Many of the following .mp3 samples use
older model synths, especially where it's possible to confuse
the charm of modern samples with technique effectiveness. I also
want to show that you can coax interesting sounds from almost
any synth or sampler by using subtle gestures. Ideally, you'll
use these techniques on your best sounds.
You can also get extra mileage out of
older gear by pairing it up with your newest soundware in ensemble
contexts, as demonstrated below.
Solo violin via three
MIDI channels.
The unembellished solo violin sample
is played using a single violin patch, whereas the simulated
bowing example uses separate MIDI channels for down bows,
up bows, and legato
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Part |
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Synth/Software
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Solo Violin |
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Kurzweil
K2000S
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Part |
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Synth/Software
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Violin
Down Bows |
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Korg
X5D
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Violin
Up Bows |
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Kurzweil
K2000S |
Violin
Legato |
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Kurzweil
K2000S |
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notes. Dynamics are controlled via
CC 11 and dashes of pitch bend and Mod Wheel vibrato are added
to the second audio clip.
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String vibratos performed
with pitch bend.
Control over vibrato speed and depth
can be achieved by performing with pitch bend. In this
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Part |
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Synth/Software
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1st Chair
Violin |
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Kurzweil
K2000S
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Violins
I |
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Gigastudio:
Garritan Orchestral Strings |
Violins
II |
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Gigastudio:
Garritan Orchestral Strings |
1st Chair
Viola |
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Korg X5D |
Violas |
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Gigastudio:
Garritan Orchestral Strings |
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example, ensemble parts are played
individually to create a rich and natural sound.
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Bowed tremolo via two MIDI
channels.
A bowed tremolo plays a single note
using rapidly alternating down bows and up bows.
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Part |
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Synth/Software
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Cello
Down Bow |
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Kurzweil
K2000S
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Cello
Up Bow |
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Korg X5D |
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Add tiny amounts of pitch bend for
spice.
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Woodwind phrasing and dynamics
via CC 11.
Create dynamic contours
emphasizing attack, swells, and release using MIDI expression
(purple bars). A combination of CC 11 and note duration
also distinguishes legato, non legato, and staccato notes.
The listening sample
contains two versions of the same passage:
1. strictly quantized
non legato notes, rigid dynamics (performed with a keyboard)
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Part |
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Synth/Software
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Flute
1 |
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Kurzweil
K2000S
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Flute
2 |
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Gigastudio:
Miraslov Vitous "Mini" Flute |
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2. varied articulations
and dynamics (performed with a breath controller)decorated
with pitch bend and timbral filtering (gold bars)
In the first example,
the two flutists play in exact unison and never pause to breathe.
The second example uses two separate performances, letting
the players diverge and breathe individually.
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Brass rips.
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Part |
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Synth/Software
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Trumpet |
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Kurzweil
K2000S
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Rapidly play a run of
overtones on the attack or release of a note to make a
rip.
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Shake from cross-faded partials.
The shake is created by crossfading
trumpet
overtones from two separate MIDI channels
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Part |
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Synth/Software
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Trumpet |
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Kurzweil
K2000S
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Trumpet
(upper partial) |
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Kurzweil
K2000S |
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using CC 11 (purple lines). Include
pitch bend (blue lines) for extra realism.
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Trumpet mute via automated
EQ.
Try performing a mute effect by automating
a high-pass filter in sync with a mid-range boost.
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Part |
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Synth/Software
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Trumpet |
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Gigastudio:
Quantum Leap Brass*
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*
Recorded as digital audio in Digital Performer and
performed using the Parametric EQ DSP effect. |
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Flutter tongue with brassed
tone.
Add a quiet dissonant overtone to the
fundamental (+1 semitone) and flutter using rapid pitch bend
(blue lines). Try it on flutes and other brass and wind instruments.
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Part |
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Synth/Software
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Trombone |
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Gigastudio:
Quantum Leap Brass
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For brassed tone add quiet "harmonics,"
shifted up one octave, to the attack and/or release. Tailor
dynamics using CC 11 (Purple lines).
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Cymbal tremolo and roll.
The cymbal tremolo is performed
using pitch bend.
A roll can be emulated through
simple digital audio editing.*
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Part |
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Synth/Software
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Piatti |
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Kurzweil
K2000S
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Part |
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Synth/Software
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Cymbal |
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Kurzweil
K2000S*
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*
An ordinary pole cymbal sound, alternately reversed
and played forward; ending with a hand-held cymbal
crash. |
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