For me to be european you should be perfect. I think that there are no real europeans - like peopel said "There is noting perfect"
In Europe there is a lot of violence . The real european should be peaceful person . But in Europe there is a lot of discrimination - there people who think that if you are different ( my color , by religion and etc. ) you are not a real man . That is a BULLSHIT !!! You breath , you walk , you eat , you drink - you are ALIVE !!! Nobody can tell you that you are not a real man !!!
Secondly , the real european should not through trash on the ground . BUT there are a lot of people who trough trash where they want . That is not good !!! Plastic is decomposing for 400 years !!!
To be real european does not mean to live in Europe. You should be more than a man to be europen - you should be SAINT , but that is impossible! You can only live free in Europe
and enjoy your life !!! =]
петък, 7 март 2008 г.
събота, 29 декември 2007 г.
Bullet For My Valentine
Matthew “Matt” Tuck – vocals, guitars
Michael “Padge” Paget – guitars
Michael “Moose” Thomas – drums
Jason “Jay” James - bass
"The best British metal band to emerge in years." - Q Magazine
The Welsh metal-core band Bullet For My Valentine has spent most of the past two years taking over the world with massive U.K., European, U.S. and worldwide tours, sharing the stage with Guns N Roses, Metallica and Iron Maiden, playing the Main Stage at just about every rock festival on the planet, and seeing their 2006 debut album The Poison - an album London's daily The Sun called "One of the finest debut albums in rock history" - sell more than one-million copies worldwide – 350,000 in the U.S. alone – a very rare achievement for an emerging band.
Back home, Bullet For My Valentine has graced the covers of the UK’s Kerrang!, Rock Sound, and Metal Hammer. They won Metal Hammer’s 2006 “Golden God Award” for Best British Band, and the 2006 Kerrang! Award for “Best UK Single” for their track “Tears Don’t Fall.” Here in America, Revolver magazine heralded the band “British Import of the Year,” and The Poison generated the hit singles “Tears Don’t Fall” and “All These Things I Hate (Revolve Around Me),” with the video for “All These Things I Hate” going to the #1 spot on MTV2. The band has toured North America three times, and in early 2007, they sold out their first headline trek.
On January 29, 2008, Bullet For My Valentine is set to return with Scream Aim Fire (20-20/Jive/SonyBMG), the band’s highly anticipated sophomore release. The 11-track assault was produced by Colin Richardson (Machine Head, Funeral For A Friend) and recorded at Sonic Ranch just outside of El Paso, TX in early 2007, and is, according to front man Matthew “Matt” Tuck, “really melodic heavy metal…catchy, hooky choruses and full-on vocals with the music being very in-your-face and heavy…it’s a lot more up-tempo than The Poison, a lot more aggressive.”
Scream Aim Fire, featuring the distinctive and powerful six-string dexterity of Michael “Padge” Padget, the unwavering instrumental groove of bassist Jason “Jay” James and the relentless thundering rhythms of Michael “Moose” Thomas, the musical backbone of Bullet is an intimidating force. With a lifetime of classic metal inspiration behind him, vocalist/guitarist Tuck is a formidable and powerful voice for the ever energetic, young metal generation.
“We have stepped it up a gear,” says the front-man. “This album is chock full of classic Bullet ingredients. Metal riffs, pounding rhythms, shredding solos and great melodies. We took everything that we learnt from ‘The Poison,’ and took up tenfold. Better, fresher, harder, sadder and more real.”
Opening with the aural assault of the title track and first single -“Scream Aim Fire” – to the hard-hitting riff slammer of “Waking The Demon,” and the arena-ballad epic “Hearts Burst Into Fire,” this album will definitely catapult Bullet into a world-wide spotlight.
“(The track) ‘Scream Aim Fire’ set the benchmark for the rest of the album,” says Tuck. “It was the moment we realized the direction of where we wanted the record to go. Lyrically, it’s not a saying that anyone can relate anything else to. It’s ours and the meaning is ours alone. Kill or be killed – that’s what this game is like. You’re either on top of the game, or you are out, and we are very much still in. Our quality of song writing, our structures, our timing – the songs are intense and accessible, whilst still keeping our metal roots.”
Tuck believes that the band’s unique accessibility lies in the fact that fans – regardless of age, gender or nationality – can relate to the subjects and issues tackled within their tracks.
“It’s important to us that fans can make a connection with our songs,” says the front-man. “For example, ‘Waking The Demon’ is about being bullied at school – which is something that me and most of the boys went though. The track is about one day, just turning round, and deciding to not take it anymore. I’d hope that our fans can relate to that.”
And despite the fact that these four musicians are now considered prominent players in the UK/European metal world, as well as serious up-and-comers here in the U.S. – the lads remain grounded (all still living in their native Welsh homeland) – and eternally grateful for the position that they now find themselves in.
“If it wasn’t for the fans, we would never even have been able to make this second album,” says Tuck. “We are so thankful to them, and we will always try to deliver the goods. I know we had to cancel a load of shows last year (Tuck was hospitalized in the winter of 2006 and forced to undergo surgery on his tonsils), but it hurt us so much to do so. We really hated to let anyone down, but it was an unavoidable evil, and now I am confident that this record – and this band – are stronger than ever.”
To support the release of Scream Aim Fire, Bullet for My Valentine will set off on what will be more than two years of solid, worldwide touring, starting in the UK and Europe in January, 2008, and then coming to America beginning in late February.
“We are still so hungry for this,” states Tuck. “We are motivated and ambitious. We know where we want to be. We have played with legends and if we get to that level, it would be amazing. But you know what? If it ended tomorrow, we would still be happy. We are amazingly proud of what we have achieved and what we have done. We are having the time of our lives. The world is our oyster…”
Scream, Aim, Fire – the bullets are launched. You have been warned!
“Bullet For My Valentine seem unstoppable…”сряда, 28 ноември 2007 г.
Collapso
Collapso is a metal, screamo, metalcore band formed in 2007.
Its members are the former lead vocalist of the so called band AciDust; as for the both 2 guitarist, Krumo and Ico, they've previously taken part in forming the band known as Knapp (which no longer exists).
Rado is the new bassist of the band (he's also recently joined Mindown as a bass gutarist,and is part of Automatic Flowers too, since Dundo (the previous bassist) had decided to quit playing in Collapso. Cekov plays the drums.
:::: Gushtera → volcals ::::
:::: Rajdata » Guitars ::::
:::: Krumo » Guitars ::::
:::: Rado » Bass ::::
:::: Cekov » Drums ::::
Automatic Flowers
Formed in the spring of 2007, Automatic Flowers is a pop-punk with screamo elements band from Plovdiv,Bulgaria.The song "Take My Heart" is the first single of their future debut album which will come out in 2008.Check out the other singles : "Daffodils" and "Rock'n'Roll High School".
Band Members:
Skramz [ Ivo ]- vocals
Sashko - guitars
Edo - guitars
Rado - bass
Slavi - drums
вторник, 27 ноември 2007 г.
History of Bass
The electric bass guitar (or "electric bass"; pronounced /ˈbeɪs/, as in "base") is a bass stringed instrument played with the fingers (either by plucking, slapping, popping, or tapping) or using a pick. The bass is similar in appearance and construction to an electric guitar, but with a larger body, a longer neck and scale length, and usually four strings tuned one octave lower [1] in pitch than the four lower strings of a guitar[2].
Since the 1950s, the electric bass has replaced the double bass in popular music. The bass provides the low-pitched bassline(s) and bass runs in many different styles of music ranging from rock and metal to blues and jazz. The electric bass is also used as a soloing instrument in jazz, fusion, Latin, funk, and rock styles.
History
[edit] 1930s
In the 1930s, inventor Paul Tutmarc from Seattle, Washington, developed a guitar-style electric bass instrument that was fretted and designed to be held and played horizontally. The 1935 sales catalogue for Tutmarc's company, Audiovox, also featured a solid body six-string electric guitar, one of the earliest fretted, solid body electric basses that was designed to be played horizontally [3]. The change to a "guitar" form made the instrument easier to hold and transport, and the addition of guitar-style frets enabled bassists to play in tune more easily and made the new electric bass easier to learn. However, Tutmarc's inventions never caught the public imagination, and little further development of the instrument took place until the 1950s.
[edit] 1950s-1960s
In the 1950s, Leo Fender developed the first mass-produced electric bass. His Fender Precision Bass, introduced in 1951, became a widely copied industry standard. The Precision Bass (or "P-bass") evolved from a simple, uncontoured 'slab' body design similar to that of a Telecaster with a single piece, a contoured body design with beveled edges for comfort and a single four-pole "split coil pickup."
First introduced in 1960, The 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' 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" vs 1 3/4").
Another visual difference that set the Jazz Bass apart from the Precision is its "offset-waist" body. Pickup shapes on electric basses are often referred to as "P" or "J" pickups in reference to the visual and electrical differences between the Precision Bass and Jazz Bass pickups. Fender also began production of the Mustang Bass; a 30" scale length instrument used by bassists such as Tina Weymouth of Talking Heads ("P" and "J" basses have a scale length of 34").
In the 1950s and 1960s, the term "Fender bass" was widely used to describe the bass guitar, due to Fender's early dominance in the market for mass-produced bass guitars. The term "electric bass" began replacing "Fender bass" in the late 1960s, however, as evidenced by the title of Carol Kaye's popular bass instructional book in 1969 (How to Play the Electric Bass) and the use of the term "electric bass" by U.S. musicians' unions. The instrument is also referred to as an "electric bass guitar", "electronic bass", or simply "bass".
[edit] 1960s and 1970s
Following Fender's lead, Gibson released the violin-shaped EB-1 Bass in 1953[3], followed by the more conventional-looking EB-0 Bass in 1959. As with Fender's designs, Gibson relied heavily upon an existing guitar design for this 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).
Whereas Fender basses had pickups mounted in positions in between the base of the neck and the top of the bridge, many of Gibson's early basses featured one humbucking pickup mounted directly against the neck pocket. The EB-3, introduced in 1961, also had a "mini-humbucker" at the bridge position. Gibson basses also tended to be smaller, sleeker instruments; Gibson did not produce a 34" scale bass until 1963 with the release of the Thunderbird, which was also the first Gibson bass to utilize dual-humbucking pickups in a more traditional position, about halfway between the neck and bridge.
With the explosion of the popularity of rock music in the 1960s, Rickenbacker, Danelectro and many other companies started to produce their own version of the electric bass. The 1970s also saw the founding of Music Man Instruments, owned by Leo Fender, which produced the StingRay, the first widely-produced bass with active (powered) electronics. Specific models became identified with particular styles of music, such as the Rickenbacker 4000 series, which became identified with progressive rock bassists like Chris Squire of Yes.
In 1971 Alembic established the template for what would subsequently be known as "boutique" or "high end" electric basses. These expensive, custom-tailored instruments featured unique designs, premium wood bodies chosen and hand-finished by master craftspeople, onboard electronics for preamplification and equalization, and innovative construction techniques such as multi-laminate neck-through-body construction and graphite necks. In the mid-1970s, Alembic and other "boutique" bass manufacturers such as Tobias, and Ken Smith produced 4- string basses and 5-string basses with a low "B" string. In 1975, bassist Anthony Jackson commissioned luthier Carl Thompson to a 6-string bass tuned (low to high) B, E, A, D, G, C.
[edit] 1980s-2000s
In the 1980s, bass designers continued to explore new approaches. Ned Steinberger introduced a headless bass in 1979 and continued his innovations in the 1980s, using graphite and other new materials and (in 1984) introducing the Trans-Trem tremolo bar. In 1987, the Guild Guitar Corporation launched the fretless Ashbory bass, which used silicone rubber strings and a piezoelectric pickup to achieve a "double bass" sound with a short 18" scale length. In the late 1980s, MTV's "unplugged" show helped to popularize hollow-bodied acoustic bass guitars amplified with pickups.
During the 1990s, as five-string basses became more widely available and more affordable, an increasing number of bassists in genres ranging from metal to gospel began using five-string instruments for added lower range. As well, the onboard battery-powered electronics such as preamplifiers and equalizer circuits, which were previously only available on expensive "boutique" instruments, became increasingly available on modestly-priced basses.
In the 2000s, some bass manufacturers included digital modelling circuits inside the instrument to recreate tones and sounds from many models of basses (e.g., Line 6's Variax bass). Traditional bass designs such as the Fender Precision Bass and Fender Jazz Bass remained popular in the 2000s; in 2006, a 60th Anniversary P-bass was introduced by Fender.
[edit] Design considerations
A wide variety of different options are available for the body, neck, pickups, and other features of the bass. Instruments handmade by highly-skilled luthiers are becoming increasingly available. Bass bodies are typically made of wood although other materials such as graphite (for example, some of the Steinberger designs) 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 type of wood used for the body is alder, for the neck is maple, and for the fretboard is rosewood. Other commonly used woods include mahogany, maple, ash, and poplar for bodies, mahogany for necks, and ebony for fretboards.
The choice of body material and shape can have a significant impact on the timbre of the completed instrument as well as on aesthetic considerations. Other design options include finishes, such as lacquer, wax and oil; flat and carved designs; Luthier-produced custom-designed instruments; headless basses, which have tuning machines in the bridge of the instrument (e.g.Steinberger and Hohner designs) and several artificial materials such as luthite. The use of artificial materials allows for unique production techniques such as die-casting, to produce complex body shapes.
While most basses have solid bodies, they can also include hollow chambers to increase the resonance or reduce the weight of the instrument. Some basses are built with entirely hollow bodies, which changes the tone and resonance of the instrument. Acoustic bass guitars are typically equipped with piezoelectric or magnetic pickups and amplified.
Bass guitar necks, which are longer than regular electric guitar necks, are generally made of maple. More exotic woods include bubinga, wenge, ovangkol, ebony and goncalo alves. Graphite or carbon fiber are used to make lightweight necks, an approach used by G. Gould of Modulus Guitars. Peavey makes graphite-necked basses such as the G-Bass the B-Quad, and Status has manufactured entire basses out of graphite. Many other guitar companies also use graphite in their necks, to add stability and sustain.
The "long scale" necks used on Leo Fender's basses, giving a scale length (distance between nut and bridge) of 34", remain the standard for electric basses. However, 30" or "short scale" instruments, such as the Höfner Violin Bass, played by Paul McCartney, and the Fender Mustang Bass are popular, especially for players with smaller hands. While 35", 35.5" and 36" scale lengths were once only available in "boutique" instruments, in the 2000s, many manufacturers have begun offering these lengths, also called an "extra long scale." This extra long scale provides a higher string tension, which yields a more defined tone on the low "B" string of 5- and 6-stringed instruments (or detuned 4-string basses).
[edit] Fretted and fretless basses
Another design consideration for the bass is whether to use frets on the fingerboard. On a fretted bass, the frets divide the fingerboard into semitone divisions, (as on a normal guitar). The original Fender basses had 20 frets, but modern basses may have 24 or more.
Fretless basses have a distinct sound, because the absence of frets means that the string must be pressed down directly onto the wood of the fingerboard. The string buzzes against the wood, as with the double bass, creating a "mwaah" sound. The fretless bass allows players to use the expressive devices of glissando, vibrato and microtonal intonations such as quarter tones and just intonation. Some bassists use both fretted and fretless basses in performances, according to the type of material they are performing. While fretless basses are often associated with jazz and jazz fusion, bassists from other genres use fretless basses, such as metal bassist Steve DiGiorgio. The first fretless bass guitar was made by Bill Wyman in 1961 when he converted an inexpensive Japanese fretted bass by removing the frets. [4][5] The first production fretless bass was the Ampeg AUB-1 introduced in 1966, and Fender introduced a fretless Precision Bass in 1970. Fusion-jazz bassist Jaco Pastorius created his own fretless bass by removing the frets from a Fender Jazz Bass, filling the holes with wood putty, and coating the fretboard with epoxy resin.[6]
Some fretless basses have "fret line" markers inlaid in the fingerboard as a guide, while others only use guide marks on the side of the neck. Tapewound (Double Bass Type) strings are sometimes used with the fretless bass so that the metal string windings will not wear down the fingerboard. Some fretless basses have fingerboards which are coated with epoxy to increase the durability of the fingerboard, enhance sustain and give a brighter tone. Although most fretless basses have four strings, five-string and six-string fretless basses are also available. Fretless basses with more than six strings are also available as "boutique" or custom-made instruments.
[edit] Strings and tuning
The standard design for the electric bass has four strings, tuned E, A, D and G, with the fundamental frequency of the E string set at about 41 Hz, making the tuning of all four strings the same as that of the double bass. This tuning is also the same as the standard tuning on the lower four strings on a 6-string guitar, only an octave lower. String types include all-metal strings (roundwound, flatwound, groundwound, or halfwound), metal strings with different coverings, such as tapewound and plastic-coatings. The variety of materials used in the strings gives bass players a range of tonal options.
