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High-End Recording Engineers

Jazz-recording engineer Jim Anderson surrounded by some of his favorite microphones
Producer Joe Harley (left) listens to the playback of a session by Mighty Sam McClain (seated)
Mapleshade's Pierre Sprey monitoring his totally rebuilt Sony TC880 tape machine at a session in his Maryland home studio

Woody Allen, though a professed jazz hound and player of sorts, is primarily known for his filmmaking. And as any cineaste can tell you, one of the aspects of his craft Allen pays closest attention to, in addition to some pretty cool music, is the selection of his cinematographers, including Sven Nykvist (whose work also sparked up countless Ingmar Bergman classics), Gordon Willis and Carlo Di Palma, all of whom were chosen because their artful use of equipment and technique imbues Woody’s films with a stunning visual clarity and a distinctive feel.

But Allen could have just as easily selected a mediocre cinematographer who might have made the images of New York in Manhattan flat and insipid instead of spectacular and multidimensional, or the portrait of Hannah and Her Sisters brash and uninviting instead of engaging, intimate and compellingly lit.

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