The fretting hand can also be used to sound notes, either by plucking an open string with the fretting hand, or, in the case of a string that has already been plucked or picked, by "hammering on" a higher pitch or "pulling off" a finger to pluck a lower fretted or open stringed note. Jazz bassists use a subtle form of fretting hand pizzicato by plucking a very brief open string grace note with the fretting hand right before playing the string with the plucking hand. When a string is rapidly hammered on, the note can be prolonged into a trill.

Drum bags are made from robust cloth such as cordura or from cloth-backed vinyl. They give minimal protection from bumps and impacts, but they do protect drums and cymbals from precipitation. They are adequate for drums transported in private vehicles to go to local gigs and sessions. They are often the only option for young drummers who are just starting out.
In addition to the keyboard by itself, there are different bundles available on Amazon. A Beginners Bundle includes the CS-67 stand, SP-33 pedal board, CB7 bench, and a polish cloth. The Essentials Bundle comes with a padded bench, X-stand (not a double-X like we recommend), and a pair of headphones. It’s nice that the bundles are there, but I’d suggest buying things separately to make sure you get what you need and nothing unnecessary.
A drum solo is an instrumental section that highlights the virtuosity, skill and musical creativity of the drummer. While other instrument solos such as guitar solos are typically accompanied by the other rhythm section instruments (e.g., bass guitar and electric guitar), for most drum solos, all the other band members stop playing so that all of the audience's focus will be on the drummer. In some drum solos, the other rhythm section instrumentalists may play "punches" at certain points–sudden, loud chords of a short duration. Drum solos are common in jazz, but they are also used in a number of rock genres, such as heavy metal and progressive rock. During drum solos, drummers have a great deal of creative freedom, and drummers often use the entire drum kit. In live concerts, drummers may be given long drum solos, even in genres where drum solos are rare on singles.
A common feature of more expensive basses is "neck-through" construction. Instead of milling the body from a single piece of wood (or "bookmatched" halves) and then attaching the neck into a pocket (so-called "bolt-on" design), neck-through basses are constructed first by assembling the neck, which may comprise one, three, five or more layers of wood in vertical stripes, which are longer than the length of the fretboard. To this elongated neck, the body is attached as two wings, which may also be made up of several layers. The entire bass is then milled and shaped. Neck-through construction advertisements claim this approach provides better sustain and a mellower tone than bolt-on neck construction. While neck-through construction is most common in handmade "boutique" basses, some models of mass-produced basses such as Ibanez's BTB series also have neck-through construction. Bolt-on neck construction does not necessarily imply a cheaply made instrument; virtually all traditional Fender designs still use bolt-on necks, including its high-end instruments costing thousands of dollars, and many boutique luthiers such as Sadowsky build bolt-on basses as well as neck-through instruments.
The drum is a member of the percussion group of musical instruments. In the Hornbostel-Sachs classification system, it is a membranophone.[1] Drums consist of at least one membrane, called a drumhead or drum skin, that is stretched over a shell and struck, either directly with the player's hands, or with a percussion mallet, to produce sound. There is usually a resonance head on the underside of the drum, typically tuned to a slightly lower pitch than the top drumhead. Other techniques have been used to cause drums to make sound, such as the thumb roll. Drums are the world's oldest and most ubiquitous musical instruments, and the basic design has remained virtually unchanged for thousands of years.[1]
Palm-muting is a widely used bass technique. The outer edge of the palm of the picking hand is rested on the bridge while picking, and "mutes" the strings, shortening the sustain time. The harder the palm presses, or the more string area that is contacted by the palm, the shorter the string's sustain. The sustain of the picked note can be varied for each note or phrase. The shorter sustain of a muted note on an electric bass can be used to imitate the shorter sustain and character of an upright bass. Palm-muting is commonly done while using a pick, but can also be done without a pick, as when doing down-strokes with the thumb.

