Produce commercial wind Instruments
Another batch of Rottenburgh oboes was prepared in May , and thirty- fi ve were sold between late and mid Three Baroque oboe concerti in three different styles, all of which brilliantly display the oboe's capabilities as solo instrument in the Baroque form. Selmer Model Oboe, Full Conservatory. All samples are unlooped, and have a minimum duration of about 10 sec. As long as one does not go into the semiprofessional or professional area, it will suffice for the rest of In order to limit the scope of this project, the following eight instruments were selected to train the model: Banjo, Cello, Clarinet, English horn, Guitar, Oboe, Trumpet and Violin. Below is a list of current orchestral woodwind sample libraries, which also includes modelled instruments by Sample Modeling and Wallander Instruments.VIDEO ON THE TOPIC: Here's Everything You Ever Wanted to Know About the EWI (Electronic Wind Instrument).
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How to produce and arrange orchestral sounds: Woodwind & Brass
This month, we turn our attention to woodwind and brass…. T he two areas of the orchestra that arguably provide the greatest degree of timbral colour are the woodwind and brass sections. The brass section, however, offers a roughly similar tonal colour, with degrees of bright and mellow, which can be used to great effect to shore up those action sequences, and more besides.
While it was traditionally a wooden instrument, just about all flutes at least of the orchestral variety are now made of metal, making it the odd-one-out in this instrumental family. Flute players produce a tone by blowing across a hole at one end of the instrument, and where the original wooden flutes would have had basic finger holes, which the player would cover to get a different note, modern flutes use keys.
The reason for this is largely down to reliability when covering the pitch holes, as the keys have pads on the underside to create a better seal than that possible with a finger. Read part one of our Orchestral Manoeuvres series where we covered strings.
Where flutes can sound high, bright and chirpy, the next instrument down, the oboe, can often sound darker, but with exaggerated harmonic overtones. The oboe can also play reasonably high and will sound less bright within this register when compared to the flute, while sounding more sonorous in the lower part of its register. The two reeds vibrate in parallel, a little like the voice boxes of water fowl, which might explain the very slight similarity and the comparison.
Thankfully, though, the oboe can sound far more musical than any duck call. The next instrument in line is the clarinet, which offers quite a hollow and altogether darker timbral colour, quite similar in harmonic content to the square wave, as used in subtractive synthesis.
Use it alongside an oboe in a unison line and you have yourself a cl-oboe. Figure 1. Finally, to the lowest of the wind brethren, the bassoon has similar tonal characteristics to the oboe, because it also uses a double-reed system. Two things that all of these wind instruments have in common is they all require the player to take a deep breath and blow, and notes are changed by using all fingers and thumbs to block or uncover a hole on the instrument. Because they require the use of all 10 digits, they can all be played with a huge degree of agile dexterity, allowing for both speed of movement from one note to the next and the ability to leap around.
Acoustic musical instruments, just like electronic ones, have evolved over time. And with this progression, the woodwind family has grown way beyond the basic family group. This is very firmly the woodwind construct from the Western classical era of music onwards.
The other family of instruments which requires the player to blow is the brass family. Unlike the woodwinds, and as the name suggests, these instruments are made entirely from metal.
The sound of a brass instrument is generated by the player generating a buzz with their lips into a conical mouthpiece, which in turn creates a vibration in the column of air down the instrument. Brass instruments are pretty directional in sound, as the resulting noise always emits from the bell of the instrument They can also play very loud, but the louder they play, the less time they can sustain sound for in the space of one breath.
As notes are generated via buzzing of the lips, brass players can suffer from fatigue while playing. Generally speaking, the higher and louder you ask players to play, the less time they can play for overall.
Image: Spitfire Audio. As a family, brass instruments all employ the harmonic series, which is the naturally occurring set of overtones found in all timbre, to a greater or lesser extent. This creates a wall of notes which a player can call upon.
It all sounds very complicated, but does becomes second nature with practice. As with woodwinds, there is a basic construct of four instruments which go to make up a traditional brass section, starting with the highest instrument, which is the trumpet.
Using a small mouthpiece, the trumpet can call upon a comfortable range of just over two octaves, with higher notes being available with better players. This, when coupled with the general brightness and capable volume of the instrument can really add something exciting to a score. The next instrument down in the section is the French horn, which is easily identified as the instrument with lots of tubing curled into a swirling circle.
