Talking about trying to draw out the "fundamental" is critical for orchestral playing, as ideally the basses would produce a fairly clean sound of mainly fundamental but not so much in the way of higher harmonics or noise. This is because the rest of the orchestra produces plenty of higher-frequency sounds that the basses could just be interfering with if they're also producing a lot of noise or harmonics in that range. This is a real challenge, because as you mention, the double bass is a buzzy, fuzzy, noisy instrument which creates a lot of noise besides the fundamental, and it takes a fair amount of time to make the fundamental speak solidly. So being able to produce a clear, punchy, bassy tone is a real achievement that players spend years trying to master, and that audition committees listen for. However, for solo playing, basses should ideally produce quite a lot of higher harmonics (but still NOT non-harmonic noise), in order to have a bright, lighter sound that projects well and cuts through over a piano or orchestra. So the approach to sound production would probably be different (along with the choice of strings and instrument). I hear this in a lot of solo playing by primarily orchestral players - they're still getting an "oomphy" solid bassy sound with a lot of fundamental but without a lot of brightness, which is a great orchestral sound but not always as engaging or enjoyable to listen to for solo playing. On the other hand, a player like Mikyung Sung produces a gorgeous, flexible, bright and complex solo sound, but not enough oomph and bassy, punchy clarity of the fundamental for orchestral playing.
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This is awesome! Thanks for the shout out and great to hear more about Joe's teachings in Bass World. That's a must read for all bassists!
You bet, Geoff!
Thanks so much for the shoutout!!!
You bet-great work on this with Joe!! ❤️
Yes sir!!!!
Great video idea Jason!
Glad you enjoyed it!!
Talking about trying to draw out the "fundamental" is critical for orchestral playing, as ideally the basses would produce a fairly clean sound of mainly fundamental but not so much in the way of higher harmonics or noise. This is because the rest of the orchestra produces plenty of higher-frequency sounds that the basses could just be interfering with if they're also producing a lot of noise or harmonics in that range. This is a real challenge, because as you mention, the double bass is a buzzy, fuzzy, noisy instrument which creates a lot of noise besides the fundamental, and it takes a fair amount of time to make the fundamental speak solidly. So being able to produce a clear, punchy, bassy tone is a real achievement that players spend years trying to master, and that audition committees listen for.
However, for solo playing, basses should ideally produce quite a lot of higher harmonics (but still NOT non-harmonic noise), in order to have a bright, lighter sound that projects well and cuts through over a piano or orchestra. So the approach to sound production would probably be different (along with the choice of strings and instrument). I hear this in a lot of solo playing by primarily orchestral players - they're still getting an "oomphy" solid bassy sound with a lot of fundamental but without a lot of brightness, which is a great orchestral sound but not always as engaging or enjoyable to listen to for solo playing. On the other hand, a player like Mikyung Sung produces a gorgeous, flexible, bright and complex solo sound, but not enough oomph and bassy, punchy clarity of the fundamental for orchestral playing.
For sure--great perspective, and thanks for sharing!