I'm the Principal Bass of the San Francisco Symphony. (I performed with Metallica!) In one week, I'll be performing in a drive-in dual orchestra, featuring musicians of the LA Phil and SF Symphony on one stage for the first time ever. AMA!

Hello Mr. Pingel from r/doublebass! What are your top practice tips for aspiring classical bassists?

For one, get the book "Practicing for Artistic Success" by Burton Kaplan (I was fortunate to get to work with him when I was a student at Manahattan School of Music). Learning how to practice is one of the most important aspects of your training. In my experience, my most successful students have been the ones who were the most self-motivated and engaged in their daily practicing. A teacher is with you only around an hour per week, but you are with yourself all the time! Therefore, developing the tools to become your own best teacher are imperative for success.

With that, it is important to develop good technique that is efficient and supported with good posture. Injuries do not promote training, and I went through a couple of bad tendinitis strains while a student and budding professional that I feared might be career ending (I once stopped playing for months because of an injury). It forced me to step back and completely re-evaluate my training and how I was playing. Working with a physical therapist did wonders to deepen my understanding and awareness of my technique and physicality.

Yet, no amount of technical training can imbue your playing with soul. Being inspired, whether by others in music, art, dance, spirituality, philosophy, and more, and by engaging in contemplation and examination of one's own life is to me what will distinguish the artist from the artisan. What does a piece mean to you? How does it make you feel? What are you trying to say with it? Though, words are not necessary, for it can be something beyond the descriptives of speech, and purely sensational.

Growing up my grandfather would take me to see SFSO shows in the late 2000s. Those by far my favorite memories with him. So thanks for some great performances.

I have a family friend who plays bass in the SF Ballet (maybe you even know him) and he always says he would be happy if he never hears the Nutcracker again. Since he has to play it every day for like 6 weeks every year. Are there any pieces that drive you nuts when you find out you have to play them? Either because you've done them a million times or maybe because they just don't have a fun bass line.

There have been times when a piece has come up that I was sick of playing, but then oddly over time I came back to loving it again. Two of such pieces were Dvorak New World Symphony and Rimsky-Korsakov Scheherazade. However, I can see how Ballet players would be in a kind of Nutcracker hell after many years...

Would you say playing in S&M² was one of the highlights of your musical career? Loved your rendition of Anesthesia BTW, so full of emotion and sounded incredible!

Thanks! It was indeed a highlight, no doubt about it!

Did you play on the S&M record that Metallica did?

If so, is it true that of all the members of the band, the one single member that should actually be able to keep time (Lars the drummer), was the only one that couldn't keep time?

Yes, I am the bassist who played Anesthesia on Metallica S+M2.

As for Lars, I had a blast playing with him and getting to know the band. For many of the pieces we did, we used a click track in some places, which is necessary when playing in such a huge space with so many people...

So what you're saying is that he can keep time ;)

Got it.

;)

oh my god that was you?? That rendition left me absolutely breathless, Anesthesia is among my favourite metallica tracks, and my head felt like it detached from my body the first time i heard You play it, it put tears in my eyes and made my heart go wild, thank you

Thank you! So glad it was so meaningful for you. I was honored to get to do it.

May I just say, that was truly a masterpiece. You captured it so well.

I had no idea it was coming and sitting in the cinema it was a beautiful thing to watch and experience for the first time with other fans and I hear it on Spotify almost daily. I'm sure you're very proud of your performance but as I'm sure you know, us Metallica fans hold that song very close to our hearts, much like you do, and you did Cliff, Ray and Metallica so very proud.

It's something that will live forever in the Metallica community so thank you very much for your contribution, you can be happy knowing millions around the world hold your piece very dear!

Thank you again, I wish you nothing but peace and happiness!

Thank you, too! I had a fun experience when I saw it in the public cinema for the first time. Before the show began, a theater operator (it was a medium-sized art-cinema north of San Francisco) asked the audience who had been to the live shows and I raised my hand among others. The man sitting next to me said that he'd love to get my impression on how the two experiences compared. When my solo happened, he seemed to be enjoying it, and then started looking over at me, and then again, and again, and then finally said, "Hey, wait a minute! Is that you?!" We all had a good laugh with that!

I shed a tear or two during that solo performance. What an outstanding piece of art!

Thank you! Believe it or not, I shed a tear or two putting it together, thinking about Cliff, his family, his buddies, his fans and all those who loved him and whom he loved.

How long did it take to get comfortable enough to play anesthesia in front of thousands of people?

