Interview with Jim Anderson, February 9, 1999

Partial Transcript: So, um, it is February 9th, 1999.

Segment Synopsis: Anderson discusses his job as a radio engineer in National Public Radio (NPR). He also talks about his educational background.

Keywords: Adams, Noah; All Things Considered (Radio program); Amos, Deborah; Anderson, Jim; Columbia Broadcasting System (CBS); Competitions, dance; Competitions, music; Documentaries; Duquesne University; Duquesne University Conservatory of Music; Feile Neidin; Folk Festival USA; Humanists; Ireland; Jazz; Joyce, James; Montego, Robert; Music; Music and dance competitions; National Endowment for the Humanities; National Public Radio (NPR); Operas; Orchestras; Paris (France); Pittsburgh (Pa.); Producer; Producing; Question of Place, the (Radio program); Radio; Radio producers; Radio stations; Sound effects; Strauss, Levi; Symphony Orchestras; Washington (D.C.)

Subjects: Adams, Noah; All things considered (Radio program); Amos, Deborah; Anderson, Jim; Columbia Broadcasting System, inc.; Duquesne University; Folk festivals.; History of science and technology; Ireland; Jazz music.; Joyce, James; Joyce, James, 1882-1941.; Music; National Endowment for the Humanities.; National Public Radio (U.S.); Opera.; Orchestra.; Paris (France); Pittsburgh (Pa.); Radio; Radio stations.; Record labels.; Sound effects.; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Strauss, Levi, 1829-1902.; Symphony.; Washington (D.C.)

Partial Transcript: And, uh, uh, in addition, we also--I was the first person to go up to, uh, Berlin and study engineering with the, with the, uh, the Germans.

Segment Synopsis: Anderson discusses how he traveled to Germany to learn radio production techniques in 1978.

Keywords: Audio Engineering Society (AES); Bells of Europe; Berlin (Germany); Cleveland (Ohio); Decca Records; Decca international department; Earplay (Radio program); Ethnographies; Germany; Hamann, Kenneth; Hyenas; International department; Jazz; Madison (Wis.); Neumann, Georg; Polka; Polka music; Prix Futura; Prix Italia; Recording studios; Schmidt, Karl; Sound; Styles; Techniques; Tonemeister; Tonemeister degree program; West Germany; Wisconsin Public Radio; Yankovic, Frankie (Artist)

Subjects: Anderson, Jim; Audio Engineering Society; Berlin (Germany); Cleveland (Ohio); Decca Records (Firm); Germany.; History of science and technology; Hyenas; Madison (Wis.); Music; Polka music.; Prix Italia.; Record labels.; Schmidt, Karl; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; West Germany. German.; Wisconsin Public Radio; Yankovic, Frank

Partial Transcript: Um, uh, in--before I went to Germany, where I met Manie, I, uh, initially--

Segment Synopsis: Anderson discusses fellow audio engineer Manie Sacks, who he met at an audio engineering and arranging course at the Eastman School of Music. He also discusses Edward Greene, who does audio recording for television shows.

Keywords: Albums; An Arrangers Holiday; Anderson, Jim; Armed Forces; Arrangement; Arrangers; Audio engineering; Audio engineers; Basso Nova; Byrd, Charles; Byrd, Charlie (Artist); Churches; Eastman School of Music; Gertz, Stan; Girl from Ipanema, the (Song); Greene, David; Greene, Edward; Guitarists; Guitarists, jazz; Jazz; Lewis, Ramsey; Microphones; Musical arrangement; National Public Radio (NPR); Plunkett, Don; Plunkett, Donald; Recording service; Recording studios; Recording, on location; Recording, remote; Sacks, Manie; Studios; Television; The ‘In’ Crowd (Song); Washington (D.C.)

Subjects: Anderson, Jim; Armed Forces.; Bossa nova (Music); Byrd, Charlie, 1925-1999; Eastman School of Music.; Getz, Stan, 1927-1991; Greene, David; Greene, Edward; History of science and technology; Lewis, Ramsey; Microphone; Music; National Public Radio (U.S.); Record labels.; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Television.; Washington (D.C.)

Partial Transcript: People, you know, people played differently, back then. Musicians played differently.

Segment Synopsis: Anderson talks about jazz great Thelonious Monk. He then discusses the different recording studios in New York (N.Y.) and their locations in the city. Anderson then delves into the effect sound engineering technology had on musical performance.

