Interview with Andy May,
FOH Engineer, Stravinsky Auditorium

"As you might already know, the Stravinsky Auditorium was built for classical music with hardwood walls reaching to the ceiling," said Andy May, FOH engineer. "Although it's sensational for any type of classical music, any time you introduce a PA into the space it becomes a battle, particularly in the low-end."

May commented that the low-end sound this year was tight and controlled. It was unusually evident to May when he heard the double bass (six-string) get really tight with none of the roll.

"Dave Dennison, part of the Meyer team, fronted the sub-bass by 10 feet so it cut the delay time, May said. "It was simply brilliant!"

For four years May has witnessed the dedicated planning and work that goes into the sound systems for the Montreux Jazz Festival.

"Mark Johnson and his team work hard," May said. "The system this year in the Stravinsky is very well tweaked. Also, Dave Dennison has been doing the event for years and is fantastic at EQ'ing with the SIM system. All the Meyer crew are brilliant!"

"Although there is a limit on the SPL, 100dB I believe, I don't think the volume has been a problem," he said. "With the Meyer system the sound is seamless. The MSL-6s in the top row also prevent any drop in coverage. The really good engineers here have learned to leave the EQ flat, so much the better. If you leave it [EQ] flat you get great sound with a cleaner signal path."

Overall, May thought the Meyer system in the Auditorium was well balanced with clean and tidy vocals. May also stressed that the PSW-6 cardiod subwoofers, lined up in fours on either side of the stage, were impressive.

"As I went around to the rear of the PSW-6, it was close to silent," he said. "I'm not exactly sure what makes it work, but it does work! The low end on this box is so controllable."

"The PSW-6s could do a rock show with no problems, May said." In fact, in many of the larger arenas the PSW-6's controllable low-end would be perfect for directing sound."

"Overall, the festival has been pretty impressive," May said. "In my opinion, James Taylor stole the show for fidelity; however, Daniela Mercury, the Brazilian Salsa-Pop artist, was also great with her big band with horns and percussion. Other bands that were impressive were Fourplay, and of course Herbie Hancock and George Duke."

"I suppose the toughest test of a system is fidelity," he said. "Can both ends be worked without having to re-EQ or redrive? The Meyer system can! It's very, very subtle. It can go from the intricate sounds of a mandolin to thrashing guitars with great precision.

"The system is so predictable, you can't screw it up!"

May indicated that one of the best features of the Montreux Jazz Festival is the degree of professionalism . The artists all received the equipment they needed, complete with effects. Every performer also received a full sound check.

"At Montreux,the atmosphere is different than most festivals, he said. Nobody goes away with a bad taste in their mouth. It's the way it should be."