Adagio for Strings // mockup using BBCSO & Appassionata

For some decades making a Adagio for Strings (Barber) mockup was on my bucket-list and for long string plugins just didn’t match up I experienced. Times have changed and I finally went for it combining BBCSO Pro strings and Appassionata Strings, both Spitfire Audio products. The performance of Leonard Bernstein with the New York Philharmonic string players is my all time favorite cause of it’s intens expression and dynamics. Did my best to ‘conduct’ my digital orchestra with this kinda passion also. I created my mockup using the 1936 original score, with divisé parts.
I used the following mic settings within Appassionata Strings:
Close Ribbon 35%
Tree 80%
Ambient 35%
Outriggers 80%
And these mic settings within BBCSO Pro:
Tree 85%
Outriggers 70%
Leaders 35%
Close Wide 45%
Sides 40%
These 9 mics I rendered seperately per instrument in Cubase Pro, so I got complete control over them in the mix. Leaving me up with 45 mic tracks. On violins 1, violins 2 and the violas I used EQ automation on all mics for low end roll-off, getting rid of the rumble specially in the high climax part.
This mockup stringorchestra is counting 70 players in total:
Violins 1 - 24 players (BBCSO 16 / Appassionata 8)
Violins 2 - 20 players (BBCSO 14 / Appassionata 6)
Violas - 18 players (BBCSO 12 / Appassionata 6)
Cellos - 16 players (BBCSO 10 / Appassionata 6)
Basses - 12 players (BBCSO 8 / Appassionata 4)
Insert chain for both Appassionata bus & BBCSO bus:
1. FabFilter EQ2 for little low end roll-off, mids pull and high end boost, around 1.5db
2. Manley Massive Passive EQ for character, warming the low end and little presence
3. Avalon VT-737 EQ for sophistication and charachter also.
All just a little touch.
Send chain for both Appassionata bus & BBCSO bus:
1. Scoring Stage - Liquid Sonics - Seventh Heaven - 2.20sec (-7db)
2. Amsterdam Classic Hall, FabFilter Pro-R - 3.30sec (-6db)
Mastering Inserts:
1.Fabfilter EQ2 Low end roll off around 20Hz
2. Fabfilter EQ2 Mids pull
3. Manley Massive Passive EQ for little 47hz and 16k boost
4. Avalon 747 EQ for a velvety blanket.
5. FabFilter Compressor -1.5db
6. FabFilter Limiter -11 LUFS
It took me around 50 hours from start to finish to create this mockup.
Where most of the time went into CC automation and tempo automation.
Art work by Caspar David Friedrich.
Be well,
Jeff Hijlkema

[@SalvatoreGarauSalis]

Incredible work, really impressive.

[@Larsmannetje66]

Amazing, beautiful! What a great sound!

[@jeffhijlkema]

Thanks again!

[@HarryKoopman]

What a beautiful composition this is, and what a beautiful remake (mock-up, I never like that word mock-up) this is, with the utmost respect of the spirit of this piece. Heads off for the dedication and many hours you spent, and also for the detailed explanation involving the mastering. If I permit myself a comment on the end result, that is that the low end with the double basses could perhaps be a little softer. On itself it is not too loud in this mix but compared to the Bernstein version it is a thing that I notice.
This is a good example of how good products (as the BBSCO and the Appassionata strings are) can be transformed to excellent.
By the way, I never knew that Appassionata gives those details about the mikes you mention in your comment. A question of clicking the right arrow when you are on the mix-page. Default you see mix1, mix2 and so forth, and the right arrow brings you to the settings of the various mike positions. Never knew that.

[@jeffhijlkema]

Thanks as always Harry! Well, maybe the manual of Appassionata strings has some more surprises and gifts for you then? 😉.
I indeed added some more low end, while I found the Bernstein recording somewhat thin sounding on the low end.

[@victornoagbodji]

Jeff, that was a very beautiful and expressive orchestration! It sounded amazing. Thanks for sharing😊

[@jeffhijlkema]

Thank you! The challenge was to really let it breathe.

[@doctorcane]

Really great work Jeff. I love the use of the 2 ensembles. Great idea. There are 3 sections though that the slurring just is off. I know you slaved over this. I've arranged this for 3 different live ensembles and it's a wonderful work. The sostenutos are really spectacular though. I mean you cannot tell it's not live. But when there are some slurs and the bowing changes, I can tell the difference right away. I noticed there wasn't much overlap in the lines, so perhaps stretching the overlaps and getting the notes to change more easily would help? I am spitballing here. I think given the sonority of the ensemble, a fix or tow might make it almost perfect. Hope the Barber publisher doesn't come after you for this though. They did me for one arrangement, but we worked it out.

[@jeffhijlkema]

Hi again, and thanks again for your detailed answer, really appreciate it you taking the time to give proper feedback. You're totally right on the slurry, bowing issues on several parts, I'm aware and it's just ugly, detracting. I maybe could have doen a better job on keyswitching legato versus slurred legato. It's just hard to rebow a new note on the same hight using legato articulation I notice. Leaving some needed space in between different notes on the same hight creates this fake sounding pause. Sometimes I smuggle or cover it letting BBCSO just play a continued note over a rebowed note by Appassionata, or vice versa. I'm pretty sure if I'll revisit this piece in about a little year I will sure finalize these parts, even do some more breathing and expression. Didn't had any strikes or penalties, yet. Had one though with my mockup of Arrival of the birds, but it did came through finally. Can I listen to your Adagio mockups somewhere? Regards, Jeff

[@doctorcane]

@@jeffhijlkema sure I’ll finish the works I’m on and then got it out in a month or so

[@voltimande]

Wow. So beautiful! Wonderful dynamics! A truly amazing project! Thanks for sharing! And also for sharing all the information behind it, very interesting!

[@jeffhijlkema]

Thanks, you're welcome!