In 1918 Baby Dodds (Warren "Baby" Dodds, circa 1898–1959), playing on riverboats with Louis Armstrong on the Mississippi, was modifying the military marching set-up and experimenting with playing the drum rims instead of woodblocks, hitting cymbals with sticks (1919), which was not yet common, and adding a side cymbal above the bass drum, what became known as the ride cymbal. Drum maker William Ludwig developed the "sock" or early low-mounted high-hat after observing Dodd's drumming. Ludwig noticed that Dodd tapped his left foot all the time. Dodds had Ludwig raise the newly produced low hats 9 inches higher to make it easier to play, thus creating the modern hi-hat cymbal.[12] Dodds was one of the first drummers to also play the broken-triplet beat that became the standard pulse and roll of modern ride cymbal playing. Dodds also popularized the use of Chinese cymbals.[13]
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There are several reasons for this division. When more than one band plays in a single performance, the drum kit is often considered part of the backline (the key rhythm section equipment that stays on stage all night, which often also includes bass amps and a stage piano), and is shared between/among the drummers. Oftentimes, the main "headlining" act will provide the drums, as they are being paid more, possibly have the better gear, and in any case have the prerogative of using their own. Sticks, snare drum and cymbals, and sometimes other components, are commonly swapped though, each drummer bringing their own. The term breakables in this context refers to whatever basic components the "guest" drummer is expected to bring. Similar considerations apply if using a "house kit" (a drum kit owned by the venue, which is rare), even if there is only one band at the performance.
Drummers using electronic drums, drum machines, or hybrid acoustic-electric kits (which blend traditional acoustic drums and cymbals with electronic pads) typically use a monitor speaker, keyboard amplifier or even a small PA system to hear the electronic drum sounds. Even a drummer playing entirely acoustic drums may use a monitor speaker to hear her drums, especially if she is playing in a loud rock or metal band, where there is substantial onstage volume from huge, powerful guitar stacks. Since the drum kit uses the deep bass drum, drummers are often given a large speaker cabinet with a 15" subwoofer to help them monitor their bass drum sound (along with a full-range monitor speaker to hear the rest of their kit). Some sound engineers and drummers prefer to use an electronic vibration system, colloquially known as a "butt shaker" or "throne thumper" to monitor the bass drum, because this lowers the stage volume. With a "butt shaker", the "thump" of each bass drum strike causes a vibration in the drum stool; this way the drummer feels their beat on the posterior, rather than hears it.
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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]
The guitar gives you a vintage tone that is delivered by the 3 custom Jaguar single-coil pickups with notched claw shielding rings. Single coils have been around for long and are quite simple. They give you a bright and focused sound. This is truly a unique bass guitar that known as baritone guitar too. You will surely fall in love with the music of the guitar that provided with gritty and low tone sound. It has updated its baritone classics also.

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In some cases, to play the bass through PA amplification, it is plugged into a direct box or DI, which routes the signal to the bass amp while also sending the signal directly into a mixing console, and thence to the main and monitor speakers. When a recording of bass is being made, engineers may use a microphone set up in front of the amplifier's speaker cabinet for the amplified signal, a direct box signal that feeds the recording console, or a mix of both.

Drummers using electronic drums, drum machines, or hybrid acoustic-electric kits (which blend traditional acoustic drums and cymbals with electronic pads) typically use a monitor speaker, keyboard amplifier or even a small PA system to hear the electronic drum sounds. Even a drummer playing entirely acoustic drums may use a monitor speaker to hear her drums, especially if she is playing in a loud rock or metal band, where there is substantial onstage volume from huge, powerful guitar stacks. Since the drum kit uses the deep bass drum, drummers are often given a large speaker cabinet with a 15" subwoofer to help them monitor their bass drum sound (along with a full-range monitor speaker to hear the rest of their kit). Some sound engineers and drummers prefer to use an electronic vibration system, colloquially known as a "butt shaker" or "throne thumper" to monitor the bass drum, because this lowers the stage volume. With a "butt shaker", the "thump" of each bass drum strike causes a vibration in the drum stool; this way the drummer feels their beat on the posterior, rather than hears it.

When a floor tom is added to make a four-piece kit, the floor tom is usually 14" for jazz, and 16" otherwise. This configuration is usually common in jazz, classic rock and rock and roll. Notable users include Ringo Starr in The Beatles, Mitch Mitchell in the Jimi Hendrix Experience, and John Barbata in the Turtles. For jazz, which normally emphasizes the use of ride cymbal, the lack of second hanging tom in a four-piece kit allows the cymbal to be positioned closer to the drummer, making them easier to be struck.


Of all of the genres, jazz and the mainstream commercial genres (rock, R&B, etc.) have the most established and comprehensive systems of instruction and training for electric bass. In the jazz scene, teens can begin taking private lessons on the instrument and performing in amateur big bands at high schools or run by the community. Young adults who aspire to be come professional jazz bassists or studio rock bassists can continue their studies in a variety of formal training settings, including colleges and some universities.
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.
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