If the first part of this article inspired you to create some violin recordings, you’re probably now staring at a lot of tracks and wondering how to transform them into a piece of music. Let’s get started!

Processing

An important heads up for when you’re using these techniques; once you find a sound you like, bounce it immediately into a new track. It’s very difficult to re-find the exact parameters you used ten minutes ago after you’ve been fiddling with multiple manipulation VSTs, and it’s better to get the sounds rendered straight away so they’re definitely there. I find it helpful to give bounces expressive names to identify them, and to immediately add them to new folders with titles such as “bass” or “mids” (see the screenshot below for an example). It can be useful to colour code any sounds that particularly catch your interest as you go; these can provide a useful starting point when you start assembling the track. Don’t forget to immediately mute all unused tracks so they don’t interfere with the sounds you’re manipulating.

To start off, only apply one VST at a time to a single recording. It’s best to begin minimally and really explore every sound possible for that recording within the parameters of each VST you use. Once I’ve worked through a few individual VSTs, I apply multiple VSTs simultaneously and stack effects up. Once I’ve done this to all of the original recordings, I’ll then move on to the bounced tracks and repeat this process on them. Working in this way means you get the maximum amount of sounds out of the material. It’s up to you how much of the raw sound is retained during the processing. If you want it to be clear that the sound originated from a violin that’s great, but equally if you want to transform it into a sound that bears no resemblance to any instrument that’s great too!

VSTs

I’ll guide you through a range of VSTs and programmes I like to use, but ultimately, the choice is yours. You can add any VSTs you like, in any order you like, to create any sound you like. This is a very liberating and freeing process, and in the same way there were no rules when you made your sounds, there are no rules now you’re processing them. Generally, it’s most straightforward to begin with manipulating tools and to use more standard processing such as EQ and reverb as refining techniques, so we’ll work through in that order.

Paul’s(ExtremeSound)Stretch

Let’s start with an oldie but goodie, PaulStretch, which is a standalone programme rather than a VST. Look past the dated GUI and you can stretch your recordings and experiment with various parameters to create stunning textures. Once you’re done, add your rendered sounds back in your DAW session so you can use them later.

GRM

Primarily aimed at electroacoustic composers, these plugins are some of the most powerful manipulation tools on the market. My favourites are the bandpass (especially in stereo), pitch accum, reson, and evolution. They offer a free demo for unlimited time, though the sound will regularly dropout. To get started with them, add one to a track and flick through the extensive presets until you find something you like (don’t forget to bounce the sound straight away!) When you’ve fully worked through one of them, feel free to add additional VSTs in to refine the sound further.

Glitch

I’ve recently started running almost everything I record through various glitch VSTs and the results have been astonishing. I particularly love LiveCut and dBlue Glitch, both of which are free. These will work particularly well on rhythmic parts or on moving melodic lines. The results can either be used exactly as they are, or you can chop them up to create loops.

Pitch and time

I use ReaPitch, the inbuilt pitch VST in Reaper, to manipulate the pitch of my recordings. Other DAWs will have their own inbuilt options. You can experiment with moving the recordings a few semitones or even several octaves from their original range. As well as shifting the overall pitch, you can also play with the tuning within the recording by adding automation to the cent adjustment. I love using the cent adjustment to gradually raise or lower the pitch of a recording by an extreme amount. Often slowing or speeding the recordings whilst playing with the pitch can create interesting results. 

“Often slowing or speeding the recordings whilst playing with the pitch can create interesting results.” Joanna Karselis
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EQ

The easiest way to play with EQ is by using a parametic EQ (my favourite is Neutron 3). Use any parametic EQ to add high or low pass filters to your recordings, to create some epic top or low end sounds, or to search out interesting harmonics to accentuate. The usual rules of EQ, small amounts applied sparingly, are not enforced here- grab your frequency bands and pull them anywhere you like! I find that filtering out top and low end simultaneously, leaving only mids, creates some lovely pads.

Reverb and delay

Reverbs and delays are a great way to add space to the sounds you make. My favourite reverbs are Waves IR1 and H-Reverb. Every DAW will have inbuilt reverb VSTs to play with too. Experiment with every parameter to see what sounds you can create! When it comes to delays, I usually use Reaper’s inbuilt ReaDelay, but experiment with whatever your favourite is. Try adding taps and rhythms to your percussive sounds.

Distortion

Distortion can be a great way to add a touch of grit to your recordings. Gorgon is a powerful free plugin that can totally transform the timbre of your sounds. One of the most powerful distortions on the market at the moment is iZotope Trash 2, which is fully manipulatable via its exhaustive parameters. For a more subtle edge, I use Reaper’s inbuilt distortions to add a hint of grain. Any of the inbuilt ones in your chosen DAW will do.

