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The Official Drums of

Terri Lyne Carrington

Yamaha artist since 1983, Terri Lyne Carrington is an award-winning musician, composer, and bandleader. She has
had an extensive touring career of 20+ years and is found on many recordings with a stellar array of jazz luminaries
such as Herbie Hancock, Wayne Shorter, and Al Jarreau. The Berklee professors 2011 The Mosaic Project
won a GRAMMY Award for Best Jazz Vocal Album, while the 2013 Money Jungle: Provocative in Blue made
history as Terri Lyne became the first woman to win a GRAMMY Award for Best Jazz Instrumental Album.
Terri Lyne continues to evolve and innovate as an artist and educator, inspiring generations of drummers around the world.

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ISSUE
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COVER STORY
32 Terri Lyne Carrington

We study the minutiae of the former

child prodigys latest woman-powered
solo release, The Mosaic Project: Love
And Soul, to discover a softer, gentler
side of a drumming legend.

SINGLE STROKES
14 How I Got The Gig

ZZ Tops Billy Gibbons gives

Melanie DiLorenzo the surprise
of a lifetime.

14 Whats Your
Drumming IQ?

Match drummers to bands from

the city by the bay without
getting wet.

15 Page Turners

Scuttlebutt from drummer tellalls by Bill Kreutzmann, Rick

Buckler, and Dennis Bryon.

16 New Blood

17 POV

David Garibaldi, Pete Ray Biggin,

Jason Costa, Zoro, and Jano Rix
on the ultimate groove.

This page + cover: ROBERT DOWNS

18 Pump It Up

Try interval training to prepare

for short onstage bursts of
energy.

18 Drum Care

Muffling your drums is a very

personal decision, but when
you do, heres how.

20 Legal Beat

Last time we looked at two

very different plagiarism
cases. This time we explain
what went wrong in one,
and right in the other.

VIBE
23 Jean-Paul Gaster

Blues may not be the first

word to come to mind when
you think about Clutch, unless
youre Gaster.

27 Elijah Wood

What did you do when you

were 19? I bet you didnt play
in stadiums, like Wood does
with Shania Twain.

FEATURES
42 Jeff Friedl

Life is good for one of the firstcall subs on L.A.s alternative

scene, but man, does it keep
Friedl busy. Up next? Puscifer.

51 Holiday Wish
Book

Still dropping hints about the

gear you want this holiday
season? Just leave this section
flopped open on the table.

83 Carter Beaufords
Big 10

It was hard to limit the list to only

ten of Beaufords most outrageous
recorded moments.

90 Stick Grip Roundup

SOUNDLAB
116 Yamaha Stage
Custom & Hybrid Pack

120 Meinl Ride

Roundup

Grip solutions for every slipperyhanded drummer.

HAND DRUM

97 Roland GajateGarcias Top Ten Tips

Follow the rules and you might end

up in the house band for American
Idol or The Voice, like Gajate-Garcia.
.

124 Boom Alley

Knocker Hoops

PRACTICE PAD
127 Jeremy Spencers
Double Bass Drill

100 Hand Drum

Lessons

Spencer points out the twists and

turns of Meet My Maker from
Got Your Six, the latest by Five
Finger Death Punch.

PLUGGED IN

New columnist Chris Fryar salutes

a Motown lick; Gil Sharone
gives us a first glance at rockers;
Danny Gottlieb explores the cool
concept of nonindependence; and
Glen Sobel takes fives to the max.

Taku Hirano shows how to play

an ostinato with one hand and
syncopation in the other, while
Glen Caruba demonstrates how to
pitch-bend on congas.

102 40 Years In The

Studio With Rush

In this self-penned memoir, Neil

Peart reminisces about the sessions
he played, and all the things he
learned along the way.

133 Lessons

EVERYTHING ELSE
6
11
12
138

DRUMmagazine.com

Perspective
Feedback
Notation Guide
Time Capsule

December 2015

DRUM!

ZILDJIAN ARTIST SERIES DRUMSTICK

TERRI LYNE

CARRINGTON
2015 Avedis Zildjian Company. Photo: Robert Downs

To Tell
The Truth

Its lightly sanded finish

gives me a perfect grip and
fits my style of playing.
Terri Lyne Carrington

Features a thinner 5A design that

is great for Jazz and Light Rock.
Made with U.S. Select Hickory.

ruth be told, I rarely spend time in online drumming

message boards and chat rooms. Having edited this
mag for the past 25 years, Ive usually had my fill of
drum gab by the end of a ten-plus-hour day. But that
doesnt mean I never check out message boards. Every once in
a while I take a few minutes to dig deep and catch up on all the
gossip. And when I do, predictably, I often perform a vanity
search to see what folks had to say about DRUM!, and drumming
magazines in general.
Of course, since these comments are on the web, I come across plenty of complaints.
To be fair, some are fully warranted and provide great insight I can use to sharpen our
editorial standards. Others are clearly people just blowing off steam, enjoying their 15
minutes.
Thats fine, although, admittedly, they do occasionally get under my skin, particularly
when I read complaints about product tests. The most common grievance is that, in order
to protect cash flow, drumming magazines wouldnt dare criticize instruments made by
the same companies that buy ads.
You might be surprised to learn that I think theyre right, but only to a degree. See,
from the beginning, weve instructed our instrument reviewers to tell it like it is for
better or worse. So, for example, in this very issue youll read that our reviewer Brad
Schlueter couldnt get Yamahas DT70 acoustic drum trigger to stop misfiring on his
snare, and how another reviewer, AJ Donahue, didnt particularly care for Meinls
Symmetry and Nuance ride cymbals, and why.
I never read such blunt critiques in other drumming magazines. Instead, I see either
overwhelmingly favorable assessments, or utterly noncommittal reviews that simply run
down a list of specs: the shells are made of this, the lugs are made of that, and the hoops
are made of the other thing. I always interpret the latter approach to mean the reviewer
wasnt crazy about the gear. But drummers shouldnt have to read between the lines like
that.
Its even worse online, as far as Im concerned. Websites that claim to offer serious
reviews often post gushingly glowing videos or rewrites of company press releases, with
little to no effort to actually test the product. Neither qualifies as a review in my book.
Before a gear test goes to press, we always ask the manufacturer to fact check it, which
means they get the first chance to see criticism before you do. Every once in a while we
get some pushback about negative statements, and admittedly that can be sticky. Indeed,
weve had some companies pull advertising out of the magazine (most come back after
a while). Weve also had other companies continue to advertise, but never ask us to test
their products again.
But they all know this: Our first and most important commitment is to our readers.
If you dont feel you can trust what you read in our magazine, youll be less likely to trust
what you see in their ads.
You really are that important to us. Thanks for reading DRUM! Magazine.

Andy Doerschuk

DRUMSTICKS

DRUM!

December 2015

DRUMmagazine.com

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EDITOR IN CHIEF
Andy Doerschuk
andy@drumlink.com

ADMINISTRATION
PUBLISHER Phil Hood
ACCOUNTING Connie Hood
OFFICE MANAGER Joan Bremer
IT Jack Blumenfeld

EDITORIAL
ASSISTANT EDITOR Elisa M Welch
MUSIC EDITOR Wally Schnalle
WEB ASSOCIATE Jordan Liffengren
CONTRIBUTING WRITERS Ken Babal,
Robert Barton, Donn Bennett, Wayne Blanchard,
David A. Brensilver, Brad Boynton, John Ephland,
Matt Byrne, Glen Caruba, Dave Constantin,
AJ Donahue, Patrick Flanary,
Richie Gajate-Garcia, Diane Gershuny,
Daniel Glass, Danny Gottlieb, Garrett Haines,
Terence Higgins, Taku Hirano, David Jarnstrom,
Gregg Juke, Eric Kamm, Robert Lewis,
David Libman, Billy Martin, Chris Mattoon,
Rob McKinley, P.C. Muoz, Andrew Nusca,
John Nyman, John Payne, Luga Podesta, j.poet,
Bobby Rock, Brad Schlueter, Wally Schnalle,
Chad Smith, Mike Snyder, Glen Sobel,
Karen Stackpole, Norman Weinberg, David Weiss,
John Wicks, Jake Wood, and Andy Ziker
VIDEO CONTRIBUTORS Nate Brown, Glen Caruba,
Giovanni Durst, Richie Gajate-Garcia,
Libor Hadrava, Tiger Bill Meligari,
Brad Schlueter, and Charlie Waymire

DESIGN
ART DIRECTOR Richard Leeds
CONTRIBUTING PHOTOGRAPHERS Robert Downs,
Paul Haggard, Rick Malkin, Eddie Malluk,
Christopher T. Martin, Bryon Paul McCartney,
Lissa Wales, and Neil Zlozower
CONTRIBUTING ILLUSTRATOR Juan Castillo
ADVERTISING
ADVERTISING DIRECTOR Eric Frank

EDITORIAL OFFICE
Magazine, 95 South Market Street, Suite 450, San Jose, CA 95113;
PHONE: 408-971-9794; FAX: 408-971-0300
LETTERS TO THE EDITOR We welcome letters to
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cannot answer each one nor guarantee that
your letter will be printed. Along with your
letter please include your name, address, and
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Email: feedback@drumlink.com.

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ADVERTISING COMPLAINTS
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responsible for the content of advertisements.
However, we take our commitment to readers
seriously. If you have a complaint with an
advertiser in
, let us hear about it.

EDITORIAL SUBMISSIONS Love to write? Know

drums? If that sounds appealing, then request
our writers guide. Address all inquiries to:
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assumes no responsibility for unsolicited
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PRESIDENT
Phil Hood

VICE PRESIDENT
Connie Hood

VICE PRESIDENT
Andy Doerschuk

VICE PRESIDENT
Kristine Ekstrand

AIDC
8

DRUM!

December 2015

DRUMmagazine.com

MARK GUILIANA

BEAT MUSIC / MARK GUILIANA JAZZ QUARTET / MEHLIANA

He weaves the time-tested fundamentals of jazz with modern electronic beats and takes
music to places its never been before. Many are satisfied with playing music, while others
are driven to redefine iteliminating barriers and inspiring the creativity of a generation.

Since 1883, Gretsch has been building the finest American-made drums for players who
understand that in order to play That Great Gretsch Sound, you have to earn it.

GRETSCHDRUMS.COM/BROOKLYN

THE GREAT AMERICAN DRUM SET

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Ventura, CA

Twisted Tips

Stick Twisters! [October 2015] Nine weeks of

drum lessons in one article! Makes me want to
move next door to Brad Schlueter so he can be
my drum teacher. Good stuff. DRUM! Magazine is
incredible. No other publication is even close to
your standards. Thanks for all your hard work!

Musical Revolutions

Editors Comment In the October 2015 issue

I wrote about how companies in the percussion
industry rely on musical trends, like Ringo with
The Beatles, to boost the sale of instruments,
which prompted this response.

Costa Mesa, CA

Speaking Of Sounds

I saw something incredible the other night.

At my neighborhood wine bar, Danny Carey
played a set of jazz and fusion with the Doug
Webb Group. It was a weekday night and the
place was about halfway full. There was a table
right in front of the kit with a few obvious Tool
fans, who were stoked to be a few feet from
one of their idols regardless of what the music
was. The rest of the audience was regulars who
just dig jazz.
The great Jimmy Earl was on bass and the
other players were all topnotch LA guys as well.
Danny (who we all know is amazing in Tool)
was out of his comfort zone. And yet he put
himself there, hanging on to the arrangements,
taking choruses, sticking to the forms, backing
off the ride cymbal at the start of someones
solo. Danny doesn't have the deft touch of a Bill

I am a happy DRUM! subscriber and wanted

to share my drum tattoo with you. Ive had
it for three years, and it shows my DW Edge
snare drum. The capital M and B are for my
daughters Megan and Briana, and the lower
case m is for my granddaughter Maryn. I left
plenty of space in the drumhead area of the
tattoo for more grandkids!
Ron Ernst
Olathe, KS

REBOUND

Unlikely Jazz Cat

Tattoo Of The Month

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finesse and agility with a rear-weighted feel.

I've wanted to write and comment on the Daniel

de los Reyes story from the June 2015 edition.
I was shocked to read that Zac Brown wanted
all the parts from the new album reproduced
exactly as they appear on the album. I then
read the story of the engineer, Brandon Bell, who
sounds talented but seemed to be avoiding the
topic of electronic noises and drums. What
happened to the notion of live music being
spontaneous? Zac Brown should turn Mr. de los
Reyes loose and let him play anything he wants
(as he is very talented). Let's hope everyone
comes to their senses before the next recording
session. Keep up the good work.

Just got a chance to read your Perspective

editorial in the October 2015 issue and I couldnt
agree with you more. Along with Ringo, my
initial influences included Bonzo, Danny
Seraphine, and Doug Cosmo Clifford. To this
day, I continue to learn from drummers ranging
from Shannon Larkin to Jim Riley, and others too
numerous to mention. The day we stop learning
is the day we should hang up our stick bags.

We want to read your mail!

Send letters to feedback@drumlink.com.

DRUMmagazine.com

December 2015

DRUM!

11

promark.com/selectbalance

power and speed with a front-weighted feel.

Key West, FL

Stewart, but he was doing his best. He didn't

need to be there but chose to play this music
and push himself as a musician. It certainly
wasn't for the money or the accolades! He had
some great moments, and the band rallied
around him. They were all having fun.
And so I left with an incredible respect for
Danny. To see a drummer at his level of success
playing music for the love of it and for selfimprovement was inspiring. Props to you,
Danny, for leading by example.

Choose Forward Balance models to optimize

I was pleased to see my multitalented old

friend Tom Teasley profiled in your November
2015 issue, but I was sorry to see the misspelled
name of our timpani teacher, the National
Symphony Orchestra's Fred Begun (whom
I interviewed for Modern Drummer in April
1980). Freddie passed away recently and
would have appreciated this correction.

FORWARD

Teasley Typo

GUIDE TO DRUM NOTATION

By Brad Schlueter

Drum Key

China Splash Cowbell Crash Choked Ride

Crash

Ride Closed Open Tom

Bell Hi-Hat Hi-Hat 1

Tom
2

Snare Ghost
Note

Music Staff, Clefs, Measures & Bar Lines

Music is written on a music staff,
which features five parallel horizontal
lines. The first thing youll see
written on the staff is the clef, which
determines the pitch of the notes.
The drum/percussion clef looks like

a vertical rectangle and is used with

nonpitched percussion instruments.
Notes written on different spaces and
lines indicate that you play a specific
instrument: snare drum, bass drum,
or cymbal, according to the drum

Measure
Drum
Clef

Rim Snare Snare

Click Doubles Buzz

Tom
3

key, above. The staff is separated

into individual measures (or bars) of
music, with thin vertical lines, called
bar lines. The number of beats in each
measure is determined by the time
signature.

Bar Line

Time Signature

Staff

1 e & ah 2

e & ah 3

& ah

4 e & ah

& ah 2 e & ah 3

& ah 4 e & ah

Accent

e & ah

& ah 3

Crescendo
(gradually louder)

& ah

e & ah

Tom
4

e & ah 2 e & ah 3

&

ah

4 e & ah

A double bar line

indicates the ending

Decrescendo
(gradually softer)

Tom
5

Right
Bass

Left Hi-Hat Hi-Hat

Bass Pedal Splash

Triplets

As we go from longer notes down the

list to the shorter notes, the notes and
rests are halved in length. If you want
to divide a note into thirds, youll
need to use a triplet. A quarter-note
naturally divides into two eighths, but
if you want to divide it into thirds, you
need to use an eighth-note triplet. An
eighth-note triplet is played 50 percent
faster than normal eighth notes and
would be equivalent to a twelfth-note
(although there is no such note).
An eighth-note triplet is written as
three eighth-notes beamed together
with a number three above them. Any
of the three notes can be replaced
with an eighth rest or two sixteenths,
or any other division of an eighth-note
allowing for more notational flexibility.
Triplets are usually counted 1 & ah
2 & ah 3 & ah 4 & ah. You can also
divide a note into fifths (quintuplet),
sixths (sextuplet), sevenths (septuplet),
and so on.

Dotted Notes & Rests

Time Signatures

Time signatures are written like

fractions. The top number tells you
how many beats are in each measure.
The bottom number indicates the size
of the note that represents the duration

of one beat. For example, in the time

signature of 5/4, there are five beats
in each measure and the quarter-note
lasts for one beat. The time signature is
written at the beginning of the piece of

music and wherever there is a meter

change. Since most music is in 4/4,
the time signature is often abbreviated
with a large letter C, indicating
common time.

Sometimes youll see a note or a rest

with a small dot written next to it.
This indicates that the note will last
50 percent longer than, or 1.5 times,
its normal length.

Note & Rest Values

Notes and rests come in different

lengths, which represent fractions.
For every size note, there is an
equivalent size rest. The note and rest
values include whole (1/1), half (1/2),
quarter (1/4), eighth (1/8), sixteenth
(1/16), and thirty-second (1/32).
These values represent the durations
of the notes and rests. For example,
two eighths fit in the space (or time)

Counting Rhythms &

Playing Repeats

DRUM!

December 2015

Whole
Rest

Half- Note

Half
Rest

of one quarter, so eighth-notes are

twice as fast as quarter-notes. These
relationships define the lengths (and
speeds) of the notes. Rhythms are

QuarterNote

Quarter
Rest

EighthNote

Eighth Rest SixteenthNote

written by using combinations of

notes and rests, so it is important to
memorize them to quickly identify
and play rhythms. There are several

One-Bar Repeat
(repeat previous
measure)

Repeat
Sign

The simplest way to figure out rhythms

is to count them with the smallest note
value you have to play. For most drum
music, that means counting sixteenthnotes. In 4/4, sixteenth-notes are
counted 1 e & ah 2 e & ah 3 e & ah
4 e & ah. Since you are counting
sixteenths, a sixteenth-note/rest will

12

WholeNote

1 e & ah 2 e & ah 3 e & ah

last for one count, an eighth-note or

rest will last for two counts, a quarternote/rest will last for four counts, a

DRUMmagazine.com

Sixteenth
Rest

ThirtySecondNote

ThirtySecond
Rest

different parts of a note: the note

head, stem, and flags or beams.
Recognizing them will help you learn
to identify notes.

Two-Bar Repeat
(repeat two previous
measures)

Repeat everything
since the previous
repeat sign

4 e & ah

half-note/rest will last for eight, and a

whole-note/rest will last for sixteen.
Repeat signs are used to abbreviate a

piece of music and minimize page turns.

A few different types of repeat signs are
shown in the example above.

WHATS YOUR
DRUMMING

IQ?

By Wayne Blanchard

SAN
FRANCISCOS
HIT MEN
1. This visionary coproduced
Santanas Caravanserai.

A. Ndugu Chancler
B. Graham Lear
C. Michael Shrieve

2. He was Quicksilver Messenger

Services master of the Bo
Diddley beat.

A. Greg Elmore
B. Prairie Prince
C. Donny Baldwin

3. With Sylvester Stewart he

made people dance to the music.

A. Andy Newmark
B. Bill Lordan
C. Greg Errico

4. Who is that drumming on

Tower Of Powers We Came To
Play?

A. David Garibaldi
B. Ron E. Beck
C. Herman Matthews

HOW I GOT THE GIG

5. This drummers power trio

was so loud it recorded on
NYCs Pier 57.

A. Vinny Appice
B. Paul Whaley
C. Bobby Rondinelli

6. The second drummer to join

Cold Blood influenced Narada
Walden.

A. Gaylord Birch
B. Frank Davis
C. Sandy McKee

7. Its no longer news that hes

hip to be square with Huey.

A. Kevin Hayes
B. Bill Gibson
C. John Ferraro

A. Mickey Hart
B. Bill Kreutzmann
C. Spencer Dryden

Turn to page 19 for the answers

14

DRUM!

December 2015

Melanie DiLorenzo
With Billy Gibbons
Everything you post or
share online can come back to
bite you. Thankfully, it can just
as easily come back to help you
in a big way, as it did for Melanie
DiLorenzo. While chipping away at
a growing career, the Los Angelesbased drummer got a message
from the musical director of ZZ
Top guitarist Billy Gibbons band.
The call was a complete surprise,
but the biggest shock came from
how her playing made it all the
way to the ear of the legendary
axe man in the first place. We
caught up with DiLorenzo a few
days before rehearsals kicked off
to discuss how she got the call,
and how shes getting ready for
the opportunity of a lifetime.

DRUMmagazine.com

BEFORE THE CALL

I was playing with this all-female
band in Vegas called Dollface for
about four months. I was kind
of their sub drummer until they
found a permanent replacement.
Right after that, I got a call from
a guitar player friend of mine
named Ariel Bellvalaire who set
me up to sub at Bonnaroo with
Corey Feldman. When I got back
to Los Angeles, I was a little worried
because I didnt have any gigs
lined up I was wondering
where my next paycheck would
come from. But then, literally two
days later, I got a friend request
from someone on Facebook. I
checked the person out, and it
happened to be Billy Gibbons

musical director. He sent me a

message saying, Hey, me and
Billy checked out your stuff on
YouTube. We liked your videos.
How would you like to come
play with Billy on a tour? I said,
Hell yeah.

NO AUDITION?
Yeah, no audition. They saw the
video. They liked it, and that was
it. I was jumping for joy. I still
am. Just a few hours after the
message came through, I was
talking to Billy on the phone. He
complimented my videos, and
talked to me a little bit about
how the tour was going to be.
The whole thing came through
my Hit Like A Girl video.

Photograph: SF: RYAN J WILMOT

8. Which two drummers on

Anthem Of The Sun inspired
Duane Allman?

by AJ Donahue

WHAT GOT
HIS ATTENTION?
It was the Latin chops. I threw a
little Latin stuff into the video, and
that stood out. He wanted someone
with some of that knowledge. Billy
either used to play with or take
lessons from Tito Puente on Latin
percussion, and theres a lot of
Latin-inspired stuff on the record.

NEXT STEP
Ive already got the music, and Im
working on the tunes. For now,
its just 11 songs. Hes been on tour
with ZZ Top for the last couple of
months. We havent even met

in person yet, but hes flying me

and SoZo Diamond [featured in
the New Blood column of DRUM!s
October 2014 issue], who is also
doing the gig with me, out to a
festival theyre playing in Kentucky.
He wants us to meet, catch the full
ZZ Top show, and go backstage to
see how everything works on a
tour with such a big production. Im
really looking forward to meeting
him. Weve talked on the phone a
lot, and hes a really chill, downto-earth guy.

DOUBLE DRUMMING
SoZo and I are doing the gig

together. It should be really cool.

Ive never played with another
drummer. She messaged me and
said the same thing, so its going
to be really exciting. Theres a lot
of Latin percussion in the music,
so I can see why two drummers
will work. Im learning all of the
fills verbatim so we can always
lock in. Later on, well probably
be looser with the music, and do
a little more. Ive been watching a
lot of Allman Brothers videos, and
footage of Beyonces band when
she had Kim Thompson and Nikkie
Glaspie to see how different groups
make this thing work.

SPECIFIC GEAR?
He wanted our drum sets to
match, so were both getting silver
sparkle kits. Mine is coming from
Mapex. Big thanks to Joe [Hibbs]
at Mapex for the help there. Other
than that, were both free to bring
our own regular setups.

NERVOUS?
Im not nervous. Ive learned the
music, and I feel good. I never really
get nervous about playing. But I
am actually nervous about meeting
him in person. Once I get to the
playing, Im totally in my element.
I cant wait for the rehearsals.

PAGE TURNERS

By Andrew Lentz

Drummer
Tell-Alls
From Bill
Kreutzmann,
Rick Buckler,
& Dennis
Bryon
With the fiftieth anniversary
of the Grateful Dead this year and
the accompanying performances
with record-setting ticket prices,
the timing was perfect for founding
drummer Bill Kreutzmann to
deliver his official tell-all. You
dont need faded dancing bear
stickers on your Volkswagen bus
to enjoy Deal: My Three Decades Of
Drumming, Dreams, And Drugs
With The Grateful Dead (St. Martins
Press; 400 pages hard cover).
Beyond the epic jams, the Dead
was at the nexus of the 1960s
political and social upheavals, so
anybody remotely interested in that
decade could use this book as a fly
-on-the-wall glimpse of that time.
Music-wise the bands innovations
cannot be overstated, from its
recording approach to the advent
of double drumming. Surprisingly
little is devoted to interactions

with codrummer Mickey Hart (and

what is shared is unflattering)
but there are choice bits on craft
and Kreutzmanns technical
breakthroughs. As you might
expect with a musical institution,
Kreutzmann tells the Dead saga
in broad strokes. What he recalls
of Haight Ashbury days and other
pivotal moments in GD lore (with
startlingly good recall given the
quantities of drugs ingested) is told
in the well-paced conversational
tone of a born storyteller.
Rick Bucklers name may not
ring loud in the drum world, but
in light of how much he added to
rock drummings vocabulary with
The Jam, it ought to. The British
band, cranking out memorable
tunes while treading skillfully
among punk, mod, and R&B, didnt
have the impact Stateside it
enjoyed in its native England (18

consecutive Top 40 singles in the

UK from 1977 to 1982). That said,
the propulsive rhythms, surprising
accents, and resonant rolls Buckler
doled out on the kit with the
special-order extra deep toms are
an indelible part of 80s new wave.
That these licks came from a selftaught player raised in a rough
part of London is all the more
remarkable. Written in the bracing
no-fuss vernacular of a working
class Woking lad, an unshakeable
impression that readers of Thats
Entertainment: My Life In The Jam
(Omnibus Press) will be left with
is what a self-serving bastard
bandleader Paul Weller turned
out to be. Of course the author is
biased, but were willing to give
Buckler the benefit of the doubt.
Electronic beats may enhance
the skillset of todays drummer, but
by the late 70s, when Linn drum

machines and Fairlight samplers

were threatening livelihoods,
Bee Gees drummer Dennis Bryon
was at the frontlines of the battle.
Before that, he went mano
mano with the click track. (Well
let him tell you how that fight
turned out.) As with Bucklers
tale, You Should Be Dancing:
My Life With The Bee Gees (ECW
Press) puts into even starker relief
the vagaries of the music business.
Unlike Kreutzmann or Buckler,
Bryon was not associated
with a single band, enjoying
commercial success in the short
lived Amen Corner long before
disco became a household word.
Of the three books, Dancing is
by far the most revealing in its
painstaking portrayal of the thenmodern recording environment
and the paces a drummer goes
through to nail the take.

DRUMmagazine.com

December 2015

DRUM!

15

SINGLE STROKES
NEW BLOOD
Jaze Uries

Avery Molek

29
Ludwig and Slingerland
drums, Meinl cymbals, Remo
drumheads, Pintech electronics,
and Vic Firth sticks
jazeuries.com;
jaze.uries@gmail.com;
instagram.com/jaze_uries

9
Ddrum drums,
Zildjian cymbals, Vic Firth sticks,
Gibraltar hardware, Sennheiser
microphones
averydrummer.com;
youtube.com/c/AveryDrummer;
facebook.com/Avery-Drummer

Education has never been more

valuable for the working musician
than it is today. For Greenville, SC
native, Jaze (pronounced like
jazz) Uries, education was an
essential part of solidifying his
craft. Uries began his musical
journey at the age of three, playing
in church where his mother was
choir director. Tireless devotion
and natural gifts helped propel
his interest in a musical career,
and by age 20, he was confident
a regular nine to five wasnt

going to cut it. After a year working

in churches and regional bands,
Uries fully committed to his path
and shipped off to The New School
For Jazz And Contemporary Music
in New York City. With a renewed
approach, he returned home and
soon landed gigs with regional
and touring acts that took him
through Europe and back again.
Today, Uries incredible finesse
and popping groove has helped
him find work with The Voice
contestant, Delvin Choice, and
North Carolina-based soul outfit,
The Broadcast, among others.

For most drummers, the love

of music begins at home. For
Washington, Pennsylvania native,
Avery Molek, that attraction to
music came not from a family of
musicians, but from a set of parents
who simply loved good, old rock
and roll. His interest in percussion
began so early that he cant even
remember when he first picked
up a pair of sticks. From as early
as age two, Molek was shedding
along to his favorite Kiss tunes
and begging mom and pop for

face paint. And it was only three

years later that he took the stage
for the first time with a full band.
Now, with years of practice under
his belt, Moleks playing is earning
attention all around the globe,
especially his video cover of Van
Halens Hot For Teacher. Hes
been invited to perform with Brad
Paisley on national television,
Joe Louis Walker, and even his
beloved Kiss at an acoustic meet
and greet. My man goes full circle!
Keep your eye on Avery.

YOU CAN APPEAR IN NEW BLOOD. Email newblood@drumlink.com or send a CD or DVD of your drumming, a bio with your age, equipment setup, contact information, and a hi-res photo to
Waldo The Squid, c/o New Blood, 95 S. Market St., #450, San Jose, CA 95113. No materials will be returned. Please indicate if you want your email contact published.

Open your ears to an incredible new generation of drums, drummers and drumming and prepare to be amazed.
Expect the unexpected at www.trxcymbals.com.

16

DRUM!

December 2015

DRUMmagazine.com

WHAT MUST A
GROOVE HAVE IN
ORDER TO BE GREAT?
David Garibaldi
Tower of Power
69
59
Always focus on serving
the song. So, pocket first, then consistency,
emotion, intensity, and creativity. Play
with energy but be consistent in how
you hit the drums. And give each note
full attention and value by playing with
commitment.

Hes available now! Call Steves cell at 630-865-6849.

Pete Ray Biggin

PB Underground,
Level 42, Mark Ronson
35
30
A groove needs to feel good. I like hearing
solid time, great feel, fire, and consistency.
That means putting some meaning into it,
locking in with the rest of the band, and
laying it down.

Jason Costa
All That Remains
43
30
A nice groove sits within
the pocket of the music it accompanies. A
great groove has that and the drummer's
personally infused within it.

Zoro
Lenny Kravitz,
Frankie Valli
53
37
A great groove is a spiritual experience
that emanates from the heart and soul
of a player who employs a magical
combination of time, touch, technique,
and taste, and does so with conviction
and passion.

Jano Rix
The Wood Brothers
38
36
A great groove is born from
feeling a song, not thinking about a part.
Play by feel and this stuff falls into place
on its own. Its a hard pill to swallow, but
let go of your big ideas.

Vintage Expertise
Trust the Worlds Leading Expert in Vintage Drums
When it comes to
SUPERB VINTAGE
drums you need a
true expert. I have
over 40 years of
experience with
vintage drums and
have authenticated
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existence, including
sets owned by some
of the worlds most
renowned drummers.
Feel free to call or
email with questions
or requests.

Serving the
Community of
Professional
Drummers and
Drum Lovers

Steve
Maxwell

www.maxwelldrums.com
Midtown Manhattan 723 Seventh Avenue, 3rd / 4th Floor
New York, NY 10019 Ph: 212-730-8138 Hours: 117 MF; 116 Sat
Iroquois Center 1163 E. Ogden Avenue, #709
Naperville, IL 60563 Ph: 630-778-8060 Hours: 116 Fri; 105 Sat

Our worldwide
clientele consists
of serious players, collectors,
investors and
anyone else who
loves the finest
examples of rare
vintage drums.
Our expertise
runs deep and
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superb instruments crafted
by US manufacturers from the
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the 1970s.

Additional hours by appointment | drummermax@aol.com

DRUMmagazine.com

December 2015

DRUM!

17

SINGLE STROKES
PUMP IT UP

By Bobby Rock

Interval Training For Killer Cardio

Cardio training is essential
for good cardiovascular conditioning.
Virtually any form of this type of
exercise will help the cardiovascular
side of your drumming endurance
for live performance. Every gig has
its own general level of physical
intensity, so when we engage in
cardio training with similar intensity,
we tend not to get too winded on
the gig.
However, there are often
key parts of a show that require
a notable burst of energy: the
double-time outro of a certain
tune, the bombastic double-bass
track midset, the last 45 seconds
of that drum solo, and so on. Here
is where we can use that extra
gear of increased cardio capacity
to power on through. Interval
training will give you exactly that.

With interval training, you

simply select a particular interval
of time and increase the intensity
of the exercise, then return to your
normal pace to recover. Repeat
this process in a series of these
more intense intervals, and you
are interval training.
As a basic example, lets say
youre on the treadmill or stationary
bike, cruising along at a steady
pace. You would choose an interval
of time like 30 seconds and
crank up the intensity for that
interval, before returning to your
standard, steady pace. This burst
of energy, or sprint, simulates
the kind of bursts we have to
break into during a show.
So, heres a sample 30minute interval training workout
routine:

1. Five minutes easy warm-up pace.

2. Twenty minutes of one-minute
faster pace, followed by one-minute
easy pace. (Gradually increase the
intensity on the faster intervals, so
the last five are noticeably faster
than the first five.)
3. Five minutes easy cool-down
pace.

QUICK TIPS
1. Always ease into the more
intense intervals.

running on a treadmill with light

dumbbells.
3. You can structure your intervals
however you like: one minute hard/
two minutes easy; 30 seconds
hard/90 seconds easy; or even
randomly, as you intuitively turn on
the gas for a minute or so, before
easing back into your regular pace.
4. Interval training works for any
kind of repetitive motion cardio
work. Feel free to mix things up
and switch things up whenever
the mood strikes!

2. Any time you can use a machine

that integrates arm movement,
thats a bonus. Personal favorites
are the cross-country elliptical
(with the vertical bars for the arms
to simulate skiing motions) or

BOBBY ROCK is a drummer,

personal trainer, nutritionist,
and devoted vegan. He
has played with Lita Ford,
Gary Hoey, Carnival Of
Souls, Nitro,and Nelson.

DRUM CARE

Muffling
Tips

Fig. 1

Theres no right or wrong

way to muffle your drums. The
only concern is whether or not it
achieves the results youre after.
Ive seen players use everything
from wallets to muffling gels to
duct tape on toms and snares, and
pillows of all kinds stuffed into bass
drums. Ive even seen a floor tom
filled with packing peanuts. Im
still not sure what that was about,
but it was interesting, to say the
least. Every drummer has a favorite
method, including me! Here are
some techniques I like to use,
broken down by drum type.
BASS DRUM
I like my kick drums to breathe,
so I try not to over-muffle them.
I particularly like the Evans EQ
Pad Bass Drum Muffler, although

18

DRUM!

December 2015

By Chris Achzet

most bass drum pillows work just

fine. If you dont want to pony up
the money for a dedicated bass
drum pillow, just about anything
will work. Ive even used rolled
up towels in a pinch. Its most
important to have something soft
against the batter head to help
eliminate beater bounce-back.
You can also muffle the resonant
head to reduce sound generated
from its thinner film, but be
careful not to deaden too much
resonance.

TOMS
I typically do everything I can to
avoid muffling rack toms. I can
usually tune out unwanted sustain
and overtones, but if you need a bit
more control, use as little material
as possible, whether you prefer

DRUMmagazine.com

Fig. 2

tape or gel. Apply a little bit at a

time until you reach your desired
sound.

FLOOR TOMS
Some floor toms dont need to be
dampened, while others seem to
sustain forever. Whenever I need
to tame unwanted floor tom
overtones, I muffle the resonantside head, and apply the material
as close to the hoop as possible.

SNARE DRUMS
I rarely use a snare that isnt
muffled to some degree. The
amount needed is based solely on
how much ring the drum naturally
produces. There are plenty of good
muffling products that can add a
little control to your snare, like Tone
Cookies (Fig. 1) or Vater BuzzKill

Fig. 3

(Fig. 2), and many drummers still

prefer the tried-and-true crimped
duct tape method (Fig. 3). The
choice of material and placement is
completely up to you, but just like
every other drum in your kit, be
sure not to completely choke the
sound of your drums. Once you find
the happy medium between control
and resonance that perfectly suits
your sound and style, youll never
have to guess again.

The founder of Los Angeles

Drummer Services, CHRIS
ACHZET has more than 23
years experience in drums,
backline, and production
management, having
worked with such artists as Rihanna,
Madonna, Stevie Wonder, Christina
Aguilera, Cher, Jewel, Black Sabbath,
Chicago, and The Rolling Stones.

WHATS YOUR
DRUMMING

IQ?

ANSWERS Continued from page 14

1. C. In addition to wonderfully fluid
drumming and several compositions,
Michael Shrieve not only provided the
vision for Santanas jazzier direction on
Caravanserai, Welcome, and Barboletta,
he coproduced all three.
2. A. Prairie Prince and Donny Baldwin
are part of Quicksilver Messenger Services
history, but Greg Elmore was in the classic
lineup on the bands Happy Trails album,
where extended workouts of Mona and
Who Do You Love saw him pounding out
the classic Bo Diddley beat.
3. C. Sylvester Sly Stewart liked his
drummers funky. And with Greg Errico, Sly
& The Family Stone had someone who could
drive the band like a rocker, ensuring the
hits Dance To The Music, I Want To Take
You Higher, and Stand rocked as hard as
they grooved.
4. B. David Garibaldi funkified Tower Of
Powers East Bay Grease, Back To Oakland,
and other classic albums, but when he
departed, Ron E. Beck got the gig and
appeared on Towers We Came To Play and
Aint Nothing Stopping Us Now. Not only did
Garibaldi audition Beck for the band, he
recorded alongside him on TOPs Love Bug.
5. B. Kicked out of the studio for being too
loud when recording their second album,
drummer Paul Whaley and Blue Cheer set
up on New Yorks Pier 57 and let rip. The title
of the album Outsideinside revealed the
reality.

6. C. Cold Blood, like close friends Tower Of

Power, was the heart of R&B in San Francisco.
Sandy McKee, the bands second drummer,
not only powered this soulful unit with
feel and chops, he inspired Narada Michael
Walden and Jonathan Sugarfoot Moffatt.

Hands Free Tuning Tune to Notes

Match Lug Pitches Clips to Standard Drum Hoops

7. B. While the brother of Robert Crays

drummer Kevin Hayes was guitarist in Huey

Lewis & The News, the man in the drum seat
from the start has been that bespectacled
groover with a smile, Bill Gibson.

8. A. and B. Listen to Billy Kreutzmann

and Mickey Harts rolling interplay during

the Grateful Deads Alligator (cue @
43:00) on Anthem Of The Sun, and discover
the dual drumming and jam band concept
later heard with the Allman Brothers Band.

Pitch Perfect Every Time.

Shaun Foist of
Breaking Benjamin

See Shauns Settings Here pearltunebot.com

Distributed by Pearl Corporation

DRUMmagazine.com

December 2015

DRUM!

19

SINGLE STROKES
LEGAL BEAT

By Kurt Dahl

Music Plagiarism In 2015:

Part Two
There will continue to
In the last issue, we examined the

Sam Smith and Robin Thicke plagiarism cases,

and how their outcomes could not be more
different. The question is: Where did the Thicke
camp go wrong?

1. ADMITTED INFLUENCE &

ACCESS. What really hurt Thicke were his
own press interviews before trial, in which he
admitted Marvin Gayes Got To Give It Up was
a template for Blurred Lines. His attempts to
backtrack from these statements at trial hurt
his credibility, and I imagine turned the jury
against him.

2. PUTTING THICKE IN FRONT OF

THE JURY. Months before the trial, word
of Thickes infidelity was all over the news,
complete with the infamous photo of his
hand up a strangers skirt. His lawyers were
wrong to put him in front of a jury. If anything,
I would have had Pharrell Williams testify, as
he is the main songwriter and he makes
everyone Happy!

3. MORE LITIGIOUS PARTIES. Thicke

and Williams were actually the first to bring
this issue to trial, filing a preemptive lawsuit
against the Gaye family after they made
comments in the press about the similarities
between the songs. They started the fire, and
the Gaye family was game. Tom Petty never
wanted lawyers to get involved when he
settled a dispute over the similarities between
his song I Wont Back Down and Smiths hit
Stay With Me. Incidentally, there are reports
that the Gaye children are currently fighting
among themselves over the settlement
money, and might be commencing lawsuits
against each other for it.
HOW THIS AFFECTS
THE MUSIC INDUSTRY
A lot of music industry commentators have
suggested that the Blurred Lines decision
will have a chilling effect on creativity in the
business. I disagree. While I think the jury got
it wrong, I dont think the verdict will have
catastrophic effects on the industry.
First of all, jury verdicts have very little
precedential value, and findings of actual
infringement in the music business tend to be
rare and fact-specific. This is because there
must be evidence that the infringer had heard

INNOVATIVEPERCUSSION.COM

20

DRUM!

December 2015

be musical accidents
to use Tom Pettys
words, and there will
continue to be artists
who intentionally steal
from existing songs.
the song in question; otherwise any similarities
would be coincidence. In other words, courts
accept the fact that two songs can be composed
in isolation of each other, and yet still be
substantially similar.
Secondly, creative people will continue to
create, as always. One doesnt stop being a
creative person because of a court decision.
Third, the only cases that will get remotely
close to a courtroom are those that have a
lot of money at stake. There will continue to
be musical accidents to use Tom Pettys
words, and there will continue to be artists
who intentionally steal from existing songs.
But we will hear about it only if the song is a
hit. Blurred Lines and Stay With Me are
two of the biggest songs of the last five years.
If they were mere album cuts that got no radio
play, this story would hardly be news. With
Blurred Lines, there was plenty of money
involved. Evidence presented at trial showed
that the song had generated around $17 million
since its release. Stay With Me would be
similar, if not higher.
If an independent artist plagiarizes a song
and sells a few hundred singles, nobody will
notice. Its only when that song becomes a
worldwide hit that the original writer (or more
likely, the writers lawyer) becomes interested.
As Isaac Newton famously said: If I have
seen a little further, it is by standing on the
shoulders of giants. As they have done since
music was first created, musicians will keep
drawing from their influences and standing on
the shoulders of giants. Once in a while, the
giants will sue.
KURT DAHL is a renowned entertainment
lawyer and full-time touring musician
with his band One Bad Son (onebadson.
com). You can find legal and career advice
based on his experience in the music
industry over the last 15 years by visiting
his website, lawyerdrummer.com.

DRUMmagazine.com

SAYRE BERMAN PHOTOGRAPHY

mfg
U.S.A.

The MDD Pedal has met its match.

INTRODUCING THE ALL-NEW MDD HI-HAT STAND.
ONLY FROM THE DRUMMERS CHOICE.

JeanPaul

Gaster
BLUES IN A ORLD
METAL W

By Andrew Lentz

lutch, purveyors of rip-snorting

grooves so unctuous you can
spread em over your grits, has
been plying its blues-based
heaviness to the faithful over the
course of 11 albums. And I believe our
career has suffered because of it, says
Jean-Paul Gaster from his Maryland
home. The drummer is as perky as
a morning talk show host after an
early .. workout on the elliptical
machine. But Im okay with that.
For me the blues is a very important
American art form. I listen to blues
every day, and the blues can mean a
lot of things. Ive seen Mtrhead play
an amazing blues.

DRUMmagazine.com

December 2015

DRUM!

23

Jean-Paul Gaster
Early Clutch albums, like 1995s self-titled
sophomore effort, went off on bizarre tangents
fueled by singer Neil Fallons frothy lyrics.
Those should be taken with a grain of salt,
says Gaster of the apocalyptic preacher rants.
Then again, I could be wrong. Neils one of the
best in the business, and were lucky to have
him. More recent fare such as Robot Hive/
Exodus (2005) and From Beale Street To Oblivion
(2007), both sporting Hammond B3 and
Wurlitzer organs, saw the band hit its soulful
Southern stride. Compare that to the pissed-off
stomp of previous full-length Earth Rocker. A
lot of those songs are upbeat, sixteenth-note
things, sort of halfway between shuffles and
straights. Its demanding, but I really try these
days to stay relaxed and get a lot of sound out
of the drum without too much exertion.
Latest release Psychic Warfare is a more
balanced collection of pitch-bent guitar and
low-end grunt. The band was so pleased with the
results from Earth Rockers producer, the monomonikered Machine, that they followed him out
to Texas to record the latest slab. He gets away
with a lot of stuff with us that I dont even really
want to get into, Gaster says. Some producers
throw out ideas just to throw them out there, but
some want to make a better record.
Most of the new tunes were fully written by
the time the band went into the studio, a wholly
new approach for Clutch. The hope is that,
live, the songs will sound much more like the
recorded versions than they have in the past.
Theres a certain energy that happens once you
internalize a song to the point where you can
play it and youre not thinking about it. Thats
really the most important thing: Not to think so
much when youre playing the tune. During the
writing stage, the drummer is responsible
for recording and parsing song demos, allowing
ideas to be heard from different angles. My job
in that scenario is really listening to these other

QUICK LICKS

With an innovative pocket, JeanPaul Gaster has helped Clutch

churn out edgy rock gems since
the 90s. X-Ray Visions, the first
single from Psychic Warfare, starts
off with polyrhythmic crashes into
a straightforward eighth-note
snare fill (including a greasy drag).
As he explodes into the groove,
Gaster drives eighths with guitar
and bass and replaces a backbeat
with an open hi-hat shove on
beat 4 (every other measure). His
two-bar bass drum pattern is the
perfect complement to singer Neil
Fallons gravelly melody.

DRUM!

guys, because theres three independent ideas

happening in the room. Im listening constantly
to see where the rhythm is.
Gaster is all about the shuffle, and not in
some token throw-in-a-few-for-Crossroadscred kind of way, but because its damn useful.
Shuffle is a really big word, he says. For me
its anything that has a triplet subdivision, or
alludes to a triplet subdivision. Its a very
versatile thing, and you can use it in rock, in
a slow blues; you can play it in a jazz band, or
even a reggae song. Its about knowing where
the space is and how to make it fit in the music.
Fan favorite Electric Worry (a Beale Street
track that nods to Mississippi Fred McDowell)
is usually reserved for the encore or set closer.
Thats an example of the double shuffle, or

Chicago shuffle. Throughout its discography

you will find the beats more common variant,
the half-time or Purdie shuffle, as heard on
The Face from Earth Rocker, and too many
places to mention. Clutchs dearth of descending
tom fills might seem unrock, but that just
shows how good Gaster is at sidestepping the
obvious. The boys arent scared of percussion
overdubs either. Check Release The Kraken
from 1998s Jam Room or the conga workout
on Brazenhead from 2001s Pure Rock Fury.
(Track two, Going To Market, from the latter
album is essentially a drum solo.)
Despite being haunted by the ghosts of the
Mississippi Delta, Clutch was embraced by the
Washington DC hardcore community when
the band started out, and the DIY ethos is all

Transcription by Andy Ziker

X-Ray Visions

24

When youre young doing

this ... you tend to live in
the moment. Now it feels
like this is what were
supposed to be doing.

December 2015

X-Ray Visions
X-Ray Visions
X-Ray Visions

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DRUMmagazine.com

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over the sludgy punk of debut Transnational

Speedway League. Its a sensibility that was
soon abandoned but resurfaced 22 years later in
sped-up form on Psychic Warfares NWOBHMsounding Noble Savage. In the turnaround
section, I cop a beat that Earl Hudson from
[iconic DC punks] Bad Brains made famous. Its
sort of a fake double bass thing between the
floor tom, bass drum, and the snare drum.
Gaster once studied with the late Walter
Salb, a well-regarded instructor in the DC/
Baltimore area. Recently he had a lesson with
John Ramsay, a Berklee prof and former student
of Alan Dawson. Mostly the pairs exchange was
about Dawsons rudimental ritual, something
Gaster practices before hitting the stage. What
I like about it is you can just get into your space.
Its a kind of meditation. Warming up the
hands, working through families of rudiments,
thinking about how they apply to the parts, all
of it helps to clarify what is and isnt essential.
Each day drumming to me is less and less
physical and more just trying to put these ideas
out there. Theyre already there in your head;
its just a matter of getting them out.
Besides shuffles there are boogaloos, funk,
go-go, even disco-style shenanigans in Gasters
bag of tricks. I try to stay away from things
that are technically difficult. Im much more
interested in serving the song, listening to the
vocals, and supporting whatever that lead
voice is, whether its vocal, guitar line, or even
the bass. Mixing up Clutchs rhythmic styles
is a direct result, he says, of working in side
projects spanning the blues-inspired King Hobo
to the solo debut from Scott Wino Weinrich
(The Obsessed, Spirit Caravan, Probot). He is
an amazing songwriter, not to mention probably
one of the most ridiculously talented guitarists
Ive ever come across.
As you might expect, Gaster loves his
vintage gear. A 1952 Radio King that sounds
amazing and a 1939 solid shell 14" x 8" Ludwig
& Ludwig are just a few of the gems in his

collection. An early 70s Slingerland aluminum

snare acquired from a pawnshop has been featured
on almost every Clutch record, so J-P doesnt
cotton to the idea that you have to be rich to
collect. And he wont hesitate to bring them on
the road. Theyre not meant to sit on a shelf and
be admired. I want my drums to be played. Just
because a drum is 50 years old doesnt mean you
cant put a new throw-off on it.
Up next for Clutch is a run with Corrosion Of
Conformity and a mix of package and headline
tours that should keep Gaster busy for the next

two years. Any downtime will be spent honing

his craft, working out of classic method books
like Syncopation. Its easy to fall into a rut and
sit around watching TV all day. I try to carve out
some time every day to play drums, even if its
only for a few minutes. Surprisingly, the road
vet enjoys touring more today than in the 90s,
when the rock and roll lifestyle was still a novelty
for him. When youre young doing this, through
the upsides or downsides, you tend to live in the
moment. Now it feels like this is what were
supposed to be doing.

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DRUMmagazine.com

December 2015

DRUM!

25

Easy Installation
Patented Pad Design Fits Directly On Acoustic
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A STADIUM
VETERAN AT 19

Elijah Wood
By Bob Doerschuk

ow does a teenaged drummer

transition from playing impossible
time signatures with prog rock bands
to laying down straight-ahead beats
behind country superstar Shania Twain?
Im going to say it now: Its absolutely
crazy, answers Elijah Wood. I pinch myself
every single day. I dont even think its real
right now.
Stop the pinching, Elijah: It is true.

He has gone from learning his way

around a drum kit more or less on his own to
shooting a video of himself playing along to
Dream Theaters Stream Of Consciousness
to joining that bands keyboardist Jordan
Rudess in his new group OrKeystra and now
to touring with Twain, who has won five
Grammy Awards, sold upwards of 85 million
records, and whose songs almost never
stray beyond 4/4.

And he owes it all to discovering as a child

that, in his own words, Im the worlds worst
violinist. That epiphany came through the
efforts of his father, Mark Wood, who for years
was featured as soloist on electric violin with
the Trans-Siberian Orchestra. With Dad
dazzling audiences around the world and
Mom distinguishing herself as well as a gifted
singer, I was exposed to music ever since I
popped out, Elijah admits.

DRUMmagazine.com

December 2015

DRUM!

27

Elijah Wood
It was assumed at first that he would follow
in dads footsteps and so the Suzuki violin
lessons began. All my teachers thought, Oh,
my gosh, this is Mark Woods son! Lets put him
in first chair! And Im barely scratching away
on this thing. Ive got nothing against the

QUICK LICKS

Transcription by Andy Ziker

Red Storm

Red Storm
Elijah Wood is a 19-year-old
with incredible chops, a refined
sound, and an innate flair for
showmanship. If that doesnt
make you jealous enough, he
jams with Jordan Rudess (Dream
Theater) and is Shania Twains
touring drummer. This passage is
from drum cam video of a band
feature. (Search Woods Vimeo
page for Red Storm.) Check
out his polyrhythmic use of the
China cymbal, a cool shuffle
using the bell of the ride in the
third line, and hertas going down
the drums in the last measure.

28

DRUM!

loved the drummers who gave big performances.

I also liked that theyre the drivers of the
train. And I really connected with Jeff Plate
from Trans-Siberian Orchestra. Ever since
I was super-young, hes been my number
one mentor.

violin, Elijah quickly adds. And the way my

dad plays it is awesome. But I just never really
could connect with it.
By age five, Elijah had committed himself
to drums. I loved the fact that you could
play it with all four limbs, he explains. I

December 2015

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Red
Storm

1:55
q = 124

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3
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y
Red
4
j
1:55

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q = 124
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1:554
4 y Z Z Z Z Z Z Z 3 Z Z 3 Z Z Z Z Z 3 j 3 3j 3 3 y
Z Z Z Z Z Z Z Z
Z Z Zj Z Z Z Z
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DRUMmagazine.com

His fathers flair for spectacle and long

friendship with Rudess nudged the very
young Wood toward progressive rock. He
also inherited his fathers appreciation for
showmanship. People hear with their eyes,
he says. You could be the best drummer
in the world, but if you look like youre not
having fun, some of them will just turn it off.
People used to call me Neil Peart because hes
so stoic when he plays and I was kind of the
same way. If you look at really old videos of
me, Im focusing on the drums like, I dont
need to perform. It worked; it was fine. But
one day I realized that if I dug into the groove
a little bit or moved my head or smiled or put
on a show, peoples reactions doubled.
Though he admits to being able to twirl a
stick only with his left hand, Wood makes up for
that with an intense, head-shaking presentation
that works in pretty much every genre. Maybe
not so much with OrKeystra, whose repertoire
includes one piece with (Wood swears this is
true) 173 time signature changes, pretty much
one every bar. But if you watch him backing
Twain on her Rock This Country tour, youd
swear that no one else on Earth has as much fun
as he does in laying down a backbeat.
So how did he land that gig? Through
Americas
Got Talent,
of course. Wood1had9/10/15
CIM_DRUM
ad 2015_Gadd.pdf
been hired to play for two AGT contestants

during a taping at Radio City Music Hall. The

NBC programs producers were impressed
enough to invite him to be the drummer for
AGT Live! at Planet Hollywood in Las Vegas.
There, he met and became friendly with the
bands guitar player, Josh Gooch. Six months
later, Gooch texted Wood that Shania Twains
band, which hired him a couple years earlier,
was now auditioning drummers. Wood
immediately cleaned up his website, sent a
link, and was invited to try out in Los Angeles.
He came fully prepared. They sent me six
songs to learn, but I also looked through her
catalog and learned other songs too, just in
case they asked, he says. I made sure that
I made a good first impression when I met
the musical director and the bandmembers. I
gave them a pretty decent handshake. I acted
around the kit in a way to show I was somebody
who would be a good hang. And I played as if I
was trying to entertain 20,000 people.
As for working with a country superstar,
Wood offers a clarification. Shania is really a
rocker chick, deep down. And I would classify
myself as a high-performance rock player.
There are maybe just three songs in her set
that are, quote/unquote, country. Theyve
helped my country chops and shuffle feels.
But3:23
most
PMof the set rocks, with pyrotechnics,
lasers, and big lights.

This gig has helped my groove playing

tremendously, he adds. As much as I love
playing insane time signatures, I enjoy just as
much if not more playing four-on-the-floor.
Its a lot harder than some people think to get
it where it needs to be. Theres always a way
to make the groove a little tighter or lock into
the bass player that much more. For me, thatll
never get old.

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December 2015

DRUM!

29

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Its been said:

If at first you dont succeed,
try, try again. Indeed, wiser
words may have never
been spoken, but if in fact
you succeed wildly, as

Terri Lyne

Carrington
did when she
won her first Grammy Award
in 2012 for her all-woman
album The Mosaic Project,
you dont just try, try again, you

Do It Again!
By Joe Bosso | Photograph by Robert Downs
32

DRUM!

December 2015

DRUMmagazine.com

DEEP GROOVES
Carrington lays it down in
the basement of Berklee
School Of Music, where she
was once a student, and is
now a professor.

DRUMmagazine.com

December 2015

DRUM!

33

Terri Lyne Carrington

In

recording her latest album, The Mosaic Project:

Love and Soul, Terri Lyne Carrington had a hard
act to follow: herself. The renowned drummer,
composer, bandleader, and producer won her first Grammy
in 2012, for Best Jazz Vocal Album, for the records precursor,
The Mosaic Project, and two years later she became the
first woman to nab a Best Jazz Instrumental Grammy for
Money Jungle: Provocative In Blue.
If that werent enough, earlier this year Carrington
added a third Grammy to her mantle for her deft and
inventive production of Dianne Reeves album Beautiful
Life. After more than 40 years in the business, the onetime
sidewoman for icons such as Herbie Hancock and Wayne
Shorter, who has also served as house drummer for TV talk
shows such as The Arsenio Hall Show and Vibe, is having
more than just a moment.

The first Grammy couldve been a fluke, Carrington

says with a good-natured laugh. I had never won one
before, so maybe they were giving me a reward for my
entire career. But if the first one was just me being lucky,
by the time you got to the second and third ones, I think
thats a sign of, Okay, now youre being taken a little more
seriously. She thinks, then adds, Lets face it: They dont
give you three Grammys just to be nice.
Jazz has long been the province of men, and when you
narrow the field down to jazz drummers, it stands to reason
that Carrington very well might be in a league of her own.
Because of this distinction, she admits that the mini
Victrola she took home for Money Jungle has a deeper,
more resonant meaning. The fact that Im the first woman
to win that award says a lot about whats going on in the
industry and how few woman play jazz, she says. Its still

Terris Traps
C

B
3

4
E

5
2

F
1
6

34

DRUM!

December 2015

CYMBALS Zildjian
A 14" Kerope Hi-hats
B 16" K Dark Crash Thin
C 18" K Dark Crash Thin
D 20" K Constantinople Medium Thin Ride, Low
E 22" K Constantinople Medium Thin, Low
F 22" K Custom High Definition Ride

DRUMmagazine.com

Terri Lyne Carrington also uses Zildjian sticks,

Yamaha hardware and pedals, and Remo heads (Bass
drum: PowerStroke 3 batter/Ambassador logo head;
Snares: Coated Ambassador batter/Hazy Ambassador
snare side; Toms: Coated Emperor batter/Clear
Ambassador resonant).

Infographic: JUAN CASTILLO

DRUMS Yamaha Absolute Maple Nouveau

(Vintage Natural Finish)
1 20" x 18" Bass Drum
2 14" x 5.5" Snare
3 10" x 7.5" Tom
4 12" x 8" Tom
5 14" x 14" Floor Tom
6 13" x 5" SSD-1350A Piccolo Snare Drum

not that many, so if people recognize me and see me as a

groundbreaker or something like that, Im okay with it.
She pauses, then adds, Part of me wishes that we didnt
even have to talk about first woman this or first woman
to do whatever. Like it is with a lot of things, you just want
the music to be all that matters and not something else
connected to it, like whether Im a man or woman. One
day the playing field will be even and what Im doing
wont seem like a big deal. Until then, Im fine with my
accomplishments drawing some attention.

Building A New Mosaic

The Mosaic Project: Love And Soul is, as the title implies, a
continuation of Carringtons 2011 project. Like its predecessor
its a beautifully rendered and wildly entertaining collection
of jazz, R&B, and pop standards (none of them played
entirely straight, and some of them completely reimagined),
along with a host of richly detailed, groove-heavy originals.

