Musician's Handbook - 2016

M U S I C I A N ’ S

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[DRUMS] THE ESSENTIAL GUIDE TO BUYING, PLAYING AND MORE

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 A L S  I A  R  O  T  U  O F T  T I P  P S  A N D

CHOOSE THE RIGHT KIT  LEARN YOUR FIRST BEATS  ESSENTIAL GEAR MAINTENANCE  SUPERCHARGE YOUR PLAYING  RECORD LIKE A PRO & MORE! 

WELCOME

WELCOME TO…

M U S I C I A N ’ S

H A N D B O O K

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ongratulations on your decision to play the greatest instrument in the world, bar none! Of course we’d say that, right? We’re drummers, producing a Musician’s Handbook especially for drummers. And sure, our buddies who have put together a Handbook for guitarists and one for bassists will probably say their instruments are best. But really, we know drums is where it’s at.

As Steel Panther’s Stix Zadinia once said: “Being a drummer in a great band is like captaining a luxury yacht. You get to steer the ship any direction you want.” Which way you steer your yacht depends on the type of music you play, play, and this Handbook for drummers caters to many genres and playing styles. We’ve thought hard about what to include, putting ourselves back in the shoes of complete beginner’s for certain sections, before reaching out to our pro drum buddies – including living legends such as Neil Peart, Travis Barker and Bernard Purdie – to create a wealth of tips-packed features, lessons and columns to improve your drumming technique and enhance your gear knowledge, pulling it all together to help you become the best drummer you can be. Work your way through this Handbook and you will gain a greater understanding of who you are behind the kit. We’ll help you identify your playing weaknesses – then smash them. You’ll also learn how to record your drums at home or even build your own studio; discover why and how to MOT your kit; and learn the ins and outs of gigging from a drummer’s perspective. perspective. In short, if you’re a drummer looking to improve or go pro, or if you want to learn the drums (come join us!), you’re in the right place. Prepare to get seriously inspired and excited about the drums. And remember: if in doubt, add more cowbell! CHRIS BARNES,  EDITOR

Future is an award-winning international media group and leading digital business. We reach more than 49 million international consumers a month and create world-class content and advertising solutions for passionate consumers online, on tablet and smartphone, and in print. Future plc is a public company quoted on the London Stock Exchange (symbol: FUTR). 

EDITOR Chris

EDITOR-IN-CHIEF  Daniel ART EDITORS Chris

Chief executive Zillah

Byng-Thorne Non-executive chairman Peter Allen    Penny Ladkin-Brand

© Future Publishing Limited 2016. All rights reserved. No part of this magazine may be used or reproduced without the written permission of the publisher. Future Publishing Limited (company number 2008885) is registered in England and Wales. The registered office of Future Publishing Limited is at Quay House, The Ambury, Bath, BA1 1UA. All information contained in this magazine is for i nformation only and is, as far as we are aware, correct at the time of going to press. Future cannot accept any responsibility for errors or inaccuracies in such information. Readers are advised to contact manufacturers and retailers directly with regard to the price of products/services products/services referred to in this magazine. If you submit unsolicited material to us, you automatically grant Future a licence to publish your submission in whole or in part in all editions of the magazine, including licensed editions worldwide and in any physical or dig ital format throughout the world. Any material you submit is sent at your risk and, although every care is taken, neither Future nor its employees, agents or subcontractors shall be liable for loss or damage. Full Competition Terms & Conditions can Conditions can be found at: www.futurenet.com/futur www.futurenet.com/futureonline/co eonline/competitionrules. mpetitionrules.asp asp

Barnes Griffiths

Sweeney & Jessica Riley

PRODUCTION EDITOR Claire Wearecommittedtoonly usingmagazine paper which is derived from wellmanaged,certifiedforestryand chlorine-freemanufacture.Future Publishinganditspapersuppliershave beenindependentlycertifiedin accordance with the rules of the FSC (Forest StewardshipCouncil).

Davies

OTHER CONTRIBUTORS INCLUDE: Dar ren Ashford,

Tom Bradley, Chris Burke, Nick Carter, Richard Chamberlain, James Hester, Geoff Nicholls, Chuck Parker, Martin Ranscombe, Pete Riley, Mark Schulman, Jules Tabberer-Stewart, David West, Colin Woolway

MUSICIANS HANDBOOK: DRUMS | 3

MUSICIAN’S HANDBOOK

[ DRUMS ]

8

37

 GETTING STARTED

 LESSONS

8 ....... ANATOMY

26  ..... DRUMMING

12  ..... GEAR

OF YOUR DRUMS

BUYER’S GUIDE

16 ..... ESSENTIAL 18 ..... HOW

ACCESSORIES

TO TUNE DRUMS

22  ..... SET-UP

31 ..... PRACTICE 32  ..... HOW 37  ..... 30

 GEAR ESSENTIALS

TIPS

58  ..... MOT

YOUR DRUM KIT

64  ..... SERVICE

TO WARM-UP

66  ..... SWAP

DAY DRUM WORKOUT

ADVICE

68  ..... CUT

YOUR PEDALS

YOUR SNARE WIR ES YOUR

A BASS DRUM PORT

72  ..... DRUM

KIT HACKS

78  ..... VINTAGE

16

58

31

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DRUM ICONS

CONTENTS

112

34

 GIGGING

 RECORDING

 INTERVIEWS & TIPS

88 ..... 88  ..... GUIDE TO GIGGING

104 . 104  ... .. BUILD YOUR OWN STUDIO

34 ..... 34  ..... TRAVIS BARKER

92 ..... 92  ..... HOW TO PREP FOR A GIG

108 .. 108  .... PREP FOR RECORDING

70 ..... 70  ..... NEIL PEART

94 ..... 94  ..... GIG BAG BAG ESSENTIA LS

110  110 .... DRUMMER’S GUIDE TO MICS

98 ..... 98  ..... WILL CHAMPION

96 ..... 96  ..... TAME YOUR NERVES

112  112 .... RECORD YOUR DRUMS

120 ... DRUMMING CAREERS 122 ... TIPS FROM THE PROS

FREE DOWNLOAD!

GET THE DISC FILES AS A

94

108

DOWNLOAD AT: HTTP://BIT.LY/2F67MST

MUSICIAN’S HANDBOOK :  DRUMS | 5

MUSICIAN’S HANDBOOK : DRUMS

6 | MUSICIAN’S HANDBOOK :  DRUMS

GETTING STARTE STARTED D | INTRO

GETTING STARTED

S

o, you have decided to take the plunge and learn to play the drums, eh? Congratulations! You’re at the beginning of what

will be an enjoyable and fulfilling journey.. But if you’re unsure quite journey where to start, rest assured you have come to the right place. Throughout this Handbook, we will guide you through everything you need to know to become a fully-fledged drummer. This first section in particular is designed to help you take your first steps into the world of drumming. From learning the anatomy of your drum gear and buying your first kit, to setting up and tuning your drums, the drumming essentials over the next 15 pages will give you a great foundation upon which to build your skills behind the kit. Let’s get started! MUSICIAN’S HANDBOOK :  DRUMS | 7

MUSICIAN’S HANDBOOK : DRUMS

ANATOMY OF YOUR DRUM KIT Understand the ins and outs of your drum gear

BATTER HEAD

A batter head is the top drum head which is struck by the drummer

FLOOR TOM

A typical set-up will feature one or two floor toms that can either be stand-mounted or on individual legs. They are larger than rack toms and produce a deeper sound

SHELL

Drum shells can be made of numerous materials, from wood and metal to plastic. Each material has a different effect on the drum’s sound, as do the dimensions, the shell thickness and construction method

BOOM STAND

A cymbal stand with an extendable ‘boom’ BASS DRUM

Also referred to as a kick drum, this drum produces the lowest note of the kit and is played using a bass drum pedal on the batter side. Bass drums tend to differ in size, depending on the style of music being played

8 | MUSICIANS HANDBOOK: DRUMS

GETTING STARTE STARTED D | ANATOMY OF YOUR DRUM KIT TOM HOLDER/MOUNT

A tom mount or holder is used to position toms above the bass drum. Tom holders are either inserted in a hole drilled in the bass drum, or attached to cymbal stands (pictured). Single toms can also be mounted on a snare stand HI-HAT CLUTCH

The clutch is attached to the top hi-hat HI-HAT STAND

cymbal and fed over the central rod of

The stand upon which hi-hat

the hi-hat stand, to which it clamps,

cymbals are positioned features

enabling the drummer to control the

a foot pedal that enables the

cymbal with their foot

drummer to open and close the cymbals for a variety of sounds

TOM TOMS

Also known as rack toms. Setups can feature anything from one tom tom (think John Bonham), to dozens (Terry Bozzio). Typically, each tom will differ in size, will produce a higher note than floor toms, and be positioned in descending pitch order from left to right

STRAIGHT STAND

A cymbal stand with a straight arm. Some straight stands, like this, can be used as either straight or boom stands

SNARE STAND

The adjustable stand on which the snare drum sits

BASS DRUM SPUR

Spurs are used to hold the bass drum in position

MUSICIANS HANDBOOK: DRUMS | 9

MUSICIAN’S HANDBOOK : DRUMS SNARE DRUM

BATTER HEAD

An integral part of any setup, the

The top head of each drum that is

snare drum is a key part of any

struck by the stick

drummer’s sound and backbeat

THROW-OFF

TENSION RODS

Also known as the strainer, the

Tension rods are placed

throw-off is attached to the shell of

through the holes in the

the snare drum and is used to turn

hoop and screw into the

the snare wires on and off, giving a

lugs. They are key to

drummer two distinctly different

tuning your drums

sounds. The wires can also be tensioned up and down using the throw-off dial

RIM

Also known as a hoop, the rim fits over the drum head on the top and bottom of the drum shell. Rims are secured by tension rods that screw

LUG

into lugs positioned around the shell

Lugs come in a variety of shapes and sizes and are attached to the side of the drum shell. They act as an anchor for the drum’s tension rods. The number

RESONANT HEAD

of lugs used will differ on

The resonant head is the bottom

different sized drums

head of each drum and dictates resonance, sustain and timbre SNARE WIRES

Snare wires stretch across the resonant head of a snare drum, giving the drum its bright ‘crack’ sound. Wire tension can be adjusted by the throw-off, or the wires can be turned off completely

BASS DRUM PEDAL

The bass drum pedal is controlled by the foot to move a beater to strike the bass drum batter head

DRUM KEY

An essential tool for any drummer to tune their drums, adjust the bass drum pedal and tighten hardware memory locks

10 | MUSICIANS HANDBOOK: DRUMS

GETTING STARTE STARTED D | ANATOM Y OF YOUR DRUM KIT STICKS

BELL

BOW

EDGE

CENTRE HOLE

Drumsticks come in all

A raised portion

This is the

The outer edge of

Each cymbal features

shapes, sizes and materials.

in the centre of

central

the cymbal has

a centrally drilled hole

Head to your local drum shop,

the cymbal with

section of

different sound

used to mount it on a

try some out and discover

a more defined,

the cymbal’s

characteristics to

cymbal or a hi-hat

which model works for you

cutting sound

round body

the bow and bell

stand. Cymbals are then secured in place

TIP

with a felt and wing

The part of the stick that

nut or, in the case of

comes into most contact with

a hi-hat, a clutch

your drum heads and cymbals. Tips come in a variety of shapes and sizes, and in wood or nylon types.

2

1

Nylon tips are stronger and produce a defined sound SHOULDER

The tapering part of the stick. When riding a crash cymbal, many drummers use the

4

shoulder of the stick to apply more power

3

SHAFT

The longest part of the stick, which is held by the drummer BUTT

The bottom end of the stick. Some drummers use this end to produce a louder, much more powerful sound

1 RIDE

2/3 CRASH

4 HI-HATS

SPLASH

Often the largest

The crash cymbal

Paired, stand-

Smaller than a

cymbal in a

produces a louder

mounted cymbals

crash, splash

drummer’s setup.

‘crashing’ sound in

that can be played

cymbals offer

The ride offers a

order to accent a

with sticks or by the

higher, quicker

more defined

particular drum part

drummer stepping

sounds to accent

sound than a crash

or drum fill

on the hi-hat pedal

your playing

BEARING EDGE

Drum heads sit on bearing edges cut into the drum shell. You will find bearing edges cut at a variety of different angles. This has a significant impact on the sound of the drum

EFFECTS

Effects cymbals come in many shapes and sizes and open drummers up to a world of unique sounds

MUSICIANS HANDBOOK: DRUMS | 11

MUSICIAN’S HANDBOOK : DRUMS

BUYER’S GUIDE ADVICE FROM THE EXPERTS ON HOW TO BUY THE GEAR GEA R THA TH AT’S RIGHT R IGHT FOR YOU YOU Gear can be a very subjective choice for the player, player, and ultimately you should be guided by your own ears, but what you play is important. We highly recommend taking time to get yourselves to a bricks-and-mortar bricks-and-mortar drum store. You will find these places staffed by the most

knowledgeable folk, who can help you with what you’re looking for, and you will get the opportunity to try gear out before splashing out your hard-earned dosh. Here, we’ve rounded up the best advice in a few key areas, to give you some important pointers.

DRUM DR UM KITS instruction pamphlet. You have to put the heads

HOW TO BUY… AN ENTRY-LEVEL DRUM KIT Look for a five-piece, full-sized kit, most probably made in China. Many are virtually

Shells are still cheaper semi-hardwoods,

on the drums and tune them. This is fairly

such as poplar or basswood, but they are often

straightforward, but it’s worth buying from a

a bit thinner and better finished than the shells

good dealer who will give you sound advice.

of beginner kits. Look for a wider range of sizes

Packages should include stool, sticks, snare

including contemporary 22"x18" bass drums

identical, just bearing the different names of the

and hi-hat stands, bass pedal and at least one

plus a bigger choice of coloured plastic wrap

various importers/retailers. Based originally on

cymbal stand. Also, a basic 16" cymbal and

finishes – which should be glued to the whole

the first Pearl Export kit, some have the original

14" hi-hats.

shell, not patched on with double-sided tape.

Pearl-style double tom holder and oblong lugs, others have oval or small square lugs. The number of tuning lugs on each drum is

You should still get a decent hardware

HOW TO BUY… A BUDGET DRUM KIT

package, often including a stool/throne. stool/throne. Small toms are usually mounted off the bass drum,

crucial. For accuracy and evenness of tuning,

While beginner kits are mostly generic, budget

though some kits have up-market isolation

kicks, snares and floor toms should ideally have

kits are the slightly more expensive entry-level

mounting brackets. Bass drums should have

eight per side rather than six, and small toms

kits from the dedicated drum companies – the

enclosed, drum key-tightened tension claws

five or six rather than four or five. Shells are

‘designer’ labels, if you like. They are mostly

rather than old-fashioned ‘T’ handle types. And

usually nine-ply Philippines mahogany or

made in China or Taiwan and with their

bass and snare drums should have a

similar. Matching wood snare drums look good

distinctive design touches – lugs, tom mounts,

respectable eight lugs per head.

but aren’t necessarily better sounding than

badges and the like – you can feel like you own

steel. Kits arrive unassembled with a set-up

a proper Pearl, Tama or Gretsch. The idea is to build brand loyalty from the bottom up.

DW’s Design kit has fantastic build quality and also represents good value for money

HOW TO BUY… A MID-RANGE DRUM KIT This is the biggest sector, with the greatest number of kits all vying for your hard-earned coin. For 20 years, the semi-pro kit sector has been dominated by the Pearl Export, which has recently been ravamped and relaunched. Today, semi-pro kits are most often made in China, sometimes Taiwan or Mexico (Pacific); but the quality is amazing for the price. Look for a choice of shell packs, with or without hardware, such as stands and pedals. Don’t expect to get budget cymbals included – you’ll need to choose those separately. Extra toms are also often available for extending your kit at a later date, should you choose to, although choices will be quite limited.

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GUIDE E GEAR | BUYER’S GUID choice is able to offer. The shells will be

kits from Roland, Yamaha and Alesis offer some

premium-grade timber, which allows them to be

very fine sounds stuffed into their modules. If

thinner for better resonance while retaining their

you’re interested in more serious studio

strength and roundness. They will most often be

applications then these are the ones to look at.

North American or Canadian rock maple, or

Even the least expensive options will have

Scandinavian birch. There’s often the choice of

plenty of useful features and hardware to talk

straight-sided (unsupported), or supported shells

about. Mesh heads typically make for more

with internal reinforcing rings. The bearing edges

rewarding playing, and if you should ‘grow out’

should be perfectly level and cut with extreme

of the sound of the stock module you can

care. Drums will most definitely be fitted with

always upgrade it to a better unit later on.

pro-standard heads. There should be a good range of colours and Roland offers a great budget e-kit in the TD-1K

Bass and snare drums should have eight or

If you’re considering an e-kit for live performance, there are a few things to bear in

finishes and shell sizes. Manufacturers usually

mind. While mixing acoustic with electronic

offer standard shell packs of the most common

(hybrid) is widespread, particularly on bigger

sizes at reduced prices, but you should also be

gigs, exclusive use of the e-kit is largely

able to make up the exact kit you want, without

consigned to home practice and studios for the

compromise, from any shell size on offer. The

vast range of easily available sounds.

10 lugs per head, commensurate with

company will encourage you to buy its top range

To sound good live, the e-kit needs serious

professional kits. There will often still only be 12

of hardware, but there’s no obligation – you may

amplification to the point where the cost, weight

lugs on floor toms, though. Stands and pedals

prefer the pedals of a different company, want

and complications of amplification can

are better designed, sturdier and usually

lighter stands or prefer a rack.

outweigh any advantages, certainly on smaller

double-braced. Hardware and shell fittings, as

gigs. Although PA technology has come on in

unique styles and idiosyncrasies of each

HOW TO BUY… AN ELECTRONIC KIT

company.

At the cheaper end of the electronic kit

well as the overall aesthetics, will reflect the

recent years, for most local gigging bands with a small compact PA and tiny monitors, adding an e-kit will severely test its limits.

spectrum, actual playing experience is not

HOW TO BUY... A PRO KIT

If you are playing the sort of modern music

going to be much like that of an acoustic kit.

that requires more electronic or programmed

These kits exist to give you tools to work with at

sounds then the e-kit can be preferable. And, if

When you finally get your professional kit, you

home, helping you sharpen your technique and

loud enough, an electronic kit gives you the

should be confident that you’re getting the best

try out new ideas.

option to change kits and nail the feel of a

shells and hardware that your company of

At the higher end of the market, electronic

particular record.

SNARE DRUMS HOW TO BUY... A WOOD SNARE DRUM

improve. Lugs and tension rods should

snare drum slightly louder and drier with a

preferably have nylon-isolating washers and

raised pitch. These are qualities that many

More and more drums are now made from

gaskets, while hoops will usually be triple-

drummers find attractive.

maple and the wood often comes from North

flanged steel – sometimes with thicker 2.3mm

America, which ensures it’ll be of reasonably

gauge metal rather than the bog-standard

with the attendant extra stress on the shell,

high quality. Birch is also used and Yamaha

1.6mm offering. Try out the different snare

which is often required of a snare drum.

even offers oak as an option. Shells are ply

strainers/throw-offs to see which feels smooth

Conversely, for a darker sound go for a thinner

construction, but you may notice some of them

and looks like it won’t break – it’s the only

shell that has a deeper fundamental tone with a

are thicker, with more plies than on cheaper

mechanical part and it can see a lot of action.

more resonant and colourful timbre.

drums. A heavier shell tends to produce

The snare drum is the most important drum in

marginally more volume and a higher

the kit. While many drummers will own just one

fundamental pitch, both sound characteristics

kit, they may have a collection of snare drums,

generally regarded as positives when it comes

if only because they take up a lot less space.

A thicker shell also allows for higher tension,

In the end, the most expensive snare drums

to snares. Maple is known for its warmth, deep tone. Birch, meanwhile, carries a tonne of

HOW TO BUY... A HIGH-END WOOD SNARE

attack. Number of plies, construction methods,

Why should you shell out a whole heap of cash

depth and plenty more details will make a

for a more expensive snare? Won’t your trusty

difference to the snare’s tone too. Once you

old model do?

walnut is wickedly dark and mahogany packs a

begin to look beyond the £100 price point, every aspect of the snare drums on offer should

Increasing the number of plies adds to the expense and, at the same time, makes the

Ludwig’s Brick snare has a birch shell with plenty of attack

MUSICIAN’S HANDBOOK :  DRUMS | 13

MUSICIAN’S HANDBOOK : DRUMS

than the more modest, professional level snare

HOW TO BUY... A METAL SNARE DRUM

drums. The main difference is that no expense

Metal shells options include those made of

has been spared in producing them. When

steel, stainless steel, brass, bronze, aluminium,

you’re splashing out for a special snare the

titanium and even copper. Brass is historically

build quality, finish and attention to detail

prized too.

do not necessarily sound appreciably better

should be beyond reproach. The design ethic

DW Design Black Nickel Over Brass snare has a 1mm brass shell

Some shells are spun in a single piece rather

is also evident in high-priced wood snares, with

than having a vertical butt-weld. Beaded shells,

a myriad choice of finishes available, Rolls

like the classic Ludwig Supraphonics, are

Royce-silent snare strainers and top quality lugs

actually two spun halves joined at the centre

and hoops. Exotic woods may also be available

bead. A spun shell should resonate better than

from some manufacturers.

a welded shell, but it’s a subtle difference.

CYMBALS HOW TO BUY… BUDGET CYMBALS

HOW TO BUY… MID-RANGE CYMBALS

Let’s be honest, sweet-sounding hats, crashes

The mid-level cymbal market is a neverending

sits somewhere close to warm cymbals at one

and rides can’t yet be made for peanuts. So,

hotbed of activity. It’s here that advances in

end, and errs on the aggressive side at the other.

while even the most miserly sum will buy you

technology bring rewards in terms of

round metals, they will definitely fall short of

increasingly good kit for not much cash, and

buying cymbals that the sound they come with is

sounding like the real thing. If you’re even

the trickle-down effect of high-level instruments

their sound for life. Unlike drums, you can’t

halfway serious about your kit and you’re

is to be found. If you’re a semi-regular gigger

modify or tune a cymbal, so what you hear is

confident in your commitment, save up and

and an occasional studio user, you can equip

what you get. You should never rush into buying

buy the absolute best you can.

yourself very nicely without having to take out a

a cymbal until you’re absolutely sure that it

second mortgage.

provides the sound you need. Most drum

Most entry-level cymbals come in a pretty limited choice of models. There’ll be no 6"

While tin has little metallic allure elsewhere, as

occupy the middle-ground in terms of frequency, they are drawn from a fairly wide tonal band that

It’s extremely important to remember when

stores have demo rooms where you can test

razor-thin ice splash to get your hands on here

far as cymbals go it’s important stuff and higher

instruments in peace – it’s a good idea to use

– it’ll be a case of medium-weight gear in the

levels of it in the base material mean extra

one to test out the sound of the cymbal. Above

most popular sizes. However, that’s more than

sweetness. In this bracket it’s interesting to note

all else, though, listen. In keeping with this, don’t

enough to get you started, so don’t be too fussy.

the difference between materials on offer. Sabian

assume that your cymbal set has to be sourced

While the lure of gear marketed with the aid of

has done well to offer the Xs20 line (made from

from a single manufacturer. You should try to

big-name endorsers is hard to resist, at the

‘high tin’ B20 bronze) at the prices it does.

ignore the logos and let your own ears decide.

entry level it’s important not to get blinded by

Although your ears should always be the judge,

logos. Sure, your favourite Mr Bigshot might be

it’s an impressively ‘semi-pro’ foundation to be

general have a more assertive top end that

pictured with XYZ, but there might be a better

working from. There’s more choice of individual

enables them to cut through contemporary,

option for you at this price-point. With the

cymbals in the various ranges here than at the

highly-amplified backlines without sounding

choice of instruments less extensive in this

entry level. So if you specifically need heavier

one-dimensional. This doesn’t just mean ‘loud’

sector, keep an open mind and do your

rides, or lighter, fancier hi-hats, hi-hats, you’ll have to look

– modern ranges cater for a wide variety of

research before parting with your cash.

to spend money on gear in this price bracket.

players, spanning genres as disparate as jazz

Modern all-rounders, eg: Zildjian As, in

and metal. Such cymbals have only evolved

HOW TO BUY… ALL-ROUNDER CYMBALS

slightly from more traditional designs, so their heritage is usually easy to trace. Individual

Classic all-rounder cymbals, such as Zildjian

cymbals can also be mixed and matched with

Avedis and Paiste 2002s, provide the player with

existing models.

a good combination of warmth and brightness, and this makes them extremely versatile. versatile. By no

Zildjian’s newest K rides are classed as ‘warm’ cymbals

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| MUSICIAN’S HANDBOOK : DRUMS

HOW TO BUY… WARM CYMBALS

coincidence, the classic

It’s worth doing your research before you invest

all-rounder ranges tend to be the

in warm cymbals as there is a lot of choice out

most popular sellers for each

there. Warm cymbals, for example Zildjian Ks,

manufacturer manufacturer and this fact is

Meinl Byzance etc, deal in subtleties, (both tonal

reflected in the enormous wealth

and dynamic) to a far greater degree than

of choice in the cymbals available. available.

brighter cymbals. And, while they tend to be less

Since classic all-rounder cymbals

capable of piercing volume than their bright

GEAR | BUYER’S GUID GUIDE E counterparts, counterparts, you can guarantee that any cymbal

This guarantees a certain uniqueness to each

above 18" is going to be loud when hit with all

cymbal. However, don’t assume that two models

sort of extreme performance you get from an

your might. It’s more a question of frequencies

of a particular cymbal will be the same because

aggressive cymbal is a shortening of versatility.

and warm cymbals operate in the darker area of

the chances are they will differ.

Although that heavy 24" ride might be just the

the tonal spectrum. There is no single type of

Be aware, though, that the trade-off for the

ticket to cut through a sizeable wall of Marshall

rather there are qualities that should all be

HOW TO BUY… AGGRESSIVE CYMBALS

present in each cymbal, but not necessarily in

Aggressive cymbals do pretty much exactly what

These cymbals have been designed to deliver

the same proportions. This balance of warm

it says on the tin – that is to provide cutting,

brutal amounts of volume and also withstand

musicality, trashy overtones and dark undertow

powerful sounds to slice through layers of guitar

punishment. This means that they are heavier

is commonly referred to as the cymbal’s

at high volume. If this is where your gig is at, then

than regular cymbals, so quite apart from the

complexity. Rides usually give a woody rather

this type of cymbal is ideal. When investing in a

fact of lugging them around, they also require a

than glassy stick sound, hi-hats are more mellow

noisy set of metals, however, make sure that the

physical action to actually play. You would also

and silvery as opposed to cutting and crashes

rest of your kit matches the cymbals in intensity,

be extremely unwise to expose yourself to these

tend to be rich and harmonious, not penetrating.

because if the cymbals are too loud, you won’t

volume levels on a regular basis without

be getting too many calls.

investing in some good hearing protection too.

warm cymbal sound that is considered ideal;

Many, if not all, warm cymbals are handmade.

stacks on a full stage, it could be a little overwhelming, particularly if it’s jazz/funk night.

PLUS… HOW TO BUY… DRUMSTICKS

with your pedal. Almost all manufacturers

the head. This strengthens the area that’s hit

produce strap-driven variants of pedals and

most often and hardest while interfering least

The high-end sector is dominated by the popular

direct-drive appears to be coming back into

with the sound. This is because the centre is the

big name brands. However, with more

vogue, echoing some of the classic pedals of

dead spot of the head – whereas the perimeter is

manufacturers producing pro-quality sticks than

yesteryear such as Ludwig’s Speed King. One

where you get most ring. For a harder-wearing,

ever before, you’ve never had such a choice. The

quality shared by all modern pedals is their

attacking sound, double-ply heads are best.

quality comes in the form of different woods (eg:

quietness of operation. The breadth of choice in

There’s a trade-off though: you get more attack

hickory, maple, oak), although the type of

kick pedals is astonishing, and prevailing musical

but less resonance and faster decay.

machining used in their production, the forming

trends mean most pedals are being designed to

of good quality, consistent tip shapes and good

be played harder and faster than ever.

matching in both pitch and weight are important

In recent years we’ve seen the emergence of dedicated bass drum heads with in-built dampening. Such heads cancel out some of the

great in your hands – don’t just use what your

HOW TO BUY... DRUM HEADS

on the deeper and more attacking ‘thud’ suited

favourite drummer plays unless, of course, that

Single-ply tom batters are usually of medium

to modern music.

feels best for you. The weight and balance points

weight, generally made from a single 10-mil film

can vary greatly, so at first pick a 7A, 5A or 5B

of Mylar. This is sufficiently strong for the average

resonant head will also make a big difference to

and then go from there.

player, while retaining a responsive tone, plenty

the overall sound. The thinner the head, the

of character and overtones, allowing a wide

more resonant and livelier the drum.

across the board. Decide on a stick that feels

When selecting a good budget drumstick you

edge resonance and higher overtones to focus

Whatever batter head you prefer, the choice of

must above all else see how good they feel in

tuning range without choking or flapping.

your hands. The balance and grip of a stick can

Single-ply heads are brighter and more open.

heads sometimes leave the

be just as good in the budget models so if you

Unlike snare batters, most of which are coated

same resonants on for years.

don’t mind the odd blemish or slight sniff of a

for brush and stick response, tom batters are just

This is okay up to a point, but

second then save yourself some dosh! It would

as often clear. For a faintly darker, warmer, less

resonants do eventually lose

also be advisable if you tend to shred your sticks

ring-y sound, go for coated. If you want a livelier

their sparkle and you may

rather too easily to consider stocking up with a

head, ideal for much of today’s music, go for the

find that a change may buck

few budget sets and see if anyone notices any

clear version. These heads have greater

up your sound a substantial

difference. It’ll be kind on your pocket and you

resonance than double-ply/reinforced heads, but

amount.

might even find your perfect stick!

if you’re a heavy hitter you may find they lose

Drummers who regularly change their batter

their vitality and punch too quickly, in which case

HOW TO BUY... A BASS DRUM PEDAL

you should consider heavier, twin-ply heads that can withstand a punishing stick workout –

Whereas sticks are an extension of the hands

particularly on the snare. If single-ply heads

and wrists, a pedal provides a mechanical link

provide the right sound but aren’t quite strong

between your foot and kick drum. It is therefore

enough, try reinforcement. This usually takes the

essential that you are completely comfortable comfortable

form of a circle/dot of Mylar stuck to the centre of

DW’s 9000 is a great kick pedal, but you still need good technique!

MUSICIAN’S HANDBOOK :  DRUMS | 15

MUSICIAN’S HANDBOOK : DRUMS

ESSENTIAL

ACCESSORIES So you’ve got a new kit. But how are you going to get it to your first gig, or fix it if it breaks down? Here are the accessories every drummer needs. Time to go shopping (again)... CASES If you plan on taking your gear to band rehearsals, gigs or studios, it’s advisable to protect them with appropriately sized cases to keep your drum shells, hardware, hoops and cymbals out of danger. There are plenty of options available, from basic soft cases that offer a minimal amount of protection (but will make transporting your drums easier), right up to hard cases that offer a sturdy,

MULTI-TOOL

protective shell for each drum. Hard

Your drums, hardware and pedals feature a number of

cases are the preferred choice, but

moving parts that are regularly put through their paces and

naturally take up valuable space

demand some degree of maintenance to keep them running

when not in use. You’ll quickly

smoothly. A drummer-specific multi-tool features everything

discover that stands and pedals are

you’ll need to keep your drums singing: screwdrivers, a drum

the most cumbersome items to

key, hex keys, a bottle opener… In fact, the humble drum key

transport, so a dedicated hardware

is something you’ll use a lot, from tuning heads to setting

case with wheels would make a wise

memory locks on stands, so we’d recommend picking up a

investment.

few extras so you always have one close at hand.

DRUM TUNER While we’d always advocate using

EAR PLUGS

your ears and learning how to tune your

It should go without saying that drums are a noisy instrument, and long

drums using a proper method (as described in our

exposure to excessive volume can damage your hearing irreversibly. Whether

tuning feature that begins on p18), if you’re really

you’re practicing on the kit at home or playing a gig, always wear some form

struggling it’s it’s worth checking out the array of tuning aids on the market. These useful tools are

of hearing protection. If you have nothing proper to hand, cheap soft foam

designed to help drummers achieve the sound they’re after quickly and consistently. consistently. Tuning

plugs (often available at venues and rehearsal spaces) are an acceptable

apps like iDrumTune and digital tuners such as the Tune-Bot measure the pitch of the head at

emergency solution, but spend a little more and you can get your hands on

each lug, enabling you to tension each rod evenly. Some models allow you to store your favoured

higher quality plugs with filters designed to reduce the impact of damaging

pitch settings and recall them the next time you come to tune. Analogue tuners like Tama’s Tama’s

frequencies, without marginalising the quality of what you hear. Hearing

Rhythm Watch measure head tension, enabling you to dial each tuning rod evenly.

protection brands are increasingly offering custom moulded options too.

16 |  MUSICIAN’S HANDBOOK :  DRUMS

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Once you’ve exhausted all the amazing tuition content in

pairs at your local shop to see what feels

this Handbook, we’d recommend continuing your drum

most comfortable in your hands, as opposed

education through the pages of Rhythm  magazine.  magazine. As well

to just using the signature sticks of your

as insightful interviews with drum stars and first class

favourite drummer. Once you have found

reviews of the latest drum gear, each month Rhythm  has  has

your ideal stick, it’s worth buying a few pairs.

a great tuition section that caters for every level of

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METRONOME

PRACTICE PAD

MOONGEL

As a drummer, your ability to play in time is everything.

It won’t always be possible to drum at full volume, however

If you’ve tried everything within your power but still can’t

Whether that’s playing right on top of the beat, or slightly

much you might feel the urge to play loud. You can always

stop that annoying, ringing overtone from your snare drum

behind or in front of it, your mastery of time playing will

try rubber mutes that sit on your drum heads and reduce

or toms, the next step is to look at some mild dampening.

mean the difference between a lifetime of gigs and

volume considerably, but if you just fancy working through

Whilst using a small piece of gaffer tape can really help,

recording sessions, and a lifetime of playing at home on

some rudiments and keeping your hand in, a practice pad

your best option is Moongel. These small strips of reusable

your own. So start working on your time today! Download

is a great accessory for any drummer. Pads come in all

gel stick lightly to your drum head and do a sterling job of

one of the many metronome apps to your smart device, or

shapes and sizes, but most feature realistic playing

reducing ring. Use multiple pieces if needs be, or cut

pick up a dedicated metronome such as the Korg BEATlab

surfaces that offer natural rebound. They are also small

single pieces to size for small tweaks to your sound. With

Mini, and you’ll be able to practice playing at different

enough to slip into a bag if you’re going away yet want to

some experimentation you’ll quickly learn how much you

tempos and time signatures. You can thank us later.

keep working on your chops.

need and where to place it on the head.

MUSICIAN’S HANDBOOK : DRUMS | 17

MUSICIAN’S HANDBOOK : DRUMS

HOW TO TUNE DRUMS FOLLOW OUR STEP-BY-STEP TUNING GUIDE TO GET YOUR DRUMS SOUNDING THEIR VERY BEST his is by no means ‘the definitive

T

effect on the sound of a drum and

DRUM CHOICE

guide’, rather a straightforward set

applying different angles and ‘sharpness’

Wood? Metal? Plastic? Large or small? The

of ideas and techniques that will

will, scientifically speaking, provide

list, of course, is almost endless these days,

provide any drummer with a reliable

different sound qualities. However, the

but no matter what type of drum you choose,

springboard from which to work.

reality is that most humans have neither

this method will work. Much is made by

You see, drum tuning is subjective. If you

the ears nor the knowledge to be able to

manufacturers about wood choices, the

find a method by which you can achieve the

pick out the difference in sound that is

number of plies, shell thicknesses and so on.

sound you want every time, that’s great!

created by these varying edges. The most

Much of this creates confusion among

However, if tuning is a constant headache,

important issue here is evenness. Forget

drummers and leads to misguided choices,

perhaps you’ll find this approach helpful...

about the angle, sharpness, counter-cuts

inappropriate purchases and then, potentially,

arguments – are the edges smooth and

disappointment. A shell is either thick or thin,

even? If so, that’s all you need.

unobstructed or obstructed (by glue rings or

PHILOSOPHY Drums are cylinders that have one or two

sound rings, and so on). It’s certainly true

‘membranes’ stretched across the ends.

PREPARATION

that differing shell construction can, and

Your main job is to get the heads and shell

FOR TUNING

often will, provide drums with noticeably

working together to optimum effect. In the

The first and arguably the most important

different characteristics (solid wood shell

end, that’s all there is to it.

task is that of ensuring the circles involved

versus ply-shell, for example), but your tuning

are all well aligned. In most cases you have

needs to be in good order if you are going to

viewpoint of maximising tone, resonance

three ingredients to consider: the heads, the

realise the true sound potential of each type.

and projection from a drum, and always

shell and the hoops. These days, the least

tune to suit the most important part of your

round of these is most probably the hoop.

HEAD CHOICE

work: your audience (which includes mics

Pressed steel hoops can bend relatively

These days, the choice of heads can seem a

for those of you who are recording). If you

easily, but the good news is that, because

little bewildering, but essentially they all fall

tune to suit your ears, from a playing point

they can bend, you can bend them back

into a few simple groups: single-ply, two-ply,

of view, the chances are your kit will sound

to round. Just do it a little bit at a time and

pre-damped (single or two-ply), plus some

poor to the people out front.

be gentle with them.

specialist heads (usually used for snares and

You should approach tuning from the

bass drums). Single-ply heads will generally

One key part of our tuning philosophy is to tune the resonant heads (particularly

SEATING HEADS

promote maximum resonance, two-ply heads

toms and bass) much tighter than what you

This is simply the process of getting the

will dampen the tone to some extent, and

might expect. Why? Because this is vital in

heads centred to the drum you are working

pre-damped heads can range from subtle to

achieving effective and desirable projection

on at the time. Much can be made of this

the ultimate in tone-killers!

from your drums. On top of this, it’s better

part of tuning and can therefore be made

to choose different head types to create the

overcomplicated. Most drummers will have

drum heads, consider the style of music you

sound you want, rather than applying loads

come across the method of criss-crossing

are playing, the sticks you are using, how you

of gaffer tape and O-rings and so on.

the drum whilst tightening down the tension

hit the drums, the drums you are using and,

rods – one to two, three to four, and so on

of course, the sound you are after. As a more

BEARING EDGES

– but this is not actually necessary. It all

general rule of thumb, the thinner the head

What exactly are bearing edges and just

comes from the days of calfskin heads,

the more resonant it will be, and it will tend to

how important are they to getting a great

where drummers had to create their own

favour higher pitches. Thicker heads will

sound? Frankly, we think too much is

head ‘collars’ and literally shape the skin to

usually offer less ring and will always favour

made of bearing edges. Yes they have an

the drum. Thankfully, those days are gone.

lower frequencies.

18 | MUSICIAN’S HANDBOOK :  DRUMS

Before rushing out to buy your next set of

GETTING STAR STARTED TED | TUNING

HOW TO TUNE YOUR BASS DRUM 1

2

3

With your bass drum you’re looking to

Once you have done this, go back and check

maximise resonance and projection. Many

that all the rods are still finger tight. With a new

your audience? Many of us will have tried the

drummers debate the whys and wherefores of

head, you will almost certainly find that one or

‘get the bass player to play the drum as I stand

portholes in the front skin. They certainly have

two have loosened a little.

out front’ routine, but what if no one is about?

a place, particularly if you want a sound with

Now it’s on to the tuning. Ideally you should

Remember what we said about tuning for

Try lying on the floor with one foot on the bass

particular emphasis on the beater attack, but

tune the batter head first, with the resonant

pedal and your head and hands facing the

quite often drummers use them ‘just because’.

head off the drum, unless you are tuning

front skin. Play a slow, steady pulse with your

With good tuning and the right head choices,

mid-gig. Again, start finger tight and turn all

foot and start working on the front head to dial

it’s possible to keep the front head intact.

the rods in turn (you’ll need to press the centre

in the sound you want.

Next is the issue of dampening, through the

with the palm of your hand on drums that are

You’ll notice two things when tuning the

use of items such as pillows, cushions, felt

this large), until you’ve removed all wrinkles

front head: the pitch will go up, and the clarity

strips and blankets. As a general note, think

(picture two). Tension progressively (ie, a little

and focus of the sound will improve. With both

about the environment within which you are

at a time on each trip around the drum – half-

heads at the starting point, you’ll get loads of

playing before grabbing the nearest duvet.

turns with the key at a time should do it), and

low end rumble but little definition. Some

When playing in a live situation, such heavy

don’t try to crank each rod.

players like this, but if you prefer a more

dampening isn’t necessary. If you’re in

This level of tension for a batter head can

recording mode, extra help (particularly on

be enough for many players, but for a more

larger bass drums, such as 24" or 26" drums)

bouncy feel take the head half a turn up on

may be useful. Otherwise, keep things to a

each rod. Now tap gently around the head

minimum so that your bass drum can breathe.

(about two to three inches in from the edge) and check the pitch is even all the way round.

HEAD CHOICE

Don’t get critical, just make sure there aren’t

To gain control of your sound, it’s important to

any obvious differences.

select the appropriate heads for the drum and

If you do insist on dampening the bass

the playing environment. This doesn’t mean

drum, do it now. A rolled-up towel placed

you have to carry around an endless supply of

toward the front (resonant head), will generally

different head types. For the most part, if you

suffice. It can sometimes be useful to dampen

choose the right heads for your drum and

both heads, particularly for close miking, so it

sound needs in the first place, it’ll be an

may be helpful to add a similar sized towel to

effective combination regardless of playing

the batter head. If possible, repeat the seating

situation. You may have to tweak the tuning,

procedure used on the batter head and return

but that’s what this is all about.

to finger tight. Press in the centre, as before, and remove the wrinkles.

SEATING THE HEADS

Many drummers pay little attention to the

Use the same method for the batter and front

resonant head on a bass drum, which is a real

head, placing the head on and tightening

shame as this is the key head when it comes

tuning rods to finger tight, in opposite pairs

to a great bass drum sound. Turn your bass

(see picture one). Then push down or stand

drum over into the playing position (picture

in the centre to stretch the head out (unless,

three), engage the spurs and attach your

of course, you have a hole in your front head).

favourite bass drum pedal.

focused, punchy sound, persevere and gently increase the tension of the front head.

