Production commercial string instruments
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In the first part of our new series, we offer tips for beginners on how to coax a huge orchestral sound out of your DAW, beginning with the biggest orchestral section of all: the strings. The orchestra can be considered a living, breathing, organic collective of instruments, which, just like the development of music technology, has evolved significantly — both technically and musically — since its inception or-so years ago.
The extraordinarily prolific Bach could easily be considered the equivalent of the commission-based media composer of his day, composing many works to order throughout his career while developing a complex musical style that laid down many of the harmonic ground rules which we all abide by today.
As history marched on, so too did musical development, and with the onslaught of the classical and romantic eras of Western classical music, so the size of the orchestra grew, with an exponential increase in numbers of players throughout each musical period.
Once we reach the 20th-century era of classical music, composers such as Stravinsky and Shostakovich expanded the size of the orchestra to greater heights again, with up to players, and the addition of extended instrumentation, such as bass clarinets, piccolo trumpets, cor anglais and all manner of percussion that could be struck, beaten and shaken.
This, and other works like it, went on to inform film composers working in Hollywood, while also providing the infamous Orchestral Crash samples that were so prevalent on the Fairlight CMI and E-MU samplers of the s. With such an influential and historical backdrop, including a real-world orchestra in your production is an enticing prospect, but this does of course come with a price tag. Hiring even a small orchestra is an expensive business; not only must you hire the players, you also need to hire a venue to record them.
Individually, string instruments are not the loudest instruments in the orchestra, but they are normally the section that plays the most. The string family is comprised of four instruments: violin, viola, cello and double bass. The violin is the highest of the instruments and is also the only instrument in the string section to be represented twice, normally with at least three players per section, up to a maximum of 18; more players equals a bigger and richer sound.
Figure 1: String selection — Ranges and transpositions. The standard orchestral configuration is to have two violin parts, operating as separate entities, being described radically as violin 1 and violin 2! Violins can play pretty high and sound fairly shrill, in contrast to the viola.
Being pitched lower and with a larger instrumental body, the viola can sound more weighty and sonorous. As an instrument, it is often the butt of jokes, but it offers a sublimely beautiful tone which many use solo. Being larger in size again, the cello moves us firmly into the bass register, with a resonating body that reflects the depths of pitch it can play, while the double bass is the biggest of the lot.
Difficult to miss, due to their sheer size, these instruments add vast bottom end to the sound which, unlike conventional electric bass guitars, can sustain. As these instruments all have their specific pitch ranges, they intertwine perfectly, as one section crosses over with another see Fig 1.
You remember our old friend JS Bach? He had a trick which, although nearly years old, still rings true today, and that trick is all about using each note within a chord once, with the exception of your root note. Some of you might have noticed that this is only four notes, and we have five string instruments. By spreading these notes across the range of the string-section instrumentation, you begin to build up what we call a voicing.
There are further rules regarding voicings, but as a general guide, notes which are spread evenly across the section, or keyboard, will yield a more pleasant-sounding result. This pacifies four out of the five instruments and will work perfectly well for first and second violins, viola and cello. Without wishing to use the double bass as a spare part, these will always sound very powerful when placed one octave below the cello.
It could be argued that you are now triple-using the root note, but more often than not, when employing basic harmonies, this voicing will sound good in this setting. You can see this example of a C major as the first chord in Fig 2. Should you ever be confronted with the prospect of printing parts for string players, there are considerations to be aware of. When dealing with the double bass, any note you write will sound one octave lower than written.
The second piece of useful information applies to the viola, which should be written in a clef known as the alto clef. To work out what the notes are, use the middle line as your reference point, as this is middle C C3. Fig 2 shows how you would represent this on the upper line, with the lower line demonstrating how it sounds at pitch. A smoother movement will largely sound better, depending on context, and is a great guiding principle when considering how to arrange your parts.
By the very nature of part leading, you will find it much simpler to work in this way with the upper parts, whereas bass parts often have a tendency to jump around, unless you consider using something known as an inversion.
This is where you might choose not to use the root note in the cellos and basses, which might sound odd in theory, but is surprisingly common and effective in practice. Taking Fig 2 as an example, you can see how the second and third chords in this sequence are both inversions, and create a lovely sense of a rising line in the two lower parts as a consequence.
