in front of us all. Keep in mind, I'm not trying to attack you. On the contrary, I have a ton of respect for you and what you've done for the industry, I LOVE your work. And I love your detailed, in-depth expertise and knowledge, so I hope that you don't take this as a bashing of any sort, that's definitely not what it is. I'm just trying to make sense of it all, and at the end of the day, there have simply been parts of all this that haven't made sense... explanations that aren't ringing true, and require additional clarification, if not a slight deviation from the current position. Bottom line... I truly feel that the only reason you weren't asking the questions that we NOW know should have been getting asked at the time, is because neither you or anyone else COULD tell the difference between their digital cuts, and an analog one. Had you been able to truly tell the difference (again, with the ones OTHER than Kind of Blue and Couldn't Stand The Weather), I think we'd be in a much different place today, as would MoFi.

​@@trackingangle929 Michael, I'm a long time fan and appreciate all you've done for vinyl through the dark years, but journalists shouldn't be "covering" for the companies who's products they review. Truth will out. This should have been your scoop.

@@Azerrmon I’m more curious why YOU didn’t report anything earlier since you know so much. 😂 The more I learn about DSD, the more I’m thinking that it is the ultimate archival format that can preserve analog tapes. Especially now that they have DSD 256 which is insanely detailed. Yes, it’s digital but it’s a different animal than PCM and closer to analog. Now my question for MOFI would be “are you converting DSD to PCM for easier editing?” because that would degrade the quality.

@@nybravado4123 When and where did I say that I know so much? I'm asking questions, I'm trying to make sense of whatever parts of this that I'm not understanding. If anything, I am quite clearly identifying that I DON"T know or understand most of what happened, so it would appear that you've taken whatever portion of my narrative you read, completely out of context. At the very least, you have misread and/or misunderstood them. I would suggest that you've made my very point... based on what I too have been hearing, DSD 256 is phenomenally detailed. SO phenomenally detailed, in fact, that you cannot discern whether or not you are listening to digital or analog, when you are hearing it. It's good enough that I'm not running to cancel my MoFi preorders, because at the end of the day, I'm still okay with getting the very best sounding representation, even if it's not analog. BUT... when Michael proclaims that he can tell the difference between digital and analog "90% of the time", the statistics would suggest that it's more like 10%, or maybe 20% of the time, the point being that someone of Michael's caliber and expertise would have DEFINITELY exposed this through his talent alone, had he been able to tell the difference even close to 90% of the time. I am contending that he cannot tell the difference nearly as often as he believes he can, which is why he wasn't raising the prominent red flag, and digging deep enough into this to expose it for what it has turned out to be. I mean, let's be honest here... if that's NOT why he wasn't digging deep enough into this to expose it back then, what other explanation is there, other than to suggest that he was fully aware that it was going on, but was covering up for MoFi? I, for one, don't believe for a minute that he would do that, which is why I am trying to get to the bottom of how it went unexposed for so long, being that MoFi has been cutting digital since their very first UD1S release (Abraxas).

I read the WP story and it was factual, very fair and clear that MF is not a reliable expert -- he was negligent or knowingly part of the MoFi con.

Go elsewhere then. You are not welcome here.

@@trackingangle929 lol

@@trackingangle929cope

Exactly! That's the real story here as far as I'm concerned.

We need Hobson out of retirement and making those great pressings again 👍

I have that SACD, and it's pretty bland. I have 5 other Miles LPs on MoFi and they sound fabulous. I had the Classic pressing from the early 2000s, and it is amazing.

@@krwd completely agree, but don't think that will happen. Its all up to Chad now and he is busier than ever.

@@joetaylor7952 they quite may sound good, but what have you got to compare them to the US columbia pressings, which are pretty lame, so pretty low bar to beat. If you are a Miles fan check out the prestige titles pressed by Victor music in Japan, they are quite excellent.

Just get the original. it smokes all the rest, especially the original mono.

Somehow Mike E got out some facts while the experienced journalist played ball.

Correct. Obeying MoFi and sitting on the story was a huge mistake.

@@Krell666 your claim is a huge mischaracterization and totally out of context.

I did no favors for Mobile Fidelity. I was the only writer who revealed in 2015 that they used tape copies. You come to my channel to spin nonsense.

You’ve never read anything I’ve written so let me clue you in: I’ve given many Mo-Fi records very negative reviews. Can you name one? Didn’t think so.

@@Krell666 not spreading what was a rumor given to me second hand was the right thing to do regardless of whether or not it proved to be true. Your position leads to chaos as every rumor spreads like poison until they are proven or disproven.

does this tweet still exist??

While were I Mike E. I’d be happy with how I was portrayed in the story I’m sure I’d also see how this story was written to revive a conflict that had been settled between two individuals and I’m fairly certain that’s how he sees it.

@@trackingangle929 Agree - Mike E should be happy with how he comes across in the article due to the misreporting - SO I kind of hope he doesn't perpetuate this with another response video. AT THIS POINT it's Jim Davis/MoFi that we need to be hearing from, not you guys! The MOFI SILENCE IS DEAFENING! Mike/Mike/Mike - stop filling the VOID for them!

@@trackingangle929 Does The Washington Post have any knowledge of the feud? I don't know but I'd be surprised if they did.

@@Goldenpurp282 he interviewed me for an hour, as well as many other members of SHF, so yes, he knows. Geoff has watched the VC videos. He's spoken to lots of people. He gets it.

@@trackingangle929 The story wasn't about you. And I am sure *that* is how he sees it as well as anyone except you and some of your followers. It wasn't written with you in mind. You are barely mentioned. It was written as a novelty piece about a record store owner who broke a story about Mofi using digital steps in their mastering chain on his youtube channel. It...wasn't...about...you.

Thanks for the heads up.. I was wondering what was up with that, as it doesn't say "original master recording" across the top of my copy.

Superfly was also from analog tape, but not the original master.

The Washington Post's journalist (as can be read in the article) has spotted a unique One-Step which was really cut from the original analogue master tapes (at least, according to MoFi website): Bill Evans - Sunday at The Village Vanguard.

Hah, that is so strange. I was about to post that it was one of those instances digital sounds great.

I would like the answer, because I would like to use the analog process or idea of MoFi for music-making in loops without digital help-devices!

The writer has spent two years talking with me and others for a story about high end audio. Not surprised he got that part right. Of course I came across as “petty”. He purposely chose to make me appear so. I still believe a qualified and experienced Bay Area journalist would have been best for the job. I wouldn’t want that writer running a record store. That’s not petty or insulting anyone. This story still needs a proper telling. For the consumer’s sake and for Mo-Fi’s.

@@trackingangle929 Micheal- I don’t think you’re wrong that a journalist would have been more ideal and would have done a better job. It just sounds like having Mike E go up there was more of a seat of the pants offer by mofi because his first video. I do really appreciate you and the years of dedication and knowledge you bring.

Throwaway jab? I think that was a very important point to make and one I don't hear any.of these "audiophiles" addressing. Why is it they couldn't tell with their super sonic hearing that there was a digital step, and are they now ok with digital since they have been thoroughly enjoying these releases?

@@TheHSIHP It's a throw away jab because it’s an unresolvable situation. Nobody owes anyone else an explanation on what they think they hear, wether you believe them or not. Reminds me of a situation at a restaurant a couple years ago, they were serving pork loin but calling it veal and many Muslim patrons were pissed. I don’t think it would be reasonable to laugh at them because they could not tell the difference or that it makes no difference meat is meat. It was fraud against there customers. If you don’t think there is a difference between good digital and analog and I do, does that give mofi the right to defraud? of course not. Does it mean you can tell me I can’t hear the difference? No it does not. The hobby is subjective and solely for my enjoyment.

@@snoopyboobs Listen, I think what MoFI did was shitty but I'm much more interested in the other story. The one about the fact that audiophiles loved the sauce until they found out what's in it.

