Tim Eckert's job requires a light touch and a mensuration of heavy lifting.
As a routine classical musician, he lugs a 40-pound double bass from business district Los Angeles to Century City to Azusa and points in between.
"In the most reductionist price, I am paid to come in with my bass and play these notes," he said, transactions before descending, tuxedo-clad, into the orchestra pit at the Dorothy Chandler Pavilion. "We ar the laborers."
Eckert's quotidian illustrates how the business of producing beautiful sounds can
