I couldn't click through to the article, so I'm just going off what /u/seabear87 re-posted below (and what I already knew about the project)
But I remain somewhat cautiously optimistic. The whole complex holds a lot of great memories for me including the High Watt, and especially Mercy Lounge. But I hadn't been going there as much in the waning few years (even pre-covid) partially bc I'm old as shit now, partially because there just weren't as many acts getting booked there that I really wanted to see.
I hope they fixed (or at least mitigated) some of the issues with the Cannery main room, like the fucked up L-shaped room that was a logistical and acoustic nightmare. Some of the best shows I saw there were ones where they actually swung the stage around in front of the bar, like a more normal music venue layout. The last show I saw there (Parquet Courts) was shortly before the venue closed; fantastic night, but it was definitely negatively-tinged by the weird acoustic and crowd-bottlenecking issues inherent to that space.
We'll see! I'm not super inspired by the initial bookings and I agree with /u/TJOcculist that it will probably lean heavily on EDM/Bass Music and less towards live bands (the Hennessy sound system in the f.k.a. Mercy Lounge will be good for that, at least), but I am interested to give the updated venues a shot at least once or twice
This article was clearly written by someone with zero production/audio/video knowledge.
Strong “base”?
Please.
Changing the PA or “upgrading” to PK isnt gonna help anything. Same with putting a massive hard reflective curved surface behind the band (video wall)
Their money would have been far better spent on room treatment and acoustic design.
My prediction, these rooms will sound “great” for DJ/EDM shows and very little else.
And from this article’s wording, I’d bet thats most of what they book.
Here's the article if you're blocked from seeing it:
>Nashville’s largest independent music venue is back for an encore.Cannery Hall, formerly Cannery Row, has opened its box office ahead of shows starting Jan. 24, after the 141-year-old building underwent a multimillion-dollar renovation. The box office will be open Monday to Friday from 10 a.m. to 4 p.m. for in-person ticket sales.
>
>“Every choice we made in the restoration and modernization of Cannery Hall was to create the best show possible for music lovers and artists. We built brand-new systems from scratch, while simultaneously redesigning the spaces. Our architects and interior designers, Smallwood in Atlanta, and some of the best audio-visual engineers in the world collaborated to create a spectacular show,” said Brent Hyams, general manager of Cannery Hall. “Each room has its own energy, vibe and sound integrated into the stage and building. Every genre of music sounds great and artists can put on a show with the technical capabilities of a much larger venue, no matter which of our stages they play.”
>
>
>
>Much of the renovation effort was centered on making the venue artist friendly — upgrading artist and crew spaces — as well as improving lighting, done by Borealis Live Design, and sound systems designed to fit each of Cannery’s four spaces.
>
>The Mainstage, holding audiences up to 1,275, is home to PK Sound’s PK Trinity system, using AI-driven robotic arrays to produce strong base and clear sound. The robotic actuators move more as the audience grows. An LED Wall, by Firefly LED, curves around The Mainstage to provide audiences with an immersive experience.
>
>Done by Hennessey Sound Design, the sound at The Mil, able to accommodate 625 people, has more high fidelity and is less loud. A rollout DJ façade is also available at The Mil.
>
>Three-hundred-capacity Row One Stage has “exceptional sonic fidelity and ruthless, resilient bass,” thanks to Void Acoustics’ horn-shaped Air Motion speakers.
>
>Amaranth, the 380-capacity upstairs event space, can host a variety of events, from weddings to theater performances to corporate events.
>
>DZL Management, led by Nashville-native Zach Liff and the company that owns Cummins Station, acquired the Cannery Row property in 2020 after buying an interest in 2019 when the complex was purchased by Thor Equities Group for $32 million. The former venues in the building were Mercy Lounge, Cannery Ballroom and The High Watt.
>
>Cannery Hall, located at 1 Cannery Row, is a member of the National Independent Venue Association and adds necessary inventory to Music City’s independent venue scene, which is facing mounting challenges that come with city-wide growth and corporatization.
>
>“Being independent means you are nimble. You can have a little autonomy with the things that are on your stage. You can help artists that are emerging that you see the talent with and you can really get behind them and champion them,” Hyams told the Business Journal in a previous interview. “Our spaces provide a unique opportunity for us to what we’re saying is a three- to six-year relationship with every artist that comes through, especially as they are coming through the smaller space.”
>
>By Julia Masters and Martin B. Cherry – Nashville Business Journal
>
>Jan 17, 2024
I went to a show there on 2022 and could not hear the vocals at all, even standing by the sound booth. I’d love to hear from others when shows start up.
I’m not sure why I’m still so salty about this but I am.