I've been performing for many years, but that was the largest live audience for which I'd ever performed. Previously it was a solo on the BBC that was broadcast live all over the UK while performing for 5000 at the Proms in London.

I had to mentally be ready using my imagination. Oddly, I actually felt rather comfortable once up there doing it. The harder part was in the anticipation. Even worse was when just before the second show, Kory Grow from Rolling Stone interviewed me and informed me that this was only the second time that Lars had ever played it since Cliff died and that the piece was so sacrosanct in the Metallica world. I guess I knew that, but hearing it from him made it a bit more powerful. I had to go sit in a corner and breath, pray, and focus for a few minutes after that...

Can a "pandemic friendly" approach make the arts more accessible to a broader population? Do you think there will be lasting changes in the performances after covid winds down?

As I mentioned in one of my other comments, I think that there will be an even greater appreciation for the uniqueness of the live music experience. If I never have to look at another zoom screen the rest of my life, I think will be very happy about that! Technology pales in comparison to the experience of being with people in the flesh, sharing together in something beautiful.

Arts should be accessible and inclusive for all to participate as they are elemental parts of our humanity!

Are you, perchance, all about that bass? No treble?

I like the treble, too...

How long did it take you to get comfortable with your sound? I’m an aspiring bassist, and I’m so embarrassed and not confident about my sound.

Work to get an easy, resonant tone, which best happens when you are relaxed and not forcing. However, I'm always working to improve my tone, whether through technique or by way of equipment improvements/adjustments. It is a bit of a never-ending process, but one in which there will always be an element of you!

In fact, just last night I was playing duets in my garage with one of my SFS bass colleagues and we traded basses/bows. We each still found our own sound on each other's equipment, which was really wonderful to see.

Can you tell us about your instruments? Do they have any crazy heritage?

I have three acoustic basses that I use. My primary instrument was made in Venice, Italy in the late-1700's, possibly by Domenico Busan, but more likely (in my current opinion) by Giovanni Battista Bodio. They were both working there around that time and bear traits of the typical Venetian style. That bass was owned by Anton Torello, the first bass teacher of the famous Curtis Institute in Philadelpha. I used to own this instrument, but now the San Francisco Symphony owns it, and I get to play on it as long as I work there. Good deal for both of us!

I also own a bass by Enrico Ceruti, made in Cremona, Italy around 1860. This bass extremely rare: it is one of only two basses known to exist by this maker, who was the last of the great Cremonese masters going back to Stradivarius and the Amatis. It has certifications from some of the very top experts in the violin world. One of the experts observed that it also bears evidence of the work of Gaetano Antoniazzi, who apprenticed with the Cerutis and eventually became one of the most important violin makers of the 19th century when he went out on his own. Anyway, this bass is currently in restoration, and has been for the last 18 months, but I look forward to getting it back in the Spring.

I have another bass that I call my "picnic" bass, which was made in Romania a few years ago. Has a good sound and is fun to play, but doesn't have the amazing history of these other two!

What luthier did you entrust the Ceruti restoration work to? That has to be quite a task!

Zachary Martin in Providence, RI. He is one of the very best in the world.

Is the Cremonese bass more of a collector's/historical piece for you? Or are the certain characteristics (sonic or otherwise) that would make you want to use it over your primary?

When I had it before the restoration, it was already a very fine instrument with an exceptional voice. I can't wait to get my hands on it when it is finished. It is much more than a collector's item--it is a truly functional work of art. I will use it along with my big orchestra bass (the Ceruti is quite a bit smaller and easier to play).

If you were to start a company tomorrow, what would you name it and why?

Maybe a social media company called: "We are going to trick you into giving us all your information, sell it to others for our own gain, and while we are at it, seek to manipulate your entire perception of reality so we can control you." Maybe that is too long, but at least it is upfront.

I'm totally amazed with your rendition of Anesthesia: Pulling Teeth. It was the best anyone has ever done. Just one question: what amp and FX did you use and how difficult (or easy) was it to get the sound?

Thanks so much! I go into much detail about this in the most recent edition of Bass World Magazine...it was a journey to try to get the sound, especially because I didn't know much about effects. In short, I used an MXR compressor and preamp, RYRA germanium fuzz, Xotic wah, and a Boss Harmonizer.

Do you get frequent flyer miles for your bass?

Unfortunately, no. And some airlines charge $400 each way to check it as oversize/overweight baggage. It is a real challenge traveling with a bass, but worth it!

What instruments did you learn how to play growing up, and how did you settle on bass?

