Showing posts from October, 2012

Cynicism in Classical Music—has skepticism become the norm?

People think there is a catch to TwtrSymphony TwtrSymphony is an orchestra founded because I write orchestra music and need an orchestra to play it. The problem I face getting my music played by other orchestras is simple: Music Directors and Conductors are extremely busy. Even if they're willing to give my music a glance (and few of them are willing unless they already have a personal relationship with me), they often don't do more than listen to the first couple of minutes of music. If the music doesn't grab them by that point, they're done and my score goes no further. While some will accept midi realizations, again, these who do are by far the minority. Even those who accept midi realizations prefer live recordings. So, composers need live-orchestras to record their music if they have any hope of getting music played by a live orchestra — rather a catch-22. I believe TwtrSymphony is the perfect solution to this conundrum. We perform 140 seconds (or 2 mins, 20

Redshirts by John Scalzi - The Redshirts win in a most unexpected way

Book review Typically this blog is about music, but there is more to my life than just music. So, today I branch out into discussing a book I just finished Redshirts by John Scalzi. It is a wonderful read, even for people who aren't Science Fiction fans, those who have no knowledge of Star Trek and the related issues with unexplained deaths of those who wear red shirts, and even people who prefer reading gritty crime novels, present day character studies or sappy romance books. Redshirts is a thought-provoking romp, with lots of comedy, philosophical questions and the appropriate number of tugs on the heart strings. In the end, the "Redshirts" win in more than just they get their own story — they get a back story we care about. Redshirts are the people on the television show Star Trek who, for one reason or another (and often really lame reasons) end up dying, to give a sense of potential danger to the situation. "What's going to happen to the main charac

#TwtrTpc Tech Thursday:

Tweet your Q's to #TwtrTpc to answers from the sound engineer professionals of TwtrSymphony all day today. They'll try to answer questions on Twitter, but all your questions will be posted here tomorrow - with as many answers as possible. Also look for future posted with more in-depth answers to the more difficult questions. WOW, the conversations were fast and furious today. A HUGE thank-you to Felipe for fielding so many questions. Although, I have a feeling anyone reading today's discussion will only have more. That's OK - you can tweet them to #TwtrTpc OR email to TwtrSymphony . We'll get you an answer! ails: What programme should I se for my recording. Been using mixpadaudio on my laptop #TwtrTpc Felipe Gonzalez: Hi: we have posted some options here… Jeff Freeman: #TwtrTpc I use a Zoom H2 as a USB mic into my Windows laptop. Mixcraft 6 is my software of choice. Felipe Gonzalez: NIce

Home Studio 101: Quick thoughts by Felipe Gonzales

Felipe actually tweeted these gems to the musicians of TwtrSymphony, but they were SO good I had to share Violin recorded with 1 mic at 1 mt, room by 2 mics. No eq, no edit no plugins. Quick thoughts: Headphones for recording?, Closed Back or In Ear type. On both cases not the cheap ones, here, more $ is better. MAC, Windows or Linux OS?, it doesn't matter.If you setup the computer correctly, all of them will perform OK Which Audio Interface?, one with at least 1 Mic input and headphones output, USB 2 or Firewire for faster speed. An external Audio Interface will sound better than the computer built in, allowing better recordings from you. DAW (Digital Audio Workstation) is recording software in your computer. Purchased software options: ProTools, Logic, DP, Cubase. More purchased DAW options: Audition, Nuendo, Vegas. Some free DAW options: Audacity and Ardour. Felipe and Garry will get checking in on Twitter throughout Thursday to answer your technical questions. Tw

#TwtrTpc Dynamics: What are ways TwtrSymphony can communicate dynamics to the musicians?

