Double Bass Links Page and Double Bass Luthier Listing Project. A New History of the Double Bass. Toenniges, Bass Maker. I'm not sure what folder this topic belongs in. Anyway, I bought this last year and I consider it a must for anyone studying the bass. Written by Paul Brun, whom I think is an orchestral bassist, it goes over how this instrument evolved. He disproves certain assumptions such as the double bass descending from.

I'm not sure what folder this topic belongs in. Anyway, I bought this last year and I consider it a must for anyone studying the bass. Izotope Phatmatik Pro Vsti V1.52 Incl Keygen-beat.

Written by Paul Brun, whom I think is an orchestral bassist, it goes over how this instrument evolved. He disproves certain assumptions such as the double bass descending from the bass viol. It was a new instrument and the antithesis of the bass viol which were meant for quiet settings with small ensembles as string quartets and the like. Double bass was meant to fill large halls with low frequencies. There was orignally no set size.

Double basses came in all sizes from not much larger than a cello to huge towering monsters. The most famous of these is the Octobasse which stands a little over 12 feet high but these was not close to the largest. Brun mentions two American basses in the 19th century that were bigger. One stood 13 feet high and the other a whopping 15 feet high!

He mentions a huge bass made in England that reportedly nearly toppled the building in which it was being played by its maker (a hole had to be cut in the ceiling to stand it upright). When told by the proprietor that he was making the building fall, the man shouted exuberantly, 'Let it!' Brun points out how the evolution of symphony orchestras paralleled the evolution of the double bass. Actually, he points out that cellos were originally called 'double bass' but the title was transferred to the bigger basses to avoid confusion. He talks of the greater and smaller choirs with basses strategically placed around stage. There was also the basso continuo when the symphony broke down into a smaller unit during the performance.

Basses were so huge that young, strong men had to play them because they wore out older men. These basses had huge, thick gut strings that required the wearing of gloves. It was not unusual to see bassists collapse in their seats to catch their breath during live performances. The strings were so thick that they turned as they were being stroked making very low notes impossible.

At this time, there were no conductors. The principle bassist was the conductor. He kept the orchestra playing in time. Dragonetti was an unparalleled master at uniting orchestras. Then there was no set standard of how many strings a bass had nor how they were to be tuned.

The lowest note was so hard to hear that many orchestras went to 3-string basses especially for soloing. These remained popular into the 1920s. Wenzel Hause was a big advocate of 3-stringers and his successor at the Prague Conservatory, Hrabe, did away with the gloves. Dragonetti, btw, played a bass that was 9 feet tall and called 'The Giant.' When steel strings finally arrived, basses could be made smaller and could reach low notes that required far larger basses during the gut string era.

The double bass as we know it is really a modern invention. Expensive though. I bought it for like $128 online and that was the cheapest I found. Another was $138 and another was around $180. I guess it's a rare book. It should be a college text for anyone studying bass at that level.

I'm not sure what folder this topic belongs in. Anyway, I bought this last year and I consider it a must for anyone studying the bass. Written by Paul Brun, whom I think is an orchestral bassist, it goes over how this instrument evolved. He disproves certain assumptions such as the double bass descending from the bass viol.

It was a new instrument and the antithesis of the bass viol which were meant for quiet settings with small ensembles as string quartets and the like. Double bass was meant to fill large halls with low frequencies. There was orignally no set size. Double basses came in all sizes from not much larger than a cello to huge towering monsters.

The most famous of these is the Octobasse which stands a little over 12 feet high but these was not close to the largest. Brun mentions two American basses in the 19th century that were bigger. One stood 13 feet high and the other a whopping 15 feet high! He mentions a huge bass made in England that reportedly nearly toppled the building in which it was being played by its maker (a hole had to be cut in the ceiling to stand it upright). When told by the proprietor that he was making the building fall, the man shouted exuberantly, 'Let it!' Brun points out how the evolution of symphony orchestras paralleled the evolution of the double bass. Actually, he points out that cellos were originally called 'double bass' but the title was transferred to the bigger basses to avoid confusion.

He talks of the greater and smaller choirs with basses strategically placed around stage. There was also the basso continuo when the symphony broke down into a smaller unit during the performance. Basses were so huge that young, strong men had to play them because they wore out older men. These basses had huge, thick gut strings that required the wearing of gloves. It was not unusual to see bassists collapse in their seats to catch their breath during live performances. The strings were so thick that they turned as they were being stroked making very low notes impossible.

At this time, there were no conductors. The principle bassist was the conductor. He kept the orchestra playing in time. Dragonetti was an unparalleled master at uniting orchestras. Then there was no set standard of how many strings a bass had nor how they were to be tuned. The lowest note was so hard to hear that many orchestras went to 3-string basses especially for soloing.

These remained popular into the 1920s. Wenzel Hause was a big advocate of 3-stringers and his successor at the Prague Conservatory, Hrabe, did away with the gloves. Dragonetti, btw, played a bass that was 9 feet tall and called 'The Giant.' When steel strings finally arrived, basses could be made smaller and could reach low notes that required far larger basses during the gut string era. The double bass as we know it is really a modern invention. Expensive though.