Assembling your sounds

By this point, you should have all your original recordings, the sounds you made through your first round of manipulation, and the sounds you’ve made from the second round of manipulation. It’s a lot of material to keep track of, so make sure it’s all organised before starting to assemble your cue.

It’s helpful to think of constructing your track like a jigsaw. You have all your pieces, and now it’s time to find a way to fit them together. First, locate a sound you’d like to start with. It may help to drag the track containing the sound out of its folder and place it at the top of your session (just under the film if you’re scoring to picture). Add any further manipulation needed such as final EQs or additional reverb, then place the item at the beginning of your cue. It’s a great idea to add a pitch VST to each track you choose to use, as you can then use automation to change the pitch throughout the piece. The picture below illustrates one of my cues for feature film 5 South. I’ve used automation in ReaPitch to lower the pitch of this “Deep Chord Bass” (created by manipulating dialogue from the film) every time it occurs during the cue, providing a harmonic framework. I’ve also altered the playback rate of the item to create a deep, rich sound, and I’ve used volume automation to accentuate the natural dynamics within the item. Additionally, the item length is altered at several points, to create extra interest and to make sure that certain hit points are accentuated by the harmonic movement. 

Once you’ve got your starting sound, experiment with which sounds to layer against it. The sounds don’t have to be static; try adding filters that morph during the cue, adding and subtracting sounds at different points, Steve Reich’s phasing technique, layering sounds at the same pitch, creating melodies and bass lines- the list is endless! You can use your initial violin recordings too, to add another texture alongside the “electronic” sounds we’ve created.

I hope this has introduced you to the wonderful world of using live instruments to generate sound. Although it takes more time than other techniques, the end result is a rich and varied collection of sounds that are uniquely yours. These techniques, once grasped, can help you develop your own sound and to bridge the ever-decreasing gap between electronic and instrumental composition. For further inspiration, try podcast Excuse The Mess and the works of composers such as Jed Kurzel and Geoff Barrow/Ben Sailsbury. And please feel free to share the compositions you create using these techniques with me via social media. I can’t wait to hear what you create!

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As a violinist, I’m convinced that including live string instruments is an instant way to add depth and interest to your scores. But what if you can’t play a string instrument? No problem! I’m here to show you some easy ways to include violin in your next project. In this first instalment, we’ll look creating sounds.

It’s worth noting that whilst any violin will suffice, you’ll get a nicer end result out of, say, a 200 year old French violin than a new factory fiddle, simply because the sound quality will be better. If you have string player friends, consider asking if they have an instrument you can borrow.

A quick disclaimer: this is not a guide to playing the violin with good form. It’s simply some tips for creating interesting sounds. If you want to learn properly, get a teacher!

Tunings

Let’s start with tuning. The usual tuning is G-D-A-E, but feel free to try a detuned tuning of your own choice. When detuning, it’s safer to lower the pitch than raise it as there’ll be less chance of strings snapping. Too low though, and the strings won’t vibrate properly. If you want to really lower the range, you can use special strings such as the D’Addario Helicore octave strings which lower the strings by an octave (don’t forget to obtain permission before detuning or fitting strings onto a borrowed instrument!) 

Violin tuning is difficult and strings easily snap, so it’s best to be cautious.  If you’ve borrowed an instrument from a friend, ask them to tune it for you beforehand. If you’re tuning it yourself, place the instrument on your lap and use your fingers to pluck the strings and check the pitch as you go. If the instrument has fine tuners (small pegs near the F holes), use them as much as possible. Turning them clockwise will raise the pitch, anti-clockwise will lower it. Use small adjustments to be sure you’re not going too far. The pegs at the top should be used sparingly, though if you need them, push sideways whilst rotating them. This video may help.

Recording set up

Now you’ve tuned, you can get ready to record. When I create textures I usually make numerous blank tracks, set them up according to my mic arrangement and preferences (e.g. mono/stereo, monitoring, colour etc.), and organise them into folders. Categorising tracks in groups such as “E harmonics” avoids confusion later on, and means I have a clear plan for what I’ll be recording. I also make an improvisation folder to record spontaneous ideas.

Mic positioning depends on the sound required. I like a breathy sound, with a pencil mic right on the bridge, or a close sound with two overheads. Experiment with placement and mics to get the sound you want. Search Gearslutz or Sound On Sound if you need ideas.

When creating experimental textures, I record all the sounds first and insert them into the right time code later once I’ve processed them (we’ll come to processing next time). For rhythmic cues you’ve already planned you may want to use a click, but if you’re creating pads it may be easier to record without. I usually record up to a couple of minutes of each sound I’ve planned, before processing them and assembling them like pieces of a jigsaw into a cue.

