Production Sound & Video

Fall 2017

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22 Ed Greene worked in the audio profes- sion for more than sixty years. His many career accomplishments have been univer- sally celebrated. Ed had a far-reaching influ- ence as an audio engineer and had an even greater impact as a colleague and friend. I have asked some of those friends from the television community to share stories about the man whose life touched and affected so many of us. After serving his country in the Army, Ed opened a recording studio in Washington, D.C. One of his achievements of that time was the seminal recording Jazz Samba, by Stan Getz and Charlie Byrd. In the early 1970s, the great recording engineer, Val Val- entin, brought Ed in on what would be his first television mixing experience. Here is a story from Jeffrey Fecteau: I was very fortunate to be Ed's lead A2 on his first television show. I think it was 1972. He had just finished recording and mixing an album for Frank Sinatra an- nouncing his coming out of retirement, called Ol' Blue Eyes Is Back. He was asked by Frank to oversee the music mix on a TV special with the same name. Another audio engineer had been hired to mix the music for the TV show. Ed was in a pro- duction meeting with Producer/Director Marty Pasetta and staff. When Marty was explaining to the TV audio engineer how he wanted the PA, Frank's monitors and the orchestra laid out, the other engineer told him it couldn't be done, which led to a heated debate. At this point, Marty turned to Ed and asked if it could be done. Ed said yes. Marty asked him if he would be willing to take over the show. Ed said yes. The oth- er person was relieved of his duties. That was how Ed started his career in TV. And that was the beginning of a very long and blessed relationship between us. I worked with him on most of the major events and ED GREENE REMEMBERING Xxxxxxxxxxx Courtesy Los Angeles Times/Al Seib by Ric Teller

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