" ... the later sessions were like ten-piece, and that was pushing it a little bit for Hackensack. I had gotten Gil Etype=right ] You were in the big band in the high school? No, no, the marching band. I ended up taking ... "
" ... the later sessions were like ten-piece, and that was pushing it a little bit for Hackensack. I had gotten Gil Evans there, which I just wish I could have been able to do here. That was the pressure. And of course ... and I don't think that had ever happened before. Bob Thiele used to kid me about that. He would say, "Rudy, you know in Europe engineers wear white coats." Really. That was in the '50s? Yes. Even in the sixties I ... "
" ... That kind of put me on the map for jazz. I found a radio interview you did with pianist Bill Evans when you were just out of college. It was obvious that you were a big jazz fan, even then. Oh, ... huge fan of the early stereo records: late ‘50s, early ‘60s. I love the sound of early stereo Rudy Van Gelder recordings, with the drums in mono on the right speaker. There were no pan pots — just left, center, right. ... "
" So how was Rudy to work with? He was a very nice man. Very friendly and open and interested in listening to what you ... "
" ... high-end hi-fi systems for wealthy people. By then I had decided that I wanted to be recording engineer and an avant-garde composer. I started off working for Sherman Fairchild, famous audio pioneer and the richest man in America at the time. ... get properly credited on CD reissues. The session information either just gets left off, or they assume that Rudy Van Gelder [issue #43] was the engineer. When did you start doing sessions for ESP Records and Bernard Stollman? Before I even ... "
" ... were a couple pictures of them walking to the studio from the parking lot and it said, "Walking into Rudy Van Gelder's studio." That was the first time that it really hit me — "Oh, there's somebody who records this music. ... "
" ... earliest jobs was working for Bob Weinstock at Prestige Records. I know you visited various studios back then, including Rudy Van Gelder's place in Englewood, NJ. Rudy Van Gelder [Tape Op #43] was the first engineer I had the privilege of ... "
" ... depending on the type of music? MB: I've actually done research on blues recording at Chess in Chicago, and Rudy Van Gelder, his style of recording jazz for Blue Note and Riverside — things like that. I think it's a good ... "
" ... really sound great. You go to Sun, you go to where they tracked the Motown records, you go to Rudy Van Gelder's — you get this perplexed look about... 'Oh, it's just a ROOM!'" Gibbs uses Dunleavy speakers since the biggest ... "
" ... is how people did [recordings], until multitracking and mixing later came in, of course. Is that how guys like Rudy Van Gelder [Tape Op #43] were tracking? Oh, definitely! I mean you can hear it on the records. Listen to the ... "
" ... and then put the mic there rather than guessing. Kenny Burrell told me one of things he liked about Rudy Van Gelder [Tape Op #43] was that he would really listen to the sound when he was setting up a session. ... "
" ... say, 'Could we go to 237 please?' It's helpful so the engineer knows what he's talking about. With the wonderful advantages of modern day technology, one of the things that has not improved seemingly is exactly that — the communication system." ... I meet someone who played there, they say they have good memories of it." read full interview → -Rudy Van Gelder 44 "TONTO [The Original New Timbral Orchestra synthesizer] will always be a work in progress! It was designed to be ... "
" ... John Hammond, Phil Ramone, etc. Alfred Lion's interview contains some of the only words I've ever seen printed on Rudy Van Gelder, the coolest recordist of all time. Mercury Living Presence: You Are There! This tiny book/CD combination is a good ... "
" ... time that Doctor Explosion was making tours with the original line up in the late '90s, I remember that our van was broken constantly and everything was going wrong. [Bassist/keyboardist] Félix [Domínguez] was looking at the sky and said, "Oh my ... off a little bit. I've always liked a lot of jazz recordings. Famous recordings made in New York; Rudy Van Gelder [Tape Op #43] stuff. I've always liked those recordings, because my brother Juan — that opened that studio in the ... "
" ... approach as similar to the jazz and pop recordists of the ’50s and ’60s. That makes me think of Rudy Van Gelder [Tape Op #43]. A warm but still hi-fi sound. It’s interesting that you say hi-fi, because I never think ... "
" ... On older jazz records, everybody [mainly] used two mics. A lot of times even one. I always wondered how Rudy Van Gelder [Tape Op #43] recorded. How I mic up my bass drum usually, because I don't like to use the ... "
" ... music, for sure. Also [Andrei] Tarkovsky; the pacing, the thoughtfulness, and the rumination of it appeals to me. Producer-wise, Rudy Van Gelder [Tape Op #43] had a big influence on me, and definitely Alan Parsons [#42]. And Phill Brown [#12, Are ... "
" ... I don't think too many people know this about you, but you did a fair amount of work with Rudy Van Gelder when you were in New York. Oh, my god, yeah. That was a trip. It was for CTI Records. ... "
" ... End Rant Column, for some thoughts on the upcoming election. This issue has some great interviews inlcuding the legendary Rudy Van Gelder. We've also got two articles on getting the most out of drums, one of the more difficult instruments to ... "
" ... thought of using a sound or a sample." -Alan Parsons 43. "That was before the days of sliding faders." -Rudy Van Gelder 44. "I've always felt that Memphis is great at exporting local products." -Doug Easley 45. "Every note has to ... "
" ... different eras. Billie Holiday's recordings have a sense of room, with the players all behind her, even in mono. Rudy Van Gelder's jazz recordings have a sense of space and place. Even some of the best electronic recordings have a sense ... "
" ... one degree of separation from Pharoah Sanders. If I thought about it further, I could lump John Coltrane, engineer Rudy Van Gelder, and even Yoko Ono and John Lennon (who Tchicai had also performed with) in there too. But somehow the ... "
" ... assigned to hi-fi speakers and playback equipment. Reviewers write haikus in brown pencil, dithering about the big truths while Rudy Van Gelder [Tape Op #43] and Nikola Tesla nod from beyond with knowing approval, their own confirmation biases being fed by ... "
