I was fascinated listening to this interview. This is the kind of information that we rarely get as music lovers and audio enthusiasts. Love to hear all of the information that goes into the recording process especially what Rudy VanGilder was doing in his studio. The Blues and the Abstract Truth is a masterpiece among masterpieces and Kevin Gray is a true master in his craft. I enjoyed every minute of this interview.
Congratulations on such an amazing interview. I can tell you put in a lot of time researching Kevin and the interviews he’d already given beforehand. Great work, Ken!
Thank you very much for this interview / conversation, it was very interesting. Short and to the point questions and answers, and with great respect on both sides - that's quite terrific. You really have a vast knowledge, on Mr Gray's work and output as well as on the music of jazz and all labels - great, so much to learn! Thank you. I found interesting, for example, the fact that the original pressings do not sound very great on today's equipment, so it is not at all desirable to spend a lot of money on a first pressing. Thanks and take care!
A second comment, as so many things come to mind the more I watch this vid, I have that '77 Feldman LP, "In My Pocket" on the Cohearent Sound label, with the "hear" portion in blue ink!
Wow, thank you for this interview, Ken, and for adding my question.🙏🏼 I'm looking forward to getting his next record. I hope you are feeling better these days. You da man 😎
With all due respect to the other Gray interviews, from one tube head to another this one tops them all. Thank you both so very much. Interestingly, my first audiophile table was the original Technics SP-10 with that same Shure cartridge, now it's a SOTA and a Kiseki Purple Heart.
Ken, really great interview and I love that you're so happy to give the young whippersnapper jazz bums another shout out. Brilliant, supportive stuff all round. Thank you!
Kevin I've done some dates at RVG's. You are more than welcome to walk around the studio all day during any session I'm on. In fact I'd be fine with you sitting right next to me during a few takes.
Fantastic interview. Thank you both. Former jazz drummer and saxophonist here, so I can't wait to here the new Anthony Wilson release with Hamilton behind the kit...and having Clayton Jr & Sr in the lineup ain't so bad either! 👍 Loved what you captured with Kirsten Edkins as well. Cheers! Oh, question for Kevin. For the DSD 256 capture or transfers, were you using the Tascam DA-3000 units, or???
There was no DSD 256 of Kirsten. I don’t own that system, it was a client’s system I evaluated. But yes, used the Tascam 3000 at 24/176.4 for the hi res on Qobuz. The copy was made from the master tape because I consider that an integral part of the sound
@@cohearent Thanks so much for the speedy reply and information, Kevin. Great insight. 👍 Understood regarding the master tape being an integral part of the sound. And, thanks so much for choosing this career path and the fantastic choices you've made in regards to your equipment, signal chain, and philosophy/techniques in order to capture and/or preserve and improve these original recorded performances. As you know, there are just a handful with your expertise who are also consistently doing this type of work. Wish we could clone you and your studios! 😛 So much great music and history has been lost due to lack of care in cataloging, storing, and archiving the multitrack and master tapes. Sadly, I've seen this on the motion picture and TV side of the industry as well. I worked for a stint in the mid-90's in the motion picture film Color Timer/Video Colorist department at FotoKem/FotoTronics in Burbank near the studios where a significant percentage of our work was digitally archiving all of the old classic (and more modern) film movies and TV shows. It was mind-boggling how many titles came through our doors! But we were continually backlogged with work and could not possibly get to all of them in a reasonable amount of time before they further degraded. And, unfortunately some were simply too far gone to recover. On the music side, I've heard too many heartbreaking stories of the multitracks or master tapes from hundreds of sessions or entire independent studio collections simply ending up in the dumpster after a studio had closed due to financial stresses, or after the owner/manager has died and no one in the family has a clue about what to do with any of it, or even caring or wanting to preserve or deal with it. So Keep On Keepin' On!
