IotW 4: Consorts and Cousins: A Tale of Two Trombones


A “Bb” Tenor Trombone by C.G. Conn (Foreground) and a “G” Bass Trombone by Hawkes & Sons (Background) lounging.

The two instruments you see depicted are roughly contemporaries (the Bass Trombone is actually a little later, in the 1910’s, and English rather than American, but contemporaries they are just fine enough).

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Image of the Week 3


Possibly early 1900’s or late 1800’s Classical Trombone Mouthpiece

I actually rescued this mouthpiece from a pile that were going to be scrapped, and boy what a find! A little polish and a great background shot for a future library is possibly born.

Some consultation with a more experienced individual points towards this mouthpiece being based on the sort of mouthpiece measurements one might find from the Classical period- large, relatively flat rim, smallish cup, somewhat sharp transition into backbore, small bore.


Image of the Week 2

Interior close-up of a grand piano sampled in December, 2014.

Interior close-up of a grand piano sampled in December, 2014.

The above shot comes from a brief sampling session in which I completed a basic sampling of a grand piano for the upcoming VSCO 2 and other applications. It’s a bit dusty, but sounds pretty nice!

VSVI Devblog 5: An Orchestra in Threes

One of the most common issues I have with the latest line of “high quality” virtual instrument products is the lack of variety in the libraries they provide. If it is a brass library, they might give you a trombone with every articulation imaginable, but it is still only one trombone, either qualified best for one specific purpose or forcibly rounded out for many.

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VSVI Dev Blog 4: Room Treatment for Bookworms

Not many people realize one of the greatest and most valuable methods for drying out and clearing a room- shelves loaded with books and other odds and ends. My workspace is a rough space of odds and ends, irregular shapes, nooks and crannies, and all sorts of places ideal for absorbing and dissipating sound waves. All those college textbooks, product manuals, books your parents bought you as gifts, anything… it’s ideal material to kill that room noise and give you a clear, dry tone ideal for sampling and recording, especially when coupled with good mic usage.

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Image of the Week No. 1

photo 2 (4)

A close-up of the clockspring rotors of a German Althorn belonging to the author.

Brass instruments can get a little tricky to tell apart the further you go back, but a modern set of puzzles remains today in the families of the “more or less conical-bored” low and mid brass. Many people know well of the tuba (at least the BBb garden variety, not so much the half-dozen-odd if not more other kinds), and perhaps the Euphonium and the Baritone (although God help them tell the difference), but few can tell apart the plethora of German brasses. Exotic instruments like circular Eb Horns, Althorns, Tenorhorns (different from Tenor_Horns), Kaiser Tubas, Oval Baritones, Oval Euphoniums, Khulohorns, and so on and so on are commonplace throughout Germany. Let’s just say, any Organologist could find enough to write a thesis paper on!

VSVI Dev Blog 3: Methods for Non-Chromatic Sampling


In the world of independent sampling, one often runs into cases where they have an instrument with a range of pitches it can play but a strong desire to not make their sample library weigh in the gigabytes, much less have to deal with the (tens of) thousands of samples resultant from true chromatic sampling. In this case, they want to find the easiest method for sampling across the range of an instrument that will match a few criteria:

  • The interval any individual sampled note can be stretched should not surpass a minor third. Major thirds are undesirable, but are in some cases, tolerable. Preferably, a major second is the most we *really* want to stretch if that’s possible.
  • One must be cognizant of the “breaks” in the instrument, such as the partial changes of a trombone or the different registers of a clarinet, or the switches between different drums of the timpani. Also, the use of open strings and harmonics with open strings on bowed strings is yet another large consideration.
  • Certain notes on certain instruments are troublesome due to the construct of that instrument or may not lend themselves to an even performance as others, for example, playing an in-tune note in 5th position of a trombone without having time provided to tune it during the session.
  • The division of real notes and stretches should be¬†fairly even.

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