True that is the definition. But I would not go so far as to call Michael Fremer a Narcissist. Most people that have a certain amount of success and especially within the entertainment industry do actually display narcissistic tendencies, but that does not make them narcissists. A true Narcissist is Dan Pena/Trump/Alex Jones, there you have people that are beyond repair who 100% are it. Also the industry invented this term to create more clients so they could milk the public, by giving their clients a false enemy and never providing a solution other than how to recognize them. But if they actually were a bit smarter they would be able to track this behaviour back to simply a bad diet, which creates a bad environment which creates these tendencies. And on top of that, also understand that you don't beat narcissicm by calling it out, once you do that you become someone like Dr.Phil who just makes people worse and actually breaks many of the psychological rules that a practitioner never must do. (psychologist) In order to beat narcissim it requires a really good diet which is primarily based on greens, and then ONLY drinking water so that the body is not surpressed and is dramatizing things mentally and physically, then people will feel a natural self worth and not feel fixated and they will blossom by creating better relationships through admiration which leads to better environments, and then you don't have this the traits happening. Fact: most people that are narcissists actually have huge problems with their blood because of either being an alcoholic or eating/drinking a lot of sugar or light products. So you could actually say that the food industry is indirectly creating narcissist, and how we then privately deal with the lack of good food is how we then indirectly make us narcissist. When the body is full at ease, then crime will go drastically down, together with most of the conflicts in this world. And the whole big joke with mental industry is that, what I just wrote above actually applies to most mental diseases, but we as humans do still not want to hear that truth, because life is so impractical that we need the bad food, together with the stressful life, and will only accept a solution in form of a pill and false diagnoses that can keep the game to continue. That is what basically makes the world tick; never dealing with a problem at the root. That is sort of the reason for why we all are here, to just talk and fill this void with a lot of half false information to experience what it is like to own a body. So indirectly that makes life a joke, where we all feel that we are right, but in essence what is right is not what is the law or a policy or this and that person opinion. What is right is what makes the human species on a broad scale survive. That is the ultimate truth.

Nailed it! And they're always their own worst enemy.

Many of their tapes burned up in a fire in 2008. The Polygram stuff and Motown titles were on the east coast and didn't go up in flames.

Yup. I know of at least two titles that the artist said lost tapes but have since had reissues that claim to be from the tapes. Its funny how analog or original tape is used to sell but not good enough to actually go through the trouble of actually mastering from it.

@@sittnonchrome There's always safety copies that go out for overseas pressings. The more popular stuff may have been moved or was out and about during the fire.

@sittnonchrome so many dumb things people writes, please, log off. "from original tape?" could be a copy, digitised, whatever.

A big one is Motley Crue reissue that says cut from the original analog master tape when it was a digital recording. It still could have been cut from a digital tape though, but they were wrong on the source. But even "cut from the original master tape" could be cleverly used to omit digital transfer steps as mofi did. Bottom line, unless people are open about the process ,I just suspect it's a digital cut these days.

the WP was clear that the MoFi cover up was the issue and Fremer obviously participated in it. He and MoFi chose to hide the use of DSD-- notwithstanding it is a fantastic tech --I have one CD Sam Cooke on DSD and its amazing, way better than any LPs on my top LP12 active Naim system. .

I always knew there was a digital component in their chain. I still like their product but not their business practices. Glad they were exposed. It’s wrong

There is no reason for trolls, they just like upsetting people over their pesonal preferences. Trolls are useless parasites, don't waste your time trying to understand an oxygen stealer. :-)

that is some serious revisionist history there. Show me one single review or audiophile forum where anyone expressed an opinion that the Abraxas one step might be digitally sourced. One condition, it has to predate Mike E's video breaking the story.

@@ralex3697 you always knew it? Why did you keep it a secret?

@@scottwheeler2679 You’re cherry picking one example that literally nobody here is talking about.

"90 percent of the time"... really ??? Your "golden ears" have been deceiving you !!!!!!

@@henrygandy3883 Seems you replied to the wrong person, Henry. I never said nor typed what you attributed to me.

Sorry !!!

Have no idea!

I remember people having DAT recorders and thinking DAT was the coolest thing ever.

