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Octobass

The octobass is an enormous and exceptionally rare upright bowed string instrument, invented in 1850 by the French luthier Jean-Baptiste Vuillaume in Paris, measuring approximately 3.5 meters (11 feet 5 inches) in height—nearly twice the size of a standard double bass—and designed to produce ultra-low frequencies that extend an octave below the typical double bass range, with its lowest string capable of notes as deep as 16 Hz, some inaudible to the human ear.^[1]^[2] Vuillaume's creation built upon an earlier prototype developed around 1834 by instrument maker J.-A. Dubois, which Vuillaume refined and showcased at the 1850 Paris Industrial Exposition to enhance the depth of orchestral bass tones for Romantic-era compositions.^[1]^[3] The instrument features three heavy strings, typically tuned in variations such as C₁-G₁-C₂ (as recommended by composer Hector Berlioz) or even lower configurations like C₀-G₀-D₁ on surviving examples, allowing it to generate a profound, rumbling sub-bass that adds atmospheric power to large ensembles.^[1]^[2] Due to its immense scale, the octobass cannot be played in the conventional manner; instead, it employs an elaborate mechanical system of hand levers, foot pedals, and metal clamps to press the strings against the fingerboard, simulating finger positions from a raised platform where the performer stands to reach the bow.^[1]^[2] Early performances often required two musicians—one to bow the strings and another to operate the mechanisms—though modern players have adapted to solo operation.^[1] Berlioz, an early advocate, praised its "prodigious" sonority and incorporated it into works like Charles Gounod's Messe solennelle de Sainte-Cécile (1855), though its complexity and the physical demands limited widespread adoption.^[1] Only one authentic octobass by Vuillaume is known to survive, preserved at the Musée de la Musique in Paris, with several replicas existing in other collections, including the Musical Instrument Museum in Phoenix, Arizona, the Kunsthistorisches Museum in Vienna, and the collection of the Orchestre Symphonique de Montréal, with occasional modern performances demonstrating its unique, visceral low-end timbre in contemporary arrangements of pieces like Bach's Cello Suites or film scores.^[1]^[2]^[4] Despite its historical significance in pushing the boundaries of string instrument design, the octobass remains more a curiosity than a standard orchestral tool, symbolizing 19th-century innovation in musical acoustics.^[1]

History

Invention by Vuillaume

Jean-Baptiste Vuillaume (1798–1875) was a prominent French luthier renowned for his innovative contributions to string instrument design and construction. Born in Mirecourt, a historic center of French violin making, he apprenticed under his father before moving to Paris in 1818, where he worked with makers such as François Chanot. By 1828, Vuillaume had established his own workshop at 40 Rue des Petits Champs, later relocating to 3 Rue Demours in 1860; this prolific operation produced over 3,000 instruments during his lifetime, including high-quality replicas of Italian masters like Stradivari and original inventions aimed at advancing orchestral capabilities.^[5]^[6] Vuillaume's octobass built upon an earlier prototype developed around 1834 by instrument maker J.A. Dubois.^[3] In 1850, Vuillaume refined and invented the octobass in his Paris workshop, drawing inspiration from the era's push for expanded orchestral sonorities, particularly the call by composer Hector Berlioz for instruments capable of producing deeper bass tones to enhance symphonic depth.^[1]^[7] Berlioz, a key figure in 19th-century orchestral innovation, advocated for such developments to overcome the limitations of existing contrabass instruments, which struggled to deliver the profound low-end resonance required for Romantic-era compositions.^[8] The octobass was specifically designed to extend the double bass's range downward, providing unprecedented sub-bass frequencies that added immense gravitational pull to ensemble textures. Vuillaume's first prototype featured three strings and measured approximately 3.48 meters (11.5 feet) in height, making it nearly twice the size of a standard double bass and embodying the experimental spirit of mid-19th-century lutherie.^[1] Between 1850 and 1865, Vuillaume crafted exactly three original octobasses, each a bespoke marvel of engineering tailored to the demands of elite orchestras, though their immense scale limited broader replication.^[7]