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Casio definitely thought about the student/teacher relationship when designing the PX-160. It has a duet play mode, which splits the keyboard into two halves. Each half is the same octave range (about three and a half octaves per side), so a teacher can demonstrate on one side while the student plays on the other at the same pitch. Two headphone jacks allow both players to use headphones without the need for a splitter. If the speakers are being used, they can also be configured to output sound from the left keyboard side to the left speaker and vice versa.
First of all, it comes with 20 medium jumbo frets. Since the best bass quality can be found in the lower fret numbers, 20 will definitely give you what you seek. It comes with the single coil pickup lines; you get to have a focused as well as a bright sound. Though there will be a little bit of noise as is the case when it comes to the single-line pickups. 
A fill is a departure from the repetitive rhythm pattern in a song. A drum fill is used to "fill in" the space between the end of one verse and the beginning of another verse or chorus. Fills vary from a simple few strokes on a tom or snare, to a distinctive rhythm played on the hi-hat, to sequences several bars long that are short virtuosic drum solos. As well as adding interest and variation to the music, fills serve an important function in preparing and indicating significant changes of sections in songs and linking sections. A vocal cue is a short drum fill that introduces a vocal entry. A fill ending with a cymbal crash on beat one is often used to lead into a chorus or verse.

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In 1929, when the stock market crash resulted in a global depression, one of the things that helped people cope with the trying years was swing jazz music. By the early to mid 1930's, big band swing was being embraced throughout the US, becoming the country's most popular form of music. The other contributing factor to the big band's success during the 1930s was the popularity of radio. The drum kit played a key role in the big band swing sound. Throughout the 1930s Chick Webb and Gene Krupa at the Savoy Ballroom in Harlem, increased the visual and musical driving force of the drummer and their equipment by simply being so popular and in demand- and they ensured that their drum kits became not only functionally developed but dazzling and well designed.[14] Jazz drummers were influential in developing the concept of the modern drum kit and extending playing techniques. Gene Krupa was the first drummer to head his own orchestra and thrust the drums into the spotlight with his drum solos.[citation needed] Others would soon follow his lead.
In piano lingo, “action” describes the way the piano keys feel when you press on them. With a digital piano, the closer the action is to that of an acoustic piano, the better. Semi-weighted action uses a spring to create the resistance felt when pressing a key and its rebound when you lift your finger. Hammer action uses a hammer mechanism like that found in an acoustic piano to replicate the feel. Graded, or progressive, hammer action takes that a step further by increasing the weight of the action as you descend to the lower notes on the keyboard. Using a keyboard with weighted action is beneficial for multiple reasons. It helps build finger strength while practicing (a spring-based action will only minimally address this), and it allows for more variation and musicality in the way you play a note. While a piano keyboard might look like nothing more than a bunch of on/off switches, in reality there’s a range of volumes and timbres that can be achieved depending on how quickly or strongly you depress the keys. Hammer action best replicates those possibilities.

While fretless basses are often associated with jazz and jazz fusion, bassists from other genres have used fretless basses, such as Freebo (country), Rick Danko (rock/blues), Rod Clements (folk), Steve DiGiorgio, Jeroen Paul Thesseling (metal), Tony Franklin (rock), and Colin Edwin (modern/progressive rock). Some bassists alternate between fretted and fretless basses in performances, according to the type of material or tunes they are performing, e.g., Pino Palladino or Tony Levin.
While fretless basses are often associated with jazz and jazz fusion, bassists from other genres have used fretless basses, such as Freebo (country), Rick Danko (rock/blues), Rod Clements (folk), Steve DiGiorgio, Jeroen Paul Thesseling (metal), Tony Franklin (rock), and Colin Edwin (modern/progressive rock). Some bassists alternate between fretted and fretless basses in performances, according to the type of material or tunes they are performing, e.g., Pino Palladino or Tony Levin.

