1956 saw the appearance at the German trade fair "Musikmesse Frankfurt" of the distinctive Höfner 500/1 violin bass made using violin construction techniques by Walter Höfner, a second generation violin luthier.[18] The instrument is often known as the "Beatle Bass", due to its endorsement and use by Beatles bassist Paul McCartney. In 1957 Rickenbacker introduced the model 4000 bass,[19] the first bass to feature a neck-through-body design in which the neck is part of the body wood. The Fender and Gibson versions used bolt-on and glued-on necks.
As with any instrument, the perfect digital piano for you is going to be based on one part function and two parts preference. It doesn't matter if you're a beginner or a master pianist: the first step to your new digital piano is simply to decide which one suits you best. With that accomplished, you're well on your way to making the next step in your career with a brand new instrument you can truly call your own
With rock and roll coming into place, a watershed moment occurred between 1962 and 1964 when the Surfaris released "Wipe Out", as well as when Ringo Starr of The Beatles played his Ludwig kit on American television. As rock moved from the nightclubs and bars and into stadiums in the 1960s, there was a trend towards bigger drum kits. The trend towards larger drum kits took momentum in the 1970s with the emergence of progressive rock. By the 1980s, widely popular drummers like Billy Cobham, Carl Palmer, Nicko McBrain, Phil Collins, Stewart Copeland, Simon Phillips and Neil Peart were using large numbers of drums and cymbals. In the 1980s, some drummers began to use electronic drums.
There are many different types of keyboards available. On the lower end are keyboards that you’d find in a toy store, while music stores have keyboards that are more fully-featured and intended for serious musicians and producers. These types of keyboards are commonly loaded with different voices, tones, rhythms, and sound effects to give a player or producer a lot of control over their sound. Within this type of keyboard, you’ll find synthesizers and MIDI controllers. Another differentiator among keyboards is the number of keys. Some keyboards have fewer than the traditional 88 keys you’d find on a digital piano. This allows certain keyboards to be more compact and generally doesn’t impact the ability for the player to create music. While some keyboards have keys that are weighted, many do not. This means that keyboards do not move or react like piano keys.
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The meanings of both numbers and letters vary from manufacturer to manufacturer, and some sticks are not described using this system at all, just being known as Smooth Jazz (typically a 7N or 9N) or Speed Rock (typically a 2B or 3B) for example. Many famous drummers endorse sticks made to their particular preference and sold under their signature. Besides drumsticks, drummers will also use brushes and rutes in jazz and similar softer music. More rarely, other beaters such as cartwheel mallets (known to kit drummers as "soft sticks") may be used. It is not uncommon for rock drummers to use the "wrong" (butt) end of a stick for a heavier sound; some makers produce tipless sticks with two butt ends.
The sound of electronic drums and cymbals themselves is heard by the drummer and possibly other musicians in close proximity, but even so, the foldback (audio monitor) system is usually fed from the electronic sounds rather than the live acoustic sounds. The drums can be heavily dampened (made to resonate less or subdue the sound), and their tuning and even quality is less critical in the latter scenario. In this way, much of the atmosphere of the live performance is retained in a large venue, but without some of the problems associated with purely microphone-amplified drums. Triggers and sensors can also be used in conjunction with conventional or built-in microphones. If some components of a kit prove more difficult to "mike" than others (e.g., an excessively "boomy" low tom), triggers may be used on only the more difficult instruments, balancing out a drummer's/band's sound in the mix.
The fretless comes with smooth wood as you would get on an upright bass or violin. Though many assume this may be the best to use, but the sound quality entirely depends on your finger position. This is why the skilled players depend on the memory of their muscles for perfect positioning of their hands. Nevertheless, the more you practice, the better you’ll get.

As the music of the world was evolving, so was the drum set. Tom-tom drums, small crash cymbals, Chinese cymbals and hi-hat cymbals were added to the drum set. The hi-hats were the primary way for the drummers of the big band era to keep time. Before 1930, while playing the New Orleans jazz and Chicago styles, drummers would choke the cymbals on the "ands" of eighth note figures as an alternative to playing a buzz roll, the rim of the drums, or on the woodblocks to keep time. This muting method of keeping time by choking the crash and china cymbals proved to be awkward, so the drummers of that time came up with the idea of having a foot-operated cymbal. This resulted in the creation of the snowshoe cymbal, a foot-operated cymbal. It enabled drummers to play the eighth note figures between the right and left foot, improving the ergonomics and facility of drumset playing and helping drummers to keep a more steady rhythm.
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]
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!

