Behind the Scenes of a Music Festival (Part 2): The Devil in the Details — by Aron Zelkowicz
According to their blog, Audio-Technica’s acclaimed Artist Elite 5000 Series UHF Wireless System with an AEW-T4100 Cardioid Dynamic Handheld Transmitter was the microphone of choice for Taylor Swift’s “Fearless” concert tour (“It really sounds like her!”). Of course, all systems use the AEW-R5200 True Diversity Frequency-Agile Dual Receiver. Thank goodness all we have to do is walk on stage with our cello, find a hole in the floor, and play. When compared with such high-tech riders, organizing an acoustic recital is low maintenance, right? Right?! Sure—although maybe you should have had that dress rehearsal where someone could have spiked the chairs’ locations on the floor with masking tape because once you start the Brahms Piano Quartet you realize you are blocking the violist’s sight-line to the pianist (causing some uneasy [...]
Sound Designer — by Jeffrey Zeigler
As we continue our discussion about the various ways to integrate a sophisticated approach to sound design, there is one point that I would like to make before we get to far into the equipment nitty-gritty. That is of the need for your own sound designer. I think that the person in this role has both the most important as well as the most unsung job in a given concert. Important because they have complete responsibility for how you actually will sound in the hall. You may play wonderfully, but it could all be for nothing if, for example, the sound person has set you up to sound brash and tinny. But I also say unsung because the audience will only see them as the person standing at the mixing [...]
Are You a Manager of Your Cello’s Problems? — by Wayne Burak
In the past month I have had several cellists come in for adjustments. The interesting common denominator in each case was the complaint that something could not be achieved technically on the cello because of an adjustment issue. These problems ranged from neck angles being so low that the c bout edges were hit easily with the frog, fingerboards which were worn and misshapen, necks which were too thick (fatiguing the hand in fast passage work), to many bridge and soundpost position issues. One cellist remarked that he felt like he was managing inconsistencies and limitations which even affected his programming choices! What? I pondered this for several days while working on both new and old instruments. The central issue of course, is that the cello is proportionately successful to [...]
Know Your Cello — by Wayne Burak
It’s far enough in the past that I can’t remember the exact day it happened. But I do remember the warning signs—the slightly racing pulse, the sweaty hands and labored breathing—you know, the need to pick up a woodworking plane, some files, chisels and fabricate a cello bridge. I think I had been through several days of lectures on isorhythmic motet, compliments of Eastman music history, when one day my mind drifted into a world of cello parts, setups, fingerboards, tops, backs, ribs, and the most delectable feature – varnish. Really now, what is more enticing to look at than the iridescent play of colors jumping off of the cello back in the late afternoon sun in the Eastman Annex practice rooms? It’s simply enough right there to take you [...]
To Mic, or Not to Mic — by Jeffrey Zeigler
I must admit that I myself am relatively new to the use of sound design. Previous to joining Kronos I had only dabbled here and there, and even then only in small amounts. Like so many cellists that graduate from conservatory, it really wasn’t something that I encountered very much except in specific 20th century works that required its use. In fact, I would say that, like so many, I viewed the use of amplification as a form of cheating. To some degree, I do not completely disagree with this notion. Like all tools, it isn’t the tool itself that is the problem, but what one chooses to use it for. If one uses amplification simply in order to play louder, then you are in fact cheating. However, like any [...]