The conceptual idea behind both records, as she notes, was

to celebrate the artistry of many women I had worked with
and felt a sisterly bond with, women who were close friends
and musical partners. The first set featured a sterling array
of players and vocalists, among them Patrice Rushen, Sheila
E., Mimi Jones, Dee Dee Bridgewater, Cassandra Wilson,
and Esperanza Spalding; the sequel includes many of the
original performers, but also boasts Nancy Wilson, Linda
Oh, Valerie Simpson, Rhonda Smith, Chaka Kahn, Oleta
Adams, and Meshell Ndegeocello, among others.
Making a record with all females is pretty interesting,
Carrington notes. The social aspect is quite different from
working with men. Theres a certain kind of energy in the
room; its like getting together with your best girlfriends.
You're talking a lot and laughing, and it tends to be loud
with lots of excitement. With men, the energy in the studio
and on the road is a little more subtle and quiet. Men can
be a little guarded, like, We cant joke about this theres
a girl in the room.

Jack DeJohnette
The Teacher On His Student

hat does it mean to be a mentor? The answer to that question

may have more to do with the recipient than the provider of

whatever knowledge is being conveyed.

When the student was Terri Lyne Carrington, it made mentoring
both easier and harder for the artist she came to for some insights.
I think I first saw Terri Lyne in a film of her playing in a studio, says
Jack DeJohnnette. She must have been 12 or 13, and already she
was amazing.
Three or four years after that, he met Carringtons father,
who asked if he might introduce them to each other. I think she
was interested in exchanging ideas and learning something,
DeJohnnette says. We hit it off right away. She was very serious
about what she was doing, not in a stiff way but in a very thorough
and concentrated way. She was quite at home on the drum set and
extremely musical and original. I know I influenced her in some
ways, but she already had her own thing.
Photograph: JIM BROCK PHOTOGRAPHY

Terri Lyne and I never talked about rudiments or things like

Shes really good with her students, he says. There were

about 20 kids in her class and she worked with each of them,
individually and collectively, playing along to recorded music and

that, he continues. With us, it was all about the music, the feel. I

then discussing. I was impressed with how she set up her program.

just encouraged her to be original. She already had everything else:

I learned a lot!

the intensity, the drive, and the passion. We both have that.
Some of their interactions involved playing together, with

Some of what DeJohnnette has learned through his friendship

with Carrington involves what it means to be a mentor. Its about

DeJohnnette on piano. Years later, he also enjoyed the opportunity of

inspiring, he reflects. I try to be the best I can be, and if that

observing as Carrington passed along some of what she had learned

inspires somebody else, then I feel inspired in turn. Thats what

from him while teaching a class at the Berklee College Of Music.

musicians are supposed to do.

DRUMmagazine.com

Bob Doerschuk

December 2015

DRUM!

35

Terri Lyne Carrington

Carrington recalls a time, years ago, when saxophone
legend Eddie Lockjaw Davis wouldnt hire her precisely
for that reason. He thought my being female would be
too much of an issue, she says. But that was a different
era; he was old school. I don't get that so much anymore.
And I don't feel that way about guys I work with. They
just do what they want, and if it gets a little too outrageous
or too raunchy for me, I just remove myself. They get
the idea pretty quickly Oh, this is out of hand. Tone it
down.
But when it comes down to the music, everybody's on
equal footing, she continues. Whats interesting to me is,
as a woman I find that I have to access my male energy. You
tap into your aggressive form and strength, especially in
the studio. You have to be able to utilize festivity. Both men
and women have to be able to access aggression, sensitivity,
restraint, intuition. In that way, were all the same.

Inside Tracks

Carringtons drumming has long been an uncategorizable,

deceptively nuanced mix of traditional jazz and deep-in-thepocket R&B grooves, and on the new album she brings that
subtle and mysterious blend to a sultry reworking of Im
A Fool To Want You, cowritten by Frank Sinatra and sung
here by Chaka Kahn. In some ways, this is a breakthrough
track for me as a player, Carrington says. Getting in that
pocket is a funny thing, and every drummer does it a little
differently. It starts with how you hear it, but it all comes
down to how you feel it and play it.
She breaks it down further by stating that she puts a
strong emphasis on the rims, on the 2 and 4. I lean in
more, and then I have to do the same thing with the kick
drum. For whatever reason, on something like Fool To
Want You, my kick stays a little more jazz, so I have to constantly tell myself to play a little stronger down there. See,

Justin Faulkner
The Student On His Teacher

hen he was 16 years old, just two years before beginning his
ongoing gig with saxophonist Branford Marsalis, Jason Faulkner

was accepted into Terri Lyne Carringtons jazz summer workshop. His
first lesson with her began simply. She said, Play something! he
remembers. So I did, and she said, Okay, I cant teach you how to
play. You know that already. So lets go over some concepts.
Over the next five weeks, they worked on matters great and
small, from finding the groove in odd meters to unveiling the secrets
of high-velocity swing. But her most important lesson involved
something less technically defined.
At one of the rehearsals, I started playing like one of my favorite
drummers, who shall remain nameless, Faulkner says. Right away,
Terri Lyne said, No, no, no! I know what youre doing and its not
okay. The most important element of what were doing here is to
help you express yourself as honestly as possible by being yourself.
No one else can be you.

Most important, listen to your elders. A lot of guys in my

According to Faulkner, Carrington broke this process down

going to change. All you can do is make improvements: How can

your values. Im a Christian and the way that I play music is a form

I help the wheel run smoother? You cant figure that out until you

of worship for me. The next thing is to not be afraid of ridicule.

learn how the wheel was made and you do that by speaking with

For example, when I heard Meshuggah, I got into death metal.

your elders.
Just as critical to Faulkner is the positivity with which Carrington

videos of Derek Roddy and Virgil Donati and Marco Minnemann. So

encourages younger players. It takes a special person to be able

now Im incorporating blastbeats into my playing. Honestly, theyre

to convey that when theyre correcting you. Honestly, most people

very similar to the shout music you play in the traditional African-

dont know how to do that. But everything Terri Lyne ever told me

American Baptist Church or the Church Of God In Christ.

came from a place of love.

DRUM!

December 2015

DRUMmagazine.com

Bob Doerschuk

Photograph: BRUCE TURNER PHOTOGRAPHY

to several key points. You have to identify your inspirations and

Sometimes people can shun you for that, but I started watching

36

generation think theyre reinventing the wheel. But the wheel is not

Photograph: ROBERT DOWNS

jazz is all about the ride cymbal. Thats where your signature
is how you approach the ride. Groove music isnt about
that, so I had to change my thinking from my right hand to
my right foot and my left hand, and I had to really feel the
changes there arent grace notes and not so many bass
notes. Its tricky.
A more pronounced drumming breakthrough for
Carrington comes on the albums opening cut, a top-tobottom pop-gospel remake of Duke Ellingtons Come
Sunday that features Natalie Coles rapturous vocals set
against groovy wah guitars and a fierce drum-and-bass
foundation. That track took a lot out of me, Carrington
admits. It was very fast and I was playing real hard. I
remember trying to reach the crash over by the floor tom,
hitting it hard but trying to make it even that took some
doing. The whole thing was a real workout. We did a few
takes before my arms gave out, comped them and pulled
the best bits, and made them into one full track.
The idea to record her own interpretation of Come
Sunday had been brewing for some time, but Carrington
was surprised at how radical the song became after two
previous attempts at nailing it. At first, I did it just like the
original, she recalls, and then I did it again in an odd-time
signature. That way didnt feel right either, so I did it
straight-up, and thats the version you hear on the record.
After three wildly different angles on the same subject,
she went for broke and recorded a fourth version, which
she calls a jazz remix, available on iTunes. Thats how
you know a song is really good, she notes, when you can
stretch it like a rubber band and it always snaps back.
In selecting cover material, she tends to gravitate toward
favorite artists and songs, like Bill Withers You Cant
Smile It Away (here featuring Paula Cole on vocals) and
Patrice Rushens When I Found You, which sees the

Whether its a
gig or a session,
I dont travel with
drums its too
much trouble.

composer lending support

on Fender Rhodes but
ceding the vocal spot
to Lizz Wright. Oddly
enough, Ashford &
Simpsons classic song
Somebody Told A Lie
didnt grab Carrington
initially, though she knew
she wanted to cover
something by the soul
duo. She initially had
her sights set on their 1977 hit Send It, but after going
back and A/B-ing the two songs, she found herself getting
hooked on the former tracks melody and thought that it
would better lend itself to her style of arranging.
Sometimes it comes down to, Okay, what can I bring to
the song? she explains. Thats what I like about producing
and arranging and making records. You take what are the
building blocks of the original song and you turn it into
something else.
Just in time for a new wave of Star Wars mania, the Force
awakens and its a distinctly male Force at that on this
track and also on Come Sunday in the form of Billy Dee
Williams, who turns in a couple of self-deprecating (one
would hope) spoken-word monologues. Carrington is quick
to point out that she didnt seek out the velvet-tongued
actor to guest on the record the offer came from Williams
himself. I had to tell him, My next record is going to be all
female, she says. But Billy had a convincing argument:
What better male to be on an all-female record than
himself? After a little bit of thought, I had to agree.
Nearly half of the album is made up of Carrington
originals or cowrites on the spacey yet lush Imagine
DRUMmagazine.com

December 2015

DRUM!

37

Terri Lyne Carrington

This she teams with jazz-pop chanteuse Nancy Wilson,
who conjures visions of a martini bar in the outer limits,
and on the samba-tinged Cant Resist Carrington herself
turns in effectively airy vocals. One day Ill do an album
where I sing more, she predicts, but the whole concept
of this record was one song, one singer. I wasnt going to
bump so many amazing singers off just so I could get my
own voice on there. What Im going to tell Nancy Wilson,
Sorry, youve gotta go to make way for one more song with
me? I dont think so.
Cant Resist is one of several cuts on the album to
feature electronic percussion, although Carringtons use
of drum programs isnt overbearing or overly stylized, and
she always augments the tracks with live drums. I use
GarageBand, she explains. Its simple, fast, and its pretty
versatile, I think. I have a library of sounds that I like to use,
so Ill do all my demos or prepreproduction vocals, bass,
drums, piano, everything and Ill replace whatevers
needed with live playing. Theres more elaborate programs
out there, more technical things, but Im comfortable with
GarageBand.

Setting The Stage

To accommodate both singers and instrumentalists, the

Love And Soul studio sessions took place in both New York
City (Jeremy Loucas Studio B at Sear Sound, Valerie
Simpsons Above Asia studio) and Los Angeles (The Lair,
Village Recording). Carrington nixed the idea of flying
her drums to L.A. (too expensive I self-finance my
recordings), as well as hauling her kit back and forth
between her home in Boston and New York. (Carrington
has served as Associate Professor at Berklees College Of
Music for the past ten years.) So she opted for rented
Yamaha Maple Custom Absolute kits from S.I.R.

Whether its a gig or a session, I dont travel with drums,

its too much trouble, she says. Im used to playing on
rented kits, so its fine. I like to tweak the drums and try to
make each piece sound unique different tunings, different
ways of playing them. Sometimes Ill put gaffers tape on
the drums and see what that does. You can get your snare
to sound like a drum machine like that, which has its uses.
I dont really get hung up on drum sounds in the studio,
because I know Im going to go back and change things. I
just get a basic sound I like and go with it. Theres a lot of
lo-fi-ing, rolling off the highs and lows on some things.
She describes her setup as fairly standard, nothing
quirky: an array of Zildjian cymbals, a jazz-size 20" bass
drum, a couple rack toms, and a floor. Perhaps the quirkiest
aspect of her setup is her use of two snare drums, with the
auxiliary one, set off to her far right, tuned low. Sometimes
I may put quite a bit of tape on cymbals or find some old
ones in the studio, she says. I have a pretty set way I like
to arrange the kit. From doing so many shows with lights
going off and all kinds of distractions, I dont want to have
to think about the kit or have to look at where anything is.
In a perfect world, I should be able to close my eyes and
play with no worries.

No Agenda

One might think that Carrington would be hyper-critical of

her own drum performances in the studio, but she claims
that, given the option, she would hire other drummers for
her records in a heartbeat. Not because of my drumming,
she points out, but because I just dont want to obsess
about the drums. I want to focus on the big picture, the
whole record. When I produced Dianne Reeves Beautiful
Life, Terreon Gully played drums. I ended up going in and
playing on a couple of songs, because I just wanted my

A S E L E C T E D T E R R I LY N E C A R R I N G T O N D I S C O G R A P H Y

38

1984
Seven Minds

1988
Flat Out

1989
Real Life Story

1990
Crossroads

1991
Songbook

1992
Landmarks

1993
A Change Of
Heart

1994
Quiet After The
Storm

1995
High Life

1996
Room Of Ones
Own

1996
Panamonk

1997
Moody Plays
Mancini

1998
Gershwins
World

2000
The Invisible
Hand

2001
The Final
Concert

2002
Jazz Is A Spirit

2003
Glamoured

2003
Alegra

2004
Structure

2005
For The
Rhythm

2009
More To Say
Real Life Story

2009
Congo Square

2009
Big
Neighborhood

2010
Chamber Music
Society

2011
The Mosaic
Project

2012
Mutatis
Mutandis

2015
The Mosaic Project:
Love And Soul

DRUM!

December 2015

DRUMmagazine.com

I am beyond excited to present my new signature snare drum. In developing the ideal
Abe Cunningham snare drum with Tama, we started with this concept: Meld two of my favorite
snaresthe Tama Bell Brass and a vented maple snare. The result is a thunderous, yet extremely
dynamic and articulate drum that can thrive in a variety of musical situations.
- Abe Cunningham

REMO Coated
Ambassador &
Snare-Side

Die-Cast Hoops
(10 Holes)

6x14 3.0mm
Brass Shell
2 diameter BIG
VENT Hole (x4)

Brass Tube Lugs

Here what Abe Cunningham

has to say about his AC146
Signature snare at tama.com

Terri Lyne Carrington

own old-school feel on those tracks. In
general, Im usually pretty glad to leave
the drumming to someone else. This isnt
about my ego its about the music.
Carrington began making her own
records in 1989, starting with the Grammy
nominated Real Life Story. Over the years,
shes released five additional albums bearing
her name. Asked to describe the difference
between recording as a solo artist and
drumming for hire, she likens it to being
an actor in somebody elses movie when
you really know that you can direct. I get a

40

DRUM!

December 2015

DRUMmagazine.com

little more satisfaction from doing my own

music because Im the captain of the ship.
I can see my vision through from beginning
to end. If Im a guest on somebody elses
record, Im helping their vision.
Lyric writing is still something of a
struggle, she admits. Some words come
easily, but for the most part, Carrington
says that the process of completing lyrics
to any given song can often take weeks. I
dont know how people sit down and have
a whole song, words and music, in, like,
20 minutes, she says with a laugh. Thats

just not me. She cites Imagine This and

Cant Resist as her favorites on the new
album, because they celebrate love. That
seems to be the most important topic,
to me. Celebrating it, pining for it Im
always looking for a clever way to talk
about love. Writing lyrics is second nature
to some musicians; I have to kind of work
at it.

The Muse Starts Here

Since the release of 2008s More To Say

Carrington has focused mainly on her own
music, production, and teaching at Berklee.
Before that, her resume as an in-demand
studio and live player listed names such as
Stan Getz, James Moody, David Sanborn,
Robin Eubanks, John Scofield, and John
Patitucci, among others. People ask me
why I got hired so much, and I think its
because I really do serve the music, she
reasons. Maybe its the female gene in me
that gives me a natural inclination to be of
service. I use my intuition to know what
that person wants, where theyre coming
from, and how theyre trying to present
their music. She laughs and adds, I could
get a little flashier, maybe. That could be
something for me to work on do that
look at me thing that other drummers
do. But I just dont think thats my thing.
Youve got to be you.
She did learn a few new tricks as a TV
band drummer, however in both her
Arsenio Hall and Vibe stints she had to
learn songs on the fly. Youre playing a
song with a big-name artist, and its got to
sound right, Carrington says. You cant
go back and redo it like in the studio. She
also became mindful of the art of brevity:
You have five seconds, ten seconds, maybe
30 seconds before you go to a commercial,
and in that time you have to get to the
point. You get in, you get out theres no
building on TV.
For as much as she celebrates the
uniqueness of womanhood on her Mosaic
Project albums, Carrington asserts that
the only way shes made it as a professional
drummer was by not calling attention
to gender at all. The advice I give to
female drummers is the same for male
drummers, she states. You have to have
everything together, all the basics. Your
technique and coordination have to be
on point. You have to be competitive with
everybody, so a female drummer has to
be competitive with a male drummer, and
vice versa. You cant hear male drummer
or female drummer on a record you
only hear the drums, so just make what
youre doing count. Thats all that matters,
no matter who you are.

GROOVE ANALYSIS By Andy Ziker

STANDARDS
REVOLUTIONARY
IN HER SEVENTH ALBUM AS A LEADER,
Terri Lyne Carrington recruits an allstar female cast of musicians to play
reimagined standards (and a few
originals). She drums with her producer
hat on: Every note counts toward the
overall arrangement. No more, no less.
R&B grooves enliven timeless melodies
as she captures just the right mood
with an expressive touch.

Come Sunday
Duke Ellington would have loved
Carringtons treatment of his ballad.
Here, she contrasts Natalie Coles
sweeping vocals with a rhythmically
active drum n bass groove. Check out
how the bass and snare drum outline
each two-bar phrase: 1, 2, 3, (3) &, (4)
& and (1) &, 3, (3) &, 4. Within those
guideposts, Carrington keeps things
moving with three layers of snare
dynamics ghosted, medium, and
accented which jibe seamlessly with
closed hi-hat. The open hi-hat on the
(3) & and the short duration crash on
(4) & in the last measure finish off the
eight-measure phrase in style.

Im A Fool
This Frank Sinatra-coined ballad,
originally called Im A Fool To Want
You, is transformed into Al Green-like
gospel soul. An intro of sloshy hi-hats
and crashes combined with driving
bass drum and rim-click lead us into
a power flam on muffled snare followed
by syncopated kick. Carrington creates
interest by varying the bass drum part,
leaving out some of the closed hi-hat
sixteenths, and interjecting open hi-hat.

For You To Love

Normally, a good rule of thumb is to stay
away from covering Luther Vandross
tunes. However, if you have talented
singer Oleta Adams (and Carrintons own
drumming prowess) on your side, its a
nonissue. For You To Love is arranged
in 5/4; the extra beat gives us time
to gather our thoughts. Listen to the
cool rim-click flams played as a pickup
(leading into measure one) and again on
beat 5 of measure four. Also, in the
second and fourth lines, Carrington pulls
off a mirage: The rim-click implies 4/4
time (over two bars of five), ending with
two extra beats (4 + 4 + 2 = 5 + 5).

Come
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Some drummers
play in the studio and on
the road with their bands.
Session players spend
days in recording studios
and nights in their
own beds. Then there
are drummers like

JEFF
FRIEDL
,
one of the top subs in
L.A.s fertile alternative
scene, whose bands
are mostly side projects
that tour infrequently and
only occasionally ask
him to record a note.
The solution?

PLAY IN
A MILLION
BANDS
BY ANDREW LENTZ | PHOTOGRAPH BY JENNY JIMENEZ
42

DRUM!

December 2015

DRUMmagazine.com

RHYTHMIC CHAIRS
Jeff Friedl on stage at
The Showbox in Seattle
with A Perfect Circle in
2010. Or was it Puscifer?
Or Eagles Of Death Metal?
Or ... oh, never mind.

DRUMmagazine.com

December 2015

DRUM!

43

JEFF FRIEDL

uscifer drummer Jeff Friedl is so astonishingly

mellow in person he must have a resting pulse of
35 bpm. Whats up, he says in a sleepy drawl
between gulps of coffee. Hes slowly awakening
in a motel in Portland, Oregon where he will play tonight
with Eagles Of Death Metal. Checkout time was 15 minutes
ago, but I dont think theyre going to boot me out.
If the scenario puts Friedl in slacker-ish light, nothing
could be further from the truth. As soon as he checked in
to the hotel yesterday, a day off, he gave four Skype drum
lessons in a row until late in the evening. I like to stay
connected to my students. They thrive when they take
lessons every single week, and I feel certain obligations to
keep them on track.

Friedl got the Eagles Of Death Metal call while on

vacation with his girlfriend. An eternal slave to the groove,
he promptly said yes. The trek is the North American leg of
a tour that started in Europe. (We just finished there and
managed to survive. Barely.) But tonights show will not
include founder and sometime codrummer Josh Homme,
who had to get back to main band Queens Of The Stone
Age. A lot of Eagles is all Joshs drumming. Hes one of
those drummers that just has an interesting feel because
hes not a trained drummer. The band often tours without
Homme, but its no problem vacating the chair whenever
he returns. Im happy to grab a pair of sticks or the
tambourine whatever the situation calls for, man. Its
by far one of the funnest bands Ive ever played in.

A VERY PECULIAR
PUSCIFER KIT
C
B

D
A

D
2

5
1

44

DRUM!

December 2015

CYMBALS Zildjian
A 16" K Light Hi-Hats
B 21" K Crash-Ride
C 22" K Crash-Ride
ELECTRONICS Simmons
D Simmons SDS-1 Pad

DRUMmagazine.com

Jeff Friedl uses DW hardware, Vic Firth 5B sticks, Cympads,

Razer headphones, and Remo heads. He also plays Ludwig
drums with Devo, Eagles Of Death Metal, A Perfect Circle,
Filter, The Beta Machine, and Ashes Divide.

Infographic: JUAN CASTILLO

DRUMS
1 Q Drums Copper Shell 26" x 14" Bass Drum
2 Q Drums Copper Shell 14" x 6" Snare
3 Q Drums Copper Shell 18" x 16" Floor Tom
4 16" Remo Roto Tom
5 12" Remo Roto Tom

Photograph: TIM CADIENTE

SHOTS FROM THE HIP

Aside from irony, the 70s bar-rock boogie of Eagles Of

Death Metal could not be more different from the industrial
cool of Puscifer. From a drumming standpoint, though, its
been good training. Puscifers unconventional approach to
pretty much everything requires a sense of humor and an
open mind. The drum credits on new album Money Shot
are divvied up between Friedl and Queens Of The Stone
Age drummer Jon Theodore with the balance tipping
in Friedls favor. Splitting the drum tracking duties is an
aspect of the job he really digs. Its always cool to hear
Jons perspective on songs. At the end of the day I think the
easiest way to rework a song or give it a different feel is a
change with the drummer. As far as recording, Puscifer is a
drumming collective, but Ive been fortunate enough to be
the main drummer since theyve been playing live.
Whether tracked by him or Theodore (or Gil Sharone
and Tim Alexander before them) the beats are filtered,
processed, and Puscif-ied in post-production to the extent
that Friedl has to relearn them all. The idea of authorship
is moot. Take The Remedy, which has a preprogrammed
delay/reverb on the main snare hit to make it sound like a
flam. Simultaneous has overdub of reco-reco, a Brazilian
hand drum. Now that Im listening back, I have to figure
out how to play a reco-reco, the snare, the toms, and
everything together. The live setup is accessorized with
Simmons pads, Roto Toms, and whatever else is needed
to reproduce Puscifers signature acoust-electric rhythms.
The preference is to trigger it live if you cant have that
specific instrument in front of you, he explains. At least
have the sound pulled up and be responsible for playing
it. It might not be 100 percent like the album, but thats
always better than playing to sequences. Were not doing
any of that so this still really feels organic to me.
Before worrying about the best way to approach the
beats live, the drummer was tracking with Puscifer bassist
and producer Mat Mitchell for close to a year. Around
the same time Mitchell was also producing Friedls new
side project The Beta Machine. Talk about maximizing
studio hours. There were times where I was recording
drums for Beta Machine songs and wed finish and then
start working on Puscifer stuff, and so I kind of toggled
between the two. On The Arsonist and The Remedy,
featuring drum inputs from both Theodore and Friedl (they
were never in the studio together), Mitchell synthesized the
parts into something new. Hes a dangerous producer,
he laughs. You think somethings going to be one way
and then youll hear the final track and go, holy s**t.
Whether Mitchell left them intact or not, some drum
tracks were rerecorded in an actual drum room just to
change up the tones. If you want a big room sound you
dont go into a booth with a kick, snare, and hi-hat.
Youve got to do it legit.
Puscifer/Tool/A Perfect Circle singer Maynard James
Keenan always has a tongue firmly planted in cheek and
Money Shot has its share of snark, but overall it feels like
a fully realized artistic statement. The spoken-word piece
Simultaneous, featuring the singers voice trippily slowed
down, is about an encounter with an eccentric fan at a
music festival. One of the best songs, The Arsonist, skewers
the sickos responsible for destroying acres of forests in the
American West. It all seems so beside the point when it
comes to beats, but Friedl believes subject matter affects
his parts. I think things change when any vocalist comes

THE LAST
THING ON MY
MIND USUALLY
IS, HOW DO I GET
A BIGGER NAME IN
THE DRUM WORLD?
ID RATHER JUST
KEEP MY HEAD DOWN
AND WORK HARD ON
THE MUSIC THAT
I WANT TO PLAY.

in to sing over something. Depending on what the lyrics

are and how they might want to stretch out a part or
something. Thats all part of the process. Keenans star
power risks overshadowing any side project, hence the
outlandish disguises. (Or maybe he just likes to crossdress.) Thankfully, a lack of ego and open mindedness
makes Puscifer a true group effort. He surrounds himself
with people that he trusts; that he knows will create great
stuff. If somethings not working hell mention it but hes
very open. He likes for things to have a strong connection
to the people he works with.
Friedl has come to expect that level of participation
in any of his bands, such as the recently resurrected A
Perfect Circle. I paid homage to the songs the way they
were written but [APC guitarist Billy Howerdel] was okay
with me putting my stamp on them, too. Id say throughout
that first tour Id tweak my parts every single night. He
encouraged me to find my own voice.

ALL THAT LATIN JAZZ

That Jeff Friedl ended up in an oddball alt-rock band

(heck, any rock band) shows how random the music
universe is. Growing up in Tucson in a musical family, the
precocious kid was already working steadily as a drum
instructor by the time he was 14. While still in high school,
he was invited by Arizona-based salsa collective Ache Pa
Ti to tour Cuba for an immersive apprenticeship in AfroCuban percussion. They hired me, lifted me up, knocked
me around for that whole month in Havana and several
years after, and thats how I figured out the essence of
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December 2015

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45

JEFF FRIEDL
that music. I really got in touch with the
energy of it and that helped my playing
significantly.
Brimming with new rhythmic ideas,
he enrolled in University Of Arizonas
percussion and performance program.
After his fill of academia, he lit out for
California to get even deeper into the
music world, everything from small
ensembles to supper club salsa orchestras
to folk and country bands. All along,
Friedl was adapting folkloric percussion
to drum set, adding stuff like bongo bells
and timbales to his kit and developing a
hybrid style. The innovative drummers of
Cubas famed songo band Los Van Van,
Jose Luis Changuito Quintana, and
especially Changuitos successor, Samuel
Formell, were a major inspiration. I really
had to step up because theres a lot more
depth to the scene in L.A. than there is in
Arizona. But I only scratched the surface.
Im not going to say Im this professional
salsa musician like the percussionists that
live and breathe it. Its something I was
passionate about and pretty good at. The
syncopation and speed and precision that
salsa music has, comes out even in my rock
drumming.
He had a good thing going. Even if all
the different bands didnt raise his profile

46

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in rock circles, he was making a living at

his craft. I played in a bunch of hardcore
bands and punk bands when I was living
in Arizona, but I never made any money
doing it. I always made money playing
jazz, Caribbean, and Top 40. A chance
audition in 2007 with Ashes Divide, a
new project from APCs Howerdel, set
him on a different path. I played hard
at that gig, he says. I feel very fortunate
that Billy believed in me and that threw
me up into the upper echelon of the
industry. That was the first time where
I went, Oh, I can make a decent living
playing rock. And it kind of snowballed
from there.

FRIEDOM OF CHOICE

Puscifers hipster cred is indisputable,

but sporadic touring means Friedl has
to hustle other jobs. For the last seven
years he has been heavily involved with
pioneering new wave act Devo. It started
in early 2008 when he was called in to
record some of the songs that would end
up on Something For Everybody, the
bands first new material in 20 years.
He ended up tracking over a period of
six weeks but was never credited. He did
get a shout-out on subsequent B-sides
collection Something Else For Everybody.

(Check out dedicated live music site

moshcam.com for a 2013 concert. Or
search YouTube for Monsterman, a
Something Else cut, to see him rock an
e-kit in full monster makeup.)
As with Puscifer, much of what the
drummer laid down at Devos compound
(the flying saucer-looking building, Mutato
Muzika, on Sunset Boulevard) has a lot
of electronics on it, but on tour he gets
to play all those classic spud tunes with the
same twitchy energy as Devos original
drummer Alan Myers. And as any Devo
fan-slash-drummer can attest, the bands
tunes are a real wrist killer. Its relentless
and thats what Devo expect live too, man.
I know when I started playing with them
they kind of freaked out on me. I was
pushing really hard and channeling my
inner Alan Myers and they had to tell me
to calm down. I said, Im going to have
a hard time calming down because thats
how I hear these parts in these songs.
They were like, Great, we really like your
approach, but lets slowly ramp up the
tempo [laughs]. So we found a happy
medium, but I feel like I erred on the side
of making it as punk as I could.
Friedl demonstrated the approach at
a Musicians Institute clinic choking up
on the sticks for maximum rotational force

 last spring. To tell you the truth I didnt

realize quite how powerful of an influence
Alan was on me and my playing; that
machine-like minimalistic hunker down,
lots of space but tons of power. That
sensibility has really resonated with me
and I dug deep into the old stuff to really
get at what the essence of those parts was.
In A Perfect Circle he drummed on new
single By And Down for best-of collection
Three Sixty. His beats can also be heard on
A Perfect Circle: Featuring Stone & Echo,
a live album taped at Colorados famed
Red Rock Amphitheatre. Thats a good
representation of where the band is at now.
We were firing on all cylinders that night.

Dont forget Altitudes And Attitudes.