Hi Ken, I appreciated that you brought something new to the string of RUclips interviews with Kevin, that you challenged him a little on the idea that some people prefer originals over his reissues, and this was actually the first time I heard you put forth the idea that originals sound better on vintage equipment, though I can't say I agree. I think cartridge choice is the most important variable in playing back originals, and I don't believe you need a vintage cartridge to get them sounding great. But no, I don't think you usually want to play originals with a light-tracking, hyper-sensitive line contact moving coil cart, especially if they are in less-than-mint condition.
I’m not the first one to put the idea cross. But it’s not playing records on vintage equipment. It’s playing it on vintage styled equipment, including single ended triode amplifiers and horn loaded speakers which were used when Rudy was making all these records. Sorry if that was unclear but the idea is basically the same. You can find more detail on this idea and Alex Halberstadt’s recent stereophiles column.
Really enjoyed this interview Ken. Kevin is always interesting and I learn something with every interview. I wanted to ask you if you have the Acoustic Sounds A Love Supreme 180 gram stereo. I just got mine this past Friday and I like it a lot but I noticed immediately is the saxophone only comes out in the left channel or left headphone as is the case with me. Is yours this way too? I emailed Acoustic, waiting for an answer
I’ve watched your videos for years and respect your jazz knowledge. Curious about when and why you changed your mind about reissues? I remember you talking a lot about how RVG originals were far superior to music matters etc
@@kenmicallefjazzvinylaudiop6455 In all fairness Ken I think your opinion has "relaxed" over the years lol. You may disagree but I think you have taken on an approach that suggests your views are more a matter of opinion than objective fact. I for one appreciate that change 😊
That’s only part of it. Earlier pressings, are. more dynamic, yes, because he boosted the mid range, they’re also more spatial which may have something to do with the reverb. But how can anyone deny that a tape recorded one day, and most likely cut into a lacqueur the next day will sound more present and immediate and live and natural than a tape that is over 60 years old. Isn’t it basic physics?
@@kenmicallefjazzvinylaudiop6455 Yes I agree with all the above points, but the plate reverb is pretty important. It creates the illusion of more headroom.
Plate reverb is on the master tape with most of these jazz recordings we love, which means it is on every reissue ever made. IME reverb would have been added during the mastering process on a rare occasion, George Wallington at the Bohemia, Little Richard on Specialty for example--though I actually prefer those *without* the reverb...I believe RoyDuNann at Contemporary may have done it too, but Rudy almost never added reverb during mastering.
@@kenmicallefjazzvinylaudiop6455 I agree that your hypothesis is reasonable, but of course one has to test their hypothesis, and IME these tapes quite often sound incredible still today. On occasion (Elmo Hope Trio, John Patton's The Way I Feel for example), there is tape damage in spots on reissues. But what you are speaking to, that the overall quality of the playback with these tapes is somehow compromised today, I personally can't say I hear it. Yes I'd like a vintage pressing of Maiden Voyage because all modern reissues are made from a copy tape for that title, but I'll be damned if that copy tape doesn't sound outstanding.✌
I was fascinated listening to this interview. This is the kind of information that we rarely get as music lovers and audio enthusiasts. Love to hear all of the information that goes into the recording process especially what Rudy VanGilder was doing in his studio.
The Blues and the Abstract Truth is a masterpiece among masterpieces and
Kevin Gray is a true master in his craft. I enjoyed every minute of this interview.
Congratulations on such an amazing interview. I can tell you put in a lot of time researching Kevin and the interviews he’d already given beforehand. Great work, Ken!
Great interview Ken. Kevin is always so generous with his time. I'm really looking forward to his next Cohearant Records release. 👽✌️
This guy is a true legend. Him and Joe Harley are among the greatest contributors of quality music. I hope they keep going on.
Ken and Kevin: two lovers of Jazz music. Excellent. Thanks so much. (Madrid, Spain)
Thank you very much for this interview / conversation, it was very interesting. Short and to the point questions and answers, and with great respect on both sides - that's quite terrific.
You really have a vast knowledge, on Mr Gray's work and output as well as on the music of jazz and all labels - great, so much to learn! Thank you.
