"Don Pearce" wrote in message
...
On Thu, 25 Nov 2010 10:23:46 +0200, "Iain Churches"
wrote:


"Don Pearce" wrote in message
...

But all the better if she can just accompany herself.

http://www.soundthoughts.co.uk/listen/accomp.mp3

d

I like that! And however carefully as you listen, you
can't hear the click track leaking into the headphones,
which is so often a give-away.


Ha! Fooled you. This is a piece of Melodyne magic. I copied the
original clarinet track and shifted the notes around for the
accompaniment - so no click tracks, no Midi, no other instruments
involved.

That sounds like fun:-) I know of Melodyne's application in
vocal pitch correction but have never seen it used.


I can't think of any other software that does what Melodyne does. If I
had taken some time over it I could have changed note lengths to make
a true accompaniment. Maybe I'll give that a go later,

Please do.

when I am done
wiring up my new shed.

Studio in the garden?

Bloody hell I chose a cold week to take off.

Don't complain. It's -10C here, 10 cms of snow fell yesterday.
But the sun is shining now from a blue sky , and I'm off to a
big band rehearsal, followed by a slap up (late) lunch.

Iain

Iain Churches wrote:
"David wrote in message
o.uk...

People have become accustomed to effects of every kind. There is very
little straight recording these days.

That is certainly true of pop music, where first impressions of a studio
are often based upon number of outboard racks full of equipment, and
not by the skill of the personnel involved in the recording.

The above said, I would tend to disagree with your assertion on
a broader basis. Most classical recordings (large and small)
are made "straight", and with as few mics as possible to achieve
the desired sound. There is more interest in the "purist" approach
now than there has even been.

I haven't done or seen any orchestral recording now for over 15 years so
am not up to date with present methods. As of the late 80s and early 90s
there was a trend to try to see just how many mics you could use. After
all, what's the point in having a 48 channel board if you can't max it out?

--
David Kennedy

http://www.anindianinexile.com

Iain Churches wrote:
"David wrote in message
o.uk...

I can remember some [many] years ago recording guitar with an AC30 in an
old water cistern...


Great fun! And it's good to get people guessing when they
ask "How did you do that?"

With a little imagination you can create very individual
effects. I have recorded drums at the bottom of a
six flight stair-well. The kit was spread over nine
tracks plus two for ambience. These ambience tracks
were gated long on the mix, to shut the reverb down,
cutting it dead, - a great effect.

In London a few years ago I met the guitarist from Hot Chocolate and son
wanted to know how they got the guitar effect on the song "everyone's a
winner" was it fuzz etc. Nah, he said, I just used an old Washburn, it
always sounds like that since I dropped it...


--
David Kennedy

http://www.anindianinexile.com

"Don Pearce" wrote in message
...
On Thu, 25 Nov 2010 08:51:20 GMT, (Don Pearce) wrote:

On Thu, 25 Nov 2010 10:23:46 +0200, "Iain Churches"
wrote:


"Don Pearce" wrote in message
...

But all the better if she can just accompany herself.

http://www.soundthoughts.co.uk/listen/accomp.mp3

d

I like that! And however carefully as you listen, you
can't hear the click track leaking into the headphones,
which is so often a give-away.


Ha! Fooled you. This is a piece of Melodyne magic. I copied the
original clarinet track and shifted the notes around for the
accompaniment - so no click tracks, no Midi, no other instruments
involved.

I can't think of any other software that does what Melodyne does. If I
had taken some time over it I could have changed note lengths to make
a true accompaniment. Maybe I'll give that a go later, when I am done
wiring up my new shed. Bloody hell I chose a cold week to take off.

d

Duh! Sax, not clarinet.



Yer, 'tis - a nalto. This one in fact:

http://www.moirac.adsl24.co.uk/showntell/Selmer.jpg

Swim wanted to max out the sax thing for once and for all and went for this
rather pricey but nice Selmer. Cab't fault the tone, it sounds beautiful and
Moira says it plays like a dream - big step up from the worthy but somewhat
agricultural eBayArbiter she started out on.

In article ,
David Kennedy wrote:
I haven't done or seen any orchestral recording now for over 15 years so
am not up to date with present methods. As of the late 80s and early
90s there was a trend to try to see just how many mics you could use.
After all, what's the point in having a 48 channel board if you can't
max it out?

Multi mic recording of a classical orchestra has never been common or
popular. Although some control freaks have tried it.

--
*Thank you. We're all refreshed and challenged by your unique point of view

Dave Plowman London SW
To e-mail, change noise into sound.

On Thu, 25 Nov 2010 10:39:02 -0000, "Keith G"
wrote:


"Don Pearce" wrote in message
...
On Thu, 25 Nov 2010 08:51:20 GMT, (Don Pearce) wrote:

On Thu, 25 Nov 2010 10:23:46 +0200, "Iain Churches"
wrote:


"Don Pearce" wrote in message
...

