Talk:Double bass

Double bass is a former featured article candidate. Please view the links under Article milestones below to see why the nomination failed. For older candidates, please check the archive.

Article milestones
Date	Process	Result
April 22, 2006	Featured article candidate	Not promoted
May 30, 2006	Peer review	Reviewed
August 22, 2007	Good article reassessment	Delisted

Current status: Former featured article candidate

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Early recordings (i.e. 1920s)

I've been listening to a lot of 1920s and 1930s American pop and have been trying to determine when the double bass replaced the brass basses and 1929-1930 seems to be a good range, but I am wondering if anyone here has an opinion. Einar aka Carptrash (talk) 16:34, 27 May 2018 (UTC)[reply]

Sound production mechanism

Can any one outline the exact method of sound production in the double bass? Ie how does it appear to produce those low pitches whilst being relatively small? 80.2.20.230 (talk) 22:12, 21 April 2019 (UTC)[reply]

I have proposed moving the discussion on this subject currently raging on the science reference desk to this page. Any comments? I think we its important we nail this problem.80.2.21.123 (talk) 20:23, 23 April 2019 (UTC)[reply]

Treble clef notation

I find it very difficult to believe, as the article appears to state, that in the old German method treble clef was read at pitch. Exactly how high into the treble clef at-pitch range is the double bass going to go without harmonics (particularly in the sort of scores that would use this method)? There is an old use of treble clef for the double bass, but it is for treble read two octaves down (e.g. Mozart, KV 612, Per questa bella mano). Double sharp (talk) 06:13, 28 January 2021 (UTC)[reply]

Not like cello

Text as of the date/time of this post says "The Double bass has a similar structure to the cello". Umm, no it doesn't. Look at the photos. Where the top of the sound-chamber joins into the neck, it's pointed, like a viol, an instrument in whose family it is tuned. Where the top of the sound-chamber of a cello meets the neck, it doesn't reverse its more-or-less circular curves, and it runs into the neck more or less perpendicularly, like a large violin or viola, in whose family IT is tuned. Arguments (which, further down in the article, are accurately reported to be debated) that the double-bass IS a big viol are the pointy top of the sound-chamber, the fact that it is tuned in guitar/viol fourths (not violinic-fifths), and the fact that players can bow the double-bass either underhanded or overhanded while NO violin-family instrument is bowed underhanded. That's the medieval mind. If there are three things that have two choices each (pointed or curved top of sound-chamber, tuned in fourths or fifths, bowed underhand or overhand), then they would want to lock them in three parallel alignments. It may be the case that the double-bass is tuned in fourths so that the fingering-hand doesn't have to move up and down the neck so much (tuning in fourths makes a note accessible on a higher string before rising up the next so much, which on a cello is no big deal while on the double-bass it is my belief that the order of fretting (not that there are frets, but you get my meaning) is (1) open strings, (2), index finger and (3) RING finger, because with the strings so much longer the notes are that much further apart than the human hand's fingers. It may be that when the tuning evolved to give ease to fingers, people RETROACTIVELY decided that the use of this tuning required one, to be consistent, to make the double-bass a big viol rather than a big violin, and thus make it with a pointy (not curved) top end of the sound-chamber, and bow it underhand. If it really is a big violin, it has PERHAPS been given these other two viol-attributes because of the viol tuning.2603:7000:9906:A91C:1C64:8308:33BC:E2D6 (talk) 06:49, 6 July 2021 (UTC)Christopher L. Simpson[reply]