CA-San Marcos Guitar Tuner

In the 40 years that I have been teaching all styles of guitar to every type of student, there have been a few questions that come up over and over which seem to be the cause of great concern and anxiety.

The Best Guitar Strings In San Diego 

High on the list is “Am I too old to learn guitar in San Marcos ?I have been anxiously asked this question by a 28 year old student, a 38 year old, a 46 year old, and let’s see…off the top of my head, I can remember students at age 52, 65, 77, and finally, good old Frank who was 84! I have had plenty of experience with this question, and more importantly, with the answer

.I am going to tell you the answer right up front to set your mind at ease, just in case you are one of those guitar students desperately attempting to remain hopeful about your chances of success. Yes, anyone can learn to play the guitar at any age, period and any place in San Diego

Electric Guitar

bluegrass guitar lessons Jump to navigation Jump to search Slack-key guitar is a fingerstyle genre of guitar music that originated in Hawaii. Its name refers to its characteristic open tunings: the English term is a translation of the Hawaiian kī hōʻalu, which means "loosen the [tuning] key". Most slack-key tunings can be achieved by starting with a guitar in standard tuning and detuning or "slacking" one or more of the strings until the six strings form a single chord, frequently G major. In the oral-history account, the style originated from Mexican cowboys in the late 19th century. These paniolo (a Hawaiianization of españoles—"Spaniards") provided guitars, taught the Hawaiians the rudiments of playing, and then left, allowing the Hawaiians to develop the style on their own. Musicologists and historians suggest that the story is more complicated,[1] but this is the version that is most often offered by Hawaiian musicians. Slack-key guitar adapted to accompany the rhythms of Hawaiian dancing and the harmonic structures of Hawaiian music. The style of Hawaiian music that was promoted as a matter of national pride under the reign of King David Kalākaua in the late 19th century combined rhythms from traditional dance meters with imported European forms (for example, military marches), and drew its melodies from chant (mele and oli), hula, Christian hymns (hīmeni), and the popular music brought in by the various peoples who came to the Islands: English-speaking North Americans, Mexicans, Portuguese, Filipinos, Puerto Ricans, Tahitians, and Samoans. The music did not develop a mainland audience during the Hawaiian music craze of the early 20th century, during which Hawaiian music came to be identified outside Islands with the steel guitar and the ukulele. Slack key remained private and family entertainment, and it was not even recorded until 1946–47, when Gabby Pahinui cut a series of records that brought the tradition into public view.[2] During the 1960s and particularly during the Hawaiian Cultural Renaissance of the 1970s, slack key experienced a surge in popularity and came to be seen as one of the most genuine expressions of Hawaiian spirit, principally thanks to Gabby Pahinui, Atta Isaacs, Leonard Kwan, Sonny Chillingworth, Raymond Kāne, and the more modern styles of younger players such as Keola Beamer, his brother Kapono Beamer, Peter Moon, and Haunani Apoliona. During this period, luthiers such as the Guitar and Lute Workshop in Honolulu specialized in the development and manufacture of guitars custom made to order for slack-key performance. Many currently prominent Hawaiʻi-based players got their starts during the Cultural Renaissance years: Cindy Combs, Ledward Kaapana, George Kahumoku, Jr., his brother Moses Kahumoku, Dennis Kamakahi, Ozzie Kotani, three Pahinui brothers (Bla, Cyril, and Martin), the Emerson Brothers and Owana Salazar. These artists, and slack key in general, have become well known outside Hawaiʻi largely through George Winston's Dancing Cat Records record label, which has most often showcased the music in solo settings. One indication of slack key's increasing visibility beyond the Islands is that the first four winners of the Grammy Award for Best Hawaiian Music Album were slack key collections: Slack Key Guitar, Volume 2 in 2005,[3] Masters of Hawaiian Slack Key Guitar, Volume 1 in 2006,[4] Legends of Hawaiian Slack Key Guitar—Live from Maui[5] and "Treasures of Hawaiian Slack Key Guitar – Live in Concert from Maui." Players from outside Hawaiʻi have also taken up the tradition, for example, Chet Atkins (who included slack key pieces on two of his albums), Yuki Yamauchi (a student of Raymond Kāne's and an advocate of Hawaiian music in Japan), pianist George Winston, and Canadian Jim "Kimo" West (perhaps better known as guitarist with "Weird Al" Yankovic). Kī hōʻalu is often characterized by the use of an alternating-bass pattern, usually played by the thumb on the lower two or three strings of the guitar, while the melody is played on the three or four highest strings, using any number of fingers. Many kī hōʻalu players incorporate various embellishments such as harmonics (chimes), the hammer-on, the pull-off, slides, and damping. Slack key compositions exhibit characteristics from indigenous Hawaiian and imported musical traditions. The vamp or turnaround (a repeated figure, usually at the end of a verse) is descended from the hula tradition, and other harmonic and structural features are descended from hīmeni and from the hula kuʻi encouraged by King David Kalakaua.[6] Nearly all slack key requires retuning the guitar strings from the standard EADGBE, and this usually means lowering or "slacking" several strings. The result is most often a major chord, although it can also be a major-seventh chord, a sixth, or (rarely) a minor. There are examples of slack key played in standard tuning, but the overwhelming majority of recorded examples use altered tunings. The most common slack key tuning, called "taro patch," makes a G major chord. Starting from the standard EADGBE, the high and low E strings are lowered or "slacked" to D and the fifth string from A down to G, so the notes become DGDGBD. As the chart below shows, there are also major-chord tunings based on C, F, and D. Another important group of tunings, based on major-seventh chords, is called "wahine". G wahine, for example, starts with taro patch and lowers the third string from G to F♯, making DGDF♯BD. Wahine tunings have their own characteristic vamps (as in, for example, Raymond Kāne's "Punahele" or Gabby Pahinui's 1946 "Hula Medley") and require fretting one or two strings to form a major chord. A third significant group is Mauna Loa tunings, in which the highest pair of strings are a fifth apart: Gabby Pahinui often played in C Mauna Loa, CGEGAE. George Winston has identified fifty slack key tunings[7] Some are only commonly used for a single song, or by particular players. Mike McClellan and George Winston have developed similar schemes that organize the tunings by key and type. The chart below follows their categories and naming conventions. ^ For example, Elizabeth Tatar, "Slack Key Guitar", in Hawaiian Music and Musicians, ed. George S. Kanahele, University Press of Hawaii, 350–360. ISBN 0-8248-0578-X ^ See updated and corrected liner notes to the compilation CD History of Slack Key Guitar, by Harry Soria, Jr., Jay Junker, and George Winston. ^ "Slack key wins first Hawaiian Grammy", by Tim Ryan, Honolulu Star-Bulletin, February 14, 2005 ^ "'Masters' of the Grammy", by John Burger, Honolulu Star-Bulletin, February 9, 2006 ^ Derek Pavia (February 12, 2007). "Slack Key Snags Third Hawaiian Grammy". Honolulu Advertiser. Archived from the original on August 7, 2009.  ^ Tatar, "The Technique" and "The Chant Tradition" sections of "Slack Key Guitar" in Hawaiian Music and Musicians ^ [1] George Winston's on-line Short History of Slack Key Guitar, "Chart of Recorded Tunings" ^ "Bio". Kawika. Retrieved June 9, 2017. 