BASS DRUM TUNING TIPS - When seating the bass drum head, be prepared to really stretch it out before tuning. If you do decide to go with the standing approach, please use some common sense! - When tuning the front head, increase tension in very small increments, working in a quarter or a half of a turn at a time and no more. - For most playing styles, try starting with lightly pre-damped single-ply single-ply heads (ie, some kind of light, pre-installed muffle ring), front and back. Quite often this is all the damping you’ll need. - For recording purposes, where you often use more than one microphone, an effective alternative to towels can be one of the small but light pre-made bass drum muting devices, such as those from Evans. However, However, if these are used make sure they are placed in such a way as to just rest against the head, and not pushed up against it as that would dampen the tone too much.

MUSICIAN’S HANDBOOK : DRUMS | 19

MUSICIAN’S HANDBOOK : DRUMS

HOW TO TUNE YOUR TOMS Tom tuning provides the biggest headache for

1

2

3

4

the most drummers. It’s common to find a set of drums sporting good snare and bass drum sound coupled with a tom sound that lets the whole thing down. So let’s sort this out...

SEATING THE HEADS Once again, you need to begin by seating the heads, a process that is more important on toms than on any other drum type. Take your new head and place on the drum, refit hoop and tension all rods to finger tight (picture one). Press firmly in the middle and look out for those wrinkles (picture two). Work round the drum a little at a time until all the wrinkles have been removed. At this point you can adopt one of two approaches. If you have plenty of time before using the drum, go through the entire process. If it’s a case of needing to be ready to play in

means that the drum never sounds as good as

should sound their best (picture four). Make

30 minutes, you’ll have to miss out the next

it could. Focus on optimising the sound of the

sure all rods are finger tight, remove any

part of the seating process and go straight to

bottom head and, if you get this right, tuning

wrinkles and move round the drum as before,

the tuning section. Either way, it’s a good idea

the batter head almost takes care of itself.

only this time using very small turns – maybe a

at this point to give the head a good stretch by

Finally, Finally, pick the bottom heads wisely. wisely. For

quarter of a turn, or even smaller.

pressing against it quite firmly a few times.

the maximum resonance and sustain, try

Once you’ve done this, press in the middle

matching the weight and thickness of the top

centre of the drum and check the sound.

again and check to see if any wrinkles appear.

and bottom heads. For example, if you are

Keep repeating this action until you get the

Adjust the rods as necessary.

using a two-ply batter head, a thin (7mil)

sound you want. Always go for pitch and

To complete the seating process fully, take

resonant head will often appear to ‘choke’ the

sound first, then go for feel.

two drum keys and, working in opposite pairs,

tone of the drum. If this is the effect you want,

tension the head in half turns, taking it up to a

great! If not, go with a standard medium

level of tightness that would be way above

weight single-ply head (10mil) and you’ll hear

what most players would use. Quickly check

the improvement in sound.

that the head is roughly even all round, then leave it for several hours. Whether you have used the full or shortened

Once again, press the centre and, moving carefully round the drum, one lug after the other, other, tighten then remove all the wrinkles.

method to seat your heads, the next part of the

Check that the head is of an even pitch. At this

tuning process is still applicable. So, having

point you can stop pressing in the centre and

seated your heads, loosen the tight head by

start using your ears. Continue in even smaller

detuning the tension rods in opposite pairs in

turns and notice how the head starts to ‘sing’

the same way as we tightened them in the first

(picture three). What you are looking for here

place. Now make them all finger tight again

is a nice tone that, after tapped lightly, decays

and you are ready.

with a smooth, even note.

START AT THE BOTTOM

TURN TO THE TOP

On toms, the bottom head is the most

Contrary to what you may have heard from

important one. The vast majority of drummers

other drummers, try tuning the batter head of

don’t seem to realise this and can spend hours

your toms ‘in situ’. In other words, attached to

tweaking the batter head. The problem is, this

their stands, the bass drum... whatever. That’s

very rarely solves the problem in question, or

how we play them and that is where they

20 |  MUSICIAN’S HANDBOOK :  DRUMS

Each time you turn a rod, be sure to tap the

TOM TUNING TIPS - Whichever style and sound you’re trying to achieve, generally a drum will sound best if the batter head is tuned lower (slacker) than the resonant head. If you find the overall pitch too low, go back to the bottom head and take it up another pitch level, return to tuning the top head. It will come back into tune with the bottom after a few turns of the rods. - Whenever detuning or loosening a rod, always end the movement with a slight re-tightening. This action enables the rod to ‘bite’ and hold while getting the others sorted. - Try using a stool as your tuning base. It’s a great way to dampen the batter head while working on the resonant head and you can (normally) spin the drum round as you go. - Try taking the tuning up a notch or two. This really aids projection and tone.

GETTING STAR STARTED TED | TUNING

HOW TO TUNE YOUR SNARE DRUM Let’s begin by splitting the various shell types

HEAD CHOICE

into their broad groups: wood, metal, synthetic

To get a good all-round sound, tune the top

(acrylic, carbon fibre, etc) and others (glass,

head a little lower than the snare side. Listen

concrete, other bizarre materials). Metal-

for a pleasing pitch difference by muting one

shelled drums tend to produce more ring and

head while tapping the other (picture six).

volume than wood, but even then the

Returning to the resonant head, do you

spectrum of sounds across the different types

remember those lugs either side of the snare

of metal is wide. Aluminium normally

wires? Why did you leave them? Snare buzz!

produces a much drier sound than brass, and

Having lower tension either side of the snare

steel is very different to copper. copper.

wires is effective because it allows the wires

Tuning snare drums well requires patience,

1

2

to sit better on the head.

subtlety and musicality. musicality. Here are some fundamentals that should help you achieve

SET UP THE SNARE WIRES

consistent results...

Replace the snare wires and ensure they end up dead centre, both across the width of the

TIME TO TUNE

drum and square to the shell. Attach them

Always start with the resonant head, with the

initially so that the wires sit nearer the butt

snare wires and batter head off the drum and

end, so when you make the final adjustment

put to one side. Bear in mind that the resonant

with the release lever the wires will be pulled to

head is thin and therefore weaker than other

centre. Loosen the snare release mechanism

heads. In most cases the head is thin enough

to its loosest working tension and place the

to seat itself, so just make sure it’s installed in

lever in the ‘on’ position. Snare wires stretch

a centred way and use the two-key method

over time so you’ll need to build in some scope

initially to settle it into place (picture one).

for taking up the slack as time goes by. by.

To begin tuning, start from finger tight. You

3

Now play the drum. If it seems too rattly,

should have wrinkles between the lugs either

tighten the adjustment knob on the snare

side of the snare bed (picture two). Rather

release a little at a time (quarter or half-turns),

than removing them by tuning the rest of the

playing the drum between each adjustment.

head really tight, use two keys (one either side)

If you have to make the snares really tight,

and tension enough to remove wrinkles

you’ve probably tuned the drum badly and

(picture three). Now take each lug (except the

you’ll end up choking the drum.

4

lugs either side of the snares) up by quarterturns until they are fairly tight and the head starts to produce a tinny or toppy sound with a little ring (picture four). The head needs to be evenly pitched. Pitch is up to you, but in most cases the drum works best if the resonant head is pretty tight, regardless of size. Turning to the batter head, seat the head using the same method described for toms and bass but tension the batter head very tight using the two-key method described before (see picture five). If possible, leave the drum overnight so that the head forms to the drum. Next, take the batter head back to finger tight and, using the two-key method, take the tension up in half-turns around two or three times depending on the drum’s diameter. diameter. Ensure the head is evenly tuned across the drum and continue on with smaller turns.

SNARE DRUM TUNING TIPS - If you want a tight and crisp sound with some

5

sensitivity, sensitivity, use a combination of heads and tuning. Get the bottom head very tight, tune the top a third or a fifth lower, and remember to keep the snare wires moderately loose. Not rattly, of course, but not too tight either. - Are you looking for a huge, thunderous sound? Then it’s time to try an unmuffled batter head with medium tension. Use the snare side head to set a

6

lower pitch and tune the top head to allow a nice open attack with good sustain. - There are almost as many desirable sounds from snare drums as there are types, so picking the right drum in the first place will go a long way to achieving the sound you’re after.

MUSICIAN’S HANDBOOK :  DRUMS | 21

MUSICIAN’S HANDBOOK : DRUMS

MAKE YOUR SET-UP

WORK FOR YOU Some of the do’s and don’ts of playing posture

E

rgonomics is the science of finding harmony between your body and the equipment you are using when you play, with the aim of maximising efficiency in the work you do and minimising strain or injury to yourself in the process. Each of us has different bodily proportions – a different shape, height, weight, and so on – so it’s important that we adjust the kit to our bodies, rather than adopt unnatural, uncomfortable and potentially damaging positions to suit an inappropriate setup. Spending some time thinking about your body’s position in relation to your kit will result in a better and more ergonomical setup – and will help your technique, stamina and, ultimately, keep your body in good health. A good ergonomical set-up should improve consistency in your playing, your mobility

around the kit, and increase endurance for all those lengthy sets! Many players look to their heroes’ set-ups and aim to mimic their style accordingly. However, this isn’t always going to be good for you . Can you really say that your body is the same proportion and shape as, say, Travis Barker? Just because you think he looks cool with those hats up high and the stool down low doesn’t mean this is the best way for you  to arrange  your  gear.  gear.  So, rule one: forget copying anyone else. Let’s remember that all those heroes have made their own unique contributions to drumming, and how they set-up has been tailored over time to their unique, optimum playing position. So, first and foremost, get comfortable with yourself. Here are some tips worth remembering...

TIP TI P Before setting-up, spend some time sitting on your stool and ‘air-drumming’ around yourself – try to position your cymbals and toms where you can most comfortably reach them. If you are not comfortably reaching a part of your kit, re-position it until the reaching becomes easier. Also, consider the instruments you use the most. For example, is your main crash positioned further away than is ideal, just because you want to accommodate that FX crash-ride/china/splash stack with added tambourine and cowbell that you never use? Get rid! After all, it’s not about looking cool with the biggest kit you can pack onto the stage. Your playing and drumming health will improve if you take the time to ergonomically tailor your setup to what you need.

LOWER BODY Sit at your kit. Place your feet flat in front of you with the ankle just forward of the knee. Note that your legs and feet will naturally form a V-shape. Let the bass drum and hi-hat pedals be an extension of this V-shape. The bass drum needs to be positioned perpendicular to your leg, not parallel to your shoulders. Don’t Twist your back. Maintaining this position

will cause constant tension in your back muscles.

UPPER BODY A good sitting height will aid balance, mobil ity and reach, as well as enabling your legs to move more easily at the pedals.

putting pressure on the middle and upper back as it arches to compensate. The edge of the stool will also put pressure on the back of your thighs, potentially restricting blood flow to your legs and feet. Not good!

Don’t Position your bass drum square-on to the

Do Sit at a height that creates a 90° angle at your

Do Keep your leg, foot and pedal lined up and

ankle, knee and hip. The back will be well supported at this height with the weight on the ‘sitting bones’, while your legs are best positioned for stability.

straight-on at 90° to the bass drum. This should feel more comfortable, whilst also improving your bass drum and, on the other side, hi-hat technique.

audience, as this will result in an unnatural angle for your ankle or torso. With the drum in this position, you will most likely twist your bass drum foot inwards, unnaturally, so that it’s perpendicular to the drum.

Don’t Sit too low – your hips will roll back, putting

pressure on the lower back. Your balance and movement will be restricted. Don’t Sit too high – your hips will roll forward,

BAD POSTURE

22 |  MUSICIAN’S

HANDBOOK : DRUMS

Long term hunching over the kit will put a strain on your back

GOOD POSTURE

Remember to keep your torso at a 90° angle to your hips

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MUSICIAN’S HANDBOOK : DRUMS

24

| MUSICIAN’S HANDBOOK : DRUMS

LESSONS | INTRO

LESSONS

N

othing beats the feeling of mastering your first drum beat. After all, it’s the first step towards playing along to your

favourite songs, jamming with other musicians, and perhaps even starting to play some local gigs. Whatever your musical ambitions with the drums, it’s essential to focus on getting the basics right and developing at a gradual pace. In this section you’ll learn about key drumming terms and get to grips with your first drum beats. You will also get stuck into the rudiments (the building blocks of drumming) and learn how to warm up properly. Once you’re confident in these areas, take a look at the 30 Day Drum Workout program, designed to improve key playing skills whatever your level. What’s What’ s more, many of the lessons in this section are accompanied by video tutorials on your cover CD. Class is now in session... MUSICIAN’S HANDBOOK :  DRUMS | 25

MUSICIAN’S HANDBOOK: DRUMS

DRUMMING ESSENTIALS So, your new kit is set up and you’re ready to begin your drumming journey. But where do you start? Right here! Over the next five pages we’ll show you everything you need to get drumming today

T

he drums are an incredibly satisfying instrument to learn,

to know key terms, learn how to read drumming notation and take

particularly during the early stages. Nothing beats the

your first lessons. We’ll also guide you through the rudiments

feeling of playing your first beat or fill, or jamming along

(think of these as the letters of the drumming alphabet).

to your favourite song without making any mistakes. In order to get to that stage and beyond, it’s important

to know the building blocks of drumming. In this feature you’ll get O  U      N Y O   R   

  O

    O      E

      D          I         V

D     

There are handy videos on your disc to accompany many of the lessons in this section, too, so look out for the ‘Video on your disc’ icon as you read. Ready? Then it’s time to play some drums!

KEY DRUMMING TERMS

 I          S 

  C

Get to know what these mean, you’ll be hearing them

a lot !

MATCHED GRIP

QUARTER NOTES

EIGHTH-NOTE TRIPLETS

Both hands hold the sticks in the same

Also known as ‘crotchets’. If a standard bar of

The musical definition of a triplet is ‘three

manner: thumbs on the side of the sticks;

music is regarded as a ‘whole’, then four evenly-

evenly spaced notes occupying the same

forefinger opposite the thumb; middle, ring

spaced notes within that bar are regarded as

space as two evenly spaced notes’. In the

and little fingers curled under the sticks;

‘quarters’, hence the term ‘quarter note’ (in

case of eighth notes, two would be replaced

palms held down, facing the floor.

other words, four beats in a standard bar).

by three eighth-note triplets.

TRADITIONAL GRIP

EIGHTH NOTES

OSTINATO

The right hand is as matched grip, but the

Classically referred to as ‘quavers’. If a standard

An ostinato is a repeated pattern, usually

left-hand stick is held differently (vice versa

bar of music is regarded as a ‘whole’ and four

not very long, often three or four notes

for left-handed players). The stick is lodged

evenly-spaced notes within that bar are

played over and over again. The most

in the fleshy bit between the thumb and

regarded as ‘quarters’, then eight evenly-

famous drum ostinato is the vivid snare

forefinger and the fore and middle fingers

spaced notes within that bar are regarded as

drum pattern in Ravel’s ‘Bolero’, but

curl over the stick, while the ring and little

‘eighths’, hence the term ‘eighth note’ (in other

contemporary drummers often refer to

fingers curl under to support the stick.

words, eight beats in a standard bar).

‘bass and hi-hat’ ostinatos.

26 | MUSICIAN’S HANDBOOK :  DRUMS

GETTING STARTE STARTED D | DRUMMING ESSENTIALS O  U      N Y O   R   

  O

    O      E

      D          I         V

D     

YOUR FIRST DRUM LESSONS

 I          S 

  C

Master the basics of rock, jazz, funk and more ROCK BEAT

the bass drum and ‘2’ and ‘4’ on the

Here we have two bass drum beats to the

snare. Add a bass drum to add a double

bar and snare drum on the backbeat of ‘2’

note in the middle.

and ‘4’, with the hi-hat keeping time. Then try an extra bass drum note after the

FUNK BEAT

second backbeat.

This is a really simple but hugely popular funk note with the bass drum playing an

ROCK BEAT VARIATION

independent 16th note played just before

This is a slightly more advanced rock

the first backbeat.

Opposite are some common ideas you will

beat. The difference here is that we have

need to master first. Don’t forget to watch

an extra snare hit played independently

JAZZ BEAT

the videos on your disc for a closer look at

of the hi-hat.

Here is a really basic jazz idea to get you

each exercise. Once you’ve mastered them,

off to a flying start. Play four on the bass

play along with some tunes that incorporate Make sure your stamina is up, says Travis Barker

SHUFFLE

variations on these ideas, and then see if

A really basic shuffle pattern, the same as

 jazz ride patte rn ov er t he to p; th en pl ay

you can come up with your own unique

the basic rock beat but it swings thanks to

 just the r ide c ymbal and l eft foot stepp ing

interpretations. See? Now you’re drumming!

the shuffle on the hi-hat – ‘1’ and ‘3’ on

the hi-hat every beat.

OU         N Y O   R   

  O

    O      E

      D          I         V

D     

drum and the snare on ‘2’ and ‘4’, with a

HOW TO READ DRUM NOTATION

 I          S 

  C

Reading notation is an excellent skill for any drummer to learn 16TH NOTES Also known as ‘semi-quavers’. If a standard bar of music is regarded as a ‘whole’, then 16 evenly spaced notes within that bar are regarded as ‘16ths’, hence ‘16th note’.

E

very drum student should make an

toms are close together). The hi-hat is above

effort to get comfortable with the

the top line but the ride cymbal is on it.

notes on the musical stave. Anyone with ambitions of becoming a busy

2 Make

and ‘in demand’ drummer will

you feel you’ve got the reading right. It’s all

need to be able to read to some extent (if

the exercises sound good as soon as

about the music!

CROSS-STICK

not to a high level) in order to get access to

Played on the snare by holding the stick at

not only sessions and pit work, but band

3 If

the tip end, laying it across the drum and

work of all kinds. If a band with charts

misread it. If it doesn’t sound right, it

striking the rim with the ‘butt’ end, keeping

needs a replacement drummer in a hurry, hurry,

probably isn’t so try it again.

the tip in contact with the head.

the drummer who can read will get the gig. But even if you only learn the basics of

4 If

an exercise sounds odd, you may have

you aren’t a confident reader just yet,

RIM SHOT

reading, it still means the world is a bigger

check the music against the video footage

Played by striking the head and the rim of

place. The fact that you’re reading this

and see how it ties up.

the drum at the same time. It makes a loud,

means you must be interested in the

sonorous sound, good for accents in a snare

lessons, but if you can’t read music, the

5 If

pattern or heavy rock backbeat.

lessons later on will be more difficult. So

music out first and then check yourself

first, let’s start with some basic tips...

against the video.

The ‘batter’ head is the drum head that you

1 Play

6 Finally,

strike. The ‘resonant’ head is the head on

see. Check tom note placings (high and mid

you feel more confident now, try the

HEAD TYPES what you see, not what you think you

embrace reading music! It’s one

more way we can ‘talk’ to each other.

the underside of the drum that gives it a full and resonating sound. STANDARDISED DRUMSET NOTATION KEY Snare Drum

œ

Bass Drum

œ

Tom 1

Tom 2

œ

œ

Tom 3

Ghos Ghostt Stroke

œ

(œ)

Clos Closed ed Hi– Hat

¿

Open Hi–Hat Hi–Hat

 o¿

Hi–Hat w/foot

¿

Ride Cymbal

¿

Crash Cymbal

¿

Cowbel Cowbelll Rimsho Rimshott

—

œ

Cross Stick  Stick 

Lœ

MUSICIAN’S HANDBOOK :  DRUMS |

27

MUSICIAN’S HANDBOOK: DRUMS

O  U      N Y O   R   

  O

    O      E

D     

LEARN THE 40 DRUM RUDIMENTS

 I          S 

      D          I         V

  C

Essential tools to kickstart your playing and expand your drumming vocabulary The 40 drum rudiments are the building blocks of every beat, fill and drum pattern you will ever play. Even learning a handful of the main rudiments, such as the single and double-stroke roll, the single paradiddle, flams and so on, will improve your ability and creativity behind the kit. The complete list was devised by the Percussive Arts Society and consists of 26 traditional rudiments, along with drum corps and orchestral additions. When learning a new rudiment, we recommend starting on a practice pad or snare drum to get comfortable with the sticking first and to allow you to work on consistency and timing before moving to the kit and applying it to grooves and fills. Start off slow and build to medium and faster tempos.

SINGLE STROKE RUDIMENTS

DOUBLE-STROKE RUDIMENTS 6 DOUBLE-STROKE

1 SINGLE-STROKE ROLL

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2 SINGLE-STROKE FOUR

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7 FIVE-STROKE ROLL

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OPEN ROLL

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8 SIX-STROKE ROLL

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9 SEVEN-STROKE ROLL

÷ œ œ œ œ œ œ œ MULTIPLE BOUNCE RUDIMENTS 4 MULTIPLE BOUNCE ROLL

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5 TRIPLE–-STRO TRIPLE–-STROKE KE ROLL 6 

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6 

L L R R R L

28 | MUSICIAN’S HANDBOOK :  DRUMS

L R

L R

R L

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R L

÷ œ œœ œœ œœ œœ R L

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11 TEN-STROKE ROLL 6 

÷ œœœœœœœœœœœœœœœœœœœœœœœœ R R R L L L L R

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10 NINE-STROKE ROLL

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GETTING STARTE STARTED D | DRUMMING ESSENTIALS FLAM RUDIMENTS

12 ELEVEN-STROKE ROLL

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20 FLAM

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14 FIFTEEN-STR FIFTEEN-STROKE OKE ROLL

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23 FLAM TAP

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22 FLAMACUE

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21 FLAM ACCENT

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DIDDLE RUDIMENTS

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24 FLAM PARADIDDLE 16 SINGLE PARADIDDLE

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25 PATAFLAFLA 17 TRIPLE PARADIDDLE

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26 SINGLE FLAMMED MILL 18 DOUBLE PARADIDDLE

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MUSICIAN’S HANDBOOK :  DRUMS | 29

MUSICIAN’S HANDBOOK: DRUMS

28 SWISS ARMY TRIPLET  3

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30 | MUSICIAN’S HANDBOOK :  DRUMS

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LESSONS | PRACTICE TIPS

MAXIMISE YOUR PRACTICE UK session star Craig Blundell shares 10 tips to supercharge your practice regime

P

ractice is a funny old thing.

It’s usually 20-25 ‘things’ that apply to

Some consider conside r it pointles pointless. s.

what I do. I then rate myself out of 100

Others believe it’s paramount.

on where I see my ability compared to

Love it or loathe it, there are no

where I want it to be. I’ll pick the three

real shortcuts to getting better

lowest scores and apply myself to those

on the drums or on any musical instrument.

three things for that week. I repeat the

As the old saying goes, “If you put it in, you

process weekly. It’s a great way of being

will get it out.” I practice a lot, and I haven’t

honest about your ability and will force

always enjoyed it, but now it’s become a

you to focus on what you’re not strong at.

way of life. I do it for the work I undertake, making that work somewhat ‘easier’. Yes it’s like riding a bike, but it will soon get

4

GET A MENTOR

away from you if you haven’t done it for a

Now that you’ve discovered your weaker

while. As such, here are my top tips to help

areas, are you consciously spending time

you improve your playing and create an

on them? Or, are you practising the right

effective practice routine...

things for them? The best move you can make for your playing is to find a teacher

1

MAKE A PLAN

who can look at your weaknesses and help

As humans we like the things

you improve them. It doesn’t have to be a

Craig is a respected UK session player and is currently drummer for prog star Steven Wilson

we like, so most of you will sit at a kit and

weekly lesson, either – a good service and

minute set, you’ll finish on a high, rather

your comfort zone every time. That can only

play your favourite groove or fill – after all,

MOT once in a while will go a long way to

than leaving feeling disillusioned or

be a good thing, right?

we seldom start off with things we can’t

helping you improve.

frustrated. And if you keep that up all

do. A lot of people will therefore create routines based around playing songs, which is fine, but will that actually help

week, you will have spent nearly two hours

5

KEEP A DIARY

working on the hard stuff. Good job!

So, hopefully you’ve addressed

9

FLIP IT ON ITS HEAD

Something that has worked well for me over

FILM YOURSELF

you improve? Will it help you get the most

your weaknesses and have now found a

out of your time on the kit? The answer is

teacher to help you. Or, at the very least,

probably no. With that in mind, the first

you’ve done some research and have

 Just  Just like like a golf golf swin swingg or or anyt anythin hingg

the toms into different orders, then try to

thing to consider when creating a plan is

found some good stuff to play. Now

technique-based, bad habits can creep

replicate the notation and sound of the fill.

how much time you can devote per day.

is the time to keep track of how you’re

into anyone’s playing over a sustained

It will put your hands into new places. Fancy

progressing – it’s always good to see

period. When you’re immersed in the

taking it to the extreme? Swap the whole kit

where you’ve come from, especially when

moment, it’s not always so easy to see

around! Once or twice a year I play on a left

you’re feeling low or you’ve hit a wall.

what’s going on. However, filming yourself

handed/footed kit for a week or so. Try it

When it comes to starting something you

Seeing things written down, what you’ve

is a good way to see if you’re still on track.

yourself and you’ll soon see how good your

may or may not like, half the battle comes

practised over the previous weeks, for

I always film my limbs when I’m trying

‘weaker’ side is.

from getting into a regular routine – and

example, and the faster tempos you’re

something new, then I’ll re-film them after

that can take time. If you’ve set yourself a

now playing them at, will give you a big

a few weeks of practice. There’s a couple

goal of 30 minutes practise a day, stick to

confidence boost when needed.

of reasons for doing this. Firstly, to see if

2

GET INTO A ROUTINE

it. Like anything, if you take a few days off it’s easy to slip back. Keep going with your new routine until it becomes almost

6

ADOPT THE 50/50 PLAN

second nature, even if you don’t enjoy it.

Do you have a measurement of how much

Remember, practising means learning

time you’re going to practise for each day?

new ideas and overcoming obstacles in

If so, think about adopting a 50/50

your playing. Not all of it will be enjoyable.

approach. For example, if you intend to

3

WHAT TO FOCUS ON

7

the years is turning everything on its head. So you have your favourite drum fills... Swap

10

PRACTICE SHOULD BE…

there’s any improvement. Secondly, to see

...whatever you want it to be. That said,

if any mistakes have crept in. It works

it should always push you and never be

every time, so I’d highly recommend you

a walk in the park. There’s always room

try it, especially if you’re feeling stuck.

for improvement at every level of playing. If you’re working on new things, practice

8

PLAY MUSIC YOU HATE

should be fun if you’re doing it right. If it’s not fun, you’re doing it wrong. What if

practice for 30 minutes a day, split that

This is one of my favourites. As the title

you’re having an off-day? No worries, just

time in half. When you begin, focus on

says, play things you hate! If you’re a jazzer,

use your 30 minutes to play music instead.

your weaknesses for the first 15 minutes,

play some metal, and vice versa. You may

Music often triggers emotions and can

When I begin each week, I look at a chart

putting the hard work in first, then forget

absolutely detest the material, but playing

inspire so many thoughts inside of us,

upon which I have everything written

about it. When you’re done with that, play

it will stretch your listening skills and your

especially if it’s new music. Keep in mind

down, from left hand to right foot, and

along to your some songs for the last 15

musicality to the maximum; you’ll hear

that tomorrow is a new day, then work just

from sight-reading to playing odd time.

minutes. When you’ve nailed the entire 30

things differently and it will push you out of

that little bit harder next time.

MUSICIAN’S HANDBOOK : DRUMS | 31

MUSICIAN’S HANDBOOK : DRUMS

HOW TO WARM-UP TRY THIS SIMPLE ROUTINE TO PREP PR EPAR ARE E FOR EVERY PRACTIC PR ACTICE E SESSION SES SION Playing the drums involves the whole body. Hands, arms

of Drums at BIMM Bristol gives his advice on preparing

help you get ‘in touch’ with your body. Which of these

and shoulders, the legs and core all need to have good

physically for a practice session.

stretches [below] you choose to do is dependant on the

strength and mobility to ensure they don’t impede our

“Warming up before we play raises the heart rate ready

intensity of your planned session and what’s required of

creativity. All too often players reach a physical ceiling

for work, focuses the mind and allows us to hit the ground

your body, but do them before moving on to the exerices on

before they reach a creative one. This is where our focus

running,” says James. “Taking some time to warm up will

the opposite page.

on technique during practice steps in, and a good range

prepare the muscles by bringing them up to temperature

of motion and mobility in our muscles and joints is critical.

and increasing blood flow and nutrients to the muscles.

Once you’re stretched out, your heart rate is up and your

Here James Hester, session drummer, triathlete and Head

This will help prevent injury and will also psychologically

mind focused, and you’ll be ready to tackle a session.”

“Start with low velocity and build tempo and volume.

SHOULDER BLADE SQUEEZE

FIST STRETCH

ROTATOR CUFF 1

Make a fist with your thumb over your fingers and

Put your arms out at 45° in front of you, palms down,

Sit or stand with a straight back and pinch your

grip fairly tightly, then open your hand out as far as

then roll your shoulders so that your palms are

shoulder blades together. Imagine you have a £50

it will go. Aim to do this four or five times with each

upwards. Do this as many times as you would like

note between your shoulder blades and don’t want to

hand. This simple stretch not only works the hands

to increase the circulation. You can move your arms

drop it. This is a great stretch for aligning the back

but also the forearms.

upwards so that your hands are at the same height

and opening the chest area. This is one you can do

as your shoulders, and also try beginning with your

a few times a day without needing to warm up.

arms 45° to your side and do the same thing.

TRY YOGA A more holistic approach would to investigate the art of yoga for strengthening your body, increasing your suppleness and giving you time to focus your busy mind. There are plenty of great yoga courses available for you to follow online. Even better, seek out a local yoga class for a more sociable approach to your wellbeing. Radiohead and Portishead drummer Clive Deamer says: “I started practising Ashtanga Yoga around 2005. If done regularly it provides many physical and deeper psychological

ROTATOR CUFF 2

SEATED SEA TED HIP FLEXOR

and spiritual benefits. In the context of drumming, the most

Arms out to the side parallel to the floor and elbows

Once in a seated position, lift one leg up and place

obvious being a strong back and a daily gradual increase in

bent at 45° – as if you’re holding something above

the outside of the ankle on the opposite knee and sit

bodily strength awareness and flexibility.”

your head. Rotate from the shoulder until your palms

up very straight. This will stretch out your hip flexors

Clive goes on to say: “Yoga also develops your ability to

and forearms are horizontal, parallel to the floor. You You

wonderfully, but you can get a much deeper stretch

relax. This feeds into good playing and practising technique,

can also start with your arms pointing downwards

by gently pressing down on the knee of the raised leg.

you notice the difference between excessive muscular tension

and rotate them upwards.

Do this stretch on both sides.

compared to focused and engaged work.”

32 |  MUSICIAN’S HANDBOOK :  DRUMS

LESSONS | HOW TO WARM-UP OU         N Y O   R   

  O

    O      E

      D          I         V

D       I          S 

  C

EXERCISES FOR YOUR HANDS HA NDS AND FEET FEET

You’ve stretched out your body a little. Now it’s time to loosen up your hands and get

to avoid tension and injury. With this in mind, don’t feel that any warm-up needs to be

the blood flowing before more intense playing with a selection of warm-up exercises

played fast and/or loud. Aim for being relaxed and loose. If some of the examples feel

on your pad or at the kit. On this note, it’s important to remember the intention of

challenging, simply enjoy the process of learning them slowly and deliberately until

warming-up: to literally warm your hands up and prepare them for playing, helping

the stickings flow as effortlessly as possible.

EXAMPLE 1 A classic paradiddle combination exercise where a single, double and triple paradiddle are played consecutively. Try not to get too distracted by the 9/4 time signature, as it’s easy enough to step quarter-notes through. Once the basic sticking is mastered, though, try moving the accents to the toms or cymbals.

EXAMPLE 2 Also based around paradiddles, this time in a combination favoured by the great Jim Chapin, who would often be seen playing these ‘6/6/4’ patterns at drum shows whilst demonstrating the Moeller technique. In this example we play a double paradiddle into one half of a paradiddle, which causes it to switch hands upon repeat. Once again, try moving the accented notes to the toms or cymbals.

EXAMPLE 3 This exercise pushes the paradiddle challenge a little further, further, this time by incorporating flams. We begin by flamming the first note to play a flam paradiddle, but from here it becomes a little more demanding by moving the flam through the sticking in each subsequent variation. Once comfortable, try playing one repeat of each as shown in the video.

EXAMPLE 4 Here we introduce the feet, which are playing a classic samba-type ostinato. The first step with the hands is playing single strokes over the top and accenting every three notes. Once again, don’t be too concerned with the 6/4 time signature – this just allows us to resolve back to beat one easily. This example can then be played two other ways, firstly by doubling the unaccented notes to create five-stroke rolls and finally by flamming the accented notes to create flam accents.

EXAMPLE 5 The final example applies a similar procedure to a single stroke accent pattern, played here in 3-4 over a classic 3-4 foot ostinato. And because we’re playing eighth-note triplets, the pattern takes two bars to resolve. Finally, once comfortable, apply the same double stroke and flam approach to the hands to create a deceptively challenging four-way coordination exercise.

MUSICIAN’S HANDBOOK : DRUMS | 33

TRAVIS BARKER

The Blink-182 superstar discusses his approach to learning drums

INTERVIEW | TRAVIS BARKER here’s more than meets the eye with

T

it be sitting around playing on a practice pad,

even how you’re going to be playing.’ I don’t

Blink-182 and Transplants drummer

or playing bossa nova patterns with my feet

even think there is a correct way to warm up

Travis Barker. Behind his DIY punk

and trying to solo over them. I was always

for the way I play!”

aesthetic lives a trained musician

challenging myself. Once you’re given the

with respect for the past and

fundamentals, it’s up to you to grow. I still

How did teaching and giving lessons

optimism for the future. Travis’ background

love practising and challenging myself.”

affect or influence your own playing?

in music, during his formative years at school,

And do you still find time to practice?

included marching, orchestral and jazz band.

How has that whole marching band

“I wanted to play more when I was home, and

In between, the California native was hitting

element impacted your playing?

I wanted to work with kids. Just be interactive

some truly classic drum books with a private

“I love that stuff! It still comes out in my playing.

and keep drumming. I try to be here [in the

teacher. Those experiences laid a foundation

When I’m on tour and I don’t have a lot to do

studio] and practice because I’m recording all

that would embed itself in his subconscious

except be around my drums, I sit on a practice

the time. So, if I’m here I walk around with

and eventually make up the personality of his

pad and play for two hours before we go on.”

sticks in my hand and do something with

playing. In this interview, Travis talks about

them – I’m either tossing them or I’m playing

his drumming education, his approach to

Do you find yourself playing but not

improvising, and why the internet is a good

thinking about it when you warm up?

place to learn drums.

“Yeah, I’ll just mess around with the sticking.

Would you like to develop a particular

Usually a paradiddle diddle, or a tap so I can

area of your playing further?

What were your formative years like

restart it with my left hand. I don’t like to think

“I get to a place on tour where I can do it and

with the drums, as far as music

 the when I’m playing the drums, I like to play  the

then when I’m home I’m in a more creative

education and learning technique?

drums. It’s more of a feel thing. I don’t like

environment and it’s more about making music

“As a child, being five and six, I had a teacher

calculating everything out because then it takes

instead of playing music or practising. So when

who taught me how to [sight-] read. I played

away from the natural part of playing. I’d rather

I’m on tour I like to be in a mind frame where I

on a snare drum and would learn snare pieces.

be fluent and play from my heart. That’s what

can pull off anything I think of while I’m playing.

There were these sight-reading competitions

I’m good at. Rather than sitting around going,

I’m not like, ‘Oh s**t, I’m going to try this for the

and I did really well in them. All through

‘I’m going to do this fill right here.’

first time tonight and I don’t know how it’s going

elementary school I was learning jazz. There

“I was getting ready for the Grammys and

on something, just being productive.”

to work out.’ I change my fills every night – I like

weren’t many teachers who taught you how to

Aaron Spears and I were shedding, just

to improvise – but I’m not going to confuse

rock! It was, ‘Here’s this jazz chart, catch all the

messing around playing drums. I was like,

people or throw anyone off. I just try to get to a

accents, set up the accents. I want a two-bar fill

‘I wonder if I should come up with a solo?’

place where I can pull off whatever idea I have

on the ‘&’ of ‘2’, two measures from here.’ That

because right at the top of this Grammy

in my head. I think that’s the win-win. That’s the

set me up for reading. Then, they’d make me

performance [with LL Cool J, Chuck D and Tom

ultimate goal, to be able to pull off what you

do the same thing with my left [as with my right

Morello], I had a solo within the first eight bars.

want to play without really thinking about it.”

hand] so I could play with my left hand.

I’m like, ‘Who gets an eight-bar solo at the top

“By the time I got to junior high, I was in jazz

of a song at the Grammys?’ Part of me thought

What do you think about using online

band, marching band, orchestra... Anything

I should have it locked down. Aaron was like,

media, such as YouTube, to not only

they could throw at me. In high school, I dove

‘Don’t you dare, Travis. You play from the heart.

share your own licks, but for aspiring

into music. My mom had passed away. I had

Don’t you dare go and have it rehearsed to play

drummers to seek out lessons?

an amazing drum-line teacher named Perry

out there. Just play. Just do a ‘you’.’ So that’s

“I think it’s great. Not everyone has enough

Hall. It was my first taste of what drum-line

what I did.

money to get private lessons. Almost every kid

would be. Being in a real drum-line with six

“Him telling me that reminded me that I love

has access to a computer, though. You can get

snares, four bass drums and three quint players

playing from the heart. I love feeling what I’m

lots of information there. If you want to learn a

was awesome!

playing, instead of having everything calculated

six-stroke roll, you can type in ‘six-stroke roll’

out. Unless, of course, I’m reading a chart and

and find someone to demonstrate it for you.

played everywhere locally. That was my [form

have to set something up and have accents that

When I was a kid, I’d have to ask my instructor.

of] education. I never went to college. I never

I need to hit. I’m all for that, but how you set

With all the information you have provided on

tried out or attempted to go to drum corps.

them up doesn’t need to be calculated. The

the internet, I think it’s a great thing.

I started touring two years after high school.

more you practice, the more you’re fluent with

I was content with that. All I wanted to do was

your right and left hand. Everything you know

learn on snare. You can type in the piece of

tour with a band. I had great reading at the

with your right, also learn to do it with your left.

music and play along with it and it will tell you if

time, and chops from marching band got me

Then you won’t have the restrictions of having

you’re playing it right. If I’d had that when I was

in a routine of always practising.”

to think about everything you play.”

a kid, that would have been amazing! I think all

What drum exercises did you practice?

Do you still do a lot of traditional grip?

much as you can. I’m not the only person giving

“It was a matter of making up my own exercises

“Yeah. I have to stop myself, ’cos I’ll warm up

free instructional, tutorial videos – there are

to keep my chops sharp when on tour. Whether

like that, traditional, and I’ll be like, ‘That’s not

loads of people.”

“I then started a band in high school and we

“In my son’s school, they have pieces they

those are great tools. Use the internet. Learn as

MUSICIAN’S HANDBOOK: DRUMS | 35

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30 DAY DRUM WORKOUT Take key areas of your drumming to the next level in just one month. Ready for the 30 day challenge? Let’s get to work... WORDS: PETE RILEY & CHRIS BARNES PHOTOS: JOBY SESSIONS

I

t’s a familiar scenario, right? You go for a

progressively build the level of difficulty until

you actually take 60 days to complete this

fill or kick pattern, but something gets in

new levels of technical ability, coordination and

workout – your development will remain

the way; the coordination isn’t quite there,

independence are unlocked, enabling you to

significant. Ideally, you should be able to

something feels awkward, the fluidity is

reach previously unattainable levels of playing

play the previous day’s examples relatively

lacking and you stumble through, but not

with a new-found confidence. We’ve worked

effortlessly before moving on to the next

with the execution you wanted. These

hard to create a well-rounded plan and provide

example. An alternative approach is to tackle

moments are usually the result of some

you with everything you need to prepare for and

each new day’s examples as best you can,

coordination and independence problems, but

complete the programme, from the video

making a note of the ones you’d like to revisit

perhaps there are other skills also in need of

lessons on your disc and clear exercise

at the end of the 30 days.

attention. There comes a point where you must

notation, to tips and advice from experts on

tackle this to take your playing to the next level.

subjects such as nutrition, hydration and sleep.

The daily exercises presented in this feature are intended to gradually address key areas and

Progress requires dedicated, daily hard work, but 30 days is just a guide. It doesn’t matter if

 boost your playing and you These lessons will  boost should soon start to feel improvements as your hard work unlocks your hidden potential. So, without further delay, let the workout begin!

MUSICIAN’S HANDBOOK: DRUMS | 37

MUSICIAN’S HANDBOOK: DRUMS

BEFORE YOU START Getting stuck into a whole month of drumming sounds like fun, right? Absolutely, but unless you iron out a few important creases before you start, 30 days of intensive drumming is going to be gruelling, physically and mentally, and you won’t get the best out of it. Taking the time to get your body and your gear in shape before you start means you can focus on pushing your playing whilst still having fun as you tackle this drumming challenge.

WHAT YOU’LL NEED Ideally you’ll be using your full kit for this programme, as many of the lessons will require you to work with your hands and  feet. Use a well-tuned acoustic kit, or select decent sounds on your electronic kit. Match your e-kit with a pair of comfortable, quality headphones for these extended periods of playing. If excessive noise is an issue with neighbours or family, we’d recommend investing in drum mutes. These inexpensive pads sit on your acoustic heads and can reduce volume by up to 95 percent. If a kit is out of the question, a quality practice pad mounted on a stand is perfectly workable. Pick up a bass drum pad too, if you can. Although you won’t be at a real kit, don’t forget the importance of good posture here, so set up your pads with ergonomics in mind.

1 PREP YOUR GEAR If you’re undertaking the 30 day workout on your acoustic kit, it’s advisable to top it with fresh, bedded-in heads and to ensure your drums are well-tuned. A quick MOT to get rid of any unwanted problems like pedal squeak or broken snare wires is also advisable. The better they sound and feel to play, the more you’ll want to play them.

2 PERFECT YOUR POSTURE Take the time to set your kit up properly, with your seat at the correct height and your drums, cymbals and pedals positioned so that you don’t have to reach excessively. A comfortable, tension-free playing position means you can work for longer.

WHAT LEVEL AM I? There are Beginner, Intermediate and Pro versions of each lesson in this workout. Here’s what those levels mean... BEGINNER

You’ve not been drumming for long, but have an understanding of the basics (if not, turn back to our Drumming Essentials section, starting on p.26, and revist this workout later). You’ll start slowly in these lessons and will ultimately be looking to play each example, snag free, for one to two minutes at a time. Your focus should be on developing timing, accuracy and consistency of hits. INTERMEDIATE

You already have some kit experience and a solid grasp of key drumming principles. With commitment to this workout, your playing ability should advance considerably. At this level you will build on your foundation of accuracy and consistency, and perform examples at faster tempos. Aim to play each example for two minutes-plus. PROFESSIONAL

You know your stuff, but perhaps feel a bit rough around the edges. Using these lessons will seriously boost your endurance and speed, with challenging tempos designed to really push your playing forward. Build up to playing each of the examples for two to three minutes-plus at a time.

