StringSection Blog

July, 2009

Tremeloes and Rapid Bowing

Wednesday, July 29th, 2009

A tremelo can be defined as being a ‘trembling’ or ‘quivering’ effect - this usually takes one of two forms. One is where a single note is rapidly bowed repeatedly and the other is a a fast oscillation between two notes (rather like a trill) - with the gap between the two notes being wider than a trill.

A tremelo might be rhythmically even, or unmeasured (which can also be written as tremolando). The unmeasured version would be used where a composer or arranger instructs the notes to be simply played as quickly as possible - this technique is used often when adding strings to pop and rock tracks and can add a feeling of tension to a piece of music. Tremeloes can also be given an accent at the beginning (which means the first note of the tremelo is emphasised to give it a ‘kick’) - this can convey a feeling of tension even further and is particularly effective with a full string section rather than writing for single strings.

In string arranging, a tremolando can also be used very quietly - and if the whole of the string section are playing this way at the same time, it can give a rumbling feeling of something imminently about to happen - so instead of having a chord held, it can lend a sense of anticipation and of course add all important variety to a string arrangement.

Hiring Session Musicians

Monday, July 6th, 2009

Although we’re often hired to create string arrangements or write string parts, also we’re booked by clients who already have their music scored and just want to hire some reliable session musicians. 

Of course, one of the first considerations is how much this is going to cost - and we always stress that the more prepared and organised a studio is, the quicker we can get in and get the work done. Arriving at a studio and finding that the microphones are already set up, the engineer is ready to record and simple things like chairs are in place can all mean that we can simply sit down and record straight away - saving the client time. Time is money and we often arrive early just to make sure everything is set up so that the time we charge for is actually spent playing. From the initial enquiry, if a score (and if possible mp3) can be given to the musicians beforehand, it’s possible to give an accurate estimate of how much time the recording should take, and also to spend a few minutes looking at the score to spot any potential tricky areas that might take more time.

Sometimes - in particular when other instruments are going to be recorded at the same time - it’s hard to estimate how long a recording might take. As we charge a set amount of time per musician for the first two hours (with a reduced hourly rate thereafter), it can be much more economical to get strings added to several tracks on one day. It’s always good to leave the day open - ended without any pressing evening engagements so that if the recording session does over-run it’s all fine.

Once in the studio, one of the musicians will usually keep popping into the booth just to hear back what’s just been recorded and check for any tiny imperfections - things that a string player would pick up on - just in case the producer and engineer may not have heard it - it’s far better to quickly fix any small adjustments in tuning, tone or phrasing at the earliest stage possible, before any post production work has been done.

With developed ears for recording work and experience of how to get the best string tone in front of a microphone, the best session players are able to adjust the tone quality of their instruments to fit in with the ‘feel’ of each individual track.