Instrument Amplifier

learn to play electric guitar Jump to navigation Jump to search The music of Hawaii includes an array of traditional and popular styles, ranging from native Hawaiian folk music to modern rock and hip hop. Hawaii's musical contributions to the music of the United States are out of proportion to the state's small size. Styles like slack-key guitar are well-known worldwide, while Hawaiian-tinged music is a frequent part of Hollywood soundtracks. Hawaii also made a contribution to country music with the introduction of the steel guitar.[1] In addition, the music which began to be played by Puerto Ricans in Hawaii in the early 1900s is called cachi cachi music, on the islands of Hawaii. Music of Hawaiian people is largely religious in nature, and includes chanting and dance music. Hawaiian music has had a notable impact on the music of other Polynesian islands; Peter Manuel called the influence of Hawaiian music a "unifying factor in the development of modern Pacific musics".[2] Major music festivals in Hawaii include the Merrie Monarch Hula Festival, which brings together hula groups from across the world, as well as a number of slack-key and steel guitar festivals: Big Island Slack Key Guitar Festival, Steel Guitar Association Festival and the Gabby Pahinui/Atta Isaacs Slack Key Festival. April's Aloha Week is a popular tourist attraction, as is the Moloka'i Music Festival held around Labor Day.[1] There was also a Hawaii International Jazz Festival, which ran from 1993 until 2007.[3][4] The annual Pacific Rim Jazz Festival occurs in mid-autumn at the Hawaii Convention Center.[5] The annual Manoa Jazz & Heritage Festival takes place in early autumn at the Andrews Amphitheatre on the University of Hawaiʻi at Mānoa campus.[6] Hawaii is home to numerous hotels, many of which feature music in the afternoon or evening; some of the more prominent ones include the Kahala Hilton, the Sheraton Moana Hotel, the Sheraton Waikiki, the Halekulani, Casanova's and the King Kamehameha Hotel.[1] Large music venues in Hawaii include the University of Hawaii at Hilo Performing Arts Center, which has 600 seats[7] and is the largest venue on the Big Island.[8] A 560-seat venue and cultural exhibition center on Kauai is the Kauai Community College Performing Arts Center.[9] In Honolulu, the Neal S. Blaisdell Center Arena, Concert Hall, and Exhibition Hall are three of the largest venues in the state.[10] Other venues for Hawaiian music on Oahu include the Waikiki Shell an establishment used primarily for concerts and entertainment purposes. Over the years many local, as well as international artists have graced the stage there. It is unique outdoor theater located in Kapiolani Park. This venue seats 2,400 persons, with the capacity to hold up to 6,000 more on the lawn area. Concerts, graduation ceremonies and hula shows are very popular at this site.[11] As well as Kennedy Theatre and Andrews Amphitheatre on the campus of the University of Hawaii at Manoa, the Blaisdell Center Concert Hall, the Hawaii Theatre in downtown Honolulu, the Red Elephant (a performance space and recording studio in downtown Honolulu), Paliku Theatre on the campus of Windward Community College and the Leeward Community College Theatre. The historic Lanai Theatre is a cultural landmark on Lanai, dating back to the 1930s.[12][13] Hawaii is home to a number of renowned music institutions in several fields. The Honolulu Symphony Orchestra is an important part of the state's musical history, and is the oldest orchestra in the United States west of the Rocky Mountains, founded in 1900.[14] The Orchestra has collaborated with other local institutions, like the Hawaii Opera Theatre and the Oʻahu Choral Society, which sponsors the Honolulu Symphony Chorus and the Honolulu Chamber Choir.[15] Numerous businesses have been created supporting the special musical styles and instruments suited to the Hawaiian musical tradition. The Guitar and Lute Workshop was an early manufacturer and proponent of specialty slack-key guitars in the early 1970s, and the Kamaka Ukulele company was established as key manufacturer of ukuleles for Hawaiian musical acts. Dancer with ʻuliʻuli, hula kahiko competition, Merrie Monarch Festival 2003 Hawaiian folk music includes several varieties of chanting (mele) and music meant for highly ritualized dance (hula). Traditional Hawaiian music and dance was functional, used to express praise, communicate genealogy and mythology, and accompany games, festivals and other secular events. The Hawaiian language has no word that translates precisely as music, but a diverse vocabulary exists to describe rhythms, instruments, styles and elements of voice production. Hawaiian folk music is simple in melody and rhythm, but is "complex and rich" in the "poetry, accompanying mimetic dance (hula), and subtleties of vocal styles... even in the attenuated forms in which they survive today".[2] Hula performance at a ceremony turning over U.S. Navy control over the island of Kahoolawe to the state performed by Uncle Frank Kawaikapuokalani Hewett The chant (mele) is typically accompanied by an ipu heke (a double gourd) and/or pahu (sharkskin covered drum). Some dances require dancers to utilize hula implements such as an ipu (single gourd), ʻiliʻili (waterworn lava stone castanets),ʻuliʻuli (feathered gourd rattles), pu`ʻli (split bamboo sticks) or kalaʻau (rhythm sticks). The older, formal kind of hula is called kahiko, while the modern version is ʻauana. There are also religious chants called ʻoli; when accompanied by dancing and drums, it is called mele hula pahu. In the pre-contact Hawaiian language, the word mele referred to any kind of poetic expression, though it now translates as song. The two kinds of Hawaiian chanting were mele oli and mele hula. The first were a cappella individual songs, while the latter were accompanied dance music performed by a group. The chanters were known as haku mele and were highly trained composers and performers. Some kinds of chants express emotions like angst and affection, or request a favor from another person. Other chants are for specific purposes like naming, (mele inoa), prayer (mele pule), surfing (mele he'e nalu) and genealogical recitations (mele koihonua). Mele chants were governed by strict rules, and were performed in a number of styles include the rapid kepakepa and the enunciate koihonua. Historical documentation of Hawaiian music does not extend prior to the late 18th century, when non-Hawaiians (haoles) arrived on the island. From 1778 onward, Hawaii began a period of acculturation with the introduction of numerous styles of European music, including the hymns (himeni) introduced by Protestant missionary choirs. Spanish-speaking Mexican cowboys (paniolos), were particularly influential immigrants in the field of music, introducing string instruments such as the guitar and possibly also the technique of falsetto singing, while Portuguese immigrants brought the ukulele-like braguinha.[1] also immigrants from all over the world had brought their own instruments along with them to the islands. Elizabeth Tatar divided Hawaiian music history into seven periods, beginning with the initial arrival of Europeans and their musical cultures, spanning approximately from 1820 to 1872. The subsequent period lasted to the beginning of the 20th century, and was marked by the creation of an acculturated yet characteristically Hawaiian modern style, while European instruments spread across the islands. Tatar's third period, from 1900 to about 1915, saw the integration of Hawaiian music into the broader field of American popular music, with the invention of hapa haole songs, which use the English language and only superficial elements of Hawaiian music; the beginning of the Hawaiian recording industry was in 1906, when the Victor Talking Machine Company made the first 53 recordings in the state.