Cakewalk Overture 2
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As if Bitflipper didn't already know: from wiki:. 's landmark 1954 recording with the, partially recorded at, and using the in New Haven, Connecticut, uses a period French single cannon shot dubbed in 16 times as written, and was such an advancement in authenticity that on the first edition of the recording, one side played the Overture and the other side played a narrative by about how the cannon and bell effects were accomplished. (Later editions placed the commentary after the performance on side 1 and the on side 2.) Despite later technological advances, this monaural recording is generally accepted as the finest performance of this piece ever recorded. A stereophonic version was recorded on April 5, 1958 using the bells of the Laura Spelman Rockefeller Memorial Carillon,. On this Mercury Living Presence Stereo recording, the spoken commentary was also given by Deems Taylor and the 1812 was coupled with Tchaikovsky's. Later editions coupled the 1812 Overture with Dorati's recording of 's, which featured the and real cannon. Mike I am glad you have chimed in on this thread.
I stumbled onto the Deems Taylor monologue by accident today in fact. I was impressed by how good the cannons actually sound too.
I can definitely use them. I know the conductor wants them to be as accurate as they can be. The cannons in the ships cannon battle SFX I also have are impressive too. Both together will be huge. I am happy to report the bells and the cannons don't really overlap in the score except on the last cannon blast just before the end. I would not mind having the last say in this piece!
There is a version where there is a cannon right at the very end. I will more than likely have tubular bells to play for real. But after hearing the bells on the monologue I thought OMG!
I really want to sample them and maybe get them sustaining by themselves while I play the tubular bells at the same time. I will proably have a series of cannon samples eg 6 or 8 and alter them all just slightly.
They need to sustain too. You mention impulse responses in the X1 thread and it got me thinking about reverbs on the cannons? I know the hall where they are playing it well and it is quite big and got a pretty big reverb all of its own! I am going to use two speakers though and spread them right at the back of the orchestra maybe. Or do I couple them close together to make one huge sound and simulate one cannon maybe? A big sub would be nice in this situation.
I can vividly remember my mum and dad buying our first ever record player (I must have been about nine at the time) - it was a folding lid black vinyl Dansette - it had a silver front which contained the volume and tone control knobs. I remember the first three LP's my parents bought (all of which I still have!) - mum bought a 'best of' Jim Reeves album (she loved his voice) and Grieg's Peer Gynth Suite (performed by the London Symphony Orchestra, conducted by Andre Previn), mainly for the beautiful 'Morning Mood' which was played at the beginning of my school's weekly morning assembly to which parents were invited. And my dad bought this. I listened to this LP hundreds of times, and now have a good collection of Miller's music on CD. Incidentally, my favourite track as played by his orchestra is 'String Of Pearls'.
I've mentioned before that my dear aunt Diana played viola in the City of Birmingham Symphony Orchestra, and I remember her taking us one year to an orchestra rehearsal in Worcester Cathedral prior to their performance in the 'Three Choirs' festival. The memory of the sheer power and the wonderful sound of a full orchestra reverberating around the cathedral has stayed with me to this day.
Happy days Edit - just remembered another LP from that early collection - The Planets Suite by Holst. The echos and decays are very interesting and quite specific too Mike I agree with you on that. That is why I think stereo might be relevant.
It would be great to get some IR responses from that. I am glad this thread is bringing back old memories and good ones. Talking about the records we had when we were very young and how listening to all that music effects us today. Firstly Dave I must say that is a very impressive list of candidates to be listening to over and over when you were little! The thing that got me thinking was seeing that Glenn Miller album that Steve posted, that is very special to me too.
We had an old HMV mono record player with a crystal cartridge, a two valve amp I think with an 8' speaker mounted in the front and you know it did not sound half bad at all. I can remember back as far as 5 or so (51 years ago!) and I used to lock myself away with that thing and listen to it day and night. Here is a list of the albums that I had to choose from. There may be more that come to mind. Glenn Miller, Mantovani, Duane Eddy, Al Caiola, Sandy Nelson, Benny Goodman Sextet, Herp Alpert, John Philip Sousa, John Barry (James Bond Music) Ahmad Jamal. There is a fair bit of jazz in there which accounts for my love of Jazz.
I love violins, use string sounds a lot and I am married to one of those pretty violinists! (Mantovani influence maybe) I think my Dad was into the guitar players there. I play drums and know Sandy Nelson had a big influence. (Also Gene Krupa and Vernell Fournier!!) My brother flogged Sousa so I am not sure about that one!
Now the James Bond Music had a big impact. Not so much the songs which were great of course but the orchestral underscores.
Barry is a master of that. I love underscoring TV docos and things.
I am a good underscore composer and it must have come from all that Barry stuff. It is a bit of an art. Check out how good Sean Callery is underscoring 24.
He is a modern underscore master. (as are all the great film composers today of course) Steve seeing that picture of the Glenn Miller album nearly made me cry. I have been trying to track that record down for years. Like all things all those records got thrown out for some reason.
I have managed to get some of them back. I have got a beautiful turntable setup now.
My father died 22 years ago and I still miss him to this day, he loved that record and so did I. I know every inch of that music back to front.
'String of Pearls' is beautiful. Anyway I am looking forward to hearing the sounds of this orchestra echoing the 1812 around as the sound of massive cannons and bells go off! I will probably be so excited I will forget to play the cannons. Nooooo Look at my signature. If you tell yourself that you will forget to do something enough times then you will forget to do it!
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No I will play all 16 of those cannons at exactly the right time! Its time to talk about this great piece of music again. Today I had my first rehearsal. They have had a few without the cannons so far but it was good to hear it all in context. At first I was concerned that I might not be able to hear everybody. Ah, no need for concern there! The cannons went off (sorry) well without a hitch.
I have got a set of practice speakers which did a fine job. The bells sounded amazing though. Mike I took them from the Deems Taylor program. The actual cannon blasts I am using consist of 4 cannon samples at once with the Deems Taylor ones being the most important in the mix. I have found that just the fact the keyboard is transposing them so nicely means you can easily simulate varying blasts and also they are velocity sensitive too. (slightly) I want to know how well do Mike and Bit know this 1812 music.
I felt that by the end of today's rehearsal I was starting to know it well too. Only 5 more rehearsals to go. Should be right I say. Thanks Mike for your encouraging words.
It did all go very well indeed and it sounded great! I must admit hearing the orchestra rehearse it and all was great but when it came time to actually do it they certainly lifted it up a notch or two. The brass was louder and people played with more determination which is normal I suppose given the audience was present.
It was a pretty full house actually. I still marvel at the dynamics of it all though. At times you could hardly hear a thing then all of a sudden it was on for young and old! (105 db or more SPL with ease!, no amplification for the orchestra, all natural ) They had me right at the back next to the percussion and that is always quite interesting in itself. 5 percussionists.
The orchestral bass drum is quite something too. I am going to sample it for sure. I don't think I have a heard a thump quite like that anywhere. It is almost as loud as the cannon! The cannons were well received of course but I think the star of the show were the bells. The Deems Taylor audio clip has got a great example of those bells towards the middle of that audio clip. They just rang out and sounded huge especially as the orchestra is really going for it in the bells sections.
Apparently a baby slept through the whole ordeal! Don't you love them when they can do that. We never tip toed around our baby sound wise, big mistake.
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We made as much noise as normal and Jacob slept through all of it too! Emulator sampler worked perfectly as usual and the speakers sounded excellent.
My very last cannon blast was loud and I mean loud! I gave it everything I had. The conductor loved it!
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