Mix Mag Feature article on Oliver Aug 97

Scan below and Typed copy below that for ease of reading

Rich Oliver
Producer Engineer

MIX Magazine
August 1997
pp. 155, 168 and 237
Story by Gary Eskrow

On top of myriad kudos and compliments from RZA to Carlos Bess, Phil Ramone says his work is "great,“ and Keith Richards greets him with a hug and a "hello, mate.”.  Still, triple-threat engineer, songwriter and audio architect Rich Oliver is something of a secret to those outside of the New York music scene. 

Oliver’s career path is easy to follow.  Eschewing a chance to
attend M.I.T., he followed a low road into the world of smoky nights and dirty panpots.  An electronics buff since his early days, Oliver
parlayed his math skills and engineering chops into a series of studio gigs that culminated with his work tracking the Stones on Black and Blue and Emotional Rescue to mixing and producing things like DMX’s biggest single, actually one of the biggest ever, “What the Bitches want from the Nigger” and an ass-load of others.

Oliver’s conviction that a Engineer should blend empirical knowledge
with real-world experience has been influenced by his work with some of the top musicians of our day.  “Let’s consider Keith Richards for a moment,” he says.  “When I tracked his guitar work on Emotional Rescue, I found him to be absolutely focused on his sound but not wed to a preconception of what it should be.  By that, I mean that he would insist that we tinker around until the sound was one that he felt comfortable with, and then he played wide and open within the sound that we created.  He’d open up anywhere in that window and release something special inside himself.  That sense of being tuned in to the larger issue while you deal with the specific environment is what I strive for as well.” And I apply that to vocals from Robert Lamm Chicago to Sisqo. And also includes Sting, Yes, Hall & Oates, David Byrne and the B-52’s. 

“You know, I respect those peers of mine who have made the effort to extend their business reputation in the industry,” he says.  “Maybe if I could go back and retool myself for self-promotion, I would.  But you only get to go around once, and I’ve strived to learn and experience as much as possible about the music-making part of this industry.  That's what’s driven me since I was a kid playing the guitar and singing in basements with bands.  I’m fortunate in that by sticking to my guns, I’ve gotten to the point where the people I work with view my contribution as a unique one.  When all is said and done, who could really ask for more than that?”

- Gary Eskow is a professional New Jersey-based writer, composer and producer.