Consisting of Dave Ellefson of Megadeth
and Frank Bello of Anthrax, the duo put
out a three-song EP last year and just
finished a batch of new songs all with
Friedls drums. He wasnt available for the
EP release party (a YouTube clip has Mike
Portnoy subbing) but session work is as
important as any other part of the drumming
portfolio. To be honest with you, I like it
just as much as touring, whether its some
startup band or a hobbyist that has a
budget, or something bigger. Friedls
career might best be described as a floater.
As a lifestyle it can be exhilarating, but
you can also be spread dangerously thin.

Before he knows it the sub is looking for

subs. One of the reasons I do float around
is because, really, none of the bands that I
play in go out for [as long as] nine months,
and to make a solid living Ive got to go
from one thing to the next.
Teaching the first paying job he ever
had has also been hard to let go of. He
finds himself teaching video conferenced
lessons more than ever, but still does them
in person whenever possible at the Sherman
Oaks studio during those rare times hes
home. Its less about extra scratch than the
thrill of geeking out with like-minded folk.
Its really gratifying to see an eight-yearold kid playing an Eagles Of Death Metal

A SELEC TED JEFF FRIEDL DISCOGR APHY

2008
Keep Telling
Myself Its
Alright

2009
2010
2011
2013
C Is For
Something For
Conditions Of
Three Sixty

(Please Insert
Everybody
My Parole

Sophomoric
Genitalia
Reference Here)
EDRUM9420 DTX Hybrid Horiz
DRUM.qxp_Layout 1 10/19/15 2:55 PM Page 1

2013
Stone And
Echo: Live At
Red Rocks

2013
Donkey Punch
The Night

2013
Reverse
Exorcism

2014
Something Else
For Everybody

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DRUMmagazine.com

December 2015

DRUM!

47

JEFF FRIEDL

Jean Paul Gaster

CLUTCH

West Side

Jeremy Spencer

FIVE FINGER DEATH PUNCH

5B Wood

Roland Gajate Garcia

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song or playing an AC/DC song. Or seeing

someone like my old student, Chris Reeve,
landing the Filter gig. Pay it forward, you
know what I mean?
Despite his mellow steez and L.A.dwelling, rockstar-befriending, jet-setting
lifestyle, Friedl represents a strain of formally
educated drummer that is quickly becoming
extinct, and might even appear quaint
from the vantage of todays overnight
YouTube sensations. But he keeps a solid
grasp of notation, proper technique,
rhythmic vocabulary, and musical literacy
in the arsenal, whether he needs it or not.
When he first played with different Latin
orchestras, Friedl would chart out the
parts. But with a mind as sharp as a steel
trap, it became unnecessary. Transcribing
helps with my photographic memory, he
explains. I could literally just see the page
in my mind. I think this is just from doing
it over and over. When I was a kid, I had
a passion for reading and writing jazz and
other styles, so having charts thrown in
my face really helped.
Unbowed by teachers who tried to
change him, the southpaw sports a lefthanded setup to this day. Its not so much
a bragging point as an expression of
Friedls belief that natural lefties shouldnt
be forced to switch. All through middle
school they kept making me change, and
they were pretty mean about it, he recalls.
But the pressure to change ultimately
benefited his playing. The Puscifer setup
is pretty ambidextrous.

TWICE AS NICE

Recently Friedl had the pleasure of double

drumming during Keenans fiftieth
birthday bash at Los Angeles outdoor
Greek Theater, informally known as the
Cinquanta shows. The party was two
nights in a row and featured A Perfect
Circle, Puscifer, and Failure, a 90s alt-rock
band and a one-time tour partner with
Tool that, like APC, has also reunited. Friedl
managed to insert himself in all of the
performances in that chameleonic way of
his. We had a lot of really great guests. I
double drummed with Danny Carey in
Puscifer and [Failure drummer] Kellii
Scott on two Failure songs. The idea with
tandem traps is to complement each other,
provide counterpoint, or combine the
separate beats for a sum greater than its
parts. Sometimes locking up like synched
click tracks is a pleasure all its own, at least
in Eagles Of Death Metal. I think Josh
and I have this cool unspoken thing, Friedl
explains. Were both very aware of what
each other is doing and we dont step on
each others toes and I think the end result
is weve got this really groovy, fattened

48

DRUM!

December 2015

sound where it sounds like one 500-pound

drummer. Theres times where Ill take the
texture half, and just play hi-hat through
the chorus and tambourines through the
verse, and Ill come in together with him
on the outro to the song to just give it this
big push to the end. And a lot of times,
man, I dont know what Im going to do.
Im just going to have fun and experiment
and see what works, and if he gives me a
smile I know he liked what I did. Thats
that trust factor you have to have when
youre double drumming.
As soon as the EODM run finishes,
Puscifer rehearsals and a tour follow. A
new Beta Machine EP is in the works with
corresponding videos to be filmed. Next
year at the very least Im hoping that the
three bands keep me busy. The day to
day doesnt allow much time to work on
promoting himself and his services. The
last thing on my mind usually is, How do
I get a bigger name in the drum world?
Id rather just keep my head down and
work hard on the music that I want to
play. Maybe concentrating on the task at
hand living in the moment is the best
course of action. Thats kind of what I am
hoping, he adds.
Im not a very good self-promoter. I
guess I do have the excuse of not having
to do too much of that, which I always felt
self-conscious about. Maybe its something
I need to work on. Same goes for sleep,
or lack thereof. Last nights hotel stay was
only because Eagles had a day off. After
tonights show, its back to the bus bunk.
Spartan accommodations have nothing
to do with not enough Zs though. I dont
care who you are, there is no way you can
be calm after a show. Im so wired and feel
so buzzed that sleep is the last thing I feel
like doing. I dont think its anything Ill
ever get used to. [laughs]
For the self-described floater, a part of
Friedl hankers for that sense of belonging
that comes with being a full-fledged group
member, even if its just for a few months
at a time. I feel like Im a solid member of
every band Im in. I always give it my
undivided attention and everything Ive
got. Learning new music, meeting new
people from all walks of life it just keeps
me really sharp. And at the very least,
grounded in the word of working musicians.
You have to go through crazy stuff
during shows: Gear meltdowns, personnel
meltdowns. If you can take a band and
strap them on your back and jump through
the fire and come out the other end, those
are the kinds of experiences that people
want to hire you for. Every band I play in
gives me that jolt of confidence. I know I
can get through anything.

DRUMmagazine.com

GROOVE ANALYSIS By Andy Ziker

Tucson Treasure
SHAPE-SHIFTING through studio and
live work with bands as divergent as
Puscifer, A Perfect Circle, The Beta
Machine, Devo, Ashes Divide, Filter,
and Eagles Of Death Metal, Jeff Friedl
always brings his brand of power,
dynamics, and tasteful arrangements.
Friedl is Puscifers live drummer of
choice, even though the group is more
of a musical collective than a band. On
record, he often trades the throne with
Tim Alexander and Jon Theodore, so
here are three tracks from three Puscifer
releases that reveal Friedls pizzazz.

Money Shot

(from Money Shot)

In this intro in six, each four-bar phrase
locks well with the guitar and bass
accenting groupings of three beats, and
another guitar part playing off-beats.
Notice how Friedl allows space to
happen on beats 5 and 6 of every oddnumbered measure, his use of ghosted
notes and open hi-hats to provide
texture, and how he deftly changes up
the fill in the second line using power
flams instead of eighth-/sixteenthnote combinations on the snare,
thereby creating a huge 12-bar phrase.

Telling Ghosts

(from Conditions Of My Parole)

Friedl wakes us from a slumber and
crashes head-on into a Matt Cameronesque 7/4 chorus. Sloshy quarter-note
hi-hats contrast syncopated bass drum
and snare hits on 2, (5) &, and 7. Friedls
tom groove is played on Roto Toms on
his left side (hes a lefty on a lefty kit),
and demonstrates three-dimensionality
with slight crescendos on the smaller
Roto Tom. Power flams on the snare
outline groupings of four, four, four,
and two quarters, equaling 14 beats or
two measures in 7.

DoZo (from What Is)

This passage is gleaned from a YouTube
video of Friedl playing at a clinic (search
DoZo/Drum Clinic). Friedl explains, The
arrangement is slightly different [from
the studio version], but all the parts are
there. The bridge explodes into a drum
n' bass groove and includes funky
kick-snare combinations, well-placed
ghosted notes and open hi-hat bumps,
and varied two-beat fills at the end of
each four-bar phrase.

Money
MoneyShot
Shot

Money Shot
Money
Shot
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0:00
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12" Rototom

16" Rototom

12" Rototom

16" Rototom

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DRUMmagazine.com

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49

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rolled brass shell is perfect for the studio or stage.
Additional features: 2.3mm flanged counter hoops,
MAG throw off & True-Pitch Tuning. Offered in
5.5x14"- $279.99 & 6.5x14"-$299.99.
Thin 1mm Rolled Brass Shell
Quarter Turret Lugs
DW Heads by REMO

DWDRUMS.COM

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SPECIAL ADVERTISING SECTION

PACIFICDRUMS.COM

DW FACTORY ACCESSORIES CYMBAL STAND

CAMERA MOUNT FOR GoPro

Record drum solos or capture practice sessions with this perfect stocking stuffer. Made from durable
high-impact plastic and compatible with a wide range of cymbal stand brands, the FA Camera Mount is
GoPro approved and turns any extra cymbal arm into a kit-friendly cameraman. Just $14.99.
First-Ever Cymbal Stand Camera Mount Designed for GoPro
Durable Construction
Fits Most Cymbal Stands

*GoPro is a registered trademark of GoPro Inc.

DW FACTORY ACCESSORIES ONE-TOUCH CLUTCH

DWs most advanced hi-hat clutch ever -- just in time for the holidays! Standard on the new ultra-high-end MDD
Hi-Hat, the One-Touch Clutch offers drummers just that. With a twist of the top nut, hi-hat tension adjusts quickly
and accurately. A gift no serious drummer can resist. Retails for $27.99.
Fine-Tune Cymbal Tension with One Hand

Integrated Cymbal Felts

Secure Hi-Hat Rod V-Clamp

Incremental Tension Adjustment

DW FACTORY ACCESSORIES
TUNING TABLE

Designed by DWs resident Woodologist, John Good, the FA Tuning Table gives
drummers an ergonomic way to tune in any playing situation. Made from Plexiglas
and carpeted on both sides to protect and grip counter hoops, it glides easily on an
aluminum swivel bearing making tuning a breeze. Take one for a spin this holiday
season! $149.99.
Designed by John Good

Carpeted on Both Sides

Constructed from Black Plexiglas

Integrated Drum Keys

Precision Bearing Swivel

Included Carrying Case

DW 6000 SERIES
ULTRALIGHT HARDWARE

Make your hardware bag lighter this year with new DW Ultralight Hardware. A
scaled-down version of the popular line of 6000 Series flush-based hardware, UL
cymbal, hi-hat, and snare stands are engineered to be sturdy, road-ready & most of
all, lightweight. Maybe UL isnt as light as a snowflake, but it feels like it!
6300UL Snare Stand $89.99

Ultra Lightweight Tubing

6500UL Hi-Hat Stand $99.99

Spring Adjust Snare Basket

6710UL Straight Cymbal Stand $59.99

Glide Snare Basket Adjust

Retro Flush-Base Design

Glide Tilter

SPECIAL ADVERTISING SECTION

57

Holiday Wishbook 2015

This Holiday Season,

BECOME THE BEST DRUMMER

YOU CAN BE STUDY AT THE
DRUMMERS COLLECTIVE NYC!
SCHOOL OF MUSIC HISTORY
Founded in 1977, Th e Drummers Collective is accredited through
the National Association of Schools of Music (NASM). Th e mission of
Th e Collective is to prepare their students for careers as top quality
professional contemporary-musicians. Th e famed New York City
Institution offers a structured curriculum which focuses on developing
the highest level of musicianship and provides the technical, conceptual,
and performance-oriented training necessary for artistic and commercial
success. Th e Collective is a high quality educational institution in the
area of contemporary rhythm section music performance. Talking about
education, Th e Collective is one of the most fl exible music schools with
the best faculty members and musicians worldwide.

COURSES
Programs of study range from part-time weekly or bi-weekly private
lessons, to 5-Day, 2, 3, and 4-Week Intensive programs to 10-week to
2-year comprehensive full-time study programs. Courses are geared
toward developing real-world performance skills. Short and long-term
programs can be arranged to suit individual schedule needs and
financial circumstances. Th e most favorable styles taught are varied
from Contemporary Jazz, Afro-Cuban, Brazilian, Latin, Funk, Gospel,
Rhythm and Blues, to Progressive Rock and Polyrhythms, among many
others. Based on the incoming audition materials, the students have the
opportunity to get merit scholarships. Financial Aid is also available for
domestic students that qualify.

58

SPECIAL ADVERTISING SECTION

TEACHING FACULTY
THE DRUMMERS COLLECTIVE FACULTY

Kim Plainfi eld, Peter Retzlaff, Jason Gianni, Fred

Klatz, Frank Katz, John Amira, Vince Cherico, Leroy
Clouden, Camille Gainer, Ian Froman, Mark Flynn,
Marko Djordjevic, Adriano Santos, Dave Previ, Tobias
Ralph, Maciek Schejbal, and Memo Acevedo, among
others. Faculty availability is subject to touring and
recording schedules.

ARTISTS IN RESIDENCE AND MASTER CLASS ARTISTS

Jason Bittner, Peter Szendofi, Will Calhoun, Daniel
Glass, Adam Nussbaum, Dennis Chambers, Dave
Weckl, Steve Smith, Chris Coleman, Jojo Mayer, Mike
Johnston, JP Bouvet, Matt Halpern, Mark Giuliana,
Antonio Sanchez, Tommy Igoe, Mark Schulman, Glen
Sobel, Todd Sucherman, Brian Tichy, Peter Erskine,
Mike Clark, Joe Bergamini, Keith Carlock, Rich
Redmond, Tony Verderosa, Carmine Appice, John
Riley, Kenny Aronoff, Cliff Almond, Dafnis Prieto,
and Dom Famularo.

CONTACT DETAILS
EMAIL: INFO@THECOLLECTIVE.EDU
WEBSITE: WWW.THECOLLECTIVE.EDU
FACEBOOK: WWW.FACEBOOK.COM/THECOLLECTIVENYC

TWITTER: WWW.TWITTER.COM/COLLECTIVENYC
YOUTUBE: WWW.YOUTUBE.COM/DRUMMERSCOLLECTIVE
INSTAGRAM: @THECOLLECTIVENYC

LOCATION

541 Avenue of the Americas, New York, NY 10011

SPECIAL ADVERTISING SECTION

59

Holiday Wishbook 2015

NITRO

5-PIECE ELECTRONIC DRUM KIT

WITH 3 CYMBALS
Nitro includes everything you need to
play like a pro: a dual-zone snare drum
for great feel and natural response,
three dynamic tom pads, plus a kick
drum pad with pedal. Three cymbals
give you a virtually unlimited range
of playing expression and the 4-post
aluminium mounting rack keeps
everything solid and secure. The
setup also includes the powerful Nitro
electronic drum module with hundreds
of percussion sounds, 40 different kits
and 60 built-in play-along tracks.
Dynamic, comfortable pads for
great feel and natural response
Kick pad tower with bass drum
pedal included
40 kits385 drum and sounds
60 play-along tracks, sequencer,
metronome, and performance
recorder
4-post racksuper solid for
stability and flexibility

SAMPLE PAD 4

ADD CUSTOM SOUNDS TO YOUR DRUM

OR PERCUSSION SETUP!

4 pads deliver endless percussive and

sampling triggering possibilities

Accepts SD/SDHC cards up to 32GB

Built-in library of 25 most commonly

requested drum sounds

Dual Trigger input for expansion

USB-MIDI in/out

Add any sound sample or loop to your setup

via SD card

ALESIS.COM

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SPECIAL ADVERTISING SECTION

The Alesis SamplePad 4 is an all-in-one

percussion and sample-playing
instrument. It comes equipped with
four responsive, LED-illuminated rubber
pads, dual zone trigger input, and ten
preset kits. With a built-in library of the
most commonly requested percussion
and electronic drum sounds and the
ability to load samples, the only limit
is your imagination. For even more
flexibility, you can tune and add reverb to
your sounds. Intuitive navigation makes
it easy to browse through your kits and
you can drag and drop your samples via
USB on a Mac or PC without removing
your SD card. The bright blue LED lighting
is clearly visible in every setting.

SAMPLE PAD PRO

8-PAD PERCUSSION AND SAMPLE-TRIGGERING INSTRUMENT

SamplePad Pro is the all-in-one percussion instrument that
delivers unlimited sound potential with easy, intuitive access
to its features and a great playing feel. Eight responsive
rubber pads along with active blue LED illumination that
provides a powerful visual assist when playing under any
type of performance lighting conditions. There are trigger
inputs for two additional drum pads. Plus, there are kick
drum and hi-hat pedal inputs. Includes built-in library of 200
sounds and ten pre-set kits. Accepts SD/SDHC cards up to
32GB, storing 89 user kits and 512 samples per card.
8 isolated and responsive rubber pads
200+ built-in sounds with 10 ready-to-play drum kits
Add new sounds via SD Card (SD card not included)
2 additional drum pad inputs
LCD display and software utility for complete control
MIDI In and Out ports, USB port for computer connectivity

DM10 STUDIO MESH KIT

6-PIECE ELECTRONIC DRUM KIT WITH 4 CYMBALS AND DUAL-ZONE MESH DRUM HEADS
The Alesis DM10 Studio Mesh Kit features our exclusive Alesis dual-zone Mesh drumheads (patent pending) that deliver an incredibly realistic
drumming experience. Mesh heads have a precise adjustment knob so you can fine-tune them to perfectly match your playing style. Included is
the premium Alesis DM10 sound module, a high-definition premium drum module with the Alesis Dynamic Articulation technology. That means
that as you play harder and softer, the drum or cymbal changes its timbre, not just its volume. No other electronic kit duplicates the sound and
feel of an acoustic drum set like this one!
Mesh drum heads enhance feel
and reduce acoustic noise
6-piece kit with 10 snare and
four 8" toms
4-piece cymbal set: 14" 3-zone
ride 12" hi-hat and two 12"
crashes
Compact 4-post Stage Rack with
integrated boom cymbal arms
Includes DM10 sound module
with 12 trigger inputs and mixer
Over 1,000 uncompressed
samples featuring Dynamic
Articulation
Control computer software over
a USB connection

SPECIAL ADVERTISING SECTION

61

Holiday Wishbook 2015

CELEBRATE THE SEASON WITH

THAT GREAT GRETSCH SOUND
BROOKLYN CHROME
OVER STEEL SNARE
Gretsch Brooklyn Series Chrome over Steel snare
drums feature knurled 2.0mm thick steel shells
and are plated with a gleaming chrome finish.
These beautifully appointed drums have matching
chrome lugs, the popular Lightning throw-off
and butt plate, Gretsch Permatone drum heads,
20-strand snare wires and Gretsch 302 3mm/
double-flanged hoops. The steel shell, coupled
with the 302 hoop deliver all of the power youll
ever need to cut through any musical setting while
still retaining sensitive tones.

FROM $249.99 TO $299.99 (MAP)

BROADKASTER KIT
Like its legendary predecessors from the 1950s,
the all-new Broadkaster faithfully produces
warm, dense and punchy tones. Thanks to
modern manufacturing advances and finishing
technology, todays Broadkasters have even
greater dynamic response and sonic presence
than the originals. Gretsch Broadkaster Drums
are made in the USA and are available in
your choice of build-outs: Gretschs highly
functional contemporary Standard Build or the
remarkably retro, 1950s-style Vintage Build.

FROM $2,300 TO $3,750 (MAP)

GRETSCHDRUMS.COM

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RENOWN WALNUT
Using the Renowns time-tested build and
performance, the new Renown Walnut
produces well-balanced tones with rich
low-end projection. Six plies of premium
North American walnut/maple/walnut
create a unique tone unlike any other.
The density of the walnut serves as the
foundation for darker sounds, while the
maple faithfully produces distinguishing
mid and high range tones.

FROM $1,799 TO $1,899 (MAP)

STEVE FERRONE
SIGNATURE
SERIES SNARE
The all-new Stephen Ferrone
Signature Series Snare Drum features
a 6.5x14 beaded, seamless aluminum
shell that is plated in a satin titanium
finish. The 2.3mm triple-flanged hoops
and adjustable throw-off are triple
chrome plated as are the brand new
die-cast New Classic-style tube lugs.
Twenty-strand snare wires, Remo
drum heads and Stephen Ferrones
signature Star badge make this
drum a must for your snare arsenal.

$399.99 (MAP)

SPECIAL ADVERTISING SECTION

63

Holiday Wishbook 2015

DECORATE
YOUR
DRUMS!
THESE INNOVATIVE ACCESSORIES WILL IMPROVE THE LOOK AND SOUND OF ANY DRUMSET.

BASS PLATE

WERE ALL ABOUT THE BASS.

The Bass Plate bass drum pedal dock not only improves the sound, protects the
hoop and increases the stability of bass drums. It also provides the added benefit
of lateral pedal positioning and is the only after-market docking device that
quickly, safely and securely attaches directly to the drum.
Endorsed by Tino Arteaga, Brendan Buckley, Gerald Heyward, Arin Ilejay, Tris
Imboden and Thomas Lang.

BASS-PLATE.COM

PINCHCLIP

REPLACE YOUR WINGNUTS UPGRADE TO PINCHCLIPS.

PinchClip is a deceptively simple accessory that puts millions of years
of evolution and hundreds of years of innovation in the hands of todays
drummers. Faster and easier to use than conventional wingnuts, PinchClips
are an ultra-secure, ultra-reliable replacement for wingnuts on cymbal stands
and clutchnuts on hi-hat stands.
The stainless-steel flange flexes when pinched so that the holes in its
overlapping arms align. They then separate and securely grab on to any
threaded device when the finger pressure is released. Preferred by professional
and semi-pro players everywhere.

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SPECIAL ADVERTISING SECTION

PINCH-CLIP.COM

KICKPRO BY PILLOW TALK

THE WEIGHTED, GRIPPING BASS DRUM PILLOW.

Developed to meet the needs of professional studio and touring drummers, the
KickPro bass drum pillow is the perfect bass drum muffling device for any drummer
or drumming situation. It features a heavy, high-density fill that keeps the pillow
in place and helps lower the pitch and balance the tone of the drum along with a
non-slip bottom that provides extra security and real-time adjustability.
Used by Kenny Aronoff, Matt Chamberlain, Abe Cunningham, Alex Gonzalez, Roy
Mayorga, Nate Morton, Shawn Pelton, Rich Redmond and Ronnie Vannucci.

KICKPROPILLOW.COM

CYMPAD

GIVE YOUR CYMBALS SOMETHING THEYLL LOVE.

Available in a choice of popular Optimizer, Chromatics and Moderator models and recommended
for any drumming style or situation, Cympad cymbal washers improve the sound and
performance of all cymbal types and sizes. The premium-grade, cellular foam washers are
consistent, flexible and durable suspending each cymbal on a virtual cushion of air and
supporting their full resonance and tone.

CYMPAD.COM

Cympads are used and endorsed by Sean Fuller, Alex Gomez, Matt Greiner, Jeff Hamilton, Taku
Hirano, Senri Kawaguchi, Pete Lockett, Stanton Moore, Anika Nilles, Stephen Perkins, Rich
Redmond, Antonio Sanchez, Kent Slucher, Aaron Spears, Steve Smith and many more of the
worlds top players.

Representing the top brands in the drum business since 1985.

DISTRIBUTED BY BIG BANG DISTRIBUTION | BIGBANGDIST.COM

SPECIAL ADVERTISING SECTION

65

Holiday Wishbook 2015

BEGINNER TO PROFESSIONALVATER
HAS YOU COVERED WITH TOP QUALITY
PINK STICK BAG
Features 2 large outside pockets, with
multiple pockets and pouches inside
for tons of accessory storage space.
Stick storage space is divided into 2
large sections and includes Velcro
straps for hanging on floor toms.

BUZZ KILL
Drum and cymbal gel dampening
system to control unwanted
over ring and tone. Can be
easily cut to achieve the desired
amount of dampening whether
using it live or in the studio.
Buzz Kill is super-tacky, so it
can be used on both batter and
resonant heads and is reusable.

EAR PLUGS
Ear Protection for all musicians. Includes
two filter styles for different levels of
hearing protection. Also includes case
for safe storing when not in use.

VATER.COM

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CAJON BRUSH
A great sounding brush/stick element
for use on Cajn drums and world
drumming instruments. Made of wavy
polymer strands for a great sound.
Great on the drum kit as well!

DRUMSTICKS
Countless Vater Drumstick
options available in Hickory,
Maple, Players Design,
Marching, Concert, and more.

MALLETS
A brand new line of mallets and
marching/concert implements.
75+ Mallet and Stick models
to choose from in: Front
Ensemble Series, Concert
Ensemble Series, Marching and
Educational Products.

SPECIAL ADVERTISING SECTION

67

Holiday Wishbook 2015

TD-25K V-DRUMS

DYNAMIC, EXPRESSIVE PLAYABILITY AND QUICK CUSTOMIZATION

Expressive mid-level drum kit with high-end playability and quick
sound customization. Kit configuration: 10" snare, two 6.5" rack
toms, 8" floor tom, 12" hi-hat, 12" crash cymbal, and 13" ride cymbal.
Dynamic, expressive sounds based on Rolands flagship TD-30
V-Drums
Positional snare sensing provides a natural acoustic-like feel
Simple logical interface for easy kit selection and quick
customization of sounds
Audio recording from audio input, USB and direct performance
from the drum set
USB connectivity for audio/MIDI communication with computer
or other device

$1,999 (STREET)

*Kick pedal and hi-hat

stand not included.

TM-2 TRIGGER MODULE

THE EASY WAY TO BRING HYBRID VERSATILITY TO YOUR ACOUSTIC DRUM SET
Compact trigger module with two trigger inputs, SDHC card slot, powerful effects and
over 100 ready-to-play professional sounds.
Compact trigger module for acoustic drummers looking to enhance their kits with
electronic percussion
162 ready-to-play professional sounds, ranging from acoustic drums and
percussion to modern electronic instruments
Includes many sounds and tonal elements designed for layering with acoustic
drums, providing enhanced, high-impact sounds for playing live drums through a
PA system
SDHC card slot lets users trigger their own WAV sounds stored on SDHC media,
from one-shot samples and loop phrases to complete backing tracks
*Triggers and pads sold separately.

$199 (STREET)

TD-11K V-DRUMS
V-COMPACT SERIES
Enhanced with expressive, dynamic sounds and amazing
playability, the TD-11K V-Drums kit is perfect for drummers
at any skill level. Affordable, reliable, and easy to use, this
drum set includes play along songs, practice exercises, and
recording to cover any musical style or situation.

$999 (STREET)
$100 CASH BACK on TD-11K (and TD-11KV) 10/1/15 to 12/31/15.

ROLANDUS.COM

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*Kick pedal not

included.

RING IN INCREDIBLE NEW SOUNDS

WITH THE LP RAW SERIES!
RAW SERIES
Drummers, percussionists, DJs, singers, bands
its time to own the beat. LP RAW is street-inspired percussion designed to take creativity
and performance to new rhythmic heights. The
RAW Series includes the thunderous Street Cans,
the unique sound of the Jangle Bell, the melodic
new Potz drums and the sizzling Trash Snare.

POTZ

FROM $39.99 TO $54.99 (MAP)

STREET CANS

FROM $199.99 TO $249.99 (MAP)

JANGLE BELL

$59.99 (MAP)

TRASH SNARE

$89.99 (MAP)

LP CLAW
You could say that The Claw is like LPs version of the Swiss Army Knife. It can tackle almost
anything. Add percussion, effects, microphones and more without the need for bulky stands.
And with its newly retooled clamping mechanism, theres nothing stronger or more versatile.
The LP Claw comes in a variety of styles, including the EZ-MOUNT

MIC CLAW
(LP591A), the PERCUSSION CLAW (LP592B-X) for bells, tambourines or blocks and the
SPLASH CLAW (LP592S-X) which firmly mounts any cymbal up to 16-inches in diameter.

FROM $29.99 TO $39.99 (MAP)

(LP591A Pictured)

LPMUSIC.COM

SPECIAL ADVERTISING SECTION

69

Holiday Wishbook 2015

GOOD SERIES KIT

This is the best bang for the buck you can
get. Made with all of the same materials
as our top of the line custom kits, but with
limited features to stay within your budget.
7x12, 12x14, 16x20 100% Maple shells
Natural satin stain
Optional Banana rail mount on kick
drum
Remo heads
2.3mm hoops
Floor tom legs included

$895.00 (+S&H)
This is an ideal kit to start your drumming
career or is a great gig kit for those artists
that are seeking simplicity.

BETTER SERIES KIT

Built with durability in mind, this kit will
withstand the harsh conditions of life on the
road while making you look good doing it.
8x12, 16x16, 18x22 100% Maple shells
*Additional add-on sizes available
below, allow an additional 2 weeks to
turnaround
Durable Matte black wrap finish
2.3mm hoops
Remo heads
Hanging mount on rack tom
*Floor tom legs included
Available in Chrome or Brass hardware
Please allow an extra 4 weeks for Brass

$1,395.00 (+S&H)
Features our most durable finish ever, and
brass hardware to make you stand out from
the crowd.

SJCDRUMS.COM

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GREAT GIFT IDEAS FOR EVERY DRUMMER!