Early adoption and subsequent decline

An improved version of the octobass was exhibited by Vuillaume at the 1851 Great Exhibition in London, following its initial public presentation at the 1849 French Industrial Exposition in Paris, captivating visitors with its profound, rumbling low frequencies that extended an octave below the standard double bass.^[9]^[10] Hector Berlioz, who attended the exhibition, described its tone as "full and strong but without any roughness," praising its potential to enrich orchestral depth and recommending that every major ensemble include at least two such instruments.^[9] Berlioz further endorsed the octobass in a November 1851 article in the Journal des débats, emphasizing its "beauty of tones" and utility for large-scale performances, provided composers wrote dedicated parts rather than merely doubling the double bass line; he envisioned up to three octobasses in festivals with over 150 players.^[11] Despite this advocacy, adoption remained sparse, with documented professional uses limited to fewer than a dozen instances, primarily in Paris-based ensembles experimenting with its capabilities during the 1850s and 1860s, such as in Charles Gounod's Messe solennelle de Sainte-Cécile (1855), where it appeared in the "Benedictus" and "Agnus Dei" movements to underscore solemn passages. The instrument's rarity stemmed from formidable logistical hurdles, including its immense size—nearly 3.5 meters tall—requiring substantial space for performance and storage, as well as high construction costs comparable to multiple fine violins, given Vuillaume's reputation for premium craftsmanship.^[12] Tuning challenges arose from the thick, high-tension strings, which demanded precise adjustments and limited rapid playability, further deterring widespread integration. By the 1870s, advancements in double bass design, such as the adoption of five-string models tuned to lower pitches, rendered the octobass obsolete for most practical needs.^[13] This decline aligned with broader 19th-century orchestral trends favoring standardization and portability, as ensembles prioritized consistent instrumentation over experimental giants to accommodate touring and larger repertoires, solidifying the double bass as the reliable foundation for bass lines.^[14]

Design and Construction

Physical Dimensions and Materials

The octobass measures approximately 3.48 meters (11 feet 5 inches) in total height, with a body length of about 2.06 meters, making it roughly twice the height of a standard double bass, which typically stands 1.8 to 2 meters tall.^[15]^[1] Its overall scale includes an upper bout width of 0.87 meters, a middle bout width of 0.61 meters, and a lower bout width of 1.11 meters, contributing to its massive presence and structural integrity for producing subsonic frequencies.^[15] Original examples weigh approximately 200–250 kilograms, while modern replicas can be lighter; for instance, the octobass owned by the Montreal Symphony Orchestra weighs 131 kilograms.^[12]^[4] Constructed on principles akin to the double bass but greatly enlarged, the octobass features a resonant soundbox with f-holes and a substantial bridge to amplify its deep tones.^[1] The body typically employs a top plate of spruce for its acoustic responsiveness and back and sides of maple for strength and tonal warmth. The neck extends over 1.5 meters, supporting an ebony fingerboard and culminating in an ornate carved scroll, with the vibrating string length reaching 2.15 meters.^[15] To endure the physical stresses of extreme low frequencies, the octobass incorporates reinforced wooden elements, such as thicker braces and robust framing, alongside high-tension gut strings capable of withstanding immense pressure without breaking.^[16] These innovations reflect Vuillaume's expertise in luthiery, ensuring the instrument's durability despite its colossal proportions.^[16]

Stringing Mechanism and Innovations

The octobass employs a distinctive string configuration consisting of three heavy plain gut strings, designed to withstand the instrument's immense scale and produce subsonic frequencies. These strings have a vibrating length of approximately 2.15 meters, with diameters ranging from about 4 mm to 8 mm depending on their position, enabling robust low-end resonance.^[17] Given the octobass's towering dimensions—reaching nearly 3.5 meters in height—the direct manual stopping of strings is impractical, necessitating a sophisticated mechanical system developed by Jean-Baptiste Vuillaume. This stopping mechanism, refined in Vuillaume's 1851 redesign, utilizes a series of levers and pedals operated primarily by the player's left hand or a second assistant to engage metal clamps positioned along the fingerboard. These clamps function as frets, pressing the strings at seven fixed positions to alter pitch with precision, thus addressing the challenges of intonation over the extended string length exceeding 2 meters.^[15]^[1] Further innovations in the mechanism include intricate mechanical linkages hidden within the neck, which ensure accurate string depression without excessive force, compensating for the thick gut strings' resistance and the fingerboard's great span. Vuillaume's design integrated these elements to maintain playability, allowing the instrument to integrate into orchestral settings despite its size.^[15] For sound production, the octobass requires a specialized bowing apparatus, typically a elongated bow adapted from cello designs to effectively vibrate the heavy strings across their full length. Modern replicas sometimes incorporate enhanced pulley systems in the lever mechanism for improved responsiveness.^[15] Maintenance of the octobass is demanding due to the high string tension, approximately 35 kg per string, which causes significant stretching and requires frequent replacements—often involving thousands of meters of gut per set—to preserve tuning stability and tonal quality. The fabrication process itself poses challenges, including slow drying times and careful twisting to achieve uniform thickness without defects.^[17]