Keywords: Acoustics; Amplifiers; Arthur Godfrey; Arthur Godfrey Radio Show (Radio program); BMI (Performing Rights Organization); Balance; Balance, acoustic; Bands; Bass, acoustic; Bass, electric; Bass, upright; Berklee School of Music; Bowling Green State University; Columbia Broadcasting System (CBS); Columbia Records; Columbia Records, Inc.; Day, Doris (Artist); Disco music; Documentaries; Drum kits; Duane Read; Eastwood, Clint; Fine, Bob; Germany; Giddens, Gary; Gordon, Dexter (Artist); Graham, Edward "Buddy"; Great Northern Hotel; Guitars; Guitars, bass; Hollywood (Calif); Hormel, Geordie; Hormel, George; Hyde Park; Isolation; Le Bar Bat; Liederkranz Hall; Live; Lover (Song); MacGregor Records; Macero, Joseph "Teo"; Mansions; MediaSound; Mercury Records; Money; Monitoring; Monitors; Monk, Thelonious (Artist); Multi-tracking; Museum of Modern Art (MoMA); National Park Service; New York (N.Y.); New York Times; Orchestras; Overdubbing; Palladium, the; Paul, Les; Percussion; Performances; Pianos; Profits; Puluse, Donald; RCA Records; Radio stations; Recorders, multi-track; Recording; Recording studios; Recording studios, independent; Recording, live; Recording, multi-track; Round Midnight (Motion picture); Rouse, Charlie (Artist); Sacks, Manie; Sinatra, Frank (Artist); Sony; Sony Corporation; Straight No Chaser (Motion picture); Taxes; Vanderbilt family; Vanderbilts; Village Voice; Village Voice, the; WOR (Radio stations); Webster Hall

Subjects: 'Round midnight (Motion picture); Anderson, Jim; Berklee School of Music; Bowling Green State University; Columbia Broadcasting System, inc.; Columbia Records, Inc.; Day, Doris, 1924-; Disco (Music); Disco music.; Fine, Bob; Germany; Godfrey, Arthur, 1903-1983; Gordon, Dexter, 1923-1990; Graham, Edward; Great Northern Hotel (New York, N.Y.); Guitar; History of science and technology; Hollywood (Calif.); Hormel, Geordie; Macero, Teo, 1925-2008; Monk, Thelonious; Music; New York (N.Y.); New York times.; Palladium (Dance hall); Paul, Les.; Percussion; Piano; RCA Records; Radio stations.; Record labels.; Rouse, Charlie; Sinatra, Frank, 1907-; Sinatra, Frank, 1915-1998.; Sony BMG Music Entertainment; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Vanderbilt family.; WOR (Radio station : New York, N.Y.); Webster Hall (New York, N.Y.)

Partial Transcript: Um, there were a, there were a few fellows who went around and started various studios.

Segment Synopsis: Anderson and Schmidt Horning discuss Harry Hirsch, an audio engineer who helped to start MediaSound and the Power Station. They then talk about the reasons why MediaSound went out of business. They also discuss the rates charged by various sound recording studios in New York (N.Y.). Anderson also talks about The Hit Factory.

Keywords: A&R Recording; American Federation of Musicians (AFM); Anderson, Jim; Audio Engineering Society (AES); Bacharach, Burt; Bell Sound Studios; Brooklyn Technical High School; Capitol Records; Cosentini, Adrian; Digi Rom; Eastman School of Music; Finger Poppin' Time (Song); Hank Ballard and the Midnighters (Artist); Head engineers; Hirsch, Harry; Hit Factory, the; King Records; MediaSound; Money; Musicians Unions; New York Public Library; Power Station, the; Ramone, Phil; Rates; Recording studios; Ritchie, Ross; Rodgers and Hammerstein Archives of Recorded Sound, the; Rodgers and Hammerstein Collection; Schmitt, Al; Sear, Walter; Sinatra, Frank (Artist); Smith, Eddie; Sound Recording Archives; Stoddard, Bill; Teig, Dave; Teig, David; Undercutting; Unions; Valentin, Val; Weintraub, Al

Subjects: American Federation of Musicians.; Anderson, Jim; Audio Engineering Society; Bacharach, Burt; Ballard, Hank; Bell (Sound recording label); Brooklyn Technical High School (Brooklyn, New York, N.Y.); Capitol Records, Inc.; Eastman School of Music; Hirsch, Harry J.; History of science and technology; King Record Company; Music; New York Public Library; Ramone, Phil; Record labels.; Ritchie, Ross, 1941-; Rodgers and Hammerstein Archives of Recorded Sound; Schmitt, Al; Sinatra, Frank, 1907-; Sinatra, Frank, 1915-1998.; Smith, Ed; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Stoddard, William; Teig, David, 1928-; Weintraub, Allen L.

