SUBJECT 1 | In-depth-OLD

SUBJECT 1 | In-depth

Perception of a Violin Section

This page contains:

Microphone Submixes

This section explores sounds of the microphone placements for each example. Click below to hear the submixes for each example:

One Violin - Excerpt A: Rooms, Decca, Spots, and Contact Mics
Two Violins - Excerpt B: Rooms, Decca, Spots and Contact Mics
Three Violins - Excerpt C: Rooms, Decca, Spots and Contact Mics
Four Violins - Excerpt D: Rooms, Decca, Spots, and Contact Mics
Six Violins -Excerpt E: Rooms, Decca, Spots, and Contact Mics
Violins I - Front Desk Leading - Excerpt F: Rooms, Decca, Spots, and Contact Mics
Violins I - Rear Desk Leading - Excerpt G: Rooms, Decca, Spots, and Contact Mics

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ODESSA I — Montreal

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Overview

1. Perception of Violin Section

  • Introduction

  • Practicalities

  • In-Depth

  • Orchestration

2. Counterpoint and Energy

3. Counterpoint and Climax

4.1. Counterpoint and Strata

4.2. Study of Poetic Affect

5 Study of Contrast

6. Alternating Sections

7. Study of Percussion

8.1. Blend, Addition and Reduction

8.2. Study of Composite Lines