Shortly after graduation from NOCCA in 1995, Marsalis ascended to the drum throne of a new group lead by virtuoso pianist and former sideman for Wynton Marsalis, Marcus Roberts. Despite a demanding touring schedule with Roberts, Marsalis furthered his educational goals by attending Loyola University in New Orleans, as well as studying composition with Roger Dickerson at Southern University.While Marsalis has worked with such international jazz luminaries as Joe Henderson and Lionel Hampton, he remains visible on the New Orleans scene as well, working with a diverse cross section of bands from Casa Samba (Brazilian) to Neslort (jazz fusion). He is also a co-founder of the Latin jazz group Los Hombres Calientes. In addition, he regularly hosts a local jazz jam where he plays vibraphone.
The sense of style and tastefulness that Marsalis exhibits in his playing explains why is a highly sought after musician. This style has been well documented on recordings with artists such as the Lincoln Center Jazz Orchestra, Marcus Printup and Marcus Roberts to name but a few. He has also produced two albums under his own name, Year of the Drummer (1998) and Music in Motion (2000), as well as producing a reissue of his father’s earlier recorded work, Syndrome (1996). In addition, Marsalis is a respected clinician and an endorser of Fibes drums and Zildjian cymbals.
With each passing year Jason Marsalis continues to grow and develop as both a composer and performer. With a fire in his heart and a passion for the music, his will to swing has never been more resolute. The maturity of this young lion and the command he possesses over his instrument is clearly evident to those who have heard or seen him.
For more information about Marsalis visit www.JasonMarsalis.com
Filed under: Audio Engineering | Tags: Audio Engineering, Live Sound, mixing
Dr. Joshua Reiss at the Centre for Digital Music at Queen Mary, University of London, has developed a device that allows live sound engineers to identify the levels of various frequencies that cause feedback during initial sound checks and automatically adjusts the master volume to squash any squeeling during the live audio performance. In the latest saga of engineer vs. musician, the engineer’s dream of monitoring the board without the anxiety of the ear piercing feedback may be the the one thing feared by some of the world’s most notorious rockers.
While Reiss’ does not intend for the device to clean up the music, but rather to allow engineers more advanced control during the mix that will achieve the best sound for what the musician wants. James Randerson lets Andy Quibb, professional sound for Björk, weighs in his thoughts in an article published in The Guardian.
“That’s wonderful until the pub starts filling up. Because sweaty bodies absorb certain frequencies and not others the software will not be able to react. “It has its uses, but they are fairly limited … in terms of trying to achieve professional results, it is certainly not a professional tool.”
Mind you, the device and software are still in development. It may be too early to speculate on the potential professional applications that can result once the technology is adapted for the commercial marketplace. But what do you think? Is it wrong to want for technology that makes the job of an engineering easier to manage? I wouldn’t dare to suggest that the featured be applied to every board in the land, especially those owned by venue owners that would switch it on and keep it going without a care for bands that use feedback as a signature party of their sound. But for musicians in select genre’s (i’m looking at you pop singers), would you prefer that your engineer activate the safety button on the sound board?
Before you answer, check out former Jesus and Mary Chain member John Moore’s negative feedback on the subject:
Well Dr Reiss, what’s wrong with a bit of feedback I should like to know? It was good enough for us, it should be good enough for our children. Don’t deprive them of the sensory thrill of staggering into the street following a six-string ear syringing, unable to hear anything but tinnitus for the next three days.
What are your thoughts? Do you want it? Would you use it? Is it cheating? Leave them in the comments below.
Filed under: Audio Engineering | Tags: Audio Engineering, microphone placement, recording guitars
Cool video clip that demonstrates the various microphone placement techniques on a guitar amplifier and the corresponding changes in sound as result.