Partial Transcript: So, uh, when you did you start--well you were doing, you're doing the broadcast stuff.

Segment Synopsis: Anderson discusses his transition from being a broadcasting engineer to an audio engineer. They briefly discuss Bob Lipton, a sound mixer at Regent Recording Studios. Anderson also talks about Radio Registry, a service that booked musicians for studio work. He then discusses the use of echo chambers.

Keywords: A&R Recording; Adams, Noah; All Things Considered (Radio program); Anderson, Jim; Artificial reverberation; Asher, Kenneth; Asher, Kenny; Audio engineers, freelance; Audio engineers, independent; Blue Note; Bookings; Broadcast engineers; Capitol Records; Commercials; Demonstrations; EMT plates; EMT reverb chambers; Echo (reverberation) chambers; Echo chambers; Elektromesstechnik; Engel School of Music; Faders; Freelancers; Jazz; Lipton, Bob; Mastering; Mixing; Morning Edition (Radio program); Musicians; National Public Radio (NPR); New York (N.Y.); Radio registry; Recording studios; Records, kinds of: demo; Regent; Reverberation; Robinson, Rob; Sacks, Manie; Session work; Sessions; Sound Mixers; Sound One; Studio engineers; Studios; Theme packages; Themes; Washington (D.C.)

Subjects: Adams, Noah; All things considered (Radio program); Anderson, Jim; Capitol Records, Inc.; History of science and technology; Morning edition; Music; National Public Radio (U.S.); New York (N.Y.); Record labels.; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Washington (D.C.)

Partial Transcript: Have you ever been out to Rudy van Gelder's studio?

Segment Synopsis: Anderson discusses fellow sound engineer Rudy van Gelder, who does not allow other audio engineers to visit his recording studio. They then talk about various National Public Radio programs. Anderson also talks about training novice audio engineers in order to perpetuate a unique audio engineering sound.

Keywords: Blue Note Records; Columbia Records; Columbia Records, Inc.; Consoles (mixing); Consoles (recording); Equalization; Equalizing; Germany; Greene, Edward; Los Angeles (Calif.); Lost and Found Sound (Radio program); MGM Records; Nashville (Tenn.); National Public Radio (NPR); New York (N.Y.); Quality Control; RCA Records; Recorders, tape; Recording studios; Research and development; Studios; Tape machines; Tones; Van Gelder, Rudolph; Van Gelder, Rudy; Weekly Edition (Radio program)

Subjects: Anderson, Jim, 1946; Columbia Records, Inc.; Germany; Greene, Edward; History of science and technology; Los Angeles (Calif.); Metro-Goldwyn-Mayer.; Music; Nashville (Tenn.); National Public Radio (U.S.); New York (N.Y.); RCA Records; Radio; Record labels.; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Van Gelder, Rudy

Partial Transcript: I, I mean people now--I mean, now, I've been engineering records for, for almost fifteen years now, and, and I probably do, uh, anywhere from sixty to eighty records a year.

Segment Synopsis: Anderson discusses the reasons that he primarily records jazz music. He then talks about why recording jazz music is unappealing to young audio engineers. Anderson also talks about the recording studios that specialize in jazz recording.

Keywords: Acoustics; Anderson, Jim; Artists; Audio engineering; Avatar; Baker, David; Berklee School of Music; Classical music; Clearmountain, Bob; Clinton Recording; Disco music; Eastman School of Music; Farber, James; Furla, Joe; Furla, Joseph; Fusion; Gateway Mastering; Hit Factory, the; Jazz; Jazz musicians; Los Angeles (Calif.); Ludwig, Bob; MTV Unplugged (Television program); Maine; Masterdisc; Masterdisk; Mastering; Musician; Portland (Me.); Power Station, the; Ramone, Phil; Reverberation; Right Track Recording; Right Track, the; Rock 'n' roll; Rock and roll; Sacks, Manie; Sony; Sony Corporation; Sony Studios; Sound; Sound on Sound; Specialization; Specializing; Sterling Sound; Trumpets; Van Gelder, Rudolph; Van Gelder, Rudy; Yee, Wes

Subjects: Anderson, Jim; Baker, David; Eastman School of Music; Farber, James M.; History of science and technology; Jazz music.; Jazz musicians.; Los Angeles (Calif.); Ludwig, Bob; Maine; Music; Portland (Me.); Ramone, Phil.; Record labels.; Sony BMG Music Entertainment; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Sterling (Sound recording label); Trumpet; University of California, Berkeley.; Van Gelder, Rudy

Partial Transcript: How does somebody end up going into, specifically, mastering?