[16] By 1912, recorded Hawaiian music had found an audience on the American mainland.[17] Puerto Rican immigration to Hawaii began when Puerto Rico's sugar industry was devastated by two hurricanes in 1899. The devastation caused a worldwide shortage in sugar and a huge demand for the product from Hawaii. Hawaiian sugarcane plantation owners began to recruit the jobless, but experienced, laborers in Puerto Rico. They took with them their music and in the early 1900s introduced what is known as Cachi Cachi music, on the islands of Hawaii.[16] From 1915 to 1930, mainstream audiences outside of Hawaii became increasingly enamored of Hawaiian music, though by this time the songs marketed as Hawaiian had only peripheral aspects of actual Hawaiian music. Tahitian and Samoan music had an influence on Hawaiian music during this period, especially in their swifter and more intricate rhythms. The following era, from about 1930 to 1960, has been called the "Golden Age of Hawaiian music", when popular styles were adapted for orchestras and big bands, and Hawaiian performers like Lani McIntire, John Kameaaloha Almeida and Sol Hoʻopiʻi became mainstream stars. In the 1960s, Hawaiian-style music declined in popularity amid an influx of rock, soul and pop acts from the American mainland. This trend reversed itself in the final period of Hawaiian music history, the modern period beginning with the Hawaiian Renaissance in the 1970s and continuing with the foundation of a variety of modern music scenes in fields like indie rock, Hawaiian hip hop and Jawaiian.[17] Lili'uokalani Queen Liliʻuokalani was the last Queen of Hawaii before the Hawaiian monarchy was overthrown. She was also a musician and prolific composer who wrote many musical works. She was best known for Aloha 'Oe. A compilation of her works, titled "The Queen's Songbook", was published in 1999 by The Queen Lili'uokalani Trust. Aloha'oe performed by Madam Alapai in 1911. Lili'uokalani was one of many members of the Hawaiian royal family with musical inclinations. They studied under a Prussian military bandleader, Henri Berger, who was sent by the Kaiser at the request of Kamehameha V. Berger became fascinated by Hawaiian folk music, and wrote much documentation on it. However, he also brought his own musical background in German music, and heavily guided the Hawaiian musicians and composers he worked with. King Kamehameha V also, in 1847, sent to Germany for a "band Leader" for "The Kings Own Band", now the Royal Hawaiian Band, William Mersberg, from Weimar, Germany. He is Henry Kaleialoha Allen's great grandfather. Henry Kaleialoha Allen is "one of Hawaii's Living Treasures of Hawaiian Music" and a master music educator and has been honored many times on the Senate Floor and by the Legislature for such. Guitars could have come to Hawaii from several sources: sailors, missionaries, or travelers to and from California. The most frequently told story is that it accompanied the Mexican cowboys (vaqueros) brought by King Kamehameha III in 1832 in order to teach the natives how to control an overpopulation of cattle. The Hawaiian cowboys (paniolo) used guitars in their traditional folk music. The Portuguese introduced an instrument called the braguinha, a small, four-stringed Madeira variant of the cavaquinho; this instrument was a precursor to the `ukulele.[1] Steel-string guitars also arrived with the Portuguese in the 1860s and slack-key had spread across the chain by the late 1880s. A ship called the Ravenscrag arrived in Honolulu on August 23, 1879, bringing Portuguese field workers from Madeira. Legend has it that one of the men, João Fernandes, later a popular musician, tried to impress the Hawaiians by playing folk music with a friend's braguinha; it is also said that the Hawaiians called the instrument `ukulele (jumping flea) in reference to the man's swift fingers. Others have claimed the word means gift that came here or a corruption of ukeke lele (dancing ukeke, a three-string bow).[1] The popularity throughout the 1920s of Hawaiian music, with its unique slide-style of guitar playing, prompted the invention of the electric guitar in 1931, as a lap steel guitar, the "frying pan", by George Beauchamp. Electric amplification allowed the Hawaiian-style guitar to be heard in performances of larger popular bands. 1913 sheet music cover In the 1880s and 90s, King David Kalakaua promoted Hawaiian culture and also encouraged the addition of new instruments, such as the ukulele and possibly steel guitar; Kalakaua died in 1891, and so it is highly unlikely he would have heard it [See: Kanahele, George S., Hawaiian Music and Musicians, pp 367–368]. Kalakaua's successor, his sister Lili'uokalani, was also a prolific composer and wrote several songs, like "Aloha 'Oe", which remain popular. During this period, Hawaiian music evolved into a "new distinctive" style, using the derivatives of European instruments; aside from the widespread string instruments, brass bands like the Royal Hawaiian Band performed Hawaiian songs as well as popular marches and ragtimes.[1] In about 1889, Joseph Kekuku began sliding a piece of steel across the strings of a guitar, thus inventing steel guitar (kika kila); at about the same time, traditional Hawaiian music with English lyrics became popular. Vocals predominated in Hawaiian music until the 20th century, when instrumentation took a lead role. Much of modern slack-key guitar has become entirely instrumental.[1] From about 1895 to 1915, Hawaiian music dance bands became in demand more and more. These were typically string quintets. Ragtime music influenced the music, and English words were commonly used in the lyrics. This type of Hawaiian music, influenced by popular music and with lyrics being a combination of English and Hawaiian (or wholly English), is called hapa haole (literally: half white) music. In 1903, Albert "Sonny" Cunha composed My Waikiki Mermaid, arguably the first popular hapa haole song (The earliest known hapa haole song, "Eating of the Poi", was published in Ka Buke o na Leo Mele Hawaii...o na Home Hawaii in Honolulu in 1888 [See Kanahele, George S., Hawaiian Music and Musicians pp 71–72]). In 1927, Rose Moe (1908–1999), a Hawaiian singer, with her husband Tau Moe (1908–2004), a Samoan guitarist, began touring with Madame Riviere's Hawaiians. In 1929 they recorded eight songs in Tokyo. Rose and Tau continued touring for over fifty years, living in countries such as Germany, Lebanon and India. They even performed in Germany as late as 1938 when the Nazi racism was on the rise and people of a darker color were regarded as inferior people; it is said that they even performed for Adolf Hitler himself.[citation needed] With their children, the Tau Moe family did much to spread the sound of Hawaiian folk music and hapa haole music throughout the world. In 1988, the Tau Moe family re-recorded the 1929 sessions with the help of musician and ethnomusicologist Bob Brozman. The 1920s also saw the development of a uniquely Hawaiian style of jazz, innovated by performers at the Moana and Royal Hawaiian Hotels.