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Presents

Inspiring drum ideas from the pages of the UK’s biggest selling drum magazine

OT TROUBLESHOIN YOUR DRUMM G

SUPERCHARGKEIT YOUR DRUM

LEARN HOW MTOS RECORD DRU

GEAR BUYING ADVICE BUDGET UPGRADES FOR YOUR DRUM KIT PREPARE FOR THE STUDIO LEARN TO SOLO FREE VIDEO CONTENT WITH OUR EXPERT TUTORIALS

EDITOR’S LETTER: WELCOME

WELCOME Chris Barnes, Editor [email protected]

AS MUSICIANS WE ARE CONSTANTLY looking to develop and improve, and as drummers we are a particularly fastidious bunch – forever looking to improve our sound, nail our technique and tweak our set-ups. Every month in Rhythm we strive to feed that hunger we know you have for improving your craft, with practical features from our team of experts designed to help you get to where you want to be with your drumming. Here we've collected together the best of Rhythm’s practical advice in one place. So we have advice on kit maintenance and restoration, what to look for when buying new gear and how to achieve the sound and style you’re striving for. Our epic 30 Day Workout will help hone your playing skills and focus your practice regime; Troubleshoot Your Drums is filled with quick fixes to help your drumming; elsewhere we present exercises – with video lesson accompaniment – to help you nail solos, grooves and more. For real drum-heads, we've got advice on how to buy vintage drums, and for those keen to take their drumming to the next level, perhaps professionally, we've got advice on everything from building your own home studio to recording your drums and even becoming a remote session drummer. In short, we've jam-packed Ultimate Drumming Tips, Tricks & Projects with loads of ideas to help you on your way to achieving your drumming goals.

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ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS

CONTENTS 26

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CONTENTS

8 MOT Your Drum Kit

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16 Buyer’s Guide Gear Advice 20 21 Budget Kit Hacks 26 How To Buy Vintage 34 Vintage Restoration Projects 42 Gear FAQs 47 Troubleshoot Your Drumming 63 How To Make Your Beats Groove 66 How to Solo

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71 30 Day Drum Workout 90 Beginner’s Guide To Big Band 96 Playing FAQs 102 How To Prep Your Kit For Recording 104 The Easy Guide To Recording Drums 113 Classic Drum Sounds & How You Can Recreate Them 134 How To Build Your Own Studio 138 Become A Remote Session Drummer

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144 Recording FAQs WWW.MUSICRADAR.COM/RHYTHM

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ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS

TIPS, TRICKS & PROJECTS TO HELP YOU

IMPROVE YOUR GEAR

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IMPROVE YOUR GEAR: INTRO

We drummers love our gear. From that very first snare or budget kit through to the pro kit that we all aspire to one day play; no matter what level we are at, it’s our love of our instrument that shines through. But sometimes, our gear can let us down. Perhaps your kit is simply past its best, or you’ve outgrown it and are looking to replace a drum, cymbal or whole kit. Maybe it’s just a little wear and tear that requires a quick fix, a replacement part, or just a good clean? And maybe you yearn for classic vintage sounds in your playing, or are looking to start a collection of vintage drums? Here, we look at all things gear-related. From giving your kit a quick MOT, buffing up and sorting out those squeaks or detuning worries, to buying some brand spanking new gear or getting into vintage drums, here are some handy tips and suggestions for new projects to sink your sticks into.

8 MOT Your Drum Kit 16 Buyer’s Guide Gear Advice 20 21 Budget Kit Hacks 26 How To Buy Vintage 34 Vintage Restoration Projects 42 Gear FAQs

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ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS

PROJECT 1

MOT YOUR DRUM KIT HOW TO MAINTAIN YOUR BELOVED GEAR: ACOUSTIC DRUM SHELLS, HOOPS, LUGS ETC WORDS: GEOFF NICHOLLS

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Tools and products used by Yard for Project 1: 1. 2. 3. 4.

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White spirit T-Cut Goo Gone Colron Finishing Wax

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Autosol Shine & Metal Polish Masking tape Electric cordless drill File

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Soft cloth Fine wire wool Baked bean tin Plastic tub

13. Drum key 14. Sharp blade

IMPROVE YOUR GEAR: MOT YOUR DRUM KIT

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our acoustic drum kit is a pretty straightforward instrument. It does, though, consist of hundreds of small items, each of which you need to keep an eye on and maintain properly functioning and squeak-free.

Some drummers like to keep their kit in sparkling condition at all times; others prefer the funkier approach, preferring to leave well alone, particularly their cymbals. And for most of us an occasional wipe-over with a clean cloth is all that’s needed for day-to-day maintenance. Every now and then, though – maybe once a year – we feel our kit needs

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some serious TLC. Then we’ll drag our drums into the kitchen or the shed and give them a proper ‘MOT’. This will certainly involve removing the heads and you may bravely go all the way, removing the lugs in order to get your shells and chromed parts as clean as new. In this new series we will be looking at how to maintain and clean your drums, your cymbals and your hardware. We are not concerned here with restoration of your drums – that will follow in a future series of articles. In this first part, we’ll begin with the drums. If you remove the nut boxes (lugs) then you must take care not to lose any tiny parts. Best keep them in a labelled container, perhaps with a lid. It’s easy these days to take photographs, so if you have any worries about the way something is put together, keep a pictorial record. Rhythm visited the workshop of Yard Gavrilovic who, as well as being Steve Gadd’s long-serving tech, runs the Vintage DrumYard in Clacton-On-Sea, Essex [www.vintagedrumyard.co.uk], where he restores,

Use a cordless drill to take off the lugs

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Keep the parts in a pot, such as an old baked bean tin

Undrill the lug fixing bolts

LUG INNARDS

supplies and customises drum equipment. We got the man himself to show us how he goes about thoroughly cleaning up a single drum, and since Yard’s stock is mostly vintage, the drum in question is a 1970s 13"x9" Ludwig tom. Being old, this drum required some pretty heavy-duty cleaning. But you can follow the same procedure with any age of drum – and a newer drum most likely won’t need the more abrasive treatments.

DISASSEMBLY

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Remove the heads using a drum key

Vintage DrumYard’s Yard Gavrilovic

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To take off the heads, Yard uses a marching drum key which has a long lever. “I use it because it’s easier than a small key,” he says. “It’s useful for tuning as well. The drum may have quite a bit of dust and fluff inside and on the bearing edges which can be simply brushed off with a soft paint brush. If the interior is painted you can wipe it with a slightly damp cloth and cleaning agent. Check the inside to make sure there are no cracks. “To clean a drum right up we would normally take the drum completely to pieces. I use a cordless drill in reverse to take off the lugs – 6mm metric on modern drums or ¼" bit for vintage drums. “Keep the parts in a pot. Here I use an old baked bean tin (clean it out first) – a bit of recycling! Write the name on the can with a Sharpie pen: ‘Ludwig 13"x9" tom, Silver Sparkle.’ Now you know everything is safe.”

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Yard: “These old Ludwig lugs have springs inside plus a bit of foam which stops them from rattling or humming. There is also the brass insert swivel nut. Assess each bit as you go. Some parts are not that dirty and just need a wipe over, while some parts can be really filthy. For cleaning I put the metal parts in a plastic tub with white spirit and brush them out with a toothbrush or paintbrush. I prefer not to use any de-greasing agents. Wipe each part dry with a bit of cloth, usually an old T-shirt. T-shirts are the best thing for cleaning.”

PRESTON PRINCE (TIKI DRUMS) “If there are springs rattling and vibrating, the old cotton wool works great, or even better some off-cuts of sponge.”

Put metal parts into plastic pot with toothbrush for cleaning

Lug contains spring, damping foam and swivel nut

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TIP

Use white spirit and scrub with toothbrush

Dry thoroughly with cloth

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ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS 1

LUG CASES

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Yard: “To polish up the lug case we have a special jig

Lug case is secured on special customised jig

Carefully buff chrome with finest wire wool

TENSION RODS

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Yard: “Each tension rod is given a good twist in wire wool which gets off the rust spots if there are any. If they have grease on them, we put them in a tub again with white spirit and let them soak well before rubbing through with a toothbrush. Then take them out and let them dry off fully. I very rarely use Vaseline or any lubricant because I find that encourages them to de-tune. Many kits come with a dab of Vaseline (or other lubricant) today – they’re

To lube or not to lube The use of lubricants on tension rods is controversial, with different drummers firmly in the ‘for’ or ‘against’ camps. On the one hand lubes may help to prevent rusting while making tuning smooth with

with holes drilled in it. Over the years we’ve added different holes specifically to take each type of lug. The lug slots in there and it stops it from moving about while you clean it. We use really fine, ‘zero’ wire wool, dry with no cleaning agent. You can also use chrome cleaner, but it leaves a white residue/dust, so you have to be careful to buff all of that off. We find you usually don’t need to use chrome cleaner once you’ve cleaned it thoroughly.”

really just covering themselves against crossthreading. The main thing is not to leave any damp on them – always dry them thoroughly.”

TAM RANKIN (VINTPREM) “Dip the tension rod ends in Vaseline before assembly.” TIP

less chance of cross-threading. On the other hand, as Yard says, they can promote detuning and the build-up of gunge. Perhaps it depends on how hard you play and whether you are prepared to keep tuning up or using lug-locks, etc? Whatever you decide, here are some further pointers.

Clean tension rods with fine wire wool

Daniel Adair’s tech Tom Willhelm says, “I use a bicycle degreaser to clean any grime or grit off lug casings and tension rods. If they are dirty with just dust or stick shavings I will use a diaper sprayed with Pledge polish to clean the lug casings. I use a silicone spray for lubrication of the tension rods.”

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T-Cut applied to cloth is carefully used to restore a wrapped shell

Car wax can be used for polishing up the shell exterior

A J Nosek, who techs for Andy Hurley (Fallout Boy/The Damned Things), uses “WD-40 inside (lug boxes) and/or light based oil lube or mechanical grease for bolts, something to lock out any moisture and maintain the interior metals from corrosion.”

SHELLS Yard: “If the shell has a wrap and is in poor condition I’ll give it a bit of T-Cut to start with to clean some of the grime off. On a wrap, T-Cut won’t take the top layer off because it’s plastic, so it is quite safe. Some people say only ever put it onto the cloth, but I sometimes put it straight onto the wrap. You can also use T-Cut on a lacquer finish, it’s not as vicious as people make out, but always do a test bit hidden away somewhere, opposite the badge say, at the back usually under a lug or mounting bracket that has been taken off. Whenever using a liquid always do a test area in case it reacts. Then use a wax-free polish to buff up, whether it’s a wrap or lacquer finish, and wipe off any residue.” The cloth used for cleaning shells and chrome should be as soft as possible so as not to scratch the

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For most drummers with relatively new/ modern drums, simply buffing the shells with a soft cloth will work wonders surface (eg: a cotton T-shirt). Semi-synthetic fabrics with nylon, polyester, etc, can scratch a glassy smooth lacquered finish. A popular alternative is nappies as they’re made to be ultra-soft. It should also be noted that there are many drummers who avoid using any cleaning products unless absolutely necessary. For most drummers with relatively new/modern drums, simply buffing with a soft cloth will work wonders, maybe with the addition of a mild cleaner/polisher.

The most popular products with our experts are car wax, Windex, Mr Sheen and Pledge furniture polish. Tom Willhelm (Daniel Adair’s tech), agrees: “I use Pledge furniture polish on both lacquer and wrapped shells. I spray the Pledge onto a diaper and then apply that to the surface to clean the shell. I prefer a diaper as it is less likely to scratch it.” Drum restorer Jeremy Peake uses Mr Sheen, which is also a degreaser, for lacquered and wrap finishes. If a wrap is dull Jeremy

IMPROVE YOUR GEAR: MOT YOUR DRUM KIT CORA COLEMANDUNHAM (PRINCE) Cora swears by cloth baby diapers and Windex (“the ninth wonder of the world”) for drum cleaning jobs. TIP

uses a car colour reviver, then Mr Sheen and a cockpit shine spray. Preston Prince offers: “If slightly scuffed with light scratching and blemishes I tend to wipe with a sponge lightly soaped in Fairy Liquid. I might even T-Cut the shells, then buff with a car wax or polish to pull out the blemishes.” Good Charlotte’s Dean

Butterworth says he uses Windex to clean the shells, lacquered or wrapped. If the finish is particularly dull Dean says he’ll “buff with wood polish or Windex”. Jazz-funk legend Ndugu Chancler says, “For drums with lacquered or covered shells I use a lemon oil and a spray furniture wax with a soft cloth, or baby diaper to wax and keep the shells clean and shiny. On the lugs I will use a chrome polish to keep them shiny and protected from rust. Once the drums have a nice protective coating of wax, I keep the shells dusted. To bring back a dull shine I use a paste or cream wax with a buffer. I never use any abrasive cleaners or scouring pads on any equipment. If you keep the equipment

clean you won’t need to use harsh cleaning agents.” Ndugu makes a good point, that if you clean your gear daily you won’t have to do much for your yearly MOT. Laurie Jenkins says he gives Kasabian drummer Ian Matthews’ DWs a “once over daily with Pledge to keep the sparkle”. And A J Nosek gives Andy Hurley’s drums “a thorough wiping with a clean, dry (soft) towel after every performance to make sure moisture doesn’t build up, especially around lugs/under rims. I use Carruba liquid wax or furniture polish to improve the shine; mild detergent soap in warm water to get off deep grime, but I make sure it’s completely dry before casing/travel/storage”.

METAL HOOPS

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Yard: “Generally, if it is quite a rough-looking hoop, I will rub it down with wire wool first. Wire wool gets rust spots off, which you normally get around the tension bolt holes. You can also use chrome cleaner, which I do quite often. I use vehicle Autosol Metal Polish and Autosol Shining, making sure to get off the residues. You let it dry and then buff it off with a cloth. All buffing is done with old T-shirts.”

SWISS CHRIS (JOHN LEGEND) “Moisture is a big enemy of the chrome parts of the kit. I clean those parts monthly or bi-monthly, but I really should do it weekly.” TIP

Chrome hoops can be cleaned with fine wire wool if necessary

BADGES

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Yard: “If I need to take a badge off then I will, but you need a special grommet tool. For your ‘MOT’ it’s best to put masking tape on the badge so you don’t mess it up. Run a blade round it carefully. Then you can rub away to your heart’s content and you won’t damage the badge.” Apply masking tape to badge for protection

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Run a blade around it carefully

BEARING EDGES Yard: “I rub a bit of Colron Finishing (furniture) wax on the bearing edges. It takes out that little bit of dryness. It doesn’t really do anything for the tuning, but it helps the head to slide and seat slightly better.” AJ Nosek explains: “I usually coat exposed wood bearing edges with a thin layer of Vaseline, enough to smooth/ cover but not saturate. If the edge has any minor damage, soft sand paper (220+) with light pressure will fix it without losing the angle/precision cut.”

NDUGU CHANCLER (MICHAEL JACKSON) “The best maintenance for your equipment is to keep the gear stored and transported in cases that fit as well as protect it from any abuse.” TIP

Thinly apply Colron Finishing Wax to the bearing edges

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ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS

PROJECT 2

MOT YOUR DRUM KIT HOW TO MAINTAIN YOUR BELOVED GEAR: HEADS, CYMBALS AND HARDWARE WORDS: GEOFF NICHOLLS PHOTOS: JAMES CUMPSTY

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Tools and products used by Yard for Project 2: 1. 2. 3. 4. 5.

Multi-surface polish Toothbrush Spare parts Pliers Wax

6. 7. 8. 9. 10.

Rust remover Soft paintbrush 3-in-1 oil Window cleaner Label remover

11. 12. 13. 14. 15.

Disclaimer: minors should only use these tools and products under the supervision of a parent or guardian.

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Silicone spray GT85 lubricant Cream cleaner Phillips/flat screwdrivers Vaseline

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WD-40 Super Lube Cymbal cleaner Methylated spirits Washing-up liquid

IMPROVE YOUR GEAR: MOT YOUR DRUM KIT

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o now you’ve got your drums back in fine fettle. Now for our second drum MOT project, we will move on to drum heads, cymbals and hardware. Once again we will turn to Steve Gadd’s long term, UKbased tech, Yard Gavrilovic, owner of Vintage DrumYard in Essex. We will also hear techniques, views and tips from our broad team of experts –

drummers, techs, dealers and restorers. We drummers are lucky in that our instrument generally only needs the lightest of maintenance. A swift dust-off with a soft cloth is all that’s required most of the time. And when it comes to cymbals there are many drummers who not only never clean them, but actively feel cleaning them is wrong. When we asked Yard about this, he admitted: “If Gadd turned up and I had cleaned his cymbals he’d say, ‘Have you lost your mind?’ Another session legend, Dave Mattacks, is equally averse. He says, “Don’t use cleaners of any sort on cymbals… just look after them.” But then there are other drummers who like their cymbals to be shining like new at all times. So the first thing to be aware of is that opinions about maintenance may differ quite sharply. In particular some drummers are extremely wary of using any product that is in any way abrasive on any part of their kit. You will have to decide for yourself where

Vintage DrumYard’s Yard Gavrilovic

you stand on this. But if you do try out a new cleaning product, always do a small test patch on a hidden area first. And always use the softest cotton (not synthetic) cloths/rags for polishing and buffing. Picking up from last month, Yard continues, “You can now reassemble the drum with new heads. I never put old heads back on, because once they have been seated and stretched there may be strange quirks.”

DRUM HEADS Do not re-use old heads which are distorted as they will not tune properly

PRESTON PRINCE (TIKI DRUMS) “If a (removed) head bows or is floppy in the middle, its life is over. The only way to get sound out is if you keep tightening and invariably you choke the drum.” TIP

Once a head has been distorted it will be dulled and impossible to tune evenly. However, heads are expensive and drummers have always tried to prolong their life. Some suggest that a hair drier or even a hot air gun – used carefully – can mould the head back into shape. Southampton drum dealer Steve White (www.swdrums.fsnet.co.uk) explains: “Tune it a little higher than usual. Carefully play a hot air gun over it and watch any dimples disappear. Always do this outdoors. Keep the gun moving and take care not to overheat the head. Then let the head cool down and wipe it over with solvent, dunk it into fairly hot water and scrub with Cif and a sponge scourer pad. Dry the head thoroughly before re-fitting.” When re-fitting your bass drum hoops, position them with the claw hooks in the same place you took them off to minimise wear. And always fit a rubber or fabric hoop guard/protector to spare your wooden hoop from your bass drum clamp jaws.

CYMBALS Cymbals are perhaps the most controversial area of maintenance, as many drummers refuse to clean them. And many others would be horrified by the notion of using any type of scouring action or product on them. Yard says, “I never use cymbal company polishes, they are too abrasive.” Note that some cleaners can remove logos. However, Yard says, “We do give cymbals a quick spray polish and buff with a circular motion to remove thumbprints, etc. Any wax free-furniture polish is good, like Mr Sheen or Johnson’s Wax – it’s not waxy, it’s just the name! Being wax-free it doesn’t leave a smear. It also prevents oxidisation – the blue powder stuff.”

DAVE MATTACKS (SESSION LEGEND) “Regularly check the plastic sleeve at the top of the cymbal stand. If it’s worn through it can lead to ‘keyholing’ of the centre of the cymbal.”

