The Mandobass is the largest and least common instrument in the mandolin family. It is sometimes used as the bass instrument in mandolin orchestras. Because it is so large, players usually hold it upright, like a double bass, with the help of an endpin that touches the floor. The length of the neck on a full-size Mandobass is about the same as that of a standard double bass, measuring around 43 inches (110 cm). The Mandobass is similar to smaller, higher-pitched mandolin instruments. It has a fretted neck, a headstock with geared tuning machines, and a large body that often—but not always—looks like other mandolins.

Variants

There are three main types of the mandobass:

• The large four-string mandobass has a longer neck and is tuned EADG, similar to a double bass or bass guitar. It was commonly used in American and European mandolin ensembles during the early 20th century. Early versions had large bodies and were often played upright, like a double bass. Later versions had smaller bodies and were designed to be played like a guitar.
• The small four-string mandobass is similar but built on a smaller scale. It is usually tuned either GDAE, two octaves below the mandolin, or CGDA, two octaves below the mandola. While it does not sound as richly as the larger instrument, many players preferred it because it was easier to handle and more portable.
• The eight-string mandobass, also called the "tremolo-bass," is rare. It is built like a mandolin but is much larger. It is tuned either GDAE, two octaves lower than the mandolin, or CGDA, two octaves below the mandola.

History

When mandolin orchestras grew in number, members noticed a challenge: how to add bass to their music. Many mandolin players were unwilling to switch to the contrabass, as they felt its bowed style did not fit with their plucked-string instruments. However, they faced problems: mandolin basses were too quiet, and they could not produce the deep notes of the contrabass. Because of these issues, most mandolin orchestras chose to use the regular contrabass instead of a specialized mandolin bass. The bow on the contrabass helped increase volume during loud parts of music, and it also provided deeper notes.

Up until 1911, the mandolin family of instruments in the United States did not include a true bass. Mandolins became popular in the U.S. starting in the mid-1880s and reached their peak in popularity before 1910. Few people in the U.S. knew about the mando-basses being made in Europe. Minutes from a 1911 meeting of the American Guild of Banjoists, Mandolinists, and Guitarists mentioned that bass mandolins developed in Britain were among the first topics discussed. At this meeting, George D. Laurian of the Gibson Mandolin-Guitar Company announced that his company had created a bass for the mandolin family.

At the Guild’s next meeting in 1912, four companies showed their versions of the mando-bass: Gibson, Leland, Vega, and Wm. C. Stahl. All four companies advertised their instruments, but Gibson was the only one to promote their mando-bass in photos of musicians playing it in groups, highlighting the social side of using the instrument. In the end, the most successful mando-basses were made by Gibson and Vega.

Gibson designed their mandobasses to be played upright or on their side, like a regular mandolin, by adjusting the pins the instrument rested on. Gibson produced mandobasses from 1912 until about 1930. Most surviving mandobasses from this time are Gibsons.

Musical instrument makers created mandobasses in many sizes and shapes. Gibson models were mostly larger versions of the traditional "A" style mandolin (teardrop-shaped), except for their limited-edition "O. Pagani" model, which resembled an orchestral double bass. The Pagani model was one of the few eight-string mando-basses made in the U.S., with four double-strung courses like the European tremolo bass. Vega made both flat-back and humped-back mando-basses (called "cylinder back"), which had a mandolin-like shape but pointed upper parts. Other companies, such as H.F. Meyer, Prairie State, and Wm. C. Stahl, made instruments shaped more like guitars, lutes, or citterns.

By the late 1920s, the popularity of mandolin orchestras declined, and demand for mando-basses dropped. Gibson stopped making them in 1930, and by the mid-1930s, most other companies had also stopped production. No commercial mando-basses were made after 1940, and none are currently (as of 2015) in production. However, some instruments have been privately made, such as one crafted in 1992 by English luthier Robin Greenwood for musician Hilary James.

Tuning and playing

The mando-bass could be tuned in different ways, depending on the size of the instrument, the player's preference, and the type of music being played. The full-sized 4-string mando-bass was often tuned in fourths, the same way as the orchestral double bass: E1, A1, D2, G2. This tuning was common in both America and Europe. Smaller, shorter-scaled mando-basses were usually tuned in fifths, two octaves below the mandolin: G1, D2, A2, E3. In Europe, this tuning was sometimes used even for larger instruments.

The eight-string mando-bass was usually tuned in fifths, either two octaves below the mandolin (G1, D2, A2, E3) or two octaves below the mandola (C1, G1, D2, A2). There is little information about how often this lower tuning was used or in what situations.

When playing the mando-bass, the left hand presses the strings against the neck's surface to create different pitches, just like on other stringed instruments. Because the neck is long and has frets, the way the left hand feels while playing is similar to a modern electric bass guitar.

Like tunings, right-hand playing methods also varied. Photos of the instrument show some players using a traditional mandolin technique with a pick, while others pluck the strings with their fingers, similar to how a double bass is played. Tremolo, or rapidly repeating notes, is possible with both methods, but it is a bit harder than on higher-pitched instruments because the bass strings are thicker.