Range and Tuning

Standard Tuning and Pitch Range

The octobass features three strings tuned in perfect fifths. There is no single standard tuning, but common configurations include C₁-G₁-C₂ as recommended by Hector Berlioz, A₀-E₁-B₁ on the Montréal Symphony Orchestra's instrument, and C₀-G₀-D₁ on the example at the Musical Instrument Museum in Phoenix. These position the open lowest note at approximately 16.35 Hz for C₀ or 27.5 Hz for A₀, for example two octaves below the cello's lowest string C₂ (65.4 Hz).^[1]^[18] The instrument's full pitch range spans from C₀ (16.35 Hz) or A₀ (27.5 Hz) up to around B₁ (62 Hz) or C₂ (65 Hz) on the open strings, though harmonics can extend it to around C₃ (131 Hz). Compared to the standard double bass, which begins at E₁ (41.2 Hz), the octobass extends one octave lower in its deepest tunings, venturing into sub-bass frequencies that approach infrasound territory—below 20 Hz.^[2]^[1] Intonation on the octobass is facilitated by its mechanical lever system, which enables semitone adjustments across the fingerboard without direct hand contact, though precise tuning remains challenging due to the strings' immense length and tension. Scordatura tunings, such as shifting to B♭₀-E♭₁-B♭₁ for specific 19th-century works like Charles Gounod's Messe solennelle de Sainte-Cécile, have been employed to suit particular compositions. The lowest playable notes, often around 16–20 Hz, generate vibrations that are more felt through the body than heard as distinct tones, emphasizing the instrument's role in producing visceral subsonic effects.^[1]^[18]

Acoustic Characteristics

The octobass produces a deep, rumbling timbre defined by fundamental frequencies that often fall below 20 Hz, entering the infrasound range where the sound is primarily experienced as physical vibrations rather than distinct pitches. This creates a visceral, room-shaking effect, with the audible components dominated by higher harmonics that impart a rich, powerful quality to the bass line. Hector Berlioz, upon encountering the instrument at the 1851 Great Exhibition, praised its tone as possessing "a sound of rare beauty, full and strong but without any roughness."^[9] The large body and extended string lengths, with a vibrating length of approximately 2.15 meters, amplify low-end overtones, fostering deep resonance that envelops listeners in sustained vibrations.^[17] Due to the physics of low-frequency sound production, the octobass's strings generate standing waves with long wavelengths—approximately 4.3 meters for the fundamental on a 2.15-meter vibrating length—allowing the instrument to interact profoundly with architectural spaces, filling concert halls with palpable energy. In its 19th-century context, this design relied on the acoustics of grand venues to project the sound effectively, as low frequencies propagate differently from higher ones and diminish rapidly over distance. Modern performances frequently incorporate amplification or position the instrument for close audience proximity to convey its full impact, enhancing the "felt" rather than purely auditory bass.^[18] The instrument's massive construction imparts certain acoustic limitations, particularly a slower response time owing to the inertia of its heavy strings and body, which suits it best for sustained, lyrical passages rather than rapid articulations. This emphasis on endurance and depth underscores the octobass's role in providing foundational harmonic support, where the resonance builds gradually to create an immersive, thunderous presence in ensemble settings.^[2]

