StringSection Blog

Posts Tagged ‘recording studio musicians’

Sourcing and Fixing other players

Monday, June 14th, 2010

Although Stringsection really are a group of string players (the clue is in the title I suppose!), occasionally we are asked by clients to source or recommend session musicians who play other instruments. In the past, we’ve been asked to find a cor anglais player, a flautist, oboist, harpist, French horn player and pianist to work on the same recordings that we were booked for.

On the surface, this should seem easy because as musicians we have lots of colleagues and contacts through orchestras and ensembles who play virtually any instrument, or it’s simply a case of ‘phone a friend’ to get a good recommendation. What takes a little thought is finding players who are 100% ‘rock-solid reliable’ and temperamentally suited to studio work as well as orchestral playing. As woodwind and brass players are often required to perform quite exposed solo’s in symphonic pieces, they will usually have no trouble sight reading and playing difficult stuff really well. Because tuning issues on wind instruments can be even more affected by humidity than with strings, studio conditions can have quite an effect, particularly in smaller booths. Also in smaller rooms, it may take a little longer for the engineer to set up the microphones and levels for e.g a French Horn as the volume of sound is potentially larger than a violin and the direction of sound needs to be carefully catered for - in this case, patience among the session musicians is a virtue!

Essentially when we are asked to fix another player, they would not only need to be a very capable musician with excellent tuning, but a patient and punctual person who can pay a great deal of attention to detail, be pleasant to work with and not develop an attack of nerves when the red light goes on!  In the same way that not every musician is temperamentally suited to studio work, there are also those who absolutely thrive in a recording situation with some of their best work done in the studio.

So far, the only request for another instrumentalist that has completely stumped us was someone looking for a bluegrass style banjo player but happily the client found someone very good via the internet.

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 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!