By Jasper Blunk (Performance Samples)
Vista is my next step in ensemble string sampling following Con Moto. My subsequent continuation in sampling tests and R&D bore fruit. Vista arose – a catalyzing project that went from an idea to recording in only a few days.
I like string ensembles that foil expectation a bit: large-sounding small sections, and big symphonic sections with a soloistic level of expression. Vista fits in the first camp, and it manages that with an extensive set of approaches and factors.
The Musicians
Vista is comprised of five violins, four violas, three cellos, three basses, and a harp. In addition, I recorded a three violins overdub after recording the main sections. The string musicians were entirely principle players, and the violins were all concertmasters from various orchestras. The musician selection was based on certain players whose tone I appreciate (in the violins particularly), and is a constantly-evolving selection. For instance, the principle violinist player for the five violin ensemble was different for the three violins ensemble. The musician selection contributed greatly to the tone, and is the result of years of working with these musicians; this long relationship means they know what to expect from my sessions as far as my vibrato, bowing, and production proclivities.
The Hall
Vista was recorded in the same space as Oceania I/II, Angry Brass Pro – Ensembles, River Piano, and the Perfperc series. I’ve fiddled around a lot with the recording setup in this space over the years, particular with the decca tree. Narrower/wider span … high decca, low decca, playing with depth (moving it “into” the ensemble). Over the last few years I’ve been doing a 90-degree setup in this space. Instead of shooting down the long end of the room, it’s more of a widescreen setup with more width and less depth to the physical space. There’s a greater level of separation amongst the sections in this setup in this particular room, given that they’re spread out properly. On top of this, I also moved everyone (mics included) towards the center of the space, to lessen the proximity between the musicians and the walls. To my ears, this helped fix some tonal and room resonance on particular frequencies and contributed to more clarity.
The Process
I have done a substantial number of tests and R&D sessions since Con Moto. In the months prior to recording Vista, I was testing various approaches with a three violin section. I revisited some old concepts with new sensibilities and stumbled upon an improved legato style. A short time after that, I woke up one morning and decided to do a library based on that style, and a few days later I was in sessions.
A lot of small details have gone into producing Vista so far. As of writing this, the library is in post-production. The sessions were probably the most intensive sampling sessions I’ve yet produced, partly because of the extensive notes on re-takes and performance approach, and keeping things moving … and partly because of my in-session balancing process (which was particularly rigorous for these sessions). The latter is incredibly important and saves me some level of misery later on in post-production. Like any of these techniques, it’s one thing in a vacuum, but when combined with all the other little details, it really can help.
Vista has been an important project to me so far, since it’s provided some rather unexpected learning grounds for developing new processes in terms of new ways to control Kontakt with macros, and more importantly, new configurations for “build as you go” setups. Over the years I’ve evolved away from isolated listening with patches I’m working on, towards a situation where I can not only audition, but also play and “bake” alternative takes as I build. It’s the ultimate top-down, birds-eye, macro view and in its current and developing form is truly ideal.
The Tone
I’ve worked with many different string sizes in the context of sampling. For example, violins: one, three, four, five, six, eight, ten, eleven, twelve, sixteen, eighteen, and twenty (probably others I’m forgetting). Speaking in terms of smaller sections (although not limited to smaller section), I’ve found that heavy vibrato and expression is like tightrope walking, as it can easily become overbearing and unmanageable, not in small part because of uncontrolled intonation (largely internally, within the different players). Vista manages to avoid some level of this through a few factors.
First of all, the musicians were very solid and hand-selected for this project. Speaking broadly, I find that sections consisting of expressive soloists and principles have the potential to really sing. I also used backing/accompaniment tracks with every single element I recorded. I went farther with these on this occasion, making things more musical and creating more excitement in the energy of the session.
A rather huge factor as far as performance was bow speed and general motion in the playing. You wouldn’t necessarily believe it just by holding down a note, but there was a surprising amount of physical motion in the performance, contributing to a subtly restless, constantly-varying energy. It stands out particularly on certain intervals and sustains. The active-bow sustains and legato were recorded quite a bit faster than I have on some projects in the past.
Lastly the vibrato was reigned in somewhat, as far as width/speed. Finding this balance took a lot of coaxing and dialing-in, because just asking for “more vibrato” I find tends to lead to the predictable unwieldy intonation mess. For the intervals, I repeatedly emphasized that it’s not so much a matter of amount of vibrato, it’s a matter of WHERE it is. For years I’ve been chasing a particular style of interval vibrato that manifests immediately and lyrically on the pitch change, as it sounds cohesive and expressive to me in lines, like it’s part of a larger phrase. However, it does not happen by accident. But it can be ‘encouraged’ idiomatically by choices and notation in the score, in addition to the obvious verbal instruction and dialogue with the musicians.
Here are a few examples of what I’m referring to.
0:03-0:04 (Perfect 4th down), 0:14-0:15 (Major 2nd up), 0:28-0:29 (Minor 3rd up)
One challenge I find is that players sometimes have trouble decoupling bowing/dynamic emphasis and vibrato emphasis in their performance, so it’s a constant factor that needs to be attended to throughout all the sessions. All in all, recording legato in this way takes an enormous amount of focus on both my part and the players’ part. I think it worked out reasonably well (mainly on the violins, in particular areas), and it will continue to be something to finesse in further string sampling.
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As of now, Vista is in post-production, but I will continue to post demos as time passes.
-JB
Originally posted 19-Aug-20 / Edited 1-Sep-20