Detuners, such as the Hipshot, are mechanical devices the player operates with the thumb on the fretting hand to quickly retune one or more strings to a pre-set lower pitch. Hipshots typically drop the E-string down to D on a four-string bass.[34] Rarely, some bassists (e.g., Michael Manring) add detuners to more than one string, or even more than one detuner to each string, so they can retune during a performance and access a wider range of chime-like harmonics.

Jump up ^ Tunings such as B–E–A–D (this requires a low "B" string in addition to the other three "standard" strings, and omits the G string), D–A–D–G (a "standard" set of strings, with only the lowest string detuned from E down to D), and D–G–C–F or C–G–C–F (a "standard" set of strings, all of which are detuned either a whole tone, or a whole tone for the three higher-pitched strings and two tones for the E, which is dropped to a low C) give bassists an extended lower range. A tenor bass tuning of A–D–G–C, in which the low E is omitted and a high C is added, provides a higher range.

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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.

For musicians like us that play bass, we never seem to get the recognition we deserve! Without us serving up those intricate grooves or beefy low-end riffs, the sound of our bands just wouldn’t be the same! Here at Sam Ash, we want you to know that we truly appreciate you as a bass player no matter what level you’re at or what style or genre of music you play!


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I then set out to a few local Los Angeles music stores to get my hands on some keys, talk to the store employees who work around these instruments every day, and start to whittle down the list. After contacting manufacturers to request samples and/or to get suggestions on pianos that might better fit our guidelines (or, in one case, to inform us of a model that was being discontinued), the list was narrowed down to seven keyboards.
Electronic drum sets provide a great way to practice without rattling the whole house. These sets provide volume control so you won’t wake up the neighbors, but you can also plug in headphones to achieve a very quiet percussion session. That way only you will feel the noise. Electronic drums make ideal beginning sets, so students who are a little shy to practice out loud can just play to themselves. An extra benefit of electric drum sets is that some come equipped with built-in metronomes to keep you on time.
An acoustic piano produces reverberation in its soundboard and in the room where it is played. Digital pianos often have a feature to electronically simulate reverberation as well. Other digital pianos may have additional reverberation options such as a "stage simulation." Some also have chorus, tremolo, and phaser effects, all of which are generated by digital signal processing.
Trigger pads and drums, on the other hand, when deployed in a conventional set-up, are most commonly used to produce sounds not possible with an acoustic kit, or at least not with what is available. Any sound that can be sampled/recorded can be played when the pad is struck, by assigning the recorded sounds to specific triggers . Recordings or samples of barking dogs, sirens, breaking glass and stereo recordings of aircraft taking off and landing have all been used. Along with the more obvious electronically generated sounds there are synthesized human voices or song parts or even movie audio or digital video/pictures that (depending on device used) can also be played/triggered by electronic drums.

The 88-key Yamaha YPG-535 Portable Grand Piano Keyboard offers you great-feeling graded soft-touch action atop a sturdy, good-looking built-in stand. Its Performance Assistance Technology ensures the Yamaha YPG-535 delivers error-free performances. And the digital piano’s music database provides complete keyboard setups organized by song title. Learn More


The effects, on the other hand, are great, and there are a lot of them: eight different reverbs, eight choruses, and three modulation effects (tremolo, vibrato, or rotary speaker). The keyboard stores your effect settings for each of the 12 sounds in memory, so they’ll be restored when you choose that sound again or turn the keyboard off. These are likely to be less important and useful for a beginner than basic sounds, though effects might appeal to those looking for an inexpensive performance piano.
At Sam Ash, we offer digital pianos for any type of budget. Premium models will offer features like weighted keys, LCD menus for simplified setup, and more after effects such as reverb. With weighted keys, the lower keys feel heavier and the higher keys feel lighter, just like you would find on acoustic models. Higher-end digital pianos will even offer keys made out of wood for a real premium response. Another specification to consider when it comes to choosing your piano is how many notes of polyphony is offered. Polyphony signifies the maximum number of notes that an instrument can produce at one time. If you are interested in layering notes, complex chords, and playing over accompaniment tracks, you should consider a model with higher polyphony. The amount of voices or different types of sounds and the quality of those sounds are also critical features that differentiate digital pianos. These days, most digital pianos offer more than just a traditional grand piano tone. Less expensive models will include four to five presets including strings, harpsichord, and drums. The top-of-the-line digital piano models can offer hundreds of different sounds spanning any genre of music you can think of. Other advanced features on today's best digital pianos include built-in recorders, compatibility with iOS apps for playing along with your favorite songs, and effects that simulate settings like lid positioning and performance venue. Be sure to check out our extensive Digital Piano Buyers Guide and our Digital Pianos: Everything You Need to Know article for further guidance on selecting the perfect digital piano for you.
Over the decades, the possibilities of what a musician can do with a digital piano have grown tremendously. With technology advancing by the second, players are discovering new, innovative ways to manipulate their sound - even beyond the use of volume, expression and sustain pedals. MIDI (short for Musical Instrument Digital Interface) was introduced in the early 1980s and allows digital pianists to connect their instrument to a computer so it can control (or be controlled by) other sequencers and instruments. MIDI digital pianos often have a disk drive to upload other MIDI data. Common effects and instruments that MIDI can offer are: tremolo, phasers, chorus, stringed instruments and drum sounds. Digital Pianos (including models with MIDI connection) are offered by many respected musical instrument brands, with Williams and Yamaha being among the most popular.
On the other hand, perhaps you've worked hard to build your abilities and are finally ready to upgrade your kit to something a little more suitable to your skills. If that's the case, you may be interested in something like the PDP Concept Maple by DW 7-Piece Shell Pack. This pack is fueled by seriously warm depth and range, making it perfect for nearly any musical style. With its versatility, gorgeous looks, and punchy attack, this is a great option for a regularly gigging drummer.
Some digital piano implementations, like Roland V-Piano[2], Yamaha MODUS, Casio Celviano Grand Hybrid, and the software-based Pianoteq,[3] use mathematical models based on real pianos to generate sound, which brings the ability to generate sounds that vary more freely depending on how the keys have been struck, in addition to allow a more realistic implementation of the distinctive resonances and acoustical noises of real pianos.
Something else that you might like to consider is taking a cue from the bassists who have inspired you. Music is an art in which there's no shame in having an idol, and with plenty of signature bass guitars available, you can gear yourself up to follow in legendary footsteps. Take the Fender Jaco Pastorius Fretless Jazz Bass Guitar, for instance. Meticulously modelled after Jaco's own instrument, it carries on his spirit with a fretless design that lets you really unleash your creativity on the stage.
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In the 2010s, some drummers use a variety of auxiliary percussion instruments, found objects, and electronics as part of their "drum" kits. Popular electronics include: electronic sound modules; laptop computers used to activate loops, sequences and samples; metronomes and tempo meters; recording devices; and personal sound reinforcement equipment (e.g., a small PA system to amplify electronic drums and provide a monitor).