The way that the instruments within the string section are played largely falls into two categories; either bowed or plucked. The bow itself is a long piece of wood, with horse hair stretched across it, the tension of which can be tightened. The tighter the bow, the tighter the sound it can make, with players holding the bow in the right hand. Rosin is applied to the horse hair, which allows the hairs on the bow to make greater traction with the string being bowed, while the left hand is used to press down the strings to achieve different notes.
Each instrument in the string section has four strings, which are separated in intervals of a fourth or a fifth, in a similar way to a guitar or bass guitar. For an acoustic instrument, there are an incredibly large number of sonic and timbral possibilities available, according to where and how fast the bow is placed.
The default setting is known as arco, which is literally an instruction to a string player to use the bow. This yields a sustaining sound, as the bow travels across the string.
The faster the bow moves, the louder the sound gets, resulting in a more intense tone. This is often coupled with vibrato, where the player will create a small movement in the left hand, creating a subtle cyclic change in the pitch.
As playing becomes more aggressive, this movement might become more agitated, with an intrinsic link often being made between the volume and the amount of vibrato. Once the bow has reached the end of its travel, the player merely reverses the direction of movement. It takes years of practice to make this seamless and is literally described as a down bow or an up bow, dictated of course, by the direction of travel.
Players might also be required to play legato with the bow. Players may also be requested to pluck the strings with their index finger. This is known as a pizzicato, or pizz. In its most basic usage, this yields a short sound with a bit of an attack. The final obstacle standing between you and string-section nirvana is to think about how to play and program strings with your DAW. If you feel confident playing the keyboard, you might like to consider a new way of playing, which could be regarded as a very similar discipline to playing a synthesiser.
If you have a controller keyboard, which is equipped with MIDI-assignable faders, or even a desktop MIDI fader-based mixer, this is perfect for controlling elements of performance, while playing or recording into the DAW. Many libraries also offer control of vibrato, in a similar manner. This is used by most as an overall volume control, different from the timbral and dynamic control, and will prove useful at the mixing stage.
There is something unbelievably gratifying about arranging strings. This is where writing a string arrangement with a part-by-part approach will really pay dividends.
The section is considerably smaller than a full symphony orchestra, but is perfect for commercial production. As the name implies, this is another Hollywood-style library, which offers a bright and clear sampled vision of a string section. Rammed full of the usual articulations, this library differs from some by using the EastWest Play virtual instrument for playback. It is also available alongside a series of expansion packs, offering additional timbral colours with specific solo players within each section, and is NI Kontakt Player compliant.
This is a firm favourite with many producers and media composers, for good reason, and is also NI Kontakt Player compliant. Be updated with all the latest news, offers and special announcements. Subscribe now and receive a free chorus plug-in! We provide insight and opinion on the gear, tools, software and services to enhance and expand the minds of music makers and listeners.
Sign in. Log into your account. Forgot your password? Password recovery. Recover your password. With performance improvements on the original DJ2GO2, the mini controller is amazingly convenient. Hardware Instruments.
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How to produce and arrange orchestral sounds: Strings
The philmultic's motto is - Love of multi-culture -. It is devoted to promoting classical music belonging to all world traditions. We believe that music is a universal language able bridge different cultures and to promote peace of different cultural background to work together to create new, profound and exciting music for and mutual understanding.
From acoustic grand pianos to Clavinova digital pianos to the new Hybrid line, Yamaha has a solution for every need. Yamaha's Digital Keyboards feature hundreds of voices and sounds, advanced synthesis technology, even interactive tutorials. And because they're portable, they go anywhere music is made. The perfect combination of traditional craftsmanship and leading edge technology puts Yamaha guitars in a class of their own. Innovative ideas, the finest materials, and the height of technology produce drums of unmatched quality.
Main Menu. Preparing yourself to make great music is hard work, but Berklee students have fun with it. The String Department at Berklee offers you the most diverse and contemporary string education to be found anywhere. We provide individualized instruction in violin, viola, cello, harp, banjo, and mandolin, and we offer you professional faculty who are specialists in each discipline, course work specifically designed to enhance your talents and abilities, and myriad playing opportunities. We know how your instrument fits into today's music world, and we give it the respect it deserves. We know that the string player is not just a sideperson anymore, but a powerful musical leader, and that string instruments are extremely flexible and expressive, and effective in any musical style. Studying at a school that offers a variety of musical styles is the most important way for you to turn your playing into a career.
