At 11:10 AM -0500 5/6/07, Randolph Peters wrote:
John Howell wrote:
I'm embarrassed to say that I couldn't decide. But I think the
key may be in the string pizzicato, or perhaps the tuning of the
woodwinds to pure equal temperament instead of tuning each chord.
Darcy, what gave it away to you?
Darcy James Argue wrote:
I don't remember exactly what gave it away at first. I think it was
the clarinet, which sounds much too "blocky" to be a real clarinet.
Another aspect of the fake example is the too perfect reverberation.
The problem with even the best reverberation modelled on real spaces
and mixed so that every instrument is clear and spacious is that it
is too good, too "commercial" sounding.
Woodwind groupings also are strange in that the vibratos don't match
each other. It is more than just being in tune with each other, live
musicians also phrase, breathe and vibrate in ways that mesh with
each other. You can have the world's biggest sample library and
still not achieve that kind of collaboration.
Absolutely! Especially the phrasing and breathing. I'm not as sold
on the vibratos, since I've never been aware of orchestral woodwinds
attempting to match vibratos. You have, after all, the clarinets in
there, traditionally playing with straight tone. But you're
absolutely right about their striving to think together. Even
gigging orchestras can come close, but play with the same 8 people
for 10 years and it can be quite beautiful.
John
--
John & Susie Howell
Virginia Tech Department of Music
Blacksburg, Virginia, U.S.A 24061-0240
Vox (540) 231-8411 Fax (540) 231-5034
(mailto:[EMAIL PROTECTED])
http://www.music.vt.edu/faculty/howell/howell.html
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