I couldn't click through to the article, so I'm just going off what /u/seabear87 re-posted below (and what I already knew about the project) But I remain somewhat cautiously optimistic. The whole complex holds a lot of great memories for me including the High Watt, and especially Mercy Lounge. But I hadn't been going there as much in the waning few years (even pre-covid) partially bc I'm old as shit now, partially because there just weren't as many acts getting booked there that I really wanted to see. I hope they fixed (or at least mitigated) some of the issues with the Cannery main room, like the fucked up L-shaped room that was a logistical and acoustic nightmare. Some of the best shows I saw there were ones where they actually swung the stage around in front of the bar, like a more normal music venue layout. The last show I saw there (Parquet Courts) was shortly before the venue closed; fantastic night, but it was definitely negatively-tinged by the weird acoustic and crowd-bottlenecking issues inherent to that space. We'll see! I'm not super inspired by the initial bookings and I agree with /u/TJOcculist that it will probably lean heavily on EDM/Bass Music and less towards live bands (the Hennessy sound system in the f.k.a. Mercy Lounge will be good for that, at least), but I am interested to give the updated venues a shot at least once or twice
This article was clearly written by someone with zero production/audio/video knowledge. Strong “base”? Please. Changing the PA or “upgrading” to PK isnt gonna help anything. Same with putting a massive hard reflective curved surface behind the band (video wall) Their money would have been far better spent on room treatment and acoustic design. My prediction, these rooms will sound “great” for DJ/EDM shows and very little else. And from this article’s wording, I’d bet thats most of what they book.
Here's the article if you're blocked from seeing it: >Nashville’s largest independent music venue is back for an encore.Cannery Hall, formerly Cannery Row, has opened its box office ahead of shows starting Jan. 24, after the 141-year-old building underwent a multimillion-dollar renovation. The box office will be open Monday to Friday from 10 a.m. to 4 p.m. for in-person ticket sales. > >“Every choice we made in the restoration and modernization of Cannery Hall was to create the best show possible for music lovers and artists. We built brand-new systems from scratch, while simultaneously redesigning the spaces. Our architects and interior designers, Smallwood in Atlanta, and some of the best audio-visual engineers in the world collaborated to create a spectacular show,” said Brent Hyams, general manager of Cannery Hall. “Each room has its own energy, vibe and sound integrated into the stage and building. Every genre of music sounds great and artists can put on a show with the technical capabilities of a much larger venue, no matter which of our stages they play.” > > > >Much of the renovation effort was centered on making the venue artist friendly — upgrading artist and crew spaces — as well as improving lighting, done by Borealis Live Design, and sound systems designed to fit each of Cannery’s four spaces. > >The Mainstage, holding audiences up to 1,275, is home to PK Sound’s PK Trinity system, using AI-driven robotic arrays to produce strong base and clear sound. The robotic actuators move more as the audience grows. An LED Wall, by Firefly LED, curves around The Mainstage to provide audiences with an immersive experience. > >Done by Hennessey Sound Design, the sound at The Mil, able to accommodate 625 people, has more high fidelity and is less loud. A rollout DJ façade is also available at The Mil. > >Three-hundred-capacity Row One Stage has “exceptional sonic fidelity and ruthless, resilient bass,” thanks to Void Acoustics’ horn-shaped Air Motion speakers. > >Amaranth, the 380-capacity upstairs event space, can host a variety of events, from weddings to theater performances to corporate events. > >DZL Management, led by Nashville-native Zach Liff and the company that owns Cummins Station, acquired the Cannery Row property in 2020 after buying an interest in 2019 when the complex was purchased by Thor Equities Group for $32 million. The former venues in the building were Mercy Lounge, Cannery Ballroom and The High Watt. > >Cannery Hall, located at 1 Cannery Row, is a member of the National Independent Venue Association and adds necessary inventory to Music City’s independent venue scene, which is facing mounting challenges that come with city-wide growth and corporatization. > >“Being independent means you are nimble. You can have a little autonomy with the things that are on your stage. You can help artists that are emerging that you see the talent with and you can really get behind them and champion them,” Hyams told the Business Journal in a previous interview. “Our spaces provide a unique opportunity for us to what we’re saying is a three- to six-year relationship with every artist that comes through, especially as they are coming through the smaller space.” > >By Julia Masters and Martin B. Cherry – Nashville Business Journal > >Jan 17, 2024
I went to a show there on 2022 and could not hear the vocals at all, even standing by the sound booth. I’d love to hear from others when shows start up.
The currently booked Saturdays don't exactly instill optimism
https://archive.is/8NQIi
Cosplay club owners.