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Spray furniture polish onto the cymbal

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Wax-free furniture polish is best for this

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TIP

Buff the cymbals with a circular motion

This can also prevent oxidisation

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ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS CYMBALS CONT. Yard: “Always keep your cymbals clean and dry, then they shouldn’t get patches of blue/green oxidisation on the surface. But if that does happen you would have to rub the area gently with finest wire wool. This works for minimal rust. If it gets serious, you’d best throw the cymbal away!” Tom Willhelm, drum tech for Nickelback’s Daniel Adair says, “If cymbals just have fingerprints I use Kick’N Brass Cymbal Cleaner. Spray it on and wipe clean with a soft cloth. Crazy John’s Brilliant Cymbal Cleaner is great for cleaning pyro dust and stick marks. It requires a decent amount of elbow grease, but gets the cymbals back to a shiny state.” Preston Prince says, “I use Fairy Liquid and a sponge, no polishing. Let the cymbal dry completely then put it back in its bag.” Many drummers use branded cymbal cleaners, including Jeremy Peake, A J Nosek (tech for Andy Hurley of Fallout Boy) and Swiss Chris (John Legend), who says, “I love Sabian cymbal cleaner.” Good Charlotte’s Dean Butterworth uses Paiste cymbal cleaner. Cora Coleman-Dunham says, “Depending on the finish I use Sabian or Zildjian cleaner and sometimes Windex (original) and cloth baby diapers.” Ian Matthews of Kasabian is in the ‘never clean ’em’ camp. But Ian’s tech Laurie Jenkins admits that, “Two

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PRESTON PRINCE (TIKI DRUMS) “Do not clamp down on your cymbals with wing nuts. These both choke and can damage the cymbal hole. Check out Buddy Rich and his open sound on cymbals: no felts, no wing nuts, he just allowed his cymbals to breath and sustain.” TIP

Small oxidised patch on cymbal

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Carefully rub oxidised patch with finest wire wool

Oxidised patch is removed!

cymbals which have brilliant finishes get a light clean occasionally to remove sweat marks or the odd drink which has been known to fly!” “For cleaning I only use Windex to get fingerprints

and marks off,” confides Ndugu Chancler. But Ndugu also protects his metals by keeping each cymbal in its own individual Cymbag, which acts as protector, separator and muffler.

HARDWARE BASS DRUM & HI-HAT PEDALS Yard says, “Give pedals a wipe over and get a paint brush in between the footplate and base to sweep out any dust. If a pedal is gungey I clean it with WD-40 spray with a nozzle which can get into the awkward areas. I may give the chain a light oiling to ease it up a bit, but it’s not crucial.” Preston Prince explains: “I strip and degrease pedals every year using meths. It cleans it all away without any trace. Then I re-grease them and set them up in front of a good movie or drumming DVD, when it’s raining outside. Sad I know, but I flippin’ love it! I just use a classic grease, I have a massive pot of the stuff. Silicone spray also works for lubrication.” Preston doesn’t use WD-40 on moving joints, claiming “everything will eventually come loose”. He also offers this tip on looking after hardware: “Don’t over-tighten your hardware. Just tighten until the nuts feel firm.”

STEVE WHITE (DEALER/RESTORER) “The type of bass pedal that folds down should not be stored/ transported with other stands as the chains can get tangled and buckled.” TIP

SWISS CHRIS (JOHN LEGEND) John Legend drummer Swiss Chris admits that when it comes to maintaining his hardware he uses “a small towel and Vaseline for the bass pedal and hi-hat chains”. TIP

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Use WD-40 with a fine spray nozzle to direct the spray into tight corners

Use a paint brush to clean out fluff and dust

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Make sure all nuts and clamps are tight, properly adjusted and squeak free

Be sure the heel plate hinge is also secure and squeak free

Tiki Drum’s Preston Prince doesn’t use WD-40 on moving joints, claiming ”everything will eventually come loose” REMOVING STICKY TAPE We’ve probably all been guilty of putting sticky tape on heads, shells and even cymbals at some time, and removing it can be a nightmare. Yard suggests, “To remove gaffer tape use white spirits. Let it soak a while. The spirits will soak through

gaffer cloth tape. But cheaper PVC tape is a bit harder, you have to cut into it to let the spirits in then very carefully use a paint scraper or chisel. It’s not a five-minute job. Get the residue off afterwards with meths.” WD-40 claims also to safely remove tape. Some types of tape, gaffer for example, will lift off with heat also.

IMPROVE YOUR GEAR: MOT YOUR DRUM KIT SNARE STRAINERS A quick squirt of WD-40 can solve any stiffness in the strainer

Yard cautions, “If you try to take a strainer apart you may not be able to to put it back together. Most modern strainers are quite cheap, so it’s usually better to buy a new one which you can put on in a few minutes.” Preston Prince agrees: “I de-grease them, or, if battered, replace them.” Dean Butterworth says he also replaces strainers when they get old. Tom Willhelm uses silicon spray to lubricate strainers, while Jeremy Peake uses “Mr Sheen and spray grease, sparingly applied, if deemed necessary.” A J Nosek is thorough: “I take off strainers and clean, re-lube and re-attach them as often as needed. On tour that’s once a week minimum. I use WD-40 and/or light oil lube or mechanical grease.” Steve White says, “Any stiffness is usually solved with a quick squirt of WD-40, but make sure you wipe away the excess with a rag. I use cord for tying on snare wires rather than (plastic) strips cut from drum heads. Strips are smooth and can slip. I use plenty of cord in case of breakage, then you have some spare. I clamp the loop in the cord in the butt end then pass the two ends through the snare gate and the holes in the wire plate, then tie the ends together using a reef knot, then a half-hitch. Nothing can slip as it is a complete circle. I do the same for the throw-off side.”

"If you try to take a strainer apart you might not be able to put it back together”

DAVE MATTACKS “Regularly check the string or tape that attaches your snare wires to the snare release and butt end.” TIP

Use window cleaner to clean your stands

STANDS “For all hardware I use Pledge Multi-Surface Cleaner, as well as Windex or any glass or metal surface cleaner,” says Tom Willhelm. “I use Silicon spray for any surfaces that need lubrication and also to lubricate snare strainers.” Ian Matthews says, “Hardware might get a dose of GT85 to loosen some sticky bolts here and there.” Ian’s tech, Laurie Jenkins, adds: “All the hardware, including the gong stand, is generally cleaned with Label Remover. It instantly gets off sticky residues, such as smoke oil, which seems to get everywhere.” Preston Prince says he may do “a little re-greasing on the wing nuts and adjustable shafts of stands”. He continues: “Wire wool is not an enemy if you get the correct grade. It can transform chrome to its former glory. Use Liberon Steel 0000 Ultra Fine.” Cora Coleman-Dunham agrees: “Once my rack and hardware are in place, I’ll give them a wipe down with lowest grade steel wool and then with my cloth baby diaper.” Steve White adds, “Any surface rust on chrome can be removed with a brass wire brush, not steel bristles as they scratch. Be aware that chromium is poisonous and can lead to blood poisoning if a splinter or flake is not removed immediately after you have caught your finger on it.” “On cymbal stands and all hardware I use Windex and a small towel,” says Swiss Chris, while Jeremy Peake uses “Mr Sheen to shine up cymbal stands and other hardware with perhaps some liquid metal polish beforehand”. Dean Butterworth also uses chrome polish on his hardware as does Ndugu Chancler.

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ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS

BUYER’S GUIDE Advice from Rhythm’s experts on how to buy the gear that’s right for you

Every month in Rhythm, our expert reviewers cast their eyes, ears, and stick-wielding hands over the best new gear, and they’ve been doing so since 1985. So we reckon we know a thing or two about what to look for when it comes to buying new gear. Gear can be, of course, a very subjective choice for the player, and ultimately you should be guided by your own ears. We highly recommend taking time to get

yourselves to a bricks-and-mortar drum store. You will find these places staffed by the friendliest and most knowledgeable folk, who can help you with what you’re looking for. Crucially, too, you will get the opportunity to try gear out  before splashing out your hard-earned dosh. But here we’ve rounded up the advice of our gear experts in a few key areas, to give you some important pointers.

DRUM KITS HOW TO BUY…

An entry-level drum kit Look for a five-piece, full-sized kit, most probably made in China. Many are virtually identical, just bearing the different names of the various importers/retailers. Based originally on the first Pearl Export kit from 1983, some have the original Pearl-style double tom holder and oblong lugs, others have modern oval or small square lugs. The number of tuning lugs on each drum is crucial. For accuracy and evenness of tuning, kicks, snares and floor toms should ideally have eight per side rather than six, and small toms five or six rather than four or five. Shells are usually nine-ply Philippines mahogany or similar. Premier’s Olympic marque has thinner, more resonant six-ply shells. DW Design pro kit has fantastic build quality and also represents good value for money

Matching wood snare drums look good but aren’t necessarily better sounding than steel. Kits arrive unassembled with a set-up instruction pamphlet. You have to put the heads on the drums and tune them. This is fairly straightforward, but it’s worth buying from a good dealer who will give you sound advice. Packages should include everything to get you started: stool, sticks, snare and hi-hat stands, bass drum pedal and at least one cymbal stand. Also, a basic 16" cymbal and 14" hi-hats. HOW TO BUY…

A budget drum kit While beginner kits are mostly generic, budget kits are the slightly more expensive entry-level kits from the dedicated drum companies – the ‘designer’

labels, if you like. They are mostly made in China or Taiwan and with their distinctive design touches – lugs, tom mounts, badges and the like – you can feel like you own a proper Pearl, Tama or Gretsch. The idea is to build brand loyalty from the bottom up. Shells are still cheaper semi-hardwoods, such as poplar or basswood, but they are often a bit thinner and better finished than the shells of beginner kits. Look for a wider range of sizes including contemporary 22"x18" bass drums plus a bigger choice of coloured plastic wrap finishes – which should be fully glued to the whole shell, not patched on with double-sided tape. You should still get a decent hardware package, often including a stool/throne. Small toms are usually mounted off the bass drum, though some kits have up-market isolation mounting brackets. Bass drums should have enclosed, drum key-tightened tension claws rather than old-fashioned ‘T’ handle types. And bass and snare drums should have a respectable eight lugs per head, though floor toms may only have six. HOW TO BUY…

A mid-range drum kit This is the biggest sector, with the greatest number of kits all vying for your hard-earned coin. For 20 years, the semi-pro kit sector has been dominated by the Pearl Export. However, as we compiled this guide, the Export had been superseded by the Vision. The Vision has proven itself a worthy successor to its hugely successful forerunner, hence its new position at the top spot of the semi-pro category. Today, semi-pro kits are most often made in China, sometimes Taiwan or Mexico (Pacific), but don’t be put off; the quality is amazing for the price. You should be able to get a hard gigging, reliable and good-sounding kit for your money. Look for a choice of shell packs, with or without

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IMPROVE YOUR GEAR: BUYER’S GUIDE hardware, such as stands and pedals. Don’t expect to get budget cymbals included – you’ll need to choose those separately. Extra toms are also often available for extending your kit at a later date, should you choose to, although choices will be quite limited. Bass and snare drums should have eight or 10 lugs per head, commensurate with professional kits. There will often still only be 12 lugs on floor toms, though. Stands and pedals are better designed, sturdier and usually double-braced. Hardware and shell fittings, as well as the overall aesthetics, will reflect the unique styles and idiosyncrasies of each company, whether that be Sonor, Pearl or whoever. HOW TO BUY...

A pro kit When you finally get your professional kit, you should be confident that you’re getting the best shells and hardware that your company of choice is able to offer. The shells will be premium-grade timber, which allows them to be thinner for better resonance while retaining their strength and roundness. They will most often be North American or Canadian rock maple, or Scandinavian birch. There’s often the choice of straight-sided (unsupported), or supported shells with internal reinforcing rings. The bearing edges should be perfectly level and cut with extreme care. Drums will most definitely be fitted with pro-standard heads. There should be a good range of colours and finishes (lacquers, waxes, quality wraps) and shell sizes. Manufacturers usually offer standard shell packs of the most common sizes at reduced prices, but you should also be able to make up the exact kit you want, without compromise, from any shell size on offer. The company will encourage you to buy its top range of hardware, but there’s no obligation – you may prefer the pedals of a different company, want lighter stands

or prefer a rack. You will also, of course, have to choose cymbals separately to accompany your kit. HOW TO BUY…

An electronic kit At the cheaper end of the electronic kit spectrum, actual playing experience is not going to be much like that of an acoustic kit, so don’t get too worked up about the difference beween them. These kits exist to give you tools to work with at home, helping you sharpen your technique and try out new ideas. At the higher end of the market, electronic kits from Roland and Yamaha offer some very fine sounds stuffed into their modules. If you’re interested in more serious studio applications then these are definitely the ones to look at. Getting into electronic drums has never been cheaper, and even the least expensive of those listed here has something specific to commend it. Mesh heads typically make for more rewarding playing, and if you should ‘grow out’ of the sound of the stock module you can always upgrade it to a better unit later on. The quality of racks used in the entry-level section tend to vary somewhat. The most basic racks will be fine for bedroom practice. However, if jams with mates or even performance is on the cards, you’ll need to aim slightly higher to get a kit that’ll take the abuse. Things like quality of clamps, rack design and ease of set-up become important factors here. If you’re considering an e-kit for live performance, there are a few things to bear in mind. While mixing acoustic with electronic (hybrid) is widespread, particularly on bigger gigs, exclusive use of the e-kit is largely consigned to home practice and studios for the vast range of easily available sounds. To sound good live, the e-kit needs serious

Roland offers a great budget e-kit in the TD-1K

amplification to the point where the cost, weight and complications of amplification can outweigh any advantages, certainly on smaller gigs. Although PA technology has come on in recent years, for most local gigging bands with a small compact PA and tiny monitors, adding an e-kit will severely test its limits. Yamaha and Roland weigh in with robust drum amps around the £400-£500 mark. These work pretty well for personal monitoring. But many drummers go for PA-style wedge monitors. If you are playing the sort of modern music that requires more electronic or programmed sounds then the e-kit can be preferable. And, if loud enough, an electronic kit gives you the option to change kits and nail the feel of a particular record.

SNARE DRUMS HOW TO BUY...

A wood snare drum More and more drums are now made from maple and the wood often comes from North America, which ensures it’ll be of reasonably high quality. Birch is also used and Yamaha even offers oak as an option. Shells are ply construction, but you may notice some of them are thicker, with more plies than on cheaper drums. A heavier shell tends to produce marginally more volume and a higher

Ludwig’s Brick wood snare has a birch shell, which carries plenty of attack

fundamental pitch, both sound characteristics generally regarded as positives when it comes to snares. Shell material is also key. Maple is known for its warmth, walnut is wickedly dark and mahogany packs a deep tone. Birch, meanwhile, carries a tonne of attack. The wood used isn’t the only factor that will shape the drum’s sound, though – number of plies, construction methods, depth and plenty more details will make a difference to the snare’s tone. There’s something for everyone – just get down to your local drum store and use your ears! Once you begin to look beyond the £100 price point, every aspect of the snare drums on offer should improve. Lugs and tension rods should preferably have nylon-isolating washers and gaskets, while hoops will usually be triple-flanged steel – sometimes with thicker 2.3mm gauge metal rather than the bog-standard 1.6mm offering. Try out the different snare strainers/throw-offs to see which feels smooth and looks like it won’t break – it’s the only mechanical part and it can see a lot of action. When it comes to mid-range snare drums, the choice is vast. The snare drum is the most important drum in the kit. While many drummers will own just one kit, they may have a collection of snare drums, if only because they take up a lot

less space. Accordingly, there is a baffling amount of choice at the mid-level range, thanks to drum manufacturers putting out snares in just about every size and colour that they can. HOW TO BUY...

A high-end wood snare Why should you shell out a whole heap of cash for a more expensive snare? Won’t your trusty old model do? Well, here’s a few pointers that may convince you to spend the extra pennies. Increasing the number of plies adds to the expense and, at the same time, makes the snare drum slightly louder and drier with a raised pitch. These are qualities that many drummers find attractive in a snare, more so than with the rest of their kit perhaps, where sustain and depth of tone are prized. A thicker shell also allows for higher tension, with the attendant extra stress on the shell, which is often required of a snare drum. Conversely, for a darker sound go for a thinner shell (like Sonor’s Delite) that has a deeper fundamental tone with a more resonant and colourful timbre. In the end, the most expensive snare drums do not necessarily sound appreciably better than the

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ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS more modest, professional level snare drums. The main difference is that no expense has been spared in producing them. When you’re splashing out for a special snare the build quality, finish and attention to detail should be beyond reproach. The designer ethic is also evident in high-priced wood snares, with a myriad choice of finishes available, Rolls Royce-silent snare strainers and top quality lugs and hoops. Exotic woods may also be available from some manufacturers, which will again push the price up. HOW TO BUY...

A metal snare drum While you may own a favoured all-purpose

snare drum, it can be extremely useful to have a selection for different gigs and styles, particularly for recording. Metal shells include those made from steel, stainless steel, brass, bronze, aluminium and even copper. Brass is historically prized in the world of snares, but the brighter timbres of aluminium or steel might suit you better. Some shells are spun in a single piece rather than having a vertical butt-weld. Beaded shells, like the classic Ludwig Supraphonics, are actually two spun halves joined at the centre bead. A spun shell should resonate better than a welded shell, but it’s a subtle difference.

DW Design Black Nickel Over Brass snare has a 1mm brass shell, with nickel plate

CYMBALS HOW TO BUY…

HOW TO BUY…

Budget cymbals

Mid-range cymbals

Let’s be honest, sweet-sounding hats, crashes and rides can’t yet be made for peanuts. The raw materials and workmanship that goes into creating cymbals doesn’t come cheap. So, while even the most miserly sum will buy you round metals, they will definitely fall short of sounding like the real thing. If you’re even halfway serious about your kit and you’re confident in your commitment, save up and buy the absolute best you can. If you’re sure that you’ll stick with drumming, don’t skimp on your cymbals – you’ll only outgrow them in five minutes and want to upgrade, making those ‘bargain’ metals a waste of money in the end. Most entry-level cymbals come in a pretty limited choice of models. There’ll be no 6" razor-thin ice splash to get your hands on here – it’ll be a case of medium-weight gear in the most popular sizes. However, that’s more than enough to get you started, so don’t be too fussy. While the lure of gear marketed with the aid of big-name endorsers is hard to resist, at the entry level it’s important not to get blinded by logos. Sure, your favourite Mr Bigshot might be pictured with XYZ, but there might be a better option for you at this price-point. With the choice of instruments less extensive in this sector, keep an open mind and do your research before parting with your cash.

