Trying to guess thge secret of Rudy Van Gelder while he was creating those classic jazz records, the room canceling mic

At your risk. The CD Blue Train - John Coltrain by the label Blue Note was bought from Monastiraki in Athens. It was played on the Pleiades refference playback system with the 1 transistor per channel 2N3053 power amplifier. Sennheiser hD580 Headphones were also used. It sounded very dry which is a good thing as you cannot hear the recording room and therefore the instruments appear to be played in your listening playback room. Drums sounded to the right side. The impression was that a single mic was used for drums and that this single channel was paned a bit to the right by the mixing desk. The drums were bright and there was no low end emphasis at all. Anyway the impression was that each instrument had its microphone. On headphones it can be felt that when a solo is coming the corresponding channel is faded in. This creates a stereophonic effect for say drums as now there is drums leaking to another mic panned say a bit to the left. But how is this recording so dry? Could it be that Rudy Van gelder u8sed the trick of Lou Burroughs (Electrovoice, descibed in the book Microphones) of the noise canceling microphone? Noise means something you do not want to hear, in this case the room. Could it be that there was a microphone, (omnidirectional?) deliberately connected out of phase in order to cancel the room sound. It could even be a mic used for another instument. It does not matter if it is out of phase the double bass for example would be captured correctly as it is close to its mic. The drums would be captured correctly as they are close to the in phase mic. But this mic would capture ambience. So the out of phase double bass mic. But since one of the mics is out of phase the ambience would cancel when mics are added. Its frequency response would depend on the separation of the 2 mics. Since wavelength increases with lowering of frequency if the mics are quite apart only low frequency ambience is decreased which agrees with the fact that the drums sound so dry at low frequency and the low end is at low volume. Anyway this is a guess. Promissing result was yesteday at Pleiades lab when a 2 female XLR to one male XLR cable made long ago was tried with 2 Electrovoice 635a omni moving coil mics. This cabnle allows them to be connected in parallel, but one female XLR is deliberately connected out of phase. The output side of said cable was connected to Sony TC-D5 Pro in mono mode, monitoring through Sennheiser HD580 geadphones. It was stricking how ouside noise and the room was canceled when the second mic was connected but singing just to one of them. Then one of the mics was fairly close to the Pleyel model 9 piano. If just one mic was used the room gave a horrible sound and some notes where so exagerated by apparently modes of the room (reflection of oposite walls), but when the second further mic (the out of phase one) was conneted, these peaks stoped occuring, and the piano sounded much more pro and like a piano.