StringSection Blog

Posts Tagged ‘Recording strings’

Session for Philip G. W. Henderson

Friday, November 16th, 2012

On Sunday 28th October we once again recorded music by the composer Philip Henderson. The music was a suite of movements entitled ‘Sea Voices’ and scored for a string section of 5 violins, 2 violas, 2 cellos and a double bass. The recording venue was in Milton Keynes and the sound engineer had rigged the entire recording space with duvets in order to deaden any ambience created by the room.

We started recording just after 10am, with Ben the double bassist located in a separate room with a talkback link and synchronised click track. As the musicians were all excellent sight readers, the session proceeded smoothly and the entire recording was finished by 6pm, with a very happy composer. He had driven down from Leeds earlier in the day so was fatigued by the end but also uplifted by the results!

Recording strings in Milton Keynes

Wednesday, September 5th, 2012

Yesterday, we were booked to record some string parts for music producer Manon Dave who travelled up to a studio in Milton Keynes to attend the recording session. It’s often helpful when the producer is present, particularly in terms of getting exactly the right sound he or she has in mind for a particular track. In this recording, Manon wanted a very gutsy, bold cello sound as the strings were to be so central to the track and the cello had been written to replace the bass.

We chose the studio in Milton Keynes as some of us had recorded the Little Star Lullabies album there earlier in the year and were delighted with the sound achieved by Neill, the engineer.

Overall there were 8 different string parts (5 for the violins, 1 for the violas and 2 for the cellos). Some were chordal whilst others contained more rapid passages of semi-quavers so the overall effect was full and thick in sonority. The faster passages required especially close attention to tuning, particularly as they were in octaves with a lower string part. One risk with playing in octaves is that even tiny inaccuracies in tuning can be more noticeable than with other intervals, so this all had to be closely listened to in order to make sure that our tuning was as perfect as possible.

Recording strings at Voltaire Road Studios (Clapham)

Monday, July 16th, 2012

A couple of weeks ago, I was hired to record some live strings on 5 tracks by a band from Louisiana who are having their album recorded and produced here in the UK. The files for the string arrangements were all sent to me in advance so that they could be checked and any adjustments made before the recording date itself – this is always a good idea as it can save a considerable amount of studio time on the day.

The string parts (for violins and violas) had been written to add impact to the tracks so a powerful and committed sound was required. As such, the particular violin that I chose to use on the day is one with a really strong, focused sound. This is something worth considering, as stringed instruments can vary so much from one another. For example, one of my other violins which I regularly use to record with has a mellower, warmer sound with possibly more tonal variety, but for this particular job didn’t seem appropriate – I would be more likely to use that one for music which required a slightly gentler, more lilting feel.  Interestingly, both of these two violins are made by the same luthier – Martin McClean of Northern Ireland, both are fantastic instruments, yet each has its own distinct personality.

Recording at Fit Dog Studios

Monday, May 9th, 2011

Last Monday we spent the entire day recording the music by Gareth Dicks, a composer of musicals who is producing an album of his own work. The recording session took place at Fit Dog Studios which is located in the picturesque village of Gayton in Northamptonshire.

Fit Dog is run by the husband and wife team of Chris and Louise Furner (Chris being the engineer on the premesis). The live room has a fresh, airy feel with plenty of natural light which is a helpful characteristic when recording for several hours in a day.

Gareth’s music was scored for different combinations of string section instruments – violins, violas and cello (sometimes as solo instruments and sometimes as a small string ensemble).  After a full day of recording the strings we eventually left as the wind section were arriving to add flute, bassoon and french horn parts. We hope to return to Fit Dog in the near future and wish Gareth well with his work.

Hot and Humid….

Monday, June 7th, 2010

One of the challenges involved in playing a stringed instrument is the ability to cope with different climates and the corresponding changes that these can bring about in the instrument. As violins, violas, cellos and double basses are all made from what were once living, breathing pieces of wood, they are all subject to slight expansions and contractions. From a player’s point of view, this can make an instrument seem ‘tight’ or the strings feel harsh as well as creating a few whistles or making them go quickly out of tune.

In such conditions, performers across the world are still able to give of their best and as this article is written in temperate England, it has to be said that we have very little to complain about! We don’t have to contend with excessive humidity that players may experience in say Florida or Bangkok, nor the dryness of a high altitude I experienced when playing in Aspen, Colorado. Perhaps we all need to develop the versatility to play well, even when our strings are out of tune – in fact it is good to occasionally practice on an instrument slightly detuned as we’ll certainly have to cope with that when it happens in the middle of a concert.

We also need to be able to respond to different climates (hot, cold, dry or damp) and rapidly adjust our playing if a string somehow feels different, or our left hand fingers seem ‘sticky’ on the strings, making gliding between positions less easy. In such circumstances, the player has to try even harder to connect with the music in every moment, hopefully transcending moisture and heat.

When it comes to recording strings in the studio, especially in the summer when hard work and a closed room can cause players to perspire more, humidity can become a real issue. A couple of years ago I remember recording 3 days of demanding music in a very enclosed room without the benefit of air conditioning. As the hours wore on, strings became increasingly difficult to play on and the bow seemed to slip across the string a little. In this circumstance, we just had to try harder and put even more of ourselves into the music, with regular breaks to go outside with our instruments and take in some much needed fresh air!