jazzhound

You may have to contact Cedar Walton or Horace Silver to get insight into that question. Cedar cut an album there recently and of course recorded there in the early sixties. Horace is probably the only living pianist who recorded at Rudy's home studio and Englewood Cliffs.

I believe this is oop on cd. Would like to buy original lp but cd is ok. Have lps and cds to trade. thanks.

I think it was the custom made tube console that accounts for the difference between your home recordings and Rudy's more than the room Jim. Rudy mentions it in the book. It is generally not a good idea to have windows or mirrors in a recording environment; can really add a upper midrange emphasis to the sound. (I'm sure you have experienced this on live gigs where the bandstand is set up against a window.) the high ceilings are a big plus though. Also the hallways noted in the the description prevented the sound from getting too boxy. When I was a kid my band rehearsed in a similar type room . Come to think of it, it sounded better than alot of studios I've been in!

It would be preety tough to find someone who was at his first studio, unless we get one of the musicians who recorded there to this board. What I find curious was those loops that Rudy had attached to the mics during the sixties sessions. (they are not windscreens.) In one picture I saw recently, one of the horn players actually had the bell of his horn just inside the loop while playing. Was this a device Rudy used to keep the players a certain distance from the mic? I remember one guy who posted on the BNBB a few times had turned up some rather specific stuff on the studio and some of his techniques. I would like to gather some info on these boards about rudy's techniques. (I am going to see if I can dig up those posts.)Should we start a seperate thread on that topic alone? Anyone interested in such a thread? I really dig his horn, and drum sounds, yet the drum miking scheme seems odd. I have seen pictures of Blakey's drums miked up and he has two mikes on the drums and one on the bass drum. The odd thing is I don't see any over head mike like other engineers used at that time. And other pictures of drum set ups I don't see an overhead mic either. (60's Englewood shots.) that means the cymbals were being picked up from underneath only, since the mikes sitting under neath the cymbal, pointed at the drums.. Was he using a bi directional mike or omni? ! I guess the room had a lot to do with the drum sound also. Interesting to note the studio In Englewood had wood floors but they put down a carpet where the musicians were set up.

I thought punching only went on at Miles's sessions So is it the exception when the horn players don't punch in parts of their solos? ( which I assume they attempt when the rhythm section lays down the basic tracks.) that would mean you have to totally isolate the horns from the rhythm section. I know it varies from session to session, but I would surprised to hear that they lay down their solos like vocalists track! Miles probably was the first to do this. On the Gil Evans sessions I believe he would lay out in some sections, with the idea over overdubbing his solos later. This thread is great. Thanks Jim Anderson for coming on over! Now if we could only lure that James Farber guy over here....

Jim, What factors besides finances determine whether you take a project digital or analog? What do you think are the advantages of multitrack digital over multitrack analog with Dolby noise reduction sound wise? (if any.) Do most jazz artists request digital? thanks.

One inch eight track on an ampex machine. Now that is an open window!

hello Jim; What core group of microphones would you like to see in every recording studio, or think every freelance engineer should have at his disposal, and why? Also, did you find that you changed you mic selection when digital recording became the norm? thanks!