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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In the mid-1970s, Alembic and other boutique bass manufacturers, such as Tobias, produced four-string and five-string basses with a low "B" string. In 1975, bassist Anthony Jackson commissioned luthier Carl Thompson to build a six-string bass tuned (low to high) B0, E1, A1, D2, G2, C3. In comparison with a standard four-string bass, Jackson's six-string adds a low B string and a high C string. These 5 and 6-string "extended-range basses" would become popular with session bassists as they reduced the need for re-tuning to alternate detuned configurations like "drop D", and also allowed the bassist to play more notes from the same position on the fretboard with fewer shifts up and down the fingerboard, a crucial benefit for a session player sightreading basslines at a recording session.
In 1971, Alembic established the template for what became known as "boutique" or "high-end" electric bass guitars. These expensive, custom-tailored instruments, as used by Phil Lesh, Jack Casady, and Stanley Clarke, featured unique designs, premium hand-finished wood bodies, and innovative construction techniques such as multi-laminate neck-through-body construction and graphite necks. Alembic also pioneered the use of onboard electronics for pre-amplification and equalization. Active electronics increase the output of the instrument, and allow more options for controlling tonal flexibility, giving the player the ability to amplify as well as to attenuate certain frequency ranges while improving the overall frequency response (including more low-register and high-register sounds). 1973 saw the UK company Wal begin production of a their own range of active basses, and In 1974 Music Man Instruments, founded by Tom Walker, Forrest White and Leo Fender, introduced the StingRay, the first widely produced bass with active (powered) electronics built into the instrument. Basses with active electronics can include a preamplifier and knobs for boosting and cutting the low and high frequencies.
A midi controller does not have any sounds of its own. It requires a virtual instrument (as a trigger) to produce sounds. So, if you get an acoustic piano virtual instrument, your midi controller will be an acoustic piano. If your virtual instrument is a drum, violin, electric piano etc., your midi controller will be exactly those instruments because it takes its tone from the virtual instrument.
A fully electronic kit is also easier to soundcheck than acoustic drums, assuming that the electronic drum module has levels that the drummer has pre-set in her/his practice room; in contrast, when an acoustic kit is sound checked, most drums and cymbals need to be miked and each mic needs to be tested by the drummer so its level and tone equalization can be adjusted by the sound engineer. As well, even after all the individual drum and cymbal mics are soundchecked, the engineer needs to listen to the drummer play a standard groove, to check that the balance between the kit instruments is right. Finally, the engineer needs to set up the monitor mix for the drummer, which the drummer uses to hear her/his instruments and the instruments and vocals of the rest of the band. With a fully electronic kit, many of these steps could be eliminated.

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In the very smallest kits, in jazz, and at very high volumes, ride cymbals may be played in with the technique and sound of a crash cymbal. Some hi-hats will also give a useful crash, particularly thinner hats or those with an unusually severe taper. At low volumes, producing a good crash from a cymbal not particularly suited to it is a highly skilled art. Alternatively, specialised crash/ride and ride/crash cymbals are specifically designed to combine both functions.
Although there are far fewer university programs that offer electric bass instruction in jazz and popular music, some universities offer bachelor's degrees (B.Mus.) and Master of Music (M.Mus.) degrees in jazz performance or "commercial music", where electric bass can be the main instrument. In the US, the Manhattan School of Music has a jazz program leading to B.Mus. and M.Mus degrees that accepts students who play bass (double bass and electric bass), guitar, piano, drums, and melody instruments (e.g., saxophone, trumpet, etc.).
Like the Casio, the Yamaha has a duet mode that allows two people to play in the same register at the same time. However, the P-45 has only one headphone output, so you’ll need a splitter for both players to use headphones while playing together. The headphone jack is located on the back panel of the keyboard, making access a bit more difficult than with the Casio’s front-mounted jacks. The console controls are minimal, and while Jack liked the simplicity, Brent and I found them unintuitive.