Extended-range basses (ERBs) are basses with six to twelve strings—with the additional strings used for range rather than unison or octave pairs. A seven-string bass (B0–E1–A1–D2–G2–C3–F3) was built by luthier Michael Tobias in 1987. This instrument, commissioned by bassist Garry Goodman, was an early example of a bass with more than six single course strings. In 1999 South American ERB player Igor Saavedra designed one of the first eight-string ERBs known, and asked Luthier Alfonso Iturra to build it for him. [38] Conklin builds custom ERB basses.[39] The Guitarbass is a ten-string instrument with four bass strings (tuned E–A–D–G) and six guitar strings (tuned E–A–D–G–B–E).[40] Luthier Michael Adler built the first eleven-string bass in 2004 and completed the first single-course 12-string bass in 2005. Adler's 11- and 12-string instruments have the same range as a grand piano.[41] Subcontrabasses, such as C♯–F♯–B–E (the lowest string, C♯0 being at 17.32 Hz at around the limit of human hearing)[42] have been created. Ibanez had released SR7VIISC in 2009, featuring a 30-inch (762 mm) scale and narrower width, and tuned as B–E–A–D–G–C–E; the company dubbed it a cross between bass and guitar.[43][better source needed]
An LCD readout and a few more buttons on the control panel would go a long way toward making the keyboard’s options easier to use. The metronome function especially could be more user friendly. It has 10 speed presets, labeled 0-9, with a + and – for adjustment. These are selectable with the Function button and a key press. While practicing and deciding on tempo, most students find it more beneficial to know the exact BPM (beats per minute), which is impossible here using the built-in metronome.
Some basses, particularly expensive boutique instruments or custom-made guitars, use more unusual pickup configurations. Examples include a soapbar and a "P" pickup (found on some Fender basses), bassist Stu Hamm's "Urge" basses, which have a "P" pickup sandwiched between two "J" pickups, and some of funk bassist Bootsy Collins' custom basses, which had as many as five J pickups. Another unusual pickup configuration is found on some of the custom basses that virtuoso bassist Billy Sheehan uses, in which there is one humbucker at the neck and a split-coil pickup at the middle position.
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Strumming, usually with finger nails, is a common technique on acoustic guitar, but it is not a commonly used technique for bass. However, notable examples are Stanley Clarke's bass playing on the introduction to "School Days", on the album of the same name[57], and Lemmy who was noted for his use of chords, often playing the bass like a rhythm guitar.


Composers using electric bass include Christian Wolff (Electric Spring 1, 1966; Electric Spring 2, 1966/70; Electric Spring 3, 1967; and Untitled, 1996); Francis Thorne (Liebesrock 1968–69); Krzysztof Penderecki (Cello Concerto no. 1, 1966/67, rev. 1971/72; Capriccio for Violin and Orchestra, 1967); The Devils of Loudun, 1969; Kosmogonia, 1970; and Partita, 1971); Louis Andriessen (Spektakel, 1970; De Staat, 1972–1976; Hoketus, 1976; De Tijd, 1980–81; and De Materie, 1984–1988); Pelle Gudmundsen-Holmgreen (Symfoni på Rygmarven, 1966; Rerepriser, 1967; and Piece by Piece, 1968); and Irwin Bazelon (Churchill Downs, 1970).
However, with the technological advances, recent digital pianos are mostly capable of recreating string resonances, reverberations and other acoustical effects via digital signal processing (DSP) and modeling technology. One example is the Casio Privia, which is able to generate such acoustical effects by means of a simple DSP, which is far less complex than physical modeling.
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