[18] Main article: Slack-key guitar Slack-key guitar (kī ho`alu in Hawaiian) is a fingerpicked playing style, named for the fact that the strings are most often "slacked" or loosened to create an open (unfingered) chord, either a major chord (the most common is G, which is called "taro patch" tuning) or a major 7th (called a "wahine" tuning). A tuning might be invented to play a particular song or facilitate a particular effect, and as late as the 1960s they were often treated as family secrets and passed from generation to generation. By the time of the Hawaiian Renaissance, though, the example of players such as Auntie Alice Namakelua, Leonard Kwan, Raymond Kane, and Keola Beamer had encouraged the sharing of the tunings and techniques and probably saved the style from extinction. Playing techniques include "hammering-on", "pulling-off", "chimes" (harmonics), and "slides," and these effects frequently mimic the falsettos and vocal breaks common in Hawaiian singing. The guitar entered Hawaiian culture from a number of directions—sailors, settlers, contract workers. One important source of the style was Mexican cowboys hired to work on the Big Island of Hawaiʻi in the first half of the 19th century. These paniolo brought their guitars and their music, and when they left, the Hawaiians developed their own style of playing the instrument. Slack key guitar evolved to accompany the rhythms of Hawaiian dancing and the melodies of Hawaiian chant. Hawaiian music in general, which was promoted under the reign of King David Kalakaua as a matter of national pride and cultural revival, drew rhythms from traditional Hawaiian beats and European military marches, and drew its melodies from Christian hymns and the cosmopolitan peoples of the islands (although principally American). An advertisement for the Broadway show "The Bird of Paradise" In the early 20th century Hawaiians began touring the United States, often in small bands. A Broadway show called Bird of Paradise introduced Hawaiian music to many Americans in 1912 and the Panama–Pacific International Exposition in San Francisco followed in 1915; one year later, Hawaiian music sold more recordings than any other style in the country. The increasing popularization of Hawaiian music influenced blues and country musicians; this connection can still be heard in modern country. In reverse, musicians like Bennie Nawahi began incorporating jazz into his steel guitar, ukulele and mandolin music, while the Kalama Quartet introduced a style of group falsetto singing. The musician Sol Hoʻopiʻi arose during this time, playing both Hawaiian music and jazz, Western swing and country, and developing the pedal steel guitar; his recordings helped establish the Nashville sound of popular country music.[1] Lani McIntyre was another musician who infused a Hawaiian guitar sound into mainstream American popular music through his recordings with Jimmie Rodgers and Bing Crosby. A 1916 advertisement for Hawaiian music records from Victor Records. In the 1920s and 30s, Hawaiian music became an integral part of local tourism, with most hotels and attractions incorporating music in one form or another. Among the earliest and most popular musical attractions was the Kodak Hula Show, sponsored by Kodak, in which a tourist purchased Kodak film and took photographs of dancers and musicians.[1] The show ran from 1937 through 2002. Several vinyl LPs featuring music from the Kodak Hula Show were released by Waikiki Records, with full color photographs of the show's performers.[19] In the first half of the 20th century, the mostly young men who hung around the Honolulu beaches, swimming and surfing, came to be known as the Waikiki Beachboys and their parties became famous across Hawaii and abroad; most of them played the ukulele all day long, sitting on the beach and eventually began working for hotels to entertain tourists. Popular Hawaiian music with English verse (hapa haole) can be described in a narrow sense. Generally, songs are sung to the ukulele or steel guitar. A steel string guitar sometimes accompanies. Melodies often feature an intervallic leap, such as a perfect fourth or octave. Falsetto vocals are suited for such leaps and are common in Hawaiian singing, as is the use of microtones. Rhythm is mostly in duple meter. A musical scale that is unique to Hawaiian music imbues it with its distinct feel, and so is aptly named the Hawaiian scale. The Panama-Pacific Exposition in San Francisco in 1915 introduced Hawaiian steel guitar to mainland country music artists, and by the 1930s country stars Hoot Gibson and Jimmy Davis were making records with Hawaiian musicians.[20] The influx of thousands of American servicemen into Hawaii during World War 2 created a demand for both popular swing rhythm and country sounds. The western swing style, popular on the mainland since the 1930s, employed the steel guitar as a key element and was therefore a natural evolution. Beginning in 1945, the Bell Record Company of Honolulu responded to the demand with a series of releases by the western swing band Fiddling Sam and his Hawaiian Buckaroos (led by fiddler Homer H. Spivey, and including Lloyd C. Moore, Tiny Barton, Al Hittle, Calvert Duke, Tolbert E. Stinnett and Raymond "Blackie" Barnes). Between 1945–1950 Bell released some 40 sides by the Hawaiian Buckaroos, including a set of square dance numbers. In recent decades, traditional Hawaiian music has undergone a renaissance, with renewed interest from both ethnic Hawaiians and others. The islands have also produced a number of well-regarded rock, pop, hip hop, Dubstep, soul and reggae performers, and many local musicians in the clubs of Waikiki and Honolulu play outside the various "Hawaiian" genres. Hawaii has its own regional music industry, with several distinctive styles of recorded popular music. Hawaiian popular music is largely based on American popular music, but does have distinctive retentions from traditional Hawaiian music.[2] Main article: Hawaiian Renaissance The Hawaiian Renaissance was a resurgence in interest in Hawaiian music, especially slack-key, among ethnic Hawaiians. Long-standing performers like Gabby Pahinui found their careers revitalized; Pahinui, who had begun recording in 1947, finally reached mainstream audiences across the United States when sessions on which Ry Cooder played with him and his family were released as The Gabby Pahinui Hawaiian Band, Vol. 1 on a major mainland label. Pahinui inspired a legion of followers who played a mix of slack-key, reggae, country, rock and other styles. The more traditional players included Leland "Atta" Isaacs, Sr., Sonny Chillingworth, Ray Kane, Leonard Kwan, Ledward Ka`apana, Dennis Pavao, while Keola Beamer and Peter Moon have been more eclectic in their approach. The Emerson brothers rekindled the classic sound of Sol Ho'opi'i with the National steel guitar on their vintage 1920s stylings. George Kanahele's Hawaiian Music Foundation did much to spread slack-key and other forms of Hawaiian music, especially after a major 1972 concert.