When you need the low-end, Dean Guitars brings the bass. The bass guitar truly is the unglorified leader of the group. Here at Dean, we have a deep understanding of the intricacies involved in the design and construction process. Through that process, we have fine-tuned the needs of today's modern bass player. The point being, whatever your bass needs, Dean Guitars is sure to have a choice like no other. Count on us to make sure your musical path is well traveled. Get Your Wings today!


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.
Microphones ("mics") are used with drums to pick up the sound of the drums and cymbals for a sound recording and/or to pick up the sound of the drum kit so that it can be amplified through a PA system or sound reinforcement system. While most drummers use microphones and amplification in live shows in the 2010s, so that the sound engineer can adjust and balance the levels of the drums and cymbals, some bands that play in quieter genres of music and that play in small venues such as coffeehouses play acoustically, without mics or PA amplification. Small jazz groups such as jazz quartets or organ trios that are playing in a small bar will often just use acoustic drums. Of course if the same small jazz groups play on the mainstage of a big jazz festival, the drums will be mic'ed so that they can be adjusted in the sound system mix. A middle-ground approach is used by some bands that play in small venues; they do not mic every drum and cymbal, but rather mic only the instruments that the sound engineer wants to be able to control in the mix, such as the bass drum and the snare.
The type of shell also affects the sound of a drum. Because the vibrations resonate in the shell of the drum, the shell can be used to increase the volume and to manipulate the type of sound produced. The larger the diameter of the shell, the lower the pitch. The larger the depth of the drum, the louder the volume. Shell thickness also determines the volume of drums. Thicker shells produce louder drums. Mahogany raises the frequency of low pitches and keeps higher frequencies at about the same speed. When choosing a set of shells, a jazz drummer may want smaller maple shells, while a rock drummer may want larger birch shells. For more information about tuning drums or the physics of a drum, visit the external links listed below.
These keyboards are perfect for any student, child to elder, who is interested in learning how to play piano. They are inexpensive, have built-in speakers so an extra amplifier isn’t necessary, and include multiple piano sounds and simulated acoustic-piano action (aka “key feel”). These keyboards are relatively light—all our picks weigh around 26 pounds—so it’s possible for one person to carry the piano when necessary.

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).

Since the 1960s, the bass guitar has largely replaced the double bass in popular music as the bass instrument in the rhythm section.[7] While types of basslines vary widely from one style of music to another, the bassist usually plays a similar role: anchoring the harmonic framework and establishing the beat. Many styles of music include the bass guitar, including rock, heavy metal, pop, punk rock, country, reggae, gospel, blues, symphonic rock, and jazz. It is often a solo instrument in jazz, jazz fusion, Latin, technical death metal, funk, progressive rock and other rock and metal styles.
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.
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The next thing that you need to consider is whether the bass guitar has frets or not. Having bass guitar with frets makes it quite easier to play and one will be able to produce a more consistent tone. The advantage of going with a fretless bass is that it will produce a more unique sound. It is also best to produce the vibrato effect that you hear often in the popular musical styles like Funk and Jazz. As a beginner, you can start out with a bass with frets.


