The teachers had to give me something to do.

The over head was way up in the ceiling (the sweet spot for this sound), the floor mic was way back and the room mic was 20 ft in front of the kit, swiveled around and facing the control room glass with the protective Coles glove left on the mic to round off and muffle the sound - a lot. The studio’s high ceiling gave a sumptuous natural reverb to Van Gelder’s recordings (though, apparently, Alfred Lion preferred a drier sound) and, from 1959 right through to the 70s (by which time Lion and Wolff had left the label), Blue Note continued to record at Englewood Cliffs. Van Gelder sought to bring a more intimate sound to small jazz groups. Mix was in mono and bussed to a Fairchild plug in and a low pass filter to make it all sound that much more vintage. Between the studio’s opening on July 20, 1959 to its closing on February 28, 2011, Van Gelder had over 1300 recording sessions.

I would go down to Cortlandt Street, New York, to buy components to build a mixer to feed that. So I was reading Rudy Van Gelder's wiki page and it mentions that he was very secretive about his recording techniques and as … It was never any good. Even so, Rudy Van Gelder brought a sense of sophistication to the Blue Note sound.

This was a time even before multi-track reels, when mono sound reproduction ruled and the equipment was quite primitive. But though recording a quartet on two tracks might seem a fairly easy and straightforward task in comparison to the layered multi-tracking and overdubbing that came in during the 70s, getting the right balance between the instruments was crucial and couldn’t be altered once the recording had taken place (there was no mixing that could be done after the fact). According to a 2012, And Van Gelder’s answer to Goldson’s first question may be all we need to know: “, Van Gelder, in his way, described it simply as, “.

[21], Despite his prominence in recording jazz, some artists avoided Van Gelder's studio.

degree from the institution in 1946. He has never discussed his techniques, and even in the following interview he didn't divulge details.

Why?

However, a friend of Van Gelder’s, Rein Narma, was able to reconfigure the circuitry of the U-47, making it ideal for close range recording. Van Gelder was fastidious in his approach–only he could touch equipment; he always wore gloves when touching equipment; he set up mics; no food; no smoking. I've seen him do it; I've seen him do it; I've seen him take Thad Jones and the way he sets him up at the mike, he can change the whole sound. So fooling around with ham radios led right to recording?

As I began to gather information, I quickly found myself spiraling down the proverbial rabbit hole. Just as designer Reid Miles had been for Blue Note’s artwork, Van Gelder was a crucial part of Blue Note’s creative team. Some engineers suspect this was due to reflections over the piano, brought on by the shape and size of his parents' living room and, later, his studio. "[25], Writer Stanley Crouch argued in an interview with Ethan Iverson that Van Gelder made particular adjustments to the sound of John Coltrane's tenor saxophone sound when engineering Coltrane's Impulse Records sessions: "I know the difference between the sound of someone in person and the recorded sound of an engineer. Van Gelder is a pioneer in record engineering, sought after by many musicians for his ability to provide artists with an ideal means of communicating their music, and allowing musicians to be heard “the way they want to be heard”.

Richard Cookcalled Van Gelder's characteristic method of recording and mixing the piano "as distinctive as the pianists' playing" itself.

Van Gelder was secretive about his recording methods, leaving fans and critics to speculate about his techniques. So I was reading Rudy Van Gelder's wiki page and it mentions that he was very secretive about his recording techniques and as … Van Gelder is best known for the LPs he recorded in the '50s and '60s for the Blue Note and Prestige jazz labels. “, Rudy Van Gelder died on August 25, 2016 in Englewood Cliffs, NJ. Lion wanted to replicate the album’s sound at the label’s usual recording home, WOR studios in New York City, but was told by its resident engineer that it wasn’t possible and that he should contact the person who made the Mellé recording. After those years of part-time recording in Hackensack, Van Gelder decided to become a full time audio engineer in 1959. The Van Gelder Studio is a recording studio at 445 Sylvan Avenue, Englewood Cliffs, New … Why? It was my interest in music, as well as the technical aspects of radio, which brought me to sound recording.

[28] Van Gelder said in 2012, "Alfred was rigid about how he wanted Blue Note records to sound. I had found some hypothesis online that seemed to be right but the rest was nothing more than guesses after listening to source audio.

He was also a longtime jazz fan. Need help? Van Gelder sought to bring a more intimate sound to small jazz groups. Constitution Avenue, NW

Today’s audiophiles might be shocked (and disappointed) to hear that in 1989 he went digital. You would buy your discs. Rudy Van Gelder Born in Jersey City, NJ in 1924, Van Gelder began as an amateur, working as an optometrist by day and making records by night in his parents’ Hackensack home.

One time the famous child actor Jackie Cooper came over.

The next thing I discovered was that to understand protest music, we have to place it in context. He himself always wore gloves when handling equipment".[14]. Rudy Van Gelder’s rationale behind his quest for sonic perfection was simple: “I tried to make these individual people be heard in a way they wanted to be heard,” he told Blue Note producer and historian Michael Cuscuna in 2004 for a short film released on the DVD portion of a Blue Note retrospective called Perfect Takes. Rudy Van Gelder (born November 2, 1924, Jersey City, New Jersey, USA - died August 25, 2016, Englewood Cliffs, New Jersey, USA) was an American recording engineer who specialized in jazz and became widely regarded as one of the best engineers in recording history.

There was no such thing as a console manufacturer as you know it today. According to a 2012 article in JazzWax by Benny Goldson, “Rudy’s many accomplishments and contributions include inventing techniques for capturing sound naturally in an age when most recording equipment wasn’t up to the job, the creative placement of microphones, the early use of magnetic recording tape, a recording process that wasn’t easily duplicated by other engineers, and turning his name into a brand that has been synonymous with jazz itself ever since.”, And Van Gelder’s answer to Goldson’s first question may be all we need to know: “Some people think I’m a producer.

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