The double bass is an instrument often viewed as sophisticated, elegant, and very present in any performance. In more popular uses, it has been a pivot in styles such as jazz and country music, shaping the now widely-celebrated bass sound of modern music.
Bernd Konzett, a well-known jazz bassist from the Austrian province of Vorarlberg, played on these recordings. He equipped his 4-string, three-quarter bass with a 113 cm scale, smaller E and A strings, and thicker D and G strings.
This Kontakt library is intended to optimize any productions that require a double bass. Developed to be intuitive and easy to use, the Upright Bass from Vienna Symphonic Library is a neat option with undeniable sound quality and many opportunities to tweak a very natural playing of this delicate instrument without any demanding physical effort.
ABU employs additional microphones to capture every element of the upright bass, including the neck, body, and ambiance and gives two stereo and two mono options on the mixing interface.
A precisely recorded acoustic double bass, played with soul and feel, is implanted in this library to add realism, behavior, and the feeling of a knowledgeable player right into your tracks. Smooth, graceful, with a smidgeon of noise thrown in for good measure, can do wonders to make your production stand out from the rest.
A more straightforward version of the previous library in this list, Classica Double Bass, might be more appealing to producers searching for the perfect classic double bass library, quite literary.
The Trilian Total Bass Module combines several distinct types of bass into one incredible-sounding virtual instrument, thanks to its extensive design. It has long been regarded as one of the most versatile bass virtual instruments available, and it is now established as a reliable tool for your basslines.
Because of its proximity to similar classical instruments, the double bass can also be played with the assistance of a bow, especially because its strings are flat-wound and provide a good resonance. Other than being used in classical music, the double bass can be found in genres such as jazz, country, and blues.
You usually play the double bass in a standing position, with a very different fretting hand than a regular bass requires. Other than that, a double bass can reach around 180cm of height, with some smaller size options like 1/2 and 3/4 accommodating smaller hands or heights.
Upright is a beautifully recorded double bass instrument that comes packed with a multi-sample palette of articulations including plucked and traditional bow. In addition, Upright includes a number of unique synthetically enhanced instruments for electronic music or sound design applications.
CoreBass Pear has many features which set it apart from other upright bass sample libraries. For example, CoreBass Pear includes a fretless slide technology which allows you to seamlessly slide from one note to any other at any speed. It also debuts our new Dynamic Key Color system, which lets you see which MIDI notes are being played by which strings on the bass--directly on your KONTAKT keyboard!
The library was sampled both using a mic and directly from the output of the bass pickup--two separate signals which can be mixed to create a variety of different upright bass tones. CoreBass Pear includes a variety of different ready-to-use presets.
"Nordisk Kontrabass has sounds I've found nowhere else - it is awesome. I've been using it on everything since I got it and I love it. It is expressive, emotive and honestly just really fun to play with."
Recording the Contemporary Soloists series is something we have had at the back of our minds since starting Sonixinema. We see it as the culmination of everything we've learned throughout our sampling adventure, and it truly represents Sonixinema's ideals and taste. After being introduced to Seth and hearing him play, we knew we had to get together in the studio to record the next in line for our Contemporary Soloist series, the bass.
Voice of Rapture: The Bass is a solo operatic bass vocal library that captures the booming, rich powerful voice of Joseph Trumbo, with a wide variety of playable chromatic articulations and melodic elements. From a bombastic fortissimo to a gentle pianissimo, The Bass provides creative freedom and flexibility. Recorded in a dry studio environment with 2 microphone choices, this virtual solo vocal instrument brings together superior programming, brilliant performances and unrivaled quality. This 7.8 GB library has 42 instrument presets and over 10,000 samples.
Bolder Sounds has released Roots Upright Bass for Kontakt, featuring bassist Eric Thorin. This library could have easily been entitled Bluegrass, Folk, Americana, Rockabilly or Western Swing Upright Bass. This style of bass playing evolved from music where there were no drums to establish a strong rhythm. Therefore it was the job of the bass player not only to play the bass lines but also to create a strong rhythmic feel using special percussive techniques. Bo Clausen has created his usual flexible KSP scripting for this unique sample library.
NEO STRINGS is a modern solo string ensemble comprising of violin, viola, cello and double bass. Recorded in the same beautiful space through 4 mic signals, and a huge 24 articulations captured for each instrument in great detail.
The VSampler version includes some professionally crafted mappings, created for ease of use and great sound in the Vsampler VSTi or DXi. There are also controller assignments that add to the features of the bass. For example, some programs in the bank use MIDI controller #15 to blend the Mic'd and the pickup sets, thus allowing you to easily layer the sets as your mix requires. Programs are also included for the individual mic and pickup sets. Thanks goes to Anil K. Jain, who knows his VSampler very well, for mapping this fantastic VSampler bank.
G#-1 - G staccato rake - This is a technique used in a lot of upright and electric bass playing, especially in walking bass and funk basslines. The staccato rake is basically a short open string tone, which usually goes a 16th note or so before an accented note. It's really an important bassism, but very much a "feel" thing.
Have there been any developments/corrections in this area? I am working (Dorico version 188.8.131.526*) in concert pitch display, transcribing a piano score. Notes copied from the 'cello stave to the double bass stave look the same, correctly for the display selection. However, when you click on them they sound the octave lower, so the play back is treating the part as a transposing one. If I change to transposed display, the clarinet stave changes correctly, but the double bass stave remains the same.
Extended techniques are novel ways of generating expressive musical sound on an instrument. Most of the time, bassists are called upon to use two primary forms of sound generation on their instrument: arco or pizzicato. Additionally, there are a handful of common tone colors to cover the shades between bright and dark. A bassist could go through an entire career without straying very far from these standard possibilities.
Pursuing extended techniques on double bass is a way of increasing expressiveness for music-making. It can be a useful collection of personal skills in improvisation or open up access to a range of new works for double bass composed in the past 100 years or so.
I hope that the resulting collection of sounds helps to inspire more experimental works that include the double bass. In particular, I hope that it highlights some of the great extended techniques and alternative sounds we can get out of this beast.
There are more ways to make sound sans bow than the traditional pluck of the bass. Where we pull the string, whether we intend it to sound a distinct pitch or not, how forcefully we pluck: all these things have an impact on the sound and meaning generated by that sound. I wanted to experiment with these things.
In 100.017 the bass is primarily an acoustic amplifier with the added sympathetic ringing of the strings. The energy that sets the strings in motion comes from manipulating ice in a glass. This energy is mechanically transmitted through the glass into the bridge and elsewhere on the instrument.
A composer who is working on a piece for me asked if I would make some white noise sounds for her on the double bass. This entry is a collection of bowed white noises using the strings, the edges, the bridge, and the top plate of the double bass.
To get the arco on the strings to work requires a significant loosening of the wrist, beyond just being flexible or flowing to being downright floppy. I could see this morphing into a useful exercise to help bassists be aware of how they apply tension and muscle in the wrist while playing. 2b1af7f3a8