Rather impressive fiddling
When she's playing some of the double stops, it almost sounds like other instruments are accompanying her. Possibly the natural reverb helped with that illusion. And at times she gets an almost pipe organ sound.
She is amazing!
Thanks for sharing.
If you play your electrified violin through an Electro-Harmonix B9 stomp box, you'll sound like an organ.
Yes, but a badly played organ in need of tuning, in my case.
Not to discount her playing, but I think the reverb of that room is really enhancing the sound. I wonder if they picked pieces with a certain tempo to take advantage of the reverb return timing?
Nice to hear somebody playing without the generic vibrato.
Her performance of the Prelude to Bach Partita #3 is just as impressive and resonant: https://youtu.be/pzdcsJocD3Y
Bach is my reason of violin! she’s impressive!
Yes she is amazing! The reverb from either the venue, or added during sound post-processing, works very well.
It gives it a fair amount of power lacking from many soloists I hear.
I like that she doesn't play it super fast. It really sings at this tempo.
I love her playing!
I'm thinking if she played anything too fast, with the echo, it would end up sounding like mud.
I like this performance very much. The reverb is what sticks out, but what I love the most is the emotion and feeling she is able to transmit. Bach is often played too mathematically, but she is giving the feeling without the vibrato. Many thumbs up.
@Carlos, I agree. Was an organic performance.
Another by her, again using "environmental space". Not as powerful as the first, but still good.
It's not really fiddling though. It's more like violin-playing.
It's not really reverb. It's more like echo (echo, echo, echo, echo).
The Fugue was excellent. What strings is she using, Warchal Amber?
Amber E I think. The other strings look like Evah Pirazzi.
Very nice playing indeed. The sound effect seems to me like an obvious post processing digital effect. Nicely done though.
Well, she is alone in a church, not up at the pulpit, so perhaps choosing a specific place in the hall.
The sound might have been edited slightly, but it's hard to tell. The playing is very nice though.
I have a general question or two regarding the technicalities of audio recording (with no reference to specific recordings, I must add).
In some ways post-processing is preferable since you're in control of how it sounds in the end. Like salt in a recipe, you can always add reverb -- but you can't take it out later. People who do recordings in places like St. Mark's Cathedral are tinkering endlessly with the placement of instrument and microphones before recording.
Some more impressive "fiddling" from Augusta McKay Lodge on her Naxos album for solo Baroque violin, "Beyond Bach and Vivaldi".
Reverb as a postprocessing step is mathematically a convolution with an impulse response function (IRF). If it is applied on the final mix and you know the IRF (because you know the software that was used), you can detect it and to a large extent undo it. If you don't know the IRF, you can probably detect it from notches and peaks in the power spectrum that don't move during the recording.
Han, thank you for that explanation. It has helped my understanding.
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