# A real oboe, and the effects of playing virtual woodwinds



## BradHoyt (Mar 7, 2019)

After working with virtual woodwinds for a while now, it was a little jarring to hear the real thing again.  I think that I've gotten used to the always perfect sound that you get with virtual instruments. Now it seems I'm absurdly aware of any imperfections in this recording. I'm wondering if others have felt the same?

This is a track I recorded a few years ago. It features Evan Cobb on Oboe, Pete Bradshaw on his harp guitar. I'm playing piano.


"Beneath the Iron Gate" from the album "Far Away From Everyday"


----------



## JJP (Mar 7, 2019)

I don't know if it's the player or the recording, but that oboe has a harsh and thin tone.


----------



## BradHoyt (Mar 7, 2019)

JJP said:


> I don't know if it's the player or the recording, but that oboe has a harsh and thin tone.



I recorded it way back in 2012. At the time I thought it sounded fine. Now, after years of recording orchestral stuff, my opinion has changed, and I agree with you 100%. Also during the time between that recording and now, my daughter has learned to play the oboe. (She's now first chair at Metropolitan University of Denver). I've learned that the reed quality makes a massive difference, which leads me to believe that the reed Evan used in the recording could be the culprit.


----------



## Rodney Money (Mar 7, 2019)

Every time I play a brass instrument I become more aware how limited solo brass instruments still are concerning expression.


----------



## kevthurman (Mar 7, 2019)

JJP said:


> I don't know if it's the player or the recording, but that oboe has a harsh and thin tone.


Yeah it almost sounds like a period performance of some baroque or renaissance music haha!


----------



## Saxer (Mar 7, 2019)

You can easily get used to sample sounds when working with it for a while. I remember a piece I wrote that was recorded with a real orchestra and when I heard the result the first time I thought: THAT was it? And that was in the last millenium so the sample world was really limited. I had to recalibrate myself by listening to a bunch of other real orchestra recordings to realize how good this recording was.
The same happens to clients that get so used to the mockups that they don't like the real thing anymore.
Your recording might have some mixing weaknesses but it carries a lot of emotion and musicality you will never get out of samples.


----------



## col (Mar 8, 2019)

Brad do you have a preferred VI oboe you use. ?


----------



## I like music (Mar 8, 2019)

Saxer said:


> You can easily get used to sample sounds when working with it for a while. I remember a piece I wrote that was recorded with a real orchestra and when I heard the result the first time I thought: THAT was it? And that was in the last millenium so the sample world was really limited. I had to recalibrate myself by listening to a bunch of other real orchestra recordings to realize how good this recording was.
> The same happens to clients that get so used to the mockups that they don't like the real thing anymore.
> Your recording might have some mixing weaknesses but it carries a lot of emotion and musicality you will never get out of samples.



Not _exactly_ the same thing, but I had something similar happened. I spent years listening to soundtracks on CD. When I finally went to watch a _live_ concert (my first ever listen of a live orchestra), and heard The Motion Picture theme (played by none other than the London Symphony Orchestra) I was underwhelmed. I mean, now I'd take that over a recording any day of the week, but at first it was a huge shock.

I can only imagine what it feels like for kids who are exposed to nothing but samples. And if they actually had to sit in front of an orchestra and listen to it loud, I bet they'd find it unrecognisable.


----------



## JJP (Mar 8, 2019)

Good oboe doublers are quite rare. Off the top of my head, there are only about 2 people in Hollywood I would consider calling to play oboe as a double. Otherwise go with somebody for whom it's their principal instrument.

You can end up with an instrument that sounds like someone playing a drinking straw or you have ducks flying in from all around.


----------



## BradHoyt (Mar 8, 2019)

col said:


> Brad do you have a preferred VI oboe you use. ?


Hi Col! 
Right now, the first oboe I reach for is the oboe from Berlin Woodwinds Expansion A.


----------



## BradHoyt (Mar 8, 2019)

JJP said:


> Good oboe doublers are quite rare. Off the top of my head, there are only about 2 people in Hollywood I would consider calling to play oboe as a double. Otherwise go with somebody for whom it's their principal instrument.
> 
> You and end up with an instrument that sounds like someone playing a drinking straw or you have ducks flying in from all around.



The revelation I had when listening to this old recording was that my daughter Loreena was is a better oboist.  I'm looking forward to recording material with her for the first time this fall.


----------



## BradHoyt (Mar 8, 2019)

Saxer said:


> You can easily get used to sample sounds when working with it for a while. I remember a piece I wrote that was recorded with a real orchestra and when I heard the result the first time I thought: THAT was it? And that was in the last millenium so the sample world was really limited. I had to recalibrate myself by listening to a bunch of other real orchestra recordings to realize how good this recording was.
> The same happens to clients that get so used to the mockups that they don't like the real thing anymore.
> Your recording might have some mixing weaknesses but it carries a lot of emotion and musicality you will never get out of samples.


Yep. I agree... I'm also a little put off by the mix, all these years later. The good thing is that I've think I've progressed since then.  The emotion and musicality is definitely there though, and I'm happy that comes through.


----------