The mid-level cymbal market is, as with all such sectors, a never-ending hotbed of activity. It’s here that advances in technology bring rewards in terms of increasingly good kit for not much cash, and the trickle-down effect of high-level instruments is to be found. So while you can spend vast amounts more on a set of metals, there’s much good stuff to be had from the cymbals at this price-point. If you’re a semi-regular gigger and an occasional studio user, you can equip yourself very nicely without having to take out a second mortgage. While tin has little metallic allure elsewhere, as far as cymbals go it’s important stuff and higher levels of it in the base material mean extra sweetness (all else being equal). In this bracket it’s interesting to note the difference between materials on offer. Sabian has done well to offer the XS20 line (made from ‘high tin’ B20 bronze) at the prices it does. Although your ears should always be the judge, it’s an impressively ‘semi-pro’ foundation to be working from. There’s more choice of individual cymbals in the various ranges here than at the entry level. So if you specifically need heavier rides, or lighter, fancier hi-hats, you’ll have to look to spend money on gear in this price bracket. Metal-friendly rides with big bells and cool hats like Meinl’s Soundwave Amuns become available at mid-level, and are well worth the dough. HOW TO BUY…

All-rounder cymbals

Zildjian New K Rides are classed as ‘warm’ cymbals

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Classic all-rounder cymbals, such as Zildjian Avedis and Paiste 2002s, provide the player with a good combination of warmth and brightness, and this makes them extremely versatile. By no coincidence, the classic all-rounder ranges tend to be the most popular sellers for each manufacturer and this fact is reflected in the enormous wealth of choice in the cymbals available. Since classic all-rounder cymbals occupy the middleground in terms of

frequency, they are drawn from a fairly wide tonal band that sits somewhere close to warm cymbals at one end, and errs on the aggressive side at the other. It’s extremely important to remember when buying cymbals that the sound they come with is their sound for life. Unlike drums, you can’t modify or tune a cymbal (other than to its detriment by, say, cracking one in order to make it deliberately discordant), so what you hear is what you get. You should never rush into buying a cymbal until you’re absolutely sure that it provides the sound you need. Most drum stores have demo rooms where you can test instruments in peace – it’s a good idea to use one to test out the sound of the cymbal. If the demo room is not free, make an appointment to come back when it is and ask the store to hold the cymbal until you’ve had a chance to try it out. Above all else, though, listen. In keeping with this, don’t assume that your cymbal set has to be sourced from a single manufacturer. You should try to ignore the logos and let your own ears decide. Modern all-rounders, eg: Zildjian As, in general have a more assertive top end that enables them to cut through contemporary, highly-amplified backlines without sounding one-dimensional. This doesn’t just mean ‘loud’ – modern ranges cater for a wide variety of players, spanning genres as disparate as jazz and metal. Such cymbals have only evolved slightly from more traditional designs, so their heritage is usually easy to trace. Individual cymbals can also be mixed and matched with existing models. You’ll often find name players extolling the brand’s virtues, but it’s critical that you ignore such strong persuasion and let your ears decide. HOW TO BUY…

Warm cymbals It’s worth doing your research before you invest in warm cymbals as there is a lot of choice out there. Warm cymbals, for example Zildjian Ks, Meinl Byzance etc, deal in subtleties, (both tonal and dynamic) to a far greater degree than brighter cymbals. And, while they tend to be less capable of piercing volume than their bright counterparts, you can guarantee that any cymbal above 18" is going to be loud when hit with all your might. It’s more a question of frequencies and warm cymbals operate in the darker area of the tonal spectrum. There is no single type of warm cymbal sound that is considered ideal; rather there are qualities that should all be present in each cymbal, but

IMPROVE YOUR GEAR: BUYER’S GUIDE not necessarily in the same proportions. This balance of warm musicality, trashy overtones and dark undertow is commonly referred to as the cymbal’s complexity. Rides usually give a woody rather than glassy stick sound, hi-hats are more mellow and silvery as opposed to cutting and crashes tend to be rich and harmonious instead of penetrating. Many, if not all, warm cymbals are handmade. This guarantees a certain uniqueness to each cymbal. However, don’t assume that two models of a particular cymbal will be the same because the chances are they will differ. Always take your existing cymbals with you when you are trying out a new cymbal so that you can hear whether everything blends to your liking or not. HOW TO BUY…

Aggressive cymbals Aggressive cymbals do pretty much exactly what it says on the tin – that is provide cutting, powerful sounds to slice through layers of guitar at high

volume. If this is where your gig is at, then this type of cymbal is ideal. When investing in a noisy set of metals, however, make sure that the rest of your kit matches the cymbals in intensity, because if the cymbals are too loud and wipe out the sound of the rest of your drums, you won’t be getting too many calls. Be aware, though, that the trade-off for the sort of extreme performance you get from an aggressive cymbal is a shortening of versatility. Although that heavy 24" monster ride might be just the ticket to cut through a sizeable wall of Marshall stacks on a full stage, in the pokey back room of the Red Lion it could be a little overwhelming, particularly if it’s jazz/ funk night. You have been warned. These cymbals have been designed to deliver brutal amounts of volume and also withstand punishment. This means that they are heavier than regular cymbals so quite apart from the fact of lugging them around, they

Aggressive metals such as T-Cymbals Metalshop Extreme deliver brutal volume

also require a fairly physical action to actually play. You would also be extremely unwise to expose yourself to the volume levels that such cymbals generate on a regular basis without investing in some good hearing protection too.

PLUS… HOW TO BUY…

Drumsticks The high-end sector is dominated by the popular big name brands. However, with more manufacturers producing pro-quality sticks than ever before, you’ve never had such a choice. The quality comes in the form of different woods (eg: hickory, maple, oak), although the type of machining used in their production, the forming of good quality, consistent tip shapes and good matching in both pitch and weight are important across the board. Decide on a stick that feels great in your hands – don’t just use what your favourite drummer plays unless, of course, that feels best for you. The weight and balance points can vary greatly, so at first pick a 7A, 5A or 5B and then choose a shorter, longer or heavier gauge stick from there. However, if you’re going to be playing heavier styles of music and you don’t opt for one of the fine synthetic models out there, you will be shelling out money on sticks on a fairly regular basis. There are many lower-priced models on the market that exhibit some high-end characteristics for a fraction of the price. When selecting a good budget drumstick you must above all else see how good they feel in your hands. The balance and grip of a stick can be just as good in the budget models so if you don’t mind the odd blemish or slight sniff of a second then save yourself some dosh! It would also be advisable if you tend to shred your sticks rather too easily to consider stocking up with a few budget sets and see if anyone notices any difference. It’ll be kind on your pocket and, you never know, you might even find your perfect stick! HOW TO BUY...

A bass drum pedal Whereas sticks are an extension of the hands and wrists, a pedal provides a mechanical link between your foot and kick drum. It is therefore essential that you are completely comfortable with your pedal. Almost all manufacturers produce strap-driven variants of pedals and direct-drive appears to be coming back into vogue, echoing some of the classic pedals of yesteryear such as Ludwig’s Speed King. One

quality shared by all modern pedals is their quietness of operation – annoying squeaks are a thing of the past. Remember: it’s just as important to develop good technique as it is to have a state-of-the-art pedal. Many classic recordings feature inspired bass drum performances from drummers playing pedals which are laughably flimsy by today’s standards. The breadth of choice in kick pedals is astonishing, and prevailing musical trends mean most pedals are being designed to be played harder and faster than ever. HOW TO BUY...

Drum heads Single-ply tom batters are usually of medium weight, generally made from a single 10-mil film of Mylar. This is sufficiently strong for the average player, while retaining a responsive tone, plenty of character and overtones, allowing a wide tuning range without choking or flapping. Single-ply heads are brighter and more open. Unlike snare batters, most of which are coated for brush and stick response, tom batters are just as often clear. For a faintly darker, warmer, less ring-y sound, go for coated. If you want a livelier head, DW 9000 is a great kick pedal, but you still need good technique!

ideal for much of today’s music, go for the clear version. These heads have greater resonance than double-ply/reinforced heads, but if you’re a heavy hitter you may find they lose their vitality and punch too quickly, in which case you should consider heavier, twin-ply heads that can withstand a punishing stick workout – particularly on the snare. If single-ply heads provide the right sound but aren’t quite strong enough, try reinforcement. This usually takes the form of a circle/dot of Mylar stuck to the centre of the head. This strengthens the area that’s hit most often and hardest while interfering least with the sound. This is because the centre is the dead spot of the head – whereas the perimeter is where you get most ring. For a harder-wearing, attacking sound, double-ply heads are best. There’s a trade-off though: you get more attack but less resonance and faster decay. In recent years we’ve seen the emergence of dedicated bass drum heads with in-built dampening. This may be a perimeter flap of Mylar or more substantial rings of felt or foam. Such heads cancel out some of the edge resonance and higher overtones to focus on the deeper and more attacking ‘thud’ suited to modern music. Often these heads are paired with resonant front heads, which are also dampened, and may have a porthole. A plain black/white logo head often works fine, though. Such head systems may be enough on their own to subdue the bass drum for miking, and certainly for un-miked situations. Whatever batter head you prefer, the choice of resonant head will also make a big difference to the overall sound. The thinner the head, the more resonant and livelier the drum. Some drummers like to use resonant heads that are one gauge lighter than their batters, others prefer to have the same top and bottom. Be aware, though, coupling heavy twin-ply batters with extremely thin resonants can cause tuning nightmares. Drummers who regularly change their batter heads sometimes leave the same resonants on for years. This is okay up to a point, but resonants do eventually lose their sparkle and you may find that a change may buck up your sound a substantial amount.

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BUDGET KIT

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

It’s fair to say that being a drummer doesn’t come cheap and even getting close to your dream set-up can be an expensive, long and frustrating quest. Perhaps if we had been warned of this unquenchable thirst for expensive shiny things, we would have thought twice about picking up our first pair of sticks? We’re joking, of course, but with the cost of living on the rise, holding off from replacing your kit every time you fancy a change is a prudent move. But what can you do when you grow tired of the same set-up and your playing becomes stagnant as a result? It’s completely possible to add a fresh spin to your seen-better-days gear without breaking the bank, and supercharge your playing in the process. Here are a few simple tips, tweaks and hacks to open up extra dimensions in your sound and playing without having to sell the family silver…

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IMPROVE YOUR GEAR: 21 BUDGET GEAR HACKS

2 EXPERIMENT WITH DIFFERENT HEADS 1 REVITALISE YOUR HARDWARE MOT your gear! Keeping your hardware in good condition will not only keep it looking good but also make it last longer. Replacing worn tension rods, lugs and washers is important for both tuning and playability. You’ll feel like you’re playing a brand new kit again. So what are you waiting for? Get yourself a bottle of hardware cleaner, a squirt of WD-40, a cloth and some good old-fashioned elbow-grease and get to work! Why not try giving rusty parts a good soak in white vinegar to bring them back to their former glory?

Replacing your drum heads will give a new lease of life to your kit, making it sound fresh. There are a wealth of varieties that give us an incredible amount of choice when it comes to tailoring our sound. The main choices being single vs double ply and clear vs coated. As a rule, the thicker the drum head, the shorter the sustain. Really thick heads (like a Remo Pinstripe) are great for rock and metal. Whereas a thinner head (like a Remo Ambassador) will give you a much more open sound and as a result is often used for jazz. The bottom heads (or resonant heads) are generally much thinner than the top (batter) but it can be rewarding to try different combinations on both top and bottom. You could even lose the bottom head entirely for a classic ’70s-style concert-tom sound, Phil Collins style!

4 ADD SOME PERCUSSION TO YOUR SET-UP 3 TREAT YOUR BEARING EDGES The bearing edge is the part of the shell that comes into contact with the head and upon which the head is ‘seated’. These can be cut to different angles and thicknesses to give a different tonality and/or resonance to the drum. It’s wise to have these re-cut professionally to avoid damage to your precious drum, although they can also be sanded back to great effect. You could also try rubbing wax (beeswax or paraffin wax is best) into the bearing edge when changing the heads. This fills pores in the wood and lubricates the contact between the shell and drum head. This will help it seat more evenly and should also make tuning easier.

Adding extra elements to your set-up can make a huge difference to your playing in terms of inspiration and orchestration of ideas. These elements could include percussion instruments such as cowbells, tambourines, woodblocks or even a side snare, mini timbale set, roto toms, octobans or bongos. You name it! Percussion brackets can be purchased (like the LP Gajate bracket) which allow a bass pedal to connect to any percussion instrument of your choosing. This can open up your limb independence to a whole new level. Left-foot clave anyone?

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

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ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS

6 GET SOME HEARING PROTECTION The right hearing protection will not only reduce the risk of tinnitus and other hearing problems but will also filter sound frequencies to give you a more pleasing sound from your kit. A good pair of closed-back headphones will block out higher frequencies and can even give the effect of boosting bass frequencies (try a pair of Beyer DT100s or Vic Firth Stereo Isolation Headphones). Custom moulded ear plugs or IEMs (in-ear monitors) will also bring the best out of your drum sound but for a higher cost.

7 LEARN TO TUNE YOUR DRUMS WELL Most drummers hate tuning. It can be difficult, but just like your playing it takes practice and patience to master. Try not to get too hung up on it and spend hours trying to make your kit sound like your favourite drummer’s. What you hear when you listen to them on record is a super-polished and produced drum sound, impossible to replicate to the naked ear. For a medium tuning, take the resonant head up quite high (ensuring an even tuning across the head), then start with the batter head finger-tight and tune up evenly a very small amount at a time until you reach your desired pitch.

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

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

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IMPROVE YOUR GEAR: 21 BUDGET GEAR HACKS

10 TRADE YOUR GEAR Swap an old snare for a mate’s old ride, or part-ex that dusty old Pearl Export at your local music store. The beauty with drums is, unless they’ve really been neglected, they’ll sound as good now as they did out of the box. A bit of TLC and some new heads and you’re ready to go at a fraction of the cost. Be careful when buying second-hand cymbals, as they could easily be damaged or weakened from years of abuse. Look very carefully over the whole cymbal for hairline cracks and also check for ‘key-holing’ in the centre. These can quickly develop into dangerously large cracks.

11 CHANGE THE TONE OF YOUR DRUMS Times have changed since throwing tea towels on your toms was all the rage. There are many products on the market now to help us rein-in unwanted overtones or even control the amount of sustain desired from a certain drum. Popular options include RTOM’s Moon Gel or Remo O-Rings. It is simple to create your own O-Rings by cutting up your old drum heads. And of course, never underestimate the power of a good roll of gaffer tape. Tissue paper can also be folded up tight and taped down to mimic the job of Moon Gel.

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

13 BUY A NEW DRUM THRONE Often overlooked as an important component in your set-up, the right throne will make you feel more comfortable at the kit, allowing you to spend more time behind it. Stool height is also incredibly important for posture as well as the height of your drums and cymbals (check out the interesting things Billy Ward has to say about kit set-up in his DVD, Big Time). Try to ensure you’re not going out of your way to reach any particular part of your kit too. This can apply especially to crash cymbals, floor toms and hi-hats. For those of you that use a double pedal, experiment with the auxiliary pedal on the ‘outside’ of the hi-hat pedal so that you’re not twisting yourself into unnatural positions to play.

14 ADD SUSTAIN TO YOUR DRUMS If you have a drilled bass drum with mounted toms, try using a snare stand for your rack tom as an alternative (à la Travis Barker) to give it more resonance. Not only will this get the tom singing, it will also allow you to position it much lower. For maximum resonance, clamp the edge of the tom hoop within the tips of the snare basket, rather than placing it completely within it. Floor toms can also benefit from a similar treatment by adding cushioned rubber feet. Products such as Booty Shakers can also help to add more sustain.

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ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS

15 CHANGE YOUR BASS DRUM BEATER Different material types, shapes and sizes of beater will affect the levels of attack or pitch your bass drum produces. Felt/wood/vintage bomber styles are all available. On a budget, try wrapping a sweat band or sock around your beater to replicate the soft sound of a calf skin ‘vintage bomber’. It is also important to ensure that the height of the beater is hitting as close to the centre of the drum as possible. This will give the fattest tone available and feel better under-foot. Two or three-sided beaters are available that will allow you to change your bass drum sound in an instant. This can be particularly useful in a live scenario where you don’t have time to mess around between songs but would like to keep your options open.

17 TRY SOME DIFFERENT STICKS Stick choice affects not only the feel of the kit but also the tone. Thicker sticks give you a broader sound and a lower pitch. The opposite applies for thinner sticks. Generally speaking, something like a 5B will work very well for a driving rock style versus, for example, a 7A for a jazzier touch. Nylon tipped sticks will also give a brighter stick definition, especially on cymbals. Hold a stick up to your ear and give it a flick with your finger. Now try this with your other stick and see if the pitch is higher or lower. A pair of sticks should be pitch-matched during the manufacturing process but this is not always the case. If you have multiple pairs of sticks, try to match them as closely as you can to each other to ensure continuity in your sound.

16 EXPERIMENT WITH YOUR SNARE STRAINER The snare strainer determines how tight or loose your snare wires sit against the resonant head of your snare drum. This will not only affect sensitivity and dynamic range but can also give the effect of changing the pitch of the drum. It is very important not to ‘choke’ the drum by tightening the strainer too much. Snare wires are also available in various sizes, thicknesses and materials which can allow you to further tailor the sound of your snare. Here’s a tip: to replicate the famous Steve Gadd snare sound, tune down the batter head to a low pitch, loosen the snare strainer and slacken off the four tuning pegs nearest the snare wires on the resonant head.

18 GET A NEW BASS DRUM PEDAL It is always important to have the right tools for the job. There are so many different products on the market now that it has become much easier to find a pedal suitable for your playing style. Pedal feel is very important to a drummer and you should take the time to find a pedal that works for you or set up your existing pedal as best you can for your preferences. For players that like speed, you should tighten up your springs and use light beaters. In contrast, less busy players would probably prefer a weighted beater, set to a loose spring setting.

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IMPROVE YOUR GEAR: 21 BUDGET GEAR HACKS

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

20 REPLACE YOUR HOOPS Changing your hoops can be an easy and relatively inexpensive way to alter the tone of your existing snare or toms. There are a number of different weights, materials and manufacturing processes that produce a range of drum hoops; the most familiar being triple-flanged and die-cast. Not only could the right rims help you find that sound you’ve been searching for, but with a choice of steel, brass, zinc or aluminium, plus various different plating options, they can add an eye-catching aesthetic to your kit. It is also important to note that old hoops can become warped and may actually need replacing. As with head selection, combinations of top and bottom hoops can be experimented with to achieve different tonalities.

21 PLAY WITH OTHER PEOPLE! Let’s not forget that sometimes all you need to make your kit sound better are a few other musicians. Practising at home or in the studio can only get you so far. Even for the more seasoned players, try your hand at a new style. Go to a jam night and play with people that you don’t know. Maybe join a big band? Or try your hand at something with a Latin flavour? The key is to take yourself out of your comfort zone and constantly push your playing to the next level.

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ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS

RHYTHM’S VINTAGE GEAR PAGES STARTED BACK IN 2006 AND WE’VE SINCE FEATURED OVER 160 OLDIES – SOME RARE AND VALUABLE, MANY MORE MODEST BUT EQUALLY TREASURED. SO JUST HOW HARD IS IT TO FIND AND SAFELY LAND YOUR OWN VINTAGE PRIZE? OVER THE NEXT FEW PAGES, PREVIOUS CONTRIBUTORS TO RHYTHM’S VINTAGE GEAR PAGES SHARE THEIR EXPERIENCES AND KNOW-HOW WORDS: GEOFF NICHOLLS

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IMPROVE YOUR GEAR: HOW TO BUY VINTAGE DRUMS O UR EXPERT S GARRY ALLCOCK Birmingham big band legend, vintage drum collector and player, Garry is chairman and treasurer of the UK National Drum Fair (www.ukdrumfair.com). ‘SIR’ ALAN BUCKLEY Doyen of British collectors, a true English eccentric with by far the biggest UK collection. Curator of the Classic Drum Museum and the Vintage and Custom Drum Show (www. siralandrums.co.uk). MIKE ELLIS Drummer and techie, runs Blenheim Drums specialising in vintage and modern Premier hardware, spares and parts, drum repairs and restoration (www. blenheimdrums.yolasite. com). PETER FOSKETT Fastidious rescuer and renovator of modest British-made drums from the 1950s to the 1970s.

English Rogers kit in Black Pearl, circa 1961/1962

DAVE MCREADY Scottish drummer and Olympic-Premier enthusiast, founder of www. vintageolympic.co.uk.

1. WHERE TO LOOK? AS REGARDS BUYING VINTAGE, OR SIMPLY OLD/INTERESTING GEAR, WHERE WOULD YOU LOOK, ESPECIALLY FOR FIRST-TIME BARGAINS?