I started on cello, but kicked and screamed because I didn't want to practice, even though I secretly quite liked playing it. My parents relented and let me drop it and switch to piano and trumpet. I did piano for a few years, which was a so important, and played trumpet through high school. I started playing electric bass when I was 15 and the upright bass when I was 17 because I wanted to pursue playing jazz. I fell in love with the role of the bass, especially the bass playing of Jaco Pastorius, Stanley Clarke, Marcus Miller, Verdine White, Rocco Prestia, Paul Chambers, Ron Carter and many others.

It wasn't until graduate school that I decided to specialize in a classical/orchestral career trajectory. Similar to the role of the bass in funk, jazz, Latin, and other music, I loved how the bass provided this foundation to the ensemble, above which so many layers could be built, and also how it could have a very expressive and effective voice in its own right.

What are the biggest danger zones in the pit for hearing loss and what are the weirdest preventative measures you've seen people take?

Can't say I've seen anything all that weird as most people are smart about using earplugs, whether custom or simple foam. I suppose using the small plastic shields to block some sound seem a little superfluous, but perhaps they work...

What are some of your hobbies outside of playing music?

Well, there is a lot of time spent practicing and rehearsing, but outside of that I love spending time with my family and enjoying the blessings of living in the Bay Area. I recently took my younger daughter up to Drakes Beach to see the glorious elephant seals--what amazing creatures they are!

One of the hobbies I do somewhat regularly is scuba diving, which I only got into a few years back. Next month I'm finally doing my Rescue Diver certification, which I hope I never have to use!

I also enjoy running...well, no, I hate running, but do it because I have to. At least where I live is a beautiful place to run. One of my buddies also got me more into bike riding and we have done a few trips together up Mt. Tam, near where I live. That is intense...though he does it like 3x/week!

Hi Mr. Pingel, thanks for doing this AMA. I've had the pleasure of seeing you a time or two out in CA, and I loved your Vanhal so much that I started taking solo music a lot more seriously. I'm wondering if you've any advice for a post-grad auditioning bassist (or any musician) who's just really not succeeding? The field feels so crammed and competitive at times that I'm really not sure what to do.

It is very competitive and one has to accept that as part of the deal. It was that way when I was auditioning, too, and many times I would lose heart and feel so frustrated and dejected. Auditioning is even worse now in that there are no auditions happening due to the pandemic and everyone is in a holding pattern. However, there is a huge backlog of auditions waiting to happen when this passes. It is a long conversation to have and also would need to look at specifics of why success is not happening at the individual level, so that is difficult to address. At least it isn't as bad as trying too make it professional athletics!

Dude, you absolutely killed it on S&M 2. Your performance was a highlight when I saw it in the theatre. I've wondered what your connection to Cliff was ever since. Could you fill in a bit of back story please?

Sure! I've maintained friendship with some of those in his family, as well as with Robert Trujillo. We all stay in touch and it is wonderful. Cliff's step-sister has even honored me with a position on their wall of fame in the family home. Those performances were the last concerts that Cliff's dad heard, and I'm so happy that I got to know him, and to know that it was moving and so meaningful for him.

Hi Scott, thanks for doing this AMA

This past fall I watched, and was thoroughly amazed by, a collaboration by Green-wood Cemetary and Death of Classical's program To America

I don't know much about classical music and that program kind of blew my socks off. Along with the programs you're doing, it feels like a the pandemic is really helping to push classical music out of the stuffy concert halls full of old white people, a good and liberating consequence.

Where else can you point us to find classical music being performed around the world that we may experience and support?

Classical music is meaningful sound, as are the musics of all cultures. Indeed, what we label as Western Classical music emerged out of Western Europe, where historically many of its inhabitants shared a number of immutable genetic characteristics, but what is wonderful to see is how meaningful the music has been for fellow human beings across the world, and how the art form has been adopted and further developed. In Asia and in South America, Western classical music has been thriving for many years, and many of the top artists in the field have come from those regions of the world. However, even more exciting is how different people integrate some of their own traditional cultural expressions to help it expand and evolve into new forms of beauty and human expression! The San Francisco Symphony is working toward exploring such things with their Currents episodes. I had the great joy of recently recording a piece with the genius Clasisical Indian artist, Zakir Hussain. It was so inspiring and such an honor to get to work with him as I have been listening to his music for years.

If most orchestral parts are bowed, what are some favourites where you get to pluck the strings? I'm guessing Piazzolla's in there, but what else?

hope its Tchaik 4 3rd movement, that ones always so fun for the section, or maybe the bass solo in the Bernstein West Side Story symphonic dances

Yes! Also, there is the Bernstein Age of Anxiety for piano and orchestra--some fun slap bass in there if I remember correctly.

