Question 1

What did Michael Fremer play at Capital Audio Fest in this session?

Accepted Answer

He played a mix of unreleased and hard-to-find audiophile titles, plus some deep catalog gems. We heard a test pressing of Frank Sinatra “In the Wee Small Hours” from the Tone Poet series, a one-step Nat King Cole Christmas album, and a wild Mode Records reissue of Pepper Adams 5 cut at 45 RPM. He also spun Anthony Wilson’s “House of the Singing Blossoms” and previewed Kalin (Kellen) Cardell’s “Chapter One” from his own label.

Question 2

Why is the Tone Poet Frank Sinatra “In the Wee Small Hours” test pressing a big deal?

Accepted Answer

Because it’s coming from the original mono master tape that hadn’t been used in decades—apparently it was put away and basically lost to the process. Fremer’s point was that previous cuts weren’t from that tape, which is huge for authenticity and tone. Even without a mono cartridge in the room, you could still hear how right the source sounded.

Question 3

What is the Nat King Cole Christmas one-step Fremer mentioned cut from?

Accepted Answer

He said it’s cut directly from the three-track master tape, which is exactly what you want to hear for a premium one-step release. They chose it because it’s a perennial favorite and it keeps getting reissued for a reason. The “Christmas Song” moment in that room was one of those instant audiophile crowd-pleasers.

Question 4

What’s special about the Pepper Adams 5 Mode Records release Fremer played?

Accepted Answer

It’s a 45 RPM release cut by Bernie Grundman from the original stereo master tapes that had never been used, which is the kind of sentence that makes collectors sit up straight. Fremer also went hard on the packaging—hard case, insane presentation, and liner notes that teach you a ton about 1950s jazz. He mentioned it was a small run (around 2,000) and only available through the label’s website (Gamamoth Records).

Question 5

Why did the sound seem to come from one side during the listening session?

Accepted Answer

There was a whole mini-debate in the room about imaging, and Fremer’s answer was basically: sometimes it’s the recording, sometimes it’s mono, and sometimes it’s where you’re sitting. The Sinatra was mono, so if you’re not centered you’ll perceive it pulling. And at a hi-fi show, people are going to ask—Fremer even said you’re “supposed to be” that guy.

Question 6

Where can you buy Anthony Wilson “House of the Singing Blossoms”?

Accepted Answer

Fremer said it’s a Sam First club recording and you can only buy it at samfirst.com. It’s not one of those “maybe it’s on Amazon” titles—this is direct-from-the-source. He played “In a Silent Way” (the Joe Zawinul tune most people know from Miles) and it sounded gorgeous in the room.

Question 7

What did Fremer say about Kalin (Kellen) Cardell’s “Chapter One” and the vinyl mastering?

Accepted Answer

He described it as high-energy—more adrenaline rush than late-night lounge—and he was very open that it’s not a purist audiophile recording (small studio, mic bleed). He had it mastered/cut twice and preferred Dave McNair’s lacquer cut, saying it knocked it out of the park. He also mentioned he had the project remixed to get it closer to what he wanted before pressing.

Question 8

What is the UHQR 45 RPM “Who’s Next” story Fremer shared?

Accepted Answer

He said Chad Kassem bought the Classic Records catalog and found metal parts for “Who’s Next” at 45 RPM that were never released at 45 back then. Chad made a UHQR 45 for him, and Fremer played it loud—because it’s The Who and that’s the only correct way to do it. He even dropped a personal concert story from 1969 and, yeah, it went where you think it went.

Michael Fremer Drops Audiophile Gems LIVE at Capital Audio Fest!

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