Track 2918/82Tensile 11 (Sting)

Paul Mottram (PRS) From the album Symphonic Minimalism

Dramatic orchestral sting

One main track with multiple mixes. Download all 13 mixes of this track.

Tensile2918/7
Paul Mottram (PRS)
13 mixesExhilarating strings with building minimalist woodwind & brass motifs

2:56140 BPM
Tensile 22918/73
Paul Mottram (PRS)
13 mixesExhilarating strings with building minimalist woodwind & brass motifs. Condensed

2:34140 BPM
Tensile 32918/74
Paul Mottram (PRS)
13 mixesExhilarating strings with building minimalist woodwind. Condensed, no brass

2:34140 BPM
Tensile 42918/75
Paul Mottram (PRS)
13 mixesExhilarating strings. Lighter condensed mix, no brass or woodwind

2:34140 BPM
Tensile 5 (60)2918/76
Paul Mottram (PRS)
13 mixesExhilarating strings with building minimalist woodwind & brass motifs

1:00140 BPM
Tensile 62918/77
Paul Mottram (PRS)
13 mixesExhilarating strings with building minimalist woodwind & brass motifs. No big build

0:58140 BPM
Tensile 7 (30)2918/78
Paul Mottram (PRS)
13 mixesExhilarating strings with building minimalist woodwind & brass motifs

0:30140 BPM
Tensile 8 (30)2918/79
Paul Mottram (PRS)
13 mixesExhilarating strings with building minimalist woodwind & brass motifs. No big build

0:30140 BPM
Tensile 9 (Bumper)2918/80
Paul Mottram (PRS)
13 mixesDramatic full orchestral bumper

0:10140 BPM
Tensile 10 (Sting)2918/81
Paul Mottram (PRS)
13 mixesDramatic orchestral sting with chasing violins

0:08140 BPM
Tensile 11 (Sting)2918/82
Paul Mottram (PRS)
13 mixesDramatic orchestral sting

0:07140 BPM
Tensile 12 (Sting)2918/83
Paul Mottram (PRS)
13 mixesLight orchestral sting with woodwind motif

0:06140 BPM
Tensile 13 (Sting)2918/84
Paul Mottram (PRS)
13 mixesLight orchestral sting

0:06140 BPM

Key: Dm
Metre: 4/4
Tempo: 140BPM
Tempo notes: Fast
Factoid: This track was particularly challenging to the wind players' 'lip'. When recording brass (and sometimes woodwinds) - particularly repeated patterns it is important to give players plenty of rests or the membrane of the lips loses feeling and the player has to stop. In extreme circumstance it can lead to 'Embouchure Collapse' which can be long-term. Musicians sometimes call it 'chops'