Blue Note records are known for their live sound, shunning the multitrack technique in favor of a more collective approach. Multitrack recording lets an engineer record each musician separately, before layering the recordings on top of each other to create the finished master. This means that each player has the safety net of knowing he can re-record his part should he make a mistake. Live recording removes this benefit. If the drummer drops his stick, the whole band need to start over. This approach creates a different mood in the recording studio. It also fosters communication between musicians, something which is essential to the sound of a jazz record. While the benefits of multitracking outweigh the drawbacks when making a pop or electro record, removing the live element of a Blue Note jazz recording would rob it of its sonic identity. Blue Note producer Rudy Van Gelder cites live recording as an integral part of the Blue Note sound.
While multitracked sessions are not typically used in Blue Note releases, the use of overdubs has enhanced recordings. It is a hybrid of two contrasting techniques. While the main body of the song is recorded live, principal players then add embellishments to the recording by overdubbing extra parts on to the backing track. This technology enables the musicians to "vibe" with their band mates and then take extra time over the tricky, nuanced parts.
For a clear and punchy sound, the microphone is typically located as close to the instrument or amplifier as possible. In jazz recordings such as those released by Blue Note, the microphones are placed in the center and around the perimeter of the room. This captures the sum of the sounds from a variety of angles, rather than each individual sound from one angle. This approach captures the ambient sound. By capturing the entire sound, the dynamics of the performance are more pronounced. The balance of closely placed microphones is determined by the fader settings on the desk, rather than the volume and intensity of each individual performance. Microphones placed close to the instruments can distort the natural dynamics in the room. The balance of ambient microphones reflects the natural dynamics of the room. So, for example, if the bass player decreases her volume during a horn solo, ambient microphones will more faithfully reflect the shift in dynamics.
Part of a record producer's role is to get the best out of the recording artists. Jazz is a free-flowing genre, with much room for interpretation. While the notes of a classical concerto may be written for the orchestra, a jazz group will have only a chart to serve as a rough guide through the songs. Pianist/composer Thelonious Monk's records were heavily characterized by a free-flowing improvisation that could not have been achieved had the producer imposed the typical parameters and restrictions of a pop recording session, such as a time limit or bar count. This creates a more relaxed and experimental sound.