I found interesting, for example, the fact that the original pressings do not sound very great on today's equipment, so it is not at all desirable to spend a lot of money on a first pressing.
Thanks and take care!
Nice work. Casual, yet most informative.
Thank you SOOOO MUCH for this amazing interview!!!!! LOVED IT! You are a FANTASTIC INTERVIEWER and you get the best guests!!!!
A second comment, as so many things come to mind the more I watch this vid, I have that '77 Feldman LP, "In My Pocket" on the Cohearent Sound label, with the "hear" portion in blue ink!
Wow, thank you for this interview, Ken, and for adding my question.🙏🏼 I'm looking forward to getting his next record. I hope you are feeling better these days. You da man 😎
Bravo for mastering for 21st century audio systems. That's incentive enough for me to buy your "masteredpieces" 🥰
Great interview Ken & Kevin! Thank you.
With all due respect to the other Gray interviews, from one tube head to another this one tops them all. Thank you both so very much. Interestingly, my first audiophile table was the original Technics SP-10 with that same Shure cartridge, now it's a SOTA and a Kiseki Purple Heart.
Thanks a lot. I really appreciate that.
Ken, really great interview and I love that you're so happy to give the young whippersnapper jazz bums another shout out. Brilliant, supportive stuff all round. Thank you!
Bloody marvellous Ken! Been dying to see this interview! Fantastic! 👍
Kevin I've done some dates at RVG's. You are more than welcome to walk around the studio all day during any session I'm on. In fact I'd be fine with you sitting right next to me during a few takes.
A very kind offer. May take you up on that in the future
Great conversion Ken thoroughly enjoyable
Another superb interview, Ken. Thank you.
I would really like to ask Mr.Gray which Blue Note cd masterings are the closest to the master tape.
Thanks for this Ken
Fantastic interview. Thank you both. Former jazz drummer and saxophonist here, so I can't wait to here the new Anthony Wilson release with Hamilton behind the kit...and having Clayton Jr & Sr in the lineup ain't so bad either! 👍 Loved what you captured with Kirsten Edkins as well.
Cheers!
Oh, question for Kevin. For the DSD 256 capture or transfers, were you using the Tascam DA-3000 units, or???
There was no DSD 256 of Kirsten. I don’t own that system, it was a client’s system I evaluated.
But yes, used the Tascam 3000 at 24/176.4 for the hi res on Qobuz. The copy was made from the master tape because I consider that an integral part of the sound
Clayton Jr's Bells on Sand LP mastered by KG for Blue Note is wonderfully creative. I too am looking forward to their next project.
@@cohearent
Thanks so much for the speedy reply and information, Kevin. Great insight. 👍 Understood regarding the master tape being an integral part of the sound.
And, thanks so much for choosing this career path and the fantastic choices you've made in regards to your equipment, signal chain, and philosophy/techniques in order to capture and/or preserve and improve these original recorded performances.
As you know, there are just a handful with your expertise who are also consistently doing this type of work. Wish we could clone you and your studios! 😛
So much great music and history has been lost due to lack of care in cataloging, storing, and archiving the multitrack and master tapes.
Sadly, I've seen this on the motion picture and TV side of the industry as well. I worked for a stint in the mid-90's in the motion picture film Color Timer/Video Colorist department at FotoKem/FotoTronics in Burbank near the studios where a significant percentage of our work was digitally archiving all of the old classic (and more modern) film movies and TV shows. It was mind-boggling how many titles came through our doors!
But we were continually backlogged with work and could not possibly get to all of them in a reasonable amount of time before they further degraded. And, unfortunately some were simply too far gone to recover.
On the music side, I've heard too many heartbreaking stories of the multitracks or master tapes from hundreds of sessions or entire independent studio collections simply ending up in the dumpster after a studio had closed due to financial stresses, or after the owner/manager has died and no one in the family has a clue about what to do with any of it, or even caring or wanting to preserve or deal with it.
So Keep On Keepin' On!
