In the Australian state of Victoria, the Victorian Curriculum and Assessment Authority has set out minimum standards for its electric bass students doing their end-of-year Solo performance recital. To graduate, students must perform pieces and songs from a set list that includes Baroque suite movements that were originally written for cello, 1960s Motown tunes, 1970s fusion jazz solos, and 1980s slap bass tunes. A typical program may include a Prelude by J.S. Bach; "Portrait of Tracy" by Jaco Pastorius; "Twisted" by Wardell Gray and Annie Ross; "What's Going On" by James Jamerson; and the funky Disco hit "Le Freak" by Chic.[66]
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Maple/Mahogany 13x7 snare drum White Glass Finish with Black Nickel Hardware. The shell features North American Hard Rock Maple and African Mahogany construction, combined with VLT (Vertical Low Timbre) shell technology. THIS Drum is AMAZING!!!! Extremly versatile in great condition. Bid with confidence and please check my other auctions. snare only stand not included.
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.
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.

A well-known bass humbucker is the pickup used on the Music Man series of basses; it has two coils, each with four large polepieces. This style is known as the "MM" pickup for this reason, and many aftermarket pickup manufacturers (companies that make and sell pickups that you can custom-add to your bass) and custom bass builders incorporate these pickups in their designs. The most common configurations are a single pickup at the bridge, two pickups similar in placement to a Jazz Bass, or an MM pickup at the bridge with a single-coil pickup (often a "J") at the neck. These pickups can often be "tapped", meaning one of the two coils can be essentially turned off, giving a sound similar to a single-coil pickup.
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.

Casio definitely thought about the student/teacher relationship when designing the PX-160. It has a duet play mode, which splits the keyboard into two halves. Each half is the same octave range (about three and a half octaves per side), so a teacher can demonstrate on one side while the student plays on the other at the same pitch. Two headphone jacks allow both players to use headphones without the need for a splitter. If the speakers are being used, they can also be configured to output sound from the left keyboard side to the left speaker and vice versa.
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.
Prior to the invention of tension rods, drum skins were attached and tuned by rope systems—as on the Djembe—or pegs and ropes such as on Ewe Drums. These methods are rarely used today, though sometimes appear on regimental marching band snare drums.[1] The head of a talking drum, for example, can be temporarily tightened by squeezing the ropes that connect the top and bottom heads. Similarly, the tabla is tuned by hammering a disc held in place around the drum by ropes stretching from the top to bottom head. Orchestral timpani can be quickly tuned to precise pitches by using a foot pedal.

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