Acoustical Design for Jazz Music

Apr 1, 2013 9:00 AM, By Matt Gallagher

SFJAZZ Works with SIA Acoustics

Polls


Mix Regional

The Mix Regional section for Mix's July 2014 issue focuses on Atlanta. Send us your studio news: updates, sessions, new rooms, club performances and installations. Let the Mix audience know what is going on! Send photos and descriptions to mixeditorial@nbmedia.com.

photo of SFJAZZ Center

The Avid VENUE Profile console and Meyer Sound Galileo system at front-of-house

Mixing in the Miner Auditorium
Cressman:
My approach to mixing in the Miner Auditorium is going to vary depending on the style and density of the music. But more often than not I'm mixing jazz musicians in ensembles where their tone and personal character has a richness that I want to capture and blend with the other musicians’. Jazz music allows the focus to perpetually pass among the musicians [and it also involves] a cohesive ensemble sound where everyone's role is understood. For starters, I concentrate on the groove of the rhythm section, the harmonic blend of the horn section and the timbre and clarity of vocals.

Joe Henderson Lab
Berkow:
The Joe Henderson Lab is right on the corner of Franklin and Linden. It has two glass walls: the glass wall in the front and the glass wall along Linden. That’s always a challenge. In this case we have vertical glass and we put all of our treatments on the walls opposite the glass and in the ceiling, so we have a tremendous amount of acoustical treatments, both diffusive above the stage—again, as a nod to the main hall—and absorptive throughout the rest of the ceiling.

Cressman: The Joe Henderson Lab is a different environment. It's a tighter room that feels like a small club and contrasts with the Miner [Auditorium]. Again, the room's qualities make for a good-sounding playing experience for the musicians. Despite the two glass walls in the room, there is not a problem with harshness or flutter echo. It's a stereo with a single summed subwoofer Meyer P.A. mounted to the ceiling. When I mixed the first [SFJAZZ] Hotplate Festival in February, the PreSonus mixer had not yet been installed. An Allen & Heath GL2400 did a fine job for me. With the P.A. [mounted] right overhead of the frontline of the band, one would be concerned with gain before feedback. I found there to be plenty of headroom and control, and didn't run into any problems that week.






Acceptable Use Policy
blog comments powered by Disqus

Mix Books

Modern Recording and Mixing

This 2-DVD set will show you how the best in the music industry set up a studio to make world-class records. Regardless of what gear you are using, the information you'll find here will allow you to take advantage of decades of expert knowledge. Order now $39.95

Mastering Cubase 4

Electronic Musician magazine and Thomson Course Technology PTR have joined forces again to create the second volume in their Personal Studio Series, Mastering Steinberg's Cubase(tm). Edited and produced by the staff of Electronic Musician, this special issue is not only a must-read for users of Cubase(tm) software, but it also delivers essential information for anyone recording/producing music in a personal-studio. Order now $12.95

Newsletters

MixLine

Delivered straight to your inbox every other week, MixLine takes you straight into the studio, with new product announcements, industry news, upcoming events, recent recording/post projects and much more. Click here to read the latest edition; sign up here.

MixLine Live

Delivered straight to your inbox every other week, MixLine Live takes you on the road with today's hottest tours, new sound reinforcement professional products, recent installs, industry news and much more. Click here to read the latest edition; sign up here.

[an error occurred while processing this directive]

The Wire, a virtual press conference offering postings of the latest gear and music news, direct from the source. Visit the The Wire for the latest press postings.