ROBIN MELVILLE Respected Cumbrian drummer and long-time Ludwig fan, collector and player.

ONLINE

O F F LI NE

JEREMY PEAKE The ‘Fen Tiger’, great enthusiast, drummer and clever renovator of modest UK drums.

MIKE ELLIS: “Online auction and sale sites [eBay, Gumtree, Craigslist, Preloved.co.uk etc] are a good place to start. There are a few Facebook trading pages as well where prices tend to be lower.”

GARRY ALLCOCK: “Some of the older drum shops still do partexchanges. and second-hand shops of any sort might have a drum under the counter… You have to ask.”

PRESTON PRINCE Drummer, drum maker and teacher, owner of Tiki Drums, Hove.

PRESTON PRINCE: “It’s still the USA where the bargains are. Craigslist is the big one. However, quite a few people have taken chances and lost money due to scammers.”

PETER FOSKETT: “Car boot fairs, charity shops, local auctions – they are unlikely to know the true value and the auction is less likely to attract competition – and even your local rubbish tip and skips! A couple of my best finds came from placing a wanted ad for old or vintage drums in the local supermarket.”

DAVE SEVILLE Founder of the Old Drummer’s Club, the essential newsletter for vintage drum enthusiasts and traders.

SIMON WAGSTAFF: “Bargains can be found anywhere. A lot of it is luck. I recently went into a local music shop and picked up a Hayman Vibrasonic for £20! It needed a bit of TLC but sounds great. The good stuff will normally be with existing collectors though, so network!”

RICHARD THOMAS Drum enthusiast, regular player; with wife Jayne trades gear and spare parts as ‘Boozey and Hawkeye’.

PETER FOSKETT: “What used to be seen in second-hand shops has been soaked up by eBay. It’s a great source of gear and information. I’ve learned a lot about vintage gear in the last 10 years from simply reading people’s descriptions. Consider the competition on eBay with other potential buyers. So when a kit is described as ‘Ludwig Super Classic 13", 16", 22", then you are immediately up against all the Ludwig collectors. So look for gear that has not been well described: ‘Drum Kit’, eg: by an owner who is not sure what they have. That might throw up the odd bargain.” DAVE MCREADY: “Try searching different spellings of well-known

brands on eBay, Facebook, and Gumtree.” ALAN BUCKLEY: “The web is one of the last places I would look because you cannot see what you are getting. On the web you have to know what you are buying.”

RICHARD THOMAS: “Attend both UK vintage drum shows - the

UK National Drum Fair (www.ukdrumfair.com) and Sir Alan’s Vintage and Custom Drum Show (www.siralandrums.co.uk).”

SIMON WAGSTAFF UK National Drum Fair committee member, Slingerland nut and tireless organiser of NDF vintage vault. ANDY YOUELL Founder of Drumarchive. com, the definitive source of historic drum catalogues.

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ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS

2. THE KNOWLEDGE WHAT SHOULD YOU LOOK FOR?

JEREMY PEAKE: “Look for something that you have some

knowledge about.” DAVE MCREADY: “Everything has a value, and stuff that looks knackered can usually be restored.” RICHARD THOMAS: “Clean vintage UK and USA drums. Also some of the old Japanese gear is nice. Not re-wrapped and no extra holes. Cymbals: vintage A and K Zildjians, Black Label Paiste 2002s and old Paiste 602s. Don’t buy cracked or keyholed cymbals.” ANDY YOUELL: “I always like to get a complete set. This often involves searching around for matching hardware and other matching items. At the moment I’m trying to pull together a set of (unplayed) Premier ‘Donut’ heads for my early 1980s Resonator.” PETER FOSKETT: “The easiest projects are where you find a complete unmolested kit that’s been wrapped up in someone’s loft for years. All it needs is a good clean and maybe new heads. Luck like that comes along rarely, and working on a limited budget I’ve focused on British-made drums – Premier, Olympic, Beverley, John Grey, Ajax, etc. They are accessible and if something is missing there’s a chance you will find a replacement part.”

3. AUTHENTICITY HOW CAN YOU BE SURE TO IDENTIFY ITEMS CORRECTLY?

DAVE SEVILLE: “Contemporary buyers have the benefit of some excellent sources of information – Mike Ellis, DrumArchive, Rhythm etc. You wouldn’t walk into an antique store and spend big money without doing some research. Swot up from reliable sources or repent at leisure. There will always be villains trying to charge top money for dubious drums, but many are okay and the rest, if not saintly, are dumb rather than malicious!” MIKE ELLIS: “This can be tricky especially with very old items, but www.drumarchive.com is a great resource for ID issues.” DAVE MCREADY: “Google it or ask someone in the know. There are plenty of forums on the net. Beware, not all sources are what they claim to be!” SIMON WAGSTAFF: “Identifying drums can be tricky, especially with badges/transition periods and no serial numbers.” PETER FOSKETT: “Beware if you’re making a decision from just a photograph and description. On the whole, sellers are honest. I’ve made some great purchases on eBay. It’s a good source for parts.” JEREMY PEAKE: “Ask for more photos or go along and take a look. Know your subject or do your research.”

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WHAT ARE THE BEST SOURCES OF

DEPENDABLE INFORMATION?

ALAN BUCKLEY: “Collect catalogues, they are the only reliable source of information. Or sometimes the experts who have been collecting for years. But even so-called specialists do not always know the dates. Even I make mistakes.” ANDY YOUELL: “On drumarchive.com we’ve got hundreds of catalogues from all the major (and some not-so-major) brands. I might even say it is the ultimate reference source for vintage drums. I don’t do as much on the web as I used to. I gave the Asba site (www.asbadrums.com) to a guy in France. I shut down vistalites.com and gifted the domain to Ludwig.” JEREMY PEAKE: “Forums and Facebook can be helpful, though sometimes people are not as knowledgeable as they think they are. Eventually you get to know key people who really know their stuff. Often they have an encyclopaedic knowledge of a particular brand and love to share that knowledge. The best resource for catalogues is undoubtedly the irreplaceable www.drumarchive.com. I also enjoy Dave Seville’s Old Drummer’s Club publications and the websites run by enthusiasts.” SIMON WAGSTAFF: “There are plenty of books, some of the best being the Slingerland, Gretsch and Rogers books, all written by Rob Cook (www. rebeats.com). For advice on dating drums and what to look for, www. vintagedrumforum.com is good. But the best advice is to talk to collectors.” PRESTON PRINCE: “Knowledge takes time, you can’t just dial it in. Get Rob Cook’s books. They are wonderful resources with plenty of insights. Steve Maxwell’s archived listings of historical sets is also good (www. maxwelldrums.com).” RICHARD THOMAS: “Wikipedia, Geoff Nicholls’ drum books, also Modern Drummer and Rhythm magazines.” MIKE ELLIS: “The Drum Book by some no-hope chancer called Geoff Nicholls is a great reference tool!” ROBIN MELVILLE: “Books on US vintage stuff by Rob Cook and Harry Cangany. Also, Ned Ingberman has an excellent website (www. vintagedrum.com) with loads of information. Tam Rankin runs a website (www.vintprem.moonfruit.com) devoted to Premier/Olympic.” PETER FOSKETT: “Try www.vintageolympic.co.uk, The Haynes Drum Manual, by Paul Balmer and Guide To Vintage Drums, by John Aldridge.”

IMPROVE YOUR GEAR: HOW TO BUY VINTAGE DRUMS

5. THE CONDITION

7. WHAT’S IT WORTH?

HOW DO YOU ASSESS FOR DAMAGE?

HOW DO YOU ASSESS THE VALUE?

ALAN BUCKLEY: “Always get the head off so you can see if it has been bodged – the badges changed, or it’s been recovered. People put the wrong strainer on to make the drum work properly. They don’t realise what damage they can do.”

JEREMY PEAKE: “It’s possible to search eBay for past listings and sale prices, but it’s an unstable market – sellers do the same and sometimes take the view that their beaten-up old kit with half its original hardware must be worth as much as the immaculately restored version they’ve seen on a dealer’s website. Similarly, some buyers want to purchase kits that have taken weeks of careful restoration and had a lot of money lavished on them for the same price as a trashed version they’ve seen sell for a few pounds.”

MIKE ELLIS: “Check the item is complete, check for any repairs, extra holes, non-original parts. These can be dealt with but will ultimately affect the price you should offer. A multitude of sins can be hidden under coated heads – bodged repairs or ‘Frankenstein’ drums can be caught out with a thorough (inside) shell inspection.” DAVE MCREADY: “Check for shell delamination, warped hoops, missing parts. Cymbals for cracks, (centre) key-holing, edge dings.” JEREMY PEAKE: “The main things to look out for are rust, cracks, warping, water damage, heat damage, dented and scratched finishes, botched renovations, cavalier customisation and missing parts. It is much easier to make an assessment if you can inspect a kit first-hand. It’s amazing how so many kits survive intact. Cymbals need checking for ‘flea bites’, hairline cracks, key-holing – and associated radial cracks – warping, dents, scratches, overcleaning… and it’s not a bad idea to see if they sound good too!” ANDY YOUELL: “It can be tricky when buying online. Some drums have particular issues to look out for, eg: the ‘exploding’ lugs on [1960s] Ajax Nu-Sound kits!” PRESTON PRINCE: “On [vintage] Ludwig drums the wrap should be folded into the scarf joint [otherwise it has been recovered]. Extra holes are a no-no unless what you want is a ‘player’s kit’. And that’s fine – there are some great player’s kits out there with one or two holes, but these are not collectable grade unless super-rare.”

6. COMMON PROBLEMS

MIKE ELLIS: “You really need to have prior knowledge to assess value, but if you like it and want it, and you can afford it – buy it!” SIMON WAGSTAFF: “The value all depends on what you’re prepared to pay. Kits from the US hold more caché than British kits, which is a bit unfair as some of the Premier and Carlton 1940s, 1950s and 1960s drums were well made with excellent shells.” GARRY ALLCOCK: “Ask around, check the Internet. Very often it’s ‘What’s it worth to you?’ If you have a set and found a matching snare you’d probably give a bit more, because you really wanted it.” ANDY YOUELL: “It’s what the market will bear. There is often little logic. Brand name is a big driver, American drums especially. Completed auctions on eBay are a good source of [pricing] information. Watch to see how often/rarely particular drums come onto the market. I still check eBay recent listings every day.” PRESTON PRINCE: “Don’t look at a price on eBay and think that’s the price the seller is going to get. A recent ’70s Black Beauty was listed at ‘Buy It Now’ for £1,200. Another seller sold one very similar for £700. Check sold prices on eBay. Sometimes I have a price I think is right due to the drum being rare or unique. Also, if I sell on eBay, I’ll state a price, then list it as ‘Open to offers’.”

Premier Club kit from around 1980

WHAT ARE THE COMMONEST FAULTS OR DAMAGED PARTS?

PETER FOSKETT: “Most likely parts to be missing are tension rods, bass drum claws, hoops (blame that on the fad for removing the resonant head), lugs, fittings like tom holders, spurs, etc. Look out for later tom holders that have been fitted to an earlier kit. It was the fashion at some point to beef everything up, but nearly always this required drilling larger holes, or holes in different positions. Collectors hate drums modified in this way. This is a complex but not impossible repair.” JEREMY PEAKE: “Tom rash on bass drums, battle-scarred wraps and rust. Hardware often has mismatched parts or ruined threads.” PRESTON PRINCE: “Broken strainers, dented shells, wraps delaminating, pitted chrome, out-of-round shells.”

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ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS DO N’TS PRESTON PRINCE “Drill a shell!” JEREMY PEAKE “Break up a perfectly good classic kit to sell the parts off separately.” MIKE ELLIS “Clean cymbals with Brasso!” STEVE CROSSLAND “Never buy anything without personally inspecting it, unless it’s from a reliable source.” RICHARD THOMAS “Never buy a kit, snare or cymbal if damaged. I once bought a ’60s Premier that had been in a garage for 30 years. I thought it was a bargain, but the rust had destroyed every tension bolt. I had to saw off every bolt and drill out every lug.” ALAN BUCKLEY “Don’t overtension the snares. I have had loads come to me where drummers have tanked them up and they have messed up the system. Never start cleaning until you know what you are cleaning. I have some rare valuable finishes, like the Carlton Butterfly, that you can’t touch. Don’t try to clean up Art Gold finishes. Always consult an expert – and even they don’t know!”

German-made Trixon 1960s Luxus 0/200 kit

8. SAFE DELIVERY

9. PAYMENT SECURITY

WHAT ABOUT POSTAGE, DELIVERY AND INSURANCE?

WHAT IS THE SAFEST WAY TO PAY?

ANDY YOUELL: “Cash is king!”

DOS PRESTON PRINCE “Clean hardware with 000000 grade wire wool.” JEREMY PEAKE “If possible, I restore drums sympathetically. I try to retain the character that they have acquired over the years.” DAVE MCREADY “Always be honest about what you are selling, then you have no comebacks from irate buyers!” STEVE CROSSLAND “Always give a kit close inspection. Take off the heads, check bearing edges, drums in the round, any issues, modifications etc.” RICHARD THOMAS “Look for clean original drums and cymbals and good quality tom holders, spurs and cymbal arms. It’s great fun collecting and playing vintage gear. But don’t rush, do your homework and your investment will be enjoyed for many years.”

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PRESTON PRINCE: “You can post anywhere in the world and

insure items as long as the customer wants to pay. They have the responsibility to ensure their new investment is insured.”

DAVE MCREADY: “PayPal is good for online. Used notes on a faceto-face deal is probably best.”

RICHARD THOMAS: “Obtain the postage costs brochures from Parcel Force 48. They’re reliable and honest. Always try and insure. I once sent a Ludwig kit to Singapore without insurance. It never arrived and I had to pay a full refund. Ten months later the drums arrived back on my doorstep in pieces… But I got them back!”

ALAN BUCKLEY: “I always paid cash. I did get a lot from the States, but I went over there. I would not buy through so-called dealers. I have to know the person, so if it comes and it is bad you can send it back.”

courier companies. Everyone has horror stories, but most of the time deliveries go as planned.”

MIKE ELLIS: “PayPal offers buyer and seller protection, but is still open to abuse. I only do bank transfers with people I know. Or good old-fashioned cash-on-collection. Never use money transfers, ever.”

MIKE ELLIS: “Always send via a tracked and insured courier service. Check the T’s & C’s, sometimes musical instruments are not covered. However, if you book through a broker, sometimes the broker will offer cover with a courier company that itself does not.”

ROBIN MELVILLE: “I have always bought by credit card from the USA. PayPal/eBay, although safe, can be costly. My purchases in this country are usually from people I know and trust, often collectors themselves.”

DAVE MCREADY: “Royal Mail is expensive, but there are loads of

JEREMY PEAKE: “With so many cheap courier services around, people sometimes risk sending valuable drums and hardware with carriers who clearly state musical instruments are not covered by their insurance. I’ve heard horror stories, but I’ve never had any trouble so far with couriers. I have had problems with people posting things to me in shockingly bad packaging.” ANDY YOUELL: “I bought a pristine pair of Asba congas on eBay. They were badly packed and arrived in many pieces! I posted a Premier snare drum in an aluminium flight case. It must have taken one hell of a knock as it arrived with the strainer broken.”

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RICHARD THOMAS: “Some people accept cheques, which is still

a good way to pay.”

IMPROVE YOUR GEAR: HOW TO BUY VINTAGE DRUMS

10. HOLY GRAILS

11. TREASURE TROVE

WHAT IS YOUR PERSONAL SPECIALITY AND HOLY GRAIL?

WHAT IS THE BEST FIND OR BARGAIN YOU HAVE GOT?

ALAN BUCKLEY: “I have quite a few. There is some beautiful stuff about, including great English drums. Duplex [century-old American] are great-looking drums, and rare because they didn’t make many. Leedy made good drums. And Leedy and Ludwig, who joined up in the 1930s.”

MIKE ELLIS: “A studio offered me a closet full of old drum stuff for £40. I got a 1970 Premier kit with hardware, Ludwig Acrolite, bag of Zildjian cymbals and an ’80s Premier Projector kit, all cased!”

PRESTON PRINCE: “Ludwig Black Beauties, Gretsch round badge and Slingerland Radio Kings. My holy grail would be the Billy Gladstone snares.” MIKE ELLIS: “My area is Premier from the ’50s to the late ’90s.

The only Premier item that hasn’t passed through my hands is the 252 double pedal, which was available briefly in 1985.” DAVE MCREADY: “I like Olympic and any Premier-built kits such

as Beverley, Hamma, etc. I would love to find the 252 pedal attachment to make a twin pedal.” STEVE CROSSLAND: “American, particularly from the ’60s. I love and play Ludwigs. My holy grail is Camco Oaklawn badge drums.” RICHARD THOMAS: “American Camco and British ’60s Ajax.” ROBIN MELVILLE: “I am a fan, collector and player of Ludwig ’50s and ’60s drums. I bought my first Super Classic in Silver Sparkle from Barratts of Manchester in 1963. I still occasionally use it. I own two Super Classics, two Downbeats, one Jazzette, about 10 snares and loads of percussion.” JEREMY PEAKE: “I have a penchant for old Sonor drums, although I probably know more about old Premiers.” SIMON WAGSTAFF: “I’m trying to collect all of the Satin Flame

factory finishes Slingerland produced from 1964 to 1977-ish. Why? Why not? If I can eventually have all seven (red, blue, white, tangerine, green, lavender and gold) it would probably be a unique collection! Not everyone’s cup of tea, I know.”

PRESTON PRINCE: “A 20" ’50s K cymbal that was sold with a Trixon Burgundy Pearl kit, an Avedis ‘hollow stamp’ 20" ride, a set of Avedis Thin hi-hats and a chrome-on-brass early Ludwig snare drum – all very dusty, but in great condition, for £300 on eBay.” JEREMY PEAKE: “A set of pristine blue label Paiste Sound Edge hi-hats that arrived with an English Rogers kit [featured in Rhythm, January 2010].” ROBIN MELVILLE: “A 1959 Ludwig Super snare (pre-400), brass shell and hoops with copper lacquer finish as seen on the front page of the 1959 catalogue, for £175. There are only about five in this country so they now attract very high prices.” STEVE CROSSLAND: “A Ludwig Super Classic kit, complete with 400 snare, full set of Avedis Zildjian cymbals, all hardware and accessories, everything in tip-top condition, for £500. But that was around 15 years ago!” DAVE MCREADY: “A 22" Paiste 602 Ride for £15!” RICHARD THOMAS: “A complete ’60s Olympic in green oyster finish, totally original, that had been in a loft for 30 years. I paid £80 and sold it for four times that, after cleaning and changing the heads. Also, a pair of black label 1975 2002 Sound Edge hi-hats still in the original bag.” ANDY YOUELL: “The big Tequila Sunrise Ludwig Vistalite kit that I used to have [featured in Rhythm, October 2005]. Playing that kit always put a smile on my face.”

This Billy Gladstone kit is an extremely rare vintage set

ANDY YOUELL: “I’ve done Vistalites and Asba and dabbled with Ajax. I’m now focussing on the Premier kits that I lusted after as a boy: Resonator, circa 1981. For me it has always been about the thrill of the chase, hunting down that special item and doing whatever it takes to make it mine!” GARRY ALLCOCK: “My speciality is a difficult one, but favourites I own include an early-’50s 20" Gretsch set in Silver Glass Glitter with three-ply shells, double-flanged hoops and calfskin heads; a late-’50s Gretsch Anniversary Sparkle set; and a late-’40s Slingerland Radio King set in White Marine Pearl with calf heads and undrilled bass drum. Plus a full set of original Turkish K Zildjians.” DAVE SEVILLE: “One ‘grail’ I pursued with crusading vigour in the ’90s was the early Ludwig SupraPhonic, the brass 400 snare. When I eventually got one it was a disappointment, both in construction quality and sound. A ’70s Black Beauty is better and, judging by the prices they command, many agree.”