Did I assert that? I don’t remember doing so. I hear things in many MoFi releases I do not like and said so in the reviews. Other releases I liked. Sometimes I compared the sound to originals. At no point did I suspect there was a digital mid-step so I assumed the source of my sonic dissatisfaction lay elsewhere. If you believe DSD is perfectly transparent to the source and artifact free the burden of proof is on you. I wouldn’t claim that for any man made process. In my experience every process has a “sound” though quad DSD sounds as transparent to the source as any digital format though perhaps you remember when the math proved CD was that too, which is what set me off 40 years ago. As I said in one of the videos, the only way to test quad DSD transparency is to cut lacquers from tape directly and via a quad DSD intermediary step using the same mastering chain and then let people hear both “blind” and note the results. If the tape requires EQ or compression the AAA version can do that in the analog domain. The DSD file would require a further conversion since DSD is a storage not work medium as best as I can determine. That would work against digital transparency as every digital conversion degrades sound quality. Let’s get this test done and move on but people who enjoy listening to records will still want that final “plug in” and they can’t be faulted for that.

@@trackingangle929 You said ."I can almost always hear digital." You also said about the Mofi One Step of Abraxas "This might be the best record I've ever heard". I meant by that the technical quality of the record and how much it resembles tape in four critical parameters: the wide dynamics and low bass response, the unlimited dynamic range, the tape-like sense of flow and especially the enormity of the soundstage presentation. More importantly I got a greater appreciation for the music, the musicianship and the showmanship too." as for the burden of proof on the transparency of digital. I have already offered you a $10,000.00 or $20,000.00 challenge to demonstrate you can reliably distinguish between any audio source signal of your choosing and a hi res recording of that same signal...in a proper DBT that is. So far all I hear is crickets.

@@trackingangle929 Did I assert that DSD is perfectly transparent? No I didn't. I did ask about your reaction to a specific instance of DSD, i.e. DSD 256. Assume for a moment I'm not a digital butt-head, and that I am asking about what you have may have actually heard in in a direct comparison of a master tape and a DSD 256 copy of the master; what should I be listening for as far as artifact in a DSD 256 copy. Treat this as a teachable moment!

This is the best comment ever !!!!!

I thought 45 RPM brought it first also, that’s where I heard it first anyway.

The whole story about Mofi using digital to cut lacquers has been discussed on social media for well over a year now by people in the industry. The questioning of what they were going to do with Thriller came up in May on social media as well. This was not some revelation that either Mike had. I have to believe they saw these things and it inspired their videos. My channel has been talking about it for over a year.

Um I wrote about how “Thriller” could not be sourced from a master tape within SECONDS of the press release going on line. I wrote then that it’s either a tape copy or a digital file and that it’s would be a tape copy anyway because Sony does not send masters to Sebastopol so you posted FAKE NEWS

@@chriswitt202 I hope the difference between where you might have heard it and where it was first reported isn’t lost on you. And what was “reported”? A RUMOR or a fact? Answer: a RUMOR that turned out LATER to be fact. I don’t traffic in rumors.

@@trueaudiofiles8453 came up on my old website within seconds of the press release post. “Social media” LOL. That’s where wankers post that Ron McMaster didn’t have a preview head and couldn’t cut all analog. That wank spread like syphilis through “social media”. I was at Capitol so was able to post a PHOTO of Ron’s preview head. That’s the difference between wanking and fact checking. For every correct social media wank that’s correct, 100 are wrong.

yes!

Are you being sarcastic? WaPo is and has been garbage for years.

@@vuzkoth Absolutely sarcastic. WaPo is 100% opinion, nothing objective in it.

We’all implored the writer to NOT make the story about me after he asked for photos and details about me not relevant to a story about Mobile Fidelity. As it turned out he made it about someone else. It should not have been about anything but Mobile Fidelity. You buy into the “rift” bullshit pushed in the story and y’all puke it up here.

THIS.

YES

Only if you didn't enjoy the sound at the time.....which you all did.

@@TheHSIHP I have several MoFi LPs but haven't listened to them yet. Any other assumed theories?

@@ejtonefan lol...sure

I don't like the Thriller music enough to get a copy, no matter the price or 'rarity.'

I have a feeling the problems are just beginning

I wouldn’t have gone that’s why I suggested Bay Area qualified journalists. It was as much for Mo-Fi’s benefit as for the consumers and Mike Esposito too.

I agree totally. I owe a lot to Fremer,but at this point he’s gaslighting us with revisionist history. We all saw his attitude towards Esposito, even months ago. It was sad to him use his privilege and stature to disparage a newcomer to our community. Fremer’s sour attitude about all this is the only thing making me think that he wasn’t aware of MoFis secret all along. Think about it. More than MoFi had to know about all of this.