Another design consideration for the bass is whether to use frets on the fingerboard. On a fretted bass, the metal frets divide the fingerboard into semitone divisions (as on an electric guitar or acoustic guitar). Fretless basses have a distinct sound, because the absence of frets means that the string must be pressed down directly onto the wood of the fingerboard with the fingers, as with the double bass. The string buzzes against the wood and is somewhat muted because the sounding portion of the string is in direct contact with the flesh of the player's finger. The fretless bass lets players use expressive approaches such as glissando (sliding up or down in pitch, with all of the pitches in between sounding), and vibrato (in which the player rocks a finger that is stopping a string to oscillate the pitch slightly). Fretless players can also play microtones, or temperaments other than equal temperament, such as just intonation.
The drum head has the most effect on how a drum sounds. Each type of drum head serves its own musical purpose and has its own unique sound. Double-ply drumheads dampen high frequency harmonics because they are heavier and they are suited to heavy playing.[3] Drum heads with a white, textured coating on them muffle the overtones of the drum head slightly, producing a less diverse pitch. Drum heads with central silver or black dots tend to muffle the overtones even more. And drum heads with perimeter sound rings mostly eliminate overtones (Howie 2005). Some jazz drummers avoid using thick drum heads, preferring single ply drum heads or drum heads with no muffling. Rock drummers often prefer the thicker or coated drum heads.
Virtual drums are a type of audio software that simulates the sound of a drum kit using synthesized drum kit sounds or digital samples of acoustic drum sounds. Different drum software products offer a recording function, the ability to select from several acoustically distinctive drum kits (e.g., jazz, rock, metal), as well as the option to incorporate different songs into the session. Some software for the personal computer (PC) can turn any hard surface into a virtual drum kit using only one microphone.
Of all the instruments in the band, drums and percussions have a role that's one of the most unique - and also one of the most important. When you play the drums, you're setting the pace and creating the song's rhythm. It's up to you to really get your listeners feeling the music. That's a tough challenge, but it's also a fun and rewarding thing to do. Here in this section, you'll find all the drums and percussion essentials to get it done.
The smallest and largest drums without snares, octobans and gong drums respectively, are sometimes considered toms. The naming of common configurations (four-piece, five-piece, etc.) is largely a reflection of the number of toms, as only the drums are conventionally counted, and these configurations all contain one snare and one or more bass drums, (though not regularly any standardized use of 2 bass/kick drums) the balance usually being in toms.

Sticks were traditionally made from wood (particularly maple, hickory, and oak} but more recently metal, carbon fibre and other exotic materials have been used for high market end sticks. The prototypical wooden drum stick was primarily designed for use with the snare drum, and optimised for playing snare rudiments. Sticks come in a variety of weights and tip designs; 7N is a common jazz stick with a nylon tip, while a 5B is a common wood tipped stick, heavier than a 7N but with a similar profile, and a common standard for beginners. Numbers range from 1 (heaviest) to 10 (lightest).
The first fretless bass guitar was made by Bill Wyman in 1961 when he converted a used UK-built ‘Dallas Tuxedo’ bass by removing the frets and filling in the slots with wood putty.[25][26][27] The first production fretless bass was the Ampeg AUB-1 introduced in 1966, and Fender introduced a fretless Precision Bass in 1970. Around 1970, Rick Danko from The Band began to use an Ampeg fretless, which he modified with Fender pickups—as heard on the 1971 Cahoots studio album and the Rock of Ages album recorded live in 1971.[28][29] Danko said, "It's a challenge to play fretless because you have to really use your ear."[30] In the early 1970s, fusion-jazz bassist Jaco Pastorius had the fingerboard of his de-fretted Fender Jazz Bass coated in epoxy resin, allowing him to use roundwound strings for a brighter sound.[31] Some fretless basses have "fret line" markers inlaid in the fingerboard as a guide, while others only use guide marks on the side of the neck.
The placement of the pickup greatly affects the sound, timbre and tone of the instrument. A pickup near the neck joint emphasizes the fundamental and low-order harmonics and thus produces a deeper, bassier sound, while a pickup near the bridge emphasizes higher-order harmonics and makes a "tighter" or "sharper" sound. Usually basses with multiple pickups allow blending of the output from the pickups, with electrical and acoustical interactions between the two pickups (such as partial phase cancellations) allowing a range of tonal and timbral effects.
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.

The fretting hand—the left hand for right-handed bass players and right hand for left-handed bass players—presses down the strings to play different notes and shape the tone or timbre of a plucked or picked note. One fretting technique is a finger per fret, where each finger in the fretting hand plays one fret in a given position, giving the advantage that full chromatic scale of over an octave and a half can be played with no up-down wrist movement. Also, the double bass-style technique can be used for fretting. This technique involves using four fingers in the space of three frets, especially in the lower positions (i.e., the fretting positions closer to the nut, where the space between notes is the widest). When considering the spacing between notes, this is a comfortable distance for the average person's hand size, however it requires more up-down hand movements. The main advantage of the "four fingers in three frets technique is less tendon strain, leading to a diminished likelihood of Repetitive Strain Injury (RSI). The image below (of a bassist performing tapping) shows the four-in-three.


