How many bassists do we need on this gig?

I've often wondered what the "perfect" balance or even the "normal" balance of bassists is in an ensemble. Obviously, this is a quirk of orchestral music,where more than one person is playing the same part in a section. If only one person plays on the part, he or she just needs to adjust their volume in order to balance with the rest of the ensemble. I have to admit that there is a lot of freedom to make artistic choices when you are by yourself, including the proper balance of bass with the rest of the ensemble.

In my opinion, a perfect bass section, or any section for that matter, plays exactly together and at the same volume with a similar tone. Not exact clones, but just enough complimentary difference in instruments to create a singular but complex sound. However, there are certain realities that cannot be overcome by the finest players. For example, if there is any ambiguity of the beat, it's usually best for the principal to take charge and play somewhat louder and have the rest of the section play quietly and behind the beat. I always hate it when this happens, but the alternative of a train wreck is much worse. Hopefully, these moments are rare and are cleared up in rehearsal.

Before getting back to my original subject about the size of bass sections, I'd like to preface with an explanation of ratios. I'll use the standard method of "1st violins/2nd violins/violas/cellos/basses", so it might look like "10/9/8/7/6", meaning that there are 6 basses in the section.

Here are some examples of orchestras that I have worked with that have somewhat established ratios:

Grant Park Orchestra:15/13/8/8/7
Elgin Symphony:12/12/7/7/6
Lake Forest Symphony:10/9/8/8/5
Lyric Opera: 12?/12?/9?/7/6

Some ratios are hard to pin down, because some orchestras have a staff of players larger than what is needed all the time. Also, many pieces are played with reduced string sections for various reasons. Normally the Chicago Symphony plays with 8 bassists, but they have 9 on staff. I've played with them when they have used 10 when a composer specified a 10-way divisi in the bass part. (I'll address the merits of that another time.) Often times, when the music is from the classical period, the sections are pared back a bit to perhaps 8/8/6/5/4, and if it's baroque, it might just be 6/6/4/4/2.

It seems like the bass sections tend to be half or "one-less-than-half" of the 1st violins. "One-less-than-half" becomes an very odd ratio as the sections get smaller, but as they say,"the proof is in the pudding" or something like that. Sometimes the piece doesn't need a silky sound of many basses playing quietly, but needs a clear but quiet rhythmic bass line. Sometimes, the hall will favor the bass, sometimes the conductor hates bass, and sometimes some bass players play louder than others.

Last May, this subject of ratios seemed open for debate when I played with the Chicago Opera Theatre last spring. The company presented Mozart's "Don Giovanni" with 6/5/4/3/2, not including extra musicians used in an onstage part.(I was very happy to do the 1-minute long bit onstage.) They also presented the opera "A Flowering Tree" by John Adams, The piece was conducted by John Adams himself, so I believe the ratio of 8/7/6/6/6 was what he wanted. John Adams has a son who plays bass, so maybe he likes bass. Also,his music is rhythmically driven and his bass parts tend to play that way. I've also found a tendency for ballet conductors to request more basses or have the basses play louder, perhaps to get the dancers to follow the music more.

I'd like to hear your comments, and I'd really like to hear about actual ratios. Tell who, what and perhaps, why.