When we were asked by double bassist Orazio Ferrari to record a very special project with him, we were of course really excited. When we found out it would mean recording pieces with double bass and cello, composed and performed by cellist and composer Enzo Caterino, we were absolutely in love with the project and the concept behind it.
Location-wise, we immediately knew where we would like to create this album. At our home away from home, the Lutherse Kerk Haarlem, a small wooden church in the north of the country, the acoustics are beautifully lush, but never too much. Like a very live studio, and to top it off, it has always had this amazing ambience that you can just feel when you enter the church. The place is great for both double bass and cello, it really adds to the tonal qualities of these instruments.
All works on this album were composed by Enzo Caterino. The music is very modern but in an accessible way for everybody. It’s very filmic yet extremely expressive as well. It’s extremely interesting to hear music where the double bass plays most of the melodies, especially so when it plays in a region normally set aside for the cello. In this position on the bass, the sound gets very different from the stark and powerful usual sound of the double bass. The tonal qualities become more human-esque, more nuanced, subtle. I cannot imagine the daunting task, though, of making sure all notes are perfectly in tune that high up on the neck of the instrument – as you might be able to see in the pictures, Orazio plays so high up on the neck, that the tiniest fractions of a centimeter difference, make the difference between beautifully in tune and resonant, to completely off. Orazio played amazingly, though, and the whole album sounds great so far!
For us, this was the first album recording that we used a new prototype of cables from Furutech, the cable company we work very closely together with. The difference with our standard Mogami cables is astounding – the highs are really extended but always in a velvety color, the lows are beautifully resonant but never overpowering, the cables are true masterpieces. The microphones of choice were our usual Sonodore RCM-402 omnidirectional microphones, together with Neumann KM104 cardioids, modified by Rens Heijnis from Sonodore with better electronics and active 60V powering like our Sonodores.
For monitoring, we used the Audeze LCD-2 headphones, with their extremely open and extended soundstage. These headphones have proven themselves to be the perfect headphones for recording engineers like us, desiring all the details and resolution one could possibly imagine, yet still resting very comfortably on your head for extended (more than 12 hours per day!) recording sessions.