L-R: Joel Spector, Robert Auld, AuldWorks
Classic jazz big bands emerged in the 1930's and continue today. Broadcasts and recordings from the 70+ years of these bands offer a window into the changing recording technologies from electrical to tape to multi-mic/multi-channel to digital. The evening's presentation examined the changes in technology and techniques used by engineers to capture the dynamics and impact of big band performances.
The jazz big band developed in the mid 1920's-1930's as large dance orchestras decreased in size and started to feature prominent soloists from the small jazz bands. Along with this musical development, the recording technology changed from acoustical to electrical recording and high fidelity ribbon microphones (RCA 44s/77s) replaced the older broadcast mics which had exaggerated presence response tailored for voice. Examples from early recordings through Benny Goodman's swing bands illustrated the better dynamics and clarity of the later recordings. With improved recording equipment, the studio acoustics began to change from the earlier, highly damped studio to a livelier acoustic.
The end of World War II brought dramatic technical changes including the introduction of condenser microphones, magnetic tape recording, and the replacement of the 78 by the LP as the primary playback medium. Now the dynamics and impact of the leading jazz bands could be captured in the studio and played back by the new "high fidelity" systems which became a part of the modern home. During the late 1950's through the mid-1960's the introduction of stereo recording and playback and the expansion of recording consoles to support multiple microphones for section recording are key components of what is often referred to as the golden age of big band recordings. Bands played live in the studio with micing techniques borrowed from those early broadcast years (wind sections and brass sections balancing themselves on section microphones, separate spot mics for piano, bass, guitar, and drums) in large acoustic spaces captured directly to the stereo master tape. An example from that period with the Basie and Ellington bands playing together at Columbia's 30th St. studio showcased the engineers' understanding of studio techniques and acoustics to produce a recording that sounds stunning today, 48 years after its release.
Jazz big band recording techniques followed rock and pop practices in the 60s and 70s with multi-micing (one mic per instrument), multi-tracking with section balances created by the engineer rather than the players, and rhythm sections featured more prominently. Think "Maynard Ferguson plays a Janis Joplin composition" for an idea of the outcome. While digital recording and CD playback allowed some mastering and re-mastering engineers to make disks play back very loud (often sacrificing the dynamic range and impact that are signatures of the jazz big band), other engineers returned to using stereo microphones and live stereo recordings (direct to disk or digital) to combine older techniques with modern technologies for exciting and involving recordings.
The presentation was followed by thoughtful and informed questions from the audience, which numbered about thirty persons.
Report by David Prentice