TURNING POINT
HARDWARE
Even though Gibraltar Turning Point Hardware
is heavy duty, its aluminum tripod leg design
weighs as much as 25% less than other stands in
its class. Turning Point Hardware is loaded with
features, like the Swing Nut cymbal mounting
system, 360 gearless tilter and hubs, hinged
Super Lock height adjust with ABS-protected
tube inserts and wing-tension memory locks.
The Turning Point Snare stand includes Gibraltars
Ultra-Adjust Basket for infinite positioning options
and drops to a low 13 inches in height for extra deep
snare drums. The Turning Point Hi-Hat Stand has
a fast-touch pedal board and smooth and speedy
direct-pull operation. It also features a rotating
base, a 5-step tension adjustment and Gibraltars
unique threadless Quick-Release Hi-hat Clutch.

FROM $159.99 TO $319.99 (MSRP)

STEALTH RACK
Gibraltars Stealth Mount Rack Systems offer all
of the convenience and flexibility of other rack
systems while maintaining a significantly lower
profile that doesnt obscure the beauty of your
drum set. Stealth Racks come in four different
system types to mount toms, snares, cymbals,
percussion items and electronics to your
set-up with a minimal amount of bulky chrome
bars and eliminating the need for stands that
clutter up the area around your feet.

$374.99 (MSRP)

CAJON PEDAL
Gibraltars best-selling Cajon Pedal is a
remote, cable controlled pedal with a
mount that allows you to play bass drum
patterns on your cajon with your foot. This
frees up both hands to play intricate snare
rhythms or add hand percussion. Its great
for low volume applications where a drum
kit is too loud.

$199.99 (MSRP)

GIBRALTARHARDWARE.COM

SPECIAL ADVERTISING SECTION

71

Holiday Wishbook 2015

DEAR SA2NTA
I DONT WANT A SNARE DRUM.
I WANT A DUNNETT CLASSIC

THE DUNNETT CLASSIC MODEL 2N was

introduced in 2014 and quickly became the favorite
of recording and performing artists. Combining the
styling of vintage classics with modern, patented
features the Model 2N is available in 5.5" and 6.5" x
14" in Antique Brass, Chrome over Brass, Stainless
Steel, Chromoly Steel, Aluminum and Bronze.

*Dunnett Classic Model 2N

in Antique Brass

THE BRONZE 2N GERGO BORLAI DESIGNATE

MODEL and the 2N-MA Modeling Aluminum shells feature
Dunnetts patented hybrid edges which provide the broadest
tensioning range, rich tone, and delightful sensitivity.

GEORGE WAY TRADITION MODEL SNARE DRUMS

are perfect reproductions of the shells used by the George Way drum
company back in the 1950s. Crafted from 4 plies of select Birch,
Cherry or Walnut and fitted with Ways art deco components the
Tradition models are of true professional quality - and they are truly
affordable!
Available in 5.5" and 6.5" by 14" sizes. In addition to these gorgeous
woods, Way snare drums are also available in Brass, Bronze, Copper
and Aluminum models.

GIFT CARDS! Dunnett R Class components like the R CLASS

UTILITY CLAMP and the EKEE might just be the perfect

stocking stuffers. And because it can be difficult making the right

choice when it comes to a very personal musical instrument Dunnett
offers gift cards in any denomination through any Dunnett Classic or
George Way dealer.

Wishing Everyone a
Warm & Safe Holiday!
Ronn

DUNNETT.COM

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WAYDRUMS.COM

GROUNDBREAKING DIGITAL
PERCUSSION TECHNOLOGY
JUST IN TIME FOR THE HOLIDAYS
kt4

COMPLETE ELECTRONIC DRUMSET

With its expanded sound library and
sophisticated new feature set, the kt4
is KAT Percussions most advanced
digital drum set to date. The kt4 is
a 5-piece kit that features 700 new
high-end, professional quality drum
and cymbal sounds and percussion
samples. A stylish, curved chrome rack
system with heavy-duty black clamps
keep all of your components precisely
positioned and securely locked into
place. The kt4s sounds are completely
programmable and its control module
accommodates connectivity to nearly
any auxiliary input or output device.

$1,699.99 (MAP)
*Bass Drum Pedal
Not Included.

HD400

2.1 HIGH DEFINITION SOUND SYSTEM

KATs new HD400 2.1 Hi-Definition Stereo PA Speaker System is the first
amplification system of its kind. While it effectively delivers powerful
PA functionality, the HD400 is optimized to reproduce the detail, punch
and sonic range of the ever-expanding selection of digital instruments.
The HD400 represents a great live sound solution for electronic
drums, keyboard synths, DJ controllers, guitar synths, as well as VST
computer software. Your instruments will jump into the spotlight with
new brilliance and energy during live performances without sonic
compromises. The HD400s microphone input also gives vocals a
resounding burst of vibrancy that places them front and center.

$999.99 (MAP)

KATPERCUSSION.COM

SPECIAL ADVERTISING SECTION

73

Holiday Wishbook 2015

HEY HOOLIGANS!
GIVE YOUR FAVORITE HOOLIGAN
THE GIFT OF SOUND THIS HOLIDAY
Critically acclaimed E-Panda Hooligan
Headphones by Razer
Designed for maximum comfort and
durability
Large 40 mm Neodymium drivers for
powerful audio
Foldable ear cups for portability
Frequency response: 20 - 20,000 Hz
Impedance: 32 at 1 kHz
Sensitivity (@1 kHz, 1 V/Pa): 110 4 dB
at 1 kHz Max
Input power: 50 mW
Approximate Weight: 280 g / 0.62 lbs.
Connector: Analog 3.5 mm
headphone jack

RAZERZONE.COM/EPANDA | EPANDAONDRUMS.COM

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SPECIAL ADVERTISING SECTION

IMPERIALSTAR

HARDWARE THAT WORKS HARDER

Proving they are as attuned to the amateur

as they are the pro, Tama takes the lead
by offering an affordable kit matched with
hardware that wont quit. By bundling
Meinl HCS cymbals, their highly respected
Stagemaster stands and a legendary Iron
Cobra 200 bass drum pedal, Imperialstar
continues to set the standard for entry level
and budget minded drummers.

SPEEDCOBRA 310 SERIES

BASS DRUM PEDALS
THE POWER OF SPEED

Few pedals have ever been as instantly popular as

Tamas Speed Cobra. Its the pedal that breaks all
boundaries, delivering both speed and power. Whether
single or twin, the Speed Cobra 310 series is the
affordable version of the Tama pedal that opens up the
world of foot-slide techniques and rapid-fire tempos
all with a minimum of physical effort.

RHYTHM WATCH MINI RW30

ITS ABOUT TIME, ITS ABOUT SPACE

This compact sibling of Tamas renowned Rhythm Watch

delivers all the features drummers have come to expect from
Tama, in spite of its reduced size and weight. Not only does it
slip easily into a gear bag pocket but also sports a handy clip
on the back of the unit, appropriate for music stands, hi-hat
stands, or a dozen other attachment possibilities.

TAMA.COM

SPECIAL ADVERTISING SECTION

75

Holiday Wishbook 2015

It gives my snare its own little

spot in the mix. STEPHEN PERKINS
the ultimate balance of
attack and response. BILLY RYMER
great durability.

MATT GARSTKA

REMO POWERSTROKE 77

SNARE DRUMHEAD
Two plies of 7-mil film

7-Mil inlay ring to reduce overtones

5-Mil clear top center dot for added durability
Excellent response and projection
Clear and coated
Sizes: 10", 12", 13", 14"

REMO.COM

LIGHTEN UP!
WITH AXIS LIGHT
ALUMINUM STANDS

LONGBOARDS
HI-HAT (L-HH)
7.8 Pounds

LASER HI-HAT
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THE
BIG
10
Carter Beaufords
Greatest Drumming Moments

By Andrew Nusca

ou know him: The doo rag, the

round face, the mile-wide grin,
the wrists. Like his idol Buddy
Rich the legendary drummer
whose playing inspired him to pick up
sticks in the first place Carter Beauford
knows how to swing, even while playing the
straightest groove. The difference is that he

PHOTOGRAPH BY RONN DUNNETT

does it with a little funk, a little fusion, and
a whole lot of dates at sold-out arenas as one
of the members of the group known simply
as Dave Matthews Band.
Here is a look at how Beauford has shined
behind the kit over his almost four-decade
career. Weve picked moments of musical
inventiveness, demonstrations of creative

growth, expressions of sheer chops, and periods

during which serving the song was priority
number one. Since DMB is so prolific the
group has recorded and released dozens of
live albums weve limited our selections
to the bands studio recordings and widerelease live albums. For your edification,
Beaufords best.

DRUMmagazine.com

December 2015

DRUM!

83

Carter Beaufords Greatest Drumming Moments

10.

STAND UP (OUT
OF MY HANDS),
STAND UP (2005)

Stand Up is an especially soulful entry in the

DMB catalog. Produced by Mark Batson,
known for his work with Dr. Dre, Eminem,
and Alicia Keys, its the product of a restless
musical group that, having ended a long
series of tour dates (several of which were
recorded and released as standalone albums),
returned home to Virginia only to realize it
was itching to try something funkier and less
textured than its traditional approach. A few
phone calls later, the band found itself in the
studio with Batson and a handful of groovy,
pop-inflected songs.
With an R&B producer at the helm,
Beaufords drumming comes through crisply
and prominently so clarified that at times
it seems less complex than the expansive
improvisational style for which hes known.
(Its actually not.) On this track, which lends
its name to the album, Beauford kicks things

off by repeating a naked rudimental snare lick

three times before plowing into a ridiculously
linear kick/snare/hat pattern that would find a
home on one of James Browns extended 60s
soul jams. As the rest of the band gradually joins
in, the song takes off to the races. Through
verses, choruses, bridges, and a LeRoi Moore
sax solo that would have made Maceo Parker
proud, the drummer sticks to the Fabulous
Flames playbook, carrying the momentum
through his relentless adherence to the opening
funk pattern and (totally out of character)
barely playing any fills. The result? Distilled,
rather than simplified, Beauford.

9.

FOOL TO THINK,
EVERYDAY (2001)

Everyday came at a moment of

reflection for Dave Matthews Band. Earlier
in the year, the group had entered the studio
with longtime producer Steve Lillywhite,
who had guided all of its studio albums to

that point (Under The Table And Dreaming,

Crash, Before These Crowded Streets) and
overseen its rise to fame. But the resulting
recordings from that period, now known as
The Lillywhite Sessions, were scrapped
after the bands record label deemed them
too dark, too jammy, too well, DMB.
Back to square one, then. Matthews put
heads together with pop producer Glen Ballard
(who cowrote Alanis Morrisettes Jagged
Little Pill and Michael Jacksons Man In The
Mirror) and wrote a dozen new, pared-back
tunes that controversially sidelined two-thirds
of the band: Boyd Tinsley on strings and
LeRoi Moore on saxophone. Bassist Stefan
Lessard and Beauford suffered the least.
Like Bob Dylan and Blonde On Blonde,
Everyday was DMBs divisive electrification
moment. For a drummer like Beauford, that
meant muscling up behind the kit shifting
to more forceful, driving playing that wouldnt
get lost behind the amplified noise and pop
sheen of Glen Ballards production. Fool To
Think, on the back half of the album, is
intensely mathematical. (Its also one of the
few tracks on Everyday that preserves the
classic musical interplay of the full band).
Beauford breaks down the rhythm of the
song in a way that contrasts with the guitar
and keyboard, giving it an off-kilter feel. He
doesnt play especially loudly, but every rimclick, hi-hat tap, and snare crack is deftly,
almost clinically placed to provide contrast to
the strings and vocals that wash over the song
in broad strokes.

8.

TRIPPING BILLIES,
LIVE AT RED ROCKS
8.15.95 (1997)

84

DRUM!

December 2015

DRUMmagazine.com

Photograph: RONN DUNNET

Red Rocks was the first official live DMB

album and it gave listeners a taste for how the
band interpreted its music outside the strict
confines of the recording studio. Released in
1997, but plucked from a show in 95, the album
arrived to market less than a year after the
single Crash became a fixture on mainstream
radio. Red Rocks sold well enough that the
band saw fit to continue mixing and mastering
its live performances for sale, giving us the

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Carter Beaufords Greatest Drumming Moments

overwhelming collection of live albums we
enjoy today.
Tripping Billies is one of the bands
earliest tunes and a longtime fan favorite.
Its also a song that Beauford especially likes to
take well beyond the original studio recording,
which, it should be noted, was no slouch in the
first place. Where the original version slowly
builds into an eventual thunderous battery of
tom fills, the Red Rocks version fires them off
right at the top of the song; where Beaufords
studio take slinks in its feel, his live version is
insistent and propels forward with determined
abandon, noticeably faster than the recording.
Its not the most pristine take that Beauford
has laid down atypically, the space between
notes isnt a concern on this version but its
easily among the most fun.

7.

THE RIFF, AWAY FROM

THE WORLD (2012)

DRUM!

December 2015

6.

TWO STEP, THE

GORGE (2004)

This song is a great example of how

different the recorded and live versions of DMB
compositions can be. The tense and impatient
original, from 1996s Crash, is six and a half
minutes. This one, recorded in Washington
State, is almost 20. Beauford begins the beat
with sixteenth-notes on his hi-hat and remains
there; he squeezes in an impressive roll on
those cymbals, two measures long, before
building up to the songs grand entrance and
a powerhouse snare train beat.
Seven minutes in, things get interesting.
The song devolves into a improv exploration
where Beauford, keyboardist Butch Taylor,
and bassist Lessard build, and build, and
build the drummer keeps a modified snare
two-beat going as he works through different

DRUMmagazine.com

5.

ANTS MARCHING,
LIVE AT FOLSOM
FIELD, BOULDER,
COLORADO (2002)
This narrative song from 1994s Under The
Table And Dreaming is among the bands most
popular, and for that reason it often saves the
track to close the show. Thats exactly the plan
during this show in Boulder, Colorado. The
band dramatically extends the songs intro and
outro for maximum impact, with Beauford in
the drivers seat. The bones of the song itself
are fairly straightforward for the drummer: the

Photograph: RONN DUNNET

This album, the bands second studio

recording after saxophonist LeRoi Moores
death in 2008, marked the return of producer
Steve Lillywhite after more than a decade of
absence from its work. As a result, theres an
understated aspect to the musicianship it
lacks the flair of the bands poppier albums,
but is more nuanced. Its also a little wearied.
Much of the drumming on Away From The
World shows Beauford experimenting with
ways to approach otherwise straightforward
songs written in 4/4 time. The Riff, whose
lyrics give the album its name, is especially
interesting in this regard. You can imagine
Beauford having crafted a dozen ways to
approach this composition this perhaps
being the take that only happened to make it
to the final album. At the beginning, its all
atmospherics: Beauford begins with splashy
rolls on cymbals, like the pitter-patter of
rain, before moving to barren raps on drums
that sound like boots tumbling down a
stairwell. On a slow burner like this song,
the star attraction is Beaufords isolation
of the components of his kit; the moments
when they bind together in a more conventional
way, such as in the chorus and bridge, are
actually less absorbing.

86

fills; first the bass drum, then the toms, then

the hi-hat, why not the snare? until they
climax, Beauford bashing away at his China
cymbal as Taylor pounds the keys. A great
example of the best kind of live Beauford.

Carter Beaufords Greatest Drumming Moments

unrelenting snare crack on 2 and 4 carries the
day but its on the songs on- and off-ramps
where he shines the most. The beginning of
the performance is all about the hi-hat (rata-tat rolls on a clenched pair of cymbals) and
the snare (short bursts of pure, unadulterated
wailing). The end is a cascade of thunderclaps
across the toms and lightning strikes across the
cymbals. Their common thread? Beaufords
desire to inject a sense of pomp and finality to
the last song in the set list.

parts, when the tempo careens off a cliff.

Theres little nuance here.

3.
4.

ALLIGATOR PIE,
BIG WHISKEY
AND THE GROOGRUX
KING (2009)

This album is fraught. The year before it was

recorded, founding member and saxophonist
LeRoi Moore died suddenly from injuries
sustained in an ATV accident, sending the
band into a period of mourning. The silver
lining: This band mourns in music. (Grux
was Moores nickname.)
Like the rest of the band, Beaufords playing
is especially intense on this album theres a
gap to fill and seemingly something to prove.
On Alligator Pie, a track with southernfried sonics, Beauford alternates moments of
hummingbird-like cymbal runs (you can hear
every ping on the ride, splash of the crash,
and bash of the splash), hard driving (loose
hats plus fast snare), and half-time backbeat
country (bass drum plus lazy snare). The best
moments? The seams between these disparate

RAPUNZEL, BEFORE
THESE CROWDED
STREETS (1998)

This song creates drummers. Before These

Crowded Streets, Dave Matthews Bands
third studio album and the successor to the
hit Crash, represented a new sonic direction
for the group with influences from Africa,
the Middle East, and elsewhere. It worked,
by the way: The album, recorded with Steve
Lillywhite at The Plant Recording Studios
in Sausalito, California, was the bands first
#1 debut.
Nowhere is that change in sound more
evident than in the rhythm section. Rapunzel,
the albums first full-length song after a
40-second introductory composition called
Pantala Naga Pampa, is a fine example.
Right out of the gate, Beaufords hissing
backbeat dances with the songs shuddering
5/4 horn-and-strings hook. Before you know
it, Beauford slides into the pocket with slick
psst-psst hi-hat barks anchored by sharp
snare backbeats. Twenty seconds later, he
opens it up into a funk track with attitude,
and all the action is in the rapid, repeated
tightening of Beaufords hats and, of course,
the snare crack that follows. Keep listening and
youll dive into a complex, percussion-packed
6/8 bridge, dotted with double-kick jabs,
which sounds like a sinister Mardi Gras.

1.

And just when you thought it was over, were

back to the 5/4 intro, energized by Beauford
ghosting notes left and right. Then the
backbeat starts up all over again, sucking air
out of the room for a verse, until the eruption
of Moores extended outro sax solo.

2.

DANCING NANCIES,
UNDER THE TABLE AND
DREAMING (1994)

This studio album, the bands official majorlabel debut, is what put DMBs unique
folk-and-funk sound on the map. Dancing
Nancies, found halfway through the 12-song
set list, is one of its most intriguing tracks.
It begins with a snare roll and moves into a
quasi-military march that builds in dynamics
and complexity. A loud rimshot sends the
song into a breezy Latin-tinged verse that has
Beauford playing a tick-a-tick-pop! between
his hi-hat and snare rim-click. The rest of
the tune drives forward in a straightforward
manner a solid verse-chorus pop structure
underlies this song but there are two things
to listen for: First, the moment when the
song crests in its final chorus, and Beauford is
working the hi-hat with his left hand and ride
cymbal with his right hand at the same time;
and second, during the songs final minute,
where it blossoms into a lush moment of
tandem free blowing from Moore and violinist
Boyd Tinsley over the Latin-y groove. Then,
before you know it, Beaufords drums recede
like a tide on the shore.

TOO MUCH, THE CENTRAL PARK CONCERT (2003)

No one really knows exactly how many people turned out to see DMB play New York Citys
Central Park more than 100,000 is the best anyone can do but the consensus is
that its the largest audience to which the band has ever played. The group kicks this recording off
with energy and verve, clearly excited to perform to such a large crowd Matthews, for example,
is prone to scatting with his voice (and his acoustic guitar chords) as Lessard crawls through a
groove with his electrified bass.
Too Much, a tune from the bands 1996 hit album Crash, is the third song of this three-hour
set and the one where the band finally begins to let its pent-up excitement unwind. Over six and
a half deeply grooving minutes, Beauford takes each measure and packs in the hits what might
normally call for a quarter-note might get a flurry of sixteenths sometimes disguised by ghosted
notes, scattered across bass drum, snare, toms, crashes, and hi-hat. There are rhythmic breakdowns,
tempo shifts, and moments where the band is so in lockstep with itself that its a little frightening.
The whole thing ends with a thunderous Beauford tom fill. Explosive!

88

DRUM!

December 2015

DRUMmagazine.com

A ROUNDUP OF

DRUMSTICK GRIP AIDS

D
BY AJ
all want better
hands, and
often think of
our hands as
the extension of our technique.
But sticking is only half the
battle, because your hands are
only as good as your grip. Even
minor changes in the way you
hold a stick can deeply affect
your playing. Thats why its
so important to maintain a
comfortable, stable hold on
your sticks.
But for some, thats easier
said than done. Injuries,
sweat, dryness, fatigue, and
flaws in technique can all
result in a less secure grip.
So, for those of you struggling
with slips, drops, or excess
wiggle, weve put together an
in-depth look at a few of the
many products designed to
help your handle.
In preparing for this article,
we scoured the drumming world
and collected a representative
sampling of six unique grip
enhancement agents. Well

90

DRUM!

December 2015

UE
ONAH

take a look at each, and then

list a few similar products in
case youd like to explore
related options.
One note before we dive in:
Every drummers hands are
different, which makes every
drummers grip different. Its
important to remember that if
you think enhancing your grip
will make playing easier, take
time to really assess where the
problem in your hands lies.
That way you can make a more

informed decision about which

product will help you most.

AHEAD GRIP TAPE

Lets start with a tried and

true classic: tape. Drummers
have been wrapping butts with
athletic tape for decades, and,
thankfully, the drumming
industry took notice. As a result,
plenty of stick-specific tape
options are available today.
Aheads Grip Tape feels like
a mix of rubber and fabric. Its

soft and slightly elastic, but

also strong and durable. The
tape actually includes very
little adhesive on it. Instead
it has a small strip of adhesive
backing that adheres to the
butt-end of the stick. Once you
wrap the stick, you can use a
separate strip of thin adhesivebacked tape to attach the other
end of the tape. Otherwise, it
stays in place using nothing
but friction generated by a
textured underside.

Aheads Grip Tape is a classic solution in black, white, or red.

DRUMmagazine.com

*While Super Glue is an effective adhesive, DRUM! Magazine does not recommend it as a grip aid.

The tape is easy to apply,

for the most part. I did wrap
one stick incorrectly because
the printed instructions on the
back of the packaging werent
as clear as they could have
been (also, me dumb). Dont
worry though, Ahead does
have a video tutorial for how to
wrap your sticks correctly for
clowns like me.
After a few rehearsals, its
easy to see why the tale of the
tape is such a long one. I found
that cushioned fabric feel to
be very comfortable, especially
during long practice sessions.
I experienced no rawness in
my fingers after playing, and
the sticks barely moved in my
hand. Even the small ridges
created by overlapping tape
added some hold. And I was
very surprised to find that the
tape didnt make rim-click play
impossible. It was bit muffled,
of course, but still very present.
My only disappointment
was when I tried loosening
my fingers to a Gruber-esque
grip. It felt slightly less secure
due to the overlapping ridges.
However, I have to believe that
most drummers who feel the
need to use a gripping agent
probably play with a bit more
gusto anyway.
Ahead Grip Tape is available
in black, white, and red, so
its easy to find a wrap that
matches whatever color you
plan to wear. The company
also says the tape is reusable.
That seems true enough as
youd only need to replace the
adhesive holding strip at the
top. I recycled a pair of Grip
Tape wraps using medical tape
to replace the included sealing
strips with pleasing results.
Overall, I would recommend
using tape to any touring or
working drummer in search of
something to minimize bodily
wear and prevent stick drops.
LIST PRICE $4.99
CONTACT aheaddrumsticks.com/
accessories-grip-tape.html
ALTERNATIVES Vater Stick and
Finger Tape, Vic Firth VICTAPE,
Promark Stick Rapp, Trick
Percussion Stick Handler

Serco Percusssions
DynaGrips feature
thousands of micropores
to create a very gently
textured surface.

DYNAGRIPS
DRUMSTICK GRIPS

Serco Percussions DynaGrips

are textured drumstick handle
sleeves made from soft textured
vinyl (PVC). Smooth foam on
the interior allows for easy
installation and removal by
sliding the grip on or off, and
a slight texture on the exterior
helps improve traction.
Man, these things are
comfortable. I usually play 5A
or smaller sticks when I want
a focused sound, but often find
thinner grips uncomfortable. I
really enjoyed how DynaGrips
add some extra width to the
handle. It allowed me to
loosen my grasp significantly,
and still feel like I had a solid
hold on the stick, even during
high-energy play.
DynaGrips claims these
are the thinnest stick sleeves
on the market; I found they
arent large enough to be
cumbersome, but add enough
mass to fill your hand just a
little more fully than normal.

Additionally, the grips never

slipped off the sticks during
play.
Each reusable DynaGrips
sleeve features thousands of
micropores to create a very
gently textured surface. I think
those pores absorbed some
of the sweat coming off my
hands, because my palms were
noticeably dry after a long
rehearsal in mid-August heat.
The supplied information
states that the grips will soften
under the warmth of extended
contact; I didnt notice much
softening of the material, but
they did seem to have more
traction the longer I used
them.
While DynaGrips indeed
improve grip, that isnt actually
the products primary value
proposition. The sleeves are
instead designed to mitigate
vibration transferred through
the stick to the arms, and
reduce injury risk associated
with chronic repetitive
movement. Its difficult to

substantiate that claim with

complete scientific assurance,
but the added comfort of the
grips did seem to ease some
fatigue, especially in those
muscles between my thumb
and forefinger. I imagine some
of that was due to a more
relaxed hold, but it wouldnt
surprise me if the dissipated
vibration also played a role.
I enjoyed the time I spent
drumming with DynaGrips,
but can see how some players
wouldnt want any added bulk
in their hands. Its perceptible,
though not overwhelming.
However, if you think a wider
grip might help relax your
hold, or if you believe youve
felt pain from vibration
coming through the stick,
DynaGrips are certainly a
worthy solution to look into.
LIST PRICE $16.99
CONTACT serco-us.com
ALTERNATIVES Stick Gripps,
Drumeze Grips and Extra Grips

DRUMmagazine.com

December 2015

DRUM!

91

Stuck On You
Duallist Gig Grips offers
a unique solution by
creating a handle for
one of your fingers.

it would be easy to get the grip

off of your hand to grab a fresh
stick. With that in mind, Id
recommend Gig Grips if youre
looking for slip and drop
prevention. But if youre a
heavy hitter who breaks sticks
with some regularity, you might
need to look elsewhere for
added grip security.
LIST PRICE $17.60
CONTACT giggrips.com
ALTERNATIVES Drummersleash

MR. ZOGS
ORIGINAL SEX WAX
FOR DRUMMERS

DUALLIST GIG GRIPS

All right, now were stepping

outside the box a bit. If you
feel your sticks need a little
extra security, but dont want
anything to come between your
hands and the wood, Gig Grips
provide a workable solution.
Rather than using friction to
keep your stick in place, Gig
Grips create a handle for one
of your fingers.
These small, flexible strips
feel like ultrastrong rubber
bands. Theyre a few inches
long and have a tight loop at
each end that can stretch to
fit the butt of a drumstick. To
install Gig Grips, simply slide
both loops over the butt of the
stick, and then pull them up
to your preferred fulcrum. Its
a little difficult (the loops are
very tight to prevent slippage),
and youll likely need to do
some fine-tuning for comfort,
but theyre otherwise easy to
put on. Once in place, they
should look like small coffee
cup handles on each stick.
It took me a while to get
used to playing with gig Grips.
The supplied info recommends
placing your middle finger in
the grip, and repositioning the
loop anchors for a tighter fit. I
tried this first, and didnt feel
particularly comfortable. At
first, I felt like the loops over
my fingers slightly hindered
the natural motion of the stick.
I tried releasing my grip and
allowing the loop to do the

92

DRUM!

December 2015

work, but that, expectedly,

resulted in some loss of
control.
I tried using different fingers,
handle tensions, and loop
placement, but didnt really
strike oil until I wrapped the
grips around my thumb. The
fit was a little wider than
instructions indicated, which
allowed some extra movement,
and made it very easy to keep a
floating grip on the stick without
sacrificing control. With some
practice, this turned out to be
a very comfortable and nearly
fatigue-free approach. Feeling
as if I figured out the Gig Grips
to some degree, I went back
to trying them on my middle
finger, and sure enough, it felt
much better.

Not just for surfers:

The iconic Mr. Zogs Sex
Wax For Drummers.

DRUMmagazine.com

A tidy fit around the base

of my middle finger helped me
open my hand and relax during
the throw and rebound of each
note. The Gig Grips didnt
move at all during testing, so
I had no concerns about my
hand sliding up or down the
stick. I still encountered a
few very minor hitches while
playing faster, more delicate
figures, but I attribute that
more to unfamiliarity than
flaws in the product.
If I used Gig Grips regularly
for performances, I would be
concerned about how to handle
stick breaks. On the one hand,
theres almost no chance of
dropping a stick with the grips
slipped over a finger, but on the
other hand, it doesnt seem like

Ever touched a surfboard? If

so, youve probably experienced
the tacky feel of Mr. Zogs
unfortunately named Sex
Wax. (As a young person who
grew up near the beach,
explaining Sex Wax to my
concerned parents was a real
joy.) The aromatic traction aid
has been a near-essential
accessory for shreddin tube (I
have no idea what Im saying)
for decades, allowing the
company to explore other
formulas for different uses.
One of those expansion formulas
was created specifically for
drumsticks.
Sex Wax For Drummers
smells and feels almost exactly
like the stuff blonde dudes
named Hobie keep in their
backpacks for beach trips. Its
got a nice, coconut-y fragrance
and a slightly oily feel at first
touch. Applying it to your
sticks couldnt be easier: simply
rub the puck-shaped bar over
the handle a few times, and
youre good to go.
In action, the grip assist
from Mr. Zogs is satisfying.
I wouldnt say its slip-proof,
but it is a nice compromise
between a raw hold and
something like tape. Its soft
and waxy to the touch at first,
but as it heats up, the residue
becomes quite tacky. It was
effective during intense play,
but I appreciated it most when
just chopping wood at a medium
volume. I think the wax even
conditioned my hands a little

Stuck On You
bit, alleviating some of the
rawness that comes from
holding a stick for so long,
which made lengthy sessions
more comfortable overall.
The wax did help me relax
my grip a little bit, but it didnt
provide enough traction for
me to really ease off. I think Id
sooner recommend Mr. Zogs to
drummers who struggle with
blisters and callouses rather
than those seeking lots of extra
grip. It was just more effective
to that end.
One of the other great
benefits of Sex Wax is that it
comes off. If you dont like it,
just strip it off with a dry paper
towel. And if you like it, the
value is hard to beat. At less
than eight bucks for what I
would imagine is more than
a hundred applications, Mr.
Zogs could be a one-and-done
purchase for some readers.
LIST PRICE $7.95
CONTACT bigbangdist.com/
sex_wax.htm
ALTERNATIVES Zildjian Drumstick
Wax, Gorilla Snot

GROOVE JUICE
STICK GRIP

Lets get sticky. The can of

Stick Grip by Groove Juice we
received for this review proved
to be, far and away, the most
effective tool for preventing
stick slipping or movement.
Described as a rubber-based
tackifier in the accompanying
literature, Stick Grip is a sprayon, fast-drying fluid that goes
right on the drumstick grip.
Applying the juice is really
no different from using spray
paint, in that it goes on quickly
and should be done outdoors
or in a well-ventilated area
with a mask. The formula is
dry and ready to use in less
than a minute, making it great
for quick touch-ups.
Stick Grip is outrageously
tacky. A treated stick adhered
to my skin so effectively
that I was able to
Groove Juice
completely relax
Stick Grip is a
my hand without
rubber-based
dropping it. The
tackifier.