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In the 1930s, musician and inventor Paul Tutmarc of Seattle, Washington, developed the first electric string bass in its modern form, a fretted instrument designed to be played horizontally. The 1935 sales catalog for Tutmarc's electronic musical instrument company, Audiovox, featured his "Model 736 Bass Fiddle", a four-stringed, solid-bodied, fretted electric bass instrument with a 30 1⁄2-inch (775-millimetre) scale length.[8] The adoption of a guitar's body shape made the instrument easier to hold and transport than any of the existing stringed bass instruments. The addition of frets enabled bassists to play in tune more easily than on fretless acoustic or electric upright basses. Around 100 of these instruments were made during this period.[9]
Pearl Corporation is organized and functions as a wholesale distributor of drums, percussion musical instruments and flutes for the United States. The majority of drums and related items are manufactured by Pearl Musical Instrument company and imported directly from company owned factories located in Taiwan and China. The flutes are manufactured in Taiwan and Japan while the latin percussion instruments are manufactured in Thailand. Pearl Corporation is also the exclusive U.S. distributor of Adams timpani and mallet percussion instruments.
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The five-piece kit is the full entry-level kit and the most common configuration. It adds a third tom to the bass drum/snare drum/two toms set, making three toms in all. A fusion kit will normally add a 14" tom, either a floor tom or a hanging tom on a stand to the right of the bass drum; in either case, making the tom lineup 10", 12" and 14". Having three toms enables drummers to have a low-pitched, middle-register and higher-pitched tom, which gives them more options for fills and solos.

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 the mid-1970s, Alembic and other boutique bass manufacturers, such as Tobias, produced four-string and five-string basses with a low "B" string. In 1975, bassist Anthony Jackson commissioned luthier Carl Thompson to build a six-string bass tuned (low to high) B0, E1, A1, D2, G2, C3. In comparison with a standard four-string bass, Jackson's six-string adds a low B string and a high C string. These 5 and 6-string "extended-range basses" would become popular with session bassists as they reduced the need for re-tuning to alternate detuned configurations like "drop D", and also allowed the bassist to play more notes from the same position on the fretboard with fewer shifts up and down the fingerboard, a crucial benefit for a session player sightreading basslines at a recording session.
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Swing drummers such as Max Roach and Kenny Clarke had already deviated from the large marching band-style bass drums, finding that they were too loud and boomy. Bebop drummers continued this trend, and they started trying out smaller bass drum sizes in the drum set. Bebop drummers' experimentations with new drum sizes and new sounds led to the innovative concept of applying the busy "four on the floor" bass drum rhythms to a new larger cymbal called the ride cymbal. By focusing on keeping time on the new ride cymbal instead of the bass drum, the "feel" went from bass drum and hi-hat heavy, to a lighter melodic feel that has been explained as "floating on top of the time". This allowed drummers to express themselves in a more melodic fashion by playing the rhythms used by the guitar, piano and sax players using the new smaller, more focused bass drums and snare. Louie Bellson also assisted in the innovative sizes and sounds of the 1940s drum set by pioneering the use of two bass drums, or the double bass drum kit.
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.
Percussion instruments are the most ancient instruments of all, and were present in the early tribal days of nearly every civilization. Drums today are an important part of human culture, not just because they speak to a variety of musical heritages, but because it’s said we all carry around a personal rhythm in our beating hearts. At Amazon.com, we honor one of the world’s oldest traditions by offering drums and percussion accessories for every level of player.
With the explosion of the popularity of rock music in the 1960s, many more manufacturers began making electric basses, including the Japanese manufacturers Yamaha, Teisco and Guyatone. First introduced in 1960, the Fender Jazz Bass was known as the Deluxe Bass and was meant to accompany the Jazzmaster guitar. The Jazz Bass (often referred to as a "J-bass") featured two single-coil pickups, one close to the bridge and one in the Precision bass' split coil pickup position. The earliest production basses had a 'stacked' volume and tone control for each pickup. This was soon changed to the familiar configuration of a volume control for each pickup, and a single, passive tone control. The Jazz Bass' neck was narrower at the nut than the Precision bass — 1 1⁄2 inches (38 mm) versus 1 3⁄4 inches (44 mm) — allowing for easier access to the lower strings and an overall spacing and feel closer to that of an electric guitar, allowing trained guitarists to transition to the bass guitar more easily.
In general, the sounds produced by a digital piano are based on sampling, by which real piano sound samples are stored in ROM. The samples stored in digital pianos are usually of very precision recording and made using high-quality pianos, expensive microphones, and high-quality preamps in a professional recording studio.[2] ROM may include multiple samples for the same keystroke, attempting to reproduce diversity observed on the real piano, but the number of these recorded alternatives is limited.
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