“After playing a note, let it naturally decay (unless you want a stopped effect). It’s very difficult to fake a decay and they’re often useful.” Joanna Karselis
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After playing a note, let it naturally decay (unless you want a stopped effect). It’s very difficult to fake a decay and they’re often useful, e.g. to ring over a hard cut.

Sustained textures

Let’s start with legato pads. Place the violin under your chin (using a shoulder rest unless you want a sore back afterwards) and hold the bow in your right hand. If you want to try holding the bow correctly, learn how here. Don’t worry if you can’t manage it, for our purposes it’s fine to hold the bow however you’re comfortable. Try the open strings first. The straighter you keep the bow, the more controllable the sound. Aim to keep your upper arm almost still and bend from your elbow, which should be held away from the body. If you’re struggling, you can always place the violin on your lap, or play it like a cello.

The different bow positions are called soundpoints. For the following techniques, always tilt the wood away from you, not towards. Bowing over the fingerboard, called sul tasto, creates a light sound. When playing there, tilt the bow so not much hair touches the violin. Bowing by the bridge, called ponticello or sul pont, is a harsher sound. When playing there, tilt the bow so nearly all the hair makes contact, and try pressing hard for a loud sound or lightly for a harmonicy texture. For a neutral sound, place the bow between the bridge and fingerboard. Don’t worry if doesn’t sound “good”; I’ve created some great sounds by recording instruments I don’t how to play! Even the most hideous noise is usable somewhere, especially in horror films.

Now try continually moving the bow up and down. Record the open strings first to get comfortable. Individual bows that change dynamic are also good; try accenting the start of a note by pressing the bow down then gradually reducing the weight, or starting quietly with little bow pressure and crescendoing by gradually adding weight. You can move between soundpoints too, either gradually over several bows or quickly within one bow. Another great technique is col legno, where the wood of the bow touches the violin. You could also try other bows for other instruments, such as double bass.

Next, pitch. Assuming you’ve got the violin under your chin, raise your left hand up to the neck. Rest your thumb on the left hand side and curl your fingers over the fingerboard. Keep your fingers rounded and don’t pull your palm up close to the violin. You’re set! Firmly press your fingers down to alter the pitch. You can create pads held on one note, alter the pitch by sliding your finger up or down mid-bow, or move rapidly between fingers to create some chaotic noises (for now change pitch without altering bow direction, aka a slur- we’ll cover shorter textures later.) Don’t feel constrained to the far end of the violin, the whole fingerboard is your playground! 

“Don’t feel constrained to the far end of the violin, the whole fingerboard is your playground!” Joanna Karselis
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Violin strings are a 5^th apart and sound great played together, or you can experiment with different chord shapes (Samuel Adler’s The Study Of Orchestration lists all violin chords. Be warned, some are very difficult!) Create drones by taking two open strings and playing them simultaneously. Alter pitch on one of them whilst leaving the other bowed but unfingered.

Natural harmonics occur at intervals along each string. To find them, lightly rest your finger on the violin and move it around until you find a resonant spot. They can be difficult to find, so keep looking! Once discovered, you can experiment with bow position, pressure and different bow lengths. If you’re feeling confident, you can also try false harmonics. Press your first finger down firmly, then lightly rest your fourth finger higher up on the same string. It’ll sound resonant when you identify the spacing. These harmonics can be slid up and down the strings.

Short sounds

To play détache, put the middle of the bow in the middle sound point and tilt the bow so two thirds of the hair touches the strings. That’s all! Experiment with length and the pitch techniques we’ve covered. For an easy horror sound, lots of quick notes whilst playing sul pont in the top register of the violin will sound terrifying! (make sure you do a few takes so you can layer them later.)

Spiccato is harder to control, but creates a springy sound. Hold the bottom of the bow slightly above the violin, and bounce it up and down on the string. You can experiment with how high you start from, speed, and how much bow you use.

Ricochet is difficult but sounds good. Take the top end of the bow and bounce it on the string. Make sure you stay in the top third of the bow, otherwise the bounces become too long.

Pizzicato is often maligned, but it can be really effective. Whilst holding the violin under your chin use your index finger to pluck, or hold the violin like a guitar and strum using your thumb and index finger. Try plucking the string hard and lightly, and experiment with chords and rhythms. For a dramatic hit, use a Bartok Pizzicato. Hook your index finger firmly under the string, pull up until you feel firm tension, then release. The result is a loud, buzzy pizzicato.

Don’t feel constrained to using the bow or your fingers. Radiohead’s Burn The Witch features the LCO playing violins with plectrums! I often record finger taps on different parts of the violin body. Experiment!

In the next article we’ll look at how to process and manipulate all the sounds you’ve created to create ambient textures for your score.

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