This piece is made on a practice recording of a solo contrabass work I composed for bassist Kyle Motl. The piece I wrote deals with the subtle nuances and microcosmic spaces among high partials of the fundamentals of the contrabass while E string tuned down to C. Through player's accurate control of physical gestures by moving the bow microtonality around the given nodes, those fragile high partials are able to be generated and be perceived. By making the electroacoustic based on the piece, audiences are able to perceive the difficulties of physical gestures of the bassist while imperceivable by merely watching a live performance and is to obscure the boundary and the limit of the instrumental acoustics and the electroacoustics.