94

DRUM!

December 2015

stick just hung there from my

fingers and palm. The product
description calls the juice
nontransferrable, stating that
it wont end up on your fingers,
but I didnt find that to be the
case at all. In fact, I felt like
I had quite a bit of it on my
fingers after every use. Theres
a chance that was the result of
the product drying in overly
humid conditions. I tried
spraying different sticks in
varying degrees and distances,
and even allowed a pair to dry
overnight, but found the results
the same each time.
Truthfully though, that
lingering stickiness didnt
bother me too much, because
the product was so effective.
I honestly cannot imagine
losing a stick treated with Stick
Grip. Even now, weeks after the
first use, the juiced sticks are
still just as tacky as they were
on day one. Despite that, its
actually pretty easy to remove
with isopropyl alcohol on a soft
cloth.
I did find it difficult to
readjust my grip while using
sticks treated with Stick Grip.
The stuff creates such a sticky
bond that shifting up or down
during play (or even between
songs) was a bit of a challenge.
For that reason, I probably
wouldnt use the juice for the
way I play now because I prefer
some mobility, but I really

wish I had known about it

when I was playing punk and
metal music. Stick Grip could
have saved me from hours
of white knuckling my way
through speedy sets.
LIST PRICE $15.99
CONTACT groovejuiceinc.com/
products/groove-juice-drumstick-grip

STICK STUFF

Do you like the feel of dipped

sticks, but use a model that isnt
readily available with a dipped
handle? Me too, man. Me too.
For years, that meant finding
a frustrating compromise
between a comfortable hold
and ideal sound and balance.
But no longer! Thanks to Stick
Stuff, I am forever relieved of
the poor mans bargain between
practicality and preference.
Before we get entirely off the
rails, here: Stick Stuff Drumstick
Grip Dip is a water-based
synthetic rubber designed for
use with drumsticks. When
you purchase Stick Stuff, you
receive an 18-ounce plastic jar
full of liquid rubber in the color
of your choosing (the company
offers 12 basic colors and a few
black light-reactive options as
well). For application, simply
pop the top on your Stuff tub,
and then get dippin.
The dipping process is
actually kind of a pain, but its
not difficult and at least a little
interesting. You simply dip the
butt end of your selected sticks
into the rubber (Id recommend
giving them a quick wipe with
a clean towel first), and then
hang them to dry over a drip
collector. If you want a heavier
coat, repeat the process until
you achieve your desired
results. I used clothespins
and a clothing rack to hang
the sticks, and a paint tray to
collect the runoff. The rubber
needs 24 hours to cure before
use, so its probably best to do
a sizeable batch at once.
When the rubber solidifies,
it creates a clean, smooth seal
over the treated area. I wouldnt
call the surface sticky, but its
definitely more difficult to

Dip your
own sticks
with Stick
Stuff
Drumstick
Grip Dip.

move your hand across than

a stick with a standard finish.
It reacts well to moisture and
tacks up just a bit with some
warmth. I experienced no
material transfer to my hands
during testing.
I tried Stick Stuff in both
the standard and Extra Grip
formulas. The difference
between the two didnt blow
me over, but the Extra Grip
option was notably softer in
hand. Both were very soft, and
reminded me of a mix between
wax and tape. I really enjoyed
the feel of each, and will happily
continue using them. The extra
friction was enough to keep
the sticks from sliding when
my hands were dry or sweaty,
and I felt comfortable enough
to use a more open grip. I did
need to clamp down a bit when
playing very fast or loud, so
I likely wouldnt recommend
this product to drummers who
thrash.
The only real issue I had
with Stick Stuff was that the
container was a little too short
for me. I sometimes choke up
on my sticks pretty high, and I
wasnt able to get that much of
the handle coated because the
stick bottomed out in the jar.
Packaging the Stuff in a taller,
narrower jar could easily
rectify that issue, although it
wont be a problem for players
who grip their sticks closer to
the butt.
LIST PRICE $17.95
CONTACT stickstuffgrips.com
ALTERNATIVES Plasti Dip

the

TimeMachine
Benny Greb

Steve Smith

Vintage Pearl Finish

The new SONOR Vintage Series, Made in Germany

The SONOR team, in cooperation with artists and collectors, worked tirelessly to bring the Vintage Series drums as
close as possible to the look, feel, and sound of its predecessor from the 1950s and 60s. SONOR then combined its
knowledge of modern drum building with the look and sound of vintage drums, to create an instrument that will
hold up to todays modern playing.

sonor.com

>
j
>
j

Lessons

Bend
100
& Conga
Multitasking

Roland
Gajate-Garcia
The 10
Commandments
Of Hand
Drumming

By David A. Brensilver

Photograph: ROB SHANAHAN

hen we spoke recently with

Roland Gajate-Garcia, hed just
started his fourth season as the
percussionist with the house
band on Dancing With The Stars. Since
graduating from California State University,
Northridge, Gajate-Garcia has worked with
a diverse collection of artists, from Frankie
Valli And The Four Seasons to Patti LaBelle,
Diana Ross, Stevie Wonder, Iranian singer
Googoosh (Faegheh Atashin), and Armenian
vocalist Armenchik (Armen Gondrachyan).
Based in Los Angeles, Gajate-Garcia earned
a reputation as the go-to percussionist for
performance-based reality TV work, having
played on such popular shows as American
Idol and The Voice.
Perhaps his most valuable experience
was growing up with (and performing
alongside) a legendary father, percussionist
Richie Gajate-Garcia, and around such
percussion icons as Giovanni Hidalgo
and Alex Acua. From those musicians and
the many with whom hes worked, Roland
Gajate-Garcia has learned plenty about
playing music and working in the music
industry.
We picked his brain to discover the skills
every professional percussionist should
possess. In addition to offering some insight
into his approach to playing music, he gave
us a perspective on what its like to maintain
a career as a working musician. Heres what
he told us.

DRUMmagazine.com

December 2015

DRUM!

97

1.

DEVELOP READING
LITERACY

the correct tempo of every song you play. I

think this just comes from experience and
knowing the song really knowing, before
you play the song, where it should sit, he
says. On Dancing With The Stars, song
tempos relate directly to the choreography.
A lot of times theyll ask us to do it at
different tempos, and well be changing
the tempo right up until showtime.
We all have our own interpretation
of time, he continues, so just try to play
as evenly as possible, with even spacing.
Everyones going to do that differently, but
itll kind of give you your own identity as a
timekeeper.

The ability to read music, GajateGarcia says, is one of the big things that
separates a professional musician from
somebody whos a novice. On Dancing
With The Stars, he and his bandmates
might learn and rehearse as many as ten
to twelve songs in a day. They work with
skeleton charts that might indicate bass or
keyboard parts, but rarely include specific
percussion patterns.
Most importantly, the charts provide
structure. Being able to see the form of
a song and its harmonic changes, and
what other musicians are playing, allows
Gajate-Garcia to create his parts. There's
no way I could do all the sessions and TV
work I've done without knowing how to
read, he says. Gajate-Garcia began to
develop his music-reading skills in junior
high school, and as a youngster at home.
I used to read snare-drum duet books
with my dad.
In high school, reading was required
to participate in concert band, marching
band, and drum corps. Then at California
State University, Northridge, where he
studied jazz and worked a lot on writing
and transcribing music, Gajate-Garcia
learned to read lead sheets. Using his work
on Dancing With The Stars as an example,
he explains that being able to read music
cuts the [song] learning process by, Id say,
95 percent. I can honestly look at a chart
once, maybe run it once, and then be able
to record it. Whereas if I didnt read music,
Id have to learn the form, learn all the
aspects of whats going on.

2.

PLAY WHATS REQUIRED

It might be tempting to let loose

on all manner of percussion
instruments to show off your chops, but
Gajate-Garcia says, Sometimes we have
to remember that we are part of the bigger
picture and play only what the song requires.
It isnt about ego, its about the bigger
picture. To that end, he says, Practicing
things you can actually use will show in
your ability to create music.
Thats just one of the important lessons
he learned when he studied with Gregg
Bissonette at Cal State. For instance, a
groove performed by Stewart Copeland
could become an exercise. He used various
salsa rhythms the cascara and mambo
bell patterns, for example to develop
meaningful independence, practicing
one of those patterns with one hand and
improvising with the other. Its drumming
vocabulary, Gajate-Garcia says.

98

DRUM!

December 2015

Timekeeping
comes from your
innate ability to
escape from your
physical body
and really hear
what you are
producing along
with an internal
subdivision.
Above all, he stresses, Dont feel like
you need make up something new each
time you play. Rather, try and create your
sound based on the things you know and
have learned, while putting the music first.

3.

MAKE IT FEEL GOOD

Making the music feel good is the

most important role a drummer
possesses, Gajate-Garcia says. Timekeeping
comes from your innate ability to escape
from your physical body and really hear what
you are producing along with an internal
subdivision. As much as percussionists
need to listen to others in the ensemble,
Gajate-Garcia believes its important to
listen to your own performance to keep
good time. Its very easy to focus on the
physicality of it, rather than using your ears.
To make music feel good for dancers and
singers alike, you also need to internalize

DRUMmagazine.com

4.

STRIKE A BALANCE

Whatever youre feeling at the

time is going to show in the music
you play, Gajate-Garcia says, and thats not
always a good thing. Hes known musicians
who burned out because they practiced
too much, and their mood was reflected in
their music. When I was in college, I knew
guys that would lock themselves in the
practice room eight to ten hours a day, and
theyd come out looking stressed out. And
its like, Why are you doing that to yourself?
Youre supposed to enjoy this. Taking
breaks to watch movies, hang out with
family and friends, or go on vacations is
vital to striking a healthy life/work balance,
especially in a field that can easily become
an obsession. When I come back to music
after a vacation, its so much more rewarding,
and it reminds him how lucky he is to make
music for a living.

5.

LEARN OTHER
INSTRUMENTS

Learning to play instruments that

arent in the percussion family can help
develop and enhance overall musicianship.
Gajate-Garcia took a sight-singing course
in college, which taught him how to
recognize pitch intervals, and helped him
become familiar with the instruments
that surround him most regularly bass,
guitar, piano, and voice. It's really opened
up my ears and my ability to pick up things
quickly, he says. I took piano lessons
during college, and I feel like thats when I
started to really grow as a musician. Now,
after doing it, I have a better understanding
of how music works.

6.

TRAIN YOUR EARS

Understanding the harmonic

progression of a piece of music,
and its harmonic rhythm, provides a

The 10 Commandments Of Hand Drumming

musician with an aural roadmap of that
composition. You must be able to know
where you are in a song, even when the
melody isn't being played, Gajate-Garcia
says. Being able to recognize the IV or V
chord, for example, and where each falls
in a harmonic sequence, helps a player
understand the song form. Eventually,
he says, your ear is going to recognize the
sequence. And hearing the tension and
release of a harmonic progression makes it
easier to play the appropriate feel. When
you can tell how the chords are flowing
itll help you decide how youre going to
interpret the time.

7.

TAKE EVERY
OPPORTUNITY

You never know who you will

meet or what you will learn at a gig,
Gajate-Garcia says, explaining that doing
every imaginable gig from theater to
television, recording sessions, club dates,
and church performances made him
the well-rounded musician he is today.
Ive played so many different styles, and
people now know that they can call me for
pretty much any style of music. Eventually
you can start choosing which gigs you
want to do, but when youre learning, its
just important that youre playing music,
period. And thats all about developing
connections with people. A lot of the
music industry is about relationships. And
I feel like learning to deal with so many
different types of people is another skill
that you really need to have. Its not likely
to happen that youre going to be in a

band that gets signed and tour for your

entire life.

8.

KNOW MUSIC HISTORY

Context is important. Knowing

music history will help you add
your own unique voice while drawing from
the past, Gajate-Garcia says. You study
drummers that you like and pick out little
things that create their sound. However,
he also thinks its a mistake to restrict your
study to only the history of percussion.
Citing trumpeter Miles Davis influence
on jazz, for example, he says, You really
have to get into his music and understand
what he did and why it changed the jazz
community so much. Having a bigger
picture of what music is and where it came
from will help you decide what kind of
music you want to play.

9.

HAVE A GREAT
ATTITUDE

Being a professional means being

professional. Being on time with all of your
gear ready to go sounds obvious, GajateGarcia says, but I still see musicians who
just dont get it. And those who dont get it
dont last long. I end up spending half my
day preparing for the gig at night.
Showing up with a positive attitude isnt
only important to your longevity, it shows
in the music you play. Playing music is a
team activity, and having a positive attitude
will add to the creative flow. Gajate-Garcia
says those who do the hiring might think, for
instance, Maybe I know a better drummer,

but being around this guy makes us play

better and makes the music feel good it
just makes everything flow better.
You never know when a good attitude
will pay off. One time I was talking to a
flight attendant and telling her where I
was going to play, and she said, Oh, thats
funny, Smokey Robinson is in the front of
the plane. And shes like, Do you want to
go talk to him? Do you want to say hello?
And I said, Sure. And she brought me
up there and I had a whole conversation
with Smokey Robinson. And then later
on I ended up playing with him on The
Voice.

10.

TAKE CARE OF YOUR

HANDS

Being a hand drummer

for most of my life, Gajate-Garcia says,
I know how important it is to take care
of your body. Its part of his daily routine
and involves doing yoga, getting massages,
seeing a chiropractor, stretching before and
after performing, eating well, and getting
an adequate amount of sleep. Being a
hand percussionist is a lot more physical,
in my opinion, than playing with sticks. It
takes some work and daily activity to take
care of your hands.
Recently, after doing an eight-hour
rehearsal for Dancing With The Stars,
he played a four-hour club gig. When he
got home, he felt tightness in one of his
shoulders and ended up stretching for
about 20 minutes before going to sleep. If
youre not aware of those kinds of things,
later on theyll become an issue.

DRUMmagazine.com

December 2015

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99

LESSONS
Shaker
Shaker (Right
(Right Hand)
Hand)
Shaker
Ex. 1
1 (Right Hand)
Ex.
Shaker
Hand)
Ex.
1 (Right
Shaker
(Right Hand)
Ex.
1 (Right Hand)
Shaker
Ex. 1
Shaker
Ex.
1 (Right Hand)
Shaker (Right Hand)
Ex. 1
Ex. 1
Syncopated Rhythm
Rhythm :: Woodblock,
Syncopated
Woodblock, Caixixi,
Caixixi, Cross
Cross Stick,
Stick, etc.
etc. (Left
(Left Hand)
Hand)
Syncopated Rhythm : Woodblock, Caixixi, Cross Stick, etc. (Left Hand)
Ex.
2
Ex.
2
Syncopated
Rhythm : Woodblock, Caixixi, Cross Stick, etc. (Left Hand)
Ex.
2
Syncopated
Rhythm : Woodblock, Caixixi, Cross Stick, etc. (Left Hand)
Syncopated
Rhythm : Woodblock, Caixixi, Cross Stick, etc. (Left Hand)
Ex. 2
Ex.
2
Syncopated
Rhythm : Woodblock, Caixixi, Cross Stick, etc. (Left Hand)
Ex.
2
Syncopated
Rhythm : Woodblock, Caixixi, Cross Stick, etc. (Left Hand)
Ex. 2
Ex.
3
2
Ex. 3
Ex. 3
Ex. 3
Ex. 3
Ex. 3
Ex. 3
Ex.
3
Ex. 4
4
Ex. 4
Ex. 4
Ex. 4
Ex. 4
Ex. 4
Ex.
4
Ex. 5
5
Ex. 5
Ex. 5
Ex. 5
Ex. 5
Ex. 5
Ex.
5
Ex. 6
6
Ex. 6
Ex. 6
Ex. 6
Ex. 6
Ex. 6
Ex.
6
Ex. 7
7
Ex. 7
Ex. 7
Ex. 7
Ex. 7
Ex. 7
Ex.
7
Ex. 8
8
Ex. 8
Ex. 8
Ex. 8
Ex. 8
Ex. 8
Ex. 8

>
>
Ostinato Vs. Syncopation
4 >
By Taku Hirano

Im constantly multitasking,
simultaneously covering
multiple parts on different
instruments. These exercises
bring together the constant
rhythm of a shaker in one hand, and a
syncopated rhythm in the other.
The secondary rhythms can be played
on any number of instruments, such as a
woodblock, caixixi, or hand drum using
varying tones, or even rim-click on a snare
drum for those drummers who want to
expand their palette of sounds over a samba,
baiao, or bossa nova foot pattern. Try to
concentrate on really making the voices
interlock and groove.
Remember that on some instruments,
such as the caixixi, there is a latency between
the movement and the sound created, so use
your ears!
has toured with Fleetwood Mac, Bette Midler,
Cirque du Soleil, and Lionel Richie. He has recorded with Dr.
Dre, Nelly Furtado, Stevie Nicks, and Jay-Z. His group Tao
Of Sound is on Domo Records. twitter.com/takuhirano,
facebook.com/taoofsound

Conga Pitch Bend

/
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//
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//
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/
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4 >
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By Glen Caruba
Bending the pitch of a conga
is a great effect in grooves
and solos, plus it adds a bit
showmanship to boot (or
in this case: elbow). Start
Fig. 1

100

DRUM!

December 2015

with an open tone with one hand and your

opposite elbow hovering slightly over the
head (Fig. 1). Press your elbow slightly on the
direct center of the head, and play the open
tone again (Fig. 2). The harder you press the

higher the pitch bends. Slide your elbow

closer to the edge of the head while playing
open tones for a gradual pitch-bend high
to low (Fig. 3). Be sure to practice this using
both hands and elbows.

Fig. 2

Fig. 3

DRUMmagazine.com

Rush recording Permanent

Waves at Le Studio, Morin
Heights, Quebec, Canada in
October 1979.

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December 2015

DRUMmagazine.com

MAGNETIC
MEMORIES
By Neil Peart

Photograph: FIN COSTELLO/REDFERNS/GETTY IMAGES

Photograph: RONN DUNNETT

y first experience in a recording studio was

around the age of seventeen, when I had
been playing for four or five years. Those
seem the most important details age and
experience. For the record (ha!), it was early 1970,
and the band was J.R. Flood, from my hometown of
St. Catharines, Ontario. We were thrilled to be invited
by a record company actually two companies, in
that one year to make a demo of our original
material, in professional-grade recording studios
in the big city, Toronto.
We figured we had pretty much made it.
J.R. Flood was a serious band, my first full-time
pro outfit, with Paul Dickinson on guitar, Wally
Tomczuk on bass, Bob Morrison on Hammond, and
Gary Luciani singing. They were a good bunch of guys,
disciplined and dedicated and funny. (Ive been lucky
that way.) We practiced hard every weekday in the
Dickinson family basement. (Pauls mother has surely
been sainted.) Weekends we played at high schools and
small halls around Southern Ontario. What had been
called dances in the early 60s were firmly concerts
by 1970, when pretty well everyone in the audience sat
down on the gym floor or stood around the walls
to listen and watch. That was a nice level of attention
for a young musician to feel.

FOUR
DECADES
IN THE STUD
I
O
WITH RUSH

Best of all, in those times there were gigs audiences

available for a night or two every weekend. Plus the
musical climate was open enough that our originals
were welcomed along with the cover material. (The
drinking age in Ontario was still 21, soon to be lowered
to 18, which would change everything for local bands
not necessarily for the better, Im afraid. With alcohol
involved, fewer people tended to listen and watch.)
J.R. Flood played covers of bands we liked (a few by
Santana and Blood, Sweat & Tears, Jethro Tulls Teacher,
Deep Purples April, that I recall offhand), and had a
small repertoire of original songs (among them my first
two attempts at lyrics, Gypsy and Retribution).
However, if the local live-music scene was healthy
in the late 60s, the music business was not so robust,
at least in the Great White North. The paths to success
were an alternate-universe version of what young
musicians everywhere face today the conditions
were unfavorable, and the odds were slim. Canadian
record companies were mere satellites of American
labels, or tiny, local independents. They had little
power in either case, and were certainly not interested
in a band with no obvious singles the gold standard
of the day. (Again, not so different now; its still all
about one song at a time only the media have
changed, not the mechanics.) So, they politely
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December 2015

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103

104

DRUM!

December 2015

WHATEVER CASUAL RECORDING

GOES ON DURING THE ARRANGEMENT
AND DEMO STAGES, I KNOW I CAN
ALWAYS RISE TO A HIGHER LEVEL
WHEN WERE RECORDING FOR REAL.
Live In Canada). The arrangements were
intricate, and included long instrumental passages
with solos, punctuated by tight ensemble
sections, and occasional verses and choruses.
That approach would work pretty well for
Rush a decade or so later, but ... not yet.
In recent years I have been able to locate,
revive, and review those old J.R. Flood mono
tapes, and they tell many stories.
As mentioned, we were very disciplined and
well rehearsed, and we nailed decent versions
of our songs in one or two takes. The engineer
that day was a bit of a comedian, as can be
heard over the talkback between songs. If a
technical problem ended a take, he would come
on the mike and say something like, Giant
Killer take 11, when it was the second take.
Hilarious stuff like that.

DRUMmagazine.com

Similarly, right from the beginning he seems

to have taken a superior attitude with these
rubes from the boonies in a studio for the first
time. At one point I hear my voice between
takes trying to explain that I cant hear anybody
else in my headphones of course I dont know
what needs to be done about it, and he doesnt
help. He just makes some snickery remark like,
Maybe you shouldnt play so loud!
So I guess this is where we get to the advice
department, for those without recording
experience. The more things change, the more
they stay the same. I doubt if a single musician in
these times has not been hearing him- or herself
recorded since before they were born, right?
So Ill try to be more conceptual than specific.
For example, dont presume that anybody
is going to help you either an unsympathetic

Photograph: RONN DUNNETT

declined. Still, it is gratifying that we were at

least given a shot.
It was a big deal to us, all right, and an
unforgettable experience to be in a recording
studio for the first time. For one thing (it only
occurs to me now), we had never heard ourselves
play! Impossible to imagine today, but there
were no inexpensive portable recording devices
in those days, let alone video cameras (so far
as we know, only a single, silent Super 8 clip of
J.R. Flood, shot by my father, survives), and Im
pretty sure its true that we had never actually
heard a playback of ourselves in any form.
However, perhaps the reward for that lack
was that we had learned to hear each other,
listen to each other, deeply, in real time. Musically,
the five of us interacted very much as an
organic union greater than our individual
parts. That was an education acquired in one
irreplaceable way in live performance and
I would still maintain there is no better school.
At least, I would stress, if you are working
with like-minded musicians as good as or a
little better than you, as I was lucky enough
to do in J.R. Flood.
All of our songs were long, averaging
five or six minutes, with a couple around ten
minutes. One of those epics was charmingly
titled, You Dont Have To Be A Polar Bear (To

Magnetic Memories
engineer, or in a home-studio situation,
because nobody in the room knows any
better than you do how to record drums.
Another teachable aspect of my first
experience is that J.R. Flood simply set up our
gear in a big room, pretty much in our usual
stage-and-rehearsal order. We were separated
just enough to keep the instruments and
amplifiers isolated, but we could see each
other. (We often relied on visual cues for solo
endings and such, just as Alex, Geddy, and I
sometimes did onstage.) The engineer put up
a complement of microphones in standard
configurations, tested them, and we started
playing. Even vocals were recorded live, in an
isolation booth, and because it was a demo,
there was no consideration given to overdubs,
double tracking, repairs, or even mixing.
It was what it was. Not bad for its time.
I listen to myself at that age, all energy and
variable control, and think, Somebody give
that kid a valium.
Or, of course, a click-track.
Heres how I described the experience in my
book Traveling Music (ECW 2003).
J.R. Flood had a fairly slick and ambitious
manager, Brian OMara, who managed
to arrange demo sessions for us with
a couple of Canadian record companies
in 1970. It was certainly exciting to be in
a real recording studio (first at Toronto
Sound Studios coincidentally, where I
would later work with Rush on our first
three albums together the other at
RCA, later called McClear Place, where
so many of our later albums would be
recorded and mixed), but nothing came
of that the record companies didnt
hear a single.
Recently I dug out those ancient
reel-to-reel mono tapes and had them
resurrected by an archival specialist.
How funny to hear myself at 18, with
more ideas than skill, more energy than
control, and more influences than
originality a raw blend of Keith Moon,
Mitch Mitchell, Michael Giles, and Toronto
drummers Dave Cairns from Leigh Ashford
and Danny Taylor from Nucleus.

STRIKING OUT
Following the disappointment of that rejection,
there didnt seem to be any future for us in
that small pond. Theres a line in the Rush song
Caravan that sums up my attitude then:
In a world where I feel so small, I cant stop
thinking big.
I urged my bandmates to be bold. Lets
move to Toronto, or New York hell, even
London! Come on we could do it! But no
one shared my restless ambition. So, I had to
think big on my own, and in the summer of

106

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December 2015

1971, my dad and I crated up my drums and

records, and I moved to London, England. I
considered London to be the rock capital at
that time, so it seemed like the place to be
to seek my fame and fortune, of course. Those
dreams werent immediately realized and
not in London, but back home in Canada but
the experience was a pivotal character-building era in my life. My first time traveling alone,
of traveling anywhere more than a few hundred
miles from my childhood home, and first time
living on my own and supporting myself. Or
not. I became acquainted with poverty and
disillusion, did the rounds of blind auditions
(see Traveling Music for more tales), but was
able to play with a few bands, have a few more
recording-studio experiences, and learn a
great deal about music, life, and myself.
I had the opportunity to do a couple of
sessions as a hired gun, for example, and
found the experience wasnt for me. I wanted
to be in a band that recorded songs to play
live (the underlying trajectory of Rush, I
would say). Such decisions are always going
to be individual for some the point of honor
is to make a living playing music, period, and I
understand and respect that. However, when I
tried playing music I didnt care for, just for the
money, I found that wasnt for me, either. I felt
I would rather make my living some other way,
and keep playing the music I liked.
Back home in Southern Ontario in early
73, I went to work at Dads farm equipment
dealership, and played part-time in bands.
By the summer of 74, I had put together my
own band with guitarist Brian Collins, and we
rehearsed weeknights after work. We started
playing local bars (making for late nights and
early mornings for me) under a name Brian
brought from his previous band, Hush. One day
that July, as I stood behind the parts counter, a
man drove up in a white Corvette comanager
of a band from Toronto called Rush.
The rest is hysteria.

RECORDING RUSH
We began touring in August 1974, and went
into the studio that winter to record our first
album together, Fly By Night. With coproducer
Terry Brown, we had ten days to write the
songs (bringing a few embryonic ideas worked
out on the road), and record and mix them. So
that was crazy.
Six months later we came off the road to
make another record, Caress Of Steel (I think
we had three weeks that time) and six months
after that we came off the road again to record
what would become our breakthrough record,
2112, in the winter of 1976. By then we had a
whole month to write, record, and mix but it
was still crazy.
A live album, All The Worlds A Stage, gave
us a breather before our next studio album, A

DRUMmagazine.com

Farewell To Kings, in 1977. Flush with a little

success now, we traveled to Rockfield Studios
in Wales for the recording, and Advision in
London for the mixing, and that was exciting. (In
subsequent years we worked in studios around
England and different parts of London, as well as
even more exotic locales like Air Studios on the
Caribbean island of Montserrat, and Guillaume
Tell in Paris, France.) Starting with A Farewell To
Kings, each of us branched out into new areas
of instrumentation, including keyboards, bass
pedals, and, for me, every kind of percussion
instrument from temple blocks to orchestra
bells. We also experimented widely with different
approaches to songwriting and arranging, as
well as recording techniques even recording
outdoors, or inside echo chambers.
Then it was back on the road, headlining
now, so playing longer shows, and to audiences
with greater expectations. In the summer
of 1978 we returned to Rockfield, weary from
touring, and with only a few days to work on
new songs and an ambitious piece of work
before us, Hemispheres. Looking back, we all
acknowledge that it was the record that nearly
killed us. Overwork had finally caught up with
us all, and now combined with over ambition.
By the time we abandoned that album (I
always liked the saying, No work of art is ever
finished, it is only abandoned), we were left
mentally and physically spent. Again, crazy.
Our next album, Permanent Waves, was
recorded back home in Canada, at Le Studio in
Quebec, in the fall of 1979. Before driving there
for the first of many unforgettable visits over
the next 14 years or so, we spent a few weeks at
a country place in Ontario, just to work on the
songwriting. That became our pattern for a long
time. It was much less crazy, and much more fun.