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12. SCARCITY IS VINTAGE GEAR GETTING RARER?

MIKE ELLIS: “If anything, more is coming onto the market. These companies made thousands of drum kits, where are they? In lofts, basements, sheds... Gradually everything is resurfacing.”

14. IS MARKET INTEREST INCREASING OR DECLINING “Maybe slightly increasing. Drummers realise the investment potential of vintage compared with buying modern gear, which often depreciates rapidly.” STEVE CROSSLAND:

JEREMY PEAKE: “Even ’30s kits keep surfacing fairly regularly.” PRESTON PRINCE: “As more collectors are getting older or

passing on, they are releasing the drums they have been hoarding. Vintage drums are appearing at prices that aren’t too ridiculous.” SIMON WAGSTAFF: “The market has been flooded recently,

which in some ways has brought the prices down. It also means that there’s a lot of inferior stuff out there.” DAVE MCREADY: “Yes. The internet has enabled collectors to scoop up the best gear. Some markets are still plentiful and cheap though, such as Premier.” RICHARD THOMAS: “It is getting scarce. However eBay, Craigslist and the drum fairs are unearthing some gems. I am still surprised after all these years what turns up in house clearances – in loft finds, sheds and garages.” ANDY YOUELL: “I think it’s all being held in collections now.”

13. VALUE WHAT IS THE MOST VALUABLE AND COLLECTABLE GEAR?

STEVE CROSSLAND: “Drums that were top-end in their day, fully

PRESTON PRINCE: “You can find bargains on some great old brands, such as Leedy and Slingerland. Ludwigs have that rock element and have the edge in terms of playability. They work!” MIKE ELLIS: “There are a few more ‘bricks and mortar’ operations than there were a couple of years ago, which is good news.” JEREMY PEAKE: “It seems to me that it has

been bumping along the bottom for some time, though really exotic gear always does well.” ROBIN MELVILLE: “I find it extremely difficult to find good stuff at a reasonable price nowadays. I used to buy lots from America when the exchange rate was good and import duty not so heavy, but now you have to add a substantial amount on to the purchase price.” RICHARD THOMAS: “As older drummers hang up their sticks, young musicians look for vintage gear because of the image, sound and build quality, or just wanting to be different.”

original with no modifications and in ‘collector’s condition’. My choice would be late-’40s Leedy, early-’50s Leedy and Ludwig, ’50s Gretsch Round Badge with three-ply Brooklyn shells, early/mid-’60s Ludwig (especially Ringo period, 1964) and ’60s Camco Oaklawn badge. Also, any ’60s/’70s Gretsch with an 18" bass drum.”

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PRESTON PRINCE: “If it’s cool for Levon Helm, it’s cool for anyone. Buy to play and enjoy playing.” MIKE ELLIS: “Yes. I play all my vintage kits, they earn their keep. Really, they are a set of spanners that are useless unless used. I have no problem with drums being used as drums. I also have no problem with ‘hot-rodding’ old drums, refitting with modern hardware so kits from the ’40s to the ’60s get a new lease of life.” DAVE SEVILLE: “If you don’t want to play them, don’t buy them. Some folks drool over 50-year-old ‘mint’ drums. What a waste of a quality instrument. Obsessions are, by definition, rather worrying. I don’t think it was entirely coincidental that my ‘collecting’ (more accurately ‘amassing’) of drums grew at a time when my playing opportunities decreased. Now I am playing regularly again, I am a lot less bothered about owning this or that drum.” ALAN BUCKLEY: “Yes and no. If they are adaptable for it, great. But don’t drill holes! If we are talking ’20s drums, they are really museum pieces. But after 1937, when the Krupa kits came in, those are nice [to play]. Many drummers are after the very deep floor toms from the ’50s. (People play ’20s snares, but only on sessions really, not on the road.) You can take the calf heads off and keep them, because you need to have them lightly tensioned if you take them off. Dampen the head with a sponge underneath and on top where it lays on the hoops so the head settles back on to the wood or metal again. There has to be a slight tension there, but don’t overtension it. That is important.”

16. FAKES

JEREMY PEAKE: “Occasionally I see kits with shells that don’t match the lugs, but they’re usually easy to spot.”

DAVE MCREADY: “High-end Sonor gear commands good prices. I don’t bother with American as it is out of my price range.”

investments. Kits must be complete with original/matching snare.”

ANDY YOUELL: “Play them. Absolutely.”

STEVE CROSSLAND: “With experience it becomes easy to spot if something is not quite right. Build up your network of honest and reliable collectors to get second opinions. In most cases where gear is not quite the ticket, the seller has also been unaware and you can back away or renegotiate.”

PRESTON PRINCE: “All-original Radio King snares, Billy Gladstone snares, Slingerland Black Beauties, early Zildjian Ks made in Istanbul, fairly recent Spizzichino cymbals – these all fetch great money from collectors in America and Japan.”

ANDY YOUELL: “Rare/special edition kits are good long-term

IS IT OKAY TO PLAY VINTAGE DRUMS?

IS IT HARD TO SPOT FORGERIES?

RICHARD THOMAS: “Some of the old Japanese gear is nice. And cymbals, such as old A and K Zildjians, Black Label Paiste 2002s and old Paiste 602s.”

RICHARD THOMAS: “1950s/’60s Gretschs and ’50s to ’80s Ludwigs are the best-selling vintage drums without doubt.”

15. PLAY OR HOARD?

Dave Brown specialises in vintage drums like this rare and pristine Slingerland kit

SIMON WAGSTAFF: “If you know shells and particular wraps and know your dates, you can normally suss out the duds. I recently saw a kit wrapped in Premier Black Diamond Pearl with Rogers fittings and a Slingerland badge! The shell wasn’t Slingerland or Rogers, but someone might see that and think they had a genuine vintage kit. A chap once tried to sell me a genuine Radio King snare. I had a look and it was nowhere near.” DAVE MCREADY: “You need to know your stuff. I have a friend who made a wood-shell DynaSonic and it even fooled Rob Cook!”

IMPROVE YOUR GEAR: HOW TO BUY VINTAGE DRUMS

17. BETTER OR WORSE?

19. IT’S A WRAP

21. SPARES

ARE VINTAGE DRUMS BETTER THAN MODERN DRUMS?

HOW DO YOU RECOGNISE RECOVERED DRUMS?

HOW DIFFICULT IS IT TO SOURCE SPARE AND REPLACEMENT PARTS?

PRESTON PRINCE: “No, not better. Some old drums are great, but there are outstanding drums being made these days.”

JEREMY PEAKE: “Loose badges, replaced grommets or shoddy workmanship. Drums may also be wrapped in a finish that was never offered by the manufacturer. I don’t have a problem with professionally recovered drums, but it can affect their value.”

MIKE ELLIS: “Not as hard as you’d think! The internet is great for sourcing hard-to-find vintage parts, and there are artisans out there making retro-fit parts. You just need deep pockets!”

ALAN BUCKLEY: “Some sound good and some don’t. You do get nice tones from some of the old shells. I prefer the split [brass] shell in the early Ludwigs. From 1925 to about 1932, the shells were brazed in two parts, and the bearing edges were gigantic. It’s the bearing edges that make the sound. That’s a drum I do like. In 1932 they changed to the one-piece shell, which I believe is a Leedy.” ROBIN MELVILLE: “Although modern drummers use the latest kits they often have a vintage Ludwig/Gretsch/Slingerland in their collection. And rental companies supply these to hire for video shoots, television, studio work, etc.”

18. THE STING ARE

ATTEMPTS TO HOODWINK BUYERS COMMON?

MIKE ELLIS: “More often than not a drum or kit is advertised erroneously because the seller hasn’t done any research and is relying on guesswork. But I do often see kits advertised as being older than they are, or cheap budget kits fitted with bass drum heads showing a more desirable, collectible brand name. A common issue is with Hayman drums. The collectible Haymans were made in the ’70s, but there have been two relaunches of the brand post-1985. Sometimes these are advertised as ’70s vintage. The same problem exists with Rogers, which have been relaunched as cheap, budget kits a couple of times since the late-’70s.” DAVE MCREADY: “Most dealers are above board, but there are sharks who will try to dupe the novice. Rewrapped kits made up with non-original shells do appear. I would never hoodwink anyone. In fact I usually do too good a deal and lose out a bit!” RICHARD THOMAS: “Generally the drum community is honest. I

don’t think there are many drum rogues out there. But if in doubt, don’t buy. Ask questions about the history. I’ve seen Haymans (with white painted interior shells) converted to old Ludwigs, and new USA kits repainted on the inside and sold as old kits. Drums painted on the inside when they should have a natural finish can hide a multitude of sins, holes and splits.” JEREMY PEAKE: “Badge switching or replacement of damaged original shells with cheap ones. I’ve also seen printed transfer logos suggesting expensive versions stuck on to cheap cymbals.” PETER FOSKETT: “Don’t always assume that the badge on the drum is correct for the model or age. In particular with American drums, which carry premium prices, people put a lot of store in the badge to date the drum, and it takes experience to know if it is correct… fitting a different badge is a relatively easy thing to do.”

MIKE ELLIS: “Poor finishing on the bearing edge can be a giveaway, if the wrap doesn’t ‘grip’ the shell properly and the wrap joint isn’t neat and located under a lug-line. But some recovers are well done and difficult to spot.”

STEVE CROSSLAND: “Sometimes you have to be patient. UK parts, like Premier, are usually easy to get hold of. Specialist dealers like Nick Hopkin for Premier and Len Howe of Classic Drums for Ludwig are good, reliable sources. There is eBay and more recently trading sites on Facebook – and not forgetting of course the annual drum shows like the UK National Drum Fair in Birmingham at the end of September, and the recently revived Classic Drum Show at the Red Barn in Nuneaton.”

ROBIN MELVILLE: “You can tell if a pre1968 Ludwig’s been recovered by removing one head. Ludwig applied the covering before the drum was moulded into shape, so one end of the wrap slotted in with the plies at the butt joint. When it has been recovered both ends of the wrap are visible.”

GARRY ALLCOCK: “The UK National Drum Fair has 50 to 60 traders and lots of spare parts.”

RICHARD THOMAS: “Check for ripples in the wrap, and shading differences from drum to drum.”

PETER FOSKETT: “Good hardware seems difficult to find. It has nearly always been separated from the drums and left somewhere damp, and corroded as a result. Rust is the biggest problem, along with missing wing nuts and locking screws, etc. But when you do find the right set of stands, it makes a vintage kit look fantastic.”

ALAN BUCKLEY: “It has definitely improved now that we have these drum shows. I’ve been selling vintage foot pedals and hihats, small things. I polish them up and sell them privately, not on the internet.”

20. MODS ARE

22. REPAIRS

MODIFICATIONS OKAY?

MIKE ELLIS: “Modifications are okay

providing they are done with sympathy [to the original design].” ANDY YOUELL: “If you’re buying quality gear then no mods should be necessary.” PRESTON PRINCE: “If it’s all original, leave it! If you want an investment grade drum, don’t touch it. No extra holes, no re-wraps, no recut bearing edges. Re-wraps devalue kits significantly. As soon as you do that it’s a ‘player’s kit’.” ALAN BUCKLEY: “Re-cutting bearing edges is ridiculous! A drum will sound [good] if it has a good shell. And you have to be careful anyway, because the edges may give a bit. No to re-wrapping too. It can only be done on a perfectly round shell, not one that has been dropped or has warped. If you think it has been re-wrapped, see if it has risen from the shell. Some modifications are okay though, as long as when you buy or sell the drum you point it out.”

WHO DO YOU TRUST TO REPAIR OR RESTORE YOUR VINTAGE GEAR?

MIKE ELLIS: “Apart from myself? I’d recommend Eddie Ryan, Nick Hopkin and Jamie Corstophine at The Drum Vault.” PRESTON PRINCE: “Me! Also, Gary Noonan, David Payne and

Richard Newby.” ROBIN MELVILLE: “Eddie Ryan and Gary Noonan do a great job. Also I’ve heard Potters of Aldershot, which services the military, is very good.” ALAN BUCKLEY: “I don’t recommend having stuff redone. It is better to get the rust out with 0000 grade steel wool rather than have it re-chromed. If you do want to re-chrome it, don’t get modern chroming. Go to a vintage car expert and do it in vintage blue chrome. I restored a 1923 Leedy Black Beauty; I was nervous when I stripped it. I used a lacquer remover you put on for so many seconds and rub off, bit by bit. I lightly lacquered and polished it and it has come up beautifully. But some Americans have a drum completely redone, they highlight the engraved flowers (on Black Beauties), and it doesn’t look right.”

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ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS THE DRUM BEFORE RENOVATION

PROJECT 1: SNARE

WORDS: GEOFF NICHOLLS PHOTOS: PRESTON PRINCE

Restoring a 1940s Slingerland Radio King snare What you’ll need for this

PRODUCTS

TOOLS

QGeocel wood PVA Q3M 30NF contact adhesive & Superglue QEvo-Stik Time Bond contact adhesive (seam) QLiberon Tourmaline solution for ageing QBeeswax & Briwax QSandpaper (various)

QCleaning brush QEngineer’s square Q12V power drill Q7/5/2.5 mm wooden drill bits QLaminate roller QRouter table QRound file

QCallipers QG-clamps for reinforcing rings QSpanner QElectrical screwdriver QPhillips screwdriver QSponge QMasking tape

Disclaimer: Minors should only use these tools and products under the supervision of a parent or guardian

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IMPROVE YOUR GEAR: VINTAGE RESTORATION

P

reston Prince of Tiki Drums in Brighton takes a badly yellowed Slingerland snare drum from the 1940s, restores it and re-wraps it in Black Pearl.

The drum in question is a Slingerland Hollywood Ace Swing Model Radio King. It has a 14"x7" single-ply maple shell with solid maple reinforcing rings. Preston says, “The badge is aluminium which dates the drum to between 1942 and 1947. I bought it on

01

The badly damaged drum as it was bought on eBay but with the bottom hoop removed

INSPECTION Preston Prince: “I first checked to see if the hardware/ fittings needed replacing or just a good cleaning [Fig. 1]. I removed the upper and lower hoops and made a note of any original or non-original tension rods. You can look at the ‘patina’ of the tension rods too. New ones will have less patina or rust marks. Also check that all the rods are the same length and that none have cross-threaded. Self-aligning lugs are generally okay and in fact these were all fine. The threads seem to be standard since the 1940s.”

RE-GLUING THE REINFORCING HOOPS Where the reinforcing hoops have de-laminated they are glued and clamped back together. [Fig. 3] “I inspect the reinforcing rings to see if they have come away at all – de-laminated. And I also check that the shell is in the round. The reinforcing hoops were coming away a little so I glued and clamped them. Hopefully this will also help bring the shell back into round. “Sometimes in the past, with an out-of-round shell, I have taken a metal counter hoop that I know is perfectly round and placed that over the shell (without a drum head). I then wedge it each side and glue and re-clamp the re-rings using wood PVA. I wet both surfaces before applying the glue as this will draw in the glue and make it less brittle. This can be quite tricky because sometimes the de-lamination is only minimal. So I use a little injection needle to get in there and get it quite wet. I inject the glue as well. It’s a common mistake to use too much glue. “There was also a little bit of ‘breakout’ on the shell. Sometimes they used to make the shell with quite green wood, which would help with the

eBay in the UK three years ago for £180. It was advertised as “needing some TLC, grab a bargain, buy it now”. Even though in poor visual condition it was still worth the money. There were photos of the inside with the craftsman’s signature on it and I asked the seller if the shell was in-round. It is not perfectly round, but for a solid wood drum of that age it is good, probably 2mm or 3mm out. The drum was all complete, all the parts were included in the sale. I thought it would be a nice project to have going on in the workshop for myself or an apprentice. “On visual inspection I discovered various cracks and splits in the White Marine Pearl, which was

THE ORIGINAL WRAP The wrap was damaged with splits around the strainer. [Fig. 2] “On visual inspection there turned out to be various cracks and splits in the White Marine Pearl covering. It was too brittle and beyond whitening, so unfortunately on this occasion it was not worth saving.” The wrap was stripped off to reveal the maple shell. “The wrap, which was originally glued, mainly pulled off by hand,” says Preston. “It was not too difficult. Where it was stuck I used a flat knife and carefully pulled it out. The wrap was thin and brittle, not like the thick Delmar stuff you get now. “Vintage wraps may have been stuck down with animal glue originally,” he explains. “If it is really stuck you can heat it with an iron and that sometimes reactivates the adhesive. Use a warm iron, not piping hot, and cover with a wet towel if you want to preserve the original wrap. What you have to be careful of is ripping it and hacking away, thereby pulling off some of the shell and splintering it.”

03

also yellowed beyond recovery. So, as I had some Camco Black Diamond Pearl covering I decided to do a re-wrap. It’s a shame the wrap had to come off, but it did. “With a vintage drum like this you just have to go by gut instinct, really. I saw the photos online and thought it was worth a punt. I have done it before though. If it isn’t salvageable, or you don’t have the time, or some parts are missing, you can either buy the parts or re-list it and sell it on for the money you paid. You do need to know what you are doing for some things, or take it to a restorer who can do it.”

02

The original, damaged Marine Pearl covering

TIP

”THE MISTAKE PEOPLE MAKE REMOVING THE GROMMET IS DOING IT TOO DRY AND GOING HELL FOR LEATHER AND THE GROMMET STARTS TO SPIN AROUND. USE A BIT OF OIL TO LUBRICATE IT.”

04

Aluminium Slingerland badge has oxidised quite severely

ALUMINIUM BADGE Where the reinforcing hoops have delaminated they are glued and clamped back together

bending. And if the shell wasn’t steamed enough, moist enough, it would be brittle so some of the grain would pop out. You might see a little bit of that on the outside as you strip the shell back. You don’t need to do anything, just make sure it is flat when you re-wrap it.”

“The badge must be removed and this destroys the grommet. [Fig. 4] I drill from the inside of the shell using a wider drill bit. A little oil on the drill bit helps the blade cut through the brass, making it a softer cut. “Some people try to preserve the grommet by wedging it out with a flat-head screwdriver, but you risk hacking into the shell. So I think it’s better to replace the grommet. These are readily available from Len Howe (www.classicdrums.com) who knows all the right sizes. You can ‘age’ it a little also using a Tourmaline bronzing solution.”

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ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS

CLEANING THE HARDWARE [Fig. 5 & 6] “The hardware is nickel-plated, not chrome. It will not look pristine when cleaned, but the complete drum will look smart. I use a Dremel tool to clean moving parts, like the strainer and internal dampener. The Dremel is a small hand-power polisher, like a dentist’s drill which accepts attachments polishing mops or fine wire wheels [Fig. 7 & 8]. The finest grade of steel wool just burnishes off the rust, it won’t get it back to the original shine. I give it a light dusting of Carnauba beeswax which gives it a sheen and protects it. I don’t want to make the drum look over-restored or new. This drum has probably been in someone’s garage and the damp has got at it. Hopefully in its new form it will be looked after a bit more.”