38 | MUSICIAN’S HANDBOOK: DRUMS

3 REST IS BEST You’ll be digesting a whole load of information through this workout, both mentally and physically, so we’ll be recommending some rest days. These are designed to give your brain and body a break, and a chance to absorb what you have learned.

LESSONS | 30 DAY DRUM WORKOUT 5 TIME TO FOCUS

4 REMEMBER TO BREATHE If you’re not breathing, you’re not drumming. Period! Ensure the room you’re playing in is ventilated and cool, and take regular breaks outside in fresh air if you’re doing a particularly long session. A fan can be a drummer’s best friend in a stifling room.

Plan your diary so that you are able to commit serious time and focus to these lessons. Got a quiet month on the horizon? Sounds like the perfect time! This workout is quite some undertaking, undertaking, so we’d recommend telling your family and friends your intentions, enabling them to support you and help you stick with it.

6 PLUG ’EM UP If you’re going to be practising at your kit, hearing protection is essential. There’s no point spending all this time improving at the drums if you’re doing irreparable damage to your ears and won’t be able to fully enjoy the fruits of your graft.

7 GET A GRIP You’ll You’ll be playing a lot over the next month and unless you’ve nailed a comfortable, loose grip before you start, you’ll get painful blisters fast. That means you won’t have any control of your hands and you’ll find it much harder to progress.

8 PLAY IT STRAIGHT An ergonomically set-up kit is nothing if your posture is off. Good posture means a nice straight back, relaxed shoulders and arms, and your torso at a 90° angle to your hips, with thighs at just under 90° to the floor.

9 GET STUCK IN If your sticks are too heavy, too long or too thick, they won’t feel comfortable when you play. Different tip types and stick materials will also change how you sound. Now’s the time to experiment with the thousands of models available to find the one for you. If in doubt, ask for help in your local music shop.

10 TAKE NOTES Whether you use old fashioned pen and paper or notes on your phone or tablet, it’s important to keep track of your progress, recording what you have done each day and identifying any potential weak areas that need further attention.

MUSICIAN’S HANDBOOK: DRUMS | 39

MUSICIAN’S HANDBOOK: DRUMS

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PERIOD 1

Gear and posture ship-shape? Ear plugs in? Fully warmed up and limber? Then it’s time to get cracking! For the next 30 days you’ll be working hard, so keep the goal of better drumming in mind at all times to help you. We’ve split this 30-day workout into five periods, each consisting of five days of drum exercises, further split into five key areas of drumming. The areas are: hands and rudiments, shuffle grooves, four-way coordination, hand/foot linear combinations, and

time playing. There’s a video on your CD for each lesson. Each period also accounts for a rest day, a time when you can take a break and let everything you’ve learned that week sink in. Things stay relatively simple in this first period, with a starting tempo for each playing level setting the appropriate challenge. Beginners should aim to play each example consistently for one to two minutes, intermediates two minutes-plus, and pro’s two to three minutes-plus.

DAY 1 RECOMMENDED STARTING TEMPO (BPM)

110 (quarter-note) INTERMEDIATE 150 (quarter-note) ( quarter-note) PROFESSIONAL  220 (quarter-note) BEGINNER

MASTER SINGLE STROKES, DOUBLE STROKES AND PARADIDDLES It could be argued that everything played on the kit – consistency is also a factor, so watch for stick is a combination of single and double strokes, with heights as they’ll be a dead giveaway to any volume the paradiddle the natural progression of the two. discrepancies. Also, when it comes to pushing the These building blocks of drumming really need to tempo it’s essential for you to remain relaxed. Try be strong if a solid foundation is to be built. And to gradually move the effort from arms to hands remember it’s not just speed we’re looking for to fingers as the tempo progressively increases. A

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DAY 2 RECOMMENDED STARTING TEMPO (BPM)

90 INTERMEDIATE 120 PROFESSIONAL  150 BEGINNER

ESSENTIAL SHUFFLE GROOVES Shuffle and triplet time playing can be an underdeveloped area for some drummers, leaving a troublesome hole in their time playing capabilities. Below are some essential shuffle grooves to get things started. Ideally the shuffle rhythm in the right hand will consist of a louder

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note on the downbeat, while the upbeat or skip note is played much lighter, almost feeling as though it’s ‘for free’ as the hand raises to play the next accent. On the hi-hats you could play these on the edge and top respectively for some additional dynamics.

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DAY 3 RECOMMENDED STARTING TEMPO (BPM)

90 BEGINNER INTERMEDIATE 120 PROFESSIONAL  150

UNLOCK FOUR-WA FOUR-WAY Y COORDINATION COOR DINATION Four-way coordination is a cornerstone of any great player. This deceptively tricky exercise features single strokes throughout and requires not only negotiating the accents moving hand-to-hand, hand-to-hand, but also top to bottom A

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between the snare and bass drum. As if that wasn’t difficult enough, the left foot should play on beats 2 and 4. Finally, avoid accenting the snare when playing the bass drum. Sometimes, that’s not as easy as it sounds. B

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40 | MUSICIAN’S HANDBOOK: DRUMS

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LESSONS | 30 DAY DRUM WORKOUT

DAY 4 RECOMMENDED STARTING TEMPO (BPM) BEGINNER

75

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USEFUL HAND/FOOT LINEAR COMBINATIONS COMBINATIONS – 3’S AND 4’S

An important stepping stone to creating more interesting-sounding phrasing and fills comes when introducing the bass drum into phrases normally played just with the hands. Incorporating the bass drum this way breaks up the phrase with the bass drum acting as a third voice. However, they also A

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require some careful practice to make the phrases flow, as we’re no longer dealing with just singlestrokes. Although the accents are merely suggested, they do give the examples a little more shape and ideally they should all be played with the left foot stepping quarter-notes.

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DON’T FORGET TO EA EAT! T! As you’ve probably experienced, practice sessions can stretch for hours and the need to eat may often get overlooked by a passion for drumming development. Leave it too long, though, and you’ll have trouble reversing the effects of fatigue, and risk the onset of headaches and irritability. Ensure you’ve eaten well before you head to the kit or pad. If you’re planning a long evening or weekend

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LAY LA Y OFF THE BOOZE of practice, remember to stock up the fridge and cupboards in advance and factor in at a least a 30-minute break where you do actually eat, and aim to still have meals at the time you would normally eat. The less pressure you put on your body and mind, the more you’ll have in the tank to focus on the important task of drumming. Got it?

Alcohol affects your hearing significantly, raising the threshold of perception for lower frequencies up to the higher mid-range, so you’re unlikely to hear a true representation of your playing and dynamics. Coordination and judgement are compromised by a remarkably small amount of alcohol. Doesn’t mean you can’t celebrate an awesome session later, though!

MUSICIAN’S HANDBOOK: DRUMS | 41

MUSICIAN’S HANDBOOK: DRUMS

A WORD ON NUTRITION Whilst we’re not suggesting you should completely overhaul your diet, even small changes and improvements in what you eat can have a dramatic effect on your energy levels, stamina and mental concentration... Not to mention a general feeling of wellness that will help you complete the full 30 days. Martin Armand, personal trainer, musician and owner of MA Health & Fitness (www.facebook.com/  mahealthandfitness) has some great tips on what you can eat to supercharge your playing. “Long practice sessions can be physically and mentally demanding, not to mention additional playing such as gigs, rehearsals and sessions on top. You need to get the right nutrition to get maximum results, and ensure you have the mental focus to practice and the endurance to last through a session. Although getting this right is important at all times in life, the correct nutrition during this drum workout plan will really help. Eating a well-balanced and colourful diet is important to fuel your body and help with recovery and performance. “Protein is essential for your body’s structure: it aids and regulates the building and repair of tissues and muscles, and is also good for satiation – the feeling of being full. Eating four to five portions of protein

throughout the day will keep you feeling fuller and keep those energy levels up. One portion of protein is 85-100g of cooked meat or fish, two eggs, or three tablespoons of nuts and seeds. Good sources of protein include: meats, fish, grains, legumes, dairy, nuts and seeds. “Carbohydrates should count for between 40-55 percent of your diet. Carbohydrates are broken down by our body into glucose, which can be used immediately for energy or stored in the muscles and liver and used when required. Glucose is the main source of fuel for our brains. When blood glucose levels are low, the brain will not function as well as it could. This can impair judgement and decision making and lead to fatigue. Foods such as rolled oats, brown rice, sweet potato, wholewheat and vegetables will give you a sustained energy release throughout the day, keeping you mentally strong for your workout. A third of your diet should come from veg and fruit. That’s five portions of fruit and vegetables a day. One portion is one apple or banana, a bowl of salad or three heaped tablespoons of vegetables. “Fats are vital for cell growth, hormone production and protection of the inner organs, including the brain and spinal cord. They are a major energy source within the body, so it’s important to get the right amount and

the right kinds of fats into your diet. It is also recommended that you get 20-30 percent of your daily calorie intake from fats. Nuts such as walnuts, almonds, hazelnuts and peanuts, although high in calories, are a great source of energy for the body and brain. “Omega 3 oils are essential for your physical and mental function, too. Eating oily fish a couple of times a week or adding flax seeds to your breakfast are great ways to get them into your body and keep you more focused during your sessions. Supplements can also help. Fish oils are vital for joint health and brain function, so if you don’t eat fish you should consider taking supplements. Studies also show that Ginkgo Biloba helps increase memory function and short term memory.”

DAY 5 RECOMMENDED STARTING TEMPO (BPM) BEGINNER INTERMEDIATE PROFESSIONAL

75 95 120

DEVELOP BASS DRUM INDEPENDENCE – SINGLE NOTES

Having some independence with the bass drum whilst playing time is an essential skill, as we need to be able to lock into endless possible bass lines and grooves. The following exercise develops this by playing all of the possible placements of a single 16th note on the

bass drum whilst playing eighth-note time. This takes six beats to resolve, hence the 6/4 time signature. If you want to push yourself with an extra challenge, try moving the right hand over to the ride cymbal and stepping quarter-notes with the left foot.

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ œ œ ÷ 46 œ . œ œ œ œ ‰ œ   œ . ‰   œ . œ . J J J J DAY 6 REST DAY

Whether you’re moving through this drumming workout, play sport regularly or simply live a busy life, getting adequate rest is vital to keeping you mentally and physically able to undertake the things you want to do. As such, we’ve worked rest days into each period of this workout. Of course, what you do on your day off is up to you. However, if you love drums as much as we do you’ll probably be doing drum stuff anyway! Today, inspire yourself for the next phase of your workout by checking out some awesome drumming. Immerse yourself in a classic album such as The Who’s legendary Live At Leeds , The Beach Boys’ Pet Sounds  or  or Queens Of The Stone Age’s Songs For The Deaf , or whatever music gets you fired up to play the drums. Alternatively, you could head to YouTube and search for any drummer that takes your fancy. We’ve spent endless hours watching videos of our favourite players and it always throws up undiscovered gems. Either way, we guarantee you’ll see or hear some of the drumming essentials you’ve learned this week being put into practice.

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| MUSICIAN’S HANDBOOK: DRUMS

Today, just chill and listen to great music

LESSONS | 30 DAY DRUM WORKOUT

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DAYS 7-12

PERIOD 2

Time to get going again. In Period 2 we begin by looking at the main paradiddle combinations with single, double and triple paradiddles, along with paradiddle-diddles. On Day 8 the shuffle grooves move their focus onto the half-time shuffle, while the four-way coordination exercise on Day 9 uses the same approach but becomes more syncopated. The hand/foot combinations on Day 10 move onto groups of five and six notes, and the time-playing exercise on Day 11 changes the bass drum pattern to include groups of two notes. There’s a lot to work through, so let’s get cracking…

DAY 7 RECOMMENDED STARTING TEMPO (BPM)

ADDING PARADIDDLE STICKINGS

120 BEGINNER INTERMEDIATE 180 PROFESSIONAL 270

By adding two or four single strokes to a single paradiddle we can then create the double and triple variants. These are easier to learn when played with the accents marked as below. We’ve also added the right and left paradiddle-diddles to the list. Note that these stickings, unlike the paradiddles, stay in A

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the hand that starts. The examples are marked with dynamics, which gives them more shape and make them easier to apply to the kit, with the accents played on the toms or cymbals and the remaining unaccented notes played on the snare. The tempos to the left are a guide to get you started.

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9 GREAT GREAT PRACTICE TOOLS When playing your kit at home isn’t an option, here are some useful tools to help keep your hand in without disturbing the neighbours 1 BILL SANDERS PRACTICE PAD/KIT From £23 Long-lasting and with an authentic real-feel surface, Bill’s pads and full practice kits have been around for over 30 years. They come in many shapes and sizes, and plenty of top drummers swear by them.

2 STAGG EBT-10 ELECTRONIC BEAT TUTOR £4 £43 3 A high-tech, high quality 7½" silicone pad that packs a metronome with programmable beats, tap tempo function, six training programmes and more. Decently priced, too.

www.practicedrumkits.com

www.staggmusic.com

3 MEINL KNEE PAD £13.50 This 4" pad may be small, but attach it to your knee with the adjustable strap and you have a perfectly portable pad, meaning you can continue to practice on the go. The small target will also help you improve accuracy. www.meinlcymbals.com

4 AHEAD 3 ZONE WORKOUT PRACTICE PAD £59.93 This 14" pad feels great under the stick; the three different playing surfaces – soft gum rubber, hard black rubber and Moongel pillow

– offer different amounts of rebound, mimicking the feel of drums and cymbals. www.aheaddrumsticks.com

5 EVANS REALFEEL PRACTICE PAD From £18 Starting from 6" up to 12" sizes, plus a folding bass drum model, these natural gum rubber-topped pads are simply appointed, yet feel sturdy and realistic. Some models are also stand-mountable. www.evansdrumheads.com

6 AQUARIAN SUPERPADS £TBC Both a standalone pad for silent practice and a low-volume acoustic drum mute, the Super-Pad can be placed on anything: drums, tables, snare drum stands, beds or even your lap. Placed on an acoustic snare drum, the pad activates the snare wires for a realistic, low-volume sound. www.aquariandrumheads.com

7 REMO SILENT STROKE HEADS From £10 Say hello to single-ply mesh heads in various sizes that replace your standard drum heads. Unless you have two kits it might be a pain to keep swapping skins, but the extended practice they’ll afford you is worth the trouble. www.remo.com

8 SOFTAPADS From £10 Simple but effective, these mutes sit on top of your regular drum heads, cymbals and kick, whilst still giving you decent stick response. Claim to reduce volume by up to 90 percent. www.jhs.co.uk

9 CYMBOMUTE From £7 Cymbomutes fit around the edge of your metals, are held in place by their own tension, and enable you to play your cymbals at a hugely reduced volume. www.cymbomute.com

MUSICIAN’S HANDBOOK: DRUMS | 43

MUSICIAN’S HANDBOOK: DRUMS

DAY 8 RECOMMENDED STARTING TEMPO (BPM) BEGINNER INTERMEDIATE PROFESSIONAL

90 120 150

GROOVE WITH THE HALF-TIME SHUFFLE

The half-time shuffle is so named because the backbeat now moves to beat 3, creating a half-time feel. The two most common challenges here are maintaining the dynamics in the right hand, covered in the shuffle example on Day 2, along with bass drum independence, where the biggest challenge you’ll face is playing upbeats. Example A is the classic Purdie

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shuffle, named after groove pioneer Bernard Purdie and heard on Steely Dan’s ‘Home At Last’ and ‘Babylon Sisters’. The next example is aimed at developing the upbeat on the bass drum, while example C is inspired by Jeff Porcaro’s ‘Rosanna’ groove. Don’t forget to watch the video on your free disc to see it in action.

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¿ ‰ ¿ ¿ ‰ ¿ ¿ ‰ ¿ ¿ ‰ ¿ œ . ‰ ‰ Jœ Œ Œ ‰ ‰ Jœ .

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DAY 9 RECOMMENDED STARTING TEMPO (BPM) BEGINNER INTERMEDIATE PROFESSIONAL

90 120 150

SYNCOPATED SYNCOPA TED FOUR-WA FOUR-WAY Y COORDINATION

The examples following directly below introduce syncopation to the previous swing exercise that we first encountered on Day 3. In other words, we are now dealing with upbeats along with the shifting accents between the hands and the bass drum counter-rhythm. Once again the left foot is expected

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to step ‘2’ and ‘4’. Here you also need to make sure that only specified notes are accented, with all remaining notes played very quietly – take your time getting this right and don’t rush it. The first two examples imply a three beat figure moving through the bar, while the third example plays it over two bars.

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DAY 10 RECOMMENDED STARTING TEMPO (BPM) BEGINNER INTERMEDIATE PROFESSIONAL

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TACKLE HAND/FOOT LINEAR COMBINATIONS – 5’S AND 6’S

Welcome to Day 10! Today we’re expanding upon the linear hand/foot combos from Day 4 by looking at combinations of five and six notes created by placing one or two bass drum notes on the end of a group of four single strokes. Once again, you should begin by getting familiar with the basic figures, presented in

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examples A and C, without holding any concern for subdivision or time signature. Examples B and D then show them played through one bar of 16th notes. If you get to a point where you’re feeling confident with the examples, try stepping quarter-notes with the left foot throughout.

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44 | MUSICIAN’S HANDBOOK: DRUMS

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LESSONS | 30 DAY DRUM WORKOUT

APP-Y DRUMMING Harness the power of your smartphone with the best apps to help boost your practice

POLYNOME: THE ULTIMATE METRONOME £3.99 The most powerful and feature-packed metronome app out there. Program everything from a simple click to a full groove with custom sounds, log your practice and more. iOs

NOTES £free Most smartphones will come with a standard notes-style app. Use it to keep track of progress each day, and to record areas that need extra work. They’re great to look back on to identify how far you’ve come. iOs/Android

CALENDAR £free Populate your calendar app to avoid missing a practice or forgetting what’s on the agenda for each session. Making excuses is

easy, so why not set reminders (with an obnoxious tone) so there’s t here’s no doubt when it’s time to work? iOs/Android

high-tech app helps the tuningimpaired achieve even tension across the drum head quickly and accurately. accurately. Handy! iOs

CAMERA £free Filming yourself is one of the best ways to scrutinise your technique. Keep an eye on grip, fluidity of movement around the kit and any signs of stretching that could perhaps indicate if your kit is not set up correctly. iOs/Android

WATER WATER TRACKER £free We stress the importance of water intake for a healthy, focused lifestyle on page 51. Set yourself the challenge of drinking the recommended daily allowance with the help of this app. It tracks your intake and reminds you to drink when you get behind. Also try Waterlogged for iOS. Android

IDRUM TUNE £3.99 You’ll be far more inclined to practice for longer periods with a kit that sounds great, and this

RHYTHM From £2.99 Once you’ve finished with this workout – and we know you’ll smash it! – there’s no better way to keep up your drumming chops than with the monthly video lessons found within the digital issue of Rhythm (iOs only) magazine. These include lessons from accomplished tutor Pete Riley, who wrote this workout. iOs (Apple Newsstand)/ Android (Google Play)

MYFITNESSPAL £free If this workout, and the nutrition advice you read earlier, has inspired you to further change your diet to boost your ability behind the kit, then this is a great app for tracking your daily intake of food. It will keep an eye on how much goodness you’re getting each day, as well as a calories in count. iOs/Android

DAY 11 RECOMMENDED STARTING TEMPO (BPM)

NEXT LEVEL BASS DRUM INDEPENDENCE – DOUBLE NOTES

BEGINNER 75 INTERMEDIATE 95 PROFESSIONAL 120

The bass drum independence exercise from Day 5 now has a pick-up note added to each note to create what could be regarded as a shuffle rhythm played through 16th-notes, and so covering all of the possible placements of two adjacent 16th-notes. Once again this takes six beats to resolve. As with the first exercise, if you want to push yourself try moving the

right hand to the ride cymbal and stepping quarter-notes with the left foot for an excellent four-way workout. As with the other examples in this workout, you can watch the video on your free disc for a full rundown of the example. Remember to take time to familiarise yourself with the stickings before going full pelt.

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DAY 12 REST DAY We all need something to aim for, so why not spec up your dream kit online? By doing this you’re still within drum-world, but giving your hands, feet and brain a rest. Plenty of drum brands have kit builders on their websites, so you can see your mega rig take shape before your eyes. Even without a kit-builder you can design something tasty by trawling the pages of your favourite drum sites or heading to your local music shop. The question is, will you opt for the workhorse, sonically stunning four-piece with matching cymbals, or a ridiculous, money-is-noobject set-up? Three bass drums? Gold hardware? Solid shells? Go large or go home, we say!

MUSICIAN’S HANDBOOK: DRUMS | 45

MUSICIAN’S HANDBOOK: DRUMS

OU         N Y O   R   

  O

    O      E

      D          I         V

D       I          S 

  C

DAYS 13-18

PERIOD 3

This week we take some paradiddle rudiments to create rhythmic combinations that move hand-to-hand upon repeat, while the shuffle examples revert to the original shuffle feel from Day 2, the left hand filling in ghost notes. The four-way coordination exercise raises the bar by replacing all unaccented single-strokes with double-strokes and our hand-foot combination focuses on groups of four and five notes, the former now played through eighth-note triplets. Our time playing workout turns the attention to the right hand which now plays the dotted rhythm on the hi-hats. The ante has been upped…

DAY 13 RECOMMENDED STARTING STARTING TEMPO �BPM�

TAKE COMMAND OF PARADIDDLE COMBINATIONS

BEGINNER 80 (half-note) INTERMEDIATE 120 (half-note) PROFESSIONAL 160 (half-note)

The next step with our paradiddle stickings is to combine them to create a rhythmic phrase based around their accents. These two Jim Chapininspired examples feature double paradiddles and paradiddle-diddles combined

> 

A

> 

> 

with one half of a paradiddle. The half-paradiddle causes the examples to change hands on repeat. Once comfortable try playing the accents on the toms and cymbals whilst keeping the remaining unaccented notes on the snare.

> 

> 

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R

L

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L

R

R

B

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L

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..

SHARPEN YOUR FOCUS WITH SLEEP It may not be immediately apparent, but sleep is as critical to a healthy lifestyle as diet and exercise. It is not a passive process – during good restorative sleep we grow, make sense of our days and detox. That is what sleep is for. Therefore, we recommend a healthy, consistent sleeping pattern as a companion to this drum workout. Lisa Artis of The Sleep Council reveals more: “With today’s busy lifestyles we’re all very eager to t o believe that sleeping one hour less will give us one more hour of productivity, but in reality it’s likely to have the opposite effect. We need sleep to function – both physically and mentally. Sleep regulates your mood, improves your memory but also maintains health, weight and energy levels. Getting just one bad night’s sleep can impact how we feel the following day. Immediate effects include poorer memory and reaction times and research shows that repeated changes to sleep patterns can also make you fatter and more likely to turn to cigarettes and caffeine. “It’s important that when partaking in an intense int ense physical programme like the 30 Day Drum Workout that you factor in a good night’s sleep. Look at your sleeping patterns and habits in the run up to bed – regular hours are key to getting a good night’s sleep. “To “To ensure you experience good sleep it’s essential to follow good lifestyle habits and to eliminate the factors that are causing you disturbed sleep. For example making sure that your bedroom is the right environment (cool, dark and quiet), that your bed is up to scratch, look at the lighting in your home, and avoid foods and drinks that can hinder sleep. Our ‘Good-Night Guide’ sleep leaflet (download at bit.ly/drumzzzz) looks at how to deal with stress and worry, eating the right sort of sleep-inducing foods and tips on relaxation and breathing.” br eathing.”  For more information visit www.sleepcouncil.org.uk

46 | MUSICIAN’S HANDBOOK: DRUMS

  v   o    k    i   n    l   e    d    i   s _   a   m    i    d    /   m   o   c  .   o    t   o    h   p    k   c   o    t   s    i    ©

Hero

Workshop

 Join the  Join the world world’’s most most influe influential ntial guitaris guitarists ts to disco discover ver their distille distilled d wisdom wisdom on wha whatt really matters in guitar – from technique to gear – with this fascinating collection collection of classic interviews and lessons selected selected from 30 years of Guitarist magazine

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MUSICIAN’S HANDBOOK: DRUMS

DAY 14 RECOMMENDED STARTING STARTING TEMPO �BPM�

BEGINNER INTERMEDIATE PROFESSIONAL

90 120 150

ADD GHOST NOTES TO SHUFFLE GROOVES

The next step in our shuffle grooves lessons is to play ghost notes with the left hand on all of the middle triplet partials to give us constant eighth-note triplets. The biggest challenge here is playing the unaccented note after the

> 

 3

A

 3

 3

> 

 3

> 

 3

backbeat, which really takes some control if it’s to be quiet enough. It’s worth practising these examples very slowly so that you have time to control all of the ghost notes and make sure they’re played as quietly as possible.

> 

 3

B

 3

> 

 3

 3

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> 

 3

C

 3

 3

> 

 3

D

 3

> 

 3

 3

 3

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ .. ÷ .. œ œ œ œ œ œ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ J J J J J  3

 3

 3

 3

 3

 3

 3

 3

DAY 15 RECOMMENDED STARTING STARTING TEMPO �BPM�

BEGINNER INTERMEDIATE PROFESSIONAL

90 110 130

PUSH YOUR FOUR-WAY COORDINATION USING DOUBLE-STROKES

It’s time to take our four-way coordination exercises up a gear! Now all of the unaccented notes are to be played as double-strokes. In order to ease us into this rather tricky concept, we’ve headed back to the first set of examples (as played during Day 3), only this

A

> 

 3

 3

> 

 3

time reversing the accents and bass drum notes. Again, be sure to include the left foot stepping ‘2’ and ‘4’. This can often be a tough one to get your head around initially, so be sure to refer to the video on your free disc.

> 

 3

B

 3

> 

 3

 3

 3

÷ 44 œœ œ œ œ œ œ œœ œ œ œ œ œ œŒ œ œ œ œ œŒ œ œ œ œ .. .. œœ œ œ œ œ œ œŒ œ œ œ œ œŒ œ œ œ œ œœ œ œ œ œ œ .. R R L

C

L R R L

L R R L

> 

 3

L R

L

 3

L R R L

R R L

 3

L

R R L L R R L

> 

 3

 3

R R L L R

L L R R L L R R L L

> 

 3

> 

 3

 3

÷ .. œœ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. Œ Œ Œ Œ R R L L R R L

R R L L R R L L R R L L R R L L

R

L

L R R L

L R R L

L R

L

L R R L

R R L

L

DAY 16 RECOMMENDED STARTING STARTING TEMPO �BPM�

BEGINNER INTERMEDIATE PROFESSIONAL

70 90 130

CHALLENGING HAND/FOOT LINEAR COMBINATIONS – 5’S AND 4’S

A new hand/foot combination – a group of five made up of three with the hands and two on the kick, while the group of four is the old R-L-F-F combination played through eighthnote triplets. The five-note example (A) is shown played over five beats in order that it resolves. If using it as a fill in 4/4, you’d end it a beat earlier. This way it makes a great

A

>  >  > 

÷ 45 œ

œ

œ

R

L

R

B

 3

>  >  >  œ

œ

œ

œ

œ

R

L

R

 3

 3

coordination exercise if stepping the left foot on quarter-notes. The groups of four through eighth-note triplets (B and C) are shown two different ways, both starting on the snare and kick. The latter is the easier o ption if played as a one-bar fill as it avoids the need to play three consecutive notes on the bass when attempting to crash the downbeat of the next bar.

>  >  >  œ  3

œ

œ

œ

œ

R

L

R

C

>  >  >  œ

 3

œ

œ

œ

œ

R

L

R

 3

 3

œ

..

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÷ .. œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ .. R

48 | MUSICIAN’S HANDBOOK: DRUMS

L

R

L

R

L

R

L

R

L

R

L

LESSONS | 30 DAY DRUM WORKOUT

QUICK TIP!

QUICK TIP!

Sick of getting blisters? You may be holding your sticks too tight or have the wrong size sticks. Time to look at your grip and stick choice.

When working with a metronome, try playing behind and ahead of the beat as well as on it, to create different motion and tension within the music.

DAY 17 RECOMMENDED STARTING STARTING TEMPO �BPM�

BEGINNER INTERMEDIATE PROFESSIONAL

75 95 120

MOVING ON TO TIME PLAYING – RIGHT HAND INDEPENDENCE

Most approaches towards time playing involve playing a repeating part or ostinato in the right hand and perhaps ‘2’ and ‘4’ on the snare while the bass drum changes. Here we’re shifting the idea around to have the right hand play the dotted eighth-note figure seen in the previous bass drum independence exercises.

Once again, this takes six beats to resolve and the first example shows it in its basic form. In example B the left hand fills in all of the ghost notes. Note that on beat 4 the right hand moves across to the snare for the backbeat in order to avoid having to play five consecutive notes in the left hand.

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B

L

L

R

L

L

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DAY 18 REST DAY

Congratulations, you’re well over halfway through! How are you feeling? Anything you need to go back and brush up on to make sure you’re ready for the last 12 days? In any case, today is all about rest, and we’re pretty sure you’re all drummed out by now, so take the day off. Watch TV or a film, read a book, go for a walk, meet up with your mates... Anything that you find relaxing and stress-free. While you’re away from the drums your brain will be backing up everything you’ve learned so far. When you get back to the kit tomorrow you’ll be surprised at how good it feels!

  s   n    i   a   m   e   r    /   m   o   c  .   o    t   o    h   p    k   c   o    t   s    i    ©

MUSICIAN’S HANDBOOK: DRUMS | 49

MUSICIAN’S HANDBOOK: DRUMS

OU         N Y O   R   

  O

    O      E

      D          I         V

D       I          S 

  C

DAYS 19-24

PERIOD 4

Well done for getting this far! We’re sure you have already seen a vast improvement in your speed, stamina and technique, but the work isn’t over just yet. For period 4, flams become the focus of your hand exercises, looking at the classic hand-to-hand combinations, while shuffle grooves continue to focus on adding the ghost notes, only this time in a half-time setting. The four-way coordination exercise continues the double-stroke replacement theme, only now using the more syncopated rhythms you played on Day 9. The hand/foot combinations on Day 22 will cover some slick-sounding four- and six-note motifs and show how they can be combined to create longer phrases. The time-playing exercise again adds the pick-up note to the basic dotted figure that remains on the hi-hats. Ready? Let’s do it!

DAY 19 RECOMMENDED STARTING STARTING TEMPO (BPM) (BPM ) BEGINNER INTERMEDIATE PROFESSIONAL

80 120 160

LEARN FLAM COMBINATIONS

(B, C, D) are essentially Flam Taps and extensions of them. Finally, we have the Flam Accent (E) and the Flam Paradiddle (F), respectively. Remember that you need to avoid lifting the hand playing the grace note in sympathy with the hand that’s playing the accent. This is where most drummers stumble when it comes to flam rudiments.

Flams are among some of the most demanding rudiments to play, requiring accuracy and control to execute at any kind of speed. Our first port of call is playing a flam either way (A) with accuracy, and the best way to view this is like a Newton’s cradle, where the hands are always at opposite points ie: one hand high, one hand low. The next examples

A

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÷ 42

L

D

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B

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C

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j œ

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F

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L

L

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L

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DAY 20 RECOMMENDED STARTING TEMPO (BPM)

ADD GHOST NOTES TO THE HALF-TIME SHUFFLE

BEGINNER

In the previous shuffle exercises we added ghost notes to shuffle grooves. Here we’re attempting the same process but with the half-time shuffle. As well as the challenge of playing the ghosted note after the backbeat quietly, quietly, one other requirement is keeping the

INTERMEDIATE PROFESSIONAL

90 120 150

A

 3

 3

> 

 3

 3

right hand delicate, fluid and light. It’s very easy for tension to creep into the right hand as the tempo increases, leaving the groove sounding choppy. choppy. Therefore, try keeping the movement minimal whilst retaining the original ‘edge/top’ movement if played on the hi-hats.  3

B

 3

> 

 3

 3

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¿ ¿ ¿ œ ¿ œ¿ œ ¿ ¿ œ ¿ ÷ .. œ œ œ ‰ ‰ œJ Œ  3

50 | MUSICIAN’S HANDBOOK: DRUMS

 3

 3

 3

> 

 3

 3

 3

 3

¿ œ ¿ ¿ œ ¿ œ¿ œ ¿ ¿ œ ¿ . ‰ ‰ œJ Œ Œ ‰ ‰ œJ .  3

 3

LESSONS | 30 DAY DRUM WORKOUT

PLAY PLA Y BETTER WITH H2O There’s a reason why we can survive for longer without food than we can without water. The latter is hugely important for so many functions of the body (on a basic level to avoid dehydration), and with drumming being such a physically demanding activity, it’s even more important to keep your fluid intake in check. For drummers, drinking plenty of water helps cushion their joints, maintains strength and endurance, and regulates body temperature. It also reduces sodium build up in the body, rids the body of toxins, helps convert food into energy, and is great for boosting concentration, not to mention the ability to retain information – all of the things that will help push and support the physicality of your playing and keep you feeling generally healthy.

Other drinks count towards your daily intake, but we’d suggest avoiding calorific sugary, fizzy drinks and too much tea or coffee. Alcohol doesn’t count here either. The amount of water you should be drinking each day, as suggested by The Institute of Medicine, is roughly three litres for men and just over two litres for women. However, this figure should increase if you are undertaking serious physical exertion. Drinking water regularly can be difficult to maintain, so we’d recommend having a water bottle with you at all times. The HydraCoach (www.hydracoach.co.uk) is a wise investment if you’re serious about it. This high-tech bottle will calculate your recommended daily water intake based on your weight, then track your fluid consumption in real time.

DAY 21 RECOMMENDED STARTING TEMPO (BPM)

FOUR-WAY COORDINATION WITH SYNCOPATION AND DOUBLE-STROKES

BEGINNER

For Day 21’s drum workout, we are going to re-visit that rather tr icky four-way coordination exercise we looked at back on Day 15. Now is the time to make things even harder, as we push the complexity further still with the addition of some double-strokes replacing the

INTERMEDIATE PROFESSIONAL

90 110 130

A

> 

 3

 3

> 

> 

3

unaccented single-strokes, but also using syncopation to make the phrases even more challenging. Be sure to pay particular attention to the notation here, noting that the bass drum will fall on the first note of any double-stroke. Take your time and concentrate. B

 3

> 

 3

> 

3

 3

> 

 3

÷ 44 œ œ œ œœ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œœ œ .. .. œœ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œœ œ œ œ œ .. ‰ ‰ J Œ ‰ ‰ J ‰ ‰ J Œ R

C

> 

 3 L L

 3

R

R L

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R R

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> 

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R L

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> 

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 3 R R

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÷ .. œ‰ ‰œ œ œœ œ œŒ œ œ œ œ œœ œ œ œ œ œ œ‰ ‰œ œ œœ œ œŒ œ œ œ œ œœ œ œ œ œ œ œ‰ ‰œ œ œœ œ œŒ œ œ œ œ .. J J J R

 3 L L R R L L R R L

R R L L R

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 3

L

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L R

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L R R L

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L R R

L L

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QUICK TIP!

QUICK TIP!

Get your pad practice done while watching an episode of your favourite TV show. It’s an easy way to get 30 minutes of practice under your belt.

When you sit at your kit for a practice session, before you play, acquaint yourself with your setup and get your body into a nice, comfortable position for playing.

MUSICIAN’S HANDBOOK: DRUMS | 51

MUSICIAN’S HANDBOOK: DRUMS

DAY 22 RECOMMENDED STARTING TEMPO (BPM)

CONTEMPORARY HAND/FOOT LINEAR COMBINATIONS – 4’S AND 6’S

BEGINNER

The following five examples (A-E) show some popular and slick-sounding linear hand/foot combinations. The basic figures shown in the first three examples (A-C) should be practised first. Be sure to keep the unaccented notes as quiet as possible, even as the tempo increases.

INTERMEDIATE PROFESSIONAL

80 100 130

A

> 

B

÷ œ

œ

œ

R

L

L

D

> 

> 

The remaining two examples (D, E) then combine the figures to create phrases of 6/6/4. Try moving the accented notes around the toms for even more variation. This will help you prepare for the next related lesson coming up on Day 28. C

> 

> 

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>  > 

L

R

>  > 

L

L

R

> 

E

L

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> 

R

L

R

R

> 

L

L

> 

÷ 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. R

L

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DAY 23 RECOMMENDED STARTING TEMPO (BPM)

TIME PLAYING – RIGHT HAND SHUFFLE THROUGH 16TH-NOTES

BEGINNER

Here you take the same pick-up note approach applied to the bass drum on Day 11, only now you are playing the shuffle rhythm in the right hand whilst maintaining a basic groove. The first example shows this in its most basic form, which is important to master first before moving on, while

INTERMEDIATE PROFESSIONAL

70 90 110

A

> 

> 

  ¿  ¿ ¿

¿ ¿ ¿ œ ¿ ¿ ¿ ¿ ¿ œ¿ ¿ ¿ ÷ 46 œ œ Œ œ Œ

> 

B

the second then sees the left hand filling in the missing 16th-notes as ghost notes. The two most technically challenging parts to look out for in this pattern lie on beats 4 and 6, where the left hand has to play a ghosted note after and before the backbeats respectivel y.

> 

> 

> 

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DAY 24 REST DAY

You should be seeing some significant progress by now. If you’re confident you’re nailing the workout, why not research or buy a new bit of gear? Maybe a new bass drum pedal, that snare you’ve been after, or even just some sticks or a new snare head? It’s important to reward yourself for good work, and any new additions to your kit will offer an incentive to complete period 5.

QUICK TIP! It’s often better to spend 30 minutes to one hour of practice in a specific area, with no interruptions or distractions and with full concentra concentration, tion, than hours of directionless drumming.

52 | MUSICIAN’S HANDBOOK: DRUMS

LESSONS | 30 DAY DRUM WORKOUT

OU         N Y O   R   

  O

    O      E

      D          I         V

D       I          S 

  C

DAYS 25-30

PERIOD 5

Our final period pushes the envelope even further to include flam and ruff combinations for the hands, while the shuffle exercises get the left foot involved to break the shuffle rhythm between the right hand and left foot, Steve Gadd-style. Our final four-way coordination example is a fiendish four-bar four-bar incarnation of the syncopated and double-stroke double-stroke ideas seen so far, and the hand/foot combinations feature longer groups of eight and nine notes – great for slicksounding linear fills. Finally, our time pattern continues the linear theme by breaking up the dotted rhythm between the hands and bass drum to create a rhythm that moves through this challenging linear-esque linear-esque groove. There’s a light at the end of the tunnel, but not before one final push this week. Good luck!

DAY 25 RECOMMENDED STARTING TEMPO (BPM)

GET TO GRIPS WITH FLAMS AND DRAGS

BEGINNER

Our final hand exercises for this workout look at some classic rudiments that also introduce the drag rudiment. The first two examples are drag paradiddles 1 and 2 and at slower tempos try playing the drag, which could be regarded as a flam but with two grace notes, very close to

INTERMEDIATE PROFESSIONAL

110 (eighth-note) 140 (eighth-note) 200 (eighth-note)

A

> 

÷ œ

R

> 

œœ

œ œ œ œ œ

L L R

R

R

> 

C

÷  ..

L

j œ œ

L

R

> 

œ œ

j œ œ

L L R

R L

> 

œ œ œ œ .. .. œ

R R L

j œ œ

œ œ œ

L R

L

B

the next note, whilst at faster tempos they would become 32nd notes. Next are two flam combinations. Example C is a flamacue but played moving hand-to-hand. Example D is essentially flam taps only accenting the first of every three.

R

L

> 

L

œ œ œ

R

L

œœ

R

> 

j œ œ

L L R

D

.. ..

R R L

œ

> 

œœ

L L R

> 

j œ œ

L R

œ œ œ œ œ

œ

j œ œ

R

R L

L

R

R

œ

j œ œ

L

L R

L

œœ

œ

œœ

R R L

> 

œ œ œ œ ..

R R L

R

L

L

œ

j œ œ

œ œj œ œ œj œ œ ..

R

R L

L

L R

R

R L

L

DAY 26 RECOMMENDED STARTING TEMPO (BPM)

TRY THE STEVE GADD SHUFFLE

BEGINNER

We complete our look at the shuffle by working on an approach sometimes seen used by Steve Gadd. This approach involves playing the skip note with the left foot, leaving the right hand to play just quarter-notes. Example A shows a basic shuffle played this way, but B takes a more Texas/Chicago

INTERMEDIATE PROFESSIONAL

90 110 130

> 

A

> 

approach, shuffling the left hand and playing the  jazz ride pattern in the right. You’ll notice that the remaining examples then get progressively more demanding, adding ghost notes with the left hand and ultimately ending with the rock shuffle groove with all of the ghost notes filled in.

B

 3

> 

 3

 3

> 

 3

¿ ¿œ ¿ ¿œ ¿ ‰ œ ¿œ ‰ ¿œ ¿ ‰ œ ¿œ ‰ ¿œ . . . ÷ 44 œ ‰ . . œ ‰ ¿ œ ‰ ¿ œ ‰ ¿ œ ‰ ¿ . ¿ œ ‰ ¿ œ ‰ ¿ œ ‰ ¿  3

C

 3

 3

> 

 3

 3

 3

 3

> 

 3

 3

 3

D

 3

> 

 3

 3

 3

 3

> 

 3

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ÷  .. œ œ‰ ‰ ‰œ ‰œ ‰œ ‰ ‰œ ‰ ‰œ ‰œ ‰œ .. .. œ ‰œ œ‰ ‰œ ‰œ ‰œ œ œ‰ œ‰ ‰œ ‰œ ‰œ .. ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ J J J J J  3

 3

 3

 3

 3

 3

 3

 3

MUSICIAN’S HANDBOOK: DRUMS | 53

MUSICIAN’S HANDBOOK: DRUMS

DAY 27 RECOMMENDED STARTING TEMPO (BPM)

BEGINNER INTERMEDIATE PROFESSIONAL

90 110 130

A TAXING FOUR-WAY COORDINATION FOUR-BAR EXAMPLE Our final four-way coordination example pushes stems. However, it’s important to make sure things the 3-4 idea further by changing the basic figure feel comfortable using single-strokes first. And slightly and also playing it over four bars. This don’t forget to step the left foot on ‘2’ and ‘4’. By this point you should be noticing a significant should ultimately be practised using doublestrokes, denoted by the slashes through the boost to your four-way coordination!