STUDIO SECRETS
Whatever casual recording goes on during
the arrangement and demo stages, I know I
can always rise to a higher level when were
recording for real. It is the same on the day of a
concert, I wake up mentally focused on that goal,
determined to play the best I can, every time.
Some lessons learned slowly can be recounted
quickly. Sound-wise, I grew to prefer my drums
to have both batter and resonant heads, at first
with small open-ended concert toms, then later
putting bottoms on those as well.
I like a little damping on the bass drums
batter head, but none on the other drums.
Engineers used to balk at that, but as I gradually
learned to tune the drums well, so they didnt
produce any unwelcome overtones, that
openness became acceptable to the audio
professionals, both in the studio and live. Same
with having a front head on the bass drum
more difficult to record, but much nicer to
play, with bounce from the batter head, and
real dynamics.

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RIGHT AWAY, THE CLICK BECAME

MY FRIEND, A GUIDE THAT KEPT ME
NAILED TO THE TEMPO, AND GAVE
ME MORE FREEDOM, IN A WAY ONE
LESS THING TO THINK ABOUT.

108

DRUM!

December 2015

last song was a crazy eight-minute instrumental,

La Villa Strangiato, and we played it over and
over for about four days, I recall. The three
of us were in the studio together grinding it
out, over and over, sometimes until daylight,
only to start again later that day, with aching,
swollen hands. It was soul-destroying. Finally,
Terry Brown tried editing together three takes
into one, it sounded great, and I had to cry,
Uncle.
From then on I continued to try to avoid the
need for editing with careful preparation and
recording-day determination but did not
resist it if it seemed necessary, desirable, or just
time-efficient.
These days editing is no longer a surgical
operation with razorblade and tape, but a matter

DRUMmagazine.com

TO CLICK
I first used a click-track in the studio on our
Permanent Waves album, in 1979. Right away,
the click became my friend, a guide that kept
me nailed to the tempo, and gave me more
freedom, in a way one less thing to think
about. Over time I learned to work with the
click pushing and pulling against it deliberately,
to make certain passages more urgent, or more
relaxed.
I used the usual eponymous click sound
for many years, then switched to a tambourine
sample softer and somehow looser.

Photograph: RONN DUNNETT

These elements helped to make my own

sound more characterful, and many drummers
agree that their signature easily trumps any
consideration of particular drums or even
heads. I have played on thrown-together rental
kits and still come out sounding entirely like
me for better or worse.
Being somewhat of a purist, I also resisted
editing at first. I wanted to deliver a performance
in a single take that was everything it ought
to be. That principle became a big influence on
my approach to recording I would compose
and rehearse my parts for hours and days, to
the point where I could do that.
Then, gradually reversing direction, I began
to embrace editing. One early lesson was in
1978, recording our Hemispheres album. The

of simple digital punch-ins. Thus it has become

a valuable tool to me especially as I pursue
greater improvisation in my recorded drum
parts. Typically I will try to get a good solid take,
then keep going attempting more random,
dangerous experiments that sometimes
produce a fill or a passage that is unique and
exciting, then add it to the solid take.
That final master drum part can be learned
and reproduced later as I did for the tracks
on our most recent Clockwork Angels album,
for example, when it came time to play them
live. For me, a performance like that combines
the best of composed and improvised parts.

The Biggest Bang...

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Magnetic Memories
In 1985, preparing for the Power Windows
album, we rehearsed the songs together, but
recording technology at that time was becoming
both sophisticated and artful. Coproducer
Peter Collins and engineer Jimbo Barton urged
us to try recording our parts separately. (We
have always liked to have a coproducer, to
give us an objective ear and as an arbitrator,
but still carefully protect our own role in that
department by calling it co producer.) The
reasoning was not only for greater control
sonically, but also for greater focus on each
performance, so it seemed worth trying.
The drums came first (as they should!), and
I went out alone and played to a guide track
of guitar, bass, and vocals. It really wasnt any
different as a musical experience I was still
playing to Alex and Geddy, and to the song. The
guys stayed in the control room, as part of the
production team and panel of judges. Under
such microscopic scrutiny, pleasing everyone
could be challenging, and even trying to a
weary drummers patience. However, I could
not deny that the drum parts were elevated by
that process they continued to get better,
not just different. (A crucial distinction.) For my
own part, so to speak, I felt better being able
to work at a song for as long as I felt it needed,
without feeling I was making anybody else
work too hard.

By that time we had been playing together

for more than ten years, so whether or not it
was in real time, we always played to each
other. One big improvement in this method
was that when Geddy rerecorded his bass part
to my master drum track, he could play to every
detail and nuance, making our rhythm-section
performance tighter and more sympathetic
than real-time could ever allow. (I often ask
for a copy of that bass-and-drum basic track
just because.)
On the 2007 sessions for Snakes And Arrows,
with Nick Booujzhe Raskulinecz, he urged
us to try a few songs with all of us in the
room together. We obliged, and he was soon
convinced that it didnt change anything, and
returned to our method.
For the recording of Clockwork Angels, in
2011, again with Nick, I pushed that method
in a new direction. Determined to capture
performances that were more spontaneous,
I deliberately avoided preparing. In the studio, I
would play along with a song a few times, get
a feel for the sort of patterns and decorations
that might work, then call Nick into the room
and we started recording. I didnt even wait to
learn the arrangement just followed the baton
wielded by Nick in front of me, conducting me
into the changes, directing me toward different
areas of the kit for the next section. Between

takes, we would consult on what seemed to

work, and what other ideas might work.
That was different, all right but once
the basic arrangement was worked out, and
magic (or lucky) moments were comped into
the master, I was delighted with the results.
As I wrote in a story about preparing for that
Clockwork Angels tour, I was pleased to note
that, The way I play now is the way I always
wanted to play.
That is a fitting reward for almost 50 years
of effort!

OR NOT TO CLICK
Back in 1979, along with introducing the click
track, we also started using digital sequencers
(like in the chorus of The Spirit Of Radio)
both in the studio and live, and on subsequent
albums they would figure ever more. At first I
would just have those sequences up loud in my
floor monitor (the root of my hearing damage,
I am convinced), then I tried headphones
especially for the sixteenth-note sequence in
Vital Signs, from Moving Pictures.
The eventual development of in-ear monitors
solved the audibility problem, and that part of
the job became much easier. Until the Clockwork
Angels tour I had never used a click track live,
except once years ago to stay in sync with a
rear-screen film. For this tour it was helpful

collectible

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110

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because we had eight string players in the

Clockwork Angels String Ensemble, and they
sometimes needed it when I wasnt playing.
Even in certain passages when I was playing, it
helped us all to stay together.
I was also required to stay in tempo with
some long, legato sequences of keyboard or
vocal effects, and the tambo-click helped with
that, too. Even so, I am glad to say that the
click appears in only a tiny percentage of the
show, and only when absolutely necessary or
at least, absolutely helpful.
On most songs, I prefer to hold it together
myself, and let the band be a living, breathing
organism that can push and pull naturally. These
days many bands perform to a preprogrammed
basic track, often a computerized software
program. We always resisted that rigidity.
Speaking of rigidity, one cautionary note
after some years of working with clicks and
sequencers to that degree of exactitude, I felt
my playing was getting stiff. If that was the
price of precision, I didnt like it but what
to do? In the mid-90s I studied with the late
Freddie Gruber, who emphasized movement
over technique or at least movement in the
service of technique and he helped greatly in
loosening me up. A little over ten years later,
in the late
2000s, I studied with Peter Erskine,
remo_p77giveaway_drum-1215-half
pg.pdf
and he also guided me along the road to more

relaxed tempo control and improvisational

ability. I owe much to them, and to my first
teacher, Don George all of them contributing
to my development along the way.

PARTING THOUGHTS
Finally, I can only conclude with encouragement.
As I acknowledged earlier, times are tough for
musicians starting out but they clearly were
for me in Southern Ontario in the 1970s, too.
Miracles do happen.
Maybe you will be one.
In any case, whether or not your music
supports you, it can still nurture you. It is not
given to every aspiring musician to make a
living at it, never mind fame and fortune, but it
can still be a rewarding lifetime pursuit. I know
several nonprofessional drummers who
find joy in playing the instrument, sometimes
with friends, and gradually getting better at it.
(Because you do. When people ask me about
my favorite recorded performance, I am taken
aback if I didnt think my most recent work
was an improvement over the past, I hope I
would give up.)
Other than practice, practice, practice,
the only unqualified advice I can give to
beginning drummers is to play live, in front of
people,
as often as
youPMcan. Nothing teaches
1
10/8/15
4:30
you more about where the nexus lies between

CM

MY

CY

CMY

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what makes you excited, as a player, and what

excites an audience. If the ideal is to play
music you like, and have other people like it
too, then the definition of luck fits perfectly:
where preparation meets opportunity.
You really cannot play too much, on your
own, with a band, and onstage. As Picasso
said, Inspiration exists, but it has to find us
working.
The more you are practicing your chosen
art, the more likely you are to stumble upon
inspiration in that work. (Its probably safe to
say that more inspiration is stumbled upon
than delivered from on high.)
Years ago I read about a tabla player who
practiced every day, but he said that only about
every ten days did he feel he got somewhere.
Beginning a long period of daily practice under
Freddie Grubers teaching in the mid-90s, I
took that to heart, and found it to be true. The
important thing is to keep striking that flint and
steel, and eventually you will produce a spark.
One related bit of wisdom I have acquired,
in music and in life:
Magic happens but it often requires
some planning.
Determination, too.
Excerpted from Pete Vassilopoulos
forthcoming book Recording Drummers.

EXPO

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Grip with your Head

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December 2015

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BEST OF
BOTH
WORLDS

Yamaha
Stage Custom And Hybrid Pack

By Brad Schlueter

amaha has made some of

the worlds finest acoustic
and electronic drums
for decades. So when I
had the opportunity to check
out both at the same time it felt
like Christmas arrived a couple
months early.
Unpacking the boxes only
heightened my preholiday spirit. I
first unwrapped the latest version
of Yamahas successful all-birch
Stage Custom kit, along with a solid
HW780 hardware package and
Yamahas new Hybrid Pack, which
simplifies the process of adding
electronics to an acoustic set.
Since Stage Customs debut in
1995, Ive reviewed four upgrades
of the kit. After observing countless
design refinements throughout the
years, I wondered how much more
the company could improve on an

already exemplary kit. In this case,

Im happy to report, Yamaha found
plenty of new ways to polish this
jewel.

BEAUTY OF BIRCH

This latest incarnation of the Stage

Custom has 100-percent birch
shells with 45-degree bearing
edges, although the point of contact
is a bit rounder than previous
generations to increase shell-tohead contact and produce a fatter
tone. Snare and tom shells are six
plies while the bass drum has a
7-ply makeup. All plies are slightly
thicker than those on previous
Stage Custom models, not unlike
Yamahas Live Custom shells.
Yamaha has had much success
with birch-shelled drums, beginning
most notably with the iconic
Recording Custom series. Birch is

known for a punchy sound that

reduces midrange frequencies
and projects more highs and lows,
resulting in an EQed tone that can
sound great right out of the box.

as well as four bass drum sizes

ranging from 18" to 24". Only the
one snare drum size is currently
offered.

OUR TEST KIT

Although this kit is very affordable,

it includes a number of features
often associated with Yamahas
pricier sets, such as Yamahas YESS
tom-mounting system, a new
bass drum spur design, die-cast
rubber-lined bass drum claws, Air
Seal System shell construction,
staggered diagonal seams, and
the same low mass lugs found on
Yamahas Absolute series, which
attach with a single screw for
greater shell vibration. The drums
have a sharp looking badge, diecast air vent grommet, and the
bass drum spurs lock into place at
the ideal angle.

We received a 22" x 17" bass drum,

14" x 5.5" snare, 10" x 7" and 12" x
8" mounted toms, and a slightly
less than square-sized 16" x 15"
floor tom. These shallower tom
sizes are a recent development in
the Stage Custom line. As a drummer
who likes to sit a little low, I
appreciate how thinner rack toms
can be positioned where I want
without forcing me to choose a
20" bass drum solely for its size
rather than its sound.
Another shell pack with a 20"
bass drum and a variety of addon tom sizes is also available,

BELLS & WHISTLES

AVAILABLE STAGE CUSTOM FINISHES 1. Raven Black, 2. Natural Wood, 3. Cranberry Red, 4. Pure White, and 5. Honey Amber

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YESS tom
mounting
system
TP70 7.5"
single-zone pad
Die-cast rubber-lined
bass drum claws

CL940BW ball
and socket
tom holder

Toms are fitted

with Remo Clear
UT batter and
resonant heads.

PRICE Stage Custom MSRP $1,100

HW780 Hardware Pack MSRP $575

6-lug, 6-ply
10" x 7" tom

1.6mm tripleflanged hoops

6-lug, 6-ply
12" x 8" tom

XP80
three-zone
8" pad
CS755 singlebraced cymbal
stand with
17" hideaway
boom arms

DT70 acoustic
drum trigger
8-lug, 7-ply
22" x 17"
bass drum
Slightly rounded
45-degree
bearing edges
8-lug, 6-ply
16" x 15"
floor tom

FP7210
single-chain bass
drum pedal
Yamaha
Absolute
Series lugs
10-lug, 6-ply
14" x 5.5" snare
fitted with a
Remo UT Coated
batter head

DTX502 Touch app

is a free download
from iTunes
(iPad not included).

DTX502 module

100-percent
birch shells
with Yamahas
Air-Seal System
and diagonally
staggered seams

Die-cast
air vent
grommet

SS740A
single-braced
snare stand
CONTACT
usa.yamaha.com/products/
musical-instruments/drums/

HS740A
single-braced
hi-hat pedal with
rotating legs

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XP80 threezone 8" pad

DTX502 module

DTX587 Hybrid Pack includes

all necessary cables. MSRP $1,150

TP70 7.5"
single-zone
pad
DT70 acoustic
drum triggers

CL940BW
ball and socket
tom holders

CSAT924W
parallel multiclamps

Rack toms have six lugs per

head and the bass drum and floor
tom have eight. The latest version
of the Stage Custom snare has
been upgraded to ten lugs per
head for more precise tuning. Its
not surprising that at this price
point the triple-flanged hoops are
only 1.6mm thick thicker ones
would offer easier rim-clicks and
louder rimshots.
Our kit came in a Pure White
high-gloss lacquer finish, which
was attractive and professionally
applied, and featured matching
bass drum hoops. Several other
finishes are available, including
Raven Black, Natural Wood,
Cranberry Red, and Honey Amber,
so most drummers should be able
to find one that suits their tastes.
Toms were outfitted with clear
Remo UT batter and resonant
heads, a Remo UT coated snare
batter, and a clear Remo UT
Powerstroke3 bass drum batter
with a black P3 logo head.

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STANDS & PEDALS

The HW780 hardware pack has

everything you need to get up and
running, including a hi-hat stand,
snare stand, two boom stands,
and a bass drum pedal. All stands
are single-braced and medium
weight, and most of us who dont
have roadies will appreciate the
balance between functionality and
lightness. Touring drummers are
likely to choose some of Yamahas
heavier-grade hardware, but this
set is perfectly appropriate for
beginners, gigging drummers, and
weekend warriors.

SOUNDS

It was a stroke of luck that, not

long after receiving my review set,
the shop where I teach received
the same kit in a different finish:
Honey Amber lacquer. I wound
up playing the shops kit as much
as the one shipped to me, since
it provided the opportunity to
listen to it from both the players

DRUMmagazine.com

position and from out front while

friends played it.
My first impression was that
the bass drum was awesome,
embodying everything you want
in the low end. Its sound was deep
and fat and packed a wallop even
without being miked. The toms all
sounded professional, as well: They
were easy to tune up, with clear
resonant tones and a good balance
between attack and sustain. And
I liked that extra pitch drop down
from the 12" to the 16" thats a
perfect interval for rock, when you
want a thunderous floor tom.
Thanks to the extra lugs on
the snare, I was able to crank the
tuning without fear of damaging a
receiver or lug. It had a good crack
and responded well to middle and
higher tunings its likely to receive.
I was struck by the drums balance
of high-end frequencies and
woody tone.
This kit sounds impressive by
any standard, but is even more

commendable when you consider

how affordable it is. Several of the
guys at the drum shop commented
that the bass drum seemed to be
noticeably fatter than previous
versions of the Stage Custom. I
dont know if its a consequence of
thicker plies or rounder edges, but
whatever it is, it works. I wouldnt
hesitate to use this kit on any of
my gigs.

ADD-ON ELECTRONICS

My Christmas fantasy continued as

I unpacked the DTXHP587 Hybrid
Pack, which includes one TP70
single-zone trigger pad, one
XP80 DTX three-zone trigger pad,
two drum triggers to mount on
acoustic drums, Yamahas DTX502
electronic drum brain, and all the
hardware and cables necessary to
mount the electronic components
on any kit.
The XP80 has a textured
silicone surface thats unique to
Yamaha. It feels great, as do the

additional trigger areas on the rim. The TP70

is a more traditional triggering pad and has
a somewhat harder practice pad feel. Ive
checked out the DTX module for fun in the past,
and already knew how it packs a remarkable
number of features into a very small package
at a great price.
Yamaha built more memory into this brain,
but rather than using the extra juice to cram
additional sounds into the box, the designers
used the extra memory to make each sound
richer. Good choice. I especially love all the
sampled acoustic Yamaha kits theyre very
realistic. Ride cymbals decay more naturally
than samples from many other modules, with
no obvious indications of looping. Theres also
some useful electronic dance and percussion
to suit most essential needs. Fortunately, the
programmers didnt clutter the sound banks
with wacky samples that are cute the first
time you hear them, but youd never actually
use. Of course, Id like even more sounds,
which Yamaha anticipated by letting users
load up to 12 seconds of their own custom
samples.
The module has enough inputs for an entire
electronic kit, an aux in, headphone jack, two
outputs, USB connection, metronome, and
sound editing features, as well as 50 user
locations for your own kits. There are backing
tracks to jam with, recording functions, loop
starting and stopping from triggers, and many
other useful features, including a wide variety
of training functions beyond just a metronome.
I wish I had the space to go into more detail
here because they are all really useful and can
help improve your timing.
After following the setup directions (and
the helpful Yamaha videos) I was easily able to
trigger my kick drum with only the occasional
hint of false triggering. In fact, if I didnt want to
mike my kick at gigs, this setup provides a good
alternative, and even read my dynamics well.
Im sure a number of metal drummers use the
kit for precisely this function.
My snare seemed to pick up sympathetic
vibrations from the closest toms, and faintly
triggered no matter how I adjusted the
crosstalk and level settings. I wasnt entirely
surprised since I could feel a lot of vibration
when I put one hand on the drum while hitting
my toms hard. Muffling the snare might solve
the issue, but I wouldnt do that just to add an
electronic snare sound to my kit. Its nearly
impossible to trigger acoustic drums perfectly
and Yamaha has done a good job of getting
close.
However, if I needed another snare sound
at a gig, I might skip trying to trigger my
snare and dedicate the XP80 pad to the job.
Problem solved. The XP80 has multiple triggering
areas, so you can also get a perfect rim-click
and a realistic range of dynamics with no

crosstalk. Gigging drummers who need some

dance sounds should find this setup very
useful.
Conveniently, the DTX502 can store 16 user
trigger setups, which is more than anyone other
than Akira Jimbo might need, so you can use
it as both a hybrid kit or, with additional pads,
as an entirely electronic kit, and you can save
these different parameter settings easily.
My only issues with this module are the two
outputs and the plastic construction of the unit
and mounting plate. Id love at least four outputs
so I could separate the sounds for a sound
engineer. If I were gigging with the module, Id
take extra precautions: wrap it in foam rubber
and transport it inside a hard case to avoid
damaging the plastic chassis.

EVEN MORE ONLINE

This DTX502 Touch app makes it a snap to

update the firmware, edit patches, adjust
triggering parameters, and save these settings
into custom triggering setups. It really speeds
up common editing tasks like naming or
customizing kits.
Youll need an iOS device to use the app.
Hooking it up to the DTX502 via its USB
connection requires the Yamaha i-UX1 cable
or Apple Camera Connection kit, as well as a
standard USB-to-Lightning connector cable.
Neither cable is included, so I first tried using
various USB cables with USB-to-USB adapters I
had on hand. When those attempts proved
unsuccessful I bought the Apple Cable Connector
Kit, which incidentally is a lot cheaper than the
i-UX1.
A great bonus is that you can log on to
Yamahas site and download new sets, sounds,
and loops using the apps Data Manager. I
saved downloaded kits as User kits in several
of the 50 open spots. Some load in just a few
seconds and others primarily newer sound
and loop files take longer. Certain patches
are designed specifically to work with the DTX
Hybrid Packs and are clearly labeled as such on
the site.
Using the app lets you edit the mixer, pad
settings, trigger parameters, and the like. It was
quick and easy to download and access the
additional editing parameters from the app.

VERDICT

This latest incarnation of the Stage Custom

kit is the best version Ive reviewed yet. Its
very attractive, has lots of feature upgrades,
a new shell design, and a thoroughly professional
sound. The DTX587 Hybrid Pack bundles
everything needed to add electronic sounds
to your acoustic kit without converting to a
fully electronic setup. And the DTX502 Touch
App makes customizing the unit and adding
new sounds a breeze. Think of this as the best
of both worlds.

FIRST TIME
USING THE
NEW EVANS
DRUMHEADS
WITH
#LEVEL360.
EASIEST
TUNING EVER!
@BASSMANATUM

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BIG CYMBA
L
WITH BIGG S
E
PERSONAL R
ITIES

Meinl

22" Byzance Dark Big

Apple Ride, $780

Ride Roundup

By AJ Donahue

eam Meinl leads the charge

when it comes to designing
both visually and sonically
striking instruments. Having
created a near revolution in the
name of thinner, darker, and drier
cymbals over the past decade, the
company now touts a remarkable
catalog of instruments that defy
classification and expand possibility.
Blending aesthetic elements that
are as clean and modern as they are
new-Earth raw, Meinl cymbals
are always immediately identifiable.
And the most recent additions
to the German cymbalsmiths
growing family of ride cymbals are
no exception.
The company shipped over a
quartet of new-for-2015 models
from the celebrated Turkish-born
Byzance series. The group includes
a dark twist on an old staple, a split
personality crash-ride, and a wild
pair of signature plates that feel
like nothing Ive ever played before.
Theres a lot to cover here, so lets
get started.

BACK TO THE
BIG APPLE

Meinls original Byzance Jazz Big

Apple Ride found a comfortable
spot between a conventionally cut
cymbal and a flat ride. After the
first Apple struck such a positive
chord among drummers of every

CONTACT
meinlcymbals.com
615-227-5090

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ilk, the company applied those

same elements to the Byzance
Dark line. The resulting 22" Big
Apple Dark Ride features the same
super-low profile and miniscule
bell found on its predecessor, but
eschews the lathed finish in favor
of a raw, wire-brushed, and heavily
hammered treatment. Its burnt
brown hue and fairly uncommon
shape give it a distinguished look.
This is a special cymbal.
Marrying the cool, dusty click of
an old flat with a spread that is at
once bone-dry and generous, the
Big Apple Dark Ride just breathes
swing. It has very little in the way
of high-register overtones, and
accordingly, fits beautifully with a
piano. With both maple and hickory
sticks, the BAD Ride was deep,
smoky, and articulate.
But this Big Apple can go way
beyond bop if needed. I was
surprised by how much volume I
could pull out of it despite its thin
cut and modest weight. That spread
kept growing when I really laid into
the bow, with the wash separating
from the stick just enough to keep
each note afloat. Edge crashes were
big, a little warm (another surprise),
and low enough in timbre that they
could carry through medium-loud
music without overwhelming.
Together, I thought those
traits made the ride a great fit for
live electronic music, R&B, funk,
or low-volume country. It wasnt
quite powerful enough to really
hang with substantial volume,
but it went much higher up the
spectrum than I anticipated.

DRUMmagazine.com

TWO-FACED SON
OF A GUN

Looking for something a little louder?

The 22" Byzance Extra Dry Dual
Crash Ride might be what youre
after. This split-finish beast has
three very distinct playing surfaces
in an unlathed and unhammered
bell; an unlathed yet heavily
hammered section that extends
about halfway through the bow;
and a tightly lathed outer bow and
edge with a polished, brilliant finish.
It has a slim profile, and like the
others in our review group, is
classified as thin, but is probably
the heaviest of the bunch by a hair.
This guy is lively and explosive,
but surprisingly controlled. Tip
strokes on the brilliant section
have a bright follow-through with
a wave of shimmering wash, while
tapping the unlathed portion of
the bow brings out a slightly dirtier
tone. The bell is small but potent,
and would be serviceable in a Latin
context. It has a big, wide, trashy
note at its core that fills up a lot of
spectrum space below the stick.
Im not sure Id grab this cymbal
for a light duty gig, but I dont
think it was created for that
application anyway.
The Dual Crash Ride felt most
at home when really whooped.
It lost some stick articulation at
higher volumes, but crashing the
edge brought out something
interesting. The loudest part of the
wash subsided very quickly next
to other instruments, making each
crash feel more like a discernable
quarter-note rather than part of a

Unlathed edge

22" Byzance Jazz

Symmetry Ride, $780

Small and large

hammering

Small bell
Unhammered bell
Unlathed center

Byzance Extra Dry Dual

Crash-Ride, $780
Small and large
hammering across bridge,
bow, and edge

Heavily
hammered,
unlathed finish

Brilliant
outer ring

Low profile
contour

Large, unlathed, lightly

hammered bell

B20 bronze

Small and large

hammering

21" Byzance Jazz Nuance

Ride, $710

Six preinstalled
rivets

Wide lathing
on bow

Wide lathing
on bow

Large, unlathed, lightly

hammered bell

All Prices MSRP

Unlathed edge

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December 2015

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121

long-tailed wave of noise. There

was some punctuation to each
strike. I think that was largely
owed to controlled dryness of
the unlathed middle ring. It felt
ideal for loud, heavy music where
crashing through choruses is a
must.

RALPHS RIDES

Ralph Peterson is truly a monster

talent. Hes got an incredibly
smooth swing feel, and his playing
has equal flashes of Blakeys
volcanic fury and the stuttering,
sparkling snap of the modern New
York sound. Hes a legend in the jazz
community with a mind-boggling
resume. This is all to say that he
could probably make any cymbal
any metal disc even sound
great. I, sadly, was less successful
with his pair of Byzance Jazz Series
signature rides.
I found the 22" Symmetry
Ride and 21" Nuance Ride to be
fascinating yet challenging
instruments. Both have moderate
profiles with hammered, unlathed
bells and edges. The bow of each

is lathed to a modest sheen with

very wide lines and some gaps
that allow unfinished bronze to
poke through. The bells are deep
and wide, and have minimal
hammering. Visually, they are
totally stunning maybe two
of the best-looking cymbals Ive
ever seen.
Sonically, they were kind of
mystifying. Let me preface this by
saying that I dont think these are
bad or poorly made instruments.
Like everything Ive seen from
Meinl, theyre expertly crafted
and obviously the result of great
attention to detail. They are also,
like much of Meinls catalog,
genuinely unique.
Taps on the bow of the
Symmetry Ride are greeted by a
dark, trashy tah sound with
some clang on top. Increasing the
intensity of the stroke pulls more
trashy spread out from under
the cymbal that stays pretty well
integrated with the stick. The
cymbal is dry, clear, and articulate,
but those overtones add a lot of
wildness to the bed. Its a kind of

BEST SWITCH AND

DECISION IVE EVER
MADE, THANK YOU
@EVANSDRUMHEADS.
DRUMS NEVER SOUNDED
BETTER #LEVEL360
@JOEYAMATANGELO

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shuttering, wobbly wash with a

ton of complexity.
The Nuance Ride is very much
cut from the same cloth. Its a little
tighter, but the stick and wash
sounds are remarkably similar. It
includes six threaded and capped
rivets in a single wide-set cluster
to add a little extra spray to the
already tidal spectrum blowing
off the edge. The bells on both
cymbals are full, rich, and similarly
complex. I think thats a rare trait
for jazz rides, and its a nice touch
as it makes them excellent for
Latin or funk play.
When I watched video of
Peterson demoing these cymbals,
they sounded exquisite. He has a
masters touch, and helped design
them, so that really came as no
surprise. Under the mutant clobber
of my hands, however, they were
difficult to rein in. All of those wild,
expressive tones just ate up too
much surrounding sound for me to
use them in medium or low volume
settings, and they didnt quite
have the cutting definition to work
with a louder group.

But heres the thing: As much

as I wrestled with these cymbals,
I am going to miss them when it
comes time to ship them back.
Maybe more so than the other
rides in this group, with which I
felt much more comfortable. Even
though they may not be perfect for
my hands, they are tremendously
intriguing and I wouldnt mind
spending more time with them.

VERDICT

The four rides Meinl shipped for

review are far from everyday fare.
These are distinct, complex
instruments with loads of built-in
personality. While I wouldnt say
any would be perfect for every
player, these strong, compelling
voices will assuredly attract
passionate individual fan bases.
They are each so intriguing that Id
encourage anyone with even a
modest interest to find the nearest
Meinl dealer and give them a whirl.
(Online digital samples and videos
simply wont do them justice. You
have to hear them live.) Theres a
lot to discover here.

