From the same recording date as the previously posed Frantisek Vyrostko videos, we have Anton Jaro Jr performing Miloslav Gajdos’ Invocation for Double Bass Solo.
And, as with Mr Vyrostko’s videos, we get the mic placement as well.
Another good recording of bassist Frantisek Vyrostko. This time doing Berio’s Sequenza XIVb as re-imagined by the great Stefano Scodanibbio.
As with others from this recording session, we get to see the microphone positioning as well.
Elliot Carter’s Figment III for double bass solo performed by Frantisek Vyrostko.
In addition to seeing another sit-down bassist perform, it’s good to see the microphone configuration as well. Looks like a stereo pair up in the air about 6 feet out.
Different mics have an impact on how your tone is captured, especially when it comes to the sound of the bow itself going across the strings. The location of mic placement also has a strong impact and is different for every instrument.
Here is a series of audio samples by ribbon mic manufacturer AEA of a variety of different mics set up and and recording bowed double bass. If you click through to an individual sample you can see how the mics are placed as well.
If you are doing your own recording, this kind of thing can be extremely important to how your tone and overall sound comes through. Experimentation will often yield some surprising results. Use samples such as this one as a starting point to get rolling quicker.
Because they recorded this arco bass playing in batches of four mics, there are different performances. But the melody is simple enough that the player can keep the performances pretty even–it’s close enough that you can hear some of the general differences in microphone character.