Matt Abts • Alex Acuña • Daniel Adair • Chris Adler • Morgan Agren • Airto • Tommy Aldridge • Rashied Ali • Don Alias • Carl Allen • Cliff Almond • Barry Altschul • Robby Ameen • Scott Amendola • Animal • Charly Antolini • Carmine Appice • Vinny Appice • Kenny Aronoff • Billy Ashbaugh • Mick Avory • Marcel Bach • Colin Bailey • Donald Bailey • Ginger Baker • Jeff Ballard • Alex Bally • Joe La Barbera • Danny Barcelona • Travis Barker • Barriemore Barlow • Joey Baron • Ranjit Barot • Julio Barreto • Ray Barretto • Ray Bauduc • Eddie Bayers • Marcus Baylor • Frank Beard • Carter Beauford • Poogie Bell • Louie Bellson • Frank Bellucci • Brian Bennett • Han Bennink • Joe Bergamini • Tal Bergman • Jon "Bermuda" Schwartz • Ignacio Berroa • Pete Ray Biggin • Curt Bisquera • Gregg Bissonette • Jason Bittner • Roger Biwandu • Dave Black • James Black • Cindy Blackman • John Blackwell • Brian Blade • Hal Blaine • Art Blakey • Jason Bonham • John Bonham • Gergo Borlai • Paul Bostaph • Terry Branam • Dirk Brand • Jimmy Branly • Tom Brechtlein • Amir Bresler • Don Brewer • Gerry Brown • Bill Bruford • Ronald Bruner Jr. • Jack Bruno • Mark Brzezicki • Roy Burns • William Calhoun • Matt Cameron • Clayton Cameron • Gorden Campbell • Teddy Campbell • Tommy Campbell • Emmanuelle Caplette • Danny Carey • Keith Carlock • Bun E. 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Lehrmann • Paul Leim • Stan Levey • Larnell Lewis • Mel Lewis • Victor Lewis • Pete Lockett • Dave Lombardo • Larrie Londin • Hakim Ludin • Andy Lüscher • Ray Luzier • Mike Mangini • Shelly Manne • Brian "Brain" Mantia • Sherrie Maricle • Rick Marotta • Bill Marschall • John Marshall • Billy Martin • Pedrito Martinez • Ken Mary • Harvey Mason • Nick Mason • Pat Mastelotto • Dave Mattacks • Phil Maturano • JoJo Mayer • Marilyn Mazur • Nicko McBrain • Joe McCarthy • George "Spanky" McCurdy • Jason McGerr • Russ McKinnon • Marvin McQuitty • Buddy Miles • Butch Miles • Russ Miller • Marco Minnemann • Mike Mitchell • Mitch Mitchell • Joseph Ziggy Modeliste • Jonathan Moffett • Drori Mondlak • Keith Moon • Eric Moore • Stanton Moore • Steve Moore • Airto Moreira • Joe Morello • Rod Morgenstein • Joe Morris • Paul Motian • Alphonse Mouzon • Jonathan Mover • Don Moye • Moritz Mueller • Idris Muhammad • Larry Mullen Jr. • Narada • Lewis Nash • Sandy Nelson • Andy Newmark • Jost Nickel • Anika Nilles • Gary Novak • Adam Nussbaum • Volkan Öktem • Jamie Oldaker • Nigel Olsson • John Otto • Ian Paice • Carl Palmer • Earl Palmer • Francis Panama • Toss Panos • Chris Parker • Leon Parker • Vinnie Paul • Jim Payne • Sonny Payne • Lee Pearson • Neil Peart • Shawn Pelton • Clarence Penn • Chris Pennie • Armando Peraza • Karl Perazzo • Stephen Perkins • Charli Persip • Ralph Peterson • Pat Petrillo • Simon Phillips • Felix Pollard • Joe Porcaro • Jeff Porcaro • Mike Portnoy • Cozy Powell • Bobby Previte • Thomas Pridgen • Aquiles Priester • Dafnis Prieto • Tito Puente • Bernard "Pretty" Purdie • Alvin Queen • Jeff Queen • Questlove • Johnny Rabb • Tobias Ralph • Stanley Randolph • Rich Redmond • Raul Rekow • Walfredo Reyes • Walfredo Reyes, Jr. • Buddy Rich • Dannie Richmond • Sean Rickman • Alex Riel • Kariem Riggins • Ben Riley • Herlin Riley • Jim Riley • John Riley • Ringo • Chip Ritter • Max Roach • Lil John Roberts • John "J.R." Robinson • Pete LaRoca Sims • Derek Roddy • Mickey Roker • Bobby Rondinelli • Joel Rosenblatt • Tony Royster Jr. • Ilan Rubin • Phil Rudd • Daniel Sadownick • Bobby Sanabria • Antonio Sanchez • Poncho Sanchez • Mongo Santamaria • Robyn Schulkowsky • Mark Schulman • Jon Bermuda Schwartz • Robert "Sput" Searight • Denny Seiwell • Danny Seraphine • Paco Séry • Chad Sexton • Gil Sharone • Ed Shaughnessy • Michael Shrieve • Pete LaRoca Sims • Eric Singer • Zutty Singleton • Chad Smith • Marvin "Smitty" Smith • Nate