[1] Don Ho (1930–2007), originally from the small Honolulu neighborhood of Kaka'ako, was the most widely known Hawaiian entertainer of the last decades of the 20th century. Although he did not play "traditional" Hawaiian music, Ho became an unofficial ambassador of Hawaiian culture throughout the world as well as on the American mainland. Ho's style often combined traditional Hawaiian elements and older 1950s and 1960s-style crooner music with an easy listening touch. Loyal Garner also embraced Hawaiian elements in her Vegas-style lounge act and in the songs she recorded. A third notable performer, Myra English, became known as the "Champagne Lady" after recording the song "Drinking Champagne" by Bill Mack in 1963 became her signature song in Hawaii, and she achieved considerable commercial success both locally and abroad. Jawaiian is a Hawaiian style of reggae music. Reggae music is a genre that evolved in the late 1960s and earlier in Jamaica. It has become popular across the world, especially among ethnic groups and races that have been historically oppressed, such as Native Americans, Pacific Islanders, and Australian Aborigines. In Hawaii, ethnic Hawaiians and others in the state began playing a mixture of reggae and local music in the early 1980s, although it was not until the late 1980s that it became recognized as a new genre in local music. The band Simplisity has been credited by Quiet Storm Records as originators of the Jawaiian style. By the end of the 1980s, Jawaiian came to dominate the local music scene, as well as spawning a backlash that the Honolulu Star-Bulletin compared to the "disco sucks" movement of the late 1970s.[21] Reggae culture as a whole began to dominate Hawaii, as many locals can be seen sporting Bob Marley memorabilia, and lots of local merchandise and souvenirs have been emblazoned with the red, yellow, and green colors of the Hawaiian sovereignty as well as the Ethiopian flag, a known symbol of the Rastafari movement. The Rasta colors have also become a symbol of local pride. Rock and Roll music has long been popular in Hawaii - numerous rock and roll artists spent their developmental years in Hawaii (i.e. members of The Association, The Electric Prunes, 7th Order, Vicious Rumors, as well as guitarists Marty Friedman and Charlie "Icarus" Johnson), and its local popularity dates back to the earliest days of rock music.[22] Elvis Presley's career included several Hawaii-related performances and records: a March 1961 live performance to raise money for the construction of the USS Arizona Memorial at the Pearl Harbor Bloch Arena in March 1961,[23] his Aloha from Hawaii Via Satellite "comeback" record and concert in 1973, and three of his movies were based in Hawaii (Blue Hawaii, Girls! Girls! Girls!, and Paradise, Hawaiian Style). Through the 60's and 70's, rock concerts were frequently held at venues like the Honolulu International Center and The Waikiki Shell by artists like Jimi Hendrix, Led Zeppelin, The Rolling Stones, The Doors, Eric Clapton, Deep Purple, Jeff Beck and many other top rock artists.[24] The 3 day long Crater Festivals (held over the New Years and July 4th holidays) at Diamond Head in the 60's and 70's were well attended through the era,[25] and frequently featured popular bands like Fleetwood Mac, Journey and Santana (Carlos Santana and Buddy Miles actually released their 1972 Crater Festival performance on the LP Carlos Santana & Buddy Miles! Live!). Some notable current and retired jazz musicians in Hawaii include Gabe Baltazar (saxophone), Martin Denny (piano), Arthur Lyman (vibraphone and marimba), Henry Allen (guitar), vonBaron (drums), David Choy (saxophone), Rich Crandall (piano), Dan Del Negro (keyboards), Pierre Grill (piano/keyboards/trombone), Bruce Hamada (bass), DeShannon Higa (trumpet), Jim Howard (piano), Steve Jones (bass), John Kolivas (bass), Noel Okimoto (drums/percussion/vibes), Michael Paulo (reeds), Rene Paulo (acoustic grand piano)was a forerunner of recording Hawaiian music in the jazz venue in the early 1960s and is one of Hawaii's legendary music greats, Robert Shinoda (guitar), Arex Ikehara (bass), Phil Bennett (drums), Aron Nelson (piano), Tennyson Stephens (piano), Dean Taba (bass), Betty Loo Taylor (piano), Tim Tsukiyama (saxophone), Reggie Padilla (saxophone) and Abe Lagrimas Jr. (drums/ukulele/vibes). Notable jazz vocalists in Hawaii, both current and retired include Jimmy Borges, Rachel Gonzales, Azure McCall, Dana Land, Joy Woode and I. Mihana Souza. Although Hawaiian vocalist Melveen Leed is known primarily for singing Hawaiian and "Hawaiian country" music, she has also earned good reviews as a jazz singer. There are frequent performances by the University of Hawaii jazz bands. Regular venues to hear jazz in Honolulu include: Main article: Ukulele The ukulele was introduced to Hawaii by Madeiran immigrants near the close of the 19th century. The Portuguese brought a small guitar-like instrument, known as the machete. The instrument became a very popular one in Hawaiian culture, and a majority of Hawaiian songs involve the ukulele. In Hawaiian, ukulele literally means "flea (uku) jumping (lele)." It was named as such because when plucked, the high pitch of the strings brings to mind the image of a jumping flea. There are currently four sizes of ukulele; soprano, concert, tenor and baritone.[27] Queen Liliuokalani, the last Hawaiian Queen, believed that the name for the ukulele means "The gift that came here". She believed this because of the Hawaiian words "uku" which means "gift or reward" and "lele" which means "to come."[28] The ukulele can be played with simple or elaborate strums, as well as fingerpicking. The ukulele is mostly recognized as being Hawaiian, even though it is originally based on the Madeiran machete. Koa wood is one of the more higher quality woods which creates a deep and also clear sound for the ukulele. This makes Koa ukuleles very distinguishable by sound. Because of this, koa wood is known as a revered wood to create an ukulele. Not only are koa ukuleles distinguishable by sound, but also by looks. They have a very unique grain pattern and color that allows them to stand out more than the average wood.[29] The Ukeke is a Hawaiian musical bow played with the mouth. It is the only stringed instrument indigenous to Hawaii. The 'ohe hano ihu, (Hawaiian: `ohe = bamboo +hano = breath + ihu = nose) or Traditional Hawaiian Nose Flute in English, is another type of Hawaiian instrument that has cultural and musical importance. It is made from a single bamboo section. According to Arts and Crafts of Hawai`i by Te Rangi Hiroa, old flutes in the Bishop Museum collection have a hole at the node area for the breath, and two or three fingering holes. In the three-finger-hole specimen, one fingering hole is placed near the breath hole. Lengths range from 10–21 inches (250–530 mm). Oral tradition in various families states that numbers of fingering holes ranged from one to four, and location of the holes varied depending on the musical taste of the player. Though primarily a courting instrument played privately and for personal enjoyment, it also could be used in conjunction with chants, song, and hula. Kumu hula (dance masters), were said to be able to either make the flute sound as though it were chanting, or to chant as they played. Kumu hula Leilehua Yuen is one of the few contemporary Hawaiian musicians to perform with the nose flute in this manner. Into the 19th and early 20th centuries, young men still used the 'ohe hano ihu as a way to win the affection and love of a woman.