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It is fashioned from a seasoned gourd and teakwood and has twenty mental frets with six or seven playing strings and nineteen sympathetic strings below. It is played with a plectrum worn on the finger. Sitar has a long and complex heritage; its origin goes back to the ancient Veena. In the 13th century, Amir Khusru, in order to make the instrument more flexible, reversed the order of the strings and made the frets moveable. Ravi Shankar, the great musician-artist brought changes and a new perspective.
Get an instant quote. It gained its name after being owned by the Belgian 19th century violinist Henri Vieuxtemps and was later used by Yehudi Menuhin and Pinchas Zukerman, among others. Even if you don't play a string instrument, you've probably heard of Antonio Stradivari, the famous Italian luthier. After his death the Greenhouse family decided to sell it, hoping it would go to a deserving musician.
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Registered users of at least one Chris Hein Solo Strings Instrument, are eligible of purchasing the Crossgrade at an reduced price. Like Cinematic Studio Strings, it was recorded on the Trackdown scoring stage in Sydney, and even without reverb, the sound is lovely. Beautifully detailed, intimate and expressive solo strings. Cinematic Solo Strings is an invaluable addition to your orchestral template. I look Culcha Vulcha marks the first time Snarky Puppy has recorded in a studio in eight years.
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In the first part of our new series, we offer tips for beginners on how to coax a huge orchestral sound out of your DAW, beginning with the biggest orchestral section of all: the strings. The orchestra can be considered a living, breathing, organic collective of instruments, which, just like the development of music technology, has evolved significantly — both technically and musically — since its inception or-so years ago. The extraordinarily prolific Bach could easily be considered the equivalent of the commission-based media composer of his day, composing many works to order throughout his career while developing a complex musical style that laid down many of the harmonic ground rules which we all abide by today. As history marched on, so too did musical development, and with the onslaught of the classical and romantic eras of Western classical music, so the size of the orchestra grew, with an exponential increase in numbers of players throughout each musical period. Once we reach the 20th-century era of classical music, composers such as Stravinsky and Shostakovich expanded the size of the orchestra to greater heights again, with up to players, and the addition of extended instrumentation, such as bass clarinets, piccolo trumpets, cor anglais and all manner of percussion that could be struck, beaten and shaken. This, and other works like it, went on to inform film composers working in Hollywood, while also providing the infamous Orchestral Crash samples that were so prevalent on the Fairlight CMI and E-MU samplers of the s.
Whether you're recording real players or using samples, our in-depth guide is your key to polished and authentic-sounding strings. There was a time when lush-sounding string overdubs were one of the hallmarks of a big-budget production, and while there's still nothing that quite matches the sound of a real string orchestra, these days you can get amazingly good results on a budget. Pulling off this feat involves a combination of arranging, programming, recording and mixing skills, but most software sequencers provide all the tools you need to have a stab at it, even if you're not confident with traditional musical notation. This article will pass on some practical advice to help you create good-sounding string parts for your track as quickly as possible, whether you're using samples or live string players — or both! Irrespective of how you plan to realise the sound of your arrangement, there are lots of quick fixes that can help transform rookie string arrangements into something more musically effective, regardless of your facility with notation.
How to make Corporate Music
Important : You can take my full course in video form — which includes live examples, demonstrations, and more importantly a visual learning experience. And congratulations for choosing to advance your skills and knowledge as a music composer. My course will take you on a learning journey. And your end goal and destination for this journey, is to unlock the secrets of composing corporate music.
Best Strings Vst
Carole J. Everett is a former director of admissions at The Juilliard School in New York City, a position she held for seven years. Everett had a prominent singing career as a mezzo-soprano, won many competitions, and performed in Europe, Latin America, and the U. She has been an adjudicator for the Metropolitan Opera's Young Artist auditions and maintains an active voice studio in New York City, specializing in audition preparation and presentation.
Shop Weekly Specials. Skip to content. Please make a selection above. This library allows you to discover sounds to which the vikings and other already forgotten cultures and tribes were celebrating and singing their myths.
Нет, спасибо. - Сьюзан шумно выдохнула и повернулась к. - Я думаю, - начала она, -что я только… -но слова застряли у нее в горле. Она побледнела. - Что с тобой? - удивленно спросил Хейл. Сьюзан встретилась с ним взглядом и прикусила губу.
То, что она увидела, казалось неправдоподобным. Половина лица Хейла была залита кровью, на ковре расплылось темное пятно. Сьюзан отпрянула.