Once the basic parameters were established, I reached out to colleagues who are piano teachers or musical directors to get a sense of what models were in highest rotation in the professional world. I also played several models at the National Association of Music Merchants (NAMM) show in January. From there I searched through Amazon, Musician’s Friend, and Sweetwater for available models, then cross-checked that information with manufacturer websites and added anything that was missing. After considering all that information, I decided to limit the price to $500. That was high enough to include several quality-built keyboards that met all (or most) of the criteria without being too pricey. This gave me a list of 21 models from nine different companies.
We all agreed that the keyboard action felt the most like an acoustic piano. It has what Casio calls “tri-sensor scaled hammer action,” which involves the use of three sensors instead of the usual two. This makes the keyboard more responsive with repeated notes because the key doesn’t need to return to its resting position before being struck again. In our testing, this seemed to allow more musicality than just the on/off trigger switch that most synthesizers use. In the transition into the second half of Liszt’s Hungarian Rhapsody No. 2, for instance, the tri-sensor action will allow you to better control the dynamics of the quickly repeated C-sharp.
Drummers use a drum key for tuning their drums and adjusting some drum hardware. Besides the basic type of drum key (a T-handled wrench) there are various tuning wrenches and tools. Basic drum keys are divided in three types which allows tuning of three types of tuning screws on drums: square (most used), slotted and hexagonal. Ratchet-type wrenches allow high-tension drums to be tuned easily. Spin keys (utilizing a ball joint) allow rapid head changing. Torque-wrench type keys are available, graphically revealing the torque at each lug. Also, tension gauges, or meters, which are set on the head, aid drummers to achieve a consistent tuning. Drummers can tune drums "by ear" or, in the 2010s, use a digital drum tuner, which "measures tympanic pressure" on the drumhead to provide accurate tuning.[33]
N 092 Limited series Heavy Google it The man behind this snare drum has been the official drum tech for John Bonham and recently Cindy Blackman of Santana’s fame A generously loud snare Amazing attack and response to any dynamic level Own a piece of history No longer made Offers considered Would prefer to sell locally but will ship of course if sold on ebay Sorry trades are not accepted here We have info on this and many other snares on the official 247drums store
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In the 1980s and beyond, electric bass was used in works by Hans Werner Henze (El Rey de Harlem, 1980; and Il ritorno d'Ulisse in patria, 1981), Harold Shapero, On Green Mountain (Chaconne after Monteverdi), 1957, orchestrated 1981; Alfred Schnittke's Symphony No. 3 (1981); Steve Reich's Electric Counterpoint (1987) and 2x5 (2008), Wolfgang Rihm (Die Eroberung von Mexico, 1987–91), Arvo Pärt (Miserere, 1989/92), Steve Martland (Dance works, 1993; and Horses of Instruction, 1994), Sofia Gubaidulina (Aus dem Stundenbuch, 1991), Giya Kancheli (Wingless, 1993), John Adams (I Was Looking at the Ceiling and Then I Saw the Sky, 1995; and Scratchband, 1996/97), Michael Nyman (various works for the Michael Nyman Band), Mark-Anthony Turnage (Blood on the Floor, 1993–1996), numerous works by Art Jarvinen.[63]
Since 2011 German bass luthier Warwick built several fretless Thumb NT 7 basses for Jeroen Paul Thesseling, featuring a 34-inch (864 mm) scale with subcontra tuning F♯–B–E–A–D–G–C [44][45][46]. Yves Carbonne developed ten- and twelve-string fretless subbass guitars.[47][48][49] In 2017 a 13 string bass tuned Ab00–Gb–Db–B–E–A–D–G–C–F–Bb–Eb–Ab4 was built by Prometeus guitars giving the fullest range to a string instrument allowable by current string technology.
Three sounds (Grand Piano Concert, Grand Piano Modern, and Elec. Piano 1) have dedicated buttons on the control panel. Selecting any of the other 15 sounds requires the player to press the Function button and a corresponding piano key labeled with the name of the sound, such as Vibraphone or Jazz Organ. The keys used for instrument selection are in the middle of the keyboard, starting at middle C, for easy accessibility. Some other keyboards that use this selection method have the selection keys assigned to the bottom octave of the keyboard, which can make changing sounds a bit more difficult because you have to look and reach down to the far left end of the keyboard. If you have a library of sounds on your computer, the Casio Privia PX-160 can be used as a controller by connecting it to your computer via USB.
A unique effect can be created by striking an open hi-hat (i.e., in which the two cymbals are apart) and then closing the cymbals with the foot pedal; this effect is widely used in disco and funk. The hi-hat has a similar function to the ride cymbal. The two are rarely played consistently for long periods at the same time, but one or the other is used to keep the faster-moving rhythms (e.g., sixteenth notes) much of the time in a song. The hi-hats are played by the right stick of a right-handed drummer. Changing between ride and hi-hat, or between either and a "leaner" sound with neither, is often used to mark a change from one passage to another, for example; to distinguish between a verse and chorus.
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The shell almost invariably has a circular opening over which the drumhead is stretched, but the shape of the remainder of the shell varies widely. In the western musical tradition, the most usual shape is a cylinder, although timpani, for example, use bowl-shaped shells.[1] Other shapes include a frame design (tar, Bodhrán), truncated cones (bongo drums, Ashiko), goblet shaped (djembe), and joined truncated cones (talking drum).
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