GLUING THE WRAP “To replace the original wrap I had some Camco Black Diamond Pearl. I cleaned this, then rubbed it down and keyed it with 240 wet-and-dry ready to apply the 3M 30NF contact adhesive. I apply two layers of adhesive onto the shell and leave it overnight. I do one more coat and let that dry for two hours. Then I apply two coats of contact adhesive to the wrap, leaving it until touch-dry, which depends on the temperature in the workshop, before fixing it over the shell.” [Fig. 10] “The fixing line of the wrap must be square. I achieved this by working the shell previously on the flattening table, which has fine sandpaper on it. Ensure both sides are square using a ‘T’ square, retaining the original seam position on the shell.” [Fig. 9]

06

05

Some of the hardware and fittings before cleaning. Lugs show patina and rust spots

08

07

“Wrapping is a difficult operation because if you get it wrong you have to pull the wrap off and start again! The square line should work. However, to be safe I do a ‘trial run’ using grease-proof paper [Fig. 11]. I attach the front of the wrap to the marker line and offer the wrap entirely around the shell and see where the join arrives. If all is square you are good to go. You may need to make the slightest of adjustments and offer it up again until the opposite end arrives at the satisfactory position. It’s best to allow a slight overhang when measuring the wrap to allow for any alignment issues – especially when dealing with old

Shell with attachment line for the wrap

Using the Dremel tool to clean up the internal dampener

A Dremel tool is good for cleaning small moving parts

RE-WRAPPING:

09

The original threepoint mount strainer disassembled, all working well

11

shells, as they can be slightly warped. Applying thicker wraps to older, temperamental shells, like Radio Kings, can be a nightmare as there is very little give. That’s why I chose this thinner wrap that I had lying around the workshop. “I mask off the fixed side of the wrap and then lightly key the surface with some wet and dry. I then apply a thick layer of (low odour) Evostick Time Bond to both sides, allow to dry, then apply pressure, using clamps and two protective pieces of wood. “Trimming the wrap is done on the router table with a very fine 45° router bit. This tidies up the outer edge without destroying the original form of the edge, which is important to me.” [Fig. 12 & 13]

12

13

10

Inside of Camco wrap, cleaned and ready with contact adhesive applied

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Dry run to check the wrap fits, with greaseproof paper temporarily laid under the wrap

Sharp trimming scissors are used to clip off the excess covering

The trimmed wrap

TIP

13

“YOU CAN REDUCE YELLOWING WITH SOME GOOD OLD ELBOW GREASE, PATIENCE AND VARIOUS GRADES OF WET AND DRY PAPER. THE MAGIC INGREDIENT IS FAIRY LIQUID.”

14 15 The shell edge is flattened by rotating on a flat table covered in sandpaper

The new wrap has to be drilled to correspond with the original fixing holes

DRILLING THROUGH THE WRAP

The snare bed before filing off the excess wrap

16

The new wrap has to be drilled to correspond with the original fixing holes [Fig. 13]. “I drill through the new wrap from the inside of the shell, first using a wood bit with a very sharp point of 3mm. This creates a centre-hole so I can drill from the outside, making a perfect hole without any ragged edges.”

Re-fitted badge with new grommet

BEARING EDGES AND SNARE BEDS

The finished drum A RESTORED CLASSIC

“The shell edge is flattened by rotating on a flat table covered in sandpaper. I want to keep the edge as true to its original shape as possible.” [Fig. 14] “It’s important for tuning that the top of the bearing edge is flat all the way around for an even contact with the head. To get this I rotate and rub the shell on a flat sanding table, taking great care not to overdo it. You want the edge of the shell to have a square, flat surface and as you look along the bearing edge you can see this flat surface widening and reducing. I then tidy up the inner 30° slope of the edge. I find the only way I can do this is by using a rounded hand file, just like they used to do. “Where the shell dips at the snare beds I might remove the excess wrap with a razor blade.” [Fig. 15]

Preston Prince: “Overall I am really happy with the finished drum. The wrap has worked well, it’s not new so it has some small scratches and nicks which make it blend with the cleaned hardware. The objective was never to present an over-restored drum. The objective was to

Strainer and aluminium snare strap for the original snare wires

present a well-loved drum in good condition which works well and looks as though it has been played. Some guys will want to make it look brand new, but I can't stand that! It sounds like a Radio King, you have to remember this drum was designed for players of that era.”

THE SNARE AFTER RESTORATION

REASSEMBLY [Fig. 16] “The term ‘three-point strainer’ was coined by collectors. Slingerland’s original name for the strainer was actually the ‘Speedy Sure-Hold strainer’. This particular lever arm has the Radio King stamp on it. The bridge still has a patina. However, it is sealed with a mixture of Carnauba wax and beeswax. I don't want it to look new or over-restored. “The idea behind the extended wires on either side of the drum was to allow the head to kiss the central part of the wires, in theory “IF A LUG BOLT IS FAULTY THEN eliminating the choking YOU CAN GO TO A SUPPLIER OR effect of wires pushing up LOOK ON EBAY. GET ORIGINAL on the bottom head, which ONES IF POSSIBLE. THE MAIN is what you get with a THING IS TO TRY TO KEEP THE DRUM AS ORIGINAL AS standard strainer.”

TIP

POSSIBLE.”

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37

ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS THE KIT BEFORE RESTORATION

PROJECT 2: DRUM KIT

WORDS: GEOFF NICHOLLS PHOTOS: PETER FOSKETT

What you'll need for this

PRODUCTS

TOOLS

QWood filler QMasking tape QDouble-sided tape QSpray adhesive QMethylated spirits QChrome cleaner QPaint stripper QSpray paint and primer QWD-40 QCar or furniture polish

QHobbycraft knife QScissors QStraight edge and square QDrill and bits QT handle QBench vice QMole grips QPolishing mop QJeweller’s soap

Disclaimer: Minors should only use these tools and products under the supervision of a parent or guardian

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QSandpaper QSanding block QDetail sander QFile QMuslin cloth or cotton T-shirts QProtective gloves QReplacement grommets QPeen hammer QWallpaper scraper

IMPROVE YOUR GEAR: VINTAGE RESTORATION

F

ollowing our project

Typically, parts have rusted, gone missing or broken, finishes have faded or been scratched, perhaps beyond repair. Of course we’d all like to find a rare

and desirable – most often American – kit in fabulous, as-new condition. Such kits exist and we regularly feature them on our Vintage Gear pages. But they are increasingly rare and expensive. A cheaper alternative is to rescue an old British kit, many of which are of high quality but are relatively ignored, deemed less fashionable or glamorous. This kit belongs to drum restorer Peter Foskett, who turned three ‘orphan’ (circa 1969) Beverley drums into a gleaming kit. It’s a time-consuming job, but anyone with reasonable handyman skills, some basic tools and a lot of patience could give it a go. Beverleys of this period were made in Premier’s

REMOVE THE LUGS

REMOVE THE BADGES

QPeter: “Start by removing all the hardware. With Premier-made drums the small screws can sometimes seize in the castings. If you are too forceful you can snap the heads off, so I use a ‘T’ handle wrench and do it slowly. You need either a ¼" socket or a Phillips head bit. “The clever thing about these Premier lug fittings is that the fixing bolt screws into the lug first and slots right through the hole in the shell. The washer has a slotted cut-out so that it slides over the bolt head inside the shell, which is then tightened up. So if the bolt does seize in the lug you can gently tap the washer out and pull the lug away. Then you can extract the screw using WD-40, or a vice and mole grips.”

Q[Fig. 1] “Badges are fixed by grommets which I drill out using a very slow drill speed. This takes the top off the grommet so the badge comes away. You will replace the grommet with the same size grommet afterwards. Buy grommets in hardware stores or on eBay.”

restoring an old snare, we turn our attention to an entire kit. These tips particularly apply to older drums which are beyond the stage of just needing a good clean-up…

Leicestershire factory. Peter explains: “Many parts are shared with Olympics and Beverleys, so it’s easier to find missing bits. I bought the bass drum a few years ago that was in pretty good condition, but had some claws, ‘T’ rods, spurs and part of the tom mount missing. The floor tom I bought just as a shell. It had the badge, leg brackets and hoops but no lugs. The 13" tom came up on eBay and amazingly the guy also had 16 Beverley lugs. Just enough for the floor tom! It’s virtually a year’s worth of detective work, but it cost probably less than £100 for the three drums. It’s accessible and you’re bringing something back to life that otherwise would be parts.”

First, drill the top of the grommet out

TIP

AS A GENERAL RULE FOR METAL USE A SLOW DRILL SPEED AND FOR WOOD A HIGHER DRILL SPEED.

01 02 Here the grommet and badge have been removed

You can see daylight under the straight edge

03 REMOVE THE WRAP Q“The original wrap was glued along the edges and had double-sided tape at the seam. Use a wide blade, wallpaper-style scraper to get the wrap off. If it’s glued you may have to use a hot paint stripper gun.”

UNEVEN SHELLS Q[Fig. 3] “Old shells sometimes have bulges or depressions which would make re-wrapping extremely difficult. Run your metal straight-edge between the lug

holes and you can sometimes go from a convex to a concave profile! Also, with these extremely thin old shells, 40 years of head tension can cause the shell to bow inwards slightly towards the bearing edge. Which is what the reinforcing ring is there to stop.”

Mark up the high or low areas with a pencil

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ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS

04

SANDING THE SHELL

TIP

Q“I scribble across the high areas and sand until I’ve lost the pencil marks. Keep checking with the straight edge. Use an orbital sander which vibrates, using coarse sandpaper to start (around 120 grade), going to finer paper to finish. I’ve made a little bench with two parallel arms of wood that allow me to put the shell over or on top, depending on whether I’m sanding inside or outside the shell. It’s clamped onto my Workmate bench.”

WHEN SANDING ALWAYS KEEP MOVING, DON’T LOITER IN ONE PLACE OR YOU CAN MAKE A FLAT SPOT.

FILL THE SHELL Q“When the original wrap was glued, especially on mahogany shells, removing it can tear away a bit of the outer ply. Any damage like that, or a small dip, then fill it.”

05 Use a detail sander to clean up the bearing edges, inner and outer .

CHECKING THE BEARING EDGES Q[Fig. 5] “I am not re-cutting, just cleaning. Keep moving and if in doubt use fine sandpaper with a block. With the outer edges you have to be most careful because this can affect the point where the head contacts the drum. The edges are not sharp like on modern drums.” Laying the drum on a sheet of (perfectly flat) glass or marble/granite is a good way to check the edges are flat.

6a

RE-COVER THE SHELLS Q“I bought two sheets of blue pearl wrap made by Delmar in the USA. Each sheet is 54"x24" with an outer protective film which you retain while working. It cost about £35 per sheet, which was a good deal. Pearl and glitter wraps are offered on eBay at around £70 per sheet and there are American suppliers offering complete kit wraps (two-and-a-half sheets) at $150 plus postage. [Fig. 6a] “Use a fabric tape measure for your shell circumferences then add on an inch for the overlapping join. The 13" tom with overlap was 42" and the 16" was 51¼". Using masking tape, mark out a line parallel to the long edge. The 13" tom is 9" high and I cut it exactly 9". But note that on, for example, later Ludwigs the wrap is finished ¼" in from the bearing edge, so then you would cut the wrap 8½" high. “The bass drum required 70", so you have somehow to cut two pieces from the second 54" sheet. It’s a 10-lug drum so I cut a smaller piece to fit between the lower three lugs and a larger piece between the upper seven, with all joins under the lug casings. Off-cuts are used for the hoop inlays.” [Fig. 6b] “With the square across the lugs the line is where I want the outside of the overlap to be, so you mark an inch beyond that, which is where you want the extended wrap to start.” [Fig. 6c & 6d] “Line up the wrap for a dry run and double-check the overlap position. Measure twice and cut once, it’s expensive material and you don’t want to make a mistake. “When finally fixing the wrap it’s easy for the material to ‘run out’, leading to a mismatch at the seam or at the bearing edges. So I glue the wrap one-half at a time. Start by taping the wrap at the second line (the one beyond the overlap) and

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Use masking tape to help with measuring and cutting on the back of the new wrap

TIP

BEFORE GLUING WIPE OVER THE INSIDE OF THE WRAP WITH METHYLATED SPIRITS SO THE GLUE WILL STICK WELL.

6b

Using a square edge, draw a line through the centre of the lugs at the back of the small tom

6d

6c

Trial run: check that the cut wrap fits by wrapping around before glueing

Trim off any excess after allowing for the one-inch overlap

6e

Heavy-duty flooring adhesive is sprayed onto both shell and wrap. Inside of shell masked with newspaper

wrapping it round half the shell without glueing, taping it again at the midway point (‘6 o’clock’). This ensures that it will wrap round into the correct position, minimising any error. [Fig. 6e] “Then I unwrap half of it and spray the adhesive on the second half of the wrap and shell. Let

it go tacky then start rolling and praying! “The shell has now been turned around so we are looking at the other half. Now glue the second half, from ‘6’ to ‘12’. [Fig. 7] “The shell is glued all round except for a strip of double-sided tape at the seam. This keeps the

TIP

GLUE INDOORS IN THE WARM SO THE WRAP STRETCHES TO ITS MAXIMUM. THEN IF IT GETS COLD IT CAN ONLY CONTRACT.

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Wrap is glued all round with a bit of the protective film peeled back where the overlap is. Allow to rest

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Drill through the wrap which still has its protective film Polishing the chrome hardware with a mop

11

Screwing down the bolt using an Allen key tightens the grommet

12

Newly sprayed hoop with inlay fixed by double-sided tape

Spraying the hoops with car primer and paint

join clean so glue doesn’t ooze out if it starts to contract. To trim any tiny edges from the wrap I use trimming snips/shears, then a file and eventually a detail sander, taking great care not to damage the bearing edges. Any minor mismatch at the bearing edges will be hidden when the heads and hoops are in place.”

DRILLING Q[Fig. 8] “I use a short cordless drill to get inside the small shell. The drill bits are matched to the existing

holes. Drill onto a wooden block for a clean hole through the wrap.”

RE-FITTING THE BADGES Q“I put double-sided tape on the back of the badge to stop it rotating. I made a special little tool for fitting the replacement grommets. It’s a bolt with a washer and a threaded receiving cylinder.” [Fig. 9] “The bolt is screwed through the washer and grommet hole into the threaded cylinder beneath. The latter has a tapered top, so as it is pulled up it

THE KIT AFTER RESTORATION

splays the grommet for a tight fit. “There are other ways of doing this, such as using a small steel ball and peen hammer. Sometimes the grommet comes in a kit with a splaying tool/punch that you can hit with a peen hammer.”

POLISHING THE HARDWARE Q[Fig. 10] “I have a polishing mop on a beefy, one-horsepower motor,” says Peter, “but you could easily use a bench grinder with a pig-tail adaptor, which is a tapered spindle that you wind the polishing mop onto. “Mops come in three grades: coarse, medium and fine. Start with the coarse and finish with fine. Use jeweller’s soap, an abrasive paste which comes in bars, like soap. If the parts are in good nick then just use metal polish.”

BASS DRUM HOOPS Q“Sand back to bare wood because you never know what it’s been painted with over time and it could ‘pickle’ where the new paint reacts with the old. Alternatively use paint stripper.” [Fig. 11] Spray with car primer and paint. “I’ve made a little turntable so the hoop is held at four small contact areas and you can spin it round while spraying,” explains Peter. [Fig. 12] “Old inlay wrap on Premier-made hoops is held in place by two small staples, hidden underneath the claws.”

FINAL PARTS “The only concession I have made to upgrading is to fit the more modern, oversized wing nuts on the floor tom leg brackets”

QAll the polished metal parts are now ready for re-fitting. Fix the hardware back on using ‘T’ handle tool and ¼" bit. QThe fabulous result of this renovation can be seen in the three finished shells pictured left. Orphan drums destined for the scrapheap are transformed into a gleaming, as-new kit.

In restoring old gear many enthusiasts insist on staying faithful to original specs, avoiding upgrades or modernisations. Many classic kits have been spoiled by the substitution of more modern tom mounts or spurs, for example. And many a bargain hunter has been duped by a sneakily re-covered classic. The UK National Drum Fair is the place to meet knowledgeable, friendly traders and enthusiasts. You can find parts for just about anything there. Joining Dave Seville’s Old Drummer’s Club ([email protected] ) gives you access to a unique forum for vintage knowledge and gear trades. Don’t neglect your local drum shop, and then there is eBay… but approach with care.

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ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS

FREQUENTLY ASKED QUESTIONS

GEAR

So far we’ve shown you how to fix up your old gear, buy new gear, vintage gear and even restore old drums to their former glory… but there are still some things you may want to know on the subject of drum gear. Here are some questions we often get asked about our beloved instruments… I clean my cymbals, Q Should and how do I do it safely? Aside from sound, there are two other considerations regarding cleaning a cymbal: how safe is the cleaning process and what look do you prefer? Some drummers like their cymbals shiny, for others, the grungier and funkier the better. For the latter it’s easy – don’t clean them. But, whether you like them shiny or not, you should at least keep them dry. Damp rehearsal rooms/clubs etc, sweaty fingers and acidic deposits, are a constant threat. Fastidious drummers use soft cotton gloves to pick up cymbals (by their edges), wipe marks off with a soft dry cloth and keep them

Products are available, such as Cymbal Doctor, which exist specifically to clean up your metals

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in protective bags. Maybe include silica gel moisture absorbent. Modern cymbal bags with woolly linings protect your cymbals and keep them warm and dry. Cymbals will gradually get dirty. They have lathed grooves in which dirt can lodge and dull the sound a little. The argument for and against cleaning therefore actually involves sound, and again some drummers prefer the ‘toning down’ that a build up of a patina causes. ‘Patina’ is the visual effect of a combination of various chemical compounds on copper and bronze alloys, including oxides, carbonates, sulphides and sulphates. It’s why the Statue of Liberty is green. Unlike rust, this milder tarnish (or verdigris) actually protects the copper or bronze from further degradation. It is therefore valued in old cymbals. A bit of surface dulling, dirt and mild tarnishing does no harm. A dullerlooking cymbal may actually sound slightly less toppy. And for many, looking for the darker mysterious timbre traditionally associated with very old Zildjians, this is a plus. Older cymbals gain a patina which gives them a slightly mellower sound, sought after by many drummers. Polishing a cymbal to a brilliant finish does not of

itself make it brighter sounding. But, if you do clean your cymbals, be careful. Expensive cymbals are highly tempered and many have thin protective coatings. Using any scouring substance can cause scratches; power-tool polishing with attendant friction heating can conceivably affect the temper. Keep your cymbals dry and protected, wiping off fingerprints with a soft, dry cotton cloth, perhaps occasionally gently clean them in warm soapy water, followed by a thorough rinse and dry. This removes some superficial dirt, but stains and stick marks are unaffected. Other DIY tricks involve everyday products, usually with some sort of acidic content: lemons or limes (citric acid), tomato ketchup (vinegar – acetic acid), or plain yoghurt (lactic acid). Dousing the cymbal with these cheap, everyday items, leaving for a few minutes and then thoroughly rinsing with warm water can have good results on certain cymbals. Note that all of these are simply applied, left to work and then washed off. No heat, no scrubbing, no abrasion. Commercial products such as the undeniably effective Cymbal Doctor, which helps to clean, polish and seal your cymbals in a safe manner, are also available.

