I\'m trying to figure out how to get a sound that\'s ubiquitous in classical music (especially in Classical period music). I haven\'t exhausted every possibility to figure this out, but I\'m hoping the combined expertise of thius group can help me save tiome and effort.
I\'m trying to get that sawing away on one note sound. I heard the final movement of Mozart\'s Jupiter Symphony on the radio this morning and that sound is all over it. I thought the Grande Detache patches might have it, but they don\'t seem to have enough bite on the attack for me.
I use GOS and Logic on separate systems. I have Meastro Tools figured out and running. I have inserted A0 (actually it seems A-1 does the trick in Logic) to get alternating up/down samples. But it still doesn\'t sound close to what I want to hear. I\'ve edited note lengths and velocities and some of that helps a little, but I\'m still a long way from what I want. Any ideas, suggestions will be greatly appreciated.
I\'m also interested in how to get a good classical repeated bow sound(the Jupiter is exactly the example that came to my mind as well). I\'m looking at getting GOS and I\'d like to know if anyone has been able to do this or has any examples that show it.
I\'m currently using Dan Dean solo strings, which I\'ve blended to create a section sound( using adjacent samples). I can get decent legato and moving passages, but repeated bowing has that annoying machine gun effect(instead of the beautiful transparent shimmer of a real orchestra). Rather than use a marcato bow I would think it might involve chopping off the attack portion and alternating between different samples. I\'m wondering if GOS\'s automatic up/down bow alternation helps here.
I\'ve just listened to the finale of the Jupiter. In my recording it sounds like what you refer to happens ~1:45 and ~2:00, prominently in the violins. Does that sound about right? It seems that the attack is quite important to the sound, and then aviodance of the \"machine gun\" effect. I\'m probably not the best one to advise you on the right patch, though KingIdiot and others will probably do well. However, I\'ll look into a possibility with something new in maestro - it may or may not come out.
Sounds to me that short bows with Up and down alternating is the key to this. Also mixing different short bows will help. Its a really short sound, and some of them are really light. Try Sautilles, Sul Tasto and Spicattos. The spicattos are a lot louder, but you might be able to mix them in hear and there for accents.
The thing that needs to be understood is that even with alternating up and downs there are things that you cant capture with jsut a single track of short bows. Strings players dont hit the notes exactly at the same time. Layering different short bows and playing in real time helps allevieate this problem. Another problem is portamento (when moving note to note) in short fast passages (not runs those are a bit easier) This is something I find very difficult to reproduce with samples, but I\'m getting there.
I have a feeling that once Gary does solo strings I\'ll have enough articulations and samples to recreate a very realistic string sound for jsut about any type of passage.
Ah.. the Jupiter.. too bad Mozart died, just as he was beginning to achieve his true greatness.
You will probably find this style of bowing in almost string work from the classical period. Chords are often played with repeating up-down sixteeth notes rather than sustain or arpeggiation. Some other examples..
the lower strings around the 4th bar of Eine Kleine Nachtmusik.
Overture to Magic Flute (beginning of allegro section )
Opening of Beethoven\'s 5th (accompaniment)
Actually the section at the end of the Jupiter is a bit more dramatic than what I was looking for. It is more the light transparent shimmer of the Magic Flute overture.
In romantic music this bowing sometimes is
faster and almost like a trill on 1 note (think of the shimmering string figures in the ride of the valkeries). The problem is similar in some ways to producing a good trill at an arbitrary tempo, only harder because at least a trill uses two samples.