11'56" of improvisation
Long winding passages of this recording will make it more difficult to edit into the kind of sonic fragments I'm used to working with, but this is the nature of the project, which will force me to come up with new ways of handling the material.
The consideration this poses is -- in the future, do I ask a performer to be more succinct with their gestures, or do I take the opportunity to adapt and expand my own sample production & performance practices based on what they've given me?
Probably a balance between these two factors is ideal, but I won't really know until I've sampled the recordings. Often some inherent synergy between the studio performance and the recording technique can make a sample an effortless joy to manipulate, regardless of its apparent lack of 'samplability'.
Elder Conservatorium -- EMU Dead-room
Pro Tools HD
Rode NT2000 Stereo pair
Rode NT3 -- diagonally pointing down at 45deg to centre of violin body