OLDER CYMBALS GAIN A PATINA WHICH GIVES THEM A SLIGHTLY MELLOWER SOUND, SOUGHT AFTER BY MANY DRUMMERS

IMPROVE YOUR GEAR: FAQS is the difference in sound Q What between different shell woods? The truth is that you can make a drum out of almost any wood and it will sound fine if it’s round, has true edges and decent heads. So let’s try to keep this simple… The two most popular woods for pro kits have long been maple and birch. Both should also come from managed, sustainable supplies, so your conscience stays clean. Maple is considered brighter, warmer and more open; the birch darker, more focused and punchier. Maple is an all-round wood, while birch is sometimes described as ‘EQ’d’ or ‘studio friendly’, since it has good attack and slightly shorter, ‘controlled’, sustain. Manufacturers have tried tempting us with beech, oak, ash, walnut and the like, all perfectly good alternatives. Beech is similar to maple but with some birch-like dryness. Oak is loud, deep, with longer decay. It’s not just the species of wood that matters, but the quality. Starter kits are often Philippines ‘mahogany’ (AKA lauan or meranti) which is not real mahogany but a softer substitute from endangered Asian rainforests. You can also find budget drums of maple or birch, which offer amazing value and sound good but are not premium grade timber like expensive drums. The harder the wood the more difficult it is to work with, but will make a thinner (and therefore more resonant) shell. Expensive drums, therefore, will often have thin shells made out of an extremely hard wood. Cheaper drums will have slightly thicker shells made from softer wood or wood of a lower grade. The expensive drums are brighter, more resonant and project better. The cheaper drums are warm sounding but can often be less punchy. The type of wood is actually just one small component of your sound. It’s really the icing on the cake, imparting that final, mysterious timbre. But it’s a very subtle, subjective thing.

sticks should I be using? Q What Primarily, you should just use exactly what feels good to you. Whichever brand you opt for (Vic Firth, Vater, Pro-Mark, Zildjian and Regal Tip are the best-known American stick companies and you won’t go far wrong with any of them), it’s useful to know a bit about stick manufacture and types. Most decent sticks are made from hickory, oak or maple. Hickory’s the most popular because it’s strong but very slightly flexible, so it doesn’t feel too rigid and doesn’t shock your hands so much. Oak is heavier and a little less forgiving. Maple is the lightest, sometimes preferred by orchestral and jazz players. If you want something light but still with a fat sound, maple may be the answer. Whatever the wood, sticks vary in size and shape. A thick main shaft sooner or later tapers via a shoulder to a thinner neck, topped off by a sculpted tip or acorn. Stick lengths vary between around 15" (39.5cm) and 17" (43cm), usually hovering around 16" (41cm). Sticks for more delicate work have long, tapered necks and small tips. This type will easily break in loud rock bands, so heavier drummers go for thicker sticks with shorter, stouter necks and bigger tips. Shape variations affect how the stick feels to play. Try out a selection of lightweight sticks and you’ll

Traditional Turkish cymbals, such as these made by Bosphorus, are made from high tin-content B20 alloy

THE ONLY SURE WAY TO CHOOSE THE CYMBAL THAT’S RIGHT FOR YOU IS TO TEST THEM. VISIT A STORE WITH A TESTING ROOM soon discover some that feel comfortable while others will feel wrong for you. The length and taper of the neck and position of the shoulder can really change the balance point of a stick. Tip shape also changes the sound, particularly on ride cymbals – plastic tips give a sharper, pingier ride sound, which is something you’ll either like or dislike. Although traditional stick naming is obscure, it’s useful to know the basic types. Traditionally, the commonest stick types/sizes are 7A, 5A, 5B and 2B. The letters came about decades ago when they loosely referred to the sort of music that the drummer played. ‘A’ denotes the lightest, and was for orchestral players, ‘B’ for concert bands – there was also ‘S’ for street players, (such as marching bands). So ‘A’ would be light, ‘B’ medium and ‘S’ heavy. You’d think that these labels implied standardisation and they do, but only up to a point. A 7A stick by one company can vary quite a lot from a 7A by another. Nowadays you’re just as likely to see sticks labelled ‘fusion’, ‘rock’, ‘fatback’ or ‘hammer’ – these can also be handy descriptions. Be careful with artist signature sticks - just because your idol plays them doesn’t mean that they’re suitable for your hands/physique or the music that you are playing.

do I choose Q How the right cymbals? Cymbal manufacturers take raw discs of alloy and then subject them to all sorts of epic violence – beating, hammering, shaping, tempering, lathing – the result is that they can produce a massive variety of different sounding cymbals. Cymbal choices are thus supremely personal, and spending

more money does not always result in getting a ‘better’ sound – just different. However, cheaper cymbals are sometimes made from brass – not really the proper alloy for cymbals, which are generally made from bronze. Bronze cymbals are mostly grouped into two broad categories: B8 bronze and B20 bronze. The budget ranges from the big North American names, Sabian and Zildjian, are made from B8 (with its lower tin content) and are referred to by them, somewhat snootily, as sheet bronze cymbals. Their pro ranges are made from B20 and referred to as individually cast cymbals. Traditional Turkish (eg: Istanbul, Bosphorus) and Chinese (eg: Stagg, Dream) cymbals are also B20. But note that the big European names – Paiste and Meinl – make great sounding pro lines from B8 and B20. Much depends on the style of music. Many cymbals are made today to withstand the beating of heavy rock/metal drumming. This invariably means they are thicker and heavier, which in turn means they are higher pitched and piercing. Horrible for a jazz player, for example, but exactly what a metal player needs. The only sure way to choose the cymbal that’s right for you is to test them out. Visit a big store (preferably on a week day) where they have a testing room. Set your choices up on a kit and play them the way you normally play. Then stick your fingers in your ears and stand some way off while someone else plays them. Take along your old cymbals along for reference. Don’t just thrash – tick off a checklist: sustain, pitch, tone, overtones, stick response, sensitivity, power. And anything else you are looking for.

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ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS

TIPS, TRICKS & PROJECTS TO HELP YOU

PLAY BETTER

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PLAY BETTER: INTRO

From time to time we all hit a wall with our playing. Maybe it’s that we need to take that next step in our development as players, so why not try a different genre of playing – such as swing and big band playing? Or maybe it’s your sense of groove that needs working on. Here we have that covered too. And what better way to put rudiments into practice than as part of a well-worked solo? Here you’ll find lessons – with video tutorials to accompany them – on these three areas. Alternatively it may be a number of areas that you’re less than happy with; and if you’re unsure where to turn, we can help you troubleshoot your playing! We’ve got tips and tutorials to help nail common problems, from set-up to grip, maximising your practice, mastering dynamics and more. Then we present Rhythm’s 30 Day Drum Workout – a month-long intensive programme designed by Pete Riley and guaranteed to improve your playing within a month!

47 Troubleshoot Your Drumming 63 How To Make Your Beats Groove 66 How to Solo 71 30 Day Drum Workout 90 Beginner’s Guide To Big Band 96 Playing FAQs

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100 DRUM

HEROES

100 of the greatest drummers of all time interviewed and profiled Includes exclusive interviews and photos from Rhythm’s 30 years as the UK’s biggest drum mag Drum heroes discuss their music, playing techniques, gear and career highlights An essential read for fans of drumming and drummers across all genres of music

AVAILABLE FROM NEWSAGENTS AND ITUNES

PLAY BETTER: TROUBLESHOOT YOUR DRUMMING

g in y la p r u o y rm o sf n a tr Quick fixes to WE ALL RUN INTO A BRICK WALL with our playing sometimes. If only there was help in overcoming those frustrating obstacles, but for which we’d surely be rocking Wembley stadium… but, wait a minute, maybe there is! After polling our readers a while back, the Rhythm team set to work on coming up with solutions to your most common drum-related problems. With the help of drum tutors,

artists, techs, gear experts and more, we came up with 15 pages of great advice to help troubleshoot your drumming. Whether it’s nailing technique, improving your weaker side, getting your drums to sound the way you want or keeping your drumming health in good shape, you’ll find quick answers to your most frequently asked questions on the following pages. We’re here to help!

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ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS

Make your set-up work for you Some of the do’s and don’ts of playing posture YOUR TUTOR Chris Burke, Rhythm [email protected]

E

rgonomics is the science of finding the perfect harmony between your body and the equipment you are using, with the aim of both maximising efficiency in the work that you do and minimising strain or injury to yourself in the process. Each of us has different bodily proportions – a different shape, height, weight etc, so it is important that we adjust the kit to our bodies, rather than adopt unnatural, uncomfortable and potentially damaging positions to suit an inappropriate set-up. Spending some time thinking about our bodies’ positions in relation to our kit will result in a better and more ergonomical set-up – and will help our technique, our stamina and ultimately keep our bodies in good health. A good ergonomical set-up should improve consistency in your playing, your mobility around the kit and endurance for those lengthy sets! Many players look to their heroes’ set-ups and aim to mimic their style accordingly. However, this is not always going to be good for you. Can you really say that your body is the same proportions and shape as, say, Travis Barker? Just because you think he looks cool with those hats up high and the stool down low doesn’t mean this is the best way for you to have your gear set-up. First rule: forget copying anyone else. Let’s remember that all those heroes have made their own unique contributions

Bad posture

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to drumming, and how they set-up is going to have been uniquely tailored over time to their own optimum playing position. So first and foremost, get comfortable with yourself!

Upper body A good sitting height will aid balance, mobility and reach, as well as allow your legs to move more easily at the pedals.

Don’t Sit too low – your hips will roll back, putting pressure on the lower back. Your balance and movement will be restricted. Don’t Sit too high – your hips will roll forward, putting pressure on the middle and upper back as it arches to compensate. The edge of the stool will also put pressure on the back of your thighs, potentially restricting blood flow to the legs and feet. Do Sit at a height that creates a 90° angle at your ankle, knee and hip. The back will be well supported at this height with the weight on the ‘sitting bones’, while the legs are best positioned for stability.

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

cause constant tension in your back muscles.

Don’t Position your bass drum square-on to the audience – this will result in an unnatural angle for your ankle or torso. With the drum in this position you will most likely twist the bass drum foot inwards, unnaturally, so that it is perpendicular to the drum. Do Keep your leg, foot and pedal lined up and straight-on at 90° to the bass drum. This should be more comfortable whilst improving bass drum (and on the other side, hi-hat) technique.

Tip Before setting-up, spend some time sitting on your stool and ‘air-drumming’ around yourself – try to position your cymbals and toms where you can most comfortably reach them. If you are not comfortably reaching an instrument of your kit, re-position it until it becomes easier. Consider the instruments you use the most. Is your main crash positioned further away than is ideal so as to accommodate that FX crash-ride/china/splash stack with added tambourine and cowbell that you NEVER use? Get rid – it’s not about looking cool with the biggest set-up you can pack onto the stage! Your playing and drumming health will improve if you take time to ergonomically tailor your set-up to what you actually need.

Don’t Twist the back. To maintain this position will Hunching over the kit will put a strain on your back over time

Good posture

Try and keep your torso at a 90° angle to your hips

PLAY BETTER: TROUBLESHOOT YOUR DRUMMING

Reset your grip Simple exercises to banish poor grip and take your playing forward and, at times, how you’re using it – but the basic principle remains the same. There are two main types of grip – Matched and Traditional. Within this there are many variations, and I go into more detail on these in the video. When resetting you’ll need to decide which grip to start with and once you’ve begun to master that, you can look to evolve it as part of your playing. ‘Matched grip’ simply means both hands are matched – using the same grip in the same way. ‘Traditional’ originates from a time when snare drummers would lead men into battle, the drums would be slung over their shoulder using a single sling which would result in the drum resting at an angle. In order for the left hand to comfortably play the drum, the grip and angle of the stick had to be adjusted to suit, hence the form and shape of the left-hand grip.

groups, ligaments, tendons or joints. Poor grip is usually very tight, stiff through the wrist into the arm, and more often than not there are rigid fingers hanging off in odd positions which fundamentally change the shape of the hand to one that puts you at a disadvantage. It promotes high probability of injury through overuse and generally creates a choked ‘stiff’ sound. There will also be some sort of physical pain at some point. If you recognise yourself here, then it might be time to ‘reset’ your grip. If you do something for long enough it creates muscle memory, and with stick grip it’s creating this ‘muscle memory’ from the biggest muscles right down to the smallest. With any grip there is a fulcrum. This provides the optimum point of pivot for the stick in your hand. It also acts as the stabilising force for all that you do with the stick, static or in motion. The fulcrum can change depending on the type of grip you employ

YOUR TUTOR Pat Garvey, BIMM [email protected]

T

he difference between a good grip and a poor one is the difference between how good you sound, how you’ll evolve technically, how well you’ll be able to express yourself on the drumset and, importantly, whether or not you run the risk of acquiring injury through poor technique. A good grip is one that allows your body to work in the way it’s designed to. It’s one that’s relaxed, loose (though not so loose that you become a liability with a stick in your hand!) and free of tension and the restrictions a poor grip will impose. It doesn’t force your hands, wrists and arms into unnatural positions, and doesn’t require any overloading of muscle

Matched grip

Watch the video at http://bit.ly/stickgriplesson

Traditional grip

Bad grip

A simple tap stroke exercise to help ‘reset’ a poor grip. Groups of eighth notes with each hand. A tap stroke starts low and ends low, and the volume should relate to stick height, which should be around 1" to 1½" inches from the head. Play from the wrist, not the arm, maintaining a good grip. Play the stroke downwards, returning immediately to your original position and don’t play ‘up’ before playing ‘down’.

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Practise this first using tap stokes (as in Ex. 1) and don’t apply the accents at first. This is about helping to reset a poor grip, so you’ll get there quicker if you take your time. Once you’re comfortable and happy that your grip is working and everything is right, add the accents. To do this, just increase the height of the stick for those strokes – still playing from the wrist. Practise slowly and to play from the wrist not the arm.

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ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS

Maximise your practice UK session star Craig Blundell shares 10 tips to supercharge your practice regime YOUR TUTOR Craig Blundell, Steven Wilson [email protected]

P

ractising is a funny old word. To some it’s pointless and to others it’s paramount. Love it or loathe it, there are no real shortcuts to getting better on any musical instrument. The old saying will always stand up, “If you put it in, you will get it out.” I practise a lot, I haven’t always enjoyed it, but now it’s a way of life. I have to practise for the work I undertake, it makes what I do “easier”. Yes it’s like riding a bike but it can soon get away from you if you’ve not done it for a while. Here are my top tips for “getting better”.

1 Timekeeping Firstly you have to formulate a plan. As humans we like the things we like and most of you will sit at a kit and play your favourite groove or fill, we seldom start off with things we can’t do. A lot of people’s practice routine will stem around playing songs, which is fine but it will always beg the question, “Are you getting better? Are you making the most out of your time on the kit?” The answer is probably no. The first thing you should look at when setting out an initial plan is how long can you give per day?

into a routine 2 Get Half the battle with starting something you may or may not like is getting into a regular routine. It can take some time. If you’ve set yourself a goal of 30 minutes a day, stick to it. Like anything, if you take a few days off it’s very easy to slip back into the old routine. Keep doing it until it becomes second nature, even if you’re not enjoying it. Remember, practising is learning new ideas and breaking new personal boundaries, not all of it is going to be enjoyable.

to practise? 3 What When I set out to start the week I have a chart with everything written down on it from left hand to

right foot and from sight-reading to playing odd time. It’s usually 20-25 ‘things’ that apply to what I do. I then mark myself out of 100 on where I see myself compared to where I want to be. I then pick the three lowest scores and those three will be the three things that I’m going to apply myself to for that week. I repeat the process every week, it’s a great way of being honest about your ability and will always force you to practise things you’re not as strong at.

Craig is one of the UK’s most respected session players and has just landed the gig with Steven Wilson

a mentor 4 Get So now you’ve found your weaker areas, do you consciously spend time on them? Or are you practising the right things for them? The best thing you’ll ever do is find yourself a great teacher, one that can look at those weaknesses and put you on a road to getting them strong. Even the best players have teachers and mentors. It doesn’t have to be a weekly lesson; just a good service and MOT once in a while will go a long way for many reasons.

a diary 5 Keep So hopefully, you’ve addressed your weaknesses and a teacher or some research has found you some good things to practise. Keep track of what you’re doing, it’s a great reference point to see where you’ve come from, especially when you’re feeling a bit down or you’ve hit a wall. Seeing things written down, what you’ve practised over previous weeks and the tempos you are now playing them, compared to the tempos you were, makes for great reading and is always a welcome boost.

50/50 plan 6 The It’s a Monday, the start of a new practice week. You have a measurement of time you’re going to practise a day, say 30 minutes. Split that time in half. When you begin, practise your weaknesses for the first 15 minutes, put the hard work in first, and then forget about it. When you’re done, play along to some music for the second 15 minutes. When you’ve finished the 30 minutes, you close the

door feeling on a high instead of feeling disillusioned and frustrated. Eventually if you keep that up all week you would have spent nearly two hours working on the hard stuff, which hopefully should have now spilled over into the last 15 minutes of playing.

yourself 7 Film Just like a golf swing or anything technique-based, bad habits can creep into anyone’s playing over a sustained period. When you’re immersed in the moment it’s not always so easy to see where. A great way of looking at progression and seeing if things are still on track is filming yourself. I always film my limbs when I first try something new, it’s always a good benchmark and then I re-film a few weeks down the line. I do this for a couple of reasons. Firstly, you can see if you’ve improved and secondly, to see if there are mistakes creeping in. It works every time.

music 8 Play you hate This is one of my favourites. As the title says, play things you hate. If you’re a jazzer play some metal, and vice versa. You may absolutely detest the material in every shape and form

REMEMBER, PRACTISING IS LEARNING NEW IDEAS AND BREAKING NEW PERSONAL BOUNDARIES, NOT ALL OF IT IS GOING TO BE ENJOYABLE 50

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but this will stretch your listening skills and musicality to the maximum. You’ll hear things differently and it will push you out of your comfort zone every time, which can only be a good thing.

everything 9 Turn on its head Something that’s worked for me well over the years is turning everything on its head. So you have your favourite drum fills. Swap the toms into different orders and try and replicate the notation and sound of the fill. It puts the hands into new places. If you want to take it to the extreme, swap the whole kit around. Once or twice a year I play on a left handed/footed kit for a week or so, you soon see how good your weaker side is!