In the 1950s, bassist often used flatwound strings with a smooth surface, which had a smooth, damped sound reminiscent of a double bass. In the 1960s and 1970s, roundwound bass strings similar to guitar strings became popular. Roundwounds have a brighter timbre with greater sustain than flatwounds. Flatwounds are still used by some bassists who want a more 'vintage' or Motown-style sound.
A number of other tuning options and bass types have been used to extend the range of the instrument. The most common are:
- Four strings with alternate tunings to obtain an extended lower range.[7]
- Five strings usually tuned B-E-A-D-G (the earliest 5 string basses were tuned E-A-D-G-C and this is still a popular tuning for jazz). Other tunings such as C-E-A-D-G are used, but this is rare. The 5th-string provides a greater lower or upper range than the 4-string bass, and gives access to more notes for any given hand position.
- Six strings (usually B-E-A-D-G-C, but sometimes E-A-D-G-B-E or F#-B-E-A-D-G). The 6-string bass is a 4-string bass with an additional low "B" string and a high "C" string. While much less common than 4- or 5-string basses, they are still used in Latin, jazz, and several other genres. A few players have tuned the high C down to a B (giving B-E-A-D-G-B) matching the E-A-D-G-B found on the first five strings of an acoustic or electric guitar.
- Detuners, such as the Hipshot, are mechanical devices operated by the right or left-hand thumb that allow one or more strings to be quickly detuned to a pre-set lower pitch. Hipshots are typically used to drop the "E"-string down to "D" on a four string bass.[8]
[edit] Extended range approaches
Some bassists have used other types of basses or tuning methods to obtain an extended range or other benefits. Instrument types or tunings used for this purpose include basses with less than four strings (1-string bass guitars [9], 2-string bass guitars, 3-string bass guitars (E-A-D) [10]); alternate tunings (e.g., tenor bass [11], piccolo bass[12], and guitar-tuned basses[13]) and 8, 10, 12 and 15-string basses, which built on the same principle as the 12-string guitar, where the strings are grouped into "courses" tuned in unison or octaves, to be played simultaneously. [14]
Extended Range Basses are basses with 6, 7, 8, 9, 10, 11, or 12 strings which are not doubling unisons or octaves. The 7-string bass (B-E-A-D-G-C-F) was built by luthier Michael Tobias in 1987. This custom instrument commissioned by bassist Garry Goodman was an early example of a bass with more than six single course strings. Goodman who developed a special playing technique requiring seven or more strings. Conklin builds 8- and 9-string basses.[15] The Guitarbass is a 10-string instrument with four bass strings (tuned E-A-D-G) and six guitar strings (tuned E-A-D-G-B-E).[16] Luthier Michael Adler built the first 11-string bass in 2004 and completed the first single-course 12-string bass in 2005. Adler's 11- and 12-string instruments have the same range as a grand piano. Sub-contra basses, such as C#-F#-B-E ("C#" being at 17.32 Hz)[17] have been created [18].[19].
Pickups and amplification
Magnetic pickups
Most electric basses use magnetic pickups. The vibrations of the instrument's metal strings within the magnetic field of the permanent magnets in magnetic pickups produce small variations in the magnetic flux threading the coils of the pickups. This in turn produces small electrical voltages in the coils. These low-level signals are then amplified and played through a speaker. Less commonly, non-magnetic pickups are used, such as piezoelectric pickups which sense the mechanical vibrations of the strings. Since the 1990s, basses are often available with battery-powered "active" electronics that boost the signal and/or provide equalization controls to boost or cut bass and treble frequencies.
"P-" pickups (the "P" refers to the original Fender Precision Bass) are actually two distinct single-coil halves, wired in opposite direction to reduce hum, each offset a small amount along the length of the body so that each half is underneath two strings. Less common is the single-coil "P" pickup, used on the 1951 Fender Precision bass[20]
"J-" pickups (referring to the original Fender Jazz Bass) are wider eight-pole pickups which lie underneath all four strings. J pickups are typically single-coil designs, but because one is wired opposite to the other, when used at the same volume they have hum canceling properties.
Humbucker (dual coil) pickups, found in MusicMan basses (yet another Leo Fender brand) and many other brands, are the same length as a J pickup, but about twice as wide (and with about double the output).
"Soapbar" Pickups get their name due to their resemblance to a bar of soap and originally referred to the Gibson P-90 guitar pickup. The term is now also used to describe any pickup with a rectangular shape and no visible pole pieces. They are commonly found in ERB basses. EMG now makes a Soapbar pickup that has both a single coil and a humbucker in the same pickup. The player switches between the two by pulling or pushing on the volume knob.
Many basses have just one pickup, typically a "P" or soapbar pickup. Multiple pickups are also quite common, two of the most common configurations being a "P" near the neck and a "J" near the bridge (e.g. Fender Precision Bass Special), or two "J" pickups (e.g. Fender Jazz). [21] The placement of the pickup greatly affects the sound, with a pickup near the neck joint thought to sound "fatter" or "warmer" (the bass frequencies being dominant) while a pickup near the bridge is thought to sound "tighter" or "sharper" (providing a larger amount of treble). Usually basses with multiple pickups allow blending of the output from the pickups, providing for a range of timbres.
[edit] Non-magnetic pickups
- Piezoelectric pickups are non-magnetic pickups that produce a different tone, often similar to that of an acoustic bass, and allow bassists to use non-ferrous strings such as nylon, brass or even silicone rubber. Piezoelectric pickups use a transducer crystal to convert the vibrations of the string into an electrical signal.
- Optical pickups are another type of non-magnetic pickup. They use an LED to optically track the movement of the string, which allows them to reproduce low-frequency tones at high volumes without the "hum" or excessive resonance associated with conventional magnetic pickups. Since optical pickups lack high frequencies, they are commonly paired with piezoelectric pickups to fill in the missing frequencies. The Lightwave company builds basses with optical pickups.
Amplification and effects
Like the electric guitar, the electric bass is always connected to an amplifier for live performances. Electric bassists use either a "combo" amplifier, which combines an amplifier and a speaker in a single cabinet, or an amplifier and a separate speaker cabinet (or cabinets). In some cases when the bass is being used with large-scale PA amplification, it is plugged into a "DI" or "direct box", which routes their signal directly into a mixing console, and thence to the main and monitor speakers. For some recordings, the electric bass is recorded without the use of an amplifier and speakers by connecting the bass with the mixing board using a "DI", while the musician listens to the sound of the instrument through headphones.
Various electronic bass effects such as preamplifiers, "stomp box"-style pedals and signal processors and the configuration of the amplifier and speaker can be used to alter the basic sound of the instrument. In the 1990s and early 2000s, signal processors such as equalizers, distortion devices, and compressors or limiters became increasingly popular additions to many electric bass players' gear.
Playing techniques
Sitting or standing
Most bass players stand while playing, although sitting is also accepted, particularly in large ensemble settings (e.g., jazz big band) or acoustic genres such as folk music. It is a matter of the player's preference as to which position gives the greatest ease of playing, and what a bandleader expects. When sitting, right-handed players can balance the instrument on the right thigh, or like classical guitar players, the left. Balancing the bass on the left thigh positions it in such a way that it mimics the standing position, allowing for less difference between the standing and sitting positions.
Sounding notes
The electric bass, in contrast to the upright bass (or double bass), is played in a similar position to the guitar; that is, it is held horizontally across the body. Notes are usually produced by pizzicato, in which the strings are plucked by the index and middle fingers (and sometimes with the thumb and ring fingers as well) or with a pick (or plectrum). While the use of a pick is often associated with hard rock, punk rock and metal, picks are also used in other styles. Jazz bassist Steve Swallow uses a pick for upbeat or funky songs. Picks can be used with alternating downstrokes and upstrokes, or with all downstrokes for a more consistent attack. Some bassists use their fingernails to play flamenco-style, such as John Entwistle and Geddy Lee.
Bassists trying to emulate the sound of a double bass sometimes pluck the strings with their thumb or fingers rather than a plectrum, and use palm-muting to create a short, "thumpy" tone. Bassist Sting performs using his thumb. James Jamerson, an influential bassist from the Motown era, played intricate bass lines using a single finger. Depending on where the string is plucked, different timbres are produced.
Variations in style also occur in where a bassist rests his right-hand thumb (or left thumb in the case of left-handed players). A player may rest his thumb on the top edge of one of the pickups. One may also rest one's thumb on the side of the fretboard, which is especially common among bassists who have an upright bass influence. Some bassists anchor their thumbs on the lowest string and move it off to play on the low string. Alternatively, the thumb can be rested loosely on the strings to mute the unused strings.