[30] Today, the `ohe hano ihu is enjoying a resurgence of popularity. Two different oral traditions explain the use of the nose for playing the `ohe hano ihu. According to one, the `ohe hano ihu is played with air from the nose rather than from the mouth because a person's hā, breath, is expressive of the person's inner being. As the hā travels from the na`ao, or gut, through the mouth, the hā can be used to lie. When the hā travels through the nose, it cannot lie. Therefore, if a young man loves a woman, that love will be expressed in the music he plays with his `ohe hano ihu. According to the other tradition, the instrument is played with the nose to enable the player to softly sing or chant while playing. Modern folklore says that the Hawaiian flute expresses "aloha" because to hear the flute one must come close to the alo, "face" or "presence" of the player to hear the hā, "divine breath" and so the listener experiences "being in one another's presence sharing the divine breath." While useful as a way to remember the contemplative and personal nature of the traditional Hawaiian flute, there is no actual etymological evidence, nor is there evidence in traditional chants or stories, to support this etymology. In the Hawaiian language, hā, breath, is unrelated to the word ha, a causative prefix. a search of cognate words in related languages also reveals no such etymologies for the word "aloha". According to the book `Ohe, by Leilehua Yuen, the instrument was popularized in the 1970s by members of the Beamer family who played it during performances on tour in North America, as well as in the Hawaiian Islands. Segments of the children's educational TV show, Sesame Street, showing Keola Beamer and Mr. Snuffalupagus, one of the large puppet characters, playing `ohe hano ihu brought the instrument to national attention. Winona Beamer, Keola Beamer's mother, a noted kumu hula, also taught the use of the `ohe hano ihu in hula. Her hānai daughter, Maile Beamer Loo, continues to preserve and teach that legacy, and document such important aspects of Hawaiian musical and performing heritage through the Hula Preservation Society. Notable late 20th Century and early 21st Century musicians of the`ohe hano ihu include Mahi Beamer, Nona Beamer, Keola Beamer, Kapono Beamer, Calvin Hoe, Nelson Kaai, Anthony Natividad, and Manu Josiah. The music that is considered popular or "underground" in Hawaii does not necessarily correspond to similar genres in mainland areas of the U.S.A. This is partly a result of Hawaiian music, which appeals to many generations; in contrast, music like heavy metal or punk rock appeals primarily to a more youthful generation, and is not considered as commercially attractive to tourism. Na mele paleoleo is an emerging form of Hawaiian rap. It is difficult to promote popular acts from the mainland due to its geographical isolation, and the smaller group of people interested in the music. Bruno Mars from Honolulu has 6 #1 Billboard Hot 100 hits, including "Uptown Funk" in 2015. Yvonne Elliman, from Honolulu, had a #1 Hot 100 hit with the disco song "If I Can't Have You" from Saturday Night Fever in 1978. Bette Midler, also from Honolulu, had a #1 Hot 100 hit with "Wind Beneath My Wings" in 1989. Glenn Medeiros had a #1 Hot 100 hit in 1990 with "She Ain't Worth It" ft. Bobby Brown. Tane Cain, who was raised in Hawaii, had a #37 Hot 100 hit with "Holdin' On" in 1982.

Music Of Hawaii

classical guitar sheet music Jump to navigation Jump to search An instrument amplifier is an electronic device that converts the often barely audible or purely electronic signal of a musical instrument into a larger electronic signal to feed to a loudspeaker. An instrument amplifier is used with musical instruments such as an electric guitar, an electric bass, electric organ, synthesizers and drum machine to convert the signal from the pickup (with guitars and other string instruments and some keyboards) or other sound source (e.g, a synthesizer's signal) into an electronic signal that has enough power, due to being routed through a power amplifier, capable of driving one or more loudspeaker that can be heard by the performers and audience. Combination ("combo") amplifiers include a preamplifier, a power amplifier, tone controls, and one or more speakers in a cabinet, a housing or box usually made of hardwood, plywood or particleboard (or, less commonly, moulded plastic). Instrument amplifiers for some instruments are also available without an internal speaker; these amplifiers, called heads, must plug into one or more external speaker cabinets. Instrument amplifiers also have features that let the performer modify the signal's tone, such as changing the equalization (adjusting bass and treble tone) or adding electronic effects such as intentional distortion/overdrive, reverb or chorus effect. A Fender "combo" amplifier. The combination amplifier is a preamplifier, power amplifier and tone controls and one or more loudspeakers or drivers mounted in a portable wooden cabinet. This amp's sound is being picked up with a microphone in a recording studio. Instrument amplifiers are available for specific instruments, including the electric guitar, electric bass, electric/electronic keyboards, and acoustic instruments such as the mandolin and banjo. Some amplifiers are designed for specific styles of music, such as the "traditional"-style "tweed" guitar amplifiers, such as the Fender Bassman used by blues and country music musicians, and the Marshall amplifiers used by hard rock and heavy metal bands. Unlike home "hi-fi" amplifiers or public address systems, which are designed to accurately reproduce the source sound signals with as little harmonic distortion as possible and without changing the tone or equalization (at least not unless the hi-fi owner adjusts it themselves with a graphic equalizer), instrument amplifiers are often designed to add additional tonal coloration to the original signal, emphasize (or de-emphasize) certain frequencies (most electric guitar amps roll off the very high frequencies), and, in the case of guitar amplifiers designed for electric guitar or Hammond organ, offer the capability to intentionally add some degree of "overdrive" or distortion to the tone. The two exceptions are keyboard amplifiers designed for use with digital pianos and synthesizers and "acoustic" instrument amplifiers for use with acoustic guitar or fiddle in a folk music setting, which typically aim for a relatively flat frequency response (i.e., no added colouration of the sound) and little or no distortion of the signal. Main article: Guitar amplifier A Vox AC30 used by The Beatles A guitar amplifier amplifies the electrical signal of an electric guitar (or, less commonly, with acoustic amplifiers, an acoustic guitar) so that it can drive a loudspeaker at sufficient volume for the performer and audience to hear. Most guitar amplifiers can also modify the instrument's with controls that emphasize or de-emphasize certain frequencies and add electronic effects. String vibrations are sensed by a suitable microphone or pickup, depending on the type of guitar. For electric guitars, strings are almost always made of metal, and the pickup works by electro-magnetic induction (these are called magnetic pickups; they are the most widely used type of pickup on electric guitars). Acoustic guitars do not usually have a built-in pickup or microphone, at least with entry-level and beginner instruments. Some acoustic guitars have a small condenser microphone mounted inside the body, which designed to convert acoustic vibrations into an electrical signal, but usually they do so from direct contact with the strings (replacing the guitar's bridge) or with the guitar's body, rather than having a membrane like general-purpose microphones. Acoustic guitars may also use a piezoelectric pickup, which converts the vibrations of the instrument into an electronic signal. More rarely, a magnetic pickup may be mounted in the sound hole of an acoustic guitar; while magnetic pickups do not have the same acoustic tone that