Sound takes a while to travel. In really big orchestras, does it ever sound weird to you? I get you're all following the conductor, but to your ears a drum hit or bassoon note would arrive slightly off tempo to anothet member sitting on the opposite flank, wouldn't it? Would this affect the drive-in setting too?

There's an old saying in the orchestra world regarding conductors: "Be nice to us, or we'll follow you." Heh-heh.

It takes time to get used to an acoustic and how we fit-in in the environment. This issue of delay is particularly problematic for bass players as our instruments can be the slowest to respond and our sound the slowest to travel out into the hall. Therefore there has to be a slight amount of anticipation and playing near the "front" of the beat (this is context-reliant, of course) in order to sound on time and not sluggish and lagging.

For the drive-in, we will all be on microphones, so the sound will be more immediate through the speakers.

What’s your favorite solo piece to perform?

Oh, that is so difficult to say. It changes all the time...in a way, I hope that it is whatever piece I'm doing at the time! That way it will be more meaningful for me and for the audience.

Hey Scott! Congrats from a local (Oakland) who loves the SF Symphony... what an amazing building to hear fantastic art in! I've probably heard you play before!

I was a trumpet player in a really renowned music group, which I abbreviate as "the best marching band in the world" and I'm curious about if your experience can inform mine. Mine was that it's not that different from the circles I grew up in; it's just more focused and disciplined, and everyone was just *really good* at their craft, and really cared. Like, we'd hang out on the weekend and then be asked to perform and they'd *throw the heck down* and do an amazing performance. Could you talk a bit about what your experience has been like? Is it like this professionally where you could have a beer with a person and then they'd stupefy you with their skill?

Yes, many of the most gifted musicians with whom I've worked are also just wonderful, down-to-earth people. Of course there are those who sadly embrace aspects of elitism, but also sometimes some just aren't such social creatures, which is fine, too.

Oh, I have a question. Have you ever beaten your private teacher at an audition? I have, and is that not the weirdest thing EVER?

Can't say that I have. That would perhaps be weird, but also it is important to know that playing and teaching are different skill sets...I imagine Yuna Kim would have beat her coach in a figure skating competition. I wouldn't think too much of that.

What is your favourite pops concert or special guest concert you’ve done other than Metallica?

Natalie Cole was an absolute inspiration and definitely one of my favorites with whom I've ever worked. It was such a joy to work with her...a truly beautiful human being through and through, and the epitome of class and grace. I was fortunate to get to spend some good quality time with her backstage and get to know her a little bit. The world is a lesser place without her.

You're interpretation of Cliff's work was very moving! Thank you so much. It inspired me to pick up my bass and finally figure it out for myself. I've got the first part nailed, and now to tackle when the drums enter.

I read that Kirk was blown away because you 'found Cliff's sound'. What does affirmation like that do for someone like yourself who has already taken their craft so far?

That was such a great boost coming from him. He also commented on how he was impressed I was able to get so close to his sound using such different equipment. Super cool!

Which double bass classical concerto is performed more in your town? (Vanhal, Dittersdorf, or other?)

Perhaps my favorite classical concerto is the Vanhal--it is very beautifully crafted and he was indeed a fine composer. I also like the Pichl concerto, which is a wonderful piece to do with freshmen students as it is good for teaching different rhythms, positioning (using the thumb both above and below the octave harmonic), and building strength in engaging the string in the upper-half of the bow (particularly some of the dotted-rhythms in the first movement). I like Dittersdorf, too, but some of it is very awkward with 4ths tuning and most people aren't inclined toward the impracticality of setting up their instrument for Viennese tuning.

Hey Scott! Loved your performances at ISB, Question: When do you think American orchestras will be able to hold auditions again AND do you think the effects of the pandemic will be taken advantage of by administration to try and downsize their orchestras? thank you

I hope to see auditions resuming in the summer or the fall. Sadly, some orchestras may see opportunistic reductions happen in one way or another, though the San Francisco Symphony board and management have stated to us their commitment to maintaining the size of our orchestra. However, it will take some time to fill the many vacant positions we now have, so in a way, there will be defacto reductions that should only be temporary. The operative word is should.

Which song was the most fun to play with Metallica?

Anesthesia. Heh-heh.

Master of Puppets and For Whom the Bell Tolls pretty awesome (those go back to my youth), also Wherever I May Roam. It was all a blast.

What are one or two of the most technically challenging pieces you have played?

