One of the greatest audio engineer just passed away at 91yo.
He worked till the end, the last album he produced was for Melody Gardot.
May he RIP.
He worked till the end, the last album he produced was for Melody Gardot.
May he RIP.
All the albums in my collection where he was involved in sound tasteful and transparent.
It is darn cool when one's hearing and craftmanship is still that good in that age.
May he rest in peace.
It is darn cool when one's hearing and craftmanship is still that good in that age.
May he rest in peace.
Obit was in the NYTimes this morning:
Al Schmitt, Maestro of Recorded Sound, Is Dead at 91 - The New York Times
snippets
For more than 60 years, Mr. Schmitt brought deft engineering skills and a sixth sense about what made a song great to his collaborations with dozens of musicians and singers. He was renowned for his ability to make subtle but critical changes during a recording session.
His gentle, informed guidance from behind the recording console was an essential, if unseen, element in 15 of Ms. Krall’s studio albums.
“It’s how he heard things,” she said by phone. “Sometimes he’d adjust the mic a bit or put his hand on my shoulder and say, ‘It’s OK.’ I don’t know if he was adjusting the mic or me.”
Youth
At first his father escorted him to the studio on weekends. But by age 8 Al was taking the subway on his own. He reveled in listening to Crosby, being asked by Orson Welles if he believed in Martians (soon after Welles’s nation-rattling radio broadcast of a Martian invasion in “The War of the Worlds”) and being taken to bars by his uncle and his close friend Les Paul.
His uncle put Al to work — setting up chairs for a big band, cleaning cables. And Al learned about the proper placement of musicians in a one-microphone studio.
Al Schmitt, Maestro of Recorded Sound, Is Dead at 91 - The New York Times
snippets
For more than 60 years, Mr. Schmitt brought deft engineering skills and a sixth sense about what made a song great to his collaborations with dozens of musicians and singers. He was renowned for his ability to make subtle but critical changes during a recording session.
His gentle, informed guidance from behind the recording console was an essential, if unseen, element in 15 of Ms. Krall’s studio albums.
“It’s how he heard things,” she said by phone. “Sometimes he’d adjust the mic a bit or put his hand on my shoulder and say, ‘It’s OK.’ I don’t know if he was adjusting the mic or me.”
Youth
At first his father escorted him to the studio on weekends. But by age 8 Al was taking the subway on his own. He reveled in listening to Crosby, being asked by Orson Welles if he believed in Martians (soon after Welles’s nation-rattling radio broadcast of a Martian invasion in “The War of the Worlds”) and being taken to bars by his uncle and his close friend Les Paul.
His uncle put Al to work — setting up chairs for a big band, cleaning cables. And Al learned about the proper placement of musicians in a one-microphone studio.
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