> 

 3

> 

 3

>  > 

3

3

 3 L

R

R

L

R

>  > 

 3

L

R

L

3

R

> 

 3

 3 R

L 3

L

R

 3 R

L

L

R

L

R

L

R

>  > 

3

3

> 

 3

œ! œ! œ œ! œ! œ œ œ! œ! œ! œ! œ œ Œ ‰ ‰ œ Œ J

L

R

> 

L

R

L

R

L

 3 L

R

R

L

R

L

>  ! ! ! ! >  >  ! ! ! ! >  œ œ œœ œ œ œ œ œ œœ œ œ œ ..  3

! ! ! ! ! ! ÷ œœ œ œ œ œ œœ œ œ œ œœ œ œ ‰ ‰ J Œ R

> 

 3

! ! ! ! ! ! ! ! ÷ 44 œ œ œœ œ œ œ œœ œ œ œ œ œœ ‰ ‰ Œ ‰ ‰ J J

 3

3

‰ ‰ J Œ

L

 3 L

R

R

 3

‰ ‰ J Œ

L

R

L

 3 L

R

R

L

R

L

DAY 28 RECOMMENDED STARTING TEMPO (BPM)

BEGINNER INTERMEDIATE PROFESSIONAL

40 (half-note and dotted quarter-note) 55 (half-note and dotted quarter-note) 70 (half-note and dotted quarter-note)

HAND/FOOT LINEAR COMBINATIONS USING INVERTED DOUBLE-STROKES previous figures to create some longer, more We bring our linear combinations lessons to a close today with these longer groups of eight and sophisticated phrases. Also, be sure to move the accents around the kit, taking care to see that the nine notes, respectively. Notice how both of the examples (A and C) move hand-to-hand, while unaccented notes remain as quiet as they possibly replacing the last note with the bass drum allows can be. Keep practising all of the linear phrases the figure to remain in the same hand in examples from this mega workout and your creative B and D. Try combining these ideas with the repertoire will continue to grow.

A

> 

>  > 

> 

B

> 

÷ 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ C

R

L

> 

 3

R

L

L

R

R

L

L

 3

R

 3

L

R

> 

 3

R

L

L

R

R

 3

L

 3

D

R

L

> 

 3

R

L

L

R

R

L

. œ .

L

 3

 3

÷ 68 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ .. L

R

R

L

L

R

R

L

R

R

L

L

R

R

L

L

L

R

R

L

L

DAY 29 RECOMMENDED STARTING TEMPO (BPM)

BEGINNER INTERMEDIATE PROFESSIONAL

70 90 110

BROKEN TIME PLAYING – RIGHT, LEFT, FOOT THROUGH 16TH NOTES These final time-playing examples are very throughout whilst still maintaining the effective at creating broken time feels. H ow? backbeat. In example B we’re substituting By combining some of the concepts used in every other bass drum note for a stepped the lessons so far to create what are essentially hi-hat, a pattern that can also be reversed linear grooves with a dotted eighth-note rhythm to put the hi-hat first. Take a close look at and right, left, foot sequence running the video to see how this is done. A

÷ 46

> 

> 

> 

B

> 

> 

> 

¿ œ ¿ œ ¿ œ ¿ œ ¿œ œ ¿ œ ¿ œ œ ¿ œ . . ¿ œ ¿ œ ¿ œ ¿ œ ¿œ œ ¿ œ ¿ œ œ ¿ œ . œ œ œ œ œ œ œ œ. . œ ¿ œ ¿ œ ¿ œ ¿.

DAY 30 REST DAY Congratulations, you made it to the end! It’s easy to sometimes forget why we practice, but for most of us it’s to improve at our instrument and to enable us to play music. Use your rest day to get in touch with music again; plan a band rehearsal, attend a jam night, or just play to some of your

54 | MUSICIAN’S HANDBOOK: DRUMS

favourite tracks at home. These are fun and sociable ways of reminding yourself why you’ve been putting in the hours behind the kit. What’s more, having made it to Day 30 of this workout you should notice a new-found confidence and fluidity behind the kit. Incredible!

LESSONS | 30 DAY DRUM WORKOUT

CONCLUSION If by this point you’ve managed to stay on track and complete this 30 Day Workout, give yourself a welldeserved pat on the back! You have completed something wonderful. Hopefully the feeling of improvement in your drumming is tangible and you can feel a new-found connection between your ideas and your playing. However, if things haven’t quite gone to plan – perhaps work/life has been getting in the way – don’t despair. Simply continue to chip away at the material at a pace that suits you and remember that none of this is a race – enjoying your progress along the way is also an important part of the process. A lot of the time, the reason we tend not to progress as players is because we don’t often have this kind of structured practice routine laid out for us, with the option of simply jamming along to music being a much easier option. However, hopefully this workout helps to illustrate just how effective this kind of routine can be. If you want to take things further, why not find yourself a teacher able to offer this kind of material? Magazines like Rhythm , books, DVDs and masterclasses are also great ways of giving your playing a shot of inspiration, with specific exercises to work on each month, and making all of your much-valued practice time as constructive as possible. Right, we’re off for a long lie down…

QUICK TIP!

QUICK TIP!

Try practising with bigger sticks. st icks. Everything will feel easier and lighter when you come back to playing with your regular sticks.

It’s easy to play to your strengths. Direct your focus to improving your weaknesses and you’ll be a better overall drummer.

MUSICIAN’S HANDBOOK: DRUMS | 55

MUSICIAN’S HANDBOOK : DRUMS

56 | MUSICIAN’S HANDBOOK :  DRUMS

GEAR | INTRO

GEAR

E

nsuring your kit is well maintained and ready for every gig, studio date or practice session is just as important as mastering

the latest stick trick, and knowing your way around key drum maintenance jobs is essential. If your hi-hat pedal squeaks or your drums are becoming difficult to tune, it might be time to give your gear an MOT. Starting on page 58, we walk you through the process of cleaning your kit, cymbals and hardware. You’ll also find step-by-step tutorials on changing snare wires, cutting a mic hole in a new bass drum head and overhauling your pedals. What’s more, we suggest ways to improve and change the sound of your kit on a budget, and present a quick lesson on gear icons of the drum world. Time to roll up your sleeves and get stuck in! MUSICIAN’S HANDBOOK :  DRUMS | 57

MUSICIAN’S HANDBOOK : DRUMS

MOT YOUR

DRUM KIT WORDS: JULES TABBERER-STEWART IMAGES: ECKIE

Say goodbye to tired drums and get your kit back into shape with our easy to follow maintenance guide

A

fter a few months of solid gigging or regular practice, your drums will inevitably require a little TLC. Life easily gets in the way, and finding time to ‘sort out the gear’ can be difficult. But neglect your expensive equipment for long enough and it will

58 | MUSICIAN’S HANDBOOK :  DRUMS

quickly begin to underperform and let you down when it counts. Take this fa ithful Tama Starclassic Bubinga kit (above), for example. It’s used for rehearsals and gigs on a weekly basis. But the heads are now starting to lose some of their resonance, the drums are

full of dust, sweat and stick shavings, and the cymbals are no longer shiny (although some of us do like to leave our cymbals to dull naturally). Sound familiar? Follow our simple guide now and you can bring your kit back to looking and sounding like new.

GEAR | MOT YOUR DRUM KIT

CLEANING THE CLEANING THE KIT STEP 1

STEP 2

STEP 3

Making sure you have plenty of space and

Inspect the shell. Check that none of the

Wipe the hoops clean. Use some

a clean working area (lay down a sheet or

screws that are holding the lugs (and

surgical spirit to dissolve all of the

some cardboard to look after your carpet),

snare strainer and butt) are loose or

yucky grime, dirt, sweat, blood, beer

strip the shells of batter and resonant

rattling by tapping the shell. Take a close

and any other nasties that might be

heads. Next, strip the snare drum of the

look at the bearing edge to make sure

hanging around inside. Now for the

snare wires by undoing the nuts on the

there are no splinters or damage. If you

best bit: using a good-quality car

snare strainer and butt. If you strip all

find any, we advise taking the shell to

polish ( we prefer Autoglym Super Resin

drums at once, it will be difficult to tell

your local store for support. Using a soft,

Polish), sparingly apply it to the outer

which tension rods belong to which drum,

lint-free cloth, gently wipe the bearing

shell, hardware and hoops, taking

so keep it simple and work on one drum at

edge clean of dust and debris, following

care to avoid the bearing edge. Finish

a time. Plenty of dust and stick shavings

the direction of the wood grain. Next,

with a microfibre cloth for a shine

will have gathered between the rim and

clean the outer shell with furniture polish

that will protect your drums and shell

the head, and this will all fall out when

or a gentle cleaning spray, making sure

hardware. This will only work with

you remove them. You should now have a

you clean the shell, lugs and strainer too.

metal, lacquered, wrapped or acrylic

shell, two hoops and a bunch of tension

Use a cotton bud to reach those hard to

shells, however. Do not apply it to satin

rods in front of you.

get into areas.

or textured shell finishes.

STEP 4 Apply a drop of tune-up oil or light machine oil to the thread on each tension lug. This will make tuning easier, prevent sticky and noisy tension bolts, and prevent cross-threading. You can also apply a small amount to the snare strainer mechanism and the nuts in the strainer and the butt.

“NEGLECT YOUR EQUIPMENT AND IT WILL UNDERPERFOR UNDERPERFORM M AND LET YOU DOWN WHEN IT COUNTS” MUSICIAN’S HANDBOOK : DRUMS | 59

MUSICIAN’S HANDBOOK : DRUMS

STEP 5 Time to replace the heads. You can choose to replace the batter heads only, or you can replace the resonant and  batter

heads. We’ve chosen to replace all heads

on our kit, but as a rule we replace the batter head on the snare around every three months, all other batter heads every four to six (with the exception of the kick), and resonant heads once a year. How often you need to replace your heads will depend on how often you play and your style of playing. If you aren’t sure whether to use twin- or single-ply heads, or coated or clears, seek advice at your local drum store. Every drummer likes to find their own method of tuning and there are no rights or wrongs; the method and tips given here are our way of tuning. Starting with the bottom head, place the head on the drum, with the rim on top. With medium pressure, depress the head to ‘centre’ it. Next, drop all tension rods into the lugs and finger-tighten them just to the point where contact is made with the washer. Now tighten each lug, half a turn at a time, until you’ve put three complete turns on all rods of the drum. Work from opposite lug to opposite lug in a clockwise direction

10

(follow the diagram on the right). The drum pitch will

5

3

be way higher than you will want at this stage, which is

2

fine as we are ‘seating’ the head. Now lightly tap with the drum at each tension lug with a stick about 1 to 1.5-inches from the edge. Listen carefully to the note at each lug. You are looking to get the exact same note at

8

7

each lug so that the drum is in tune with itself. Work in the same opposite-to-opposite clockwise method and make small adjustments at each lug until they are all the same note. When this is achieved,

1 4

detune each lug a quarter of a turn at a time (opposite to opposite clockwise) until the drum reaches a pitch that sounds good to you, then check the tuning at each lug again. Repeat with the batter head and try to achieve roughly the same pitch top and bottom, or have the bottom head fractionally higher in pitch than the batter head .

STEP 6 Now we come to the snare drum. First of all, fit the snare head to the underside of the shell using the same method as in step 5. However, you only need to put one and a half to two complete turns on each lug with the snare head. Be careful with this head, especially when tapping with a stick, as the head is very thin. Next, fit the batter head, again following step 5. Now replace your snare wires. Loosen the snare strainer to its lowest setting and make sure it is in the ‘on’ position. Place the tape or strings into the butt end plate, making sure the snare wires are square and slightly toward the butt end. Now pull the tape or strings into the plate of the strainer, making sure the wires are square, and tighten the plate screws. Next, turn the tension adjuster while tapping the batter head with a stick until the snare wires are just tight enough. Check to make sure the snare wires are positioned centrally and are even at both ends. Be careful not to overtighten the snares as this will choke the sound of the drum.

60 |  MUSICIAN’S HANDBOOK :  DRUMS

6

9

GEAR | MOT YOUR DRUM KIT

STEP 7 Finally, we come to the bass drum. The heads should be put on and tuned (see step 5), but this time start with the batter head. Before placing the front head, add any damping to the bass drum. Remember, a drum produces its sound by being resonant, so using a pillow or blanket will kill any resonance. If you need damping, use a piece of foam cut to size, or use a specialist damping product such as the Evans EQ pad (used here). Then place and tune up the resonant head.

CLEANING YOUR CLEANING YOUR CYMBALS STEP 1 This is a messy job, so don’t wear your best clothes, and be sure you protect your flooring before starting. First of all, use a purpose-made cymbal cleaner and not a metal cleaning product such as Brasso or Autosol, as these can damage your cymbals. Generally speaking, it’s easier to work on one side of a cymbal at a time. Sparingly apply cymbal cleaner to a damp cloth, then rub it gently into the cymbal. If you want your printed logos to remain on the cymbal, you will need to carefully polish around these, getting as close to them as you dare. Cymbal cleaner is mildly abrasive in order to remove tarnish, so it will cut right through the ink. The cymbal will go black quite quickly as the dirt and oxidisation lift, but keep rubbing until all signs of tarnish, fingerprints, sweat beads and any surface corrosion are gone. Do not allow the cymbal cleaner to dry out.

STEP 3 Finally, finish the cymbal with a microfibre cloth to bring it to a high shine and to remove the last traces of dirt from the grooves. Your cymbals will soon get dirty and covered in fingerprints again. You can use Paiste’s Cymbal Protector (on any brand of cymbal) to prevent this as muchas possible, but they will still tarnish and get dirty. Now that your cymbal is clean, it’s a good time to inspect them for any hairline cracks or damage. Take care of your cymbals by using a good-quality case, and avoid leaning them up against anything when not on the stand, as this can damage the edges.

STEP 2 Fill a garden spray bottle with clean, lukewarm water and a drop of washingup liquid. Spray the dirty side of the cymbal with a few blasts of water and wipe off with a new J Cloth. Rinse the cloth in fresh, soapy water and repeat until all of the cleaner has been removed. Wipe the cymbal dry with a clean duster – you should see lots more dirt and residue come off the cymbal.

MUSICIAN’S HANDBOOK : DRUMS | 61

MUSICIAN’S HANDBOOK : DRUMS

CLEAN AND INSPECT YOUR INSPECT YOUR HARDWARE STEP 1 It may not occur to you to pay attention to your stands and pedals, but like anything else on the kit they need maintenance. Start by inspecting the felts, wing nuts, threads, sleeves and mounting plates of each of your cymbal stands. Make sure that each cymbal is protected by a sleeve and that there’s no contact between your cymbal and the bare metal of the spindle. Replace any missing, broken or worn parts. Next, check the hi-hat clutch assembly and the bottom hi-hat bed. Ensure all felts are in good condition and that all parts move freely.

STEP 2 Check each wing nut, bolt and moving part to ensure they move freely. You can apply a drop of tune-up oil or WD-40 to each, including the snare basket adjuster. Don’t forget to pay attention to tom arms and tom mounting plates and/or clamps. Make sure that the rubber feet of each stand are present and not perished. Next, take a stiff bristle brush (an old toothbrush is ideal) and remove dirt and dust from the kick pedal chain, hihat chain, footplates and hard to reach areas. Add a drop of tune up oil to the chains and m oving parts.

STEP 3 Finally, apply a small amount of WD-40 to a cloth and wipe over every piece of hardware. This will remove tarnish, apply a shine, protect the chrome and help w ith moving parts (in particular it helps to make the leg adjustment mechanism very smooth). Finish off with a microfibre cloth to remove the oily finish.

62 |  MUSICIAN’S HANDBOOK :  DRUMS

GEAR | MOT YOUR DRUM KIT

CUSTOMISE YOUR CUSTOMISE YOUR SET-UP STEP 1 Your drums and cymbals are sparkling, your heads are new and the kit sounds great; even your hardware has had a service. Now is a great time to think about creating a system to make set-up and pack down quick and easy. Starting with your drum mat, purchase a set of memory markers. You can go for inexpensive repositional markers like the Protection Racket markers we have here, go for a semi-permanent set like the DrumPlates, or you can use the permanently fixed set by Baskey that requires some installation. Set up your drums and hardware on the mat and place your memory markers around the feet of each piece or hardware, including the bass drum spurs and floor tom legs.

STEP 2 You can use memory clamps on each tube of your cymbal stands to ensure they are consistently at the same height and position. Another, more inexpensive way to do this is to use a different coloured PVC tape on each stand: place a ring of tape just above the clamp on each tube of the stand. Next, use a black marker pen and draw a line across your cymbals’ tilters. If the tilter is ever adjusted, all you need to do is line up your mark again and you w ill immediately find the same position every time.

“THINK ABOUT CREATING A SYSTEM TO MAKE SETUP AND PACK DOWN QUICK AND EASY”

MUSICIAN’S HANDBOOK :  DRUMS | 63

MUSICIAN’S HANDBOOK : DRUMS

THE WORKSHOP HOW TO SERVICE SERVICE YOUR BASS DRUM PEDAL Your bass drum pedal is a vital element of your drum kit, but if neglected it will quickly become unresponsive and a chore to play. Here’s how to keep your pedal in A1 condition... WORDS: TOM BRADLEY

In the same way that the right pair of sticks will create the perfect link

are treated from time to time to some well-deserved care and attention.

from our hands to our kit, the appropriate pedals can have an enormous

The following step-by-step process will take you easily through servicing

influence on our ability to express ourselves effectively on our instrument.

the main components of your trusty pedals in order to keep them playing

With this in mind, it’s important that they are not taken for granted and

as smoothly as possible, for as long as possible.

1

 SET THE SCENE

2

 DETACH BEATER, SPRING AND CHAIN

Ensure you have the correct tools your pedals will require. This will likely include a

After removing the beater stem using your drum key, it’s time to unhook the spring

drum key, Allen keys and a Phillips-head screwdriver. Also have handy a couple of

from its cam. Once you have done that, take out the screw securing the top of the

cloths or rags, a nylon brush and a can or tub of your favourite lubricant (some

chain to the beater cam. At this point it’s important for you to check all three

people prefer a multi-purpose grease, while others will opt for a spray). We also

components for signs of damage or wear. Thankfully, each is relatively inexpensive

like to keep some chain cleaner and chain lube on hand, as you’ll soon see.

to replace should you need to.

3

 EXPOSE THE SHAFT BEARINGS

4

 CLEAN THE SHAFT ASSEMBLY

By removing the bearing covers at each end (our pedal uses Phillips-head screws),

At this point in the servici ng process, it’s a good idea to give the shaft assembly

the whole shaft mechanism can now be lifted clean away from the pedal. With this

a good old scrub down. This i s where the chain cleaner we mentioned i n Step One

accomplished, it is now possible for you to fully remove the bearings for cleaning

will come in handy. You should use the cleaner to blast away any filth and grime,

(or replacing) should you wish. However, this last step isn’t totally necessary each

leaving everything looking as good as new once you’re done. Use your brush to

time you service your pedals.

remove any stubborn, built-in grime.

64 |  MUSICIAN’S HANDBOOK :  DRUMS

GEAR | SERVICE YOUR BASS PEDAL

5

 LUBRICATE THE BEARINGS

6

 REMOVE THE CHAIN COMPLETELY

After cleaning the components thoroughly, it’s imperative that you properly

As the chain has already been detached from the beater cam, the footboard can be

re-lubricate them, paying particular attention to the shaft bearings. You may

quickly flipped over for easy access to the underneath. Here you will find a screw or

prefer to use some grease lubricant or oil, or alternatively a spray. Ordinary

bolt securing the bottom of your chain to the board. Like this pedal, most will

WD-40 is not the best long-term solution here because it’s designed to mostly

require only a drum key.

evaporate. Here we are using my trusty bike chain lube.

7

 REVIVE THE CHAIN

8

 CLEAN THE T HE BASS PLA PLATE TE

Place the chain flat on one of your cloths (it’s much less messy on an absorbent

You will likely find that the largest quantity of filth on your pedal has accumulated

surface) and spray liberally with the chain cleaner, trying to get between each and

on the bass plate. Although it is for the most part completely harmless, this dust

every link. Once you have done this on both sides, dry away any excess and repeat

and grit can eventually find its way into moving parts, ultimately hindering the

the process with the chain lube.

pedal’s performance. Grab a cloth or brush and get to work.

9

 LUBRICATE THE FOOTBOARD HINGES

10 RE-ASSEMBLE

YOUR PEDAL & ENJOY

Most pedals will have a hinge or bolt that secures the heel-plate to the footboard

It’s important to dry off as much excess liquid as you can when you’ve finished, as

while allowing it to pivot freely. DW pedals, for example, will have an easy to spot

it will not only make a sticky mess but also attract new dust and grime. As a final

large red hinge that can be easily dismantled and lubricated (simil ar to the chain

touch, we like to shine up the footboard a little with some metal polish or even

in Step Seven). Other pedals, like the Iron Cobra, use a connecting bolt that will

using some of the left-over chain c leaner. With everything fully assembled, it’s time

also benefit from the same treatment.

to enjoy playing your revived pedal!

MUSICIAN’S HANDBOOK :  DRUMS | 65

MUSICIAN’S HANDBOOK : DRUMS

THE WORKSHOP HOW TO CHANGE YOUR SNARE WIRES Snare wires are often neglected and can begin to effect the sound of your snare drum. Here we guide you through ten easy steps to change your snare wires for shiny new ones WORDS: TOM BRADLEY

It’s easy to take for granted the constant work that our snare wires do in order to

in order to tweak our sound. This can be done when using different materials than

create that unique sound at the very centre of our kits. Not only can they become

the usual steel, and the numbers of wires from the common 20-strand wires you’ll

stretched or damaged over time, but with the many different materials and sizes

find in most snare drums. Naturally, the more wires you have the more snare

available, there’s actually a whole world of customisation that we can delve into

response you will get. Let’s now have a look at how to change them...

1

CHOOSE YOUR WIRES

Your drum will most likely have 20-strand wires, though varieties actually range

2

TURN THE SNARE OFF

First turn the snare strainer to an off position. This will take all the tension out of

from 16 up to 42-strand. Different materials are also available, and this will also

the wires and make the following s teps easier. When you have done this, turn the

contribute somewhat to the sound. Here we are replacing our 13", 20-strand steel

drum upside down.

wires with massive 42-strand wires.

3

LOOSEN THE STRAPS OR STRING

4

 REMOVE THE WIRES

Using your drum key, loosen off the bolts that attach the straps or string to the

Carefully lift the wires away from the reso head of the drum. If the wires have been

strainer and butt plate.

over-tightened, you may find that the head is dented or damaged. In such a case, you may want to consider a replacement at this stage.

66 |  MUSICIAN’S HANDBOOK :  DRUMS

GEAR | HOW TO CHANGE YOUR SNARE WIRES

5

SWITCH THE STRAPS

6

INSERT THE NEW WIRES

Your new snare wires may have been supplied with straps. If so, just thread them

First of all, take some time to ensure your wires are the right way up, otherwise

through the slot in the end-plate of the wires. If they were not, simply remove the

they won’t work as intended. Next, slide the straps back through the clamps on

ones from your old wires and slot them into the new ones.

either side of the drum.

7

POSITION THE NEW WIRES

Once the straps have been slotted through the clamps on the strainer and butt end, pull down on either side to get them nice and central on the drum.

8

SECURE THE BUTT-END SIDE

Release the strainer side whilst holding the strap dead in place on the butt-end side. With your free hand, tighten up the bolts with your drum key, securing the strap in place.

9

SECURE THE STRAINER SIDE

10

ADJUST THE STRAINER SETTING

Still with the snare off, adjust the strainer to a medium setting, then tighten up

The strainer is set to a medium setting, so you should have plenty of adjustability

the clamp whilst pulling on the straps, just like in Step Eight.

with your wires. We find that there can often be some trial and error here. A good set-up should enable you to loosen the wires all the way off or set them super-tight.

MUSICIAN’S HANDBOOK : DRUMS | 67

MUSICIAN’S HANDBOOK : DRUMS

THE WORKSHOP CUT A HOLE IN YOUR BASS DRUM HEAD Cutting a hole or ‘port’ in your resonant bass drum head will affect the feel of a kick and, most importantly, the sound. It’s also useful for miking up your kick. Here’s Here’s how to do it! WORDS: TOM BRADLEY

2

 MARK OUT THE POSITION

1

 GET PREPARED

Adding a vent to your kick means the air now has somewhere to escape, which concentrates the sound... right towards your audience. Consider the number of ports, the size and positioning. You’ll need a decent cutting blade (for example, a scalpel) and something to draw around to mark out a circle. Bass Drum O’s or Kickports come with a template. You could also use a roll of tape, a saucer or any round object.

3

 CUT THE HOLE

Grab a pencil or Sharpie and mark out a circle using the inside of the included

Some prefer to keep the head on the bass drum while cutting as it stays nice and

template or chosen implement. Next, think carefully about the positioning of the

taut. If you do decide to keep it on, make sure it’s not too tight otherwise you could

hole(s). Generally it’s best to go off centre, but not too close to the edge as this

risk splitting the head. Carefully make the first i ncision on the line that you have

can introduce an unnecessary weakness to the head. We also li ke to get as far

marked out and work your way around. You will find it can be quite difficult to

away from the snare drum as possible to minimise bleed when recording.

follow the circle perfectly, but don’t worry as it’s easy to go back and tidy it up.

4

 APPLY  APPL Y THE REINFORCEMENT RE INFORCEMENT HOOP

5

 REPOSITION THE HEAD

It’s wise to get some sort of reinforcement to prevent tearing. If you are using a

Simply mount or re-mount your newly ported reso head on your bass drum shell

Bass Drum O, you simply need to fit it to the hole and clip the locking ring on the

(check out the MOT feature on p58 for details on how to do this), tune and enjoy.

back (the head will need to be off the drum for this). If, like us, you are using a

It might be a good plan to keep a cloth handy to get rid of any finger prints or dust

KickPort, you must first apply the cardboard re-ring and then fit the port through

gathered from the floor or cutting surface during installation. Finally, get someone

the hole before securing the collar i n place.

to play the drum while you stand out front to admire (and listen to) your handiwork.

68 | MUSICIAN’S HANDBOOK :  DRUMS

Find Fin d Your Per  Perfect fect

Tone Tone

 Every is  Every issu sue, e, Gu Guit itar aris istt br brin ings gs you th thee be best st ge gear ar,, fea eatur tures es,, tuition and interviews interviews to fuel your passion for guitar

Guitarist magazine is also availa Guitarist availabl blee on Newsstand Newssta nd for iPhone, iPad & iPod touch Also available to order online at

www.myfavouritemagazines.co.uk

NEIL PEART

After almost 40 years with Rush, this prog drumming legend is still one of rock’s most phenomenal and revered players 70 | MUSICIAN’S HANDBOOK : DRUMS

INTERVIEW | NEIL PEART

S

ince he joined Rush back in 1975, Neil

flick of the wrist in between. Peter pointed,

Has your playing changed in other ways?

Peart has been the poster boy for prog

‘What’s that?’ I knew he studied with Freddie so

“My bandmates and I were talking the other night

– disciplined, metronomic, powerful.

I was confused, but I said, ‘That’s time keeping.’

about how the time-sense we have now is different

Nearly 40 years on and he and the

He said, ‘No,’ and pointed to his heart, ‘Time

from what we had before as a band. I feel it in

world’s foremost power trio are still

keeping is here.’ It was an evolution I was able

myself, through working with those teachers and

to bridge. Now I feel that flick of the wrist

continuing to push myself in different directions.

between each beat. With Peter, I practised for

Being comfortable with improvisation has made

six months just on the hi-hat alone.

me a better composing drummer, for the reason

pushing themselves and breaking new ground. Neil’s first role model for drumming excellence was Gene Krupa, and at the age of 13 Neil convinced his parents to let him take lessons...

“There is a Roland device with Quiet Count,

that I can hear those two things at once – what is

where you get two bars of click and two bars of

and what might be. Now when we’re playing a

“My parents gave me lessons, sticks and a

silence, so I started using that. Every day I start

song and something goes wrong, I can still hear

pad,” says Neil. “They said, ‘If you do this and

with a slow tempo and a fast tempo, using that

what should be happening and what is happening,

practice every week for a year, then you get

approach: two bars of click, two bars silent, and

then compare and correct it.

drums.’ That’s still what I tell parents now. Get

try to come in on time. Especially with

 your kid  kid ] sticks and a practice pad and lessons. [ your

slow tempos... It’s so hard but so good.”

But he had to wait to play real drums.

“I’m sure that’s how I’ve learned that, from forcing myself into an open, dangerous zone – every solo, every night. Even with the newer songs,

If they do it for a year, they’re serious. Then get them drums. A lot of them look at the drums like

So how have you applied this to Rush?

I’m doing more and more of that. As we play them

it’s a toy. I’ve talked to parents who’ve said, ‘I don’t

“I felt such a growth in time-sense, and that gives

live there are fills I change every night. I never

want them to get that serious, it’s just a toy.’ I’m

me more bravery in fills and when improvising –

used to do that. It’s a new frontier for me, and how

like, ‘A drum kit is a toy ?’ ?’ It’s hard not to get irate

I can go so much farther outside now because it’s

wonderful after 45 years of playing. Not only do I

about that because it’s been the focus of my life.”

almost given me a duality of thought; that I can

have new frontiers technically, but the band comes

see what’s happening but also what ought to be

with me on those and through all of our stages that

What challenges did you face early on

happening. If there’s a little train wreck among the

each of us has gone through musically. musically. We have

in your development?

three of us I can suddenly run on two tracks. I can

all grown together like that.”

“While I was playing along with records, all the

be playing what I know to be right, but if one of the

frustrations were tempo things – getting excited

guys is half a bar out I can say, ‘Okay, ‘Okay, if I drop that

Is that what keeps you touring after

when playing a fill and then getting tired after.

half-bar we’ll all be together again.’ Sometimes if

so many decade?

It’s a lifelong pursuit to develop good time. I’m

I make an error of execution that throws me off,

“The real test of a musician is live performance. It’s

talking about it spanning four decades for me;

I can still hear the time. And that’s been 45 years

one thing to spend time learning how to play well

first of all just trying to play the tempos like the

of getting to that stage.”

in the studio, but to do it in front of people is what

records, then being in the studios and having

keeps me coming back to touring. For me to call

to deal with click tracks and sequencers from

Your live solos continue to evolve. How

myself a musician, it’s necessary to play live and it

the late-70s and playing in mathematical time.

do you avoid getting stuck in a rut?

rewards so much, not just in the pay sense but

I learned a lot about the click track and how

“Freddie defined me as a composer. He said,

what it does for my playing. I feel it through a tour,

to make it ‘breathe’.

‘When you play, you’re composing.’ When I did the

all that I’ve gathered. Especially now that I’m

“You can push and pull an amazing amount

‘Anatomy Of A Drum Solo’ video I defined myself

improvising so much. I try not to repeat myself in

on those tiny increments of click pulses. But

that way: ‘I composed this solo and I play variations

fills in the Rush songs unless it’s something simple

that led me into a trap by the mid-90s with

within the movements, but it is a composed piece.’

or something I feel is my characteristic ‘thing’.”

sequencers and click tracks that I felt were

Right after that I said, ‘Well, I want to improvise.

metronomic in the bad sense. I was starting

I don’t want to be just a compositional drummer.’

Is the respect of your peers important?

to feel stiff and that’s when I studied with [jazz

So I deliberately set out to learn that, within the

“There’s nothing I’d rather have than the respect

instructor] Freddie Gruber, all because I saw

context of my solo, making the first half of it

of other musicians, but respect is something you

Steve Smith play. In the mid-80s we worked

improvisational over three different ostinatos.

earn. It’s a responsibility. Like playing live. It’s my

together on a Jeff Berlin record, so I’d seen

The second half was composed so I knew it was

responsibility to get better. If people are admiring

Steve play and knew he was great, but when we

always going to resolve into something from the

the work I do, then that’s even more inspiration to

were doing the Buddy Rich tribute he came in

audience’s point of view.

keep improving and not repeat myself. The hunger

to set up and just started playing. I said, ‘What

“Pure improvisation, as everyone knows, is

for improvement and exploration really does derive

happened to you?’ It was so beautiful, so

inherently risky. I improvise within a framework,

from the acclaim. I know that people give me that

musical, so elegant. He said, ‘Freddie.’”

but I’ve been able to take myself so far out of my

respect, so I feel I have to earn it.”

former comfort zone with that kind of nurturing

 PEART ESSENTIALS

You also studied with Peter Erskine...

over time. Inevitably, every improviser finds

“He helped me with eloquence and time-sense.

something they like and wants to do it again the

RELATED ARTISTS: Rush

I came in from studying with Freddie with a lot

next night. It’s hard not to – ‘That really worked, it

CLASSIC CUTS: Rush

of physicality between beats. Peter had me start

led into the other thing, and the audience loved it’

Hemispheres (1978), Rush

by playing quarter-note ride beats and I had this

and all that – but to be true to the spirit of it, you

Moving Pictures  (1981),   (1981), Rush

thing from Freddie where I was doing a little

can’t let yourself do that.”

Snakes And Arrows  (2007)   (2007)

MUSICIAN’S HANDBOOK : DRUMS | 71

MUSICIAN’S HANDBOOK : DRUMS

2 1 BUDGET KIT HACKS Inject new life into your gear and playing without handing over your life’s savings WORDS: TOM BRADLEY

I

t’s fair to say that being a drummer

about picking up our first pair of sticks?

as a result? It’s possible to add a fresh

doesn’t come cheap, and even getting

We’re joking, of course, but with the cost

spin to your gear without breaking the

close to your dream setup can be an

of living on the rise, holding off from

bank, and to supercharge your playing in

expensive, long and frustrating quest.

replacing your kit every time you fancy a

the process. Here are a few simple tips,

Perhaps if we had been warned of

change is a prudent move. But what can

tweaks and hacks to open up extra

this unquenchable thirst for expensive,

you do when you grow tired of the same

dimensions in your sound and playing

shiny things, we would have thought twice

setup and your playing becomes stagnant

without having to sell the family silver…

72

| MUSICIAN’S HANDBOOK : DRUMS

GEAR | KIT HACKS

2 TRY NEW HEADS Replacing your drum heads will give your kit a new lease of life. There are a wealth of varieties that give us an incredible amount of choice when it comes to tailoring our sound. The main choices being single vs double ply, and clear vs coated. As a rule, the thicker the drum head the

1 REVITALISE YOUR HARDWARE

shorter the sustain. Really thick heads, such as a Remo Pinstripe, are great for rock and metal. A thinner head, on the other hand, like a Remo

MOT your gear! Keeping your hardware in good condition will

Ambassador, will give you a much more open sound. As a result, this type of

not only keep it looking good, it will also make it last longer.

head is often used for jazz. The bottom (or resonant) heads are generally much

Replacing worn tension rods, lugs and washers is important

thinner than the top (batter), but it can be rewarding to try out different

for both tuning and playability. You’ll feel like you’re playing a

combinations on both top and bottom. You could even lose the bottom head

brand new kit again. So what are you waiting for? Get yourself

entirely for a ’70s-style concert-tom sound, Phil Collins style!

a bottle of hardware cleaner, a squirt of WD-40, a cloth and some good old-fashioned elbow-grease. While you’re at it, why not give rusty parts a good soak in white vinegar to bring them back to their former glory?

3 TREAT YOUR BEARING EDGES The bearing edge is the part of the shell that comes

4 ADD SOME PERCUSSION TO YOUR SET-UP

into contact with the head and upon which the head

Adding extra elements to your set-up can make a huge

is ‘seated’. These can be cut to different angles and

difference to your playing in terms of inspiration and

thicknesses thicknesses to produce a different tonality and/or

orchestration of ideas. These elements could include

resonance to the drum. It’s wise to have these re-cut

percussion instruments such as cowbells, tambourines,

professionally to avoid damage to your precious

woodblocks or even a side snare, mini timbale set, roto

drum, although they can also be sanded back to

toms, octobans, bongos... You name it! Percussion brackets,

great effect. You could also try rubbing wax (beeswax

such as the LP Gajate bracket, allow a bass pedal to connect to any

or paraffin wax is best) into the bearing edge when

percussion instrument of your choosing. This can open up your limb

changing the heads. This fills pores in the wood and

independence to a whole new level. Left-foot clave, anyone?

lubricates the contact between the shell and drum head. This will help it seat more evenly and should also make tuning easier.

5 EXPERIMENT WITH ELECTRONICS Since the popularity of Simmons electronic drums in the ’80s, trigger pads have been commonplace in the industry, through many genres. This trend of adding external triggers to your existing set-up to create a ‘hybrid kit’ has now become a necessity for almost anyone working as a pro drummer. The good news is, these triggers are cheaper than you may expect and will unlock a world of potential in both your kit and your playing. No need to go out and buy a huge e-kit just yet, as there are much smaller and cheaper modules available, all designed specifically for hybrid setups. Small triggers can be added to acoustic drums for layered sounds, while separate pads could give you extra percussion sounds, sub-drops, loops, or anything else you can think of.

MUSICIAN’S HANDBOOK :  DRUMS | 73

MUSICIAN’S HANDBOOK : DRUMS

6 GET SOME HEARING PROTECTION

7 LEARN TO TUNE YOUR DRUMS WELL Most drummers hate tuning. It can be difficult, but just like your playing

The right hearing

it takes practice and patience to master. Try not to get too hung up on it

protection will not

or spend hours trying to make your kit sound like your favourite

only reduce the risk

drummer’s. What you hear when you listen to them on record is a

of tinnitus and other

super-polished and produced drum sound, impossible to replicate

hearing problems, it

to the naked ear. For a medium

will also filter sound

tuning, take the resonant head

frequencies to give you

up quite high (ensuring an

a more pleasing sound

even tuning across the

from your kit. A good pair of

head), then start with

closed-back headphones will

the batter head

block out higher frequencies and can even

finger-tight and tune

give the effect of boosting bass frequencies (try a pair of Beyer

up evenly, a very

DT100s or Vic Firth Stereo Isolation Headphones). Custom

small amount at a

moulded ear plugs or IEMs (in-ear monitors) wil l also bring the

time, until you reach

best out of your drum sound, but for a higher cost.

your desired pitch.

8 PICK UP A SET OF DRUM MICS A budget set of drum mics won’t break the bank but will give you the ability to alter the sound of your ki t to a whole new level. No need for a fancy studio, just a few mics and a small mixer or PA will do. When using a pair of headphones, you will be able to EQ your drums and add effects such as reverb and delay, providing hours of fun and inspiration. And that’s before you’ve even pressed record! If you don’t have the funds to pay for expensive recording software such as Logic or Pro Tools, Audacity is a free alternative that will have you recording to a click track, or your favourite songs, in no time.

9 TAKE A LESSON Sometimes it’s not the kit but the player. A few lessons from the right teacher could not only inspire new musical ideas in you, but enable you to draw the best sound from your drums. There are many facets of both hand and foot technique that can be used to achieve the most suitable sound for any given musical situation. For instance, heel up vs heel down on the bass pedal for dynamic range. Also, our grip can have a noticeable affect on the ‘weight’ of a note. Think also about the position within which you strike the drum or cymbal. For example, do you hit your snare dead centre? Slightly off to one side? A re you playing a rim-shot? These choices enable us to tailor our sound and create different tonalities without even reaching for the tuning key.

74

| MUSICIAN’S HANDBOOK : DRUMS

GEAR | KIT HACKS

10 TRADE 10  TRADE YOUR GEAR Swap an old snare for a mate’s old ride, or part-ex that dusty old Pearl Export at your local music store. The beauty with drums is that, unless they’ve really been neglected, they’ll sound as good now as they did out of

11 CHANGE THE 11 CHANGE TONE OF YOUR DRUMS

the box. With a bit of TLC and some new heads, you’re ready to go at a fraction of the cost. Be careful when buying second-hand cymbals, though, as they could be

Times have changed since throwing tea towels on your toms was all the rage.

damaged or weakened from years of abuse. Look very

There are many products on the market now to help us rein-in unwanted

carefully over the whole cymbal for hairline cracks and

overtones or even control the amount of sustain desired from a certain drum.

also check for ‘key-holing’ in the centre, as these can

Popular options include RTOM’s Moongel or Remo O-Rings. It’s simple to

quickly develop into dangerously large cracks.

create your own O-Rings by cutting up your old drum heads. And, of course, never underestimate the power of a good roll of gaffer tape. Tissue paper can also be folded up tight and taped down to mimic the job of Moongel.

12 REVIVE 12 REVIVE OLD CYMBALS Cracked cymbals can be drilled to prevent further damage and there are companies including CymbalMagic.com that can create splash or FX cymbals from beat-up crashes. Alternatively, you could leave those cracked old metals as they are and experiment with them. Due to their trashy nature, broken cymbals lend themselves to creating cymbal stacks. Save yourself money on a new cymbal and test-run a few combinations of your old and new cymbals.

13 BUY A NEW 13 BUY DRUM THRONE Often overlooked as an important component in your setup, the right drum throne will make you feel more comfortable at the kit, enabling you to spend more

14 ADD SUST 14 ADD S USTAIN AIN TO YOUR DRUMS

time behind it. Stool height is important for posture as

If you have a drilled bass drum with mounted

well as the height of your drums and cymbals (check

toms, try using a snare stand for your rack

out the interesting things Billy Ward has to say about

tom as an alternative (à la Travis Barker) to

kit setup in his DVD, ‘Big Time’). Try to

give it more resonance. Not only will this get

ensure you’re not going out of your way

the tom singing, it will also enable you to

to reach any particular part of your kit,

position it much lower. For maximum

too. This can apply especially to crash

resonance, clamp the edge of the tom hoop

cymbals, floor toms and hi-hats. For

within the tips of the snare basket, rather

those of you that use a double pedal,

than placing it completely within it. Floor

experiment with the auxiliary pedal on

toms can also benefit from a similar

the ‘outside’ of the hi-hat pedal so that

treatment by adding cushioned rubber feet.

you’re not twisting yourself into any

Products such as Booty Shakers can also

unnatural positions to play.

help to add more sustain.