But all the better if she can just accompany herself.

http://www.soundthoughts.co.uk/listen/accomp.mp3

d

I like that! And however carefully as you listen, you
can't hear the click track leaking into the headphones,
which is so often a give-away.


Ha! Fooled you. This is a piece of Melodyne magic. I copied the
original clarinet track and shifted the notes around for the
accompaniment - so no click tracks, no Midi, no other instruments
involved.

I can't think of any other software that does what Melodyne does. If I
had taken some time over it I could have changed note lengths to make
a true accompaniment. Maybe I'll give that a go later, when I am done
wiring up my new shed. Bloody hell I chose a cold week to take off.

d

Duh! Sax, not clarinet.



Yer, 'tis - a nalto. This one in fact:

http://www.moirac.adsl24.co.uk/showntell/Selmer.jpg

Swim wanted to max out the sax thing for once and for all and went for this
rather pricey but nice Selmer. Cab't fault the tone, it sounds beautiful and
Moira says it plays like a dream - big step up from the worthy but somewhat
agricultural eBayArbiter she started out on.


Someone's been busy with the Brasso. Must be an evening's work getting
that to shine. But yes, it is easy to hear the quality in the tone.

d

On Thu, 25 Nov 2010 11:20:36 +0200, "Iain Churches"
wrote:


"Don Pearce" wrote in message
...
On Thu, 25 Nov 2010 10:23:46 +0200, "Iain Churches"
wrote:


"Don Pearce" wrote in message
...

But all the better if she can just accompany herself.

http://www.soundthoughts.co.uk/listen/accomp.mp3

d

I like that! And however carefully as you listen, you
can't hear the click track leaking into the headphones,
which is so often a give-away.


Ha! Fooled you. This is a piece of Melodyne magic. I copied the
original clarinet track and shifted the notes around for the
accompaniment - so no click tracks, no Midi, no other instruments
involved.

That sounds like fun:-) I know of Melodyne's application in
vocal pitch correction but have never seen it used.


I can't think of any other software that does what Melodyne does. If I
had taken some time over it I could have changed note lengths to make
a true accompaniment. Maybe I'll give that a go later,

Please do.

when I am done
wiring up my new shed.

Studio in the garden?

The neighbours might have something to say about that.
Bloody hell I chose a cold week to take off.

Don't complain. It's -10C here, 10 cms of snow fell yesterday.
But the sun is shining now from a blue sky , and I'm off to a
big band rehearsal, followed by a slap up (late) lunch.


-10 in Finland feels warm. The current zero here is just bitter.

d

On Thu, 25 Nov 2010 10:44:22 +0000 (GMT), "Dave Plowman (News)"
wrote:

In article ,
David Kennedy wrote:
I haven't done or seen any orchestral recording now for over 15 years so
am not up to date with present methods. As of the late 80s and early
90s there was a trend to try to see just how many mics you could use.
After all, what's the point in having a 48 channel board if you can't
max it out?

Multi mic recording of a classical orchestra has never been common or
popular. Although some control freaks have tried it.

A spot mic for a featured soloist is not uncommon. I suppose that
would qualify as multi-mic.

d

"Iain Churches" wrote in message
...

"Keith G" wrote in message

Hi Iain, try this one with a little 'Bright Hall' reverb added - I hafta
say I quite like it myself:

http://www.moirac.adsl24.co.uk/shown...ght%20Hall.wav


But I would want to be in the habit of sloshing it into everything I
record unless I have to, of course - it's only me recording Swim on
either
the alto sax or the Bb clart.


That sound quite tasteful. Maybe a tad less?

By the way, Í greatly enjoyed the interpretation of
a jazz standard played by a classical clarinettist
on alto saxophone.


There are a number of nice arrangements for solo sax in the book she's
working in but not too much 'swing' yet!

Interesting to see a solo sax accompanying a singer with a very slow piece a
few nights ago on the telly.

"Don Pearce" wrote in message
...
On Thu, 25 Nov 2010 10:39:02 -0000, "Keith G"
wrote:


Yer, 'tis - a nalto. This one in fact:

http://www.moirac.adsl24.co.uk/showntell/Selmer.jpg

Swim wanted to max out the sax thing for once and for all and went for
this
rather pricey but nice Selmer. Cab't fault the tone, it sounds beautiful
and
Moira says it plays like a dream - big step up from the worthy but
somewhat
agricultural eBayArbiter she started out on.


Someone's been busy with the Brasso. Must be an evening's work getting
that to shine. But yes, it is easy to hear the quality in the tone.


Thankfully the finish ('Old Gold') is designed to mature nicely without
cleaning!! Otherwise I would have advised a plastic one! Glad you like the
tone also.