Early Fender models came with a "thumbrest" attached to the pickguard, below the strings. Contrary to its name, this was not used to rest the thumb, but to rest the fingers while using the thumb to pluck the strings. The thumbrest was moved above the strings in 1970s models and eliminated in the 1980s.
"Slap and pop" and tapping
The slap and pop method, which is a mainstay of funk, uses tones and percussive sounds achieved by thumping (or "slapping") a string with the thumb and snapping (or "popping") a string or strings with the index or middle fingers. Bassists often interpolate left hand-muted "dead notes" between the slaps and pops to achieve a rapid percussive effect. Larry Graham of Sly and the Family Stone and Graham Central Station was an early innovator of the slap style, and Louis Johnson of the The Brothers Johnson is also credited as an early slap bass player.
Slap and pop style is also used by many bassists in other genres, such as rock (e.g., J J Burnel and Les Claypool) and 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 funk-rock bassists such as Flea (from the Red Hot Chili Peppers). Wooten popularized the "double thump," in which the string is slapped twice, on the upstroke and a downstroke (for more information, see Classical Thump).
In the two-handed tapping style, bassists use both hands to play notes by rapidly pressing and holding the string to the fret. This makes it possible to play contrapuntal lines, chords and arpeggios. Players noted for this technique include John Entwistle, Stuart Hamm, Billy Sheehan, John Myung, Victor Wooten and Michael Manring. The Chapman Stick and Warr Guitars are string instruments that are designed to be played using two-handed tapping. Another rarely-used playing technique related to slapping is the use of wooden dowel "funk fingers", an approach popularized by Tony Levin.
History of Metalcore
Metalcore is a fusion of heavy metal and hardcore punk that began in the United States. Defining the metalcore sound is not an easy task: various bands have fused a hardcore sound and attitude with many different types of metal. Some sources, such as Sam Dunn and Guitar One, have called the recent metalcore groups the "New Wave of American Heavy Metal."
Early scene
Though rarely referred to as "metalcore," Breakdown were arguably one of the earliest to fuse heavy metal-influenced riffing with a traditional hardcore punk sound without being a thrash metal band. Not long after, bands such as Damnation A.D., Integrity, Maximum Penalty, Leeway, Biohazard, Madball, Judge, and Raw Deal began releasing demos and albums, laying the foundation for metalcore bands to come.
Most of the songwriting by these bands was similar to the style of New York hardcore bands but differed in a more metallic sound, due largely to the use of double bass drums, harsher distortion, heavier riffs, and metal-influenced vocals.
This basic form of metalcore has received the epithets "tough guy hardcore"--due to many bands' lyrical content, which often focuses on "the scene" and/or violence--and "moshcore," due to the breakdown-centric, mosh-friendly songwriting that some bands use.
Groups such as Rorschach, Starkweather, Adamantium, and Deadguy expanded the metalcore sound, experimenting with looser, often dissonant songwriting, as well as odd time signatures.
Breakdowns
Central to the bands of the genre, quite a few of which eschew verse-chorus songwriting, is the breakdown.
Typically, a breakdown consists of slowing a song down, usually to half time, giving the guitars room to play a set of rhythmically oriented riffs, usually on open strings so as to achieve the lowest sound for which the guitars are tuned. These riffs are often accented by the drummer through double bass drums and use of the china cymbal.
Breakdowns are usually responded to by an audience by hardcore dancing. Vocalists also often throw in a single, repeated statement throughout the breakdown, giving those who are not dancing an opportunity to sing along. Many Metalcore bands rely on having memorable breakdowns rather than memorable choruses. Some bands have used breakdowns far more often than was previously the norm, with some songs even resembling one elongated breakdown. Bands such as Boston's On Broken Wings and Bury Your Dead, along with New Jersey's Shattered Realm helped pioneer this method of songwriting.
Styles of metalcore
Moshcore
Moshcore is a subgenre of metalcore characterized by breakdowns and simplicity. Due in large part to its hardcore punk-based riffing and cleaner vocals. Moshcore is one of a few metalcore subgenres with a crossover appeal for fans of hardcore punk. Hatebreed is a well-known band in this genre.
Deathcore
Deathcore is an amalgamation of two musical styles: metalcore and death metal. While similar to the more abrasive death metal of recent years (often referred to as brutal death metal), deathcore's aesthetics and following are more closely related to metalcore. While remaining a subgenre of metalcore, deathcore is heavily influenced by death metal in its speed, heaviness, and approach to chromatic, heavily palm muted riffing, dissonance, and frequent key changes. Though lyrics are not always in the death metal vein, growls, pig-like squeals, and shrieks predominate, with metalcore vocals rarely being used. Job for a Cowboy's Doom EP is an example of deathcore.
Mathcore
Mathcore is a style of metalcore recognized for a high level of technical musicianship. The music is usually filled with discordant, technical riffing, and complex time signatures and song structures. Songs played by bands of this style tend to vary from mere seconds in length to over 15 minutes and rarely feature a conventional verse-chorus song structure. The Dillinger Escape Plan is an example of mathcore.
Melodic metalcore is a fusion of melodic death metal and early metalcore. The subgenre often makes use of a melodic lead and heavy rhythm guitar, as well as death metal-influenced vocals and metalcore drumming. Overcast (band) and Zao are the pioneers of this genre. Other bands belonging to this genre are Trivium, Killswitch Engage, As I lay dying.
неделя, 18 ноември 2007 г.
Something abot SK8
IN THE BEGINNING 1977-1980………..
It all began in Redcar, Cleveland in 1977, not quite turned on the Punk explosion as yet, due mainly to the fact that my parents would only tolerate Country & Western in the house (they still do). I recall watching a feature on BBC's Nationwide on the latest craze sweeping the nation SKATEBOARDING, this lead to the immediate demise of all know roller-skates in the whole street as the heel and toe sections were separated, flattened and attached (usually with over sized nails) to the nearest piece of wood / fence you could find.
My first "proper" skateboard like most of the street arrived Christmas 1977, was it a fiberflex, Hobie or some other boss brand which graced pages of the newly founded skatemags? No it was a polypropylene jobby from Stockton Market, still it was better than the home-made plank, and as my Dad said, "I'm not paying out for something you'll get tired of by the end of the month" Oh he of little faith.
As no skateparks were available it was all about street tricks, a wheelie, 360 a spot of moon walking or a kickflip set you a class above the rest, even if you were still riding your home-made board. After the "first wave" died down, a hard core remained, we mainly hung out at either the newly opened Skate shop "Slick Slider", the public library (which had a few ramped walls), the sea wall, (bit messy at high tide), Saltburn (for down hill thrills) and the holly grail of skating "the pipes" at British Steel.
The Pipes were about 8mtrs in diameter and had a weld at approx 4 O' clock and 10 O' clock, getting your front wheels to hit the 10 O'clock weld was the biz as anything past 9 O'clock was VERT+. The added excitement of skating "The Pipes" was that they were in a compound within British Steel and at any time the Security, complete with dogs could show up. It's amazing how fast you can run when a dog is charging towards you. On the few occasions that we were caught they usually took you to the farthest security gate and let you off, however this meant an 8 mile skate back home, and a new right trainer to boot.
Me on the Snake run at the Mere skatepark at Scarborough, in the tightest shorts and saddest hairstyle / helmet known to man. Pro-Am board (also from Stockton Market) I later bought the streetstick on the left complete with tracker trucks and Alva wheels. (my brother sold it at a car boot sale some years ago, the little B#$%rd, does he realise what this set-up would go for on Ebay!!!!!!!)
Next to Skating, my other passion at this time was music and it seemed to go hand in hand with skating, my personal favourite, and still to this day was DEVO, (check out The Wipeouters CD, Devo doing surf!) but any Punk / New wave was the order of the day. I got into music because of skating so it's ironic that Music was the main reason I gave up skating, namely the MOD / SKA revival. Scooters, Modettes and beer suddenly had a lot more appeal.
THE WORKING YEARS,
Although I did not re-start my skating career until 1998, I kept my balancing skills honed during the 80 / 90's by Windsurfing, Snowboarding and Mountain biking, however this all changed when I went to California, the greatest and most expensive holiday I've ever had (two of us went, three of us came back). It was whilst in Santa Cruz I had no option but to buy a new set-up, a genuine Santa Cruz Steve Caballero, complete with Spitfire wheels. Cruising down Venice and Huntington beach is a lasting memory of the holiday and the realisation that I had to re-start skating.
Fast-forward to today, I'm not skating as much as I would like to, but thankfully due to the interest my four year old has in Skating I now have a perfect excuse for father / son bonding sessions and a new found love of all things OLD SKOOL.
Абонамент за:
Публикации (Atom)
