en http://creativecommons.org/licenses/by-nc-sa/2.0/uk/ Thu, 1 Jan 1970 00:00:00 +0000 Thu, 1 Jan 1970 00:00:00 +0000 60 http://www.audioscrobbler.net/data/webservices http://www.last.fm/user/Skonrokk/journal The Last.fm journal for Skonrokk. Last.fm journals are a place to talk about all things music. http://www.last.fm/user/Skonrokk/journal/2009/07/25/2w7g6n_demo_nr._2_%28with_vocal_melody%29 Sat, 25 Jul 2009 22:58:15 +0000 http://www.last.fm/user/Skonrokk/journal/2009/07/25/2w7g6n_demo_nr._2_%28with_vocal_melody%29 Demo nr. 2 (with vocal melody)

The chord progression (in the verses) came when I was messing around with another song I wrote (Gengið á Gufunum (Running on Empty)). I was checking out if I could possibly use that track for Menn Ársins (or some elements from it). I still might check out if the horn melody line from that track might fit... but I'll probably just rather want to write something new. :-)]]> http://www.last.fm/user/Skonrokk/journal/2009/07/25/2w5008_new_demos Sat, 25 Jul 2009 00:42:49 +0000 http://www.last.fm/user/Skonrokk/journal/2009/07/25/2w5008_new_demos Here goes....!!

Demo nr. 2 (with vocal melody)

I wrote this song and recorded the demo for Menn Ársins.

I'm "singing" and playing the electric bass and the acoustic guitar. The drums are constructed from some samples I had.
I was going for a slightly distorted neck pickup tone on the bass (I was thinking a rock version of James Jamerson (Motown) ... kind of :-p)
The guitar solo was just a spur of the moment thing ....

Here is the song without the vocals: Demo nr. 2 (no melody)


Then there's....

Demo nr. 1

This is actually the first demo I've made... ever. About time I guess!

I'm playing the acoustic guitar and the fretless bass. The drums are constructed from some samples I had. Also an demo I made for Menn Ársins.]]> http://www.last.fm/user/Skonrokk/journal/2009/07/24/2w3fg8_few_spelling_errors_i%27ve_noticed_on_some_menn_%C3%A1rsins_tracks Fri, 24 Jul 2009 14:36:41 +0000 http://www.last.fm/user/Skonrokk/journal/2009/07/24/2w3fg8_few_spelling_errors_i%27ve_noticed_on_some_menn_%C3%A1rsins_tracks "12 Steps to the Liqour Store" should be "12 Steps to the Liquor Store", "Pögnin Heyrir Allt" should be "Þögnin heyrir allt" and "Pegar Augu Okkar Mætast" should be "Þegar augu okkar mætast"

]]> http://www.last.fm/user/Skonrokk/journal/2009/02/05/2gkzbt_last.fm._correct_spelling_-_artist_and_track_spelling_auto-correction_-_12_steps_to_the_liquor_store_by_menn_%C3%A1rsins Thu, 5 Feb 2009 14:30:05 +0000 http://www.last.fm/user/Skonrokk/journal/2009/02/05/2gkzbt_last.fm._correct_spelling_-_artist_and_track_spelling_auto-correction_-_12_steps_to_the_liquor_store_by_menn_%C3%A1rsins

The last.fm artist and track spelling auto-correction is here. And it's far from perfect yet.

After this feature became active. Listeners of the Menn Ársins track "12 Steps to the Liquor Store" Have been redirected to an older spelling of the track name, a spelling the band used before the album came out. The spelling used before the release of the album was "12 Steps 2 the Liquor Store".

As anyone can see in tracklist from the Menn Ársins album info. Then the artist himself made that way of spelling the tracks very very clear.

I can't help but wonder how on earth last.fm came to the conclusion it came to.

I would appreciate if listeners would flag and suggest corrections accordingly!

