contrabbasso solo
The location I chose for this new experience was an abandoned 13th-century church in the upper Nervia Valley, in the province of Imperia. Its acoustic character featured a balanced natural reverberation that was particularly suitable for this recording. I had the pleasure of experimenting with microphone techniques alongside an exceptional musician, Fabrizio Bruzzone, principal solo double bassist at the Nice Opera and a regular collaborator in the same role with the Monte-Carlo Philharmonic Orchestra. He also frequently performs with some of the most renowned musicians on the Côte d’Azur jazz scene, appearing in clubs and festivals throughout the region. The day was particularly cold, so the instrument had to be checked and retuned occasionally to maintain optimal tuning. The double bass, built in 1896 by luthier Ettore Cavallini of Liutai Cavallini in Arezzo, produced a truly captivating sound. We began by recording one of Bruzzone’s original compositions, entitled “Jarno,” dedicated to Finnish motorcycle racer Jarno Saarinen, who died alongside Renzo Pasolini in Monza in May 1973. This was followed by a medley from the classical repertoire. The final piece, also composed by Bruzzone and still a work in progress, was entitled “FARÖ,” after the Swedish island that was home to Ernst Ingmar Bergman, the renowned film director, screenwriter, playwright, writer and producer. The composition was conceived as a tribute to him. As always, the challenge required care and commitment to achieve a balanced sound. My equipment consisted of a Tascam DR-44WL, a Zoom H2 and a RØDE NTG4+, an excellent directional condenser microphone. When preparing to leave home for recording sessions like this one, I always carry a backup recorder. In this case, I brought the Zoom H2, an older device that I chose to keep. While Bruzzone was warming up, I took the opportunity to adjust the microphone distances and recording levels, allowing me to keep the instrument’s dynamic range under control. Thanks to photographer Saverio Chiappalone, I was also able to document this emotional and rewarding day. The recordings from this field experience are available on my SoundCloud page. Piece for solo double bass:
CONTRABBASSO SOLO
During the audio editing process, the sound was not manipulated in any way, apart from the subtle addition of RoomWorks SE Church reverb. To create a greater sense of depth, I worked on the panning while maintaining a balanced stereo image, resulting in a more immersive and enveloping listening experience.