Performance Technique

Playing Method and Ergonomics

Original octobasses cannot be played solo due to their immense size and the physical demands of operating both the bow and the string-stopping mechanism simultaneously, typically requiring two musicians: one to bow the strings and another to manipulate the levers and pedals that press the strings against frets to produce pitches.^[19]^[1] The primary player adopts a standing posture on an elevated platform or bench attached to the instrument, allowing access to the elevated fingerboard and body, while holding a specially shortened, heavier bow with both hands for stability during strokes.^[20] The assistant operates a system of hand levers—manipulated by the left hand behind the neck—and seven foot-operated pedals that engage movable keys to shorten the vibrating string lengths against the frets, enabling pitch changes without direct finger contact on the thick, elevated strings.^[20] Playing technique emphasizes deliberate, slow bowing arcs to overcome the inertia of the massive strings, prioritizing firm pressure and sustained contact over speed to generate resonant tones, as rapid note successions are impossible due to the instrument's scale and mechanical response time.^[20] Ergonomically, the octobass imposes significant physical strain on performers from its height exceeding 3.5 meters and the effort required to coordinate bowing with lever and pedal actions, demanding exceptional strength and limiting continuous play to brief passages in orchestral settings.^[20]^[15] Historical notation for the octobass features a dedicated part separate from the double bass section, with cues derived from double bass lines to facilitate coordination between the bowing player, the assistant, and the ensemble, ensuring synchronized execution despite the instrument's slow responsiveness.^[20]

Historical and Modern Adaptations

In the 19th century, the octobass relied on a two-person playing method, with one musician bowing the strings and another operating the lever and pedal system to stop the notes, as the instrument's scale prevented a single player from managing both tasks effectively. Hector Berlioz, after examining the instrument at the 1851 Great Exhibition in London, praised its powerful low register but noted its limitations for rapid passages, suggesting it be assigned simple, sustained parts in orchestral scores to maximize its sonic impact.^[9]^[11] The octobass saw little use or adaptation throughout much of the 20th century, remaining largely dormant outside museum contexts until replicas revived interest in the late 20th and early 21st centuries. Early demonstrations, such as those at the Musical Instrument Museum (MIM) in Phoenix, Arizona, highlighted the original mechanism's challenges, but no significant electric or mechanical aids were documented until later recording sessions. Modern replicas, built since the 2000s, have incorporated refinements to enable solo operation, addressing the original design's ergonomic demands for contemporary performers. For instance, the 2010 replica commissioned by the Orchestre Symphonique de Montréal, crafted by luthier Jean-Jacques Pagès, features minor mechanical upgrades to the lever system for improved responsiveness, allowing a single musician to bow and manipulate the strings more fluidly during orchestral performances.^[21] Similarly, a new octobass built in 2015 for the Only Connect festival in Oslo, Norway, enabled solo improvisation by bassist Guro Moe, demonstrating enhanced playability through adjusted pedal mechanics that facilitate legato phrasing without an assistant. These adaptations prioritize single-operator efficiency, often using scaled-down levers for better reach and control. Since around 2010, playing techniques have evolved to include amplification and sampling for broader applications, particularly in film scoring. In 2011, double bassist Nico Abondolo recorded samples of the MIM's octobass replica at the museum for Remote Control Productions, employing close-miking and amplification to capture its infrasonic frequencies—down to 16 Hz—for integration into cinematic soundtracks, where the instrument's rumble enhances tension without audible pitch.^[22] This approach bypasses the acoustic limitations of live performance halls, allowing the octobass's vibrations to be digitally processed and layered. Training for the octobass remains rare, confined to a handful of specialists who demonstrate the instrument in institutional settings. At the MIM in Phoenix, performers like Nico Abondolo use elevated platforms to access the levers ergonomically during public demos and recordings, underscoring the specialized physical demands that continue to limit widespread adoption.^[23] As of 2025, the Orchestre Symphonique de Montréal integrates the octobass into concerts and educational programs, including a discovery trail event in August 2025 exploring its role alongside other large-scale instruments.^[24]