MUSICIAN’S HANDBOOK :  DRUMS | 75

MUSICIAN’S HANDBOOK : DRUMS

15 CHANGE YOUR 15 CHANGE BASS DRUM BEATER Different material types, shapes a nd sizes of beater will affect the levels of attack or pitch produced by your bass drum. Felt/wood/vintage bomber styles are all available. On a budget, try wrapping a sweat band or sock around your beater to replicate the soft sound of a calf skin ‘vintage bomber’. It’s also important to ensure that the height of the beater is hitting as close to the centre of the drum as

16 EXPERIMENT WITH 16 EXPERIMENT YOUR SNARE STRAINER

possible. Doing this will give the

The snare strainer determines how tight or how

fattest tone available and will feel

loose your snare wires sit against the resonant

better under-foot. There are two or

head of your snare drum. This will not only

three-sided beaters available to help

affect sensitivity and dynamic range but can

you change your bass drum sound in

also give the effect of changing the pitch of the

an instant. This can be particularly

drum. It’s very important not to ‘choke’ the drum

useful in a live scenario where you don’t have time to mess aro und between songs but would like to keep your options open.

by tightening the strainer too much. Snare wires are also available in various sizes, thicknesses and materials which can allow you to further tailor the sound of your snare. Here’s a quick tip: to replicate the famous Steve Gadd snare sound, tune down the batter head to a low pitch,

17 TRY SOME 17 TRY DIFFERENT STICKS

loosen the snare strainer and slacken off the four tuning pegs nearest the snare wires on the

Stick choice not only affects the feel of the kit but also the tone.

resonant head.

Thicker sticks give you a broader sound and a lower pitch. The opposite applies for thinner sticks. Generally speaking, something like a 5B will work very well for a driving rock style versus, for example, a 7A for a jazzier touch. Nylon tipped sticks will also give a brighter stick definition, especially on cymbals. Hold a stick up to your ear and give it a flic k with your finger. Now try this with your other stick and see if the pitch is higher or lower. A pair of sticks should be pitch-matched during the manufacturing process, but

It’s important to have the right tools for the job. There

we’ve found

are so many different products on the market now, it

that this isn’t

has become much easier to find a pedal suitable for your

always the case. If you have multiple pairs of sticks, try to match them as closely as you can to each other to ensure continuity in your sound.

76 | MUSICIAN’S HANDBOOK :  DRUMS

18 GET A NEW 18 GET BASS DRUM PEDAL

playing style. Pedal feel is very important to a drummer and you should take the time to find a bass drum pedal that works for you, or set up your existing pedal as best you can for your preferences. For players who like speed, you should tighten up your springs and use light beaters. In contrast, less busy players would probably prefer a weighted beater, set to a loose spring setting.

GEAR | KIT HACKS

19 ADD SIZZLE 19 ADD TO YOUR CYMBALS Cymbals can be drilled and riveted for very little cost. This can add a special characteristic to any cymbal and make it sustain beautifully. Alternatively, when lots of rivets are added the sound becomes very short – this works well for smaller cymbals or trash-stacks. Once again, if you don’t fancy wielding the power tools anywhere near your precious pies then take them to a cymbalsmith who will be happy to oblige you for a small fee. For a less permanent solution, use a bath (plug) chain or two and hang them over the cymbal. These can be picked up from any hardware store and usually come in different weights and sizes, which can help you achieve different pitches and lengths of decay. These come in really handy in the studio for a quick tonal change. They work wonders on crashes for ballads or to ‘jazz’ up your ride sound.

20 REPLACE 20 REPLACE YOUR HOOPS Changing your hoops can be an easy and relatively inexpensive way to alter the tone of your existing snare or toms. There are a number of different weights, materials and manufacturing processes that produce a range of drum hoops, the most familiar being triple-flanged and

21 PLAY 21 PLA Y WITH OTHER PEOPLE!

die-cast. Not only could the right rims help you find that

Let’s not forget that sometimes all you need to make

sound you’ve been searching for, but with a choice of

your kit sound better are a few other musicians. Practising

steel, brass, zinc or aluminium, plus various different

at home or in the studio can only get you so far. Even for the

plating options, they can add an eye-catching aesthetic

more seasoned players among you, why not try your hand at

to your kit. It’s also important to note that old hoops can

a new style? Go to a jam night and play with people you don’t

become warped and may actually need  replacing.  replacing. As with

know. Maybe join a big band, or try your hand at something

head selection, combinations of top and bottom hoops

with a Latin flavour? The key is to get out of your comfort zone

can be experimented with to achieve different tonalities.

and constantly push your playing to the next level.

MUSICIAN’S HANDBOOK :  DRUMS | 77

MUSICIAN’S HANDBOOK : DRUMS

VINTAGE DRUM Whether you’re looking to start collecting drums, or want to add to your vintage arsenal, these gems should be right at the top of your list WORDS: GEOFF NICHOLLS

78 | MUSICIAN’S HANDBOOK :  DRUMS

GEAR | VINTAGE DRUMS

C

mature tone and elegant design.

01 BUILT IN THE UK AND MAINLAND EUROPE

Drums are no different. In fact,

We in the UK are notorious for playing down our own heritage. Yet Britain and the rest of Europe

these days there is a big market

produced some of the most interesting designs ever. Classic UK-made drums end up in skips

lassic instruments of all types are sought after and venerated for their

for serious collectors of vintage drums.

outside school music departments, when with minimum care they can make quality instruments.

So, why collect? Perhaps you simply admire the look? Perhaps it’s the only way to get the exact sound you need in the studio or live?

PREMIER KIT

Perhaps a certain item is rare and will

ERA: 1950s

appreciate in value over the coming decades?

VALUE:

Or perhaps you sense the latent worth in a

In its heyday, Premier made some of the most distinctive drums ever and

sadly discarded and unfashionable bargain?

led the way with inventive designs. British pros, and a surprising number of

The good news is that old drums and

through 1980s

£££ ££ £ £350 to £500+ (with snare)

great American jazzers, played Premier during the 1960s. There are still

cymbals generally do not (as yet) command

many kits like this one of Steve Vye’s Vye’s to be found and, because of the quality

the sort of mortgage-like moolah of, say,

of the metal castings and chrome plating, they often scrub up a treat. The

guitars or classical violins. Yet the problem

glitter finishes (Aquamarine, Red, Silver) have often deteriorated, but the

with drums is they take up more space than

pearls are generally like new. A good four-piece four-piece kit can still be found for a few

most of us can afford to give up.

hundred pounds – silly money for a world-class instrument – and any damaged parts can be found online.

Seeking out vintage drums is a fairly recent

Look out for Premier oddities, too. Before 1967 Premier toms had so-called pre-international pre-international sizes, and Premier

pursuit. The 1980s digital drums revolution

historian Mike Ellis (www.blenheimdrums.co.uk) (www.blenheimdrums.co.uk) reveals the factory never wasted anything, so drums made between

made acoustic kits look obsolete for a while

1968 and 1970 may have a mix of old and new components.

and it was around then that many collectors started hoarding in earnest. Then, when the fashion for tribute bands took hold, everyone

HAYMAN VIBRASONIC KIT

wanted a Ringo Oyster Black Ludwig. Kits that

ERA: 1968

were selling for £350 back in 1985 can now

VALUE:

go for hundreds if not thousands more.

While Premier was the UK’s market-leading international brand,

to mid-1970s

£££ ££ £ £350 (for three drums) upwards

In this feature we’re highlighting classic

there were others like Ajax, Autocrat and Carlton that should not

instruments, a few of which are tantalisingly

be overlooked. In the 1960s, top music industry entrepreneur Ivor

super-rare, but many of which are not so scarce

Arbiter, the man who brought American drums to the UK, decided it

– simply desirable and popular. American kits

was time we made a cutting edge British alternative to expensive US

from the 1960s are still the most frequent

imports. He took over the outdated Carlton factory and emerged with Hayman drums.

target. They are playable and have the sound of

Hayman had triple-flanged hoops (European hoops up until then were die-cast), Ludwig-style fold-out spurs

that magical decade. British and European-

and a thick white ‘VibraSonic’ inner shell coating l ike that applied to American drums, particularly Ludwig and

made kits of that era are arguably just as good,

Way/Camco. The drums took off like wildfire, but were sadly short-lived.

but lack the glamorous associations of the

This kit (pictured above right), belonging to super drum tech Yard Gavrilovic, is desirable for several other

American gear. As a result you can still (just)

reasons, including the rare 18" bass drum and metal MetaSonic snare (most Hayman snares have wood shells).

pick up old British and European drums for

And it has original George Hayman badges, shortened simply to Hayman within months of launch.

ridiculously low prices. As for super-rare gear, that is for the avid, knowledgeable collector. But, hey, we can all dream…

SONOR KIT ERA: Circa

VALUE GUIDE Where possible we have attempted to put a value on an item. If pricing isn’t available or is too broad, we have also categorised each item as follows:

VALUE:

early/mid-1960s

£££ ££ £

Sonor is today the leading European drum company and, in fact, dates back to 1875. In the 1960s Sonor didn’t make quite the splash that Trixon did, but a few kits made it over here and even then they exhibited elements of the strong, individualistic design and post-war West German engineering qualities that continues

£££

£££ ££ £ £££

A budget-friendly item, and the perfect way to start your vintage collection. A piece that will require considerable investment. One for serious collectors and those with deep pockets only.

to distinguish Sonor today. This striking mid-60s Chicago Star K170 kit comes courtesy of Mark  Jeffs of Rusty Rusty Drums Drums (www.rustyd (www.rustydrums.co.u rums.co.uk). k). Toms Toms and bass drum drum shells are are three-ply beech with reinforcing rings and rounded bearing edges, already with Sonor-trademark vertical inner plies. The snare has a beautiful sophisticated parallel strainer mechanism. Hoops are one-piece, die-moulded steel, with the top flanges turned in, not out, like Slingerland’s. Sonor’s hardware is also extremely clever, all in all making these heavy kits desirable and underrated.

MUSICIAN’S HANDBOOK :  DRUMS | 79

MUSICIAN’S HANDBOOK : DRUMS

02 SNARE 02 SNARE DRUMS Snare drums are the heart of our kits, they take up far less room and we are more likely to build up a collection of several. There are thousands of models out there and here are just five classics, ranging from the most popular to the scarce and valuable.

PREMIER OLYMPIC KIT

SLINGERLAND RADIO KING

ERA: 1950s

ERA: 1936

VALUE:

through 1970s

£££ £200+

VALUE:

through mid-1940s

£££

Premier marketed budget ranges under the name Olympic from 1937. During the

For years a Radio King was the holy grail of vintage snare drums. Originally made from

1950s and 1960s, Olympic kits were the serious starter sets for most of the great

a single steam-bent plank of rock maple with solid maple reinforcing rings, a good RK

British drummers who would soon conquer the world. Many of these cheap kits are

has a beautiful, warm, woody tone. But also a reputation for drifting out of round, so

still around, perhaps in a sorry state and in need of some restoration. But they were

they need careful inspecting.

well made, sharing the same thin birch reinforced shells as the top-line Premiers.

The Radio King name was so evocative and successful that Slingerland went on

Canny restorers are slowly wising up to this undervalued treasure-trove, but Olympics

making numerous variations (including ply and metal shells) right up to the 1990s. For

still regularly sell for peanuts, even though they make quality starter or practice kits.

many years other manufacturers stopped making one-ply shells, so Radio Kings were

Between 1976 and 1978, Premier produced the Super Olympic series, like the one

even more valued. Pictured is Martin Murray’s 14"x7" Hollywood Ace Krupa Swing Radio

above restored by collector Jeremy Peake. These were a cut above with their single

King with solid maple shell and Rapid strainer. The finish is Blue and Silver Duco and

tension lugs and steel hoops – professional spec drums, rebranded as the

crucially the Radio King signature is stamped into the upper brass stick-chopper hoop.

Soundwave series from 1978.

Original spec is best for collecting, if not necessarily for playing, so watch out for extra holes, changed strainers and re-covers.

LUDWIG BLACK BEAUTY ERA: 1920

to today

TRIXON KIT

VALUE:

ERA: 1960s

Ludwig’s Ludwig’s Black Beauties are amongst the most collectable and playable of snare drums.

VALUE:

£££ ££ £

£££

Early 1920s examples with hand-engraved spun brass shells can fetch thousands of

Drums made in Germany, France (Asba) and Italy (Meazzi) during the ’60s and ’70s were

pounds. But from the late 1970s, Ludwig reintroduced modernised Black Beauties (in

often more daring than the mainstream American and UK fare. There are some fantastic

bronze and then later brass again). Robin Melville’s drum (pictured above) is a 14"x6½"

finishes, too, which you don’t see on American drums. Hamburg-built Trixon drums were

Super Sensitive, which was offered in both engraved and non-engraved versions from

popular in the UK early in the 1960s. The conventional Luxus series was even played by Phil

1979 through to 1981. Owned from new and still in immaculate condition, this snare

Seamen and (briefly) Buddy Rich. But Trixon is remembered for its egg-shaped Speedfire

drum is said to be worth around £2,000.

and show-stopping conical Telstar, appreciated more for its visual impact than its sound. Most often seen in Red or Blue Croco, this Telstar kit (pictured above) belonging to

Like Gretsch round-badge kits, Black Beauties are also studio favourites. Drummer Pete Cater recalls: “I had an epiphany when doing a kit share in 1980. The drummer

Trixon enthusiast Dave Prince is wrapped in rare Blue Stripes. The outlandish Euro

providing the kit had a new 5" drum. At the time I was playing a 1964 aluminium

inventiveness extends to the hardware, some of which has survived and works and some

SupraPhonic and the Black Beauty had all the Supra’s best features with additional

of which causes headaches. You may have to turn to mainland Europe for spares and

projection and lightning-fast response. From that moment I wanted one. I finally got

advice, but any Trixon will be a major gig talking point.

one in 2006, and ever since it’s been my go-to snare. It sounds right in every context.”

80 |  MUSICIAN’S HANDBOOK :  DRUMS

GEAR | VINTAGE DRUMS LEEDY BROADWAY ERA: 1940s VALUE:

£££ ££ £ £400 upwards

We don’t hear much about Leedy these days, but in historical terms Leedy is a major player. Vintage enthusiasts know the value of these stunningly designed and

WHERE TO LOOK LOOK FOR VINTAGE GEAR Vintage gear can turn up in all sorts of places, including pawn/  junk shops, car boot sales, charity shops, local auctions, supermarket notice boards, even local rubbish skips. For our money, though, we’d recommend starting with one of these…

beautifully made drums, fresh from the days of superb American craftsmanship. The drum pictured (above) is a mahogany shell Broadway (so named by Leedy employee George Way) with post-1939 parallel action snare. Owner Winnie Mensink reminds us that Ginger Baker often played a Leedy Broadway. The neat and distinctive beavertail lug was

PHYSICAL SHOPS Check local drum stores, as they still sometimes have the odd second-hand or vintage bargain. A few, like Drumshack (www. drumshack.co.uk) in Battersea, specialise in second-hand gear.

introduced in 1938/9 and used until about 1970. Leedy drums were imported into the UK in the pre-WWII days, and the 1920s designs were, for a while, copied wholesale by Premier, Carlton and others. We know of a highly valuable original Indianapolis-made Leedy-engraved Black Elite snare drum turning up in a junk shop in Oxfordshire earlier this year. So keep your eyes peeled!

LUDWIG SUPRAPHONIC ERA: 1960s PRICE:

to today

£££ ££ £ £250 to £400+

Ludwig SupraPhonics are popular not just because they are rare, but because they have a reputation for being the most recorded and

UK DRUM FAIRS AND CLUBS The UK National Drum Fair is where all the gear seen here was photographed over the past decades and is still the best bet, along with Alan Buckley’s Vintage and Custom Show for finding old gear, elusive parts, and for making vital personal contacts with dealers and experts. Visit www.ukdrumfair www.ukdrumfair.com/www. .com/www. siralandrums.co.uk for more information. Also, join The Old Drummers Club (ODC). Email: [email protected]

UK DEALERS/TRADERS   

played snare drum ever. Throughout the 1960s,



everyone played the aluminium ‘Ludalloy’ shell



14"x5" ‘400’ with its keystone badge and simple P83 strainer. By the 1970s, the blue-olive badge 14"x6½" 402 drum was the sound of John Bonham, while the

  

www.blenheimdrums.co.uk www.blenheimdrums.co.uk www.classicdrums.co.uk www.classicdru ms.co.uk www.drumshack.co.uk www.drum shack.co.uk www.rustydrums.co.uk www.rust ydrums.co.uk www.nickhopkindrums.com www.nickhopkindrum s.com www.thedrumvault.co.uk www.thedr umvault.co.uk www.tikidrums.com www.tikidr ums.com www.vintagedrumyard.com www.vint agedrumyard.com

ubiquitous 400 was played by Steve Gadd on countless sessions. The very earliest 400s actually had

ONLINE AUCTION/SALES SITES

chrome-over-brass shells. They are much more expensive and rare, and some drummers swear by

(Beware of incorrect and misleading information!)  www.ebay.co.uk www.gumtree.co.uk ee.co.uk  www.gumtr  www.craigslist www.craigslist.co.uk .co.uk  www.preloved.co.uk  www.vint www.vintageandrare.com ageandrare.com  Facebook trading pages

them. Ludwig expert Robin Melville says: “1959/early-1960s brass shell Supras are £750 and up. One problem is wear to the P83 strainer. Spare parts are difficult to source. 400/402 snares cost £250 and up, depending on the amount of shell pitting.” The pitting affirms the shell is aluminium (not steel), because chrome does not stick well to aluminium.

ROGERS DYNASONIC ERA: 1962 VALUE:

through 1970s

£££ £150 upwards

Almost as famous as the Ludwig SupraPhonic, the Rogers’ 1960s DynaSonic DynaSonic is abundant, but it does divide opinion. Because of its revolutionary design, it never caught on like the SupraPhonic, or indeed like Rogers’ Swivo hardware. The original early-1960s early-1960s chrome-on-brass shelled DynaSonic was designed for Buddy Rich to achieve maximum sensitivity and dynamic range. The idea was to eliminate snare choking, like previous parallel actions, but by actually cradling the wires in a suspended cast frame. Of course it was a great idea, but just as many drummers hated it as loved it. In fact, you will encounter some DynaSonics with the frame removed, which rather defeats the purpose. Buddy Rich more often played a wood shelled DynaSonic. DynaSonic. And ironically, just like Ringo Starr and his beloved Ludwig Jazz Festival, because most ’60s drummers preferred metal shells, few wood shelled DynaSonics DynaSonics were made. Therefore, they have become even more rare and even more valuable than the

VINTAGE REFERENCE   

www.drumarchive.com www.drumarchive.com www.vintprem.moonfruit.com www.vint prem.moonfruit.com www.vintageolympic.co.uk www.vint ageolympic.co.uk

USA AND INTERNATIONAL VINTAGE VINT AGE RESOURCE SITES AND FORUMS www.hidehitters.com www.hidehitters.com  www.notsomoder www.notsomoderndrummer ndrummer.com .com www.vintagedrumguide.com agedrumguide.com  www.vint  www.coopersvint www.coopersvintagedrums.com agedrums.com www.maxwelldrums.com ums.com  www.maxwelldr  www.thedr www.thedrumexperts.com umexperts.com www.drummerworld.com merworld.com  www.drum  www.rebeats.com www.vintagedrum.com agedrum.com  www.vint  www.vint www.vintagedrumforum.com agedrumforum.com www.mikedolbear.com .com  www.mikedolbear 

REFERENCE BOOKS Check out the following authors: Rob Cook, John Aldridge, Harry Cangany, Chet Falzerano and Geoff Nicholls

Ringo-finish Ringo-finish Jazz Festivals.

MUSICIAN’S HANDBOOK : DRUMS | 81

MUSICIAN’S HANDBOOK : DRUMS

03 AMERICAN-BUILT 03 AMERICAN-BUILT DRUM KITS The vintage market is dominated by American kits from the 1960s – the kits everyone wants to own and to play to evoke that golden era. Umpteen thousands were shipped so they are not (yet) terribly rare, and since they fetch good prices they are open to forgery, diabolically unsubtle modifications and unscrupulous recovers. So do your homework!

GRETSCH ROUND BADGE KIT ERA: 1955 VALUE:

through 1960s

£££ £1,200 (three drums) upwards

From the mid-’50s Gretsch led the way with small-sized kits aimed at the legendary bebop jazzers who all played them. These three-ply and later six-ply ‘round badge’ kits latterly became the secret studio weapon of numerous name players in every field. (Charlie Watts always plays his with The Stones.) Such is the mystique around these drums, Gretsch has replicated them in the Broadkaster Vintage, released in 2015. Plenty were made, but they are getting scarce and are appreciating in value. Smaller sizes (20" and 18" kicks) are more expensive. Owner Garry Allcock says, “The Gretsch round-badge three-ply [Jasper] shells from the ’50s are very desirable and sought-after. Even those who endorse other manufacturers play them, maybe out of sight in the studio. A set in good condition will cost maybe £2,000 for four drums.” Garry’s set belonged to jazz legend Mel Lewis, so is worth more to the right collector.

LUDWIG KEYSTONE BADGE ’60S KIT ERA: 1960s VALUE:

£££ £1,200 (three drums) upwards

The most popular vintage kit is a 1960s keystone badge Ludwig. Ringo played 20" Downbeat and 22" Super Classic sets in Oyster Black Pearl with The Beatles. OBP is thus the premium finish, though others are equally tasty. The larger 22, 13, 16 sets, with SupraPhonic snare drum, sold in their thousands. So there are (were) plenty about. But the fashion for tribute bands meant they were snapped up and are now appreciating steadily in value. Small sizes (of all American vintage drums) are rarer and currently desirable, so expect to pay much more. Ringo uniquely played a wood shell Jazz Festival snare and since this was non-standard, an Oyster Black Jazz Festival (like a wood Rogers DynaSonic), can raise £2,000-£4,000 alone. Unsurprisingly, therefore, re-covers and downright forgeries exist. Fine so long as you know!

ROGERS USA KIT ERA: Circa VALUE:

1964 to 1977

£££ ££ £ £800 (three drums) upwards

Rogers made arguably the best American drums from the mid-1960s on. The Swiv-O-Matic hardware was ahead of other manufacturers’ and the maple shells were top notch. Gary Allcock’s 1972 Black Strata kit is massively elevated by virtue of its genuine wood shell DynaSonic snare drum. These alone command between £2,000 and £4,000. That’s because DynaSonics were almost always metal, so wood examples are ultra-rare. Be aware, the hardware and fittings are not difficult to obtain, so fakes do exist. Early square-ended ‘bread and butter’ lugs are prone to cracks and so kits with the later (post-1964) beavertails, as seen here, are a better investment. Uniquely, Rogers drums were also built under licence in the UK during the 1960s. These had Ajax shells and are worth considerably less (around half) but are still attractive. They are distinguishable by their horizontal, underlined script logo badges, where the US drums have upwardly sloping badges.

82 |  MUSICIAN’S HANDBOOK :  DRUMS

GEAR | VINTAGE DRUMS

04 VINTAGE 04 VINTAGE HARDWARE & CYMBALS While decades-old drums sound better and better, ancient, flimsy bass drum spurs and tom mounts don’t withstand modern playing (although there is a current fashion towards lightweight, flat-based single-braced stands). When it comes to cymbals, there’s a similar mystique surrounding old metals as there is old drums.

LUDWIG SPEEDKING BASS DRUM PEDAL ERA: 1950 VALUE:

to present

£££ £50+

 John  John Bonh Bonham am took took bass bass drum drum play playing ing to a new new level level in rock, rock,

SLINGERLAND KIT

and he did it on a (squeaky) Ludwig Speedking. The Ludwig

ERA: 1960s

brothers built their name on their first bass drum pedal in 1909.

VALUE:

through 1970s

£££ ££ £ £800 (three drums) upwards

And when William F Ludwig retrieved his company (from Conn) he

While Slingerland is forever associated with Gene Krupa and the Radio King, Buddy Rich

launched it with another bass pedal, the 1938 Speedking. Like

was also a huge fan, ending his career playing a Slingerland Radio King. UK buffs will

the original pedal, this was an instant success.

always remember Buddy playing a 24, 13, 16, 16 kit like this 1974 set belonging to Preston

The Speedking was updated in 1950 to the pedal,

Prince (www.TikiDrums.com). Buddy left Rogers for Slingerland around 1968 just as the

which has remained virtually unchanged until it was

modern Set-O-Matic hardware (seen above, obviously a response to Rogers’ Swiv-O-Matic)

finally withdrawn in 2014. There are still loads of

appeared and he played Slingerland for the next decade before jumping ship again to

fans and pedals out there in various states of decay.

Ludwig. So most of those classic BR big band albums (many recorded live) featured a kit

The Speedking works on twin compression springs instead of the usual single expansion

exactly like this one – that’s some of the best and most loved drumming the world has ever

spring, so has a special push-back feel. Ludwig fan Robin Melville says: “Speedking prices

heard. Slingerland during this time claimed to have the biggest and most modern

vary on condition. Faults include footplate hinge wear and rocker shaft link pin fixing.”

purpose-built drum factory in the world, at Niles, Illinois. As well as White Marine Pearl, look out for kits in psychedelic swirls, plus rarities clad in chrome and even copper.

ROGERS SWIV-O-MATIC HARDWARE ERA: 1958 VALUE:

to mid-1970s

£££

For decades, American drum companies relied on generic hardware like snare stands and consolette tom mounts, usually supplied by Walberg & Auge. They made their own pedals – Gretsch Ghost, Slingerland Epic, Ludwig Speedking, and so on – but when rock ’n’ roll came along, something sturdier was needed. In 1958, Rogers wowed the drum world with its Swiv-O-Matic hardware, the first complete, integrated system. NDF dealer Richard Thomas says: “Rogers 1960s and early-70s Swiv-O-Matic tom holders, snare and cymbal stands, hi-hat stands and bass drum pedals are becoming much harder to find in good condition. Swiv-O-Matic hardware ceased production in the mid-70s (replaced by MemriLoc). It’s well designed, user friendly and easy to carry.”

PREMIER HARDWARE ERA: 1960s

and 1970s

LUDWIG VISTALITE

VALUE:

ERA: Mid-1970s

Post-war Premier set out to make the classiest

VALUE:

to mid-1980s

£££ ££ £ £800 (three drums) upwards

£££

hardware, with fold-out flush-based stands,

Synthetic shells were big in the early 1970s. Fibreglass and carbon fibre as well as acrylic.

massive cast legs and rubberised feet and

Ludwig scored bigtime with the Vistalite, particularly when John Bonham showcased his

footplates. Although in practical use the results

famous Amber kit. Initially produced in six single colours from late 1972, six ‘Rainbow’

were mixed, Premier was arguably the most

patterned designs (A to F) of multi-coloured stripes, swirls and spirals (like this vibrant

advanced until Rogers’ Swiv-O-Matic.

Pattern C Spiral in Yellow and Red, of Steve Vye’s, pictured above) emerged from around

Throughout the ’60s and ’70s, Premier contined

1975. John Bonham played a metal snare with his and so original Vistalite snares are rare

to update, always seeking thoughtful solutions.

and quite valuable. Early Vistalites were prone to cracks, but later ones have ‘V’ channel

Richard Thomas says: “Premier 1960s and

seams that have fared better. The 1970s Middle East oil crisis made acrylic drums unviable,

Premier Lokfast 1970s hardware is today

but there has been a small resurgence in recent years. Ludwig now markets improved

commanding much better money. Drummers

Vistalites in the four most popular colours. Before this, forgeries flooded the market replete

in Europe pay top dollar for Premier hardware,

with bogus blue-olive 1970s badges.

though the bass drum pedals don’t fetch much.”

MUSICIAN’S HANDBOOK :  DRUMS | 83

MUSICIAN’S HANDBOOK : DRUMS

VINTAGE K ZILDJIAN CONSTANTINOPLE CYMBALS, MADE IN ISTANBUL

PAISTE PAISTE 602 AND 2002 CYMBALS

ERA: Early

ERA: 1950s

VALUE:

to mid-20th Century

£££ to ££ £££ £

VALUE:

to 1980s

£££ ££ £

Gretsch imported Turkish-made

As rock upped the decibels in the 1960s,

K Zildjian Constantinoples into the

Paiste’s B8 bronze formula, with its clean

USA and the Gretsch/K Zildjian

sound, cut through the amplified guitars. The Big Beat and 2002 series (’71 to

sound became synonymous with bebop. These ’40s/’50s cymbals still

’79/80) were massive sellers, made

circulate. Quality is variable since they

legendary by John Bonham. B20 Formula 602 cymbals were made from

were hand-made, yet the mystique is such that modern cymbal companies often attempt to

1957 till the mid-80s. Richard Thomas says: “Drummers throughout Europe want the 602 sound. The old ’60s/’70s ones still sound great and, according

replicate their sound today. There’s no guarantee they will

to Paiste, the sound improves with age. Good, clean 602s are becoming hard

actually sound good, but if they have survived 60-plus years, you

to find, so the price is on the up. ‘Black label’ 2002 Sound Edge hi-hats,

will certainly have a collector’s item that should appreciate in value.

crashes and rides are sought after.”

SOMETHING COMPLETELY DIFFERENT… Here are five vintage kits that are either super rare, super expensive or just a drum oddity! PROPERLY VINTAGE

PROTOTYPE ODDITY

SLINGERLAND SEA GREEN PEARL KIT WITH BLACK BEAUTY SNARE DRUM

PREMIER PERSPEX KIT ERA: Circa

ERA: Circa

VALUE:

1930

£££

1973

£££ ££ £ £600+

Genuinely vintage US kits of this quality are

Everyone made acrylic/Perspex shell kits in the 1970s. Even Premier

the province of the serious collector, like Dave

made a few prototypes, but never went

Brown, who explains that although the term

into production. Kinks/Argent drummer

Black Beauty is associated with Ludwig, it was first popularised by Slingerland. He estimates a

Bob Henrit suggests that there may have been around half a dozen, which makes

14"x6½" Artist model snare like his engraved

this pristine smoky black vision of Andy

Black Beauty finish is worth anything between $9,000 and $14,000.

Youell’s a genuine curiosity.

VALUE:

SUPER RARE

GRETSCH BROADKASTER BOP OUTFIT IN CADILLAC GREEN NITRON ERA: Circa

late 1950s VALUE: £££

In the late 1950s, Gretsch cemented its special relationship with the New York bebop movement by promoting ‘Gretsch Drum Night’ at Birdland, furnishing the famous jazz club with a special round-badge house kit in Cadillac Green Nitron with 24-carat gold-plated fittings. UK session ace Paul Clarvis has refurbished this ultra-rare example. HIGHLY REGARDED

GEORGE WAY ARISTOCRAT

NEGLECTED ORIGINA ORIGINATOR TOR

KIT IN BLACK PEARL

ZICKOS TRANSPARENT ACRYLIC KIT

ERA: 1957-1961 VALUE:

£££

ERA: Circa

early 1970s

£££ ££ £

Arguably the best of classic American drums were

VALUE:

designed by George Way during the late 1950s. Way

Ludwig’s 1972 Vistalite stole the thunder, but Bill Zickos

lost his company to Camco, whose subsequent kits are avidly sought after. Camco’s hardware was bought by

was first to the acrylic market in 1969 with a kit played by Ron Bushy of Iron Butterfly. Owner of our rare featured kit,

DW and the rest is history. The original George Way kits

Winnie Mensink (of www.hidehitters.com), reveals Zickos’

are exceptionally rare and this 1959 set (pictured left),

superb craftsmanship, including quarter-inch cast acrylic

belonging to Alan Drew, is in mint condition.

shells with clever flip-off lug design and heavy hoops.

84 | MUSICIAN’S HANDBOOK :  DRUMS

The latest reviews & interviews from fro m Guitarist’s acoustic quarterly

Guitarist Presents Acoustic Acoustic magazine is also available availa ble on Newsstand for iPhone, iPad & iP i Pod touch Also available to order online at www.myfavouritemagazines.co.uk

MUSICIAN’S HANDBOOK : DRUMS

86 | MUSICIAN’S HANDBOOK : DRUMS

GIGGING | INTRO

GIGGING

W

hether you aspire to one day play Wembley Stadium, tackle the local pub circuit, or you just want to play

a mate’s party with your band, playing live is one of the most exhilarating things you will experience behind your drum kit. But how do you go about getting gigs? How can you make sure you perform each gig like it’s your last? And what essentials should you pack in your gig bag? All of these questions and more are answered in the following 11 pages. Performing in front of an audience can be nerve-wracking, too, so we have called upon one of our famous pals, Pink’s drummer Mark Schulman, to share his advice on how to handle any pre-gig jitters. Whatever level you’re gigging at, the main point is to just focus on playing great music and, above all, having fun. Time to hit the road! MUSICIAN’S HANDBOOK :  DRUMS | 87

MUSICIAN’S HANDBOOK : DRUMS

GUIDE TO GIGGING Looking to hit the gigging circuit but don’t know where to begin? Our handy guide will arm you with everything you need to take your drumming from the bedroom to the stage hether it’s on social media or in

W

time. Ultimately you should be focusing on

Many of the most successful drummers have

the pages of magazines like

working to your strengths as a player, so keep

a strong image, but have built it around the

Rhythm , it’s common to hear

in mind who you are as a drummer, what

style of gigs and music they play. Whether

top-level drummers reveal all

music you play and where you want to play it.

that’s rock, jazz, folk or metal, it’s still possible

how and where they recorded their latest

GEARING UP

album, or how they toured the world with

It’s important to think about your choice of

hardly enough time to eat or sleep, let alone

equipment, too. While playing a monster

GETTING GIGS

play to 80,000 people. How does that relate to

double-bass drum kit with 18 cymbals may

Once you’ve decided on the kind of gigs you

what most of us grassroots level drummers do

look cool in your practice room, trying to set

want to play, where do you find them? This

on a regular basis, though?

the kit up on a small stage at the local Dog &

can depend on a couple of factors. For

Duck won’t win you many friends with the rest

example, are you looking to be part of a band

types of gigs available to modern drummers

of your band. Especially if you don’t leave

(or perhaps you already are), or do you want

and how, with hard work and dedication, you

enough room for the guitarist to have his

to work on a freelance basis with several

can ensure you get them. Plus we look at the

monitor within leg-raising distance.

bands? Whichever applies to you, there are

about their latest stadium show,

Here, we take a close look at the different

different gear choices, talk about image, the

to be yourself without harming your chance of

If you’re going to be playing smaller gigs,

landing regular gigs.

some common ways to land gigs.

importance of transport, networking and so

functions or shows, then generally the less

much more. But enough with the chit-chat,

equipment you need to undertake the job

many musicians, promoters, bookers, venue

it’s time for us to hit the road!

properly the better and easier it is for everyone

managers and owners as you can. One way of

involved. Conversely, if you’re playing larger

doing this is by attending jam sessions, where

APPROPRIATE APPROPRIA TE CHOICES CHOI CES

venues, arenas or festivals, then a larger kit

you not only get the opportunity to play with

So, you’ve completed hours of rigorous

can often be used to great effect to enhance

local musicians, and show them what you’ve

practise, maybe just left university or college,

the image of the band.

got, but also to meet other drummers who

or perhaps you’ve dusted off the old kit stored

The first is networking. Get out and meet as

may well need ‘deps’ for gigs they can’t cover.

for years in the loft, and have decided to get

IMAGE CONSCIOUS

Make sure you always carry business cards,

yourself out there playing. Maybe you just

Speaking of image, it’s important to think

too. These can be obtained cheaply online

want to do it occasionally for fun, or perhaps

about your own image and whether it’s

and are a good marketing tool. However you

more seriously to earn a living. But where do

appropriate for the type of gig you’re looking

approach people, make sure you give your full

you begin? Firstly, you need to think about

to perform. Unfortunately, many promoters,

contact details without being pushy. People

the kind of gigs that would be appropriate for

agents and bookers still judge drummers and

are more likely to book players they get along

your playing. With so many variables when it

bands by the way they look. If, for example,

with, rather than the ones who hassle them

comes to gigs – pubs, clubs, functions, cruise

you’re thinking of auditioning for a job on a

for work at every meeting.

ships, theatre shows, holiday camps or

cruise ship, you’d be judged unfavourably if

festivals – where do you want to play?

you were to turn up in ripped jeans and a

the simplest things often being the most

t-shirt, with a pink Mohican! You may be the

productive. It sounds obvious, but use the

metal drummer to start promoting yourself on

best player they’ve ever heard, and the nicest

internet as much as you can. Use your own

the function band circuit, where you would

person, too, but you would still probably be

Facebook and Twitter pages. Upload

have to play everything reasonably quietly

advised to tone down your image. That, or

examples of your playing to Soundcloud or

and conservatively. Similarly, if you’re intent

they will politely say, “No thanks, you’re not

YouTube YouTube so that potenti al bandmates, venues

on becoming a jazz drummer, auditioning for

the right person for us.”

or producers can check out your playing. The

It’s not a great idea if you’re an out-and-out

your home town’s newest up-and-coming

Promotion is another way to land gigs, with

We’re not saying for one second that you

easiest way to capture video of your playing is

thrash metal band with a confirmed booking

can’t be individual in your image. Rather, just

by using the camera on your smartphone, or

for Download Festival might be a waste of

think about your target market and audience.

buying or borrowing a camera and recording

88 | MUSICIAN’S HANDBOOK :  DRUMS

GIGGING | GUIDE TO GIGGING

Sites like Facebook, Twitter, YouTube and SoundCloud are great places to promote your music to potential bandmates

your rehearsals and gigs. As long as the audio

Be prepared to go above and beyond

playing a note. When auditioning for a gig,

is decent, you should have plenty of clips to

should the band ask you to perform a number

one of the main questions you will be asked

choose from. Also consider setting up your

of tracks; learn at least a couple of extra tunes

is, ‘Do you drive?’ Unless you’re uber talented,

own website. With a little bit of research, it’s

from their setlist so that, if things go well, you

or extremely lucky, not having transport will

possible to find easy to use and affordable

have a couple more tunes up your sleeve.

affect your gigging prowess.

web-hosting companies. When naming your

Think about the music and not yourself;

own website, pick a professional sounding

don’t get sucked into pulling out your best

TAKING CARE OF BUSINESS

domain name, especially if you’re trying to

Thomas Lang licks and showing off if the gig

Whilst earning money from gigs shouldn’t be

secure function, cruise or jazz gigs.

doesn’t call for it. The band is more likely to

your primary concern, if money has been

be impressed by musicianship, taste and

discussed then managing finances properly is

adverts on social media, in music shops, or

groove, unless it’s a prog rock band who want

critical. The easiest way to do this is to agree

local or free-ads-type papers for any bands

all of the above, plus some inverted triple

in advance (preferably in writing by way of a

looking for drummers in your area. If you find

paradiddles at 200bpm.

contract) a fee for performing. While each

Next up is auditioning. Keep an eye out for

any that seem appealing, give them a call to

venue will offer you a set fee, if the first gig is

arrange an audition, setting aside enough

REV YOUR MOTOR

successful and you get rebooked, don’t be

time to learn some of the band’s material.

As a drummer, reliable transport is essential.

afraid to haggle for a higher fee somewhere

Research the band online and, if possible,

You’ve gone out, networked, promoted your

down the line. This isnt a good thing to do

aim to see them live before you audition. You

band/yourself and have some auditions or

after your first booking, but if you prove to the

could also ask them for any recent recordings

gigs lined up. This is great! Unless, that is, you

promoter that you can get paying customers

or videos they may have.

can’t drive or don’t have any feasible means

through their doors, you’ll have a much better

of getting around. The number of musicians

chance of earning more for subsequent gigs.

Be on time for the audition, as nothing creates a worse impression than having the

that fall foul of this rule is amazing, so think of

One very common occurrence is the door

band sitting around waiting because you

transport as just another part of your kit. What

split: either you or the venue charges a fee for

weren’t organised. Make sure you have

is the use of thousands of pounds worth of

entry to the gig, with the money then being

directions to where the audition is being held,

gear if you can’t use it anywhere but home?

split between the venue and the band. This

pack your gear the night before and leave at

Similarly, hiring vans is a great way of

can be a risky venture for two reasons. Firstly,

least an hour before you need to.

spending most of the gig fee before even

if not many people attend the gig, you may

MUSICIAN’S HANDBOOK :  DRUMS | 89

MUSICIAN’S HANDBOOK : DRUMS make zero profit from the gig. Secondly, some

business correctly, it’s wholly possible to make

the fun that the audience is experiencing, but

venues demand the door earnings are split in

a few quid on the gigging circuit.

drinking too much alcohol only leads to poor

their favour.

performance, which is disappointing for both

Some venues even choose to operate on a

PERFORMANCE TIME

you and the crowd.

‘pay to play’ basis. This basically involves the

Now for the fun part: playing! There are a few

band paying the venue to hire the room. In

key things to remember here. Firstly, always

fall at this hurdle, playing too loud for their

extreme cases, the venue may even charge

be on time. That sounds obvious, but arriving

surroundings. While venues can often be

an entry fee and keep all or the lion’s share of

well in advance of doors opening allows you

rowdy, always playing at ear-splitting volume

the door takings, leaving the band paying out

enough time to set up, ensuring your kit feels

often leads to complaints from promoter or

for hire and not making a penny back. This is

comfortable to play, and enabling you to sort

venue and punters, as well as damaged

the worst kind of arrangement for a band as,

out any problems that may arise, such as a

hearing. As drummers, a good rule to follow is

unless you have a large following and can

repair to your bass drum pedal.

that if you can’t hear the rest of the band

confidently predict you’ll take more money

Nothing is more distracting than starting a

Be careful with the volume! So many bands

onstage, rather than them turning up you

from merchandise or ticket sales than the

set, getting a few songs in and realising you

should drop the volume of your playing until

venue is charging for hiring their facilities, you

should have visited the bathroom, especially

you can hear what’s going on around you.

stand little to no chance of making any cash.

as drummers spend the entire gig sat down

Whichever route you take, playing gigs is

In some cases you could make a big loss. It’s

with their legs apart. It’s important to watch

one of the most fulfilling things you can do as

not all doom and gloom, though. If your band

your alcohol intake, too. When working in

a drummer, so get out there, start or join a

is good enough and you all conduct your

pubs and clubs, it’s very tempting to join in

band, and entertain us with your music!

HOW TO PLAY A GREAT GIG BY RISE AGAINST’S BRANDON BARNES KEEP IT UP “Endurance is number one in my type of music. You gotta hit ’em hard and there’s a lot of fast music, so you gotta pace yourself. You can’t just come out of the gate, flail for three songs and then have nothing left in the tank. I drink water and Red Bull during the show, and you shouldn’t eat for two hours before you play. Also, it’s a good idea to make sure you build the set-list so that the hardest songs aren’t all together.”

TAKE (A FEW) RISKS “It’s more fun when you mix it up. If you play exactly the same parts each and every night, it’s boring. So I’ll change it on different songs to keep things interesting for everybody. Isn’t that risky? Well, you don’t want to play a death metal song reggae-style, but if you change things subtly it can be entertaining.”