Two of the most challenging that I've performed were pieces that I arranged and hope to publish soon: my arrangements of the Andante Amoroso from the Lyric Suite by Alban Berg, and "Trout" Variations by Franz Schubert. I'm working on re-learning Allegro di Concerto alla Mendelssohn by Bottesini and it is quite challenging! Also, Schubert's Arpeggione Sonata has a few spots that are exceptionally difficult.

How are the orchestras handling safety and social distancing? Specifically for wind instruments which can't practically wear masks for an entire performance and become Corona Cannons^tm when playing.

San Francisco Symphony is not doing any live performances other than very small chamber music events. The recording projects we are doing have limited numbers of people in the same room, distanced. Any wind players are recorded individually in a completely separate room.

How has your perspective on live music and performance changed, if at all, post pandemic?

I think it will take some time before we get back to fully large-scale public performances. However, sometimes we don't know what we've got until it is gone, and I have seen such a yearning for live music and shared experiences...I think there will be an even greater appreciation for this thing that is so special and perhaps it won't be so taken for granted. The live experience can never be replaced.

What do you think about a classical music player who also plays jazz and a jazz player who also plays classical music?

It is all music, so the question will be what you want to do with it. To be a top-notch classical player or a top-notch jazz player, you will probably need to specialize. The art forms both deserve and demand an immense amount of commitment. I was once a jazz player who played classical, but in graduate school switched to a classical player who played jazz...it was a matter of focus and intent.

How to keep motivated? (Cumpliments from Portugal!)

I've performed in Portugal (Lisbon)! I loved being there and had such a wonderful time.

Staying motivated mostly will come from within, and from within seeking inspiration that may be without. Finding sources of inspiration, setting goals for yourself, and having outlets to share the fruits of your labors are all powerful motivating factors. The common denominator in all of it, however, is yourself.

Oh, nice. Have you met any portuguese double bass players or any bassist that plays in Portugal?

I was only there for two days, so not enough to see the city and get to know any of the players. I hope to be back one day!

Did you get the hang out with Metallica much?

I got to hang out with them a little, though not with James so much as he was going through some tough times then. The person I hung out with the most was Robert Trujillo, including closing the 2am club together in Mill Valley...

Lars had a fun party at his house after the last show, and I think I left around 5am.

What is your best advice that I could relay to my family member currently in grad school for bass performance?

Do it because you love it and it is worth it to you..even if you have to take a "regular" job on your way. At one point after grad school I was even mowing lawns...

I don't have any questions, but this is weird for me. I guess I never really thought people from the San Francisco Symphony were actually alive...? I strangely thought you guys were all robots. As a super young child we always had field trips to the symphony and we'd just listen to the songs played. We also had a lot of like... People coming to my elementary school to talk about different instruments and playing them.

I always thought that it was super boring, but it was a good escape from class. Now, I think it's amazing that people really dedicate their lives to instruments, I just find that so weird to me for some reason? It certainly stands out from a lot of jobs that common folks have.

I thank the San Francisco Symphony for being my yearly escape from learning how to divide.

I love this. I actually thought classical music was so boring when I was younger, too! There were some things I liked a little, but mostly boring. But as I got older, I began to appreciate it and even need it.

Any thoughts on the german bow?

Have fun in San Diego when you get here.

Lots of nice things to see and places to have a picnic.

My thoughts are that the German bow is awesome. I'm a closet German bow player...

How challenging is playing Metallica's arrangements, compared to classical music?

Metallica is much louder!

What’s the most beautiful venue that you’ve played in?

Acoustically, I love playing I the Philharmonie in Berlin, but it isn't exactly the most beautiful looking place. It reminds me of those sand crawlers the Jawas drove in Star Wars.

Aesthetically, the hall in Barcelona is very beautiful, as are the Concertgebouw, Carnegie, Severance Hall in Cleveland, and Symphony Hall in Boston. The concert hall in Kansas City has an amazing view and a wonderful acoustic, and is another special place.

Will mainly Mozart be a virtual experience as well? I’d buy it and watch it

Not at this point as that would involve another layer of production that is outside our budget for now. It will however be recorded audio and some video, and therefore will likely show up in one form or another in rebroadcast.

Do you listen to a lot of classical music when you're not performing?

I love so many different kinds of music and Western classical music is one of them. Yet, even within that large genre are many so many different styles, and sometimes I just love listening to Italian arias from the 19th century, or French vocal music (in Latin) from the 15th century, or German instrumental music from the early 20th century. But, I also listen to many other kinds of music, from Indian Classical, to African Christian music, to jazz, funk, Latin. There is so much to hear and learn!