microphones and piezo pickups can produce, magnetic pickups are more resistant to acoustic feedback. A small Gibson "combo" amplifier. Standard amplifiers, such as the Fender "tweed"-style amps (e.g., the Fender Bassman) and Gibson amps, are often used by traditional rock, blues, and country musicians who wish to create a "vintage" 1950s-style sound. They are used by electric guitarists, pedal steel guitar players, and blues harmonica ("harp") players. Combo amplifiers such as the Fender Super Reverb have powerful, loud tube amplifiers, four 10" speakers, and they often have built-in reverb and "vibrato" effects units. Smaller guitar amps are also available, which have fewer speakers (some have only one speaker) and lighter, less powerful amplifier units. Smaller guitar amps are easier to transport to gigs and sound recording sessions. Smaller amps are widely used in small venue shows (nightclubs) and in recordings, because players can obtain the tone they want without having to have an excessively loud volume. One of the challenge with the large, powerful 4x10 Fender Bassman-type amps is that to get the tone a player wants, she has to turn up the amp to too loud a volume. These amps are designed to produce a variety of sounds ranging from a clean, warm sound (when used in country and soft rock) to a growling, natural overdrive, when the volume is set near its maximum, (when used for blues, rockabilly, psychobilly, and roots rock). These amplifiers usually have a sharp treble roll-off at 5 kHz to reduce the extreme high frequencies, and a bass roll-off at 60–100 Hz to reduce unwanted boominess. The nickname "tweed" refers to the lacquered beige-light brown fabric covering used on these amplifiers. The smallest "combo" amplifiers, which are mainly used for individual practice and warm-up purposes, may have only a single 8" or 10" speaker. Some harmonica players use these small combo amplifiers for concert performances, though, because it is easier to create natural overdrive with these lower-powered amplifiers. Larger combo amplifiers, with one 12 inch speaker or two or four 10 or 12 inch speakers are used for club performances and larger venues. For large concert venues such as stadiums, performers may also use an amplifier "head" with several separate speaker cabinets (which usually contain two or four 12" speakers). A 3×6 stack of mock Marshall guitar cabinets for Jeff Hanneman of Slayer Electric guitar amplifiers designed for heavy metal are used to add an aggressive "drive", intensity, and "edge" to the guitar sound with distortion effects, preamplification boost controls (sometimes with multiple stages of preamps), and tone filters. While many of the most expensive, high-end models use 1950s-style tube amplifiers (even in the 2000s), there are also many models that use transistor amplifiers, or a mixture of the two technologies (i.e., a tube preamplifier with a transistor power amplifier). Amplifiers of this type, such as Marshall amplifiers, are used in a range of the louder, heavier genres of rock, including hard rock, heavy metal, and hardcore punk. This type of amplifier is available in a range of formats, ranging from small, self contained combo amplifiers for rehearsal and warm-ups to heavy "heads" that are used with separate speaker cabinets—colloquially referred to as a "stack." In the late 1960s and early 1970s, public address systems at rock concerts were used mainly for the vocals. As a result, to get a loud electric guitar sound, early heavy metal and rock-blues bands often used "stacks" of 4x12" Marshall speaker cabinets on the stage. In 1969, Jimi Hendrix used four stacks to create a powerful lead sound, and in the early 1970s by the band Blue Öyster Cult used an entire wall of Marshall Amplifiers to create a roaring wall of sound that projected massive volume and sonic power. In the 1980s, metal bands such as Slayer and Yngwie Malmsteen also used "walls" of over 20 Marshall cabinets. However, by the 1980s and 1990s, most of the sound at live concerts was produced by the sound reinforcement system rather than the onstage guitar amplifiers, so most of these cabinets were not connected to an amplifier. Instead, walls of speaker cabinets were used for aesthetic reasons. Amplifiers for harder, heavier genres often use valve amplifiers (known as "tube amplifiers" in North America) also. Valve amplifiers are perceived by musicians and fans to have a "warmer" tone than those of transistor amps, particularly when overdriven (turned up to the level that the amplifier starts to clip or shear off the wave forms). Instead of abruptly clipping off the signal at cut-off and saturation levels, the signal is rounded off more smoothly. Vacuum tubes also exhibit different harmonic effects than transistors. In contrast to the "tweed"-style amplifiers, which use speakers in an open-backed cabinet, companies such as Marshall tend to use 12" speakers in a closed-back cabinet. These amplifiers usually allow users to switch between "clean" and distorted tones (or a rhythm guitar-style "crunch" tone and a sustained "lead" tone) with a foot-operated switch. A 2 x 10" bass speaker cabinet stacked on top of a 15" cabinet, with separate bass amplifier "head" unit Bass amplifiers are designed for bass guitars or more rarely, for upright bass. They differ from amplifiers for the regular (and comparatively higher-pitched) electric guitar in several respects. They have extended low frequency response and tone controls optimised for bass instruments, which produce pitches of 41 Hz, in the case of a standard four-string electric bass or double bass, or even lower for five- or six-string electric basses. Higher-cost bass amplifiers sometimes include built-in bass effects, which are electronic effects units designed for electric bass or more rarely, for upright bass. Common built-in effects include audio compressor or limiter features, which help to keep the amplifier from doing unwanted distorting at high volume levels and potentially damaging the speakers; equalizers; and in some amps from the 1980s and more commonly in the 2000s, bass overdrive. Bass amps may provide an XLR DI output for plugging the bass amp signal directly into a mixing board or PA system. Larger, more powerful bass amplifiers (300 or more watts) are often provided with internal or external metal heat sinks and/or fans to help keep the amplifier cool. Speaker cabinets designed for bass usually use larger loudspeakers (or more loudspeakers, in the case of the popular 4x10" cabinets, which contain four 10" speakers) than the cabinets used for other instruments, so that they can move the larger amounts of air needed to reproduce low frequencies. Bass players have to use more powerful amplifiers than the electric guitarists, because deep bass frequencies take more power to amplify[citation needed]. As such, in a band in which the electric guitar player uses a 50 watt guitar amp, the bass player typically uses a 200 watt to 300 watt bass amp. While the largest speakers commonly used for regular electric guitar are 12" speakers, electric bass speaker cabinets often use 15" speakers. Bass players who play styles of music that require an extended low-range response, such as death metal, sometimes use speaker cabinets with 18" speakers or add a large subwoofer cabinet to their rig. Speakers for bass instrument amplification tend to be heavier-duty than those for regular electric guitar, and the speaker cabinets are typically more rigidly constructed and heavily braced, to prevent unwanted