Thank you! :-)]]> http://www.last.fm/user/Skonrokk/journal/2008/11/26/2au26v_you_can_now_buy_the_menn_%C3%A1rsins_%28iceland%29_cd_-_directly_from_the_band_%28via_pay_pal%29._%28packed_in_digipak%29_%28price%3A_%2418._shipping_is_included%2C_world_wide%29 Wed, 26 Nov 2008 01:13:52 +0000 http://www.last.fm/user/Skonrokk/journal/2008/11/26/2au26v_you_can_now_buy_the_menn_%C3%A1rsins_%28iceland%29_cd_-_directly_from_the_band_%28via_pay_pal%29._%28packed_in_digipak%29_%28price%3A_%2418._shipping_is_included%2C_world_wide%29


Buy the Menn Ársins CD via Pay Pal

You can now buy the debut CD from Menn Ársins (Iceland) directly from the band. They'll personally wrap the CD and take it to the post office!

The price is $18 which includes packing and world wide shipping.

All the 12 tracks from the album (self titled Menn Ársins) are available for full preview here on last.fm and some even for free download.

So.... hope you like and ... sponsor independent music!

The track list:
Augun Opnast
Running a Motorway
Póstkort
Allt að gerast
Mary Kelly
What Good is a Love Song
Sjáumst fljótlega aftur
Þögnin heyrir allt
Þegar augu okkar mætast
Love to Turn you on
Last Chance to say goodbye
12 Steps to the Liquor Store


Menn Ársins are:
Haraldur Vignir Sveinbjörnsson (a.k.a. Red Barnett) - keyboard, guitar, vocals
Kjartan “Diddi” Guðnason – drums and percussion, background vocals
Sigurdór Guðmundsson – electric bass
Sváfnir Sigurðarson – vocals, guitar]]> http://www.last.fm/user/Skonrokk/journal/2008/11/25/2atikf_%2212_steps_to_the_liquor_store%22_live_recording_from_poppland_radio_show_on_r%C3%A1s_2_of_ruv_%28channel_2_of_the_icelandic_national_radio%29 Tue, 25 Nov 2008 20:49:26 +0000 http://www.last.fm/user/Skonrokk/journal/2008/11/25/2atikf_%2212_steps_to_the_liquor_store%22_live_recording_from_poppland_radio_show_on_r%C3%A1s_2_of_ruv_%28channel_2_of_the_icelandic_national_radio%29 Menn Ársins performing 12 Steps to the Liquor Store on a radio show.

Recorded on 6th of June 2008.
Click here to LISTEN!

The event on last.fm
Some pictures here: http://www.flickr.com/photos/siggidori/sets/72157605852382682/]]> http://www.last.fm/user/Skonrokk/journal/2008/10/03/27atl0_12_steps_to_the_liquor_store_-_wiki Fri, 3 Oct 2008 21:16:30 +0000 http://www.last.fm/user/Skonrokk/journal/2008/10/03/27atl0_12_steps_to_the_liquor_store_-_wiki Listen to the song: 12 Steps to the Liquor Store

http://beta.last.fm/music/Menn+%C3%81rsins/_/12+Steps+to+the+Liquor+Store/+wiki



"The origin of this song, 12 Steps to the Liquor Store, goes back to 2005 when bassist Sigurdór Guðmundsson was writing material for upcoming projects. At that time the song had a different melody and no lyrics (and was called "Calm Mouse", see also: Calm Mouse (live). That version of the song was for instance performed by the Icelandic/Danish group Amalgam in 2005.

Fast forward 2 years and we have Menn Ársins preparing material for an upcoming album. Sigurdór throws this song into the suggestion pool and it gets a makeover from Haraldur Vignir, their keyboard player. New melody is written by him as well as the lyrics. The horn arrangement (originally inspired by one of Chris Speed's songs) is kept.

The rest of the band was skeptical that the song was anything that fitted for them. Nevertheless the song was practiced briefly before the band went into Lundgaard Studios in Denmark (November 2007) to lay down the basic tracks for the album.



When in Denmark, Sigurdór contacts his band mate from Amalgam, trumpet player Hans Christian Erbs (HC). HC comes to the studio and plays the trumpet parts and solos while the track is recorded.

Icelandic lyrics where tried but didn't work well, so the English version was finished.



On the last evening of their recording period in Lundgaard Studios the band gets a visit from three young danish jazz musicians (members of the Suntan Trio) that had just arrived to record at the other studio at Lundgaard. They ask if they can listen to some tracks. And while enjoying some fresh tracks and some Icelandic liquor they are asked by Menn Ársins to help with some background vocals and general party vibes on the track.



When working on the overdubs, back home in Iceland, the band calls in tenor saxophonist Steinar Sigurðarson to play the rest of the horn arrangement and add some solos.

Available on last.fm in late May 2008.
Released for airplay in Iceland, late May / early June 2008.

Credits:
Haraldur Vignir Sveinbjörnsson - keyboards, vocals, composer, lyrics
Sigurdór Guðmundsson - electric bass, composer, horn arrangement, background party choir and hand claps.
Sváfnir Sigurðarson - electric guitar, background party choir and hand claps.
Kjartan Guðnason - drums, percussion, background party choir and hand claps.

Hans Christian Erbs - trumpet
Steinar Sigurðarson - tenor saxophone

Jazper Lindenhoff - background party choir
Søren Østergaard - background party choir."]]> http://www.last.fm/user/Skonrokk/journal/2008/08/17/24bca1_electric_bass_-_tag_%2526_wiki_-_radio_station Sun, 17 Aug 2008 15:55:04 +0000 http://www.last.fm/user/Skonrokk/journal/2008/08/17/24bca1_electric_bass_-_tag_%2526_wiki_-_radio_station Tag station: http://www.last.fm/listen/globaltags/Electric%20Bass or http://www.last.fm/tag/electric%20bass

This tag can be used to tag songs, artists, albums and performances that use the electric bass, both fretted and fretless.

From Wikipedia:

The electric bass guitar[1] (also called electric bass[2][3][4], or simply bass; pronounced /ˈbeɪs/, as in "base") is a stringed instrument played primarily 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 to the same pitches as those of the double bass,[5] or one octave lower in pitch than the four lower strings of a guitar (E, A, D, and G).[6] In order to avoid the excessive use of ledger lines, bass guitar is notated in bass clef an octave higher than the sound it makes. Like the electric guitar, the electric bass guitar is usually plugged into an amplifier and speaker for live performances.

Since the 1950s, the electric bass guitar has largely replaced the double bass in popular music. The bass guitar provides the low-pitched basslines and bass runs in many different styles of music ranging from rock and metal to blues and jazz. It is also used as a soloing instrument in jazz, fusion, latin, funk, and rock styles.

History

1930s

In the 1930s, inventor Paul Tutmarc from seattle, washington, developed the first guitar-style electric bass instrument that was fretted and designed to be held and played horizontally. The 1935 sales catalog for Tutmarc's company, Audiovox, featured his "electronic bass fiddle," a four stringed, solid bodied, fretted electric bass guitar with a 30½-inch scale length.[7] 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.

1950s–1960s

In the 1950s, Leo Fender, with the help of his employee George Fullerton, developed the first mass-produced electric bass.[8] 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 coil pickup, to a contoured body design with beveled edges for comfort and a single four-pole "single coil pickup." This "split pickup", introduced in 1957, appears to have been two mandolin pickups (Fender was marketing a four string solid body electric mandolin at the time). Because the pole pieces of the coils were reversed with respect to each other, and the leads were also reversed with respect to each other, the two coils, wired in series, produced a humbucking effect (the same effect is achieved if the coils are wired in parallel).

Monk Montgomery was the first bass player to tour with the Fender bass guitar, with lionel hampton's postwar big band.[9] Roy Johnson, who replaced Montgomery in Hampton's band, and Shifty Henry with Louis Jordan & His Tympany Five, were other early Fender Bass pioneers.[8] Bill Black, playing with Elvis Presley, adopted the Fender Precision Bass around 1957.[10]

Following Fender's lead, Gibson released the violin-shaped EB-1 Bass in 1953[11], 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.

A small number of other companies also began manufacturing bass guitars during the 1950s: Kay in 1952, and Danelectro in 1956;[10] Rickenbacker and Höfner also produced models. With the explosion of the popularity of rock music in the 1960s many more manufacturers began making bass guitars.

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, and was designed by Leo Fender to be an easier bass for a guitarist to play than the existing Precision Bass, due to the narrower nut (noted later). 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 (1½" versus 1¾").

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", a design echoed on most current production electric basses of all makes).

In the 1950s and 1960s, the bass guitar was often called the Fender bass, 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[12] The instrument is also referred to as an electric bass guitar, electronic bass, or simply bass.

1970s

The 1970s saw the founding of Music Man Instruments, owned by Leo Fender, which produced the StingRay, the first widely-produced bass with active (powered) electronics. This amounts to an impedance buffering pre-amplifier on-board the instrument to lower the output impedance of the bass's pickup circuit, increasing low-end output, and overall frequency response (more lows and highs). Specific models became identified with particular styles of music, such as the Rickenbacker 4001 series, which became identified with progressive rock bassists like Chris Squire of Yes, while the StingRay was used by Louis Johnson of the funk band The Brothers Johnson.

In 1971, Alembic established the template for what would subsequently be known as "boutique" or "high end" electric bass guitars. These expensive, custom-tailored instruments featured unique designs, premium wood bodies chosen and hand-finished by highly skilled luthiers, 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 (http://www.last.fm/tag/anthony%20jackson)commissioned luthier Carl Thompson to a 6-string bass tuned (low to high) B, E, A, D, G, C.

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 remain popular in the 2000s; in 2006, a 60th Anniversary P-bass was introduced by Fender, along with the introduction of the Fender Jaguar Bass.

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[13]and, in some cases, entire basses.[14]

Exotic woods are used on more expensive instruments: for example, the company 'Alembic' is associated with the use of cocobolo as a body material or top layer because of its attractive grain. Warwick bass guitars are also well-known for exotic hardwoods: most of the necks are made of ovangkol, and the fingerboards wenge or ebony. Solid bubinga bodies are also used for tonic and aesthetic qualities.

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).

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.

A fretless bass with flatwound strings; note the markers on the side of the fingerboard, to aid the performer in finding the correct pitch.


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 adjust 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. [15][16] The first production fretless bass was the Ampeg AUB-1 introduced in 1966, and Fender introduced a fretless Precision Bass in 1970. In the early 1970s, fusion jazz bassist Jaco Pastorius created his own fretless bass by removing the frets[17] from a Fender Jazz Bass, filling the holes with wood putty, and coating the fretboard with epoxy resin.[18]

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) and Flatwound 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.

Strings and tuning
Main article: Bass guitar tuning

The standard design for the electric bass guitar has four strings, tuned E, A, D and G, 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. 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, bassists 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.[19]
* Five strings usually tuned B-E-A-D-G, which provides extended lower range.

Five string basses tuned to B-E-A-D-G (and sometimes A-D-G-C-F) are often used in contemporary rock and metal alongside seven string guitars, baritone guitars, and otherwise downtuned instruments. Another common tuning used on early 5 string basses is E-A-D-G-C, known as "tenor tuning". This is still a popular tuning for jazz and solo bass. Other tunings such as C-E-A-D-G are used though 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 are usually tuned B-E-A-D-G-C. 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, as well as in studio work where a single instrument must be highly versatile. Alternate tunings for 6-string bass include B-E-A-D-G-B, matching the first five strings of an acoustic or electric guitar, and EADGBE, completely matching the tuning of a 6-string guitar but one octave lower allowing the use of guitar chord fingerings. Rarer tunings such as EADGCF and F#BEADG provide a lower or higher range in a given position while maintaining consistent string intervals.

* Detuners, such as the Hipshot, are mechanical devices operated by the thumb on the fretting hand 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.[20]

Extended range approaches

Some bassists have used other types of tuning methods to obtain an extended range or other benefits such as providing multiple octaves of notes at any given position, as well as a significantly larger tonal range. Instrument types or tunings used for this purpose include basses with fewer than four strings (1-string bass guitars [21], 2-string bass guitars, 3-string bass guitars (E-A-D) [22]); alternate tunings (e.g., tenor bass [23], piccolo bass[24], and guitar-tuned basses[25]) 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.[26]

Extended Range Basses (ERBs) 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 developed a special playing technique requiring seven or more strings. Conklin builds 8- and 9-string basses.[27] 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).[28] 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)[29] have been created [30].[31].

Pickups and amplification
For more information on pickups, see Pickup (music).
Magnetic pickups

Most electric bass guitars 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[32]

"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, are found in Gibson, Music Man and other basses. They have two signal producing coils which are reverse wound around opposed polarity magnets. This significantly reduces noise from interference compared to single coil pickups. Humbuckers also often produce a higher output level than single coil pickups.

"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, Fender Precision Bass Plus), or two "J" pickups (e.g. Fender Jazz).[33] 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. Sound demonstrations of the tonal effects of varying blends of the P and J pickups are demonstrated at the following link.

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
Main article: Bass instrument amplification

Like the electric guitar, the electric bass guitar 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, such as jazz big bands or in 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.

Technique

The electric bass guitar, 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, ring, and pinky fingers as well) or with a pick (or plectrum). Bassists such as Lemmy from Motörhead or Matt Freeman from Rancid and Operation Ivy may use picks to obtain a more articulate attack, for speed, or just personal preference.

Although the use of a pick is primarily associated with rock, 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. A bassist usually holds a pick in a fist-like grip with the index and thumb. Also, usually the wrist is used, but sometimes for tremolo picking, the whole arm is used. Some bassists use their fingernails to play flamenco-style, such as John Entwistle, Geddy Lee and Les Claypool.

There are many varieties of picks available to a bassist, and usually one chooses one for comfort, or for tone. The norm, is to choose heavy picks that range from 1.14 mm – 3.00 mm (3.00 is unusual). Picks are made with all types of material for tone preference. Felt picks are used to emulate a fingerstyle tone.

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. Sting performs using his thumb. James Jamerson, an influential bassist from the Motown era, played intricate bass lines using a single finger – his index finger, which he called "The Hook." Depending on where the string is plucked, different timbres are produced.

There are also variations in how a bassist chooses to rest the 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
Main article: Slapping

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) and Alex Katunich (from Incubus). 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. Bassist John Entwistle of The Who would tap percussively on the strings, causing them to strike the fretboard with a twangy sound to create drum-style fills. Some players noted for this technique include Billy Sheehan, Stuart Hamm, John Myung, Victor Wooten, Les Claypool, 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.

Use in contemporary classical music

The electric bass guitar has occasionally been used in contemporary classical music (art music) since the late 1960s. American composers using electric bass in the 1960s included experimental classical music composer Christian Wolff (born 1934) (Electric Spring 1, 1966; Electric Spring 2, 1966/70; Electric Spring 3, 1967; and Untitled, 1996); Francis Thorne, a student of Paul Hindemith at Yale University (born 1922), who wrote (Liebesrock 1968–69); and Krzysztof Penderecki (Cello Concerto No. 1, 1966/67, rev. 1971/72), The Devils of Loudun, 1969; Kosmogonia, 1970; and Partita, 1971), Louis Andriessen (Spektakel, 1970; De Staat, 1972-76; Hoketus, 1976; De Tijd, 1980-81 and De Materie, 1984-1988). European composers who began scoring for the bass guitar in the 1960s included Danish composer Pelle Gudmundsen-Holmgreen (born 1932) (Symfoni på Rygmarven, 1966; Rerepriser, 1967; and Piece by Piece, 1968); Irwin Bazelon (Churchill Downs, 1970).

In the 1970s, electric bass was used by the American conductor- composer Leonard Bernstein (1918 – 1990) for his Mass, 1971). American jazz pianist Dave Brubeck used bass guitar for his 1971 piece Truth Has Fallen. Russian and Soviet composer Alfred Schnittke used the instrument for his epic Symphony No. 1, 1972. In 1977, David Amram (born 1930) scored for electric bass in En Memoria De Chano Pozo. David Amram is an American composer known for his eclectic use of jazz, ethnic and folk music.

In the 1980s and 1990s, 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; Steve Reich's Electric Counterpoint (1987), Wolfgang Rihm (Die Eroberung von Mexico, 1987-91), Arvo Pärt (Miserere, 1989/92), 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), and Michael Nyman (many works for the Michael Nyman Band).]]> http://www.last.fm/user/Skonrokk/journal/2008/08/15/24877u_menn_%C3%A1rsins_bio Fri, 15 Aug 2008 17:21:20 +0000 http://www.last.fm/user/Skonrokk/journal/2008/08/15/24877u_menn_%C3%A1rsins_bio Icelandic pop/rock band Menn Ársins (e.: Men of the Year) was founded three years ago by singer/guitarist Sváfnir and keyboard player/singer Halli (Haraldur Vignir). Their main goal in the beginning was to work on a few songs that Sváfnir had up his sleeve and wanted to work on.
Recordings were made and few of the songs got some considerable airplay on the national radio station. The band went through some personal changes (mostly changing bass players) until electric bassist Sigurdór Guðmundsson joined them in late 2006. Drummer Diddi (Kjartan Guðnason) had been onboard from the early days of the band.

In 2007 the band started to work on some more songs with all the members chipping in on the songwriting. After an intensive rehearsal period in the fall of 2007 they locked themselves away at Lundgaard Studios in Denmark and recorded 12 tracks for their debut album (released on their own label in September 2008).

The music of Menn Ársins does not easily fall into one category. All members are active musicians and have played in most styles of music. Haraldur has been with (grunge) rockers Dead Sea Apple for over a decade and is also composing and arranging in classical settings as well as composing for commercials. Drummer Diddi has played (for instance) with (Balkan folk sensation) Rússíbanar, rockers Ske and modern classical ensembles Ísafold Chamber Orchestra and Caput. Bassist Sigurdór comes from a funk and jazz background but with strong roots in rock and pop music. Sváfnir is firmly rooted in the singer/songwriter (troubadour) tradition with some punk and new wave as an early influence as well.

So it’s easy to say that Menn Ársins have a big palette of influences and experiences to choose from and add to their musical musings. But at the core their music is melodic pop/rock with arrangements ranging from string laden ballads and horn driven grooves to stripped down up-tempo rocking out!


Menn Ársins are:

Haraldur Vignir Sveinbjörnsson - keyboard, guitar, vocals
Kjartan “Diddi” Guðnason – drums and percussion, background vocals
Sigurdór Guðmundsson – electric bass
Sváfnir Sigurðarson – vocals, guitar

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All the songs from the Menn Ársins upcoming CD (titled Menn Ársins) are available for full preview on last.fm and some tracks can be downloaded as mp3. Enjoy!

Track list:
Allt að gerast
Augun Opnast
Mary Kelly
Running a Motorway
Póstkort
12 Steps to the Liquor Store
Love to Turn you on
Þögnin heyrir allt
Sjáumst fljótlega aftur
Last Chance to say goodbye
Þegar augu okkar mætast
What Good is a Love Song]]> http://www.last.fm/user/Skonrokk/journal/2008/07/05/21zhk2_three_new_songs_by_the_icelandic_band_menn_%C3%A1rsins_now_on_last.fm_%21 Sat, 5 Jul 2008 11:11:20 +0000 http://www.last.fm/user/Skonrokk/journal/2008/07/05/21zhk2_three_new_songs_by_the_icelandic_band_menn_%C3%A1rsins_now_on_last.fm_%21 Hi! I just wanted to let you know that the icelandic band Menn Ársins have uploaded three new songs to last.fm from the upcoming (August/September) release.

The songs are:
Mary Kelly, (a rock song heavily influenced by the danish rocker Tim Christensen, you might even hear a Paul Stanley-ish high note in there!)

Running a Motorway, a rock song with a odd meter groove in "7" in the verses. A Jimmy Page style altered guitar tuning, fretless bass, horns and snare drum galore! Sting fans might find the drum part slightly reminiscent of Vinnie Colaiuta's part in Sting's "Saint Augustine In Hell" from his "Ten Summoner's Tales".

What Good is a Love Song, a rock/pop ballad that has brought up names like, Peter Gabriel, John Lennon, U2/Bono, by some listeners that have commented on it after hearing the song. You judge for yourself! :)

If you like what you hear there is more here and would be great to have you in the Menn Ársins group.

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Other songs also available in full preview:
12 Steps to the Liquor Store

Allt að gerast ("Everything is happening")

Augun Opnast
("The Eyes Open")

Póstkort
("Postcard", originally called "Postcard from Che Guevara")

Þögnin heyrir allt
(The Silence Hears Everything").]]>