> Date: Wed, 21 Apr 2010 15:28:31 +0300 > From: Jo?o Pais <[email protected]> > Subject: Re: [PD] nusmuk_audio WAS: Max Smoother Audio than Pd? > Cc: pd-list <[email protected]> > Message-ID: <[email protected]> > Content-Type: text/plain; charset=iso-8859-15; format=flowed; > delsp=yes > >>> So maybe you need and want a shitty clarinet to achieve the objective >>> you have, maybe you need a quite expensive one. Nevertheless, the point >>> is what you do with it. >> >> The clarinetist of one chamber orchestra I've wrote for had to use a 'C' >> clarinette that sounded like shit to play all the notes, >> instead of her cool but expensive B flat, the result is that I don't >> liked the sound she had. >> >> (If you want to compare I can send you the files) > > Richard Barret has a couple of interesting pieces for C clarinet (look for > a cd with Carl Rossman). these pieces wouldn't sound as good in a B or A > clarinets, because it would loose the hard edge of the rhythms/melodic > contours. > > so, I say Richard Barret's pieces would sound "like shit" on a B clarinet. > probably your's sounds "like shit" on a C clarinet. both clarinets can > sound good -> only the pieces they play can make them sound "shit". > > Conclusion: don't blame the clarinets, stop giving them wrong pieces. > Don't assume that one clarinet is worthless because he's being given the > right material to play with.
Ha ha, not to mention the proliferation of wonderful period-instrument ensembles that use 18th- and 19th-century replicas. Some of those musicians are really, really good -- the C clarinets sound just fine in the context of Beethoven and Berlioz. One would probably not want to play the Rite of Spring solo on an 18th-century bassoon, though. In music, and I think I would argue art in general, context is key. Matt _______________________________________________ [email protected] mailing list UNSUBSCRIBE and account-management -> http://lists.puredata.info/listinfo/pd-list