I bought it for like $128 online and that was the cheapest I found. Another was $138 and another was around $180. I guess it's a rare book.

It should be a college text for anyone studying bass at that level.

Residency by Location,, United States Venue Start date 25 March 2003 ( 2003-03-25) End date 15 December 2007 ( 2007-12-15) No. Of shows 717 Box office US $385 million ($444.69 million in 2016 dollars) concert chronology • A New Day. (2003–07) • (2011-18) A New Day. Was a Las Vegas performed by Canadian singer at the 4,000-seat in. It was created and directed by (known for his work with ) and premiered on 25 March 2003. 90-minute event, A New Day.

Introduced a new form of theatrical entertainment, a fusion of song, performance art, innovative stage craft and state-of-the-art technology. Dion was originally contracted for three years (Dion received about $100 million, plus 50 percent of the profits during the three-year contract), however, due to its immediate success, the show continued for an additional two years. Ended on 15 December 2007, after a 5-year run. Is the most successful residency of all time, grossing over US$385 million ($444.69 million in 2016 dollars) and drawing nearly three million people to 717 shows.

Dion returned to Las Vegas on 15 March 2011 to perform her new residency,. Contents • • • • • • • • • • • Background and creation [ ] The original inspiration for the show occurred when Dion and her husband visited Las Vegas in 2000, at a time when she was taking a break to start a family, and they watched a performance of by at the. Dion was so moved and impressed by O that she insisted on going backstage afterwards to get to know the performers. In turn heard about Dion's favorable reception of his work, and several weeks later, wrote a letter to them to put forth the idea of an artistic collaboration. Angelil called Dragone, they arranged an in-person meeting, and A New Day. Was the result. Dion initially intended for the show to be named Muse, but the owned worldwide performing rights.

Dion offered $50,000 for the rights, but the band declined, with lead singer explaining that he didn't want people to think they were Celine Dion's backup act. The Colosseum venue was built using fast-track construction processes in only about 140 days. The stage was designed to slope upward at 5.7 degrees away from the audience, to provide the best acoustics possible in a circular theatre.

The other purpose of the sloped stage was to show lighting details, designs, and textures of the stage for Dion's show. This proved extremely hard on the dancers' bodies, and a few were forced to leave the show early as a result of their injuries. The original plan for the stage backdrop/scenery was to simply use a giant, but when the lighting designer, Yves Aucoin, pointed out that this would create unacceptable shadows when dancers ran in front of it, Angelil went back to, whose was underwriting the production, and persuaded him to contribute an extra $10 million for the construction of the largest indoor screen in North America. Teraterm Macro Com Port. The LED Screen was produced by Mitsubishi Diamond Vision LED Screens. This was a HDTV LED Screen Installation with a 8mm Display 'Dot Pitch'. The screen consisted of many separate LED panels put together. Celine and her family moved to a house in Lake Las Vegas, located in Henderson, Nevada where they lived during the five years of the show.

Critical reception [ ] The year the show opened, A New Day. Received mostly mixed reviews in the press, commenting on how there was not enough of a balance between concert and theater.

In TheaterMania.com, an article by Christine Westley praised the sets but wrote that Dion's performance was 'inconsequential at best. The most uncomfortable moments come when the music stops, the dancers disappear, and it's just Dion and her audience.

This is when the show's split personality truly emerges: Dragone's alternate world is gone and now we have a Celine Dion concert, during which the star attempts witty banter as her fans scream out the mandatory declarations 'We love you, Celine!' And then hold their breath, waiting for her to stop talking and start singing again.'

Phil Gallo of praised the sets like the former article, but criticized choices in covers. He stated, 'Her run through a nostalgic trio — Etta James’ first hit, 'At Last,' Peggy Lee’s version of 'Fever' and the Frank Sinatra-phrased 'I’ve Got the World on a String' — magnified her lack of soulfulness, but they did display her capacity for mimicry: She phrases everything exactly as her predecessors did.

For 'First Time Ever I Saw Your Face,' it appeared Dion and her musical director Claude (Mego) Lemay had the softness of Roberta Flack’s original in mind. But they then go out on a bizarre limb, progressively bloating the arrangement and her vocal interpretation. Worse yet, Dion ascends 70 feet into the heavens with dancers all around her.

Nice effect, but another song would be more appropriate for it. It’s conceivable that future audiences will have more rapport with Dion and her music than opening night’s high rollers and invited guests. Dion never looked like she was struggling, but if she didn’t ask for audience participation, she wasn’t going to get any anyway.' In the documentary, A New Day. The Secrets, included as a bonus in the, Dion and Dragone commented on making changes to the show through the years to include more appearances of the band members, or to change Dion's look to make it more like what fans expected. The year when A New Day.

Was going to close, Mike Weatherford of wrote a positive review. He stated how Dion '.grew into 'A New Day' over the years, and for better or worse the show evolved into more of the diva showcase people expected at the outset: an upscale pop show with some artsy flourishes, not the swing-for-the fences collaboration with Cirque du Soleil director Franco Dragone that often tried too hard. Some early mistakes disappeared quickly.

