Proper balancing of sul Pont/sul Tasto string articulations?

WindcryMusic

Senior Member
I’m currently working on balancing my template, and I’ve realized that I don’t have any concept of how loud the sul ponticello and sul tasto articulations should be, relative to the standard longs/staccatos/pizzicatos/con sordinos. So I’d like to ask either string players or composers more familiar with live orchestras - how much of a difference in volume from standard bowing should there be for properly balanced sul pont articulations, and also for sul tasto articulations? (I’ve watched Mike Verta’s template balancing masterclass, and although it was very useful overall, he didn’t mention these particular playing techniques at all.)
 

AlexanderSchiborr

Senior Member
I’m currently working on balancing my template, and I’ve realized that I don’t have any concept of how loud the sul ponticello and sul tasto articulations should be, relative to the standard longs/staccatos/pizzicatos/con sordinos. So I’d like to ask either string players or composers more familiar with live orchestras - how much of a difference in volume from standard bowing should there be for properly balanced sul pont articulations, and also for sul tasto articulations? (I’ve watched Mike Verta’s template balancing masterclass, and although it was very useful overall, he didn’t mention these particular playing techniques at all.)
That might or should answer a little bit of your question..So, sure Sul Tasto is performed more delicate due to the nature of the bowing technique, pressing to hard causing louder dynamics but unpleasant results, so I would mix the Sul tasto strings quiter than normal longs of course.
 
Last edited: