Russell Ferrante
My new equipment includes:
  • Korg SGproX: 88 key weighted master keyboard controller w/ great piano sounds
  • Korg TR-Rack: all purpose synth module...great drum kits
  • Roland JV2080: all purpose synth module...great atmospheric sounds
I continue to use
on the road:
  • acoustic piano
  • Korg O1W FD
  • Roland S760 sampler
  • Emu Proformance/1 digital piano module
  • Rane 16 channel mixer
  • Stewart stereo power amp
  • Tannoy custom made keyboard monitors
At home add:
  • MPC 60 II sequencer,
  • Roland D550,
  • Mackie CR 1604 Mixer
  • Alesis ADAT digital recorder.


Jimmy Haslip
I have acquired several new instruments including:
  • MTD 7-string autumn bass
  • MTD 6-string is being built now
  • Roscoe 6-string quilted maple bass
  • Roscoe 6-string bird's eye maple fretless bass
  • Yamaha 6-string BB bass with G50 midi converter
  • Yamaha 5-string BB bass
  • Rainsong acoustic 4-string bass guitar
I continue to use:
  • 5 string maple Tobias fretless
  • Yamaha TRB series 5 string (fretted)
  • Yamaha acoustic 4 and 5 string basses
  • Tyler 5 string (fretted)
  • Tobias 6 string fretted (double walnut)
  • Tobias 5 string fretted (babinga wood)
  • Moon 4 string fretted
  • On occasion I also use an amp in the studio, either an SWR Baby Blue or Redhead.
Live on stage I use:
  • 2 SM 400 SWR amplifiers
  • 2 Goliath 2 X10 Junior speaker cabinets
  • 2 Goliath 4 X10 speaker cabinets
For the ultimate stereo amplifier setup, I use an Ibanez analog chorus pedal which is simple but efficient and inspiring for my live sound.


Bob Mintzer
At home and
on the road:
  • Selmer early Mark 6 Tenor Sax and Soprano Sax
  • Selmer bass clarinet
  • Freddie Gregory Tenor mouthpiece
  • Van Doren V16 Tenor Sax reeds 3½
  • Akai electronic wind Instrument 2
  • Oberheim matrix 1000 modules with EWI
  • Bari Soprano Sax mouthpiece
  • Bari Plastic reed (hard)


Will and the Silence In Between

One of the final steps in creating a new CD is a process called mastering. The mastering session takes place after the project is mixed and prepares the project for delivery to the record company who then makes copies, stuffs the covers, and packages it for delivery. The mastering session for Club Nocturne was a somewhat frightening one for me personally. At one point, I found myself completely solo during an important part of the mastering process: the song spacing!!

Take a moment and think of one of your favorite CD’s. Can you remember as the CD goes from one song to the next how the flow is created as you journey through the imagination of the artist. An important component to that flow is the silence in between each song.

There I was, alone in the mastering session, determining the flow of our new CD by placing silence in between each song. There's no textbook formula that tells you how much silence should go in between; you have to just listen and go with the feel of the fade or ending of a song and imagine where the next song starts. In the end, I made the choices, and later with the help of Russ and Rich Breen, our engineer, the appropriate adjustments where made. Whew!

Russell

Russ puts on the headphones and listens to:

Miles Davis Quintet 1965-68, box set
Keith Jarrett My Song
Edgar Varese Ionization
and read Bird by Bird by Anne Lamott
Straight, No Chaser, The Life and Genius of Thelonious Monk by Leslie Gourse



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