Segment Synopsis: Anderson discusses post-production mastering. He talks about how he knows what the musicians want their recordings to sound like. Anderson describes what equalization and balance are and talks about adding reverberation.

Keywords: Balance; Balancing; Bass; Cleveland (Ohio); Climax; Clubs; Compact Discs; Distortion; Dynamic ranges; Echoes; Equalizing; Groove; Individual cuts; Leveling; Levels; Limiters; Ludwig, Bob; Mastering; Mastering engineers; Mixing; Musicians; Post-echoes; Pre-echoes; Radio; Records; Records, kinds of: Long-playing (LP); Reverberation; Segovia, Andrés (Artist); Stereo; Stereophonic; Stylus; Tension; Volume

Subjects: Anderson, Jim; Audio equipment industry; Cleveland (Ohio); History of science and technology; Ludwig, Bob; Music; Musicians.; Radio; Record labels.; Segovia, Andrés; Segovia, Andrés, 1893-1987.; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Stereophonic sound systems.; Stylus

Partial Transcript: But, you know, that's something that, uh--

Segment Synopsis: Anderson discusses how technology and music are interrelated. He talks about Hillside Sound, which primarily focuses on recording rap music. He then compares recording rap music and jazz music.

Keywords: Artistic control; Audio engineers; BMG; Belden, Bob; Bennett, Dave; Bennett, David; Bennett, Tony (Artist); Blue Note Records; Culture; Cuscuna, Michael; Davis, Miles (Artist); Evans, Bill; Genres; Hillside Sound; Hip hop music; Hip-hop music; Jazz; Liner notes; Mosaic Records; Musical genres; Rap music; Run-DMC (Artist); Salt-N-Pepa (Artist); Schaap, Phil; Sony; Sony Corporation; Sound engineers

Subjects: Anderson, Jim; Belden, Bob; Bennett, David; Bennett, Tony; Bennett, Tony, 1926-; Davis, Miles.; Evans, Gil, 1912-1988; Hip-hop.; History of science and technology; Jazz music.; Mosaic Records; Music; Rap (Music); Record labels.; Salt-n-Pepa (Musical group); Sony BMG Music Entertainment; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History

Partial Transcript: Now Mike is, I know he's, uh, I mean I know a little bit about him.

Segment Synopsis: Anderson discusses Michael Cuscuna, who resurrected jazz recording label Blue Note Records. He also talks about record executive Bruce Lundvall.

Keywords: Anderson, Jim; Belden, Bob; Benson, George (Artist); Blue Note; Blue Note Records; Capitol Records; Columbia Records; Columbia Records, Inc.; Cuscuna, Michael; Cuscuna, Mike; Davis, Clive; East coast president; GRP Records; Grusin, Dave; Grusin-Rosen Productions; Jazz; Jazz music; LiPuma, Tommy; Lundvall, Bruce; Milton, Bob; Mosaic Records; Polygram; Popular music; President; Rosen, Larry; Sacks, Manie; This Masquerade (Song); Verve Records

Subjects: Anderson, Jim; Belden, Bob; Benson, George; Capitol Records, Inc.; Columbia Records, Inc.; Cuscuna, Michael; Davis, Clive; History of science and technology; Jazz music.; LiPuma, Tommy; Lundvall, Bruce, 1935-2015; Mosaic Records; Music; PolyGram Audiovisuel (Firm); Record labels.; Rosen, Larry; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Verve Records (Firm)

Partial Transcript: But the little studio I used to work at at, at, A&R was the, uh--was Phil's, kind of Phil's project studio.

Segment Synopsis: Anderson discusses working at A&R Recording, recalling when he saw Billy Joel recording the album The Nylon Curtain. He then talks about recent innovations in sound engineering and sound delivery methods, such as the compact disc. Anderson also talks about developments in surround sound.

