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Double Bass cello-like sound?

A few months ago i was asked to perform the Cello solo of the Vivaldi Concerto in D minor (Opus 3. NO.11) on bass with orchestra because no capable cellist was available. After the performance i was asked to perform it again in October. Since its a cello solo, i am playing everything an octave higher. The hard part is not all the "runs" or how high the notes are, The hard part is making the bass sound like a cello. I understand that the bass is not a cello and therefore cannot exactly sound like one, but i still have that desire to acchieve a similar sound. Any Advice with strings setup or teqnique...
 
Try using ONLY cello/violin rosin and not so much pressure on the strings. Of course I would not reccomend trying to sound like a cello but as you asked I'll say DON*T DO IT.
You can sound BETTER than a cello on the bass.
I am curious as to what you mean by "like a cello" .
Happy hunting
 
When i said "like a cello" as in the cello sound i basically meant that i want to somewhat play it as a cello Solo, the way in which it was written. I have also noticed when i reherse with the orchestra,the music is somewhat screaming for a tighter sound and also way more bright, Which im not sure that the bass can produce or Should
 
paganinibassist said:
When i said "like a cello" as in the cello sound i basically meant that i want to somewhat play it as a cello Solo, the way in which it was written. I have also noticed when i reherse with the orchestra,the music is somewhat screaming for a tighter sound and also way more bright....

You *can* get a Tight, strong sound acceptable for solos, GARY KARR - style.

Here's an example; watch the Very Slow Bow, very close to the bridge, even during the Really Fast stuff.

(This bassist, Evan, was a Sophomore at U. Mich at the time of this Kennedy Center concert!)

The bass solo is about 30 minutes into this little video:
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Kpo is absoutely right. The only way to get a cello like sound is to play as close to the bridge as possible, and make sure the is bow hair is completely flat on the string. Less rosin helps, and you need to have great vibrato in the upper register.
 
Might it be healthier to want a 'brighter sound' or 'clearer sound' or perhaps a more 'vocal' sound instead of trying to use the wrong tool? Why not record a rehearsal and critique your sound with no thought of the cello, rather playing the beans out of the passage with the instrument that you're playing?

Edgar Meyer talks about this a bit in the liner notes for the Cello Suites CD. Mentions that the thicker and slower sound of the bass bringing out a different perspective on the suites rather than bemoaning that he wasn't on a cello.

Just a thought.