Smith • Nick Smith • Steve Smith • Ash Soan • Glen Sobel • Ed Soph • Matt Sorum • Richard Spaven • Aaron Spears • David Stanoch • Zak Starkey • John "Jabo" Starks • Ringo Starr • Ronnie Stephenson • Bill Stewart • Nisan Stewart • Clyde Stubblefield • Fredy Studer • Todd Sucherman • James "The Reverend" Sullivan • Grady Tate • Art Taylor • Mel Taylor • Roger Taylor • John Tempesta • Jon Theodore • Aaron Thier • Ed Thigpen • Ian Thomas • Ahmir Questlove Thompson • Chester Thompson • Brian Tichy • Top Secret Drum Corps • Efrain Toro • Pat Torpey • Tico Torres • Dave Tough • Nat Townsley • Ron Tutt • Lars Ulrich • Vadrum Andrea Vadrucci • Christian Vander • Alex Van Halen • Ronnie Vannucci • Nana Vasconcelos • Carlos Vega • Glen Velez • Nicolas Viccaro • Johnny Vidacovich • Jimmy Vincent • Nick D'Virgilio • Wim De Vries • Chad Wackerman • Nasheet Waits • Narada Michael Walden • Bill Ward • Billy Ward • Kenny Washington • Derico Watson • Charlie Watts • Jeff "Tain" Watts • Chick Webb • Dave Weckl • Max Weinberg • Klaus Weiss • Paul Wertico • George Wettling • Alan White • Lenny White • Steve White • Pete Wilhoit • Brad Wilk • Tony Williams • Matt Wilson • Shadow Wilson • Kenny Wollesen • Sam Woodyard • Pete York • Pete Zeldman • Zoro
Fender's Bass Guitar is right at the top of the market, thanks to its robust, buzz-free sound and excellent playability. It features a classic light wood finish that looks great and a graphite-reinforced neck. It also comes with responsive, lightweight tuning pegs that won't slide out of tune easily, as well as a real high-quality bridge that doesn't buzz.
The bass guitar[1] (also known as electric bass,[2][3][4] or bass) is a stringed instrument similar in appearance and construction to an electric guitar, except with a longer neck and scale length, and four to six strings or courses. The four-string bass is usually tuned the same as the double bass,[5] which corresponds to pitches one octave lower than the four lowest pitched strings of a guitar (E, A, D, and G).[6] The bass guitar is a transposing instrument, as it is notated in bass clef an octave higher than it sounds. It is played primarily with the fingers or thumb, by plucking, slapping, popping, strumming, tapping, thumping, or picking with a plectrum, often known as a pick. The electric bass guitar has pickups and must be connected to an amplifier and speaker, to be loud enough to compete with other instruments.

Jump up ^ Information on Dodds is found in his own contemporary journals/biography "The Baby Dodds Story" -Louisiana State University Press, 1992, and by contemporary witness- drummer Gearge Wettling, who confirms Dodds was the first drummer to also keep the now-famous broken-triplet beat that became the standard pulse/roll of what we call ride cymbal playing.
Sample-based digital pianos do have limitations on the faithfulness with which they reproduce the sound of an acoustic piano. These might include the lack of implementation of harmonic tones that result when certain combinations of notes are sounded, limited polyphony, and a lack of natural reverberation when the instrument is played percussively. They often lack the incidental acoustic noises associated with piano playing, such as the sounds of pedals being depressed and the associated machinery shifting within the piano, which some actually consider a benefit. These limitations apply to most acoustic instruments and their sampled counterparts, the difference often being described as "visceral". On an acoustic piano, the sustain pedal lifts the dampers for all strings, allowing them to resonate naturally with the notes played. Digital pianos all have a similar pedal switch to hold notes in suspension, but only high-end models can reproduce the sympathetic resonance effect.
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