Keywords: A&R Recording; Allentown (Song); Anderson, Jim; Audiophiles; Bass; Channels; Chicago (Ill.); Compact discs; Consumer driven; Consumers; Drums; Grammy Awards; Grusin, Dave; Guitars, bass; Joel, Billy (Artist); Markets; Masters; Nylon Curtain, the (Album); Pianos; Power; Project studios; Quality; Ramone, Phil; Recording studios; Records, kinds of: Long-playing (LP); Records, kinds of: lacquer masters; Rosen, Larry; Simon, Paul (Artist); Sound; Sound effects; Sound quality; Speakers; Speakers (models): Wilson Watt Puppy; Steinway; Studios; Subwoofers; Surround sound; Surround sound, 5.1; Tracks; Wilson Audio

Subjects: Anderson, Jim; Audio equipment industry; Chicago (Ill.); Grammy Awards.; Grusin, Dave; History of science and technology; Joel, Billy.; Music; Percussion.; Piano; Ramone, Phil.; Record labels.; Rosen, Larry; Simon, Paul, 1941-; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Steinway & Sons

Partial Transcript: Tell me about the AES now.

Segment Synopsis: Anderson and Horning Schmitt discuss the Audio Engineering Society (AES), which Anderson feels focuses too much on theoretical and technical matters outside the reach of the average audio engineer. He then talks about various recording industry magazines and journals, such as Recording Engineer / Producer Magazine and EQ Magazine.

Keywords: Audio Engineering Society (AES); Blue Book; Borders Books; Chairman; Chapters; EQ Magazine; Elitist; Industry; Journal of the Audio Engineering Society; Mastheads; Mix Magazine; New York (N.Y.); Plunkett, Don; Plunkett, Donald; REP Magazine; Record industry; Recording Engineer / Producer; Recording Engineer / Producer Magazine; Recording business; Technical; Technique; Theoretical; Theory; Warren, John; db Magazine

Subjects: Anderson, Jim; Audio Engineering Society; History of science and technology; Music; New York (N.Y.); Record labels.; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Warren, John

Partial Transcript: Now, you probably came into it, later.

Segment Synopsis: Anderson discusses how technology changed the culture of studio recording. He also talks about Music Center Incorporated (MCI). The two then briefly discuss advertising jingle writer Anne Phillips.

Keywords: A&R Recording; Advertising; Albums; Ampex Corporation; Ampex Electric Corporation; Anderson, Jim; Arrangement; Arrangers; Arranging; Audio devices; Audio equipment; Bell Sound Studios; Commercials; Conceptual; Consoles (mixing); Culture; Equipment; Honesty in Recording; Jazz; Jingle writing; Jingles; Lost and Found Sound (Radio program); MCI (Music Center Incorporated); National Academy of Recording Arts & Sciences; National Academy of Recording Arts and Sciences; National Public Radio (NPR); Need driven; Nelson, Davia; Phillips, Anne; Plunkett, Don; Ramone, Phil; Recording lathes, Scully; Recording studios; Research and development; Schwartz, Howard; Silverman, Alan; Transistorized; Transistors; User driven

Subjects: Ampex Corporation; Anderson, Jim; Audio equipment industry; History of science and technology; Music; National Academy of Recording Arts and Sciences (U.S.); National Public Radio (U.S.); Nelson, Davia Lee; Phillips, Anne; Ramone, Phil.; Record labels.; Schwartz, Howard; Silverman, Alan; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History

Partial Transcript: The woman that you mentioned when we first started talking, um, at, at NPR, about this...

Segment Synopsis: Anderson discusses the relatively few women in audio engineering, including Leann Hunger and Zoe Thrall.

Keywords: A&R Recording; Anderson, Jim; Audio Engineering Society (AES); Avatar; Avatar Recording; Connecticut; Feldman, Sid; Feldman, Sidney; Fine, Bob; Fine, Wilma Cozart; Goodman, Benny; Howard, Mary; Hunger, Leann; Jazz; Jazz musicians; Plunkett, Don; Plunkett, Donald; Salons; Shipman Family; Thrall, Zoe; Time Magazine; Weiner, Seth; Women; Women in audio engineering; Women in engineering; Women in sound engineering

Subjects: Anderson, Jim; Audio Engineering Society; Connecticut; Fine, Bob.; Goodman, Benny; History of science and technology; Howard, Mary; Jazz music.; Jazz musicians.; Music; Record labels.; Shipman family; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Women in engineering.