Bass solos are performed using a range of different techniques, such as plucking or fingerpicking. In the 1960s, The Who's bassist, John Entwistle, performed a bass break on the song "My Generation" using a plectrum. He originally intended to use his fingers, but could not put his plectrum down quickly enough.[citation needed] This is considered as one of the first bass solos in rock music, and also one of the most recognizable. Led Zeppelin's "Good Times Bad Times", the first song on their first album, contains two brief bass solos, occurring after the song's first and third choruses. Queen's bassist, John Deacon, occasionally played bass solos, such as on the song "Liar". Metallica's 1983 debut Kill Em All includes the song "(Anesthesia) Pulling Teeth," consisting entirely of a bass solo played by Cliff Burton.
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Eight and twelve-string models are both built on the same "course string" concept found on twelve-string guitars, where sets of strings are spaced together in groups of two or three that are primarily played simultaneously. These instruments typically have one of the strings in each course tuned an octave above the 'standard' string, although a fifth above is also used. Instruments with ten and fifteen strings, grouped in five courses, also exist, as do "extended-range basses" or ERBs with non-coursed string counts rivaling those of coursed-string basses.
In "miking" a drum kit, dynamic microphones, which can handle high sound-pressure levels, are usually used to close-mic drums, which is the predominant way to mic drums for live shows. Condenser microphones are used for overheads and room mics, an approach which is more common with sound recording applications. Close miking of drums may be done using stands or by mounting the microphones on the rims of the drums, or even using microphones built into the drum itself, which eliminates the need for stands for these microphones, reducing both clutter and set-up time, as well as isolating them.
The late Bernard Edwards, bass player with the Disco group Chic, was known to use a technique called chucking to pluck the bass strings with the forefinger of his right hand, in a manner similar to how strings are plucked with a plectrum.[58][not in citation given] Chucking uses the soft part of the forefinger and the nail of the forefinger to alternately strike the string in an up-down manner. The thumb supports the forefinger at the first joint, as though using an invisible plectrum. With a flexible wrist action, chucking facilitates rapid rhythmic sequences of notes played on different strings, particular notes that are an octave apart. Chucking is distinguished from plucking in that the attack is softer with a sound closer to that produced by the use of fingers. Chucking allows a mix of plucking and finger techniques on a given song, without having to take up or put down a plectrum. Examples of Edwards’ use of chucking on his Music Man Stingray bass can be heard on the intro and solo section of "Everybody Dance" and the foundation bass line of "Dance Dance Dance".
The late Bernard Edwards, bass player with the Disco group Chic, was known to use a technique called chucking to pluck the bass strings with the forefinger of his right hand, in a manner similar to how strings are plucked with a plectrum.[58][not in citation given] Chucking uses the soft part of the forefinger and the nail of the forefinger to alternately strike the string in an up-down manner. The thumb supports the forefinger at the first joint, as though using an invisible plectrum. With a flexible wrist action, chucking facilitates rapid rhythmic sequences of notes played on different strings, particular notes that are an octave apart. Chucking is distinguished from plucking in that the attack is softer with a sound closer to that produced by the use of fingers. Chucking allows a mix of plucking and finger techniques on a given song, without having to take up or put down a plectrum. Examples of Edwards’ use of chucking on his Music Man Stingray bass can be heard on the intro and solo section of "Everybody Dance" and the foundation bass line of "Dance Dance Dance".
There are many varieties of picks available, but due to the thicker, heavier strings of the electric bass, bassists tend to use heavier picks than those used for electric guitar, typically ranging from 1.14 mm–3.00 mm (3.00 is unusual). Different materials are used for picks, including plastic, nylon, rubber, and felt, all of which produce different tones. Felt and rubber picks sound closer to a fingerstyle tone.
In the two-handed tapping styles, bassists use both hands to play notes on the fretboard by rapidly pressing and holding the string to the fret. Instead of plucking or picking the string to create a sound, in this technique, the action of striking the string against the fret or the fretboard creates the sound. Since two hands can be used to play on the fretboard, this makes it possible to play interweaving contrapuntal lines, to simultaneously play a bass line and a simple chord, or play chords and arpeggios. Bassist John Entwistle of The Who tapped percussively on the strings, causing them to strike the fretboard with a twangy sound to create drum-style fills.[citation needed] Players noted for this technique include Cliff Burton, Billy Sheehan, Stuart Hamm, John Myung, Victor Wooten, Les Claypool, Mark King, and Michael Manring. The Chapman Stick and Warr Guitars are string instruments specifically designed to play using two-handed tapping.
All of these are classified as non-pitched percussion, allowing for the music to be scored using percussion notation, for which a loose semi-standardized form exists for both the drum kit and electronic drums. The drum kit is usually played while seated on a stool known as a throne. While many instruments like the guitar or piano are capable of performing melodies and chords, most drum kits are unable to achieve this as they produce sounds of indeterminate pitch.[6] The drum kit is a part of the standard rhythm section, used in many types of popular and traditional music styles, ranging from rock and pop to blues and jazz. Other standard instruments used in the rhythm section include the piano, electric guitar, electric bass, and keyboards.
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.
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No matter which digital piano you choose, you're in for something special. The instruments found on these pages all offer different features, so take a few minutes to think about your needs as a musician and go from there. Whether you go with a higher-end stage piano like the top-selling KAWAI MP11 Professional Piano or a student model Yamaha's NP12 61-Key Entry-Level Piaggero Ultra-Portable Digital Piano, any digital pianos here will enhance your musical journey.
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