@@AudioTnT
THANK YOU for the heads-up regarding the "Bells On Sand" LP. 👍👍
Hi Ken, I appreciated that you brought something new to the string of RUclips interviews with Kevin, that you challenged him a little on the idea that some people prefer originals over his reissues, and this was actually the first time I heard you put forth the idea that originals sound better on vintage equipment, though I can't say I agree. I think cartridge choice is the most important variable in playing back originals, and I don't believe you need a vintage cartridge to get them sounding great. But no, I don't think you usually want to play originals with a light-tracking, hyper-sensitive line contact moving coil cart, especially if they are in less-than-mint condition.
I’m not the first one to put the idea cross. But it’s not playing records on vintage equipment. It’s playing it on vintage styled equipment, including single ended triode amplifiers and horn loaded speakers which were used when Rudy was making all these records. Sorry if that was unclear but the idea is basically the same. You can find more detail on this idea and Alex Halberstadt’s recent stereophiles column.
Rich!
Great interview. You make reference to a interview in which Kevin talks about the Avantgarde system, which interview is this?
Jazzbums or Stereophile or another
Wish he'd use tube gear to master BN. The big difference between OG and TP is tubes vs transistors.
That's amusing - he experimented on the Prestige titles...🤣
Really enjoyed this interview Ken. Kevin is always interesting and I learn something with every interview. I wanted to ask you if you have the Acoustic Sounds A Love Supreme 180 gram stereo. I just got mine this past Friday and I like it a lot but I noticed immediately is the saxophone only comes out in the left channel or left headphone as is the case with me. Is yours this way too? I emailed Acoustic, waiting for an answer
I have to check to see which version I have. And I’ll check what you’re hearing.
@@kenmicallefjazzvinylaudiop6455 thank you
It appears Kevin keeps the good book nearby? It looks like there's a bible on the shelf? Cool.
I noticed that as well. At least it appeared to be a Bible. And I am in agreement.
Yes indeed! Hey Ken, have you listened to a tonearm from Japan named "Glanz?" The arms are pretty exotic and are made out of stainless steel?
I’ve watched your videos for years and respect your jazz knowledge. Curious about when and why you changed your mind about reissues? I remember you talking a lot about how RVG originals were far superior to music matters etc
I haven’t changed my opinion of modern re-issues and I told Kevin gray as much. I don’t know what you’re talking about.
@@kenmicallefjazzvinylaudiop6455 In all fairness Ken I think your opinion has "relaxed" over the years lol. You may disagree but I think you have taken on an approach that suggests your views are more a matter of opinion than objective fact. I for one appreciate that change 😊
OG pressings sound better and more immediate because they used so much plate reverb
That’s only part of it. Earlier pressings, are. more dynamic, yes, because he boosted the mid range, they’re also more spatial which may have something to do with the reverb. But how can anyone deny that a tape recorded one day, and most likely cut into a lacqueur the next day will sound more present and immediate and live and natural than a tape that is over 60 years old. Isn’t it basic physics?
@@kenmicallefjazzvinylaudiop6455 Yes I agree with all the above points, but the plate reverb is pretty important. It creates the illusion of more headroom.
Plate reverb is on the master tape with most of these jazz recordings we love, which means it is on every reissue ever made. IME reverb would have been added during the mastering process on a rare occasion, George Wallington at the Bohemia, Little Richard on Specialty for example--though I actually prefer those *without* the reverb...I believe RoyDuNann at Contemporary may have done it too, but Rudy almost never added reverb during mastering.
@@kenmicallefjazzvinylaudiop6455 I agree that your hypothesis is reasonable, but of course one has to test their hypothesis, and IME these tapes quite often sound incredible still today. On occasion (Elmo Hope Trio, John Patton's The Way I Feel for example), there is tape damage in spots on reissues. But what you are speaking to, that the overall quality of the playback with these tapes is somehow compromised today, I personally can't say I hear it. Yes I'd like a vintage pressing of Maiden Voyage because all modern reissues are made from a copy tape for that title, but I'll be damned if that copy tape doesn't sound outstanding.✌
😴🥱