buzzes and rattles. Bass cabinets often include bass reflex ports, vents or openings in the cabinet, which improve the bass response and low-end, especially at high volumes. A small keyboard amplifier suitable for at-home practice capable of mixing the inputs from two keyboards. A keyboard amplifier, used for the stage piano, synthesizer, clonewheel organs and similar instruments, is distinct from other types of amplification systems due to the particular challenges associated with keyboards; namely, to provide solid low-frequency sound reproduction and crisp high-frequency sound reproduction. It is typically a combination amplifier that contains a two, three, or four-channel mixer, a pre-amplifier for each channel, equalization controls, a power amplifier, a speaker, and a horn, all in a single cabinet. Notable exceptions include keyboard amplifiers for specific keyboard types. The vintage Leslie speaker cabinet and modern recreations, which are generally used for Hammond organs, use a tube amplifier that is often turned up to add a warm, "growling" overdrive. Some electric pianos have built-in amplifiers and speakers, in addition to outputs for external amplification. These amplifiers are intended for acoustic instruments such as violin ("fiddle"), mandolin, and acoustic guitar—especially for the way musicians play these instruments in quieter genres such as folk and bluegrass. They are similar to keyboard amplifiers, in that they have a relatively flat frequency response and avoid tonal coloration. To produce this relatively "clean" sound, these amplifiers often have very powerful amplifiers (up to 800 watts RMS), to provide additional "headroom" and prevent unwanted distortion. Since an 800 watt amplifier built with standard Class AB technology would be heavy, some acoustic amplifier manufacturers use lightweight Class D, "switching amplifiers." Acoustic amplifier designs strive to produce a clean, transparent, "acoustic" sound that does not—except for reverb and other effects—alter the natural instrument sound, other than to make it louder. Amplifiers often come with a simple mixer to blend signals from a pickup and microphone. Since the early 2000s, it is increasingly common for acoustic amplifiers to provided digital effects, such as reverb and compression. Some also contain feedback-suppressing devices, such as notch filters or parametric equalizers.[1] Instrument amplifiers have a different purpose than 'Hi-Fi' (high fidelity) stereo amplifiers in radios and home stereo systems. Hi-fi home stereo amplifiers strive to accurately reproduce signals from pre-recorded music, with as little harmonic distortion as possible. In contrast, instrument amplifiers are add additional tonal coloration to the original signal or emphasize certain frequencies. For electric instruments such as electric guitar, the amplifier helps to create the instrument's tone by boosting the input signal gain and distorting the signal, and by emphasizing frequencies deemed desirable (e.g., low frequencies) and de-emphasizing frequencies deemed undesirable (e.g., very high frequencies). In the 1960s and 1970s, large, heavy, high output power amplifiers were preferred for instrument amplifiers, especially for large concerts, because public address systems were generally only used to amplify the vocals. Moreover, in the 1960s, PA systems typically did not use monitor speaker systems to amplify the music for the onstage musicians. Instead, the musicians were expected to have instrument amplifiers that were powerful enough to provide amplification for the stage and audience. In late 1960s and early 1970s rock concerts, bands often used large stacks of speaker cabinets powered by heavy tube amplifiers such as the Super Valve Technology (SVT) amplifier, which was often used with eight 10" speakers. However, over subsequent decades, PA systems substantially improved, and used different approaches, such as horn-loaded "bass bins" (in the 1980s) and subwoofers (1990s and 2000s) to amplify bass frequencies. As well, in the 1980s and 1990s, monitor systems substantially improved, which helped sound engineers provide onstage musicians with a better reproduction of their instruments' sound. As a result of improvements to PA and monitor systems, musicians in the 2000s no longer need huge, powerful amplifier systems. A small combo amplifier patched into the PA suffices. In the 2000s, virtually all sound reaching the audience in large venues comes from the PA system. Onstage instrument amplifiers are more likely to be at a low volume, because high volume levels onstage make it harder for the sound engineer to control the sound mix. As a result, in many large venues much of the onstage sound reaching the musicians now comes from in-ear monitors, not from the instrument amplifiers. While stacks of huge speaker cabinets and amplifiers are still used in concerts (especially in heavy metal), this is often mainly for aesthetics or to create a more authentic tone. The switch to smaller instrument amplifiers makes it easier for musicians to transport their equipment to performances. As well, it makes concert stage management easier at large clubs and festivals where several bands are performing in sequence, because the bands can be moved on and off the stage more quickly. Instrument amplifiers may be based on thermionic ("tube" or "valve") or solid state (transistor) technology. Vacuum tubes were the dominant active electronic components in amplifiers from the 1930s through the early 1970s, and tube amplifiers remain preferred by many musicians and producers. Some musicians feel that tube amplifiers produce a "warmer" or more "natural" sound than solid state units, and a more pleasing overdrive sound when overdriven. However, these subjective assessments of the attributes of tube amplifiers' sound qualities are the subject of ongoing debate. Tube amps are more fragile, require more maintenance, and are usually more expensive than solid state amps. Tube amplifiers produce more heat than solid state amplifiers, but few manufacturers of these units include cooling fans in the chassis. While tube amplifiers do need to attain a proper operating temperature, if the temperature goes above this operating temperature, it may shorten the tubes' lifespan and lead to tonal inconsistencies.[2] A Trace Elliot "Bonneville" tube amplifier as seen from the rear view: note the vacuum tubes extending into the wooden cabinet. By the 1960s and 1970s, semiconductor transistor-based amplifiers began to become more popular because they are less expensive, more resistant to bumps during transportation, lighter-weight, and require less maintenance. In some cases, tube and solid-state technologies are used together in amplifiers. A common setup is the use of a tube preamplifier with a solid-state power amplifier. There are also an increasing range of products that use digital signal processing and digital modeling technology to simulate many different combinations of amp and cabinets. The output transistors of solid-state amplifiers can be passively cooled by using metal fins called heatsinks to radiate away the heat. For high-wattage amplifiers (over 800 watts), a fan is often used to move air across internal heatsinks.[3] The most common hybrid amp design is to use a tube preamp with a solid state power amplifier. This gives users the pleasing preamp and overdrive tone of a tube amp with the lowered cost, maintenance and weight of a solid state power amp.

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