THE ROLE OF THE SOUND ENGINEER IN SHAPING THE STUDIO SOUND OF JAZZ PERFORMERS

Abstract

The article examines the role of the sound engineer in shaping the studio sound of jazz performers during the 1940s–1970s, considering the technological and aesthetic transformations in sound recording. The study traces the evolution of the studio’s function – from a space for capturing a performance to an environment where the sonic concept of a work is constructed. It analyzes the impact of key innovations, such as the introduction of magnetic tape, the development of stereophony, and multitrack recording, on the principles of ensemble organization, spatial thinking, and the timbral structure of jazz recordings. Particular attention is paid to the interaction between technical solutions and performance practice, which determines the character of the sound. The individual approaches of leading sound engineers of the period are examined. It is established that Rudy Van Gelder formed the canonical sound model of hard bop through the use of close-miking, controlled studio acoustics, and a distinct timbral balance. Tom Dowd developed a technology-oriented approach where multitrack recording and the stereo panorama became tools for the structural organization of the ensemble and spatial management. Luis Pastor Valentin implemented a model based on preserving natural ensemble interaction and acoustic authenticity with minimal intervention in the recorded material. Teo Macero integrated editing as a component of the compositional process, allowing for a reimagining of the boundaries between performance and post-production. Al Schmitt systematized the hi-fidelity approach, focused on achieving a high-quality primary signal, spatial balance, and the preservation of natural dynamics. The study proves that the formation of jazz sound is driven by the interaction of performance interpretation, technical means, and the sound engineer's aesthetic preferences. The generalization of historical studio workflow models demonstrates their relevance for contemporary recording, mixing, and production practices, particularly regarding spatial sound organization, timbre processing, and the principles of creating a cohesive sonic picture.