To Mic, or Not to Mic

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 other tool, there are a myriad of options at one’s disposal if you choose to use sound design for artistic pursuits.

 

Sound Design

Naturally, one probably should avoid using a flanger while playing a Bach Suite. However, there are an increasing number of pieces that are being written that do call for some form of sound design.  This can be anything from distortion, delay, octave dividers, looping and a multiple number of reverbs just to name a few.  There could also exist a backing track that may include pre-recorded tracks with or without electronic manipulations or found sounds recordings. All of these possibilities are not merely effects meant to mask some technical flaw in one’s playing. They are compositional tools intended to heighten dramatic effect or to help create the sound world that a particular piece exists within.  By not opening oneself up to the use of sound design, you are actually closing yourself off from a wealth of really great music that is available to you.

 

Collaborations

Through the use of amplification, one has the ability to play together with instruments that otherwise would be impossible.  I’ll give an example: a few years ago my quartet made a recording with the Afghani rubab virtuoso, Homayun Sakhi.  This guy plays like Heifitz.  But without amplification you would never know because it would be impossible to hear him as the rubab is acoustically much quieter than a violin, let alone a string quartet. But through the use of technology we can actually create a balance that brings forward all of the parts. Without sound design, this collaboration would have been impossible, which would have been a tremendous shame. Without a doubt, this is one of the most inspiring collaborations that I have ever been a part of.

 

The Hall

Kronos plays a lot of concerts in many different types of halls.  Some are truly sublime and others are, well, not. Some are very large and some very intimate. As we all know as performers, one needs to make certain adjustments with regard to tempo and technique in order to project in the varying sizes and acoustics of concert halls. However, the reality is, in a large hall a small group will sound small and far away. With the use of sound design, one is able to create the kind of presence that the ensemble wishes to convey.  And, in so doing, one is able to work with a wider color and dynamic range enjoyed only in the most ideal acoustics.  I suppose one could be tempted to call this cheating.  However, I would actually prefer to call it quality control.

 

There is really so much to discuss when addressing the issue of sound design. In later posts, I am going to bring forward ideas behind the use of specific equipment and the issues surrounding the work of a sound designer.

AUTHOR

Jeffrey Zeigler

Described by the New York Times as “excellent”, and a player who performs “with unforced simplicity and beauty of tone”, Jeffrey Zeigler was the cellist of the internationally renowned Kronos Quartet for eight seasons. One of the most celebrated and influential ensembles of our time, Zeigler has performed over a thousand concerts worldwide, has premiered over 200 works and has collaborated with many of the world's most versatile and innovative composers and performers. In the process, Zeigler has played an integral role in redrawing the boundaries of the string quartet medium.

Zeigler has been the recipient of the Avery Fischer Prize, the Polar Music Prize, the President’s Merit Award from the National Academy of Recorded Arts and the Chamber Music America Richard J. Bogomolny National Service Award among others.

Zeigler has given many notable premiers including works by John Adams, Laurie Anderson, Damon Albarn (of Blur and Gorillaz), John Corigliano, Philip Glass, Henryk Gorecki, Vladimir Martynov, Steve Reich, Terry Riley, Valentin Silvestrov and Peteris Vasks to name a few. Notable collaborations include Asha Bhosle, The Bang on a Can All-Stars, jazz pianist Billy Childs, Noam Chomsky, The Merce Cunningham Dance Company, Philip Glass, Paul Hillier, Zakir Hussain, Nine in Nails, the great Azerbaijani singers Alim and Ferghana Qasimov, Afghani Rubab virtuoso Homayoun Sakhi, pipa virtuoso Wu Man, Tom Waits and Howard Zinn.

The 2013/2014 Season will see the launch of a number of new projects and collaborations. Highlights include a duo with Laurie Anderson and a trio with the experimental pianist Hauschka and the Finnish rhythm master Samuli Kosminen. Both of these collaborations premier at the River to River Festival in New York City. Zeigler will also be giving the world premier of a new Cello Concerto by Canadian composer Scott Good with the Vancouver based jazz band, The Hard Rubber Orchestra. Additionally, Zeigler will be premiering a number of newly commissioned works by Kyle Bartlett, Nimrod Borenstein, Anna Clyne, Bryce Dessner (of The National), Mohammed Fairouz, Jesse Jones, Glenn Kotche (of Wilco), Richard Reed Perry (of Arcade Fire), Paola Prestini and John Zorn.

Mr. Zeigler has appeared as a soloist with the Los Angeles Philharmonic, the Toronto Symphony, the Royal Danish Radio Symphony, the Basel Symphonie, the Brooklyn Philharmonic and the Sioux City Symphony and has performed under the batons of Seiji Ozawa, Christoph Eschenbach, Michael Tilson Thomas, Leonard Slatkin, Robert Spano, Sir Roger Norrington, Mstislav Rostropovich, Peter Oundjian, James Conlon, John Adams and Dennis Russell Davies.

Over the course of his celebrated career, Mr. Zeigler has released over a dozen recordings for Nonesuch Records, Deutsche Grammophon and Smithsonian Folkways and has appeared with Norah Jones on her album "Not Too Late" on Blue Note Records. Zeigler can also be heard on the film soundtrack for Darren Aronofsky's film, "The Fountain" featuring music by Clint Mansell and including performances by the Scottish band, Mogwai.

Jeffrey Zeigler holds a Bachelor of Music degree from the Eastman School of Music at the University of Rochester where he was a student of Stephen Doane, and a Master of Music degree from the Shepherd School of Music at Rice University where he served as the Teaching Assistant for Paul Katz. He then continued his studies at Indiana University under Janos Starker. Mr. Zeigler has also studied at the Britten-Pears School in Aldeburgh, England where he was a pupil of William Pleeth and Zara Nelsova. He is also the recipient of an Honorary Doctorate of Fine Arts degree from the Cornish College of the Arts.

Zeigler served as the Cellist-in-Residence at Texas Christian University and as a Visting Lecturer at Indiana University at Bloomington. Recently, Zeigler was appointed to the Cello Faculty at Mannes College The New School For Music. This season, he will also be a Distinguished Visiting Professor at the University of Oregon.

jzcello.com
www.blackshipmoment.com

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