This instrument also requires the player to stick their hand up the bell of the instrument to support it. Horns have a very mellow sound, and can be especially effective when playing together in unison and, just like trumpets, French horns are equipped with three valves.
The next instrument in descending order is the trombone, and is the odd brass instrument out as it is one of the only musical instruments which does not require finger dexterity to play. Using a much bigger mouthpiece than both the horn and the trumpet, the trombone uses a slide instead of valves to move from one note to the next, or more accurately, move from one harmonic sequence to the next.
The slide also means that it is capable of sweeping rips and glissando, making it perfect for comedic moments, where glissandos might be employed. Hence, in most orchestral trombone sections, you would find two tenor trombones and a bass trombone. Apart from its perfect ability to play lower more comfortably, the bass trombone also forms the perfect bridge to the lowest instrument in the section, called the tuba. Not surprisingly, it requires a great deal of puff to play, but will sound beautifully sonorous when placed at the bottom of the section.
The most common size of a contemporary orchestral brass section would consist of three trumpets, four horns, three trombones consisting of two tenors and a bass and one tuba. This sounds balanced as a section, while being capable of playing very loud, particularly when compared to the string section — which although considerably larger in size, can be matched or exceeded in volume by only 11 brass players in a live context.
Trumpets can be especially good at bolstering melodies, at both the loud and quiet ends of the spectrum, while horns have become something of a melodic calling card for composers such as Hans Zimmer. The trombone and tuba section can add tremendous sonority to a track, by doubling the harmony in the middle registers, while providing a huge foundation to the bottom end of the harmony.
As you can see from the instrumental-ranges chart see Figure 1 , there is a fair degree of crossover as one instrumental range infiltrates another. This means that when building up chords with winds, interesting timbral colours can be created if you interconnect one instrument carefully with another. Possibly the first question to ask is: where do you want to use these winds and brass instruments? Winds can be fantastic for playing melodies or shoring up chords, while the lower winds can also add a healthy colour to a bassline.
If you caught the first part of our Orchestral Manoeuvres feature on strings, you might remember we referenced the composer JS Bach, whose helpful guidelines for constructing a coherent chord voicing can prove really useful. The same can be considered the case with wind and brass instruments, but as these instruments might often be used to emphasise specific areas within a piece, you can safely use more notes, particularly when placed higher in pitch.
Figure 2. The first two bars of Figure 2 give us a good indication of the way that we might approach this; you can clearly see that the first chord is stacked with more notes in the upper register than the lower.
Just as we mentioned in our strings tutorial, part leading can also be an important consideration, as also demonstrated in the first four bars, but winds are very good at jumping around, and can be really effective if used in this way.
The last two bars demonstrate how the woodwinds can be exploited to both jump around and also accent certain notes, to create further excitement. The accents are indicated by the arrow heads above certain notes. The addition of the brass in the last couple of bars also increases the overall tension and excitement, by way of a crescendo in dynamic range, adding a brightness of colour which will sound huge and engaging.
The whole excerpt increases to a vast crescendo, which will sound even more impressive once the strings and percussion are imported alongside. The brass, or more significantly the French horns, have an entry in bar 2 which could be considered a counter-melody; the concept behind this is often to add a second element to an existing melody, and can be easily achieved by making the counter-line move in an opposite direction to a melody.
The main bulk of the brass section enters halfway through bar 4, with a unison fanfare-style repetition of three notes. This will make a big statement, and is exactly the kind of thing that the brass will do really well. Traditionally, wind and brass instruments have always been among the most difficult to emulate in sampled form. We have better samples now than we have ever had, thanks to the rise in the technology which has made multi-layered sampling a commonplace feature.
The first and biggest point to make is that it is really important to try and think like the instrumentalist might, when playing from a keyboard. As we mentioned, wind and brass players have to breathe, often dictated by the length of phrase. If you think in phrases, rather than simply randomly lifting off the note when you feel like it, a better and more coherent overall effect can be created.
As we discussed when working with strings, it is often a good idea to work with individual lines, so that you can create that smoothness of line that we refer to as a legato.
