![]() ![]() I find this especially with the first desk violin, which has been my favored violin for several years now. One thing I very much appreciate about the SF Solo Strings is how well they take to shaping of lines. It’s just that that’s what i find I have to do, and it makes it hard to incorporate the instruments into chamber music, because the instruments act like they expect other instruments to follow them rather than listening and adjusting to other players. I should add with all these instruments that there is nothing wrong with the instruments seemingly having wills of their own and writing music to the sweet spots of the instruments. Lovely tone, but I have to follow it where it wants to go. It's recorded as a virtuosic solo instrument performed as a virtuosic solo instrument, and the samples largely bake in exactly the same progressive vibrato into every single not played, meaning you can't coordinate expressively with other members of the quartet (the "watching each other's elbows" string quartet effect).Ĭlick to expand.Yes, I have the Bohemian cello as well, and I find it similar. in it's sweet spots), but the SsS sweet spots generally require some performance in dynamics and vibrato so they don't give you that kind of instant gratification of the JB.Īlso, the JB’s design isn't is necessarily good for quartets. ![]() ![]() Spitfire solo strings by contrast, sounds terrible if you try to plonk in a JB-sweet-spot-eque line, but it's a *lot* better that the JB for certain things (ie. And yet, this is also very limited sweet spot, expressively, in particularly that it gives you very virtually no ability to craft the dynamics arc of a note. But part of it's popularity is that it's particular sweet spot happed to be a highly plonkably sweet spot - you plonk in a line almost like you're playing a piano, and it's amazing how good it sounds. I love the JB, and it's certainly best in class. ![]()
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