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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.

"Soapbar" Pickups are so-named due to their resemblance to a bar of soap and originally referred to the Gibson P-90 guitar pickup. The term is also used to describe any pickup with a rectangular shape (no protruding screw mounting "ears" like on P, J or MM pickups) and no visible pole pieces. Most of the pickups falling into this category are humbucking, though a few single-coil soapbar designs exist. They are commonly found in basses designed for the rock and metal genres, such as Gibson, ESP Guitars, and Schecter, however they are also found on 5- and 6-string basses made popular by jazz and jazz fusion music, such as Yamaha's TRB and various Peavey model lines. 'Soapbar pickups' are also called 'extended housing pickups', because the rectangular shape is achieved simply by making the pickup cover longer or wider than it would have to be to only cover the pickup coils, and then the mounting holes are recessed inside these wider dimensions of the housing.


Five strings usually tuned B0–E1–A1–D2–G2, providing extended lower range. Another common tuning on early 1970s five-string basses added a high note instead of a low note: E–A–D–G–C, known as tenor tuning. This tuning is still popular among jazz and solo bassists. Other tunings, such as C–E–A–D–G are rare. Some bassists like C as the lowest pitch because that's the lowest note on an upright bass with a C, and C is a common note in a few popular keys C (e.g., C major, G major, F major). Some players may detune the lowest string to B♭ or A. B♭ is common for bassists who play in brass bands, as B♭ is an important and common key for this type of ensemble. Relative to a four-string bass, the fifth string provides a greater lower range (with a low B, C, or A) or a greater upper range (with a high C or B is added) and provides more notes for any single hand position. The earliest five string was created by Fender in 1965. The Fender Bass V used the E–A–D–G–C tuning, but was unpopular and discontinued in 1970. The type of low B five-string was created by Jimmy Johnson as a custom instrument in 1975. He bought an E–A–D–G–C 5-string Alembic bass, replaced the nut, and used a new, thick low B string from GHS. Steinberger made a 5-string headless instrument called the L-2/5 in 1982, and later Yamaha offered the first production model as the BB5000 in 1984.

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Whether you're in the market for a new bass, or are picking one up for the first time, finding the right instrument is the first step on the road to becoming the best bass player you can be. Researching all that's available will be extremely helpful in making the decision of which electric bass guitar to choose. A bass guitar typically has an appearance and construction similar to an electric guitar, with a longer neck and a range of courses from four to eight strings. Most common is the 4-string bass which is usually tuned to the sound of the double bass, but conveniently comes in a much smaller package.
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.
One of the best things about percussion is that there are no real boundaries. With talent and a knack for making rhythms, you can integrate virtually anything into a melody. It's that sort of ingenuity that gave rise to a lot of the handheld and world percussion available here. Take the cajon for example; this drum is descended from simple shipping crates but it's now become a precision instrument with tons of potential and character.

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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.

Electronic drum pads are the second most widely used type of MIDI performance controllers, after electronic music keyboards.[19]:319–320 Drum controllers may be built into drum machines, they may be standalone control surfaces (e.g., rubber drum pads), or they may emulate the look and feel of acoustic percussion instruments. The pads built into drum machines are typically too small and fragile to be played with sticks, and they are usually played with fingers.[20]:88 Dedicated drum pads such as the Roland Octapad or the DrumKAT are playable with the hands or with sticks, and are often built to resemble the general form of a drum kit. There are also percussion controllers such as the vibraphone-style MalletKAT,[20]:88–91 and Don Buchla's Marimba Lumina.[21]
Bass bodies are typically made of wood, although other materials such as graphite (for example, some of the Steinberger designs) and other lightweight composite materials have also been used. While a wide variety of woods are suitable for use in the body, neck, and fretboard of the bass guitar, the most common types of wood used are similar to those used for electric guitars; alder, ash or mahogany for the body, maple for the neck, and rosewood or ebony for the fretboard. While these traditional standards are most common, for tonal or aesthetic reasons luthiers more commonly experiment with different tonewoods on basses than with electric guitars (though this is changing), and rarer woods like walnut and figured maple, as well as exotic woods like bubinga, wenge, koa, and purpleheart, are often used as accent woods in the neck or on the face of mid- to high-priced production basses and on custom-made and boutique instruments.
If the toms are omitted completely, or the bass drum is replaced by a pedal-operated beater on the bottom skin of a floor tom and the hanging toms omitted, the result is a two-piece "cocktail" (lounge) kit. Such kits are particularly favoured in musical genres such as trad jazz, rockabilly and jump blues. Some rockabilly kits and beginners kits for very young players omit the hi-hat stand. In rockabilly, this allows the drummer to play standing rather than seated.