Usage in Music

Role in 19th-Century Orchestras

The octobass served a specialized symphonic function in 19th-century orchestras, primarily providing a foundational bass rumble by doubling contrabass lines an octave lower, thereby extending the ensemble's low-frequency range to enhance harmonic depth in large-scale performances.^[20] Hector Berlioz, in his influential Treatise on Instrumentation (1844, revised 1855), described the instrument's capability to produce notes descending to approximately 16 Hz, praising its "remarkable power and beauty" for creating a full, strong sound without roughness in vast orchestral settings.^[20] This subaudible extension allowed it to reinforce pedal points and sustained tones, contributing to the dramatic immersion characteristic of Romantic-era music.^[20] Its integration appeared in select key works, most notably Charles Gounod's Messe solennelle de Sainte-Cécile (1855), the only verified 19th-century composition to explicitly call for the octobass. In this mass, the instrument is specified in the orchestral parts for the "Benedictus" and "Agnus Dei" movements, tuned to B♭0–E♭1–B♭1, where it plays sustained lines an octave below the double basses to underscore solemn passages. Berlioz himself advocated for its use in grand ensembles, proposing four octobasses in an ideal orchestra of 827 performers for Parisian festivals, though he composed no specific parts for it.^[20] Due to its colossal dimensions—standing over 3.5 meters tall and weighing more than 100 kilograms—the octobass was positioned at the rear of the orchestra, often necessitating stage modifications to accommodate its space and the performer's need for pedal-operated levers.^[20] Berlioz recommended at least three instruments for festivals exceeding 150 players, emphasizing their placement to maximize acoustic projection without obstructing other sections.^[20] Notation practices for the octobass were deliberately simple to suit its slow response time and mechanical fingering system, typically consisting of whole notes or long-held tones rather than rapid passages.^[20] Berlioz advised writing a distinct part from the double bass, focusing on pedal points and harmonic reinforcement in Romantic scores to exploit its strengths in sustained, low-register effects.^[20] In Gounod's score, this manifests as minimal, supportive lines that align with the work's liturgical gravity. The octobass's impact lay in elevating the bass foundation of large halls, such as those used by the Paris Conservatory, where its infrasonic tones influenced orchestration trends toward greater timbral variety and spatial depth in the mid-19th century.^[20] Berlioz highlighted its "admirable effect" in such venues, noting how it enriched the overall sonic immersion without overpowering higher registers, though its rarity limited widespread adoption.^[20]

20th- and 21st-Century Revivals

During the 20th century, the octobass was primarily confined to museum displays, with the surviving original instrument serving as a historical artifact rather than an active performance tool at the Musée de la Musique in Paris. It underwent restoration efforts but saw limited playable demonstrations, often limited to recorded samples or static exhibits due to its fragility and the instrument's acoustic challenges.^[2] The construction of the first playable replicas in the late 20th century, beginning around the 1990s, marked an initial step toward revival, enabling occasional experimental playings that highlighted the instrument's subsonic potential.^[25] The 21st century brought a notable resurgence in the octobass's use, driven by modern replicas and innovative performances. In 2015, a playable replica was featured in a rendition of Johann Sebastian Bach's Chaconne in D minor, arranged for four double basses and octobass, performed live at the Mardi Graves Festival in Montpellier, France, showcasing its deep resonance in a chamber setting.^[26] That same year, Norwegian bassist and composer Guro Moe premiered a newly commissioned octobass with the chamber ensemble Touchables at the Only Connect festival in Oslo, integrating it into contemporary improvisation and expanding its role beyond historical reenactments.^[27] A landmark orchestral integration occurred in 2016 when the Orchestre Symphonique de Montréal acquired a replica and debuted it in concerts under Kent Nagano, making the ensemble the first to permanently roster the instrument for works like Mozart's Ave verum corpus.^[3] In media applications, the octobass has provided unique sub-bass effects through sampled recordings. The playable replica at the Musical Instrument Museum in Phoenix was recorded in 2011 by Remote Control Productions for use in film scores, notably contributing rumbling low tones to James Newton Howard's soundtrack for The Hunger Games (2012), where its infrasonic frequencies enhanced atmospheric tension.^[28] Contemporary ensembles continue to feature it sporadically, particularly in period-instrument groups and experimental orchestras, such as ongoing integrations by the Montreal Symphony Orchestra in symphonic repertoire. As of 2024, the OSM maintains three playable replicas, allowing for more extensive use in performances, with educational events like a discovery trail planned for summer 2025.^[8]^[3]^[29]^[24] Advancements in digital amplification have addressed key acoustic challenges, allowing the octobass's lowest notes—reaching 16 Hz, below typical human hearing—to be captured via pickups and microphones for live and recorded settings. This technology has made practical concert use feasible, transforming the instrument from a visual spectacle into a viable contributor to modern ensembles by rendering its vibrations audible and balanced within larger sonic palettes.^[19]