Following up on some of what was discussed yesterday: What are some of the way TwtrSymphony can effectively communicate the different dynamic levels to the various musicians considering none of the musicians are in the same room? Right now these are all issues resolved in the editing room. A number of musicians commented about the struggle to get the right dynamic levels for their recording not playing in the same room with the rest of the ensemble. So... how we do resolve this: It has already been suggested we create principal chair positions, who play the first parts to provide a guide for the rest of the musicians. Are the other options? What does this mean for the principal players and how do we get them to have the same dynamic levels? The conversation wasn't as active today, but still some good points to take away. We even had a comment from someone outside of TwtrSymphony — of course, those comments are welcome too. More dynamic markings in the score Use composite mi

#TwtrTpc What are the issues playing with a virtual orchestra?

TwtrSymphony examines what's it like to play in a virtual orchestra with today's Twitter Topic (TwtrTpc) We'll be following TwtrSymphony musicians today to see how they respond to today's topic. - so come back tomorrow to see what they've said - and catch tomorrows TwtrTpc As the Music Director/Composer-in-Residence, I'm familiar with the tracks as they come in. It's surprising to me how good two individual tracks can sound. Yet put them together and the slight differences between attack and release are extremely noticeable. Trying to write music that allows musicians a chance to express themselves and yet capture that ensemble, everyone playing together feeling is a real challenge. It was a lively discussion today &#8212 obviously one we should have done months ago. We chatted about: the difficulties of not being in the same room potentially using skype or Ninjam as an alternative struggling with the concepts of dynamics (and tempo) lots of inform

Tremulando Dança - The latest track from TwtrSymphony

"Tremulando Dança" is the third movement and is Portuguese for Fluttering Dance. As might be typical for a third movement in a classical symphony the minuet and trio is used with a nod toward the Scherzo or "joke." The music dances about in an altered rumba beat for the minuet, with the trio a modified waltz with some unlikely shifts in the beat. The minuet keeps the heavy use of 13/8 as the main underlying meter. You can download the music from TwtrSymphony's website: . Want to get involved? TwtrSymphony is always looking for new people who want to connect with other musicians from around the world. Click here for more information.

TwtrSymphony's Tremulando Dança to be available for download Monday, October 15th

Pre-release copies are available NOW for FANS ONLY Monday, October 15th, TwtrSymphony will release the long awaited 3rd movement of Symphony No. 2 Birds of a Feather , "Tremulando Dança." This piece, which some of our musicians called, "the most difficult, yet rewarding music" is finally out of the studio and ready for the public. Sound Engineers Garry Boyle and Felipe Gonzalez have been working on this track now for nearly two months. When you hear the complexity of the voicing, the interweaving rhythms and the intricate interplay of the various melodies you'll understand their struggle. Complicating their efforts is the fact that none of the musicians recorded their parts in the same room. The whole concept of TwtrSymphony is connecting musicians from around the world. So, "Tremulando Dança" is a piece comprised of recordings from all over, brought together in the studios of Garry (in Edinburgh Scotland) and Felipe (in Concón, Chile) to cre

Cellist Alisa Weilerstein Performs Elgar And Carter Concertos On Her Debut Recording For Decca Classics To Be Released On October 30, 2012 In North America

On October 30 in North America Decca will release the debut album of American cellist Alisa Weilerstein. The album features the Edward Elgar and Elliott Carter Cello Concertos, and Max Bruch’s Kol Nidrei performed with conductor Daniel Barenboim and the Berlin Staatskapelle. Ms. Weilerstein signed an exclusive recording contract with Decca in October 2010 and is the first cellist to sign with the record label in over thirty years. Ms. Weilerstein said, “It has been a thrill to work with Decca Classics. Performing and recording the Elgar Concerto with Maestro Barenboim has immeasurably deepened my relationship with the work, and it has been an honor to record Elliott Carter's Concerto. The Staatskapelle Berlin has been an outstanding musical partner, and I can't say enough about my producers Andrew Keener and Friedemann Engelbrecht. I am so excited to finally share with the world what has been, for me, an unforgettable experience in every way.” Ms. Weilerstein gave a speci