The standard design for the electric bass guitar has four strings, tuned E, A, D and G,[32] in fourths such that the open highest string, G, is an eleventh (an octave and a fourth) below middle C, making the tuning of all four strings the same as that of the double bass (E1–A1–D2–G2). This tuning is also the same as the standard tuning on the lower-pitched four strings on a six-string guitar, only an octave lower.


Finally, the last but not the least, you need to consider the price of the guitar when purchasing a bass guitar. Before setting your foot in the store, you need to set a budget in your mind for how much you want to spend. As a beginner, you will probably want to take a look at the entry level models. You can pick up one that sounds quite nice for under $500. If you are still uncertain whether you want to make it a full-time commitment to playing the bass, try to look for a cheaper model. A decent guitar can be had for around $200. Try not to be tempted by some shiny, more expensive models as they are beyond your skill level at this point may be. You can always buy something more advanced and high quality when you get better in your bass guitar training.
The second biggest factor that affects drum sound is head tension against the shell. When the hoop is placed around the drum head and shell and tightened down with tension rods, the tension of the head can be adjusted. When the tension is increased, the amplitude of the sound is reduced and the frequency is increased, making the pitch higher and the volume lower.
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.
In other less mainstream genres, such as hardcore punk or metal, the pedagogical systems and training sequences are typically not formalized and institutionalized. As such, many players learn by ear, by copying bass lines from records and CDs, and by playing in a number of bands. Even in non-mainstream styles, though, students may be able to take lessons from experts in these or other styles, adapting learned techniques to their own style. As well, there are a range of books, playing methods, and, since the 1990s, instructional DVDs (e.g., how to play metal bass). In the 2010s, many instructional videos are available online on video-sharing websites such as YouTube.
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.).
Six strings are usually tuned B0–E1–A1–D2–G2–C3—like a four-string bass with an additional low B string and a high C string. Some players prefer B0–E1–A1–D2–F♯2–B2, which preserves the intervals of standard six-string guitar tuning (an octave and a fourth lower) and makes the highest and lowest string the same note two octaves apart. While less common than four or five-string basses, they appear in Latin, jazz, and other genres, as well as in studio work where a session musician's single instrument must be highly versatile, and to facilitate sightreading in the recording studio. Alternative tunings for six-string bass include B–E–A–D–G–B, matching the first five strings of an acoustic or electric guitar with an additional low B, and E–A–D–G–B–E, completely matching the tuning of a six-string guitar but one octave lower allowing the use of guitar chord fingerings. Rarer tunings such as E–A–D–G–C–F and F♯–B–E–A–D–G provide a lower or higher range in a given position while maintaining consistent string intervals. In 1974, Anthony Jackson worked with Carl Thompson to create the Contrabass guitar (BEADGC). Later, Jackson brought his ideas to Fodera and worked with Ken Smith to create a wider-spaced Contrabass guitar, which evolved to the modern six-string bass.
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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 young children, parents are often inclined to start with a keyboard because they can be the least expensive. To decide whether or not this course of action is right for a young student, it’s good to have a conversation with that student’s music teacher. Often, music teachers would prefer that a child starts with a digital piano because they are going to have the requisite number of weighted keys and fewer distracting options. When a child learns to play on a keyboard, they may have a harder time adjusting to a digital or traditional piano. Music teachers also have preferences for which digital pianos they think are going to offer the best balance of sound and cost, and their experience with a particular instrument can certainly be helpful as your child learns. For these reasons, it’s always best to talk to a child’s music teacher before making a purchase. If your child has expressed an interest in learning to play the keyboard specifically, less expensive keyboards with fewer features can be a good place to start.

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In Canada, the Humber College Institute of Technology & Advanced Learning offers an Advanced Diploma (a three-year program) in jazz and commercial music. The program accepts performers who play bass, guitar, keyboard, drums, melody instruments (e.g., saxophone, flute, violin) and who sing. Students get private lessons and perform in 40 student ensembles.[65]
"Soapbar" Pickups are so-named due to their resemblance to a bar of soap and originally referred to the Gibson P-90 guitar pickup. The term is also used to describe any pickup with a rectangular shape (no protruding screw mounting "ears" like on P, J or MM pickups) and no visible pole pieces. Most of the pickups falling into this category are humbucking, though a few single-coil soapbar designs exist. They are commonly found in basses designed for the rock and metal genres, such as Gibson, ESP Guitars, and Schecter, however they are also found on 5- and 6-string basses made popular by jazz and jazz fusion music, such as Yamaha's TRB and various Peavey model lines. 'Soapbar pickups' are also called 'extended housing pickups', because the rectangular shape is achieved simply by making the pickup cover longer or wider than it would have to be to only cover the pickup coils, and then the mounting holes are recessed inside these wider dimensions of the housing.
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.

