From 2007-2011 I was a fellow at the Norwegian Academy of Music under The Norwegian Artistic Research Fellowship Programme. My project was called "A New World of Sounds - recent advancements in contemporary double bass techniques". By clicking on the sub-menu (or here) you'll find the extensive documentation of my work. The project was presented in four major parts:
The story of ZAB...
A theoretical and practical approach to Philippe Boivin's “ZAB ou la passion selon st. Nectaire”, including historical notes on instrumental theatre, illustrations of playing techniques and gesture, as well as discussions on musical and interpretative challenges.
New techniques – new works
A creative exploration on the playing techniques of Stefano Scodanibbio, which extends into my own music. The techniques are illustrated through examples from my own works in addition to works by Scodanibbio, Lars-Petter Hagen and Helmut Oehring.
Multiphonics on the double bass
An investigation of the development and practice of multiphonics on the double bass in contemporary music. The research was conducted in collaboration with Knut Guettler, and resulted also in the article "Bowed-string multiphonics analyzed by use of impulse response and the Poisson summation formula".
Cato Langnes, the studio manager at NOTAM (Norwegian Center for Technology in Music and the Arts), has written an article about the recording process for the CD "Light", which turned out to be a major research project on the recording of the double bass. The article gives detailed information on microphone placement, recording, mixing and editing.
"Light" was recorded in the Lindeman Hall and the Levin Hall at the Norwegian Academy of Music between November 2008 and January 2011, produced by Prof. Knut Guettler with Cato Langnes from NOTAM as sound engineer. We wanted to use the CD as a medium to reproduce and to enhance details in the sound which are not easily perceived in a live situation. At times, Cato Langnes used more than 12 microphones for the recording of just one instrument. Together with the acoustical expertise of Knut Guettler, Langnes was able to capture very precise and clear details of instrumental sound, while at the same time preserving the sound and reverberation of the halls. With so many microphones in action, it was easy to adjust to soft details or complex sounds, and experiment with overall timbre in the mix. We mixed the recording in NOTAM’s Studio Nordheim with Pro Tools audio software. As a result, I am happy to say that we could present a CD with some of the best recorded sound quality of the double bass in history.
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