Clarinets - Printable Version +- Scoring Central (http://scoringcentral.mattiaswestlund.net) +-- Forum: Music (http://scoringcentral.mattiaswestlund.net/forumdisplay.php?fid=1) +--- Forum: Musical Instruments (http://scoringcentral.mattiaswestlund.net/forumdisplay.php?fid=11) +--- Thread: Clarinets (/showthread.php?tid=669) |
RE: Clarinets - bigcat1969 - 07-21-2019 He is this guy... https://xtant-audio.com/ He put up the samples on thesoundboard forum. I'm not sure if he put them anywhere else. Kind of like what Sam did with VSCO2 they are a limited set of his more extensive sampling for a commercial library. RE: Clarinets - Mattias Westlund - 07-21-2019 (07-20-2019, 11:36 PM)Samulis Wrote: Vibrato is considered by most instruments who use it to be a fantastic way to cover up tuning issues... perhaps why it is so popular with bowed string instruments. XD And then they invented frets, but guitar players just kept using vibrato. Well, more is more as Mr. Malmsteen so famously said. RE: Clarinets - bigcat1969 - 07-21-2019 You want the brass Big M or aren't the samples that interesting? RE: Clarinets - Mattias Westlund - 07-21-2019 Judging from the woodwinds: no, not particularly I'm sad to say. Something that is mono, single dynamic and has no RR's is no more enticing or useful than the MIS samples :/ RE: Clarinets - Mattias Westlund - 07-22-2019 (07-20-2019, 02:46 PM)Terry93D Wrote: One orchestration trick I read a while ago was: never write octaves for your clarinet! Even if they play the fundamentals in tune, the way overtones and partials stack with clarinets mean that octaves sound out-of-tune. Sorry, I must have missed this comment. So, um, what about bass clarinet then? It's not an instrument I use overly much personally, but thinking back to various movie scores I have a strong notion that it's commonly used for octave-doubling much as contrabasses will double the cellos. Then again, maybe you're referring to octaves in regular Bb clarinets. RE: Clarinets - Terry93D - 07-22-2019 (07-22-2019, 12:26 AM)Mattias Westlund Wrote:(07-20-2019, 02:46 PM)Terry93D Wrote: One orchestration trick I read a while ago was: never write octaves for your clarinet! Even if they play the fundamentals in tune, the way overtones and partials stack with clarinets mean that octaves sound out-of-tune. If utilizing two bass clarinets playing in octaves with each other without any other instruments is what you're referring to, then I am happy to stand corrected. But I suspect I simply wasn't clear: two clarinets, playing in octaves, as a largely exposed unison. From Robin Hoffman's Daily Film Scoring Bits: Quote:2. Avoid doubling Clarinets in octaves. Due to the construction of the Clarinet, it is unable to produce even numbered harmonics in its sound. So the first harmonic over the fundamental tone is not (as expected) the octave but the octave+5th. This makes a lot of what defines the typically transparent sound of a Clarinet. The higher harmonics are not as stable and generally “where they should be” as one would expect so doubling Clarinets in octaves (which would mean to fill up the missing harmonics) creates very often a problematic tuning impression, even though the fundamental notes are intonated properly. I sure do hope someone doesn't pop up and correct both me and this professional film composer 'cause that makes him look foolish because he's a professional and makes me look foolish for listening to a profauxsional! RE: Clarinets - bigcat1969 - 07-22-2019 Yeah sadly you are right Mattias. I made some instruments from them, but yeah not so thrilling. Big Sam's efforts I think supersede this in the modern freebie world. RE: Clarinets - Michael Willis - 07-22-2019 (07-20-2019, 01:22 PM)Mattias Westlund Wrote: Didn't you experiment with sampling your clarinet though? I was thinking about sampling my clarinet, but I procrastinated until imposter syndrome set in. I wondered if there was a point, with all of the free samples already available. However, it seems like you are not really happy with what is out there, so it could be fun to try. I would need some guidance. How many round robins and velocity layers would be sufficient? As far as articulations go, I could do a fast-attack tongue articulation, and a slow attack without tongue. Seems like elsewhere Sam suggested that the sampled notes should be no more than a minor third apart. Edit: I just found the prior conversation, it was over a year ago! Well, maybe now I have a little more experience recording, I should give it a try. http://scoringcentral.mattiaswestlund.net/showthread.php?tid=369 RE: Clarinets - Nayrb - 07-22-2019 (07-22-2019, 04:13 AM)Michael Willis Wrote:(07-20-2019, 01:22 PM)Mattias Westlund Wrote: Didn't you experiment with sampling your clarinet though? I encourage you to try this. A lot of the clarinet samples I've come across seem to favor the mellower, more lax characteristics of the instrument. A more expansive set of articulations could really open up opportunities. RE: Clarinets - Samulis - 07-23-2019 (07-22-2019, 04:13 AM)Michael Willis Wrote:(07-20-2019, 01:22 PM)Mattias Westlund Wrote: Didn't you experiment with sampling your clarinet though? You might find my (again very WIP) sampling tutorial useful- https://youtu.be/2cNQA0L9mkM?t=379 I would generally recommend wholetone sampling, with 3-4 velocity layers, 2 rr on sustains (optional), 4-8 rr on staccatos, with maybe two different 'tightnesses' of sustain and 1-3 lengths/types of staccato. That should probably take about a hour or two to record. If you want to just get started real easily, start with just a 2-3 velocity layer instrument in wholetone or diatonic: start from the bottom of the instrument with a tuner nearby or drone (quietly) played back over headphones, and play up the scale at the quietest dynamic you want. Once you run out of range, do it again for mezzo, then finally for the loudest dynamic you want. That shouldn't take more than 30 mins to record and should give a good, simple result. If you have trouble cutting the samples, let me know. |