Five strings usually tuned B0–E1–A1–D2–G2, providing extended lower range. Another common tuning on early 1970s five-string basses added a high note instead of a low note: E–A–D–G–C, known as tenor tuning. This tuning is still popular among jazz and solo bassists. Other tunings, such as C–E–A–D–G are rare. Some bassists like C as the lowest pitch because that's the lowest note on an upright bass with a C, and C is a common note in a few popular keys C (e.g., C major, G major, F major). Some players may detune the lowest string to B♭ or A. B♭ is common for bassists who play in brass bands, as B♭ is an important and common key for this type of ensemble. Relative to a four-string bass, the fifth string provides a greater lower range (with a low B, C, or A) or a greater upper range (with a high C or B is added) and provides more notes for any single hand position. The earliest five string was created by Fender in 1965. The Fender Bass V used the E–A–D–G–C tuning, but was unpopular and discontinued in 1970. The type of low B five-string was created by Jimmy Johnson as a custom instrument in 1975. He bought an E–A–D–G–C 5-string Alembic bass, replaced the nut, and used a new, thick low B string from GHS. Steinberger made a 5-string headless instrument called the L-2/5 in 1982, and later Yamaha offered the first production model as the BB5000 in 1984.
Slap and pop style is also used by many bassists in other genres, such as rock (e.g., J J Burnel and Les Claypool), metal (e.g., Eric Langlois, Martin Mendez, Fieldy and Ryan Martinie), and jazz fusion (e.g., Marcus Miller, Victor Wooten and Alain Caron). Slap style playing was popularized throughout the 1980s and early 1990s by pop bass players such as Mark King (from Level 42) and rock bassists such as with Pino Palladino (currently a member of the John Mayer Trio and bassist for The Who),[55] Flea (from the Red Hot Chili Peppers) and Alex Katunich (from Incubus). Spank bass developed from the slap and pop style and treats the electric bass as a percussion instrument, striking the strings above the pickups with an open palmed hand. Wooten popularized the "double thump," in which the string is slapped twice, on the upstroke and a downstroke (for more information, see Classical Thump). A rarely used playing technique related to slapping is the use of wooden dowel "funk fingers", an approach popularized by Tony Levin.

Drums with cylindrical shells can be open at one end (as is the case with timbales), or can have two drum heads, one head on each end. Single-headed drums typically consist of a skin stretched over an enclosed space, or over one of the ends of a hollow vessel. Drums with two heads covering both ends of a cylindrical shell often have a small hole somewhat halfway between the two heads; the shell forms a resonating chamber for the resulting sound. Exceptions include the African slit drum, also known as a log drum as it is made from a hollowed-out tree trunk, and the Caribbean steel drum, made from a metal barrel. Drums with two heads can also have a set of wires, called snares, held across the bottom head, top head, or both heads, hence the name snare drum.[1] On some drums with two heads, a hole or bass reflex port may be cut or installed onto one head, as with some 2010s era bass drums in rock music.
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.
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In 1953, following Fender's lead, Gibson released the first short scale violin-shaped electric bass, with an extendable end pin so a bassist could play it upright or horizontally. Gibson renamed the Electric Bass in 1958 to the EB-1.[16] Also in 1958 Gibson released the maple arched top EB-2 described in the Gibson catalogue as "A hollow-body electric bass that features a Bass/Baritone pushbutton for two different tonal characteristics".[17] In 1959 these were followed by the more conventional-looking EB-0 Bass. The EB-0 was very similar to a Gibson SG in appearance (although the earliest examples have a slab-sided body shape closer to that of the double-cutaway Les Paul Special).
Depending on the individual features of each digital piano, they may include many more instrument sounds other than regular piano samples. Many less expensive or average-priced digital pianos often include basic instruments such as string ensemble, electric piano, organs, harpsichord, guitar, and vibraphone, while a more expensive and advanced digital pianos may have a wider range of instruments such as synthesized sounds, wind instruments, traditional instruments, violins, drums, percussion, and a variety of effects, similar to that of a typical digital keyboard or synthesizer. Some digital pianos may also have a complete set of General MIDI implementation, in addition to the aforementioned basic sounds.
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