AVOID COMIC TIMING “If you can’t keep tempo, that’s a disaster for the band, so I’d recommend a click track for drummers who can’t keep time that well. I don’t use a click, although there are parts of our songs that lurch in tempo. As far as being steady, it just takes practice; you just gotta learn to play in time, because that’s the drummer’s main job.”

90 | MUSICIAN’S HANDBOOK :  DRUMS

GIGGING | GUIDE TO GIGGING

HOW TO BUILD A REPUTATION BY RINGO STARR’S GREGG BISSONETTE BE A GOOD PERSON

the square peg going into the round hole. Don’t

“This might sound like it doesn’t have anything to

reinvent what you don’t have to. You’re supposed

do with drumming, but it does. If you want to be

to fit perfectly; everything is supposed to sound

a drummer in a band, or if you want to make a

great around you. You can have 20 different

living playing the drums, you’ve you’ve got to be a good

styles of music and your job is to play correctly

person. A people person. You should try to be

and with believability. You have to do everything

the person you’d want to hang out with. So many

you can to sound authentic with the music the

players who get gigs are monstrous musicians musicians

whole band is playing.”

but miserable people. They complain all the time, they’re always down. Whatever is going on,

TUNE UP

they only see the negative. People will only put

“Here’s another one that people sometimes

up with that for so long. You can’t be like that.

forget about. Before a gig, recording session or

You have to be the light in the room.”

audition, you need to make sure your drums are tuned according to the style of music you’re

BE STYLISTICALLY

going to play. Some guys show up at gigs and

CORRECT

sessions with dented, beat-up heads. They don’t

“This is something people don’t think about a lot.

project, you hit ’em and they make this ‘doonk’

If you’re going to play with a metal band, learn

sound. Nobody’s going to be able to mix you if

the song and play like a metal drummer. If you’re

you play dead heads. The front-of-house sound

going to play with a bebop band, get some

guys or the studio engineers won’t have anything

brushes, listen to the song, get in the vibe and

to work with. Give ’em sound, give ’em tone –

play in that style. It’s not the drummer’s job to be

something musical.”

HOW TO ACE THE AUDITION

PREPARATION IS I S KEY “Preparation on the people you’re auditioning with, studying the environment, environment, what kind of room is it, what’s going on in that room? What

BY DREAM THEATER’S THEATER’S

equipment is in the room? What does the room

MIKE MANGINI

supposed to sound like Portnoy, if a person isn’t

look like, how does it sound? How is a person hitting the things Portnoy hit? You have to try to sound right.”

CONTROL YOUR NERVES “Adrenaline and alertness. You can funnel those nerves into making your heart more open and your brain more alert. If you don’t, you might as well call it cancer. Those nerves used in the wrong direction are so cancerous they can take a prepared person and decimate them.”

IMPROVISE ONLY WHEN ASKED “If you show up unprepared to do what you are asked, it’s a fail. You’re auditioning for a band, so learn the drum parts exactly the way they are and don’t interpret anything. If you’re asked to do your own thing, be ready. But if you turn up only ready to play your own thing and they ask you to play how it is on the record, you’re screwed.”

MUSICIAN’S HANDBOOK :  DRUMS | 91

HOW TO PREP PREPARE ARE FOR A GIG

Failing to prepare properly for a gig is a surefire route to a sub-par show and a disappointed audience. Follow these simple rules to ensure you’re always ready to play the gig of your life PROMOTE THE GIG

the most important ways to spread the

PREPARE YOUR EQUIPMENT

There’s nothing sadder than playing to an

word and, ultimately, get people through

First of all, make sure you know exactly what

empty venue, so promoting your gigs well

the door at your gigs. A simple Facebook

gear you need for the gig. Whether that means

in advance is key. Of course flyering is still

event is not only free, it takes very little

an epic nine-piece kit with added percussion

a useful method of promoting your event

time to set up. However, you should never

and seven splash cymbals, or just a snare with

locally, but in today’s technological world

underestimate the power of word of mouth.

some brushes, it’s about having the correct gear

there’s no denying that social media is

So be sure to tell everyone you know (and

for the task at hand. It’s also important to make

king. It has undoubtedly become one of

even those you don’t) about your next gig.

sure everything is well maintained and ready for action. Packing spares is also a good idea. A few extra sticks is a given for any drumemr, drumemr, but even taking a back up snare drum is a rather wise move. After all, the last thing you want is to split a snare head mid-gig with no back up.

PREPARE BAND EQUIPMENT Once again, the type of gig will dictate the level of gear you need to take between you as a band. For instance, does the venue provide a PA system and perhaps even a soundman to go with it? Or is it simply a self-contained backline gig? Ensure that you find out in good time before

92 | MUSICIAN’S HANDBOOK :  DRUMS

GIGGING | PREPARING FOR YOUR GIG

Rehearsal is the time when you fine-tune your performance as a band

Work with the band on creating a setlist that flows dynamically and musically

the show, allowing enough time to plan all the

own first. Making notes or writing charts can be

let alone drummers, so they won’t be judging

logistics. Ask yourselves which band members

useful in helping you commit the songs to

you anywhere near as harshly as you might

are responsible for bringing what and write a

memory, memory, but it can also come in handy on stage

imagine. Also, if you’ve done your homework

checklist to ensure nothing is left behind.

if you’re struck by a blank moment (hey, we’ve

you’ll have nothing to worry about. Warming up

all been there). Having tempos recorded for

before you play is also really useful. Turn to p96

WORK ON A SETLIST

each of the tracks can be an absolute life saver,

to read our feature on tackling stage fright.

Much like a well-written song, a properly thought

especially when the adrenaline gets pumping

out setlist will flow dynamically and musically

and 90bpm starts to feel more like 50. Making

from start to finish, keeping the audience

basic recordings of the full band rehearsals will

WARM UP BEFORE YOUR SET BEGINS

engaged throughout. Whether you’re playing a

prove useful for running through the songs

Warming up your hands and even your feet

15 minute slot at a local battle of the bands or a

during your solo practice, too.

before you play is always a good idea. This is

two hour epic festival headlining show, be aware

good practice in order to not only fend off any dreaded RSI, but also to ensure that you play to

show and the level of audience interaction you

DON’T FORGET TO EAT AND DRINK

get. A common approach is to open the show

Basic nourishment is often considered a small

on stage. Start with some simple wrist and arm

with something particularly attention-grabbing

detail, especially when you end up preoccupied

stretches and progress to some rudiments on

or popular, then hold off another couple of your

with all the other aspects involved in getting

the practice pad. Don’t go all out, though – save

strongest tunes until near the end. Don’t forget

ready for a gig. Unfortunately, it can become a

your energy for the performance. This is a great

to allow room on the list for a good encore!

big detail once you find yourself amongst a

opportunity to get the blood circulating around

group of hungry, thirsty musicians. With this in

your muscles, preventing cramp from striking

REHEARSE REGULARLY WITH YOUR BAND

mind, it’s worth finding out what the band will be

during your all important drum solo.

With an important band gig on the horizon, it’s

you all rock up empty handed to a gig. At the

essential to make the most of your rehearsal time

least, a quick sarnie is a good shout, and a few

MAKE THE MOST OF YOUR SOUND CHECK

together. This means not getting distracted by

bottles of water to take on stage is a must.

Sound checks are rarely as long as you’d like

of how the overall arc of your set can effect a

the best of your ability from the moment you get

provided with as part of a rider (if any), before

 jammin  jamming g thro through ugh the lates latestt riff riff the the guit guitari arist st has

them to be, so being efficient with the time you

COMBAT NERVES

are given is not only incredibly important but a

your setlist and fine-tuning it. If you’re short on

In extreme cases, stage fright can be so

useful skill in itself. The better you can make the

rehearsal time, ‘topping and tailing’ each tune is

debilitating that it leaves the musician

stage sound, the more fun you will have and,

an effective way to tighten up the set and to work

completely unable to play. play. More commonly, commonly,

ultimately, ultimately, the better you will play. Resist the

out any transitions between songs.

though, it manifests itself as a nervous energy

urge to play through whole songs if time is tight,

that can be released once behind the kit. For

and really listen to your mix. If you have stage

PRACTISE ON YOUR OWN

those of you who find that nerves can hinder

monitoring of some sort, think carefully about

In order to make the full band rehearsals more

your performance, remember that the majority

what you would like to hear more or less of and

effective, it’s vital to put the prep time in on your

of the audience is made up of non-musicians,

make adjustments where necessary. necessary.

 just  just come come up up with, with, but but rath rather er workin working g thro through ugh

MUSICIAN’S HANDBOOK :  DRUMS | 93

MUSICIAN’S HANDBOOK: DRUMS

17 GIG BAG ESSENTIALS 1

WORDS: RICH CHAMBERLAIN PHOTO: JOBY SESSIONS

It's not just sticks you need to pack in your gig bag – avoid a nightmare come show time by remembering these must-haves

W

hen gigging, us drummers have enough to worry about, what with keeping the band on course, preventing the guitarists from drinking their body weight in beer, and ensuring we nail

2

that tricky fill in the third song. Needless to say, we need to turn up prepared. Taking it as read that you will arrive with a wad of sticks of different sizes and styles, there are 17 other key items you need to stash in your gig bag if you want to avoid injury, embarrassment, withering looks from your

frontman and... Oh, you know, all-round disaster on the night. Time to pack! 1

 TOWEL

4

TAPE

A towel is vital for wiping the

Ah, gaffa tape, a drummer’s

sweat from your brow and hands

best friend. Handy for all sorts

between songs. Additionally,

of things, including dampening

bringing a towel to gig is a sign

heads/cymbals, and strapping

of courtesy if you’re sharing a kit

endless cables to the ground.

with another band. After all, no

Don’t leave home without it.

3

4

drummer likes sitting on another’s sweaty imprint.

5

 PRACTICE PAD

Only fools head out on stage 2

 SUGAR SNACK

‘cold’. Whip your trusty pad out

That energy drink didn’t hit the

and run through a few exercises

spot, eh? Try a sugary snack for

before show time and you’ll be

a quick energy boost to see you

far more relaxed, therefore

through the rest of the set.

reducing the chance of injuries.

5

6 3

 TORCH

6

 LANYARD

So a cymbal topper flies off and,

For those gigs when you’re given

thanks to the lack of light on

your own stage pass, why not look

stage, it can’t be found. Sound

ultra cool and  professional by

familiar? Relax! Just grab your

popping it (along with a drum

torch and you’ll find it quicker.

key) on a lanyard? Sorted.

94 | MUSICIAN’S HANDBOOK: DRUMS

GEAR | GI GIG G BAG ESSENTIAL S 7

 HEARING

10  PLASTERS

13  PEN

AND PAPER

PROTECTION

That meaty shot intended for

Squinting at your smartphone or

Listen, we can’t overstate the

your snare instead connects with

peering through your cymbals at

importance of this one. Avoid

your finger – hello blood! Don’t

the guitarist’s setlist is far from

tinnitus by packing a pair of ear

hang around; stick a plaster on it

ideal, so pack a pen and paper

plugs for every show. Just do it!

to keep out the dirt and to help

and scrawl your own setlist or

your new snare head stay the

some last minute charts.

8

 MULTI-TOOL

colour it was meant to be. 14  DRUM

A Swiss army knife for drummers, handy multi-tools can help you

11  MOONGEL

KEY

Any drummer worth their salt

sort potential nightmares, such

This may be a bugbear for some

won’t just have one of these for

as your bass pedal collapsing

drummers, but when you’re in a

gigs, they’ll have one (or more!)

halfway into your first song.

tight spot with a particularly

about their person at all times.

unhelpful sound man, a spot of

And one in the stick bag. And

Moongel could be just what you

one in the glove box. And one...

need to sort your snare sound.

Well, you get the picture.

9

 SPARES

Hi-hat clutches and cymbal felts are surely the most elusive items on the planet. These suckers have

12  PHONE

CHARGER

15  CASH

disappeared more times than

Once you’ve used your maps

Not all pubs have made it to the

David Copperfield, so pack spares.

app to find the venue, done some

21st century, y’know, y’know, so keep

last-minute gig promotion on

some readies in your pocket for

Facebook and shared pre-show

those times when your debit card

pics on Instagram, you might be

is as useful as a chocolate teapot.

out of juice – and unable to film those mid-gig iPhone videos. And that is completely unacceptable.

16  SPARE

T-SHIRT

That sweat-drenched post-gig t-shirt stinks. Pack a spare to stay fresh and warm when your sweat turns to ice during load out. 17  DRINK

It might be cooler to neck a Jäger-bomb, Tommy Tommy Lee style,

17

but a bottle of water is key to staying hydrated during a performance. The sugar boost from an energy or isotonic drink 16

might also be a gig-saver.

15

14

13

11

8 9

10 12

7

MUSICIAN’S HANDBOOK: DRUMS | 95

MUSICIAN’S HANDBOOK: DRUMS

HOW TO TAME YOUR NERVES LA session star Mark Schulman shares his techniques for overcoming stage fright

  e   g   a    t    t   o    C    l   e   a    h   c    i    M    ©

L

et me start by saying that a little anxiety

looking inside myself instead of looking outside,

your attention on how nervous you are, what do

is good. It’s good to have a little bit

I laugh. If you can get yourself to laugh, all of a

you think you’re going to manifest? Change your

burning inside because it makes you

sudden you’ve cracked the stress.

focus. Besides, if you make a mistake once, it’s

hyper-aware. With that said, three core concepts form the foundation for all

Remember you’re relying on the work you’ve already done. Even if you’re super nervous,

a mistake. Make a mistake twice, it’s jazz! Here’s another trick: stop and be grateful for

top performance. These concepts are Clarity,

you’ll still be able to perform because you’ve

the moment. Gratitude is a muscle you have to

Capability and Confidence. Clarity is when you

done the work. Nobody is holding a gun to

exercise. Your mind can’t have a conscious

identify the goal and determine the skills you

your head. This fear is self-imposed. It isn’t

positive and  negative thought at the same time.

need to get there. That leads you to Capability.

real. Fear is False Evidence Appearing Real.

You can shift your conscious thought right in

You need to develop the Capability fully, without

You’re fine. You’re playing drums!

that moment. So if you’re sitting in the drum

any question in your mind that you have done

You can also project the experience as being

chair and you’re nervous, stop and shift; stop

everything you can. This means that when

successful, even before you do it. This specific

and get grateful. When I do that, it moves me

you’re sitting in the studio, or playing your first

technique is called visualisation. It’s another

away from anxiety and introspection that’s

club gig, you know you’ve done everything you

tactic I use, especially if I’m doing a gig that

harmful, to a point of creating endorphins and

can to prepare. That foundation leads you to

requires a little extra courage. Like when I

gratitude and that feeling of, ‘Wow! This is

Confidence, the state of being certain. It’s the

subbed for Matt Sorum in Velvet Revolver with

awesome, I’m playing drums.’ It’s easy to get

powerful result of Clarity and Capability.

no rehearsal at Ozzfest, co-headlining with

caught up in negative thought processes but

If you’re crumbling with anxiety, remember

Black Sabbath. If you want to try visualisation,

you can shift them.

why you’re there. When you perform, when you

picture yourself playing your gig, successfully,

communicate in any sense, you’re there to

connecting with the band, with the audience,

whether you have an audience of 50 or 50,000

change somebody’s world. You’re there to put

and having a ball; the grooves are feeling great,

people, the energy around you is affecting what

energy into your audience. So if you’re super

you’re nailing the punches. Shift your focus

you do. And it should because if you’re playing

anxious, who are you focusing on? Yourself.

away from the nerves and the stuff impeding

like you’re in your practice room, you’re not

Why are you doing that? Stop for a second and

your ability to perform and put your focus back

responding in a live environment. Instead of

look at the audience. Remember you’re there

 like into what it’s going to look, sound and feel  like

being afraid of the adrenaline, embrace it

to give everybody else an experience and to

when you kick ass.

because that energy is there. Why look at it as

 an share  an

experience.

This approach is very effective for me. When I remember that I’m being a selfish idiot again,

96 | MUSICIAN’S HANDBOOK :  DRUMS

When you’re playing live with musicians,

Even if you don’t believe in visualisation,

something negative? I approach everything with

believe in the fact that where attention goes,

an open heart and mind, as opposed to fearing

energy flows and results show. If you’re putting

what I can’t control and haven’t yet learned.

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I

t’s been 16 years since Coldplay released their debut album ‘Parachutes’. Back then, the band were fresh faced indie-rock sensations, riding high on the back of anthemic tunes like ‘Yellow’ and ‘Trouble’.

It was one hell of a splash-landing for the band, and a steep learning curve in particular for Will Champion, who could not call himself a drummer when he first joined frontman Chris Martin, guitarist Jonny Buckland and bassist Guy Berryman in the band. Fast-forward to present day and Will has become one of the world’s most accomplished drummers. Coldplay are now a stadium-beating band, with millions of fans the world over filling into amphitheatres, stadiums and arenas to enjoy the spectacle that is a Coldplay gig; a giant celebration of music and politics, studded with hit after hit, blasts of fire, volleys of fireworks and clouds of confetti. Behind it all sits Will, powering Coldplay’s songs with taste, chops and brutality as and when required, his hard-hitting style lending a real edge to the band’s songwriting, virtuosic musicianship and anthemic tunes. Of course, it’s easy to dismiss stadium-sized pop and rock bands as somehow requiring less technical finesse from the drummer, but it’s clear that Will has plenty in his arsenal. And, in the best traditions of song-drumming, it’s the space he leaves, in knowing when and when not to play, to support the songs. The orchestration of his parts, his faultless dynamics – in particular his use of cymbals – and powerful snare crack being exactly what’s needed to get the songs across in such huge venues around the world.

WILL CHAMPION COLDPLAY

So, what does it take to be the drummer for a band of Coldplay’s stature? We sit down with Will to find out... 15 years ago, you spoke about getting to a point where you needed to learn more technique to keep up with the rhythmic ideas you had in your head. How has that worked out for you?

“[Laughs] It went very well, fortunately! First, I’ve done a lot of practice since then. It was a

The modern drum hero powering the world’s biggest band reveals all about evolving his technique, the importance of playing what’s

steep learning curve, definitely, but there is no better place to learn than on tour. I think where I came a little unstuck initially was going straight into the studio. I found that difficult. I’d never been in a studio before. I’d played a few gigs

right for the song, and performing in the biggest

live but, I think, if you give a lot of energy in a

arenas around the globe

great technique. In the studio I think it quickly

98 | MUSICIANS HANDBOOK 

performance you can be forgiven for not having

INTERVIEW | WILL CHAMPION becomes obvious if you don’t know what you’re

people – are they enjoying it? If someone says,

rotating options. So we finalise the set and then

doing. For me it’s been years of touring, a lot of

‘Oh, he was a bit sloppy today’, as long as

soundcheck, making sure that, if there are any

playing and a lot of improving. A lot of watching

people are singing and enjoying themselves,

new songs we need to learn or anything we

other drummers, as we were playing with other

that’s what gets me going.”

need to polish, we do it.

How many of the band’s songs have

while, I’m definitely feeling a bit older – I used to

started with your beats or grooves?

be able to just bounce back from any night out,

Who were your early drum influences?

“The song ‘Magic’ came about from a thing that

but now I need to take care of myself a little bit

“Dave Grohl was always a wonderful figure to

Guy and I started. I write a lot of stuff on a piece

better. We’re getting more injuries and issues,

watch, to listen to and play with. He’s been a

of hardware called the Maschine, it’s like a

and it’s quite common I suppose for drummers

really nice guy to us and I’ve had many chats

drum programming module, so I just fiddle

– it’s such a physical thing. If you’re doing the

with him. Of late I’ve been doing a lot of

around. It’s easy to get ideas down, whether

same thing for the best part of 20 years, it can

programming as well, just trying to find new

it ends up being played on Maschine or it

take its toll. We’re lucky enough to have a

ways of presenting what we do because I think

becomes a demo for a live drum take.

physiotherapist with us – we all have different

“Because we’ve been doing it for quite a

bands, soaking up as much information and as many ideas as possible.”

we sort of morphed from being… I think we

“Sometimes we do an exercise where every

might have been called indie-rock when we

morning we’d come in, and Chris would come

my shoulder at the moment, so I try and iron

came out, and I don’t think we can be called

in about lunchtime, and we would spend a

that out and eat at the right time, and then do

that any more! So a lot of the people I looked to

couple of hours, the three of us. We’d call it

vocal warm-ups because I do a lot of singing.

for rhythmic ideas or inspiration were people in

musical gym: someone comes up with a

An hour before, singing warm-ups and then

urban music and hip-hop production.”

rhythm part, someone comes up with some

calm… A few stretches, making sure my

chords, someone comes up with some sort of

forearms are ready to go.”

ailments that need fixing! I’ve got an issue with

By the second album, ‘A Rush Of Blood

melody. It doesn’t matter whether it comes to

To The Head’, you’d all improved as

nothing, it’s just a way of flexing those muscles.

Some of your songs, like ‘Clocks’ or

musicians. Is it true to say you’d spent

I think if you just rely on the things you know

‘God Put A Smile On Your Face’ or

a lot more time on your technique then?

time and time again, it’s difficult to progress.”

‘Politik’, the beats are quite relentless.

“Definitely. I think it was honed over a huge

That must take a lot of stamina and put

amount of touring. It’s funny now when I listen

What tracks do you think show you at

a lot of strain on your wrists?

back to those records, on the rare occasion I

your technical best, or best ‘feel’-wise?

“Yeah, definitely. You get a build up of lactic

do... I can really tell what I was listening to, who

“I’m proud of the things where it’s boiled down

acid in your forearms and then you can’t grip

I was influenced by. Around the time of ‘Rush

to the bare essentials. I’ve never been one for

any more and start to lose control of the stick

Of Blood To The Head’, we started getting into

overly intricate patterns, so I consider it a

and you’re just holding on for the last beat,

Echo & The Bunnymen, and we started to get

success if I’ve managed to do as little as

between finger and thumb, when you can hit

into Neu!, Krautrock, and Kraftwerk – just

possible but make it convincing. ‘Viva La Vida’

the crash cymbal!

starting to sow those seeds. There was a lot of

is just a kick drum and a bell, and a little bit of

“I find that it depends on the pace of the

acoustic-y stuff and soft sounding rhythms on

timpani here and there, but it’s so simple. We

show. On the last big tour, the Mylo stadium

the first record, and on the second one we

tried many different things with that – four-

tour, there was something about the front five

discovered a way to play with more of an edge,

beats, rock beats, everything – but nothing

songs that annihilated me. Coming in cold and

but still getting the emotion of the song across.”

worked. So it was a case of you’ve got to strip everything away to its bare minimum. There

playing ‘Hurts Like Heaven’, which is quite fast,  just  just left left me strugg struggling ling.. I was always always playing playing

Would you say there’s a trade-off there

are so many intricacies on the violins and the

catch up from that. But this one, maybe ’cos

between more chopsy playing and the

melodies and everything, I just felt it had to be

I’m fitter than I was, I find the pace is less

showmanship needed for stadium gigs?

simple with no frills. Just support the song.”

demanding . And because we have a lot of the big numbers towards the end, I feel I’ve got

“There are elements to it – there’s less room for

enough left in the tank to do that justice.”

subtlety in bigger arenas. Having said that,

There’s There’ s a case to be made more for what

there’s a lot of stuff that we’re able to do now,

you don’t play in a song. On a track like

using drum pads and sequencers and things,

‘The Scientist’ you come in late but it’s

What about singing and playing at the

that provides a lot of nuance but with clarity.

really effective when you do.

same time?

That’s one of the great things we’ve discovered

“That’s my trademark: wait. Keep waiting, keep

“On ‘Viva La Vida’ I’m standing, whacking a bell

through our sound engineer: really boosting the

waiting, and then at the last moment possible

and timpani and a bass drum and singing at

kit with electronic samples and you can then

come in and steal the limelight at the end!”

the top of my range for the whole outro. That’s normally when I feel like, ‘Christ, that was hard

have power and clarity but with intricacies and a bit more detail. If I was to listen back to just

How do you prepare for stadium shows?

work!’ And it’s really lungs-bursting, but I love it.

my drum performance throughout a whole

“We [first] finalise the set. Maybe 80 percent of

I love putting that effort in because it translates

show, I’d be able to pick holes in it, in every

it is pretty much the same every night, certain

in front of people and they think, ‘He’s really

song, but it’s really about the end product. What

chunks of it that are in there, they just work.

going for it, he’s really giving it everything’, and

is happening in the stadium, with these 80,000

Then there are certain points where we have

that’s what makes a great show.”

MUSICIAN’S HANDBOOK: DRUMS | 99

MUSICIAN’S HANDBOOK : DRUMS

102 | MUSICIAN’S HANDBOOK :  DRUMS

RECORDING | INTRO

RECORDING

W

ith so many major advancements in technology, and the advent of budget hardware and

recording software, there’s never been a better time to record your drums – and all without the need to book an expensive studio and sound engineer. Learning to record drums is a great skill to have under your belt. It means that, whether you’re recording a session for a friend or cutting your band’s first demo, you can take greater control over your drum sound. Unsure where to start? This section is for you. We’ll guide you through how to set up your own studio, how to prep your kit for a session, and show you which mics you’ll need, all before taking you through the drum recording process. Are you ready for your first take? MUSICIAN’S HANDBOOK :  DRUMS | 103

MUSICIAN’S HANDBOOK : DRUMS

HOW HO W TO BUILD BUI LD YOUR OWN

DRUM STUDIO So, you want to record your drums. But where d  do o you plan on recording them? Whilst dedicated studios are a great option, they can be prohibitively expensive. Here we show you how, with a little outlay and the right space, you can build your own recording studio WORDS: PETE RILEY

RECORDING | BUILD YOUR OWN ST UDIO

A

s record and production companies continue to look for new ways to cut costs,

Being able to record in your own home studio is every drummer’s dream

sadly they become less and less willing to budget for musicians and recording time. However, constant advancements in digital

technology are making access to better equipment more financially viable for the artist or musician, in turn making setting up your own studio a realistic possibility. This will still require a sizeable investment of both time and money, however, and if done with a commercial incentive in mind it’s a good idea to assess how much paid work it will generate, otherwise you may find yourself with merely a useful yet expensive practice space. But, if you’re undeterred by the prospect of financial ruin and the taste of plasterboard dust, read on, as we’re about to explain what you should consider when building your own studio. no opening windows and a sheet of acoustic

He explains that a room needs to have both an

1 LOCATION

glass (comprising of two sheets of glass with

inlet and an outlet (if only one is used, the effect

The first consideration when contemplating

a thinner sheet glued inbetween) will work

will be similar to breathing against a plastic bag,

building a recording studio is where to build it.

incredibly well if installed and sealed correctly.

because the room needs to replace the air it’s

Most drummers’ studios are at home in an

pushing out). Only one of these needs a fan

outbuilding or part of the house itself, but some

3 THE DOORS

connected to it, though. Another important

rent space for their studio. If you are using a

Your studio will have at least one doorway to

consideration is to avoid putting these vents too

rental space, it’s important to consider how long

contend with and, like the window, this is

close to each other as they will only exchange

it will be yours for – after going to the effort of

another potential area for sound leakage.

the air from the same point in the room and not

soundproofing somewhere once, you probably

Simply using a heavy door can help, though

from the room as a whole.

won’t want to relive the experience for some

adding weight by building a regular door up or

time. At this stage it’s also important to consider

applying a layer of Sheetblok (a special vinyl

reasonable sized hole in your soundproofing

material designed to act as an effective sound

that will need an acoustic box built over it, one

soundproofing is for your particular situation.

isolation barrier) can have the same effect. You

of which will house the fan. These can be made

For example, if you want to convert a garage in

may also find it necessary to add a second door

from MDF and contain an ‘S’ shape duct within

your garden, you’ll probably be left with a

on the inside if results aren’t satisfactory. Either

it and lined with acoustic foam. These are then

reasonable space inside after soundproofing,

way, each door must seal completely when it

placed over the vent holes in the building, along

with minimal noise escaping. However, if you’re

shuts. While regular sealing strips are available

with some mesh to keep out unwanted crawly

looking to convert a room in a house or flat you

from DIY stores, there are sets commercially

things, and sealed. One final consideration is to

may have your work cut out if you want to play

available specifically for this purpose.

avoid putting the inlet vent where the sun

 just  just how how loud loud a drum drum kit is and how viable viable

without anyone hearing anything and, if the

Finally, in creating air vents you’ll now have a

shines, as it will pull in unwanted hot air during

space is small to begin with, you may find it

4 SOMETHING IN THE AIR

unreasonably cramped after soundproofing.

With all of the windows and doors sealed and

With a suitable room chosen, let’s consider

walls caulked and airtight, there is the small

5 A ROOM WITHIN A ROOM

some other important points…

issue of how you’re actually going to breathe.

Most soundproofing is done with the ‘room

Surprisingly overlooked by some, the supply of

within a room’ principle in mind. In other words,

2 LET THERE BE LIGHT

air into the studio is important, not only to avoid

a separate room is constructed within the

Daylight is such an important ingredient when

lapsing into unconsciousness mid-paradiddle,

original building, preferably having minimal

it comes to creating a nice place to work in, and

but also for the preservation of the recording

contact with it. To begin with, if space allows,

a lack of it can make your workplace feel like a

equipment, upon which moisture can collect.

running a new wall of high-density concrete

prison cell after just a few hours. It’s easy to

Adam Bushell, a tutor at ACM and a long-

the summer months.

blocks, mounted on thin neoprene (a type of

assume that blocking up windows is the only

term contributor to Rhythm  magazine,  magazine, has

synthetic rubber compound) so that the blocks

option when soundproofing a room, yet a

experience in acoustic engineering from a life

are not directly on the floor, internally is a great

combination of a single double glazed unit with

prior to his current stature in the drum world.

start. These can be tied to the outer walls using

MUSICIAN’S HANDBOOK: DRUMS | 105

MUSICIAN’S HANDBOOK: DRUMS acoustic wall ties and, once you have soundproofed the original roof using mineral wool placed between the beams and a couple of layers of plasterboard mounted on resilient channel, do the same thing again on a second roof mounted to the new internal wall. This should stand you in good stead. These internal walls can then have 2x2 timber attached vertically, again mounted on neoprene, and after pushing in 2"-thick mineral wool inbetween the studs, our two layers of plasterboard can be fitted onto resilient channel. Finally, all surfaces should be sealed with decorators caulk – a small hole in the surface, which can be caused by cracks around the surface of a wall, can compromise

A rug wrapped around your kick can augment the low-end of the bass drum

its efficiency by up to 50 percent. Fortunately caulk is relatively inexpensive. It’s a good job, too, as a garage-size space will require several boxes of the stuff.

6 YOU’VE GOT THE POWER It’s often assumed that power and lighting

DIFFUSION INVOLVES INVOLVES SENDING THE REFLECTIONS OFF IN DIFFERENT DIRECTIONS, BREAKING UP THE SOUND

cables should be run directly behind the new plasterboard walls. However, cutting out plug

being carried across. To float a floor, wooden

8 TUNING THE ROOM

sockets will actually destroy your carefully built

beams can be placed on rubber U-Boat

With the room finished and painted and the

soundproofing. Instead it’s recommended that

supports at regular intervals and, with neoprene

drums looking rather splendid in their new

all power is surface mounted using conduit or

strips inbetween, a chipboard floor can be

soundproof space, the next question is how do

trunking, or you could build out another area,

screwed on top. A simpler and cheaper solution

they sound? Here you may well find that the

using timber and plasterboard, specifically for

is to use PlatFoam to raise just the kit off the

reflective properties of the plasterboard make

light, plugs and power.

ground. PlatFoam comes in the form of long

for a rather unpleasant and harsh-sounding

strips of high density foam that can be laid a

room, which is not really what you want if you’re

7 THAT FLOATING FEELING

few inches apart with a sheet of plywood placed

going to be recording in there, and certainly not

People often talk about floating floors in relation

on top to create a floating riser. This can help

what you want if you’re going to be monitoring

to soundproofing a room. In essence, this is the

stop the bass drum shaking the building, and

and mixing in there either. Therefore some kind

same as we have suggested for the walls –

to clean up the acoustic sound within the room,

of room treatment may be necessary.

decoupling two surfaces to prevent vibration

rather like a large suspension mount for the kit.

This need not be expensive. For example, simply having the room carpeted and putting a

You need to consider acoustics and best positions for mics within your studio space

sofa at one end will probably help, but the chances are it’s the reflections off the walls that need addressing. This can be done by using a combination of two solutions, absorption and diffusion. Diffusion involves sending the reflections off in different directions, breaking up the sound, while absorption soaks up certain unwanted frequencies. This is where the old eggbox myth can be laid to rest – while their shape should make them good sound diffusers, their material isn’t reflective enough, and its absorptive properties are minimal at best. So, on your way back from the recycling centre to dispose of three tons of eggboxes, pick up some 2ftx4ft sheets of hardboard and make yourself some absorption panels using 1" slabs of mineral wool (the same size) placed

106 | MUSICIAN’S HANDBOOK: DRUMS

RECORDING | BUILD YOUR OWN ST UDIO

EASY HOME STUDIO TIPS 1 BOX CLEVER

Empty, closeable cardboard boxes can help clean up the low-frequency response of a room – they’re just closed volumes of air that will resonate at those key frequencies. The bigger the box, the lower the frequency. 2 BOOST YOUR BASS

A stiffish rug around the kick can augment the low resonance and ‘note’ of the drum and boost the bottom octave. It acts as a physical barrier, too, so you can wind in some serious top end on your kick mic without adding high-frequency high-freque ncy kit spill. 3 USE YOUR DUVET

Hang a duvet using cable ties on curtain poles, a few inches away from walls, to help diminish unpleasant reflections. 4 SHAKE SOME JELLY

No Moongel to hand? A square of jelly from your kitchen cupboard will be just as effective in helping to get that perfect snare sound. 5 GO NATURAL

A cube of edible jelly can work just as well as Moongel on your snare

over the top and some dustsheet laid over and tightly stapled from behind. These look better and will work when hung on opposite walls. If you’d prefer to invest in something ready made for job, try some Aurelex, ProFoam or

Stick a microphone in the bathroom or kitchen – bright and bouncy-sounding rooms – then record your drums in an adjoining room with the doors open.

Bass-absorbing treatment panels act on low-end frequencies to cut out unwanted reflections from the wall

similar. These types of companies make a range of products for studios and some even make room packs with all the different elements you’ll need for different sized rooms. As you’d expect, this comes at a price, but gives visually and sonically professional results.

9 ONE ROOM OR TWO? If this soundproof space is to be used as a recording studio and a practice room, consider whether to go for a one-room studio or to have a separate control room. It may seem obvious that a recording studio needs two rooms, one to record in and one to listen back in, but for drummers it can sometimes be easier to work in the same room as the equipment. One compromise in this situation is running a second computer monitor into the live room

Melatech high-density melanine attached to the ceiling will deal with high-frequency reflections

and using a wireless keyboard and mouse to control things. This way each room can be tuned to its optimum potential.

10 Rome wasn’t built in a day Building a studio can be a time-consuming process and you may encounter setbacks. It can be frustrating when the time ticks by and costs add up, but try not to lose sight of the fact that once it’s complete, the space is yours to create your own studio environment in. You will be free to play when you want without disturbing anyone and you can be as creative as you like. That’s got to be worth the effort!

MUSICIAN’S HANDBOOK: DRUMS | 107

MUSICIAN’S HANDBOOK : DRUMS

HOW TO PREP YOUR DRUM KIT FOR RECORDING Power up your drum takes with a little pre-session effort ust like with any other instrument,

J

takes you through all of the main issues

salt will have evolved a good fettled kit

drum kits aren’t always set-up for the

that should be ironed out prior to you

around them, but their playing ability might

perfect recording. recording. A more experienced

hitting the record button.

occasionally outstrip their ability to pay for

experience, but this guide will ground you

great, but if not you might want to consider

found a favourite snare or two, collected

in the basics of the drum session, speed up

borrowing one from a generous mate or

a few good cymbals, and will have set up

the learning process, and give you a feel for

even hiring one for your session. The same

their kit so that it feels right to play live.

how to get the kit tuned so that its sound

goes for drum mics – aim to get hold of the

wins through in the final mix.

best quality you can. A poor-sounding poor-sounding kit

drummer will have evolved and enhanced their kit; they may have

A drum kit will sound different in any

Of course there’s no real substitute for

room, and any song will call for a distinct

a good kit. If your kit works for you then

will sound exactly that on your recordings.

drum sound, so for every session you will

CHOICE OF KIT

need to fine-tune the kit and the room for

Just like with all instruments, the quality of

Gretsch, Ludwig, DW and Yamaha, and

that specific demand. Every aspect of the

manufacture has a huge impact on the

some makers are famous for individual

kit has to be addressed and this feature

sound it makes. Any drummer worth their

drums. For example, Noble and Cooley

108 | MUSICIAN’S HANDBOOK :  DRUMS

The better recording kits include

RECORDING | KIT PREP snares, Ludwig kick drums and Zildjian

tighten using a full turn on each opposite

keeping in mind that things such as a towel

cymbals. The Ludwig Black Beauty snare

tension bolt until the head is fully stretched

draped over the floor tom, or your wallet placed

is a truly timeless classic recording snare.

and cranked up and you can hear the glue

on the snare, will eliminate ring and produce a

A good drummer will have a selection of

cracking on the hoop, then leave it to

‘dead’ sound, as popularised by drummers

snare drums and cymbals, and the choice

stretch-in and settle. Repeat for each drum

such as Ringo Starr.

will be determined ultimately by the style

until complete.

of song you are going to record.

Turn the drums over to begin with the

It’s the job of the drummer and the

HEADPHONES

resonant head. Tap the head at each lug

Headphones are a necessary evil unless you

producer to make gear choices based on

and tighten the bolts until you get a

go all-out for a live-style recording with PA

how you want the end result to sound. Ask

consistent equal tone. Once done, turn the

and wedges and embrace the spill. But

yourself questions such as, ‘Does the song

drum over to the batter head and begin

considering how you might be recording at

need a deep fat snare or a high snappy

de-tuning. De-tune each lug by half a turn

home (or perhaps in a garden shed or

one?’ Make changes to suit. If you’re not

until the batter head is half a turn below

pod-style recording environment), that’s an

sure what sound you’re after, listen to some

your desired pitch, then gradually increase

unlikely scenario!

of your favourite albums to give you further

the tension until you are at your desired

inspiration. Maybe you want your drums to

pitch level. Remember that a higher-tuned

headphones and to avoid spill they should

sound big and boomy like John Bonham’s,

resonant head means a shorter, shallower

be of the closed-cup variety. The classic

or tight and crisp like Travis Barker’s, or

note. A higher batter head means a deep

studio headphone is the Beyer DT100.

even dry and punchy like Questlove’s. Questlove’s. The

note with long sustain and a good stick

They’re hardy and not too bright for

more you know and prepare in advance,

response. If they are both tuned the same,

high-volume listening. That said, there are

the less chance there is of you and your

you get a longer sustained and pure note.

better-sounding better-sounding cheaper headphones to be

band feeling disappointed with the end result.

DRUM HEADS

YOU REALLY SHOULD HAVE A GOOD IDEA OF WHAT YOU’RE GOING TO PLAY ONCE THE

Skins should always be brand new, or thereabouts,

Most drum sessions will be done using

had, particularly from the likes of Audio Technica.

KNOW YOUR PAR PARTS TS A lot of time can be lost during a

RECORD BUTTON IS PRESSED.

recording session because

THERE’S NOTHING WORSE

some band members aren’t

for a recording session. Drum heads soon lose life

completely clued up on their

after repeated beatings, so

THAN WAITING WHILE THE

individual parts. There will

make sure you have spare

DRUMMER TRIES TO NAIL A

always be the opportunity to

NEW FILL IDEA

recording if a part really isn’t

heads with you. Undoubtedly every

drummer has their favourite heads but, as

change something when you’re

working for the song, but you should have a

a general rule, coated heads record better

STICKS

solid idea of what you’re going to play once

– their tone is warmer and they still have a

Your choice of sticks will be determined by

the record button is pressed. After all,

good ‘skin’ attack. And although it’s always

the song you’re recording and the weight of

there’s nothing worse for the rest of the

a personal choice, two-ply heads tend to

playing required. A drummer should carry a

band than waiting around while their

sound much better than single-ply.

selection of weights and several varieties of

drummer tries to nail a new fill idea. Work it

Clear heads tend to be overly bright and

wooden sticks. You should have a feel for

out beforehand.

without body on the top side, but they work

which stick is required. For example, you

well for the bottom resonant heads where

may decide that a softer song requires

PHYSICAL PREPARATION

thinner is better. Once the new heads are

brushes or mallets. A good in-between

If you’ve never warmed up before playing,

installed, take time to ensure they are

solution are ‘hot-rods’, a bunch of thin

now’s a good time to start. You want your

properly bedded in. You can do this with

sticks lashed together that make a more

takes to sound natural and flowing. If

some playing and stretching so that they

diffused but clear hit. Or why not try nylon

you’re stiff and pent-up, your playing will

don’t lose their tune during the session.

tips instead of wood tips for more attack,

be rigid and lack life. Remember, this isn’t

or play with the butt end of the stick?

a gig so you won’t have an hour to get

TUNING

You could even arrive at a combination

warm. You want to be ready to go for take

With decent tuning and a good set of heads,

solution with a stick in one hand and a

one, so hit the practice pad first or do a

most drum kits can sound and record

brush or hot-rod in the other.

couple of run-throughs before you actually

brilliantly. brilliantly. Learn the basic principles of

record.

tuning, or get friendly with someone who’s

DAMPENING

in the know. Our basic rule of thumb is to

Moongel and gaffer tape are essential items for

night before, too, as you’ll be more alert

finger-tighten all tension bolts, working in

the studio to help dampen unwanted overtones

and less likely to tire out when the ninth

opposites. Once finger-tight, use a key to

and excessive ring. At this stage it’s also worth

take of track 11 comes around.

Get some decent sleep and eat well the

MUSICIAN’S HANDBOOK :  DRUMS | 109

MUSICIAN’S HANDBOOK : DRUMS Medium diaphragm microphones often sit in the middle, making them a good choice if you can only afford one pair of condensers. Condensers generally generally pick up more detail and often have an extended high frequency response. They have a high output level that makes them useful for recording quiet or distant items with a low noise floor, too.

Possible applications: Almost universal use (although occasionall occasionallyy they will be too sensitive for especially loud applications), including drum overheads, acoustic instruments, choirs, studio singing and dialogue, occasionally for guitar and bass cabinets.