@@TooBuz Mr. Esposito unfairly disparaged a small record label doing good work. He made untrue claims about lacquers. I called him out. We did a video together in which he questioned my integrity because I get promo records. He refused to look at evidence presented regarding lacquer longevity because the source was honest enough to admit an association with the lacquer seller. Then he posted a video claiming he’d proven everything I claimed was wrong, which was a flat out lie. So there’s that. Excuse me for defending myself against scurrilous charges made or insinuated.

@@trackingangle929 Honestly pulling for you here, although you’ve cost me $xx,000 in vinyl over the last 3 years. I saw all the ERC and lacquer conversations between you guys. He only questioned you about promo records after you came to the defense of the “industry” in reaction to his opinions on those matters. To be fair, you disparaged him while coming to the defense of the “industry”. I do respect you and I apologize for using those “progressive” catch phrases against you (a favorite hobby of mine 😁). I do love the new channel and am so happy to see Michael Johnson working his way up the ranks. He’s a gem.

@@trackingangle929 rec you re read the WP ----You blew it Mikey.

I do think that when something totally wrong about Mikey is published in the *Washington Post*, to me that would qualify as “super important”.

He can’t help himself.

@@PanAmStyle since when has anyone taken the Washington post seriously?

@@arkerstater8856 Laughable response

@@PanAmStyle that’s the intention

This. Attacking someone else to somehow avoid the obvious questions is pretty tacky.

He also clearly called him a "fanboi" in the first minute of that video.

What I said to Jim Davis in an email was that in addition to Esposito they should invite a qualified journalist and I could recommend several in the Bay Area. Why is that “petty”????? He did eventually get the digital fact out but it’s not “petty” to say it was uncomfortable to watch. And it’s also true that having never conducted an interview he had no idea what he was doing! If he invited me in to run his record store I’d have no idea what I was doing and he’d watch me and say so and I wouldn’t call him “petty” for saying so but I’d hope I’d have the good sense to decline the offer. You might think me “petty” for suggesting that he should have declined the interview as well or asked that an experienced journalist join him. That’s what I suggested that you called “petty”.

@@Krell666 Your insinuation that I knew about the digital step is beyond tacky. It’s a lie.

@@emilspec1227 he is/was a MoFi fanboy as you are a Mike fanboy. That’s not an insult.

Nixon --- "I am not a crook."

I think you are missing the point. When the rumor the 3 Mikes we’re fed was spread by two of them my source got in touch to say he knew for a FACT that in 2018 MoFi had an analog master tape in house and had both cut lacquers for vinyl and produced a digital file. I reported that as fact as opposed to rumor and pressed on to get more facts. Then someone at Mo-Fi chose to invite Mike Esposito to visit Sebastopol and the rumor was proven true. If the lesson learned is that it pays to broadcast rumors that would be sad.

@@trackingangle929 1. All of Mofi's Dire Straits offerings have a digital component in the chain per their website, so your source was wrong. Unless he/she meant "they cut lacquers from the original master tape and then never used them" 2. He had multiple sources - who turned out to be correct - and you had one - who turned out to be incorrect - so I'm not sure why he was reporting "rumors" and you were reporting "facts." 3. "lacquerS (plural) using master tapeS (plural)" is not the same as one tape/lacquer. The clear implication was that they were not using digital as a matter of course.

If you watched my first MoFi video and can point me towards one with more background I’d consider taking it back but the ones I’ve seen don’t.

I agree. It's not conciliatory or trying to move forward as a community. It's defensive and oppositional. The tone of voice is calm but the words might as well be said as a rant.

@@trackingangle929 same position as Amy, I really appreciate the work that you do. The problem is that whether or not you do actually have more info in your video than 10 others is irrelevant. KZfaq algorithms and bogus articles like the one in WaPo seek to divide us and this kind of rhetoric just furthers it. Let your work speak for itself and I think people will come to the conclusion that yours is better more quickly anyway.

One of the most freeing moments in my own professional career came when I finally realized that I did not need to compare my work, or measure my success, against that of others, knowing that what I produced was of a very high calibre and stood on its own merit. The majority of us know and recognize that you’re the man when it comes to vinyl Michael, and your knowledge does eclipse that of most others on social media.