Just about all sampling companies go to great lengths to capture the sounds of players playing notes in different ways, and the use of keyswitching will almost undoubtedly result in a more believable effect, with the use of appropriate sampled articulations. Most packages also offer control of dynamics via the mod wheel MIDI CC 1 meaning that phrases can rise and fall in volume, sounding far more believable as a consequence.
Brass sections are excellent at adding stab-like effects, that inject real excitement into a composition, but will be far more effective if used sparingly. As demonstrated by many film composers, French horns sound superb playing sweeping melodies or counter-melodies, but you might need to work with the sample to get them to sit in your mix. Not only can French horns be overpowering, but they can also sound slightly behind the beat, thanks to their bells facing toward the rear.
When composing in a DAW, do not be afraid to shift entire phrases forward onscreen in order to get them to play in time. Using wind and brass in your compositions is not a prerequisite. But winds and particularly brass can inject something into a track which would just sound lacklustre without them. Instead, think of them as a form of musical seasoning which can be sprinkled liberally across a track when nothing else can command the action. Can you honestly imagine the theme to Star Wars without the opening brass fanfare, or all of those fast runs in the woodwinds?
No, neither can I. Being one of the market leaders and main players in the orchestral-sample field, Spitfire has all bases covered. Firmly exploiting the instrumentation in place, they sound excellent for full-on orchestral duties with a host of articulation, including some superb brass stabs, which sound unbelievably effective. New to the market, CSB is recorded on a dry studio stage, with an interface which is something of a game changer.
The drier and more filmic acoustic lends itself beautifully to commercial work, allowing for ease of addition of onboard reverb, should it be required. Both of these editions are popular classics with media composers, and for very good reason. They cover the basic remit of wind and brass and go way beyond. Be updated with all the latest news, offers and special announcements.
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The history of Western wind instruments
This month, we turn our attention to woodwind and brass…. T he two areas of the orchestra that arguably provide the greatest degree of timbral colour are the woodwind and brass sections. The brass section, however, offers a roughly similar tonal colour, with degrees of bright and mellow, which can be used to great effect to shore up those action sequences, and more besides. While it was traditionally a wooden instrument, just about all flutes at least of the orchestral variety are now made of metal, making it the odd-one-out in this instrumental family. Flute players produce a tone by blowing across a hole at one end of the instrument, and where the original wooden flutes would have had basic finger holes, which the player would cover to get a different note, modern flutes use keys. The reason for this is largely down to reliability when covering the pitch holes, as the keys have pads on the underside to create a better seal than that possible with a finger. Read part one of our Orchestral Manoeuvres series where we covered strings. Where flutes can sound high, bright and chirpy, the next instrument down, the oboe, can often sound darker, but with exaggerated harmonic overtones.
A wind instrument is a musical instrument that contains some type of resonator usually a tube in which a column of air is set into vibration by the player blowing into or over a mouthpiece set at or near the end of the resonator. The pitch of the vibration is determined by the length of the tube and by manual modifications of the effective length of the vibrating column of air. In the case of some wind instruments, sound is produced by blowing through a reed; others require buzzing into a metal mouthpiece. Almost all wind instruments use the last method, often in combination with one of the others, to extend their register.
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Wind instrumentalists require a sophisticated functioning of their respiratory system. The purpose of this research is to examine the function of the respiratory system of wind instrumentalists. Thirty-two adult professional musicians from two philharmonic bands Piraeus and Zografou Municipality participated in the survey. Each participant, after completing a questionnaire given, went through two spirometric tests, one before and one after the rehearsal.
Performance Science View all 26 Articles. This paper investigates the production and perception of different articulation techniques on the saxophone. In a production experiment, two melodies were recorded that required different effectors to play the tones tongue-only actions, finger-only actions, combined tongue and finger actions at three different tempi. A sensor saxophone reed was developed to monitor tongue-reed interactions during performance. In the slow tempo condition, combined tongue-finger actions showed improved timing, compared to the timing of the tongue alone.
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Sample modeling oboe
A breath pressure sensor allows notes to be articulated by blowing into a mouth-piece. REMI's fingering scheme is based on the traditional recorder, simplified to make it easier to play. The handset pictured outputs a MIDI data stream - not sound. However, wind instruments offer capabilities for musical expressiveness that a keyboard cannot, especially for lead parts.
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