RIBBON MICROPHONES Ribbon microphones were some of the earliest microphones developed, developed, starting at the mid-price range and ending almost at the top. They have

Want to know your ribbon mic from your condenser or dynamic mic? Read on!

the simplest electronic design: an actual physical ribbon. Ribbon microphones are typically

DRUM MICS Get to know the different types of microphone

C

figure-of-eight (they pick up evenly out of the front and the back), but there is an exception in the form of the Beyerdynamic Beyerdynamic M160, which is cardioid (front pick-up only). Two Beyerdynamic M160s were used exclusively to record the

onfused by which microphone does

as bass drum microphones. Bass drum mics

drums for Led Zeppelin’s legendary ‘When The

what in the studio or on stage? It’s

often have a built-in EQ to tailor the frequency

Levee Breaks’, so that might give you an idea of

understandable, as there are myriad

response, and additional protection from the

the tone of these beauties.

options when it comes to drum mics.

blasts of air inside a drum.

What you ultimately use depends on

These microphones do not require any power,

Ribbon microphones have an exceptionally natural sound, almos almostt like that of our own ears.

the recording scenario as well as your budget.

and they have a moderate output level, which

They are typically ‘darker’ than most condensers

Whether you want a basic three-mic rig or a

means they can be used on loud instruments

and, unlike dynamics, work very well at distance

brace of mics to capture a multi-tom kit in a

without a pad to reduce the level. They also work

from the source. They are, however, the most

large room, there will be options. Pre-packed

very well on close sound sources, but they aren’t

fragile of the three types – the ribbon element

mic sets, usually comprising at least mics for

great at a distance.

itself is extremely thin and sensitive to being

kick, snare and overheads, can be a great value

Possible applications: Close miked drums, kick,

stretched or even snapped by blasts of air. Air

entry point into the recording world, giving you

snare, toms, guitar and bass cabinets, aggressive

pressure is a different issue to maximum Sound

everything you need to get started, often at

studio vocals and live vocals.

Pressure Level (SPL). Some ribbon mics, such

reasonable prices. You can then add individual

as the Royer R121, are designed to withstand

mics to your collection as your abilities progress

CONDENSER MICROPHONES

the volume of a guitar amp, but don’t put it

and you require new sounds.

Condenser microphones often range from the

inside your bass drum!

So here is our handy guide to drum mics, the

vastly cheaper ‘back electret’ microphones, to

Use a pop filter wherever you think there

names you’ll hear regularly, and what each mic

valve-based valve-based microphones at the top of the price

might be air blasts. As long as they are treated

does. We also cover what to think about when

scale. As a general and unfortunate rule, the

with care, these microphones will last a lifetime

buying your first set, and highlight some of our

more you spend the better they sound. All

and, although fragile, the ribbon is inexpensive

favourites on the market that will help your

modern versions require 48v phantom power

to repair in contrast to other microphone types.

drum performances sound the best possible.

(supplied by preamp or mixer), with the

Ribbon microphones require the most gain from

exception of valve-based microphones, which

a microphone preamplifier, with the exception of

usually require an external power supply.

some modern ‘active’ designs that use additional

TYPES OF MIC DYNAMIC MICROPHONES

There are three different common variations:

electronics to boost the signal level.

These are relatively inexpensive, durable mics

small, medium and large diaphragm. In general

Possible applications: Drum overheads and

that can withstand high sound pressure levels,

terms, small diaphragm microphones are more

room mics, both brass and strings, anything

and hopefully the odd accidental stick hit.

neutral, accurate and fast. Large diaphragm

harsh that needs smoothness, three-microphone

There are many dynamic microphones on the market, some tailored to specific purposes, such

110 | MUSICIAN’S HANDBOOK :  DRUMS

microphones are often more flattering for vocals or when a less precise pick-up is desired.

 jazz  jazz drum drum reco recordi rdings ngs,, and and also also for for captur capturing ing vintage-sounding recordings.

RECORDING | DRUM MICS

SAVE, SPEND AND SPLURGE! MICS FOR EVERY BUDGET SAVE

SPEND

SPLURGE

S

GEAR 4 MUSIC FIVE-PIECE DRUM MIC SET

£74.99

SONTRONICS DM RANGE

FROM £119

LEWITT DTP BEAT KIT PRO 7 MIC KIT

FROM £999

Here’s a pocket-friendly five-piece set that retails for less

Pricier than our budget offerings, but worth the investment

If Lewitt mics are good enough for Adele’s drummer they’re

than many single microphones. This no-frills, cased

if you’re recording regularly and want consistently great

good enough for us. This particular pack might represent a

selection of robust mics features two condensers for

results. The range covers the large diaphragm DM1B for

significant price leap, but the range of mics on offer – four

overhead use and three dynamics for kick, snare and

bass drum and the response-tuned DM1S and DM1T

dynamics, two overheads and a dual capsule bass drum

toms, that excel at capturing the natural sound of your

models for snare and toms respectively. Blends well as a

mic – are sturdily built and produce undeniably great

drums. Ideal kit to have as you begin your journey into

set and captures a clear, full bodied up-close picture of

quality audio, whatever the recording scenario.

the world of drum recording.

the drum kit.

MXL ESSENTIALS DRUM

AUDIO TECHNICA ARTIST

RECORDING KIT

FROM £43

MXL’s two-mic pairing puts the emphasis on quality over

AND ELITE SERIES

FROM £260

SHURE DMK57-52 DRUM MIC KIT

£578

The ATM250DE kick drum mic features two mic capsules

Shure’s DMK57-52 kit is a compact four-piece

quantity. The kit comprises a large diaphragm A-55 Kicker

(dynamic and condenser) in a single body, set up in

microphone set with another classic at the head of the

bass drum mic and a 606 condenser for snare and other

‘perfect phase’ for a punchy, focused kick sound. The

table. The Beta52A kick drum mic is a neutral, modern

kit elements. With a couple of decent overheads they would

AE3000 for toms or snare provides clarity; the ATM350 is

mic, well suited to rock, pop and indie styles. It’s

cover most situations. At the time of press the sets were

designed to fit into the tightest of spaces around your

matched with a trio of trusty SM57 dynamic mics for

sold out, but mics can be purchased individually.

snare or toms, providing a beefy, rounded sound.

toms and snare, plus mounts for all.

SAMSON 7 KIT

AKG SESSION 1

BLUE MICROPHONES

DRUM MICS

£229.99

MIC SET

£249

DRUM KIT KIT

£1,899

Included in the kit is five dynamic and two condenser mics.

These Session 1 mics include a P2 kick and two P17

That price may be mind-boggling, but pick yourself up off

The five dynamic models are for close miking and

overheads. However, instead of three P4s (as in AKG’s

the floor for a minute and we’ll explain. Less is more with

dedicated to bass drum, snare and toms (x3), while the

discontinued Groove Pack), this set has an additional

this trio of studio orientated microphones aimed at

condensers are for cymbal and overhead duties. Each mic

P4 microphone offering increased kit coverage and

drummers wanting to join the three-mic school of legends

turns in a decent performance and, in the case of the kick

better value too. An excellent roadworthy set that

like Moon, Bonham and Mitchell, and boy do they do it

and condensor mics, delivers pro-level performance.

provides much more than just sound reinforcement.

with style. Results are natural and crisp.

MUSICIAN’S HANDBOOK :  DRUMS | 111

MUSICIAN’S HANDBOOK : DRUMS

THE EAS E ASY Y GU GU I DE TO

RECORDING DRUMS Everything you need to know to get the best from both drums and drummer for that all important kit recording session. From sticks and skins to mics and miking, it’s all here in this definitive guide

A

lthough at first it might not seem

component: the drummer. That might be

like the case, recording drums

things easier, but for this guide we’re

you, but for this feature we’re assuming

is actually surprisingly easy.

recording at home and turning our DAW

you will be recording another drummer.

Admittedly, it’s often the sound

into a drum studio with nothing more than

of a badly recorded kit that

a basic set of microphones, an audio

efforts will be wasted. So first make sure

interface and a set of headphones.

they know how to tune their kit, hit well,

makes an otherwise great track sound like a ‘demo’, but if you follow some simple rules, you can avoid the painful pitfalls.

112

A posh recording studio would make

| MUSICIAN’S HANDBOOK :  DRUMS

Apart from the recording gear, the drum kit and the room, there’s one more vital

If the drummer isn’t up to scratch, their

and can play with a click. Ready to go? Right, let’s get some mics on your kit!

RECORDING | EASY GUIDE TO RECORDING

A spot mic placed 1-3" above the head is the usual way to mic a tom

Different mics can suit different kick drums, so it’s worth experimenting

MIKING THE KIT

frequency peak for the boom and a high

between the bell and edge and away from

There’s no ‘right’ or ‘wrong’ way to place

frequency peak for the click. Because these

the snare drum as much as possible to

mics on your kit, but follow these guidelines

peaks are at slightly different frequencies,

restrict the snare spill. Back in the ’80s

and you’ll be on the way to getting a pro

different mics suit different bass drums, so

when isolation was everything, you would

sound...

it’s worth trying different options if you can.

often find rugs hung on a mic stand arm between hat and snare mic as further

BASS DRUM

HI-HAT

The orthodox position is on the non-pedal

The bright crispness of the hi-hat is usually

side of the bass drum about level with the

best captured by a condenser microphone.

TOMS

rim and slightly off-centre. Some drummers

Great choices include the AKG C451 and

A spot mic on each tom is the orthodox way

cut a small hole out of this head for the mic

C414, and the Rode NT5. Neumann pencil

to go. Position in a similar manner to the

to get a look-in, while others don’t use a

mics in the KM range are also great if you

snare drum, a couple of inches above the

head on this side at all.

can get your hands on one.

skin and just inside the rim, directed at the

Bass drum mics have an exaggerated low

Keep the hi-hat mic as much away from the snare drum as possible to avoid snare spill

Place it four to six inches above, half way

anti-spill measures.

centre. The rack tom always suffers from

Overhead condenser mics capture the overall kit sound and cymbals

MUSICIAN’S HANDBOOK :  DRUMS | 113

MUSICIAN’S HANDBOOK : DRUMS

Room mics will pick up the room’s natural ambience and add both character and colour to your kit sound

Overheads won’t always pick up the ride, so place a spot mic over the cymbal

snare spill and all toms suffer from cymbal

place them six to eight feet above the floor

capture the brightness from the buzz of the

spill, but generally toms aren’t used much

either side of the kit and angled down to the

snare wires. Place it close to the skin and

so they can be gated out after the event.

very centre of the playing area.

directly at the wires. Spill from the bass drum is a problem despite the fact that you

OVERHEADS

ROOM MICS

can safely roll-off the low frequencies, so

To capture the top of the kit in general and,

A microphone or two to pick up the general

try and angle away from it.

more specifically, specifically, the cymbal work, a pair of

room ambience is vital to add colour and

condenser mics are used over the top of the

character to the overall sound of your kit.

RIDE CYMBAL

kit. They’re useful for providing a coherent

A pair of room mics can be processed

Depending on the drum part, be prepared to

picture to the whole kit, into which you can

heavily and just added in slightly to the mix

put a spot mic on the r ide cymbal because

place the spot microphones. Without them,

to give it the required energy levels, as well

their detailing tends to be out of the

the kit is a disparate bunch of unconnected

as reinforcing the sense of space. A single

overhead’s earshot. The choice of mic is

sounds. For good results, use a matched

mic works fine but for best results try a pair.

similar to the hi-hat and is placed between

pair of the best condenser mics you can lay your hands on. Depending on the height of the ceiling,

Snare mics should be positioned 1-3" above the head pointing to the centre of the skin

Ribbon mics are popular here, and have a mid-range character that brings the best out

the bell and edge, and as far away from tom spill as possible.

in a room. Good condensers and valve mics are also up to the job. Start in the middle of

BEFORE YOUR FIRST TAKE

the room with the pair equidistant from the

To start with, get the drummer to hit each

kick drum. The brighter condensers and

drum individually for a while. This will also

valve mics fare better nearer the ground to

get the drummer warmed up. Consider

lessen the impact of bright cymbals. Ribbon

whether you’re hearing the drum at its best.

mics work well around head height or lower.

Does it sound the same as it does in the room? Could the microphone position be

SNARE

better? Dial up a rough record level, bearing

Placing the snare drum microphones can

in mind the drummer will hit it a lot harder

be tricky for a couple of reasons: firstly, firstly, you

during a live take. Use EQ to improve the

want to avoid as much spill as possible from

tone once you’re convinced the mic is

the hi-hat mic. Secondly, it’s hard to weave

definitely in the right place. This can be

the mic stand in between rack tom and

done on the way to ‘tape’ if you’re blessed

hi-hat. A good starting position is one-to-

with good EQs, but otherwise it’s generally

three inches above the head, just inside the

better on the playback side. The same

rim pointing into the centre of the skin. Angle

goes for compression – you can’t undo

it away from the hi-hat if you can and below

bad compression, so instead leave it to

the level of the rack tom rim.

the playback side.

A microphone placed underneath the snare (phase inverted) is a great way to

114

| MUSICIAN’S HANDBOOK : DRUMS

Once you’re happy with the individual drum sounds, get the drummer to play

RECORDING | EASY GUIDE TO RECORDING

STEP BY STEP GETTING A GREAT RECORDING

1

Plug the mics into your audio interface. The overheads go to inputs 1 and 2 and will need 48-volt phantom power (unless you’re using ribbon mics – in which case, don’t touch

2

Get the drummer to beat the hell out of the drum kit. They always play louder on the actual takes, so don’t worry about getting too hot a signal – having the highest peaks

that switch). Bass drum in and out go to inputs 3 and 4, while snare top and bottom go to 5

spike at around -5dB is a good target. There is something to be gained from clipping, but not

and 6. The ambient (hopefully a condenser, so requiring phantom power) goes into 7, and the

on the way into the interface – keep it clean!

floor tom mic into 8.

3

Once your levels are sorted, it’s a good idea to run a test take to check for silly mistakes and any uninvited hum, hiss, clicks or crackles. You can also use the test recording to

4

Insert a trim or gain plug-in into each of your eight drum channels. Bring up the first kick mic, followed by the second. When the two are balanced, try inverting the phase on the

check the phase of the microphones and ensure a fully-fat sound on playback. Even though

second kick channel (the button labelled with a circle with a diagonal line through it). Leave

the theory of phase is complex, the practice is easy.

the button set where the sound is best.

5

6

Now turn down the kicks and bring up the overheads, panned centre. Try inverting the phase of one of them. If the overheads sound fatter with just one channel phase inverted,

Balance in the top snare mic and switch the phase to whichever setting sounds fattest with the kick and overheads. Bring up the bottom snare mic and set the phase to the

leave it like that. Bring the kicks back in and blend them with the overheads. Change the

opposite of whatever the top is set to. Repeat this process with the floor tom and ambient mics.

phase on both the overheads now, then leave them set at wherever the kick sounds fattest.

This is quick ’n’ dirty, but now you’re set to record.

MUSICIAN’S HANDBOOK :  DRUMS | 115

MUSICIAN’S HANDBOOK : FINAL DRUM TWEAKS While the drummer plays the kit, listen for buzzes and rattles. If, for example, they’re not using a rear skin on the kick drum, the loose lugs can rattle and these might need to be quickly taped up. Listen for squeaky kick drum and hi-hat pedals and be r eady with the WD40. Check with the drummer that they’re using Moongel can be placed on toms and snares to dampen ringing and unwanted overtones

all the drums. Any that are not being used should be taken away or damped with a cushion or something similar, so they don’t

on the whole kit. Check levels and balance the kit for monitoring purposes. Make sure

need to dampen the drums at all. For snare drums, O-rings are great. Take

add to the general resonant hum of the kit. Although you will prepare everything

there aren’t any odd noises and the whole

an old snare head and cut around the edge

thoroughly before you set up mics and start

thing feels consistent. Record a bit of their

at the point where it starts to curve up to the

recording, all the previous factors (drum

playing and let them hear it so you can

rim. Then cut a concentric circle about an

choice, heads, sticks, tuning, damping, and

discuss the sound and its merits for the track

inch inside the first, leaving a circular ring

so on) are all flexible and open to change,

you’re about to record. Be prepared to make

which you simply place directly on top of the

right up to the last recording take. The

changes to any of the above factors. Now is

drum head without adhesive. It works well to

ultimate consideration is to the song being

the time to experiment and evolve the sound.

cut down the ring if that’s what you want.

recorded, so although one set-up perfectly

It’s unlikely to come good just like that.

In the old days of pudgy dead snare drums,

suits one song, you might have to re-

you’d even find dusters and tea towels taped

approach the kit set-up for another to get the

across a section of the snare head.

sound you want at source. Don’t fall into the

DAMPING Once the kit is in tune, listen to the drummer

Kick drum damping again all depends

trap of thinking that one sound covers all

playing the whole thing. You’re listening out

upon the particular kick sound you’re after.

and you can fine-tune it in post-production.

for how the drums interact with each other

For the more common, tight and punchy

The source sound is king.

and, in particular, the ring of the toms, the

kick drum, a pillow or even a cushion placed

liveliness and ring of the snare drum and the

inside the drum, lightly against the front

CLICK TRACK

boom and tightness of the kick drum.

head, will suffice.

Click or no click is always a big point of

Invariably, Invariably, some drums will ring unpleasantly

Lessening the damping will increase the

debate. The decision should take into

despite not being hit and will therefore

after-boom. If you want a very boomy kick

account the needs of the song, the

require dampening. How much is partly

drum, as in jazz, for example, you can use

drummer’s ability and the feelings of the

down to the liveliness of the kit and r oom

the tom approach with gaffer tape and toilet

producer and the band. The results are

and partly down to the sound required.

tissue to shape the tail. Drummers with

always very different, so the decision

double-headed kicks often mount a strip

shouldn’t be taken lightly. Using a click

of felt on the inside against the back head.

track always makes editing so much easier,

A product called Moongel is a useful tool. These little squares of blue jelly can be placed on toms and snares to dampen the ring. By lightly touching around the outer edge of the top skin, and at the same time hitting the drum, you’ll hear a sweet spot where the decay is just right – that’s where you should put the gel. There are, of course, other alternatives to Moongel. You can also use gaffer tape, for example, and rolled up toilet paper on the same sweet spot, but it takes more time to put on and to take off when you want to try another spot. Gaffer tape is necessary to dampen the bottom head if you want to do that, either over wads of toilet paper or concertina’d into three or four fins that hang down and absorb the resonance. Damping the bottom skin is good for that thuddy ‘duf’ sound that often goes in and out of favour. Bear in mind that for an ambient live kit sound you may not

116 | MUSICIAN’S HANDBOOK :  DRUMS

Check the kit for buzzes, rattles and squeaks that the microphones could pick up

RECORDING | EASY GUIDE TO RECORDING

STEP BY STEP SETTI SE TTIN NG UP U P A ROUG ROUGH H LIVE LI VE MI MIX X

1

Although you won’t create your final drum sound until the mixdown, you will need to get your mix half-decent for recording. Here’s some CPU-friendly

2

Next, insert a room reverb over the second aux return, set to around 0.6s Decay time. Compress this and then add a harmonic distortion effect like

advice to help you get it right: create two auxiliary sends and returns from the

SPL TwinTube. TwinTube. This artificial space will help the kit sound more ‘finished’ while

ambience track. Insert a delay plug-in over the first return and set the L and R

you’re tracking – and a more exciting sound will make your drummer play

Delay times to 30ms and 60ms.

better, so everyone’s a winner.

3

4

Take your individual drum channels and the two new aux returns and set their outputs to a new buss. Create a new aux return for this buss and call

You should now have five or six ‘master’ faders, making it easy to create a good working balance and hear the drums properly in context. You can also create a

it ‘Kit master’. This is your main drum channel. Now create two or three more

separate sub-mix for the drummer by adding aux sends to the master faders and

busses and returns for the rest of your recorded track stems (guitars, bass,

routing them discreetly to the headphones output. To minimise latency, you will need

vocals, and so on).

your audio interface buffer size to be as small as possible.

but that shouldn’t have a bearing in the

always starts at the same point on the click.

screen them off, great. If they’re playing

debate. If you decide to use a click, establish

For example, tell them to hear one bar of

electric instruments you can DI them. A

with the drummer the best sound for them to

click, stick hit the next, and then come in

guide instrument on the room and overhead

latch onto, the interval (quarter-note, 16th

on bar three.

mics is a no-no. This is all fine up to a point if

note, etc) and level of accents for downbeats.

you’re planning on doing some live takes, but

You don’t want to be hearing the click in the

GUIDE TRACKS

not for something that isn’t going to appear in

control room, so route it out of a discreet

The drummer’s going to need something to

the final mix.

output. You also don’t want to hear strains

drum along to if you’re not doing a full band

of click spill on the drum overheads as the

live recording session. For getting the best

connection and have other players in another

cymbals decay at the end, so always try to

performance, you can’t beat playing along

room and everyone on headphones. If you’re

map the click with automation, turning it

with other people, ideally with a visual

using a click track, you can fir st record the

down in quiet sections and off on the last

connection. With other players in the drum

guide parts initially in the room with the

beat. That means making sure the drummer

room you have to think about spill. If you can

drummer and then re-record the drummer,

You can always resort to just an aural

MUSICIAN’S HANDBOOK : DRUMS | 117

MUSICIAN’S HANDBOOK : DRUMS

TRY THIS!

overdubbing to those guides. Not ideal for

GET A CRAPPY MIC

performance but it works well.

Tape recorders used to come with built-in condenser

BOTTOM HEADS ON TOMS

or electret microphones. Put one of these old

ESTABLISHING EST ABLISHING TEMPO

machines into record/pause mode and take the

The best way to do this is to get the band to

Wherever there are two heads, there are three

output into your DAW for an exciting, super-crunchy

play free until you have the right feel and

possibilities. If you tune the bottom (resonant)

sound. Sometimes, rubbishy old battery-powered

capture the tempo from that performance.

head of a tom to the same pitch as the top (batter)

mics can sound good too. Put these types of mic

You can usually do this on the tempo

head, you’ll get a purer tone with more sustain –

in a place where they can hear the whole kit. The

counter of your DAW, but if not there are

perfect for jazz and its derivatives. If you tune the

corners of the room can offer some interesting

plenty of phone apps that do it.

resonant lower, lower, you get a slight pitch drop-off and

results, so have fun and experiment!

If the natural playing speeds up and slows down through sections, you’ll have to

less decay – great for rock. Tuning the resonant

carefully program the click to do the same.

great for close miking. A good starting interval for

RECORD WIT HO HOUT UT CYMBALS

the difference in pitch between heads is a minor

Recording a drum kit in a ‘difficult’ space without

worked out in rehearsal, as it can take

third. Ie, three semitones either way.

ideal equipment can be a fruitful and rewarding

some time. As always, it’s best for

experience, but you might still feel that your results

musicians to rehearse and settle into the

FRONT HEAD ON THE KICK OR NOT?

sound amateurish. One of the classic drum sound

performance before recording begins.

The front (resonant) skin on the kick drum is

the best of studios, and when it does, the pros just

MAKE SOME ROOM

important for creating a good, meaty tone. Jazzers

record the crashes afterwards. That way you can

Before you hit the record button, you need

love it, and most rock/poppers have a hole cut in

bring up all the exciting roominess of the drums

to prepare your session. Working with a

it to allow microphones and any dampening

themselves in the mix, then blend in perfectly

sprawling production featuring 20 tracks of

material (a small blanket, say) to be placed

recorded cymbals afterwards. As long as they share

backing vocals and tons of plugins is going

inside. For metal styles, where you’re mainly

the same buss compressor, no one will ever know

to mean complications down the line. By

higher shortens the decay further, which can be

This is the sort of thing that would be best

problems is too much cymbal spill. This happens in

looking for click and thud, you may as well just

(although your drummer will absolutely hate

bouncing down the key elements of your

remove the front head so that you can get a mic

playing without cymbals).

track as new audio files, you can unload all plugins from the session. This will prevent

right in on the beater point

TIGHTEN THE KICK DRUM

ESSENTIAL GUBBINS FOR A TROUBLEFREE DRUM SESS ION

latency problems so that the drummer will hear everything right in his headphones and there won’t be any complicated latency

It’s possible to create

Get some Moongel for

compensation processes happening

a little kick drum

damping, 3-in-One oil

somewhere in the background.

chamber using,

for squeaky pedals, and

You should aim to end up with a few

blankets, duvets or a

a drum key (because the

bounced ‘stems’ – guide drums, bass,

coat. These are

drummer will forget

guitars, keys, vocals. Make sure they all

draped over the kick

theirs). You’ll also need

start on bar three or later, so that you have

drum, and any

an adjustable spanner

at least a couple of bars of count-in. The

microphones are

for rattly stands, some

click or guide drum loop can be MIDI-

placed in and in front

gaffer tape for holding

triggered or printed as audio. These few

of it. Use a couple of

stuff, masking tape for

tracks then need to be turned down to

small mic stands to

attaching damping

around -15dB, leaving plenty of headroom

hold the blankets up.

materials and the like,

for the click to be heard by the drummer

The chamber prevents

plus empty cigarette

over the backing track and the drums.

spill from the cymbals

packets and J-Cloths for

and snare getting into

that ’70s sound. Some

LET’S RECORD!

the kick drum mics,

old blankets, stage

You should now be ready to press the

making it easier to

weight or sandbag and

record button, safe in the knowledge that

boost the high

 Japa nese cooki ng

you have the sound of the drums nailed.

frequencies at the mix

chopsticks could also be

Of course, there’s a whole bunch of stuff

stage and thus

handy – they’re great for

to do post recording to turn the raw drum

enhance the

those tom parts!

takes into a mixed kit. First, we need to ensure we record everything we need.

‘clickiness’ without adding harshness from the cymbals.

118 |  MUSICIAN’S HANDBOOK :  DRUMS

3-In-One oil is handy for getting rid of unwanted squeaks

There’s nothing worse than putting up your drum recordings, long after the drummer has packed up and left, only to

RECORDING | EASY GUIDE TO RECORDING

GET ORGANISED

Do a test take to make sure every part of your kit is recording as it should

10 TOP TIPS FOR RECORDING A DRUM KIT

1

Once you have got all your drum tracks, recording levels and playback processing

sorted, save the session as a template so that you can import it as a starting point for other songs in the drum session.

2

Group the drum tracks together so that you can duplicate them or create a new playlist

with one click and keep the session flowing.

3

If you’re using a click, try to ensure the

4

Do one or two takes then have a playback

drummer always starts at the same bar.

to discuss sound, parts, performance, and

so on. It will also give the drummer an objective view and a breather.

5

Continue with a couple of takes at a time, followed by a playback, until you’re happy

that you have all of the parts available for a

find that the bottom snare mic hasn’t

keep your takes sorted, and make notes as

recorded or that your middle section has

you go as to what each take was and why you

click track from the headphones spilling all

did it: ‘Take 4, felt beater instead of wood’,

over it. That’s why a test take is important.

‘Take ‘Take 9, keep hats closed’, etc. Ultimately you

6

Here are a few tips on how to get the most

may find it best to edit a selection of different

drummer feeling as fresh as possible.

out of the session...

parts together to build the perfect take.

GET LOTS OF TAKES

RECORD SINGLE HITS

Without going overboard, the more you can get

At the end of your drum session, record

the better. If possible, use folders or playlists to

individual hits of each drum and cymbal at

compilation edit.

7

Always offer encouragement, positive feedback and advice, and keep the

Listen out for things like energy, tightness, groove/feel and fills.

8

Don’t be afraid to try big, brush-stroke

almost anything after the event – invaluable

9

Always remember that you can overdub

for moments when the drum stool creaked

cymbal crashes and hi-hats.

different volumes. Allow plenty of time for

changes if things aren’t working.

toms to ring and cymbals to decay. These backup components can help you repair

additional drum parts, such as tom fills,

and ruined an otherwise perfect take.

PREPARE TO BUILD A MIX Once you’ve got your recordings, you need to

10

Keep an ear on the foldback mix and suggest any changes you think could

help the drummer’s performance.

get the drums sounding killer in the mix, so get the session well organised. Work with your stem session to start with, then bring the rest of your multi-track back in. Organise the key elements of the mix into auxiliary busses, and bring them all down to -10dB. As a rough guide, your kick drum should be metering between -12 and -7dB. This will Ensure your gear is in working order and well tuned before recording

leave you with loads of headroom to build a punchy drum sound without clipping your master outputs.

MUSICIAN’S HANDBOOK : DRUMS | 119

MUSICIAN’S HANDBOOK : DRUMS revenue streams. Being able to mimic the sound

Session work is rewarding, but you will need high degrees of musicality and time efficiency to gain such work

and feel of a particular drummer is often the job of the studio musician. Taking the time to study the different drummers that may have played with a particular band is essential, as the show may span music over several decades. Using the correct equipment and your knowledge of tunings to capture the essence of a band’s sound is important, but remember: when you go on the road, larger amounts of equipment means more expensive transportation costs and therefore less money to split between musicians and artists.

ORIGINALS BAND At the highest level, the daily schedule of an original artist can be exhausting. We’ve all seen the glitzy reality shows on prime-time TV with impresarios like Simon Cowell, but few consider the immense marketing machine that operates in the background. Artist management plan and work their artists hard to maximise the record

MAKE MONEY

PLAYING DRUMS Want a career behind the kit? There are many roles out there, starting with these key jobs in the industry

company’s return on their investment. A tour with such an artist will be equally intense for a sideman. Musicians Musicians need to perfect both their musical and interpersonal skills in order to compete at this level – and the competition is fierce. As a drummer you will need to be able to copy grooves, feels and sounds that are on the album, or those of your predecessor. Being able to communicate with other musicians, stage managers and sound- and lighting engineers is

MUSICAL THEATRE

In the studio, time is money and producers are

also important. Having a working knowledge of

This job is the musical equivalent of a 9 to 5

working to ever-tighter budgets. Musicality is one

what they do can save a lot of time.

office-based job. Some of the UK’s top session

of the key skills needed for this work, as you may

musicians can be found in the many pit bands

have to compose your own drum part for a song.

FUNCTION BAND

and orchestras of the glamorous West End.

This will require you to listen to the track and

The main buzzword for any function band

Those musicians lucky enough to land these

come up with a complete performanc performance e using

musician is ‘versatility’. ‘versatility’. Being able to cater to

positions have found job security in what is an

your experience and expertise. Versatility

different age groups and religious and social

ever-changing music industry. The ability to

is another key skill. If you only play one style of

backgrounds is key to maximising a function

sight-read music fluently is a necessity, as is a

music you could be limiting your employment

band’s business. As a drummer, this can be

good control of dynamics and a wide knowledge

opportunities. Equipment is another thing to

challenging but a great opportunity to further

of different musical genres. Any one show may

consider, as being able to create different sounds

your musical knowledge. Many of the different

contain elements of 1920s Vaudeville, swing,

and textures is very important. Most session

skill sets you develop when playing function gigs

drummers have a variety of different drums and

are transferable to other areas of the business,

music. The ability to follow a conductor is a

cymbals to help them to paint the appropriate

such as session work and shows. With this gig,

prerequisite prerequisite of the job and a tricky thing to learn

musical picture. Finally, being able to work with

you must be aware of your acoustic environment.

at times. Just like with other industries, evolving

clicks and sequencers is another key skill. You

If you play a gig in a conservatory, for example,

technologies are changing the way we now work.

need to have good time for studio work and a

make sure you adjust your dynamic accordingly.

As a theatre drummer you will need to be aware

majority of sessions will use a click.

If your audience are plugging their fingers in their

 jazz,  jazz, rock, rock, funk, funk, pop, pop, regg reggae ae and other other world world

of, and have the ability to use, electronic kits, sequencers and click tracks.

ears, it generally means your drums are too loud!

TRIBUTE ACT

It’s also a good idea to familiarise yourself with

In recent years there has been a prolific rise in

various elements of music technology.

STUDIO/SESSION DRUMMER

the number of touring tribute acts. There is no

This is a job of endless variety and challenge for

denying that this sector of the industry is big

DRUM TEACHER

those equipped with the skills. You need to be

business and it supports many self-employed

Teaching drums can be extremely rewarding and

self-motivated, focused and very time efficient.

musicians who include it in their portfolio of

a great learning experience for both teacher and

120 | MUSICIAN’S HANDBOOK : DRUMS

CAREERS | student. Getting good, skilled advice from an

MAKE MONEY PLAYING DRUMS Karl Brazil has made a successful career backing pop artists including James Blunt and Robbie Williams

experienced expert in any field is something that people pay good money for. Running your own teaching practice or lecturing in a music college can add another income stream to your portfolio of skills as a freelance, self-employed musician. Your focus as a drum teacher should always be on your students’ learning. You will need to be able to educate, inspire and motivate them, and to identify any problem areas in technique and musicianship. You may also need to give honest advice on gigging, recording, equipment choice, careers and more. You must have excellent communication communication skills, too – being able to explain a topic in a number of ways is essential, as not all students have the same learning needs.

SOLO ARTIST Drummers spend the majority of their time in a supportive role to other musicians. For a drummer to take a lead role and move to the front of the stage requires a host of skills that need just as much practice. Lionel Hampton and

grooves with good internal dynamics seem to

world’s major music fairs. These instrument

Gene Krupa are just two drummers who have

transfer well to those used in moulding the sound

shows give manufacturers and distributors the

brought drumming to the forefront and exposed

of a recorded or live performance. With all of the

opportunity to dazzle potential customers, and

a wider audience to the wonders of rhythm.

advances in modern technology, home recording

the media, with all of the latest offerings from

Thanks to advances in technology, it’s possible

is now possible on a fraction of the budget of a

the music manufacturing industry. In order to

for a solo drummer to play and trigger an

professional studio. This has enabled many

convince the buying public to part with its cash,

accompanying band. To suceed as a solo

musicians to hone their producing skills. Live

product demonstrators demonstrators are hired to show off the

musician you need a sizeable talent, discernible

sound mixing obviously uses similar skills to

latest products. This job requires both excellent

sound, an identifiable image, a good business

those used in the studio environment, but with

communication communication skills and an in-depth knowledge

approach and the determination to suceed.

more emphasis on analogue equipment such

of the product being exhibited. Obviously you

as traditional mixing desks.

need to be more than competent on your given

DRUM TECH

instrument to display the features of the product.

If you’ve been to any big gig recently you may

RESEARCH AND

And it’s one thing to play drums in front of an

have seen the drum tech line-checking the

DEVELOPMENT

audience, but another to talk to them. Public

drums. His or her supporting supporting role requires

Percussion manufacturers update their drums,

speaking is an art in itself and worth learning.

different skills. When embarking embarking on a tech’ing

cymbals and hardware regularly to keep pace with the ever-changing needs of today’s

CUSTOM DRUM BUILDER

artist expects from you. Having a good working

drummer. Fashion and music trends change

Most of us drummers will, at some point, display

relationship relationship and open dialogue can make the

and these can dictate the needs of the market.

a degree of obsession about the gear we use,

tour a breeze. If you have ever had a friend set

The R&D geniuses are to drum manufacturing manufacturing

with build quality, materials and finish being top

up your kit, you’ll know that they will invariably

what Q is to James Bond. These are the people

of the list of reasons to spend thousands on our

get it wrong. Your job as a drum tech is to get it

responsible for bringing us new developments in

instrument. For many, custom-built drums are

right every time. As a trusted drum tech you also

drum and percussion hardware and accessories. accessories.

the answer to finding a high quality, personalised

have a duty of care to your artist; to be there with

You only have to look back 20-30 years to see

instrument. But for those equipped with the

that extra bottle of water when they need it, or to

the improvements made in hardware and to be

perfectionism required to build drums, it is a

leap into action in the event of an emergency.

thankful for the huge skill and ingenuity of R&D.

fulfilling career. For any competent musician,

Ie, a broken drum head or even a stage invasion.

A good understanding of engineering and the

a basic understanding of the mechanics of our

manufacturing manufacturing process is essential when it

instrument is required in order to understand the

comes to realising a product idea.

different sounds it can produce. But building

 job you you will will need need to find out early early on what what the the

SOUND ENGINEERING Dave Weckl and Simon Phillips are two of the

your own drums is different to building them to

many successful drummers who use their skills

PRODUCT DEMONSTRA DEMONSTRATOR TOR

order. A more in-depth understanding of the

and experience of producing and engineering to

Easily recognisable with their headset

physics of a drum is required in order to meet

great effect, both live and in the recording studio.

microphones and access passes, product

the demands of musicians with a multitude of

As drummers, the skills we develop to create

demonstrators can be found at many of the

needs from their instrument.

MUSICIAN’S HANDBOOK :  DRUMS |

121

MUSICIAN’S HANDBOOK : DRUMS

128 TIPS

 LAND THE GIG

 BY GLEN SOBEL (ALICE COOPER) BE COOL “Half COOL “Half the game in this business is being a cool dude. You have to be able to play, but you need a good ‘hang’ factor. You can’t be phoney, but the cool dudes get the gigs. LA is a very image-orientated place and you have to look the part. But, there are so many bands out there now, there’s a lot of parts to fill.” TURN UP PREPARED “What PREPARED  “What does ‘impress’ actually mean? Does it mean chops? Probably not. I show up prepared,

FROM THE PROS

over-prepared. If they send me the demo I’m going to chart

From getting great drum sounds to playing

GET KNOWN “You KNOWN “You have to know people, else who’s going

a perfect shuffle, and from tuning drums to

to do things that might be free or low-paying, and there’s there’s

it all out. Or if we’re deciding what to play on the day I’ll turn up with paper and pens so I can make cheat sheets. People see that dedication and see that you’re taking it seriously. If you get it done quickly they’ll call you next time. You can’t waste people’s time. People hate wasting time in the studio – they just want to get it done. I’ve worked with some impatient producers where they want it fast or never.”

to vouch for you? You need to get out and play. You have

auditioning and more, here star players share

jam nights, too. I always talk about the ‘bro hook-up’.

advice that every drummer needs!

through a friend I’ve played with or done sessions with.

Every touring situation that’s happened for me has been There’s There’s been auditions but I haven’t landed a lot of gigs

W

e all need help from time to time. Over the years, our sister publication

through the cattle-call auditions. People wonder why

Rhythm  has  has prided itself on being the place where all the world’s greatest

certain guys get gigs and it’s because they’re in with

drummers are willing to share their wisdom and advice with their fellow

those guys. People ask how you get gigs and I say, ‘How

sticksmen and stickswomen. Over the next several pages, some of our

did you get in your first band in high school?’ I bet it’s

favourite artists dispense tips and the benefit of their experience, in

with friends and that continues well into your career.

everything from performance and gear maintenance, to tuning, technique and more…

Network online and get some videos on YouTube. When

 GET A KILLER KICK SOUND  BY JOEY JORDISON (VIMIC)

what to do.’ Then I’ll go in and again, almost there, and I usually get it on the third or fourth try.”

EXPERIMENT “I don’t want to give away all my secrets, EXPERIMENT “I but I experiment. A lot of it has to do with your engineer,

GET A GOOD BOUNCE “I BOUNCE  “I don’t tune too high but I do have

mic placement and type of mics.”

a good bounce off the head. It’s usually about three good cranks in all the way around and then I back off a little bit

TUNE IN THE MIDDLE “I MIDDLE “I like to tune about middle of the

and that’s it. I don’t like to tune up and keep cranking it

road. I don’t like to tune too high, it starts to sound like a

because then your ears can play tricks on you, so I usually

basketball and I hate basketball kicks. I use Powerstroke

get it too high and start backing it off until I find the sweet

3s with the Flam Pads, and torque it up to about three

spot. It’s like how you tune a guitar and you crank the string

hard turns all the way around on each lug and then go

up and then bring it back down to stretch it out.”

from there. Usually I tune a little lower or a little higher, it depends on the song and the conditions of the studio,

KEEP IT RESONANT “I like a resonant head. I don’t

the heat. It’s about where the air is sitting, what the

tighten that much, I have it almost the same as the

climate is like outside... All that.”

batter,, probably another torque up, each lug, for batter resonance – for sound and tone. I never take the front

LISTEN “I sit there and get it to where I think I’ll like it, play LISTEN “I

head off. It’s too boxy sounding. The resonant head is

for a little while then go in the listening room, ‘Okay, I know

a major part of your drum tone.”

122 |  MUSICIAN’S HANDBOOK : DRUMS

Get a good bounce off the head, advises Joey Jordison

TIPS | ADVICE FROM THE PROS  WARM UP RIGHT BY TRAVIS BARKER (BLINK-182)

I can. I drink lots of water. A protein shake every morning. Once in a while I’ll slip and get off my vegan diet and have egg whites in the morning.”

USE HEAVIER STICKS “I STICKS “I do different exercises on the kit: paradiddles between my hands and feet, singles, to a

GET CONFIDENT “I’m CONFIDENT “I’m probably at fault for warming up too

metronome. I play with marching sticks before we go on

much. I’ll play the entire set one time before I go out there.

stage. Then I’ll get my sticks five minutes before I go,

That’s good, though. It makes you feel confident and

just so I don’t pick them up and they’re like toothpicks.

comfortable because you’ve already done it all.”

Back in the day I’d sit with a practice pad, but it doesn’t get your feet going. It doesn’t get the motions going.”

STRETCH “I always try to give 120 per cent. I don’t play STRETCH “I comfortably if I’m tired or if I don’t feel well. That’s

GO TO THE GYM “I GYM “I try to do an hour of cardio on days off,

always my goal, to make sure my stamina’s up and that

30-45 minutes on show days. I have breakfast then hit the

my chops are up. My kit is kind of uncomfortable – my

gym. If I’m in a hotel with a 24-hour gym, that helps me sleep.

cymbals are really high and my drums are low. These last

I’m so wired after a show I can’t sleep straight away.”

shows we’ve been playing for two hours, so it’s good to be prepared for it and not get half-way through a show

EAT RIGHT “I’m RIGHT “I’m vegan so I stay on that diet as much as I

and find I’m aching or my arms are tightening up.

can while I’m out here. I juice a lot, I get as much protein as

I also stretch a lot.”

I recorded with Alice in Nashville last year I didn’t

tour. At festivals we have rental gear but I have to specify

uncomfortable. Back in the ’70s, studios had their own kit

actually meet him. When he needed a touring drummer

everything that I use, right down to the little details.”

already there. That made some drummers uncomfortable

Make sure your stamina is up, says Travis Barker

I was recommended and Alice said he needed to see me; he needed his drummer to be flashy. So they pulled up some YouTube clips and Alice said, ‘That’s the guy.’”

GET AN ENDORSEMENT  BY JOHN FRED YOUNG (BLACK STONE CHERRY)

and it never made sense to me. The most important thing

 RECORD YOUR DRUMS  BY BOB ROCK (MÖTLEY CRÜE, METALLICA PRODUCER)

is to be comfortable.” COMMUNICATE “A COMMUNICATE “A drummer needs to say to an engineer, ‘This is my sound, come out and listen to me play and listen

LEARN FROM OTHER DRUMMERS “I DRUMMERS “I started doing this in

to my kit.’ You need to do that and then get your sound.”

