STUDIO RECORDERS

This library brings the four recorders from the VI Historic Winds I Collection to the large hall (Stage A) of the Synchron Stage Vienna. They have been redesigned and optimized for the Vienna Synchron Player with regard to flexibility, balance and user-friendliness in order to enable rapid and creative work.

Unlike the flute (“flauto traverso”), the recorder (“flauto dolce”) is limited in both its dynamics and range, which led to the more modern flutes replacing recorders in orchestras in the 18th century. However, the recorder was extremely popular from the Middle Ages to the Renaissance, and in the Baroque period even well-known composers such as Telemann, Bach, Handel and Vivaldi composed pieces for the instrument.

The not very pronounced, mainly odd-numbered overtones give the recorders a very soft and dark timbre. Due to its widespread use in music education, the recorder is often wrongly dismissed as a toy instrument for children or amateur musicians, but contemporary composers (from Luciano Berio or Mauricio Kagel to Keith Jarrett) have greatly expanded the sound spectrum of the recorder in demanding pieces . In addition, recorders are often used as solo instruments in film scores to give the orchestral sound an exotic timbre and evoke associations with medieval or Far Eastern worlds. All four recorders were recorded by Leopold Eibl,

With the convolution reverb integrated into the Vienna Synchron Player, the relatively dry recorded instruments are optimally placed in the 540 m² Stage A of the Synchron Stage Vienna. The tailor-made mixer presets deliver out-of-the-box spatial sound and are a perfect match for the instruments in the SYNCHRON-ized Woodwinds Collection as well as all other products in the Synchron Series.