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Q&A with Michael Vamos of Audio Skies

Michael Vamos

How did your interest in the high end begin? 

Some people gather around the TV to watch a series or sports. My friends and I listened to music and went to concerts, instead. Every gathering we had was with music. My first year at high school, during a weekend camp out, the amps broke down. One guy drove a 150-mile roundtrip to bring back fresh amps, because a weekend without music was just not an option. Music has always been a part of my life. When I was a kid, my parents would have parties, and I would groove to the music. I had my first system at around 14.

What in your mind distinguishes the high end from traditional home audio? 

I believe music is important to almost everyone. How we listen and why differ, but we all listen to music. Nowadays, large flatscreens have somehow taken the front seat. But I believe that’s only because most people never heard a high-end system. Long ago, I was told that Apocalypse Now was the greatest war movie ever. I was poor, so the first time I saw it was on a 12″ black-and-white TV with commercials. I was very disappointed. Later, I saw it in the theater and…wow! On a huge screen, without interruptions and with the explosions at the end and The Doors playing “This Is The End,” yeah, it’s the greatest war movie ever. Until someone experiences real high-end audio, they don’t know what they are missing.

What gear made up your first high-end system?

I don’t remember my first turntable, but my second turntable was a Rega Planar 3, Ortofon MC 20 or 30, Cerwin Vega speakers, and I believe that famous NAD 3020 amp.

How did that enthusiasm develop into a career in audio import and distribution?

It’s actually a funny story. I owned a pair of Carlson Acoustics OA-52, which was the best ever Carlson Acoustics model. I moved, and the airline lost both speakers. So, I contacted John Larsen. John Larsen worked 16 years with Carlson and created the Larsen speakers, based on Carlson’s designs. John and I hit it off, and I agreed to become the U.S. distributor after hearing the Larsen 8. It was (is) musical, fantastic, and affordable.

The dealer network is a vastly different place today than it once was. How has the import/distribution model adapted to those changes? 

Online shopping has changed many things, but most people still want to see and hear higher-end components for themselves—and know that there is U.S. and local support for the components they purchase. None of our brands are offered through online store/sites for that very reason. 

What interesting fact or aspect about Audio Skies might surprise audiophiles?

I’ve have been extremely fortunate with the brands that we distribute. Because all our manufacturers are passionate music lovers and we have so much in common, I have become close friends with them all. We talk regularly about many things besides business and enjoy each other’s company. I have also become friends with most of our dealers.

What are the greatest challenges confronting the high-end industry in the next few years?

I believe we must focus a lot more on young people and on women. Women love music as much as men do. They might not care about the technical aspects, but they want it to sound good. And many young people might only be able to afford entry-level high end early in their lives, but once they discover how good music can sound, they are very likely to purchase high-end gear later.

Outside of audio, what do you do for fun?

I love traveling. I love listening to music, not to evaluate, just to enjoy. I try to listen at least once a week purely for enjoyment. I love tennis. I love watching certain tennis players who stand above the rest. I love quality. But my loves are simple. I’ve lived in Hawaii and love the ocean. There’s a Hawaiian saying: Something along the lines of “sit long, talk story, laugh often.” I strongly agree with that.

What inspires you about your work?

The greatest thing about real high-end audio is that it’s a time machine. When I say high-end audio, I don’t mean the most expensive components on earth, but a true high-end system that sounds fantastic. The Doors, Nina Simone, Bill Evans, Janis Joplin have all passed away, and however much you wish you could hear them live, you can’t. A high-end system can bring them back with the press of a button. Close your eyes, and suddenly Nina Simone sings, just for you in your living room. Want an encore? Press a button. What else on earth does that? Transports you back in time like that? And unlike all other technology that pulls you away from the now, music anchors you in the now—you are experiencing the music live, beat by beat. Seeing customers experience that is very gratifying. To make a living that brings pleasure to others without hurting anyone is very gratifying.

Tags: DEALER Q&A

Neil Gader

By Neil Gader

My love of music largely predates my enthusiasm for audio. I grew up Los Angeles in a house where music was constantly playing on the stereo (Altecs, if you’re interested). It ranged from my mom listening to hit Broadway musicals to my sister’s early Bob Dylan, Joan Baez, Beatles, and Stones LPs, and dad’s constant companions, Frank Sinatra and Tony Bennett. With the British Invasion, I immediately picked up a guitar and took piano lessons and have been playing ever since. Following graduation from UCLA I became a writing member of the Lehman Engel’s BMI Musical Theater Workshops in New York–working in advertising to pay the bills. I’ve co-written bunches of songs, some published, some recorded. In 1995 I co-produced an award-winning short fiction movie that did well on the international film-festival circuit. I was introduced to Harry Pearson in the early 70s by a mutual friend. At that time Harry was still working full-time for Long Island’s Newsday even as he was writing Issue 1 of TAS during his off hours. We struck up a decades-long friendship that ultimately turned into a writing gig that has proved both stimulating and rewarding. In terms of music reproduction, I find myself listening more than ever for the “little” things. Low-level resolving power, dynamic gradients, shadings, timbral color and contrasts. Listening to a lot of vocals and solo piano has always helped me recalibrate and nail down what I’m hearing. Tonal neutrality and presence are important to me but small deviations are not disqualifying. But I am quite sensitive to treble over-reach, and find dry, hyper-detailed systems intriguing but inauthentic compared with the concert-going experience. For me, true musicality conveys the cozy warmth of a room with a fireplace not the icy cold of an igloo. Currently I split my time between Santa Fe, New Mexico and Studio City, California with my wife Judi Dickerson, an acting, voice, and dialect coach, along with border collies Ivy and Alfie.

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