1976 and back then everything was very dry and dead sounding. It was all taped down. Then the drum sounds

PLAY IN A JAZZ BAND PLAY  BY EVAN JENKINS (NEIL COWLEY TRIO)

GET PLAYING “Companies PLAYING “Companies look at young artists and want to

opened up in the ’80s and ’90s. By recording a lot of great

see where they will get their exposure. Are you playing clubs?

drummers, you take a little bit from everyone. Simon Phillips,

Are you playing arenas? You don’t have to be on an arena tour

I did a record he played on and he came in and I had never

to get endorsements, but you do have to be playing and

recorded a double-headed kick. I scratched my head and

PLAY WITH THE BAND “Really BAND “Really listen to the musicians around

getting your name out there. If you’re practising in your mum’s

Simon said, ‘This is what you do.’ He showed me to put a

you and try to be sympathetic to what they’re playing. If you

basement, put a camera up, film yourself and put it on

mic here and a mic there, and I took that from the session.”

can’t hear somebody, you’re probably playing too loud!”

band but have made themselves very well known because

LISTEN TO EXPERTS “The EXPERTS “The first thing I learnt from [engineer]

LEARN TO PLAY QUIETLY “I found it difficult at first to get the

they’re on YouTube.”

Bob Clearmountain was to double-mic the toms, putting

volume down and have any sort of control over the sticks.

mics on the top and the bottom. Before then I had always

Stick Control  book I did go back to the Stick Control   book and spent a bit of

NETWORK  “It’s  “It’s all about making good relationships. A good

struggled with toms, and Bob basically took an exaggerated

time trying to play as quietly as possible while looking at

way to start is to become good friends with guys in bands,

version of what The Beatles had done with two mics and an

my technique a bit as well. It’s harder to groove at a quiet

especially if they play similar products to those you like. I got

overhead and that became the New York sound.”

volume! It’s just practice, I guess.”

the Kentucky Headhunters, and my friend Chad [Szeliga] who

TUNE THE KIT “You KIT “You need to learn to tune your drums. That’s

KNOW WHEN TO RAMP IT UP “In UP “In a piano trio with an

is in Black Label Society. You need to start networking with

the biggest thing. When I started, we would tape drums to

acoustic bass, you have to rein it in a bit. Live, there’s more

other musicians.”

get rid of the ring. To me that didn’t make sense because the

chance to cut loose a little bit more. I don’t really come from

drummers that I liked, which was [John] Bonham, Ian Paice,

that gospel chops school of drumming, though there is the

BE LOYAL “You LOYAL “You don’t want an endorsement with something

Keith Moon, Ginger Baker, they all had open sounds. What

odd moment where collectively we get heavier. We try and do

you don’t like. All of the stuff I play is stuff I’m happy to put my

you learn, and this is why I use Ross from the Drum Doctor

it as a trio, rather than saying, “Here you go, Evan, go crazy.”

name behind. You need to go for the companies that you really

in LA, is because he can tune so well. I can get a great drum

Live we tend to adapt things, so often we’ll decide to open a

like. Don’t just say, ‘Man, I will take whatever I can get.’ Once

sound in 20 minutes now because I know the mics that

section of a tune up a bit.”

you get a deal you need to keep your relationship with that

work. So if you have a tuned drum, you’re ready to go.”

YouTube. I know a lot of drummers that haven’t been in a big

my Zildjian deal through the help of my dad, Fred, who is in

CHOOSE YOUR KIT WISELY “Try WISELY “Try to think about your cymbals

company going. Loyalty is key. The more you support the company, company, the more they are going to support you. They will

BE COMFORTABLE “Whatever COMFORTABLE “Whatever your style is, you need to

more as colours, rather than whether they are a crash or a

expect to see their brand name out front when you’re out on

get an engineer to capture that and not make you feel

ride cymbal, as a dark spot of the kit or a light spot of the kit.

MUSICIAN’S HANDBOOK : DRUMS | 123

MUSICIAN’S HANDBOOK : DRUMS

BE A GREAT SHOWMAN  BY TOMMY LEE (MÖTLEY CRÜE)

special. If you just have flash all the time, people will

MAKE YOURSELF SEEN “When SEEN “When I saw a guy like Tommy

WORK ON IT “I’d IT “I’d take a snare and drum stool outside in

Aldridge playing, whenever [he] did a solo, a lot of the

the back yard of my parents’ house and have a trash can

audience would leave. That freaked me out. This guy is giving

full of sticks and keep hitting the snare. They kept going

it everything he’s got and nobody is getting it! I realised this

over to the neighbour’s neighbour’s yard, one hit me in the face, and

guy was sat behind an enormous set of drums, you couldn’t

one day it went up and down and I caught it. That was

see his hands or feet, just sticks blurring. That inspired me

another dimension to my playing.”

think that is all you have.”

to play the drums so the audience could see. That’s when I started tilting the drums and flying them over the audience.

THINK LIKE A FRONTMAN “Deep FRONTMAN “Deep down, I think I always

All of a sudden, everyone paid attention. You have to make

wanted to be a frontman. I think you can see that

your movements grand. It won’t look as big as you think from

from my playing style and the antics I pull off.”

the back of the room. When in doubt, overdo it.” KEEP IT MUSICAL “I’ve MUSICAL “I’ve always tried to make my solos DON’T BE ALL SHOW, NO GO “You GO “You need to find a balance,

musical. Listening to a drummer pounding on the

you don’t want to be just known for the flash. It’s a fine

drums for ten minutes isn’t that exciting. If there’s

balance between doing the two and creating something

a cool bass line ripping around, now it’s musical.”

That will open your mind up a bit more as you’re playing.

have to mentally practice to not hit so hard in the first few

you’re hitting the rim, you really need to crack it out between

Tuning your drums is also important. I try to tune them in a

songs because you’ll run out of steam. Be conscious of that.

the shuffle on the snare and the ‘2’ and ‘4’ with the

musical way. In jazz you can afford to tune your drums a bit

If I ever feel myself tensing up I’ll lay back. It’s a matter of

rim-shot. It sounds great when you get it right. It’s a

higher in order to get different sounds out of them. Think in

focus. If you have 30 songs to get through, you can’t be on

fantastic pattern.”

melodies rather than rhythms. Try and think of little tunes in

fire on all of them so you need to pull back.”

Make your solos musical, says Tommy Lee

RIDE IT “I IT “I mainly stick to the main part of the cymbal.

your head if you’re soloing.” PRACTICE “Before PRACTICE “Before a tour I always go into the studio and

Sometimes you might play the shuffle just on the bell but

PLAY TO YOUR AUDIENCE AUDIENCE “Sometimes  “Sometimes you can feel the vibe,

practise as hard as I’m going to hit on the first show. When

not with the shoulder of the stick, just the tip. If you use the

that people are relaxing back a little bit more, and be a bit

you practise at home it’s always lighter, so it’s good to get

shoulder on the bell it becomes a bit of a mess. If you use

more chilled. We’re lucky that we can mix it up a bit on the

into that. I practice at my parents house because they

the tip of the stick on the bell it sounds nice.”

spot. We can look at the set-list and say, ‘Forget this tune,

soundproofed the garage when I was in junior high, and

we’re going to do this one.’ There’s a lot of scope for mixing

they live ten minutes from where I live now. I have a

DO YOUR HOMEWORK  “I  “I grew up listening to all the old blues

it up during the gig.”

five-piece pad kit in my house that I use on a daily basis

guys from America; Sonny Freeman from BB King to the guys

and then, when I really want to play, I go to mom and

who played with Muddy Waters. I saw Aynsley Dunbar playing

dad’s. Plus it’s nice to say hi to mom and dad!”

a shuffle in the ’60s when he was in a band called The

BE A PUNK ROCK DRUMMER

 BY BROOKS WACKERMAN WACKERMAN (BAD RELIGION)

Retaliation. I was really influenced by that era. I was a big PLAY A GREAT SHUFFLE

blues guy. Still am.”

 BY BRIAN DOWNEY TAKE IT SLOW “You SLOW “You have to take everything slow. If you’re

PLAY TIGHT FUNK GROOVES  BY PETE RAY BIGGIN (PBUG)

aspiring to become a punk drummer, our tempos in Bad

GET THE BASICS “I BASICS “I normally keep a shuffle going on the kick

Religion are definitely up there. The reason I don’t tense

simultaneously with the ride cymbal and then play ‘2’ and

up is because I spent hours practising hard before I got

‘4’ on the snare. With Gary Moore, I was playing a double

FIND YOUR FINGERPRINT FINGERPRINT “Groove  “Groove is number one. You can’t

into this band. I take it all at a slow pace and build it up.

shuffle (on the snare and on the ride cymbal and keeping

teach feel, you have to find your own. You need to find your

A lot of stick control and technique, just going through

fours on the bass drum), so there are all sorts of ways of

own fingerprint, everyone has a different fingerprint and

basic rudiments.”

playing the shuffle.”

everyone should sound different. It’s good to find your own. It’s fine to copy other drummers, sure, but that’s not your

WARM UP “I UP “I warm up before I go on. I stretch for about 20

CONTROL THE VOLUME “A VOLUME “A double shuffle is great but you

fingerprint. Everyone has a different laugh, a different tone

minutes. I don’t want any leg cramps or anything like that.”

need a bit of space. The band can’t be playing too loud for a

in their voice. You need to find your individuality.”

double shuffle to work. Gary Moore was a fantastic guitarist STRIVE FOR CONSISTENCY “Be consistent with your hits.

but sometimes he used to get a little loud, so I’d have to

KNOW YOUR ROLE “The ROLE “The main thing to do is just hold it down

You don’t want your kick to be softer than your snare and

struggle to get the snare to come through the monitors to

for the band. You can still play, but you have to keep the time

tom fills. I’m obsessed with keeping everything even. It’s

get the ‘2’ and ‘4’.”

and groove nice for everyone else in the band to talk over.”

CRACK IT OUT “Sometimes OUT “Sometimes I just hit the skin and other feels

GET GIGGING “I GIGGING “I did all of my practising and technique stuff

I’d hit the rim. It all depends on the feel we’re going for. If

when I was young, but how I got my funk grooves was just

easier on our sound guy as well.” BUILD YOUR STAMINA “It’s STAMINA “It’s all about pacing yourself. You

124 |  MUSICIAN’S HANDBOOK : DRUMS

TIPS | ADVICE FROM THE PROS through gigging and working with better players than me that

come across your head. But because I move so much, the

I look up to because they help me progress. Let them speak on

whole thing wobbles so I could never find it! The simple mic

their instrument, rather than playing over them.”

on the left is the only thing I don’t break or feel stupid with.

Spend a lot of time where no one can hear you practice, advises Jen Ledger

Sometimes I have a hard time getting fills on the bottom tom LISTEN TO THE MASTERS MASTERS “Check  “Check out guys like David

and still keeping my face to the left, but no one will notice!

Garibaldi [Tower Of Power]. There’s a guy called Richard

I just have fun up there. I really enjoy playing with my whole

Bailey [Incognito] who I looked up to when I first moved to

body and feeling the music, and I don’t want to get locked up

London who is another great funk drummer. Also, any of

by, ‘The mic’s got to be over here.’”

 James  James Brown Brown’’s dru drumme mmers. rs. Jeff Jeff Porca Porcaro ro was was funk funkyy, and and Dennis Chambers. You also need to listen to all of the

DON’T OVERCOMPLICATE IT “When IT “When we’re writing for the

musicians you look up to and take their advice. Listen to

record I’ll just think of drums. On our recordRise  I I pushed

advice, watch people, go and learn.”

myself and did more interesting fills and tried to be a bit

practice drums because I’d just seen Taylor Hawkins play.

more creative. I push myself with the drums first, then

You always pick up on things other people do. We played a

DON’T BE SCARED “I SCARED “I would never be afraid to make mistakes.

I figure it all out later. Then I go and lay down the vocals

festival in Germany and the guy from Letlive had some cool

If you’re playing in a security blanket you’ll never progress. If

separately, and then I’m like, oh my gosh I have to figure

stuff he was doing. It’s great to listen to new music and get

you’re not scared of making mistakes you’ll learn from the

out how to do these both at the same time – why did I push

inspired. Don’t Don’t just think, ‘I like rock music so I’m going to

mistakes you make. If you’re on a little gig in a wine bar and

myself on the drums because now I have to do harder drum

listen to rock music’. That’s so closed-minded. There might

you want to do a double pedal solo, that’s probably not the

parts with harder singing?”

be a Katy Perry record you love. We played two shows with

time to do it! You take something from each gig, think about what you said wrong that night, then don’t do it again.”

Katy Perry and her drummer was one of the best drummers KEEP YOUR CHOPS UP

I have ever seen. He plays traditional grip and was just

 BY DAN FLINT (YOU ME AT SIX)

absolutely phenomenal.”

SING BETTER WHILE DRUMMING  BY JEN LEDGER (SKILLET)

PLAY TO A CLICK  “Always  “Always play to songs and use it as a click

GET YOUR SPEED UP

track. There’s no point practising just to yourself. It’s really easy

 BY GEORGE KOLLIAS (NILE)

PRACTICE IN PRIVATE “Spend PRIVATE “Spend a lot of time where no one

to speed up or slow down, so if you’ve always got something to

& PAUL MAZURKIEWICZ

can hear you practice. For me, I had to spend a lot of time

reference you that’s great.”

(CANNIBAL CORPSE)

roommates at the time and they could hear me figuring it

GET ON THE PAD “I PAD “I wake up in the morning and sit there

DON’T FEAR THE METRONOME Paul: METRONOME Paul: “We’ve been using a

out, wailing downstairs. It’s embarrassing. Try to do it in

with a practice pad just doing rudiments. You’ll get the

metronome for almost eight years now for writing and

private if you can!”

muscle memory through that, even if it’s just single-stroke

recording. I got so used to it that I like to use it on the

rolls or doubles or paradiddles it’ll keep your hands moving.”

songs that we’ve recorded to the click, because really what

learning what limb goes with what syllable. I had some

BE COMFORTABLE WITH THE MIC “My MIC “My sound guy and my tour

a difference that makes in keeping it consistent. The

manager tried to push me to do those little in-ear mics that

GET INSPIRED “It’s INSPIRED “It’s great to go out there and get inspired by

come across your face, and I just felt like a Britney Spears

other drummers. I was at a Foo Fighters show and even

wannabe and refused to do it. They also tried those mics that

though I got home at five am, all I wanted to do was go

SET UP RIGHT Paul: RIGHT Paul: “It’s all those little things that you need

NAIL YOUR DRUM SOUND

kit. I thought, ‘I’m going to use four mics – kick, snare,

 BY SIMON PHILLIPS

overheads.’ You pick up the whole thing. Where that falls

metronome is not going to lie.”

down is if you are doing music that has layered guitars DON’T BE A THICK HEAD “I’m HEAD “I’m baffled at the way that

and keys. If you’re playing with one guitar, bass, vocals,

most kits sound when I hear them at gigs; when I hear

an organ, you can make that work beautifully.”

the other band and the way that the drums are tuned, especially the bass drum. Using these very thick heads

DOUBLE YOUR KICKS, DOUBLE YOUR FUN

takes so much volume and tone out of the bass drum.”

“The problem with using a double pedal on one bass drum is that if you’re playing 16th notes on a single

LET THE TOMS RING “I RING “I don’t use dampening at all. I use

drum that head is having to work very quickly. It

Ambassador Clear heads. They ring like crazy but they

doesn’t get a chance to recover at all. If you split it

have a lot of volume. When recording, you don’t need

between two drums, you’re only playing eighth notes

the mic gain so high so it’s not going to pick up all the

on each, so it has more time to resonate, to speak

sympathetic ring if it’s tuned properly. We don’t have to

and to recover.”

tune to notes. What matters is, it sounds like one kit and the drums are kicking out the same volume and tone.”

TOUCH THE DRUMS “You have to be able to get the drums to speak. Look at Bill

Get the drums to speak, says Simon Phillips

MIC FOR THE MUSIC AND THE DRUMMER “I DRUMMER “I once had

Bruford. I’ve tried to tune drums like him but I can never get

Charlie Watts in the studio. We got him an old Gretsch

the sound he gets out of a snare. That’s down to touch.”

MUSICIAN’S HANDBOOK : DRUMS | 125

MUSICIAN’S HANDBOOK : DRUMS PLAY A PURDIE SHUFFLE  BY BERNARD PURDIE

the notes. You have your eighth notes, dotted notes, 16th notes, quarter-notes, quarter-notes, whole notes and half notes, yet it’s the intensity of where and how you’re playing it. It has got to be

LISTEN FIRST “So FIRST “So much music has been recorded with

smooth and the notes all have to stay in proportion and make

the Purdie shuffle, and it’s a good feeling. It’s still

that feel happen.”

amazing to do it, and to watch people do it, and I’m very proud, because all the drummers in the world have to

BEND THE RULES “We RULES “We all mix things up. That’s one of the

learn it. A good example of the Purdie shuffle on record?

best things that can happen. Jeff Porcaro’s ‘Rosanna’ beat

Listen to Steely Dan’s ‘Home At Last’ or ‘Deacon Blues’.”

was the Purdie shuffle turned around to be on ‘1’ instead of ‘2’. The one thing you can’t do is play really fast, otherwise

GET IN THE ZONE “Don’t ZONE “Don’t worry about warming up. You just

you lose the groove and the feel. It’s medium-tempo. Play it

gotta go to it, and do it. You need to play the Purdie shuffle

in half-time. Play in quarter-time. Play it in whole. It’s all

with ease and finesse or it’s not gonna come out right.

about just letting it flow.”

Relax, because you gotta play on top of the beat, right on the beat, and behind it – at the same time.”

WRITE YOUR OWN “I OWN “I got it from the locomotion of the train. I lived right behind a train-track, so I used to listen to all

START COUNTING “All COUNTING “All your limbs are going at the same

those sounds and put them all together. I didn’t actually

time, so it’s about counting and allowing the rhythm to fall

know what I was doing, it was just something I liked. This

into place. It’s a two-bar phrase and you gotta cover all of

is what I was doing when I was seven years old.”

to be a speed drummer, like tightening up the kit, making

day. You You should play along to songs as well. If you play along

out of your time on the kit?’ The answers to those questions

sure your movements are very accurate and fluent and yet

to a fast Slayer song you will get more into it than you would

are probably no. The first thing you should look at when

very controlled. You tighten everything up in the heights of

playing the same beat to a click because you’ll think, ‘Man,

setting out an initial plan is how much time can you devote

your cymbals and toms just to close everything in as much

this is a Slayer song!’”

to it per day? If you have set yourself a goal of 30 minutes

as you can so you’re able to play at these speeds.” DANCE ON THE KIT George: KIT George: “The way I move on a drumset is a bit like a dance. I can’t dance at all, I’ve never danced

Allow the rhythm to fall into place, says Bernard Purdie

practise a day, stick to it. Like anything, if you take a few  MAKE THE MOST OF YOUR

days off it’s easy to slip back. Keep going with your new

 PRACTICE BY DAVE WECKL

routine until it becomes almost second nature, even if you

& CRAIG BLUNDELL

in my life, but I see the drumset as one thing, moving from

don’t enjoy it. Remember, practising means learning new ideas and overcoming obstacles in your playing. Not all of

the snare to the toms. I don’t do it with breaks in between,

DECIDE WHAT TO PRACTISE Craig: PRACTISE Craig: “When I begin each

I do it as one movement. I try to be smooth in my playing

week, I look at a chart upon which I have everything

and that helps with playing fast. You can keep going and

written down, from left hand to right foot, and from

HIT THE PAD Dave: PAD Dave: “If you’re plagued by sound or volume

going. The more you do something, the more natural it will

sight-reading to playing odd time. It’s usually usually 20-25

limitations, you can get a lot of work done on just a pad. I

feel. When I practice I’ll play for four hours and then just go

‘things’ that apply to what I do. I then rate myself out of

suggest doing most of your rudiment and chop practising on

home like nothing happened. You get used to it.”

100 on where I see my ability compared to where I want it

a pad, so you can save the ‘noise making’ for application of

to be. I’ll pick the three lowest scores and apply myself to

those on the kit.”

it will be enjoyable.”

GET YOUR FEET RIGHT George: RIGHT George: “It’s important to have the

those three things for that week. I repeat the process

right pedal, but the most important thing is your feet. If you

weekly. It’s a great way of being honest about your ability

KEEP A DIARY Craig: DIARY Craig: “Keep track of what you’re doing each

can’t play, you can’t play. If you can play and you have a bad

and will force you to focus on what you’re not strong at.”

time you practise. It’s a great reference point to see where

pedal you’ll get away with it. You have to know your settings

you’ve come from, especially when you’re feeling a bit low

and how to set up your pedal. It doesn’t really matter how

SIT COMFORTABLY Dave: COMFORTABLY Dave: “Set up your kit to make sense

or you’ve hit a wall. Seeing things written down, what you’ve

expensive your pedal is, if you can’t set it up for you then

with your natural body movements and hand positions. Sit

practised over previous weeks and the tempos you are now

forget it. I play Axis pedals and many death metal drummers

at your kit, close your eyes, let the sticks hang down at your

playing them at, compared to the tempos you were playing

I know have stuck with Axis pedals because they are kind of

sides. Then bring up your right hand in a Moeller motion,

at, is always a welcome boost.”

designed for us. They are super light pedals with a

whipping the stick down as to hit the snare. Don’t try and hit

heavy-duty spring.”

it, stop at the ‘crack of the whip’. If you didn’t hit your snare,

WATCH YOURSELF Dave: YOURSELF Dave: “Record yourself playing grooves

you should have a rim shot. Do the same with all the drums.

and fills. Play it back and see if you can sing what you just

Then move them to your body, not the other way around.”

played. Would you sing it? Is it really what you want to say?

HAVE A GOOD PRACTICE ROUTINEGeorge: ROUTINE George: “If you want to improve something you need to have a daily routine. If you

Practise singing drum grooves and fills, concentrating on

want to play 160bpm for 15 minutes without stopping, you

PRACTISE EVERY DAY Craig: DAY Craig: “As humans we like the things

making it sound and feel like you want it to. The idea is to

might reach that goal in two months and then you raise the

we like and most of you will sit at a kit and play your

intend everything you play from a musical perspective. You

bar to reach the final goal of 200bpm. I do this when I want to

favourite groove or fill, we seldom start off with things we

will probably find that you will play more simple, effective

prepare for a tour. I sit for 15 minutes and play at 200bpm. It

can’t do. A lot of people’s practice routine will stem around

grooves and fills with this idea in mind.”

can be a bit boring but it makes your life so much easier when

playing songs, which is fine but it will always beg the

you play live. You have to be really dedicated and do it every

question, ‘Are you getting better? Are you making the most

126 |  MUSICIAN’S HANDBOOK : DRUMS

TURN EVERYTHING ON ITS HEAD Craig: HEAD Craig: “Something that has

TIPS | ADVICE FROM THE PROS worked well for me over the years is turning everything on its

KEEP IT PLAYABLE Dan: PLAYABLE Dan: “Don’t write something you can’t

the same language as the rest of the band. So it’s not like,

head. So you have your favourite drum fills... Swap the toms

play. I see countless bands playing double-kick patterns they

‘Oh well, he’s just the drummer.’”

into different orders, then try to replicate the notation and

are simply incapable of playing. And worse, some trigger so

sound of the fill. It will put your hands into new places. Fancy

every little mistake is laid bare. I suppose a lot of guitarists

THINK LIKE AN ARRANGER ARRANGER Shannon:  Shannon: “We’re not just

taking it to the extreme? Swap the whole kit around! Once or

write songs and just tell their drummer ‘do that’, but just say

drummers, we’re arrangers too. We can dictate how that

twice a year I play on a left handed/footed kit for a week or

no, or practise it until you’ve nailed it. Sloppy double-kick is

song goes. Sully [Erna, Godsmack vocals] could have written

so. Try it and you’ll soon see how good your ‘weaker’ side is.”

just the worst.”

the whole song, but I can still dictate how that song goes because I’m the drummer, the arranger!”

 PLAY KILLER DOUBLE KICK

EXPERIMENT WITH YOUR PEDAL Dan: PEDAL Dan: “When it comes to

 BY MIKE WENGREN (DISTURBED),

pedal tension, everyone is different and it depends on what

FIND THE ‘1’ Jean ‘1’ Jean Paul: “When you’re approached by one of

DAN SEARLE (ARCHITECTS)

kind of speed you hope to achieve. I currently don’t have to

the guys with an idea, and it might be a riff or a chord

& JOEY JORDISON (VIMIC)

play consistent 16ths on my kick at anything over 180bpm,

progression, I always think first of all, ‘Where’s the ‘1’?’ It’s

so I have my pedals extremely loose because I like the weight

great to first of all establish that – everything that happens

FIND YOUR OWN STYLE Mike: STYLE Mike: “A lot of the guys I’ve been on

I can get behind my hits. As you tighten your pedals you’ll

after that is sort of going to fall in line. So I think about the

tour with gave me a lot of compliments on my style, ’cos I do

get less weight on your hits but your pedals will do more

‘1’, I think about the quarter note – where the quarter note

a lot of leading with my left. That feels natural. A lot of guys

work for you and as a result, with practice, you will hit higher

sits in this groove, whether it’s an odd-time thing or whether

would play my bass patterns with one foot but I’ve played

speeds. See what works for you. My drum tech hates the way

it’s four. After that, think, ‘Where is the clave?’ Is it a 2-3

them with two feet and over the years developed a really good

my pedals are set up!”

clave, a 3-2 clave? Most of all the stuff we do is going to fall

staccato. It makes sense for the downbeat to always start on the right and the upbeat on the left. That just evolved.”

into either one of those two. I think about that concept a lot  WRITING MUSICAL DRUM PARTS

because these tools help me make something feel musical.”

 BY BRENT FITZ (SLASH), JEAN PAUL LISTEN TO THE RIGHT DRUMMERS Joey: DRUMMERS Joey: “There are two

GASTER (CLUTCH) & SHANNON

CHOOSE YOUR TIME Shannon: TIME Shannon: “I think there are three main

records that started my double bass career. Master Of

LARKIN (GODSMACK)

time signatures in a groove. It’s half-time, or you can go to

 and Reign In Blood . They both came out when I was Puppets  and

straight time 4/4 or there’s double time. So like in the

in the sixth grade. Without those records, I would not be the

LEARN FROM OTHER MUSOS Brent: MUSOS Brent: “We are the most

middle-eight of [Godsmack’s] ‘1000hp’, that’s a half-time,

drummer that I am today. I was playing solid heavy rock up

important part of the band. The glue. A lot of drummers will

but it could have been 4/4 or an upbeat double time, so

to sixth grade, and then some older guys that I was jamming

look at a song as their opportunity to overplay and that is not

you’ve got three options. So play around with those three

with turned me onto heavier music. I instantly shifted.”

the right approach. I play melody instruments, I like piano,

areas, half-time, straight four and up-time. I guess it

that’s where my musical maturity comes from in terms of

depends on the song.”

THINK ON YOUR FEET Dan: FEET Dan: “Keep your right foot on the beat

songwriting. Playing other instruments means that if I’m

and on the ‘&’s and keep your left foot on the ‘e’s and ‘a’s

playing kick and snare, I’m not thinking that it’s just a

PICK YOUR FILLS Brent: FILLS Brent: “Just because you’re going from a

(‘1-e-&-a-2-e’ etc). This helps you develop more interesting,

simple beat. Instead I’m thinking the kick and snare is

verse to a chorus, that doesn’t mean you should definitely

off-kilter rhythms. Work on your weak foot, do exercises that

leaving room for a very busy guitar riff that plays better

put a drum fill there. And if you do [add a drum fill], you

focus on working the ‘e’s and ‘a’s. The strength in that leg/ 

within the song. I get what the other instruments are playing

need to think about whether it is the right drum fill to

foot is vital. And stay balanced! No one likes a weak left.”

so I know exactly when I just need a ‘2’ and ‘4’. I can speak

progress the song.”

WORK BETTER IN THE STUDIO

through a track when it’s a performance. Often with Pro Tools

 BY CHAD SMITH (CHILI PEPPERS)

it’s about editing: ‘I can fly that verse in over that one.’ You lose the beauty of the performance when you don’t play all

CHECK YOUR EGO “It EGO “It can be a little intimidating when you

the way through the song.”

walk in a room and there’s Johnny Cash. But he was totally cool. I introduced myself, ‘I’m the drummer.’ He didn’t know

MAKE ’EM LAUGH “If LAUGH “If a recording is not going well, it can be

who I was. He played me these songs, wanting my input.

frustrating and people can get really unhappy fast. The

Immediately we were peers. There was no star-tripping. We

pressure [of recording], spending all this money, wasting

were in the trenches trying to make good music.”

people’s time. When things start to get a bit bogged down in a session, I just tell some jokes. Hal Blaine taught me that.

ALWAYS GO FOR IT “When IT “When I’m playing, I’m never thinking,

Hal was the perennial studio musician and he’d just start

‘This is just a scratch or demo.’ Every time, I’m going for it.

telling jokes.”

You never know when it’s going to be the magical take. Sometimes it can be the first time and those are really cool

SEE THE BIG PICTURE “People PICTURE “People get frustrated if they can’t do

because you don’t really know the part yet so you’re really

something, or if it doesn’t sound right. I can get a little

listening hard and there is a spontaneity.”

grumpy but I’m recording music and playing my instrument in a fancy studio. I’m working with incredible people and

AIM FOR COMPLETE TAKES “You TAKES “You can stop and punch-in, but

doing what I love. I’m going to be cranky about that? You’ve

even then I think there is something special that comes

got to keep perspective and be grateful.”

Session tanking? Tell some jokes, suggests Chad Smith

MUSICIAN’S HANDBOOK : DRUMS

QUICK TIPS

THINK ABOUT THE LEAD VOICE Jean VOICE Jean Paul: “I spend time

other musicians. When I first started playing solos, as

thinking about what the lead voice is in that musical

soon as the solo started I’d immediately play louder and

passage, whether it is a guitar, a vocal line. At the end of the

faster. It took some years before I figured out I needed to

EXPERIMENT WITH different heads. The art of drums

day it’s your job [as drummer] to provide time and to support

relax, continue to play musically and use an extremely

involves finding the right heads for the right drum for the

that lead line as best you can. So you’ve got a lot of options

wide range of dynamics and moods. One needs to keep

right sound. Don’t be scared to experiment.

available to help you do that. You can think about stuff on

their equanimity when playing solos and respect the

the hi-hat, you can think about stuff on the ride cymbal, but

same rules as when playing with others: play relaxed and

the resonant head first. This could save you time trying to

mostly I try to stay out of the way of the vocal and support

in time, use dynamics and build your solo as you would

correct the batter head from overtones, when in fact it’s

that as best I can.”

build behind a singer or an instrumental soloist.”

USE YOUR INSTRUMENT APPROPRIATELYShannon: APPROPRIATELY Shannon:

BE BRAVE ENOUGH TO MESS UP Ian: UP Ian: “Say you are playing

heads. Change heads a few days before your session if

“Usually if I use toms other than a groove, it’s for the build.

over a sequence... You can play over bar-lines and get

you need to, then play them in.

Some of the best fills are on the snare, then use the toms

yourself into a mess, and you have to get yourself out of it.

as power to build; when you want to bring the songs to a

My saxophonist friends say the good stuff happens when

climax, toms will do that.”

you are trying to get out of a mistake. And if you are not

WHEN TRYING to get your drum sounding right, check

the reso that’s the problem.

DON’T WAIT until you’re in the studio to change your

IF DURING your playing you find you’re struggling with something, congratulations congratulations – you’ve found a weakness!

brave enough to make a mistake, you are never going to

By focusing on your weaknesses during practice, and playing to your strengths during your playing time, you will become a well-rounded drummer. drummer.

LET THE sticks do the work. Keep the grip point at the thumb and middle finger so that the stick is balanced

PLAY GREAT GREAT DRUM SOLOS

know. You have got to be brave enough to mess up.”

 BY GAVIN HARRISON, STEVE SMITH, MIKE MANGINI,

TAILOR YOUR SOLO TO NON-MUSOS Mike: NON-MUSOS Mike: “I have to

IAN THOMAS & MIKKEY DEE

make it for everybody. There are so few of us that have wired our brains to even begin to comprehend and

from the centre of the hand, with all fingers in contact with the stick as much as possible. It should feel like

HAVE A BUNCH OF TRICKS READYGavin: READY Gavin: “I used to do a

recognise so many patterns that are so easy to do once

‘bouncing a ball’ as you throw the stick down using the

solo in Renaissance back in 1983. They’d walk off stage

you put in the work. Most people don’t recognise a base

wrist – thumb sideways, palm down.

and I would play for as long as I wanted, which would be

time, a feeling of 11 while a pattern of maybe five of

as mercifully short as possible! I soon realised that when

those 11 notes is occurring at the same time. I have to

the band walked off, my brain emptied of all good ideas!

tailor my solos to people who are not musicians. I can’t

HIT THE ride cymbal with the side of the stick rather

It’s like that quote, ‘From the moment you’re born, your

expect them to do the studying. They want to see sticks

than the tip for that Bonham/Bill Ward ‘swosh’ sound.

brain begins to work and it continues to work up to the

being spun and the guy that flips upside down. That

moment you stand up to speak in public.’ So all you can

drummer might be more entertaining. You need to please

build to your arm in a Moeller-technique whipping whipping

really do is have a bunch of tricks and your solo becomes

those people. I don’t judge that, I think all of that is

motion. This will enable you to use the weight of your

you trying to remember all of your licks and stringing

tremendous and needs to be valued.”

entire body and not just your arm.

them into some sort of order. I am very aware when I

HAVE AN end goal to your practice. Having a focus will help you remember why you’re doing all this work.

IF YOU want to hit hard, start from your shoulder and

watch [drum] solos that that is mostly what people are

KEEP MOVING ‘UPWARDS’ Mikkey: ‘UPWARDS’ Mikkey: “Think, ‘Who am I

idea of how he wants to the drums tuned so that

doing. They are not improvising, they’re sticking together

playing this for?’ You’ve got the girls in the crowd: they

everything sounds audible.

a load of pre-rehearsed stuff – because some of it is so

need to stamp their feet and feel the rhythm. You’ve got

technical, there’s there’s no way they could have improvised it.”

the musicians: you need to show them a few tricks. But the

TALK TO the sound guy before a show. He’ll have an

ghost notes helps ADDING LITTLE subdivisions with ghost

average listener doesn’t play drums, they just want a good

you stay in the pocket. It’s what Jeff Porcaro used to do to help his timing, and resulted in the ghost notes that

RELAX Steve: RELAX Steve: “I want my playing to feel the same,

show. Improvisation is only about five percent of my solos.

make his ‘Rosanna’ groove so special.

emotionally and physically, as when I’m accompanying

The main structure has been the same for a few years, but

 TUNE YOUR DRUMS RIGHT

because a lot of guys will put Moongel or muffle the beater

 BY MICHAEL MILEY (RIVAL SONS)

head, what you hear out in front of the kit is the bottom head ringing. That head is important, so it has to be in tune. If the

DON’T OVER MUFFLE “The MUFFLE “The only muffling I use is felt strips on

bottom head is lower than your beater head, it dips in pitch.”

the front and on the beater. They give the head a little bit of time to ring. Buddy Rich, Krupa, all of the early guys did that,

FIND A SYSTEM “I SYSTEM “I work in a circular fashion. I learned it

even Ringo and Keith Moon. Some even took the front head off.

from a guy at DW who was putting kits together. I nerded out

You want a drum to sing.”

with him for an afternoon! Guys like Porcaro used the cross method. You will be drawn to a certain sound and method.”

GET A FRIEND TO HELP “Have HELP “Have a buddy play your kit while you stand out in front of it. You want your drums to speak;

CARE ABOUT YOUR SOUND “That’s SOUND “That’s your voice, you should care

I call it ‘barking’. They need a voice.”

about how you sound. Even a kit you picked up at a garage sale, spend a little money on some heads and you can make a

REMEMBER THE RESO “The RESO “The bottom head is sort of like the

crappy kit sound great. I could tune 20 kits and 19 will sound

after taste of food. The top head is what you initially hear and,

good. You need to find where your drums sing. Get nerdy!”

128 |  MUSICIAN’S HANDBOOK : DRUMS

Care about how you sound, advises Michael Miley

TIPS | ADVICE FROM THE PROS STAY HEALTHY AT THE KIT

workout on a show day, I’ll usually take a ‘disco nap’ before

 BY CLEM BURKE (BLONDIE)

the show begins. [A disco nap] is what we use to call it back

Get plenty of rest, advises Blondie’s Clem Burke

in NYC when everyone would go out raving until dawn. You PACE YOURSELF “The YOURSELF “The dynamic of rock’n’roll drumming is

had to get your disco nap before heading out for the night!”

generally very physical, so you have to be ready to handle it. Blondie comes from a punk rock aesthetic. The show usually

STAY HYDRATED “I HYDRATED “I generally try to drink water throughout

starts out with three or four high energy numbers before we

the day so that, once again, by the time I hit the stage I’m

take a break, so before we hit the stage we’re ready.”

good. This is especially important if you’ve had a few drinks the night before.”

EXERCISE AWAY FROM THE KIT “I KIT “I recommend jogging, weight training, boxing, stretching and swimming. A lot of drummers

GET YOUR BREATHING RIGHT “Oxygen RIGHT “Oxygen intake and bloodflow

do martial arts. It’s also important to go over your rudiments

is the key here. This is what is was studied by the Clem

on a practice pad to keep the flexibility and bloodflow to the

Burke Drumming Project [created with a team at the

wrists. Bloodflow to all parts of the body is very important!”

University of Chichester] and we’ve discovered that I have excellent stats. I do try to stretch and do a bit of yoga before

GET PLENTY OF REST “It REST “It nay sound obvious, but I can’t stress

I walk on stage. It’s always great to feel the energy from the

enough the importance of being well rested. If I have a

audience. That will always see you through.”

I do pop in little bits and pieces. I usually practise when we

MAXIMISE YOUR PLAYING

SET UP YOUR KIT RIGHT

soundcheck. I don’t think I’m that good a soloist, but I am

BY BILLY COBHAM

BY JOSE PASILLAS (INCUBUS)

not just about technique either. I like a drum solo to move

POSTURE “Think POSTURE “Think about your posture and learn how to adjust

EXPERIMENT “As far as setting up your drum kit,

forward. I start in the middle of a song, solo, then back

your drums with authority and respect. If you don’t sit

experimenting to see what is most comfortable is

into the song and finish. If you see a guy doing slow s**t,

comfortably at the drums, the drums will know. If you’re not

important. Sit down and place your hi-hat, snare and

you’re definitely running for a beer, including myself. But

feeling comfortable, the people listening won’t be comfortable

kick drum first and then get comfortable with just that

then, if you race through it like a f**king moron, it’s not

because everything is off. An audience knows when something

setup. From there you can expand on to rack toms then

good either. A drum solo needs to keep moving upwards,

isn’t happening, even if it’s something they can’t identify like,

floor tom and really hone in, moving those things until

not down the hill.”

‘He’s sitting wrong.’”

they’re just right. Then move on to cymbals. You can

good at coming up with a drum solo that entertains. It’s

then move from your centre outwards.”  ADD ELECTRONICS

BE IN CONTROL “Music CONTROL “Music is a very mystical platform. If you’re

 BY RAY LUZIER (KORN)

not in control of what you have to say on that level, it comes

GET COMFORTABLE “I think the most important part of

across to everybody, and not always in the way you hope it will.

your setup is your sitting position. I use both of my feet

EDUCATE YOURSELF “Adding electronics to your kit can be

Sit at the drums with respect and present your ideas, and from

a lot and my hamstrings and quads are parallel to the

a very touchy thing. I’m not really educated on triggers.

there you’re off.”

ground. That means both of my feet can be up in the

You should educate yourself or have someone who knows

air and I’ll still be pretty centred. Once I got fluid and

what they’re doing with electronics. If you go in blind in

FOCUS ON WEAKNESS “People WEAKNESS “People only concentrate on their

comfortable with my snare and could play quickly

front of a bunch of people and something goes out, you’re

strengths. With drums, 99 percent of the time it’s, ‘Look at

without exerting much energy, that was the focal point

not going to look good. You’ve got to be very prepared.”

what I can do.’ You play the stuff you’ve got down, but you

and I could expand.”

don’t want to show them things you’re working on. And those WORK ON IT “It IT “It takes practice. You can’t just sit there and

are the things you’ll keep on neglecting. Or you might think, ‘I

TAKE ONE THING AT A TIME “I would play the kick drum

play. For my live kit I’m using the Pearl E-Pro Live snare,

know what I need to fix. I’ll woodshed.’ No – don’t do it

and snare on their own for a good 10-15 minutes and

it’s working out beautifully. It doesn’t misfire, it does

privately. The best place to work it out is on stage. It might

move on. A good thing to warm up with is just playing

exactly what you tell it to do. The velocity only goes so far

sound like a mistake, but so what? Get past it.”

your snare drum for 10-15 minutes, then expanding out

down so you have to turn the switch on your brain to go,

to your other drums. But when it comes to practice and

‘I’m playing electronics now, it’s going to be massive

DON’T BE AFRAID “Insecurity AFRAID “Insecurity is a musician’s enemy. If you’re

warming up, it’s about my psyche. It’s really about how

sounds and I can’t ghost like I do with acoustics.’”

not afraid to show people who you really are, you are going to

I am mentally. I can practise for 30 minutes but if I feel

be a genuine musician. Share your whole self. If you do, you’ll

off, that 30 minutes won’t do anything for me.”

BE PREPARED “We PREPARED “We have two drum triggers modified by

be a complete musician.” FOLLOW YOUR HEROES “For years I tried to emulate my

Hart Electronics. They are very fragile. Electronics have a tiny wire in them and they can go bad, so you should have

MULTI TASK  “Use  “Use your feet as well as your hands. Start slowly.

favourite drummers and moved my kit around to look

a back up for your back up. Never rely on just one set of

It’s not about crawling, it’s crawling on all four limbs while the

like theirs. I did that for years until I found my perfect

triggers. If my E-Pro snare goes out, I have a side snare

brain is listening to everything. These are the things you have

setup. I’ve been playing for 20 years and I’ve been

with a ddrum trigger ready to go. If you’re relying on the

to do until you don’t have to think about what you’re doing any

playing the setup I have now for ten years. It’s all a

triggers and can’t go to an acoustic source, you need

further and it becomes totally natural. All of that comes from

process of trial and error to figure out what’s

something ready to go.”

patience and application.”

comfortable for you as a drummer.”

MUSICIAN’S HANDBOOK : DRUMS | 129

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