Boom Alley Drums

Knocker Hoops

FATTEN
K
C
I
L
C
R
U
YO
By AJ Donahue

ts hard to beat the rich

embrace of a rim-click played
on a wood hoop. Heavy
wood-ply counterhoops have
long been favored for the warmth
and overtone control they add
to snare drums and toms (not to
mention their looks). But many
feel that the increased rigidity of
a wood hoop controls tone too
much, pulling some of the life out
of the drum by tamping down
those bright edge notes. Past
attempts at compromise were met
with varying degrees of success,
but few have truly blended the
hearty tones of whole wood with
the openness of standard steel.
Thankfully, Boom Alley Drums
Knocker Hoops fall squarely among
the winners. Simply by mounting
a section of a 0.75" lacquered
plywood hoop to one quarter of a
2.3mm triple-flanged steel hoop,
the brains at Boom Alley created a
remarkably effective solution for
marrying wood to metal.

FEATURES
2.3mm triple-flanged hoop; 0.75"
lacquered wood-ply knocker
section; available in eight- and
ten-lug 14" models and 10"18"
sizes through special order

CONTACT
banggoboom.com
650-207-3464

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B.A.D. Knocker Hoops are

available for both eight- and
ten-lug snare drums, and require
some assembly, since the metal
hoop and wood Knocker arrive
as separate pieces. The top two
flanges of the steel hoop are cut
away over three lugholes, which is
where the Knocker resides. Boom
Alley also supplies three 2.5" tension
rods to compensate for the extra
height added by the receiving
holes in the knocker.
At first, I was a little bothered
that the pieces came unassembled,
but after playing the Knocker on
a few different drums, I may have
figured out why the hoops are
designed that way. Whether it was
intentional or not, separating the
two pieces seems to make the hoop
less rigid than it would be if they
were permanently affixed, allowing
the drum to breathe a bit more.

DRUMmagazine.com

Which brings me to the overall

feel and sound of the B.A.D. hoops.
As advertised, the hoops really
do combine the benefits of
wood and metal. Our test drums
sounded open and unrestrained
by the weight of wood. Backbeat
rimshots were full and cracking,
but just the slightest bit warmer,
which I thoroughly enjoyed,
especially on metal snares. Finally,
throughout the test, I never once
heard the wood and metal pieces
rattle against each other or clack
together.
Rim-clicks and rim-riding
played on the wood section of the
hoops were warm and cutting.
Maybe they werent as robust as
those played on a conventional
wood hoop, but Id say the difference
was marginal at worst. The added
shell-saving benefit of playing
cascara figures on the knocker

element was a real plus, too. I even

resituated the drum during one
rehearsal so I could play rimshots
on the wood portion. It wasnt quite
as satisfying as Id hoped, but still
provided a darker alternative to a
regular backbeat sound.

VERDICT

If youre looking for a way to get

that potent, coffeehouse rim-click
without sacrificing the free, open
tones of a snare with triple-flanged
hoops, Knocker Hoops from Boom
Alley Drums offer a more than
passable solution. These versatile
hoops performed exactly as
advertised, and were a real joy
to play throughout the testing
period. I truly think Knocker
Hoops would be a valuable asset
for working drummers looking
to get the most sound out of a
single instrument.

Jeremy Spencer
Y
M
T
E
E
M

R
E
K
A
M

Story And Transcription By Andy Ziker

eremy Spencer is a true American

Ninja Warrior. Life has lobbed multiple
obstacles his way, and hes overcome
each challenge with gusto. Growing
up in the musically starved environment of
Boonville, Indiana [sorry, Boonville] couldn't
stop him; he became a founding member of
Five Finger Death Punch (5FDP), one of the
most successful heavy metal bands of the last
ten years. When 5FDP guitarist Zoltan Bathory
complained about a lack of drum loops in the
metal genre, Spencer locked himself into a

studio for six months and released the Extreme

Metal Loops CDs. Headbangers all over the
world are now using Spencers patterns in
their songwriting. When drug abuse nearly
cost him his life, Spencer pried himself off
the mat and then wrote about it in his bestselling autobiography, Death Punchd, helping
countless others combat addiction.
5FDP has released its eighth studio album,
Got Your Six, and at the time of this interview,
Spencer was feverishly prepping for a world
tour. When asked about 5FDPs popularity and

distinctive sound, his voice fills with pride. We

grew up through the 80s era were big fans
of Metallica, Iron Maiden, and Pantera all with
really strong choruses and melodies. Were not
one of those bands that only likes to do brutal
music. It gets boring for us and any listener.
We blend old school elements together with a
modern feel.
Spencer selflessly believes that the vocals
of Ivan Moody and rhythm and lead guitar of
Bathory and Jason Hook are the key ingredients.
Lyrically, Ivan writes about relatable,

DRUMmagazine.com

December 2015

DRUM!

127

Sometimes it just calls

for a wow moment.

focused on groove, developed my feel, and it

relationship-based topics, and he sings what
really took my playing to another level.
he feels at the time. Our guitarists offer up
Though Spencers punchy drum sound has
percussive rhythm with blistering leads.
been described as just above wrinkles, its
However, Spencers drumming is the real
less about tuning the new album features
driving force behind the band, although
higher-tuned toms, for instance and more
modesty makes him reluctant to talk about his
about embracing technology. If producer
sound and approach. Its more of what Im
Kevin Churko and I want to use a sample, we
feeling at the time. I always try to accent what
do it. We dont say, It all has to be organic.
the guitar parts are doing. If there is going to be
Were not snobs. If it rocks, well go for it. Part
some kind of a vocal hook, I always try to add to
of the punchiness is natural shell with samples
it. Im not the kind of guy to say, Look at me.
blended in maybe another real natural shell
Check it out, unless its required. Then I do that
drum put together in one big soup.
of course, because its fun to add chops and do
Meet My Maker is a straight-ahead rocker
some shredding here and there.
that showcases Spencers arsenal of hookDiverse drummers like Tommy Aldridge,
laden patterns and licks. He leads off with a
Dean Castronovo, Neil Peart, and Buddy Rich
influence Spencers fast, powerful, and dynamic four-stroke ruff played between three double
bass notes and an emphatic power
parts but specifically, double
flam. Spencer recalls, It was about
bass players have always floated
getting a big arena flam. I pictured
his boat. Dave Lombardo is a big
big pyro happening there [laughs].
one for me, because when I was 13,
I love doing those triplet chops on
I couldnt believe that you could do
the kicks. He then launches into
that kind of stuff with your feet.
a four-on-the-floor feel that is a
His passion for double bass was
nice complement to the guttural
actually a problem at first. When
syncopation of the vocals. Ive
I started jamming with people,
been using this since the first
one guy in particular said, You
:
record, he says. It adds a dance
should put away one of those kick
Five Finger Death
Punch
beat element and works really well
drums and start practicing to a
:
with our percussive guitar players
click track. This of course bruised
Got Your Six
picking styles. Ill lay into that
my ego, but at the same time, he
:
meaty backbone 4/4, and it helps
was right. Im so thankful that he
Meet My Maker
support everything.
said that, because I woodshedded,

128

DRUM!

December 2015

DRUMmagazine.com

At 0:24, Spencer sets up off-beat guitars

for two measures, and in the third measure
plays one of his rapid-fire, high-to-low fills,
this one with a herta on the (3) &. He plays a
similar fill at 1:05 (with two hertas). Im not
afraid to repeat ideas. The more hooks in the
song, the better. If it comes from a tom fill or a
kazoo, who cares? The chorus groove in Meet
My Maker uses sixteenths on double bass,
but when it first gets going (at 0:30) and
repeated in later choruses Spencer plays a
stutter thing, something that just felt right
at the time. He sets up an ensemble hit like a
big band drummer, playing three consecutive
flat flams between the floor tom and snare, into
a power flam on 3 and Chinese cymbal on the
(3) & (0:43).
Spencer breaks up the bass drum quarters
by adding an eighth-note (1:00). He recalls, It
was a feel thing. I asked the producer, Do you
think that should [be a keeper]? He said,
Absolutely, thats cool. At 1:37, Spencer
displays great dynamics in a six-bar snare build
over a spoken-word interlude. Jason [Hook]
and I jammed on that at his house. We started
toying around with it when we knew we needed
a nasty middle section. Spencer releases out of
the interlude with an amazing two-bar fill
(1:48) that travels up and down the drums, and
ends with Bonham-like sextuplets into another
power flam. Spencer says, I definitely do some
spastic fills from time to time. Ive been told
that it reminds people of Keith Moon, but Ive
never really listened to The Who that much.
Sometimes it just calls for a wow moment.
A nice change of texture occurs in the
second of each two-measure phrase during the
guitar solo (1:54) as Spencer plays simultaneous
bass drum and ride bell. He says, It comes from
messing around and having fun. It sounded
interesting and almost stupid at the same time.
It still makes me chuckle when I hear it. 5FDP
couldnt find a way out of the guitar solo, and
fortunately award-winning Churko was at the
bands disposal to come up with a smooth,
seven-bar phrase (2:11). The 2/4 bar in the third
measure is barely perceptible. There was a gap
there. The producer suggested that something
happen there to avoid a boring moment.
Leaving space was Kevin Churkos suggestion.
Spencer leaves the next generation of ninjas
with these words of wisdom: Its a slightly
discouraging world these days as far as going
out and trying to be in a successful band. Just
drum and love every second of it for you. I built
a drum room in my garage, and when I go out
there to practice, thats almost more fun now
than some of the songs that we do. Its back
to the love and passion of playing by myself.
Sometimes you just want to have that innocent
magic in the garage. Drum for yourself, love
every second of it, and dont worry about being
a big rock star.

MEET MY MAKER
MEET MY MAKER
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MY power
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Since 1958 the Calato

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continues with its
tradition of quality.
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y
y

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Z
continued on next page
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2015 DRUM!
129
DRUMmagazine.com
December

1:05

Discover Quality

www.regaltip.com

The Official
Electronic Drums of

Jeff Friedl

Yamaha artist since 2013,

Jeff Friedls versatile drumming
style has added percussive
power to such respected bands as
Devo, A Perfect Circle, Puscifer,
and Eagles of Death Metal.
Jeffs blend of his DTX electronic
drums with acoustic drums creates
an identifiable sound that
is uniquely his.
Get to know Jeff and his DTX here:
4wrd.it/OfficialFriedl

Photo: Melina Dellamarggio

2015 Yamaha Corporation of America. All rights reserved.

www.yamahadrums.com

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130
DRUM!
December
2015
DRUMmagazine.com
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DRUMmagazine.com

December 2015

DRUM!

131

The Official Drums of

Carter Beauford
Yamaha artist since 1990,
Carter Beauford is one of the most
instantly recognizable drummers
and continues to inspire musicians
in all genres. A creative mix of rock,
funk, and fusion drumming, Carter
consistently delivers a truly original
groove with unmistakable feel
every time.
Get to know Carter here:
4wrd.it/OfficialBeauford

Photo: Ronn Dunnett

2015 Yamaha Corporation of America. All rights reserved.

www.yamahadrums.com

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ddrum.com

GROOVE
Chris Fryar
EVER WONDERED WHY
most of Motowns 60s music
sounds like one giant, coherent
collection of work? Its because
of the Funk Brothers, the group of musicians
Berry Gordy used exclusively to record almost
every Motown hit from that era.
Benny Papa Zita Benjamin and Richard
Pistol Allen were the two drummers that
created the iconic grooves and fills that helped
define and distinguish the Motor Citys music
from all others.
One particular drum fill (heard on tracks like
The Supremes Come See About Me, and The
Temptations My Girl and Aint Too Proud To
Beg) almost singularly defines the sound and
vibe of Motowns music. Argued by most to be
the contribution of Benny Benjamin, this fill and
its countless variations have influenced many
soul and funk drummers who have followed
throughout the years.
Its not too difficult to play in its simplest
form. The variations show Papa Zitas creativity
in getting a lot from a little.
CHRIS FRYAR studied music at University Of North Texas
and Mississippi University For Women, and played with Oteil
And The Peacemakers before landing the gig with Grammy
Award winning Zac Brown Band in 2008. chrisfryar.com.

>>
That
Motown Lick
4
Ex. 1
Ex.
Ex. 1
1
Ex. 1
Ex. 1

// 44
/4
/4
Ex. 2

Photograph: FRYAR: SOUTHERN REEL

Gil Sharone
WE DISCUSSED one drop and
steppers patterns in our last
couple lessons, and this time
well round out the three main
styles of reggae drumming by introducing the
rockers beat. Pioneered by reggae legends Sly
Dunbar and Style Scott in the 70s, this pattern
is called rockers because of the way the bass
drum plays on 1 and 3 and the snare plays a
backbeat on 2 and 4, like a basic rock beat.
Just like the previous patterns, there are
tons of variations that Ill add to future lessons,
but this time well start with two: Ex. 1 is played
straight while Ex. 2 includes hi-hat accents on
the upbeats between the bass drum and snare
notes, which adds a little extra movement to

?
?
?
?

// ?
?
/ ?
/ ?
Ex. 3

?
?
?
?

Ex. 3
Ex.
Ex. 3
3
Ex. 3
Ex. 3

// ?
?
/ ?
/ ?
Ex. 4

?
?
?
?

// ?
?
/ ?
/ ?
Ex. 5

?
?
?
?

// ?
?
/ ?
/ ?
Ex. 6

?
?
?
?

Ex. 4
Ex.
Ex. 4
4
Ex. 4
Ex. 4
Ex. 5
Ex.
Ex. 5
5
Ex. 5
Ex. 5
Ex. 6
Ex.
Ex. 6
6
Ex. 6
Ex. 6

// ?
?
/ ?
/ ?
Ex. 7

?
?
?
?

// ?
?
/ ?
/ ?
Ex. 8

?
?
?
?

//
/
/

?
?
?
?

Ex. 7
Ex.
Ex. 7
7
Ex. 7
Ex. 7

?
?
?
?

>>
>
>

>>
>
>

>
>

>>
>
>

?
?
?
?

Ex. 2
Ex.
Ex. 2
2
Ex. 2
Ex. 2

Ex. 8
Ex.
Ex. 8
8
Ex. 8
Ex. 8

REGGAE

New Column!

>>
>
>

>>
>
>

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>

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>

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7
7
7
7

6
6
6
6
6

>>
>
>

>
>
>
>

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>
>

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>
>

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>

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>

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>

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>
>

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>

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>
>
>> >
> >>
> >

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>
>

>>

>
>

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>

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>

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>
>
>

>
>
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>>
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>

>
>
>
>

>>
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>

>>
>
>

Intro To Rockers
Ex. 1
Ex. 1

4
/ 4
/4

>
>
Ex. 2
>
Ex. 2 >

/
/

>
>
> >

the beat. Pay attention to the use of space and

consistency in your sound. This beat can be
played between a very slow half-time tempo
and a more moderate feel.

>
>
> >

>
>
> >

Although he currently plays with Marilyn Manson and Stolen

Babies, and has performed with Dillinger Escape Plan and
Puscifer, GIL SHARONE has had a lifelong love of Jamaican
styles, reflected in his past work with Fishbone and Dave
Wakeling, as well as on his DVD Wicked Beats, which covers
Jamaican ska, rocksteady, and reggae drumming.

DRUMmagazine.com

December 2015

DRUM!

133

 Danny Gottlieb
AN AMAZING METHOD for
practicing comping exercises
originated in books written
by legendary drummer and
educator Jim Chapin. In those exercises, we
usually start by practicing the steady jazz
cymbal rhythm and working on independence
exercises to develop the left hand and feet,
often with numerous variations.
While teaching these methods to my
students at UNF, I often notice that they didnt
practice the amazing sound of the right hand
playing with the bass drum, which can add
mystique and complexity to patterns. The
great drummer Bob Moses referred to this as
nonindependent playing.
Ive always liked a pattern made popular by
the late Tony Williams that illustrates this type
of playing, using eighth-note triplets between

HARD ROCK
Glen Sobel

Gimme Fives
MY LAST COUPLE of lessons
introduced three-note
groupings over sixteenths,
and looked at ways to
apply that concept to get some creative fills
and over-the-bar line ideas. Now well take
the next step and apply groups of five over
sixteenths.
Ex. 1 accents every fifth sixteenth-note over
a quarter-note bass drum. (Mind the turnaround
at the repeat sign.) Then we stretch the idea
over two bars in Ex. 2. You can also play four
notes on snare and one on kick to make groups
of five, like we do in Exs. 3 and 4.
We add some movement in Ex. 5 by
employing some basic voicing to the previous
pattern. Next is what I call the para-pa-diddle,
that is, RLRLL over sixteenths, in Exs. 6 and 7.
Finally, we split the rhythm of the para-padiddle between hands and right foot in Ex. 8.
Play all examples to a metronome and,
whenever possible, set an accent on the
downbeat of every bar to keep track of 1. Next
time well go over some deeper voicings and
ideas with fives. Happy practicing!
GLEN SOBEL plays with Alice Cooper. Other credits include
Paul Gilbert, Sixx: A.M., Orianthi, Tony MacAlpine, Cypress
Hill, and Vivian Campbell. When in L.A., Glen plays sessions,
teaches at Musicians Institute, and does clinics for Mapex,
Sabian, and Regal Tip.

134

DRUM!

December 2015

Nonindependent Triplets
Ex. 1

4
/ 4
Ex. 2 > >3

>3 > 3 > > 3

>

the bass drum and left hand. Ex. 1 shows this

pattern with the jazz ride cymbal, and Ex. 2
features the pattern with the cymbal hand
doubling the bass drum. Its a great way to
break up time, and its fun to play.
The part of these exercises I find most
difficult is playing the hi-hat on 2 and 4 with
consistency, but it will develop with practice.
You can also change cymbals as you play the

///
/

//
/
/

Ex.
2
Ex.
2
Ex.
Ex. 2
2
Ex. 2

Ex.
3
Ex.
3
Ex.
Ex. 3
3
Ex. 3

Ex.
4
Ex.
4
Ex.
Ex. 4
4
Ex. 4

Ex.
5
Ex.
5
Ex.
Ex. 5
5
Ex. 5

>>
>>
>
> >>

>>
>>
>>
>> >> >>


XX
X

///
/

>> >>
>> >>
>> >>
>
>
>
>
> > > > >> >>
XX
XX

RR LL RR LL LL RR LL RR LL LL RR LL RR LL LL

>>RR LL>> RR >>LL LL>> RR >>LL >>RR LL >>LL RR>> LL >>RR LL>> LL >> >> >> >>
L> R >
L
R >L >
L >L R> L >
R L
L > >
>
> >
>>R
>L
>R
>
>>
>

>

>
>

>

>

>

> >
RR LLRR LL
R LL
R LL
R LL
R LL
R LLLL RR RR
L
R
L
L
R
L
L
R
L
L
R
L
L
R
L
RLRLL
LR
RL
LR
RLL
LR
RL
LR
RLL
LR
R L
LR
RLL
LR
RL
LR
RLL
LR
RL
LR
RLLRR

//
/
/

//
/
/

Ex.
6
Ex.
6
Ex.
Ex. 6
6
Ex. 6

//
/
/

Ex.
7
Ex.
7
Ex.
Ex. 7
7
Ex. 7

Ex.
8
Ex.
8
Ex.
Ex. 8
8
Ex. 8

DRUMmagazine.com

DANNY GOTTLIEB has played with Pat Metheny, John

McLaughlin, the NDR Big Band, and is currently a member of
Gary Sinises Lt Dan Band (ltdanband.com). He is an associate
professor of jazz studies at the University Of North Florida.
dannygottlieb.org

//
/
/

//
/
/

> 3> > 3

pattern for more variations. My advice

is to practice both the independent and
the nonindependent patterns for control,
musicality, and variety.

>>
>>
>
4
44 > >>
44
4
>>
>>
>>
>>
>> >> >> >>

Ex.
1
Ex.
1
Ex.
Ex. 1
1
Ex. 1

>3
>3

RLRLLRLRLLRLRLLR LRLLRLRLLRLRLLRR
RLRLLRLRLLRLRLLR LRLLRLRLLRLRLLRR

XX
XX

XX
XX

XX
XX

CLASSIFIEDS
DRUM EQUIPMENT

DRUM EQUIPMENT (CONT)

MEDIA

Everything youll ever

play comes from here.

TheElementsofRhythm.com

ACCESSORIES

UGLY PERCUSSION Lounge kit, 6 ply maple, 12 x 18

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Complete drum building supplies. Catalog online at
www.amdrumparts.com. One hole mini-lugs.
541-895-5563.

GreatLeather.com

Sean Deel

FOR A NO-OBLIGATION RATE QUOTE

CONTACT ERIC FRANK

www.BestStick.com

408-971-9794 ext. 306 | eric@drumlink.com

DRUMmagazine.com

December 2015

DRUM!

135

CLASSIFIEDS
TEACHERS

MEET YOUR MAKER

MISCELLANEOUS

Innovative and inspiring drum lessons in Las Vegas

with renowned teacher and professional drummer
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Oriollo Drums

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415-786-1225
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December 2015

DRUMmagazine.com

come out & play .. nt!

tale
share your heart & hands
the power is in your

Ask Oriollo Drums

founder and chief
craftsman, Vukan
Karadzic, what led
him to focus his
business entirely
on creating metal
shells of the
highest quality
and hell give you
a simple answer,
We just love
metal. Oriollo
actually began
as a provider
specializing in
seamless, spun
aluminum drum
shells for boutique
builders, but the
Serbia-based
company eventually
made the jump in
to selling drums under their
own mark in 2014.
If the name Oriollo rings a bell, it might
be because youve seen the companys
beautifully produced video detailing the
shell production process. Karadzic happily
attributes some of the brands early
buzz to the viral success of that clip in
particular. The video of the production
process gathered lots of attention and
positive comments, he says. That early
interest helped Oriollo grow and expand its
offerings within the first year of operation.
Today, the company offers a wide
range of both spun and cast highgrade, seamless metal shells, including
aluminum, manganese steel, bronze, and
bell bronze. But Karadzic is quick to point
out that the sonic qualities of different
metals are affected by more than just
the type of alloy. There are hundreds
of thousands of metal grades, and one
grade of the same metal can sound way
different than the other grade.
In addition to shell production, Oriollo
also fabricates most of its shell fittings
and hardware in house. The company
currently crafts all of its lugs and
badges, and plans to introduce its own
strainers and hoops soon. And while the
alloy artisans at Oriollo dont offer full
customization options, they do allow for
some individual tailoring. The customer
can choose a custom finish on the shell
and the wall thickness and edges on our
AJ DONAHUE
cast shells.
CONTACT: oriollo.com

CLASSIFIEDS
AD INDEX
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CYMBALS

STICKS

Craviotto ...... craviottodrums.com .......................110

Bosphorus ... bosphoruscymbals.com ................ 125

Ahead ............ aheaddrumsticks.com ................... 122

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Dream............ dreamcymbals.com .........................93

Innovative ... innovativepercussion.com ............. 20

DW .................. dwdrums.com .........................140/141

Mehmet ........ istanbulmehmet.com ..................... 96

Promark ........ promark.com ....................8, 10, 11, 113

Gretsch ......... gretschdrums.com/brooklyn ...........9

Paiste ............ paiste.com ........................................ 85

PWB ............... powerwristbuilders.com ................115

Ludwig ...........................................ludwig-drums.com

Sabian .......... sabian.com/hh.................................... 2

Regal Tip ...... regaltip.com ....................................129

125

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Mapex ........... mapexdrums.com ........................7, 25

Turkish ......... turkishcymbals.com........................ 28

Vic Firth ........ vicfirth.com/soundchoices ............... 4

Maxwell ........ maxwelldrums.com ..........................17

Zildjian .......... zildjian.com ..................................... 142

Zildjian .......... zildjian.com .........................................6

Pearl .............. pearldrum.com ..................................21

ACCESSORIES

HEADS

Sonor ............. sonor.com ......................................... 95

Cruz Tools ..... cruztools.com...................................114

Evans

S.P.L. .............. soundpercussionlabs.com ............ 123

DynAGrips .... serco-us.com ....................................114

evansdrumheads.com ................ 17, 46, 119, 122, 139

Tama.............. tama.com ..........................................39

GigGrips ........ giggrips.com .....................................115

Remo ............. remo.com .......................................... 89

Yamaha ........ yamahadrums.com .....................3, 131

KellySHU ...... kellyshu.com ....................................119

Natal ............. nataldrums.com ...............................87

Switch Kick .. aheaddrumsticks.com ....................115

HARDWARE

PERCUSSION
Remo ............. remo.com ..........................................101

Axis ................ axispercussion.com .........................114

ELECTRONICS

ddrum............ ddrum.com ...................................... 132

2Box ............... 2box.se/US ..................................... 109

Tycoon .......... tycoonpercussion.com.................... 99

DW

ddrum............ ddrum.com ...................................... 132

RETAIL STORES

dwdrums.com/hardware/dwmfg/ .........................22

NFUZD ........... nfuzdaudio.com ............................... 26

Cascio ............ interstatemusic.com ........................29

Ludwig .......... ludwig-drums.com ......................... 125

Razer ............. razerzone.com/seiren ......................111

Maxwell ........ maxwelldrums.com ..........................17

Mapex ........... mapexdrums.com .............................. 7

Roland

Natal ............. nataldrums.com ...............................87

rolandus.com/promotions .....................................105

MISCELLANEOUS

Pearl .............. pearldrum.com ..................................21

Simmons ...... simmonsdrums.net ........................107

DRUM! Back Issues

Sonor ............. sonor.com ......................................... 95

Tune-Bot ...... pearltunebot.com ............................ 19

entermusicstore.biz ..................................................110

S.P.L. .............. soundpercussionlabs.com ............ 123

Yamaha ........ 4wrd.it/dtxdrum6 ................... 47, 130

DRUM! Next Month

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Sweet Spot .. sweetspotclutches.com .................115

Tama.............. tama.com ..........................................39

DRUM INSTRUCTION

DRUM! Subscriptions

Yamaha ........ yamahadrums.com .....................3, 131

Online Drummer

DRUMsub.com .......................................................... 50

onlinedrummer.com .................................................114

DrumStrong drumstrong.org ...............................136

Tiger Bill ....... tigerbill.com .................................... 135

L.A.D.S. ......... ladrumservices.com ........................115

CASES
SKB ................ skbcases.com/music....................... 40

Pearl Giveaway
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DRUMmagazine.com/giveaways ..................... 30/31

ONLINE SERVICES

Skechers ....... skechers.com......................................13

Remo Abe Laboriel Head Giveaway

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WISHBOOK AD INDEX
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Dunnett ............... dunnett.com .............................. 72

DRUM INSTRUCTION

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DW ......................... dwdrums.com ....................56/57

Drumworkout.com

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Gibraltar .............. gibraltarhardware.com .............71

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Kickpro................. kickpropillow.com .................... 65

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The Sessions ...... thesessions.org .......................... 77

LP........................... lpmusic.com .............................. 69

Yamaha ............... yamahadrums.com .............51, 53

Maxonix ............... maxonix.com.............................. 77

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Billy Blast............ billyblastdrums.com .................78

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Dunnett ............... dunnett.com .............................. 72

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Gretsch ................ gretschdrums.com ............ 62/63

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Kat ........................ katpercussion.com .................... 73

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Yamaha ............... yamahadrums.com .............51, 53

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Cascio Interstate

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Roland.................. rolandus.com ............................ 68

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PERCUSSION

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Bass Plate ........... bass-plate.com ......................... 64

Gon Bops ............. gonbops.com .............................55

Cascio Interstate

Billy Blast............ billyblastdrums.com .................78

LP........................... lpmusic.com .............................. 69

interstatemusic.com ..........................................80/81

DRUMmagazine.com

December 2015

DRUM!

137

10

DRUMMERS
WHO
MADE A
DIFFERENCE
IN 2015

2000

Time Capsule

By Donn Bennett

1930

1940

1950

1960

1970

1980

1990

2000

Weckls Signature On A Weckl Signature

ve had the pleasure to know and work

with the legendary jazz-fusion drummer
Dave Weckl for many years. We met in the
late 90s when my drum shop hosted one
of our first drum clinics. The store had been
open only a few years, and presenting a clinic
with a superstar drummer like Dave Weckl was
a great way to attract a lot of drummers to my
still relatively unknown shop.
One of his endorsement companies sent me a
list of his gear. It made it extremely clear that we
needed to get every drum, head, cymbal, stand,
and mount exactly as Weckl had requested and
that no substitutions would work. Weckl even
personally called in advance to go over the list
piece by piece and ensure everything was
correct, right down to the thickness of the

cymbal felts. Because he was so precise about

every detail, Weckl had developed a reputation
for being a difficult clinician to work with, but to
the contrary, I felt he made my job so much easier
by telling me in advance what he wanted. No
guesswork, no wondering if something else will
work, no surprises. He was extremely enjoyable
to work with and we had a great hang afterwards.
As soon as I saw him play, I immediately
understood why he was so particular about
every detail of his set. Ive never heard a drum
set that was so in tune with itself. Every piece
worked harmoniously with every other part of
the set. If one thing wasnt right it would have
thrown the whole thing out of whack.
A few years after the clinic I had purchased
a couple of Weckls signature model snares

from his tech in Los Angeles. This drum was

one of his main studio snares, but he needed
to make room for a new version Yamaha had
just released. He was particularly fond of this
drum and, in fact, to this day, he always uses
it whenever he performs in the Seattle area. I
make a point of personally delivering the drum
to the gig whenever I can. Its always great to
see Weckl and to see the drum doing exactly
what it was designed to do, fulfilling the
extremely exacting needs of one of the
greatest drummers ever born.
Donn Bennett is an eminent collector and dealer
of rare and vintage drums. His collection is on
display at Donn Bennett Drum Studio in Bellevue,
Washington. donn@bennettdrums.com

DRUM! (USPS-23586) is a registered trademark of Enter Music Publishing, Inc. DRUM! is published 12 times per year for $24.95 by Enter Music Publishing, Inc. DRUM!, 95 South Market St. Suite
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December 2015

DRUMmagazine.com

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