Michael Manring Redefines the Bass in “Enormous Room” Live in Chicago

At Solo Bass Day in Chicago this March, Michael Manring delivered a performance that pushed the instrument far beyond its traditional role. Performing his piece “Enormous Room,” Manring turned the bass into a fully immersive, evolving soundscape. The event took place at Reggies to a packed house, which in itself felt significant. A bass only night, no drums, no chords from another instrument, just low end and imagination, and the room was full. It was encouraging to see that kind of turnout for something this focused and this adventurous.

The lineup also featured John Ferrera, Tim Seisser, and Vinny Kabat, each bringing their own voice to the format. The event was organized by Seisser, who not only performed but helped shape the night into a true celebration of solo bass. It was sponsored by The Bass Spot, a bass focused shop that continues to support and grow the local scene.

But Manring’s set existed in its own space.

No one plays like him. He makes that Zon bass sing in a way that feels less like technique and more like control over the instrument’s entire physical behavior. Throughout the performance, he continuously retuned using multiple detuners, shifting pitch while notes rang out and reshaping the harmonic landscape in real time.  He ran through a Markbass rig with a Boss GT-1000, but the gear almost feels secondary once he starts playing. Harmonics, open strings, and subtle pitch movement carry the music. Notes bloom and decay with a sense of space that feels closer to a piano or harp than a bass guitar.  Time becomes flexible. Groove is not the goal. Instead, he builds a moving environment of sound where resonance and silence matter just as much as the notes themselves.

“Enormous Room” is a perfect example of Manring’s concept of the bass as an orchestral instrument. Tunings evolve mid phrase. Chords appear and dissolve. The instrument feels alive.  It feels like exploration.  For most players, the bass is a map of frets and patterns. Manring approaches it through resonance, physics, and motion.

If you were there, you felt it. If you were not, this performance makes a strong case for what is possible when the instrument is pushed to its outer edge.

If you want to watch the whole evening, you can check it out HERE!