IP {2} / CC {1} // From Athens to Huddersfield

So after receiving inspiration for my artwork from my trip to Germany, my first musical inspiration came from the recent film, 300: Rise of an Empire. The score was created by renowned Dutch producer Junkie XL and, as is typical of his style, he interchanges between traditional instruments and synthesised sounds with great effect.

This particular track is just one example of the musical journey which JXL goes through during the score. The main instrument used may be the traditional Persian instrument the Santur (assumed by listening to the track, not confirmed), or something similar, an almost haunting instrument with a fantastic mystical quality to it. Whilst the musical ideas for both my IP and CC are still in the development phase, I knew that I wanted some interesting sounds like the Santur, sounds that would be difficult to replicate with standard instrumentation.

Collaborating with a couple of friends who had recently graduated, we decided to try and replicate this type of sound and others by recording some prepared piano in Phipps Hall. Our aim was to create a number of software instruments from these recordings (using Kontakt) which would both imitate some of the sounds from 300: RoaE and also create new, interesting noises.

A number of techniques were used to generate sounds during the session. The primary method was the use of a number of mallets and beaters directly on the piano strings. The varying materials of the beater heads provided subtly different timbres, whilst the brush also gave us an interesting sound when used across and between the piano strings.

We also experimented by hitting the piano keys whilst a sheet of paper was placed on top of the strings, and by using a coin and plectrum and moving rapidly between the strings in a tremolo-like fashion (the sound of which was particularly inspired by 300: RoaE as mentioned earlier).

In total we used 10 mics for the session. Two Neumann U87s were used as room mics and two contact mics (Jez Riley C-series) were placed directly underneath the main piano body (as shown in the pictures above).

The other 6 mics were used to capture the main content and detail of the hits and scratches. Two DPA 4006s were used as a stereo pair near the front of the piano (vertically just behind the piano hammers), and two more sets of microphones (2 Coles 4038s and 2 Neumann KM184s) were used facing various sections above the strings of the piano but below the lid.

For the majority of recordings we used the round robin technique, where each hit or scratch was recorded multiple times at each pitch to allow for a more natural sound when triggering the note repeatedly on the final software instruments. We also recorded multiple velocities when applicable to allow for more range and variation.

As a whole the session was a success. Once we’ve created the Kontakt instrument it’ll then be a case of finding creative ways to use it! My initial thoughts involve incorporating some of the sounds into my CC piece, but sections may be used for a track or two in my IP too.