Notable Instruments

Original Vuillaume Examples

Jean-Baptiste Vuillaume constructed three octobasses between 1850 and 1865, each a monumental bowed string instrument designed to extend the low register of orchestral strings. These originals share Vuillaume's signature craftsmanship, including hand-carved details and innovative lever mechanisms for pitch alteration, as documented in historical instrument catalogs. Provenance records trace their creation to Vuillaume's Paris workshop, where they were exhibited at industrial expositions to showcase luthier innovation.^[17]^[25] The first octobass, built in 1850, resides in the Musée de la Musique at the Philharmonie de Paris. Measuring approximately 3.48 meters in height, it features three gut strings tuned to produce sub-audible frequencies, but its current condition renders it non-playable due to structural fragility and deteriorated components. Restoration efforts in the late 20th century focused on stabilization rather than full functionality, preserving it as a static exhibit in a climate-controlled environment to prevent further decay.^[17]^[25] A second example, dating to around 1855, is held in the Collection of Historic Musical Instruments at the Kunsthistorisches Museum in Vienna.^[1] Like its Paris counterpart, this instrument stands over 3.5 meters tall and employs Vuillaume's pedal-and-lever system, but it too is non-playable, maintained solely for display and scholarly study. Its preservation involves rigorous environmental controls to safeguard the wood and metal fittings from degradation.^[1]^[25] The third octobass, completed in 1865, is believed to have been destroyed in a museum fire during the 1890s, leaving only photographic records and contemporary descriptions as evidence of its existence. These images reveal similar dimensions and mechanical features to the surviving pair, underscoring Vuillaume's consistent design approach. No physical remnants survive, but archival documentation supports its historical significance.^[25] Ongoing preservation of the extant originals includes digital documentation initiatives, such as high-resolution scans conducted in the 2010s to aid in accurate replica production while minimizing handling of the fragile artifacts. These efforts ensure the instruments' legacy endures through both physical conservation and virtual accessibility for researchers.^[21]

Replicas and Contemporary Builds

Replicas of the octobass began appearing in the late 20th century, driven by renewed interest in historical instruments, with French luthiers producing faithful recreations for museum displays using modern materials like synthetic or steel strings to improve playability and durability.^[25] These early efforts focused on preserving Vuillaume's original design while addressing practical challenges, such as tension and tuning stability, resulting in non-playable or semi-functional models primarily for exhibition.^[30] Notable modern replicas include the 2016 instrument crafted by French luthier Jean-Jacques Pagès of Mirecourt for the Orchestre Symphonique de Montréal, which incorporates subtle mechanical enhancements for better lever operation and has been used in performances.^[3] Pagès later built additional units for the same orchestra, expanding their collection to three playable examples based on the upgraded Vuillaume template.^[3] Another significant build is the replica by Italian luthier Antonio Dattis of Taranto, acquired by the Musical Instrument Museum (MIM) in Phoenix, Arizona, featuring ergonomic adjustments to the pedal and lever system for occasional demonstrations.^[25] In 2015, German luthier Wolfgang Staab constructed the seventh known octobass overall, a playable version with refined ergonomics intended for both study and limited performance.^[16] Contemporary builders, primarily in France and Italy, have produced around five replicas since the 1990s, often through specialized workshops that adapt traditional violin-making techniques to the instrument's scale.^[25] These efforts emphasize acoustic fidelity to the originals while incorporating variations like slightly scaled-down bodies (approximately 2.5 meters in some experimental models) for easier transport and handling in educational settings.^[19] Electric hybrid versions, though rare and mostly custom-built by independent makers, combine acoustic elements with amplification for studio recording, allowing access to the octobass's subsonic range without the full physical demands.^[31] These replicas serve primarily as educational tools in museums and conservatories, enabling demonstrations of 19th-century orchestration techniques, with limited concert appearances by ensembles like the Orchestre Symphonique de Montréal.^[8] They also appear occasionally as props in film and media productions requiring dramatic low-frequency effects, though their total worldwide count remains under 10, underscoring their rarity and specialized appeal.^[2]

References

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If you need more low end there's only one way to turn, and that's the octobass. Yes, it's a real instrument although quite rare ... Vuillaume built 3 of them, two ...Missing: 1850-1865 | Show results with:1850-1865
[30]
Jean-Jacques Pagès - L'Intelligence de la Main®
Jean-Jacques Pagès. Trois octobasses pour l'Orchestre Symphonique de Montréal (Québec) · Trois octobasses pour l'Orchestre Symphonique de Montréal (Québec).
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Electric Octobass??? (History and EBow Test) - YouTube
Jul 14, 2019 · Special Thanks To My Patrons! Juveri Setila thevalueof04 Dylan Webster Help support future videos!Missing: decline cost space 1870s