It's been a long time since Dion flew on a harness rigging, or dressed up like the 'Pat' character on 'Saturday Night Live,' with slicked-back hair and hitched-up, man-boy suspenders. Other changes replaced the audacious with safe and sure-footed, but more ordinary choices.

The show now opens with—wouldya believe it? -- the title song 'A New Day' instead of the solitary, a capella take on 'Nature Boy.' The standards 'Fever' and 'At Last' were replaced in May 2006 with a now-common tech trick, splicing in Frank Sinatra to help croon 'All the Way.' And the homestretch now celebrates the cast as a bonded unit with the Ike & Tina Turner classic 'River Deep—Mountain High.' Dragone would have found it cheesy back in '03. Now, he probably realizes the show needed an energy that had been stifled in its overproduced infancy. The world's largest hi-def screen no longer steals the show as it did before Best Buy shoppers knew the difference between a 720p and 1080p TV.

But Dragone's elegant spectacle still makes the jaw drop now and then.' Broadcasts and recordings [ ]. Main articles: and The show was first filmed to serve as a TV Special for the opening night. However, included only 8 songs. In autumn 2003 (26-30 November 2003), the show was filmed again and a DVD was scheduled to be released in autumn 2004. Firstly, in June 2004, a CD entitled (featuring 13 live songs) was released and included promotional information that a DVD was going to be released in autumn. This release was cancelled with no plans to release it in the future.

However, this DVD was shown to the audience during one of the shows when Celine was sick and couldn't perform. [ ] Reportedly, another DVD was recorded between 2005-2006 with Celine having long brown hair and new costumes as many different extracts have appeared. [ ] Finally, A New Day. Was re-shot in high-definition during the 17–21 January 2007 week and released on DVD on 7 December 2007 and on on 5 February 2008. The DVD represents the show as of January 2007.The two disc set, which contains more than 5 hours of never-before seen footage, including the concert and three exclusive documentaries: Because You Loved Me (A Tribute to the Fans), A New Day: All Access and A New Day: the Secrets, became very successful on the music DVD charts around the world.

According to the Quebec press, Live in Las Vegas - A New Day. Was completely sold-out in the province less than a few hours after its release. In addition, Dion made history on 18 January 2008 when Live in Las Vegas - A New Day. Became the only music DVD to be certified triple diamond in Canada, selling over 300,000 units. Only five other DVDs have ever reached double diamond status in Canada. Dion's DVD also garnered the largest debut in Nielsen SoundScan history for a DVD-only release, with over 70,000 copies sold in its first week, which is something that has never occurred before in Canadian music history.

Live in Las Vegas - A New Day. Held the number 1 position on the Music DVD Chart in Canada for many weeks after its release. Outside Canada, the DVD peaked at number 1 in the United States, United Kingdom, France, Japan, Netherlands, Belgium, Denmark, New Zealand and Estonia. It reached number 2 in Portugal and Sweden, number 3 in Argentina, Australia, Ireland and Greece, number 4 in Austria, number 6 in Italy and number 7 in Czech Republic. Live in Las Vegas - A New Day. Also debuted in the top 10 in Finland and Germany. Nearly 500,000 copies of the DVD were sold worldwide in its first week of release.

Live in Las Vegas - A New Day. Was certified 3x diamond in Canada, diamond in France, 4x platinum in Australia, platinum in Brazil, Portugal, Argentina and New Zealand, and gold in the Netherlands and Belgium. In Japan, it sold 30,000 copies during the first three months of its release. As of 26 September 2010, the DVD has sold 433,000 copies in the U.S. And has been certified 7x platinum (it is now eligible for 8x platinum after selling 400,000 copies).[16] According to Billboard, the DVD was the third best-selling music DVD of 2008 in the U.S. And the best-selling by a female artist.[17] At the end of 2009, the DVD was still charting in the top 10, being the tenth best-selling DVD in the U.S.

Even though the official DVD contains many extras, a lot of songs which were performed throughout the years have not been included: ',' ',' ',' ', ',' ', ', ', ', ', ', ' and '. In addition, two instrumentals: 'A New Love' and 'Aria Di Lucia De Lammermoor' have been omitted as well.

Audio versions of ', ',' ' ' and ' were included on the CD, released in June 2004 Various songs (both from the usual setlist and one-night only performances) have been broadcast during different TV programmes, promotional videos, etc. • ' – joined by David Foster on the piano “Hit Man: David Foster & Friends” (recorded 2007, broadcast 2008) • ' – joined by Taro Hakase on the violin, Documentary about the 10th anniversary of the violinist's career, (recorded 7 July 2006) • ' – Jerry Lewis MDA Telethon (2005), New Year’s Eve (2004) • ' –Jerry Lewis MDA Telethon (DVD performance, broadcast 2 September 2007) • 'If I Could' – Jerry Lewis Telethon (2003), Jerry Lewis Telethon (2004) • ' – Live 8 (2 July 2005) • ' – Women Rock (2004), New Year’s Eve (2004) Set list [ ].