SampleModeling - SWAM Oboe: Haendel WaterMusic excerpt

[FatisV]

MP3 file play: https://app.box.com/s/d4r0wb3v5rfzx2b07uqc

or for a better audio experience, link to the 48k 24b wav file:
https://app.box.com/s/xiz8cq1ebmh7xjwpo1wg

As all the SampleModeling products, the SWAM Oboe is a very flexible tool: due to the architecture of the SampleModeling approach to Virtual Instruments, SWAM engine provide you with a single VI patch (no need for complex keyswitch and matrixes) which you can play or program like a real instrument:

- with different setups and IRs almost infinite different solos can be created, to play divisi or to be joined in sections. In the rendition above 2 Baroque Oboes play divisi and in unisono.

- the articulations are under control, and not pre recorded, then every continuous variation of legatos and staccatos and intermediate solutions is possible, creating a very natural phrasing.

In this excerpt I try to sculpt the sound to a baroque style, (with the Help of VSL MIR Pro 24 and VSL Dimension Strings) and all instruments play in Baroque pitch and temperament (A=415, Werkmeister tuning).

Comments and feedback are welcome!

[Arrested Developer]

Congrats, that's really well done!

In this excerpt I try to sculpt the sound to a baroque style, (with the Help of VSL MIR Pro 24 and VSL Dimension Strings) and all instruments play in Baroque pitch and temperament (A=415, Werkmeister tuning).

In fact, there is no such thing as a baroque pitch... 415 Hz is just a convention of contemporary musicians who are focussing on "historical" performances...

And of course, no string or woodwind or brass player ever could play in Werckmeister (or any other) fixed tuning.
While on short notes there are usually just random inaccuracies, on long notes their intonation in baroque had usually strong tendencies towards meantone temperaments, while of course for a cembalo Werckmeister is a good choice.
The fact that in this case the tuning of both differs a little bit, may be irritating in the first moment (there's a lot of baroque literature about this fact), but in reality, the intonation in ensembles is much different from theoretical concepts...

[FLWrd]

Well done. The strings sound a bit too clean sometimes, and the lower mids were a bit soft, but overall the instruments mix very well, and the performance is convincing and joyful. I did like the sound of the bassoon better than the oboe, by the way.

[FatisV]

Congrats, that's really well done!



In fact, there is no such thing as a baroque pitch... 415 Hz is just a convention of contemporary musicians who are focussing on "historical" performances...

And of course, no string or woodwind or brass player ever could play in Werckmeister (or any other) fixed tuning.
While on short notes there are usually just random inaccuracies, on long notes their intonation in baroque had usually strong tendencies towards meantone temperaments, while of course for a cembalo Werckmeister is a good choice.
The fact that in this case the tuning of both differs a little bit, may be irritating in the first moment (there's a lot of baroque literature about this fact), but in reality, the intonation in ensembles is much different from theoretical concepts...

It's a real pleasure finding educated musicians listening to my music. thank you so much!
Everything you say is correct. In the practice of late renaissance and early baroque even high pitch was frequent between 442 and 460. Later in Germany and northern Italy, the most common A fork or winds of 18th century were something between 410 and 420. But of course the 415 is adopted today being similar to half a tone down, and allowing for transposition of keyboard instruments. I follow this practice to keep the colour of the low pitch instead of the standard A=440 modern tuning.

The harpischord being tuned in werkmeister III, suggested the other instrument to be micro tuned accordingly, to mimic the tendecy of the real player for adjusting the major chords of the main key, with better 5th and 3rd. They continuously change as you say and can't be replicated by a single tuining, but the sound of a centered temperament is closer to this effect than the modern equal tuning in my opinion.
Last but not least I had the presets in VI pro for it

[Phil999]

well done.

[FatisV]

well done.

Thank you.

[FatisV]

I experimented a different positioning on the virtual stage, and I really like (even if it's not the common practice in live performances) the stereo dialogue between Oboes, even better for articulation evaluation.

https://app.box.com/s/ec7mp76f1cmxc730ccdg

Again comments are really welcome.

[bsl]

Very Nice !!!

[FatisV]

Very Nice !!!

Thankyou bsl, nice to see another Italian in my post

[FatisV]

The Demo has been published on the SampleModeling site.

Here the link to the final version:

https://app.box.com/s/5vmcgued7f8y9fgs9njp

thanks to all the comments, I think it got improved. Appreciated
Fabio.

[tapper mike]

Great information and great modelled instrument.