10 Practice should be… Whatever you want it to be. It should always push you, it should never be a simple walk in the park, and there is always room for improvement at every level. If you’re working on new things it should always be fun if you’re doing it right. If it’s not fun, you’re quite simply doing it wrong. If you’re having an off-day – they do happen at every level – use that 30 minutes just to play music. There’s no shame in that. Music triggers emotion and can inspire so many thoughts on a kit, especially if it’s new music. Tomorrow is a new day, just work that little bit harder…

PLAY BETTER: TROUBLESHOOT YOUR DRUMMING

Choose the right gear for you Our guide to buying the drums, cymbals and equipment you actually need YOUR TUTOR Ian Wright, Manager Director of DrumWright, Readling www.drumwright.co.uk

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f you’re in the market for new drum gear, but like most of us you’re on a limited once-in-a-bluemoon budget, buying drums and cymbals can be a minefield for the unwary. Here Ian Wright, of Reading-based drum store DrumWright, gives his advice on choosing the gear that’s right for you.

your ears! 3 Use Of course you can be pretty sure a pro-level

a friend 7 Take A second opinion – especially from someone

piece of kit from a top brand will be good, but will it be right for you? Try a cymbal out or play with the tuning on a snare – we welcome it. Be open minded as you never know what hidden gem you may miss.

that knows a little about your playing and the sound you’re after – can help, and you can ask your mate to give any potential purchase a play, so you can listen.

in if you can 4 Trade If you are replacing something, most shops will consider taking in what you have as part exchange for what you want, meaning you can get some money knocked off your new piece of kit.

your drum sizes 1 Know Most of the time kits will come in standard

be afraid to ask 5 Don’t We are here to help. We want you to try out

configurations such as 20" fusion or 22" rock, but the measurement in inches across the head’s diameter is what we need to know. Have an idea of what sound you are after as this will help us steer you right.

multiple cymbals, and ask us questions about the difference between x and y, but most of all we want you to ENJOY yourself! Coming to a shop like ours should be awe-inspiring. The only way you’ll learn and progress is by talking to those who know more.

buying cymbals take 2 When your existing set with you Take your set-up with you to the drum store! Most shops will have a demo room where you can set your existing cymbals up and try new ones out next to them so you can make sure your crashes cadence how you want or the hats cut through as you need them to.

you just need a re-tune? 6 Do A poorly tuned drum can be transformed with a few turns of a key so that it is singing sweetly. So, if you’re unhappy with the sound of your gear, try taking it into a drum shop and checking it cannot be salvaged before you pay out for a car-load of new drums. Also, a fresh pair of heads can revitalise an old kit.

about your needs 8 Think First of all consider what kind of music you play, and take a look at the set-ups of some of your favourite drummers if you need some inspiration.

prepared 9 Go Make a list of areas in your set-up that need addressing so you can walk out of the shop with the right gear, rather than being sidetracked by all those shiny, shiny drums…

be swayed by looks 10 Don’t A great looking kit is high on many people’s wish-lists, but don’t just be swayed by a stunning finish, make sure that it sounds as good as it looks.

11 Experiment Having your favourite drummer’s set-up may not work for you. Think outside of the box and play around with your choices. Many drummers have the odd off-the-wall bit of kit in their arsenal so go against the grain if it works for your sound.

Master the art of dynamics Learn to mix your kit and enhance your grooves YOUR TUTOR Dave Atkinson, Drumeo www.drumeo.com

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ynamics is the volume at which you’re playing your beats and grooves. That’s not just the overall volume that the audience hears, but the individual volume of each drum, cymbal and each limb that you’re playing. When you’re playing a song, say a rock track, you want to make sure you’re playing that feel or style correctly. Rock is a very high-energy, aggressive, loud style so you want the overall dynamic level to fit. But what about the dynamic level within your own grooves? When a drummer is too heavy on the hats, or too quiet on the snare, you get an inconsistent mix that will stick out and could throw the whole groove off. If your bass drum is too quiet it’s not going to punch through, if your snare drum isn’t loud enough your backbeat won’t have the impact, if your hi-hats are too loud they will drown out everything else. You have to be in control of your own internal dynamics. If you’re playing a beat with a lot of snare drum ghost notes, if your ghost notes are almost as loud as your backbeat, you won’t get the feel you’re after where the ghost notes are felt but the backbeat still

cuts through. Played with good dynamics, your ghost notes will really improve your groove.

Developing dynamics So how do you change your approach to dynamics? A good starting point is to take any drum or cymbal, isolate it and try and play different dynamic levels on it. You can get many different sounds from a snare, but to start with focus on three different dynamic levels: really low, medium volume and loud. Do a single-stroke roll at those three dynamic levels. You’ll get a feel for how much velocity you’re going to need and where on the drum you can get the best sound. At different dynamic levels the stick heights also change. This really matters when playing different dynamics. Get a feel for your own dynamic range and work out what you need to do to get those volume levels happening. Do the same with your kick. Once you’ve explored the possibilities you can work on some personal mixing within your beats. Play a simple rock beat and individually change the dynamic level and volume of each kit voice in turn. It’s not easy but it makes for really good practice. This will help with your dynamic independence too.

shoulder/tip exercise. Play the first quarter note on the hats with the shoulder of your stick, then the second note with the tip using a push/pull motion. Now you’re not just getting static notes, you’re injecting some life into it. These dynamic changes on the hi-hat help create groove. The final challenge is to pick a beat that you already know how to play and bar-per-bar play it at different dynamic levels. This will help you see how it sounds and also allow you to feel the change when you play between high and low dynamic levels. Timing and speed shouldn’t change here, just the volume. Dynamics is a really broad topic, but these exercises will give you a foundation to help you control and manipulate your own dynamics. Your grooves will sound so much better as a result.

Hi-hat groove You can get a really good sounding groove if you throw some dynamics into your hi-hats. Try the

Watch the video at http://bit.ly/dynamicslesson

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ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS

Tame your nerves

© Michael Cottage

LA session star Mark Schulman shares his techniques for overcoming stage fright

YOUR TUTOR Mark Schulman, Pink/ Cher/Simple Minds etc www.markschulman.com

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hree core concepts are the foundation for all top performance. I’m going to start by saying, a little anxiety is good. It’s good to have a little bit burning inside because it makes you more acute and hyper-aware. The core concepts are Clarity, Capability and Confidence. Clarity is you identify the goal and determine the skills you need to get there. That leads you to Capability. You need to develop the Capability fully, thoroughly, without any question in your mind that you’ve done everything you can – so when you’re sitting in that drum chair in the studio, doing your first club gig, you know you’ve done everything you can to prepare. That is really the only foundation that leads you to Confidence, and that’s the state you want to have. Confidence is the state of being certain. It’s the simple and powerful result of having real Clarity and Capability. If you’re crumbling with anxiety, remember why you’re there. Whenever you give a performance, when you communicate in any sense, you’re there to change somebody’s world, to motivate someone to take action. You’re there to put the attention and energy into your audience. So if you’re super anxious, who are you focusing on? Yourself. Why are you doing that? Stop for a second. Look at the audience, connect, remember you’re there to give everybody else an experience and to share an experience. This is very

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effective for me. When I remember I’m being a selfish idiot again, looking inside instead of looking outside, I laugh. If you can get yourself to laugh, all of a sudden you’ve cracked the stress. Remember you’re relying on the work you’ve done. Even if you’re super nervous, you’re still going to be able to perform because you’ve done the work. Nobody is holding a gun to your head. This fear is all self-imposed. It’s not real in the sense that it isn’t threatening your life. Fear is False Evidence Appearing Real. You’re fine! You’re playing drums! You can also project the experience being very successful – the technique of visualisation. That’s another tactic I’ll use, especially if I’m doing a gig that requires a little extra courage, like when I subbed for Matt Sorum in Velvet Revolver with no rehearsal at Ozzfest, co-headlining with Black Sabbath. Envision yourself doing the gig successfully, connecting with the band, with the audience, having a ball – the grooves are feeling great, you’re nailing the punches. Shift your focus away from the nerves and the stuff impeding your ability to perform and put your focus back into what it’s going to look like when you kick ass. Even if you don’t believe in the art of visualisation, believe in the fact that where attention goes, energy flows and results show. If you’re putting your attention on how nervous you are, what are you going to manifest? Change your focus. Besides, if you make a mistake once, it’s a mistake. Make a mistake twice, it’s jazz! Here’s another trick – stop and be grateful for the moment. Gratitude is a muscle you’ve got to exercise. Your mind cannot have a conscious positive and negative thought at the same time. You can shift your

conscious thought right in that moment, so if you’re sitting in the chair, you’re nervous – stop, shift. I stop and get grateful. It moves me away from anxiety and introspection that’s harmful, to a point of creating endorphins and gratitude and that feeling of wow, this is awesome, I’m playing drums. It’s easy to get caught up in these negative thought processes but you can shift them. When you’re playing live with other musicians, when you have an audience of 50 to 50,000 people, the energy around you is affecting what you do. It should. It’s supposed to. If you’re playing like you’re in your practice room, you’re not responding in a live environment. Instead of being afraid of the adrenaline, embrace it because that energy is there. Why look at it as something negative? I approach everything with an open heart and open mind as opposed to fear about what I can’t control and what I haven’t learned yet.

Nerve Breakers Mark Schulman knows all about playing at the top of your game, thanks to years of drumming for some of the biggest names in music including Pink, Foreigner, Simple Minds, Stevie Nicks and Cher. His book, Nerve Breakers: Conquering Life’s Stage Fright is a must-read, and Mark is available for one-on-one drum lessons and life coaching. “You can email me at [email protected] because I’m open, man,” he says.

PLAY BETTER: TROUBLESHOOT YOUR DRUMMING

Supercharge your playing! Blondie’s Clem Burke gives his advice on maintaining health and stamina behind the kit YOUR TUTOR Clem Burke, Blondie www.blondie.net

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ne of the biggest challenges drummers face is maintaining stamina through sometimes long and gruelling sets. Drums are the most physical of instruments, requiring bucketloads of energy and for our bodies to be in tip-top shape. Who better to suggest ways to improve your stamina and stay fit and healthy at the kit than Clem Burke? In 2011 the Blondie man was the recipient of an honorary doctorate from the University of Gloucestershire for over a decade’s work on The Clem Burke Drumming Project, which revealed that professional drummers had a heart-rate profile similar to that of professional footballers. The project, headed up by Dr Marcus Smith from the University of Chichester and Dr Steve Draper from the University of Gloucestershire aims, via scientific method, to improve the health and well-being of all participants involved in drumming. “It puts a very positive light on what it means to be a drummer,” explains Clem. “It’s an ongoing study that continues to this day learning even more conclusive evidence of the benefits of drumming. Everyone stay healthy and enjoy drumming!”

up 1 Warm “As far as building stamina, it’s always good for the blood to be flowing before you hit the stage. I normally warm up on a practice pad for 15 minutes doing basic rudiments. I also like to play along to a few songs, usually something by The Ramones [with whom Clem also played]. Back in the day I’d have a full kit set up backstage in a spare dressing room!”

2 Diet “As soon as I wake up on a show day my focus is on the show. Sleep is very important. I also like to

do some light exercise, maybe a swim if there’s a hotel pool. Show day or not it’s always important to consider what you’re putting into your body. I’m very big on raw foods and juicing. I’m sure most performers would tell you it’s not a good idea to have a big meal right before you go on stage. I try to have my main meal in the middle of the day and not eat too close to showtime. Fresh carrot and beetroot juice always goes down well closer to the show. I’m very big on chlorella, a super food that astronauts use when they go into outer space! A little ginseng is always good for a little extra boost as well.”

Blondie’s Clem Burke: a Doctor of drums

pacing 3 Set-list “This all goes back to being prepared for whatever’s being thrown at you. It’s very important to always be playing whether it’s an arena or a rehearsal room. The dynamic of rock’n’roll drumming is generally very physical so you have to be ready to handle it. With Blondie we come from a punk rock aesthetic. The show usually starts out with three or four high energy numbers before we take a break so before we hit the stage we’re ready. “I know for a fact The Ramones would, together, pretty much go through their full set before they hit the stage. Going back to what I said before, the more you play the easier it is. The hardest thing is getting off the couch and out of the house.”

from the kit 4 Away “I recommend jogging, weight training, boxing, stretching and swimming. A lot of drummers do martial arts too. It’s also very important to go over your rudiments on a practice pad to keep the flexibility and blood flow to the wrists. Blood flow to all parts of the body is very important!”

5 Preparation “Ideally before the start of a long tour there’s at least a week of rehearsals to get the band collectively up to speed, but as I keep saying it’s very important to be prepared before you enter the

The Clem Burke Drumming Project Dr Marcus Smith of the University of Chichester is co-founder of the Clem Burke Drumming Project. He explains the project’s key findings when it comes to stamina: “The key message is that fatigue erodes skill and creativity. Our data has shown that drummers may sweat up to two litres per hour when playing live. MRI data has shown the human brain has to work harder when an individual is dehydrated. Having an appropriate fluid intake strategy is essential for a drummer to perform at their best. Fatigue is evident when the drummer has not physically prepared themselves appropriately. If the intensity and duration of practice is missing it will limit live performance. Fatigue is also related to eating the appropriate food types at the appropriate time.”

studio or the stage. I usually like to arrive a bit earlier than the rest so that I’m able to sit behind the kit and have a bit of a workout on my own by playing along to a click track or a sequencer program – same thing applies to the soundcheck when time allows.”

6 Supplements “I already mentioned chlorella which is great for everything from your hair to your toenails. A small dose of aspirin is very good for the heart. I take a multi-vitamin every day as well. Fresh juice and ginseng before the show really works for me as well.”

7 Rest “It’s very obvious but I can’t stress the importance of being well rested. If I have a workout on a show day I’ll usually take a ‘disco nap’ before the show. That’s what we use to call it back in NYC when everyone would go out raving till dawn. You had to get your disco nap before heading out for the night!”

8 Hydration “I generally try to drink water throughout the day so that once again by the time I hit the stage I’m good. This is especially important if you’ve had a few drinks the night before.”

9 Breathing “Oxygen intake and blood flow is the key. This is what is studied by the Clem Burke Drumming Project and we’ve found I have excellent stats. I do try to stretch and do a bit of yoga before I walk on stage. It’s always great to feel the energy from the audience, that will always see you through.”

the nerves 10 Bury “I never really feel tense about being on stage, in fact it’s just the opposite. I’ve been doing this a long time. Most people that stand or sit on a stage say that it’s the one place where they feel relaxed and so-called ‘normal’. It’s the healing floor, all your pain and suffering drifts away. It’s a zen state of mind!”

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53

ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS

Say no to weak limbs Power up your weaker side with these simple exercises YOUR TUTOR Dave Atkinson, Drumeo www.drumeo.com

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lmost every drummer out there has a weak limb - whether that’s a hand, foot or both – that can really hold back their playing. If you’re a left-handed drummer it might be your right but most of the time drummers struggle with a weak left hand or left foot. It’s really important that we practise with our weak limbs so they’re on a par, or close to being on par, with your stronger side. In your day to day life you usually lead with your dominant hand. Brushing your teeth, throwing a ball, opening a door – 99 percent of the time you do them, or at least start them, with your right hand. Over time your right hand becomes more dominant. For drummers, a weak hand or weak foot can mean your groove and timing is inconsistent and can get in the way of what you’re trying to achieve at the kit. Before we get to the kit, try using your left hand a little more – brush your teeth with your left. It will feel awkward, but these actions will get your brain thinking about your left side more so that when you get to your kit it won’t feel as awkward. The first thing to practise at the kit is your basic rudiments, but leading with your left hand. Try a single-stroke roll, starting with your left hand at 90bpm. This is going to force your brain to put more

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It’s important we practise with our weak limbs so they’re at least close to being on par with our stronger side

focus on matching up with that click pulse with your left hand. Try this with double strokes, paradiddles. If you only have 10 minutes to practise your single strokes, dedicate five minutes for your left-hand lead. You should start to see drastic improvements. Another great exercise is called ‘de-stupifying your weak hand’. This is simply using your left hand a lot more on the kit. The idea is to play consistent 16th notes on the snare, accenting your backbeat on ‘2’ and ‘4’. Once you’ve got that down throw eighth notes in on the hi-hat. From there finish the groove

off with the bass drum on the ‘1’ and ‘3’. Take a look at the video for a full run-down. It’s a challenging exercise so it’s worth starting slowly with a click track around 60-70bpm. It will help with dynamic control with the left hand and will really make you focus on what the left hand is doing. You can change up the groove to work on your limb independence too. All of these exercises are great workouts and will get your left hand thoroughly into the mix. Watch the video at http://bit.ly/weaklimbslesson

Single-stroke roll at 90bpm. Starting with the left hand will force your brain to match up your left-hand with the click pulse.

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‘De-stupifying your weak hand’ – play consistent 16ths on the snare, accent backbeat on ‘2’ and ‘4’, bass drum on ‘1’ & ‘3’. Try it at 70bpm.

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Isolating your left-hand (or other weak limb) will get that weak side working. Practise singles on the snare just with that hand.

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PLAY BETTER: TROUBLESHOOT YOUR DRUMMING

Tune your drums like the pro’s Steve Gadd’s super tech shares his tips on getting perfectly-tuned drums each and every time YOUR TUTOR Yard Gavrilovic, drum tech www.vintagedrumyard.com

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y routine begins with spreading the toms out on a flight case or on my bench in order from high to low. The first job before head removal is to tap the smallest and largest toms to get an idea of pitch. The tuning of toms in between these sizes will fall into place quite easily. Empty your drum of any dust and dirt and wipe the bearing edge with a cloth or brush. Put on the new head and your hoop. Finger-tighten all tension bolts, working in opposites. Once finger-tight, use a key to tighten using a full turn on each opposite tension bolt until the head is fully stretched and cranked up and you can hear the glue cracking on the hoop, then leave to stretch in and settle. Repeat for each drum until complete. Once each drum is re-headed and tight the work begins. Stretching the head properly will prolong its life and prevent dips rendering the head useless. Turn the drums over to begin with the very important resonant head. Tap the head at each lug

and tighten the bolts until you get a consistent equal tone. Once done turn the drum over to the batter head and begin de-tuning. Some drummers prefer the resonant head tuned higher than the batter or vice versa. The choice is yours and yours alone! De-tune each lug by half a turn until the batter is half a turn below your desired pitch and then gradually increase the tension until you are at your desired pitch level. It is simpler sometimes to start with the 16" or 18" floor tom and work up from there to the 10" or 12" toms. Some techs do everything using quarter-turns but it’s all a bit girly for me! You may find that the 18" toms sound good simply by removing the wrinkles from the head upon equal tension to keep it low. The art of drums is to find the right heads for the right drum for the right sound. Do not get stuck in your ways and be frightened to experiment with an array of heads. If a Remo Ambassador, Aquarian or Evans works for your drum then use it irrespective of the thoughts of other so-called experts. Remember for every drum that you tune, ALWAYS check the resonant head to save wasting your time trying to correct the batter head from overtones.

Yard: “The art of drums is to find the right heads for the right drum for the right sound”

Never change your heads upon arrival for a recording session. Change heads a few days before your session if at all and play them in. Tuning will be more consistent. You do not need fresh heads at each session. Some of the drums I own have the same heads from years ago. They work!

Get your beats in time Learn to focus on timing and the space between notes YOUR TUTOR

Practising to a click will help improve your timing

Dave Atkinson, Drumeo www.drumeo.com

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rummers are timekeepers – we have to be able to keep solid time. Timing and note spacing are separate issues that affect our overall groove. To improve timing we should be practising with a click track and working to ‘bury’ it, ie: when you’re playing on time you can’t hear the click. You can practise this with anything. Set the click to a comfortable speed, somewhere between 60 and 90bpm is good, and focus hard on playing so well you can barely hear the click track itself. Using a click will also help you spot if you’re speeding up or slowing down. It’s very common to speed up when you play a fill, for example, as the adrenaline gets going because it’s your time to shine. Practising to a click will assist you with this.

Timing within yourself You don’t want to be flamming your notes when playing, eg: when you’re playing your hat and snare at the same time, you want to make sure you’re actually playing them at the same time. The same for kick and hi-hat, or kick and snare. Your drumming will sound off-time and your groove will sound inconsistent if you’re flamming your notes together

and your accuracy isn’t there. You can practise this by playing notes in unison. Try playing a tom and the hi-hat and get them sounding like one note, not two. The goal for this exercise is to get your mind and body used to playing notes at the same time.

Note spacing This refers to the amount of space between each note. If you’re playing a hi-hat eighth-note pattern you need to make sure those eighth notes are consistent and

falling at the right spot. The basic shuffle is a great way to check your note spacing. A lot of drummers play a shuffle pattern that is technically correct, but the note spacing is so inconsistent it doesn’t groove. This really matters with fills and grooves too. Record yourself so you can watch yourself back and critique your shuffle. Are you flamming your notes, is the timing correct? If not, you know what you need to do! Watch the video at http://bit.ly/timinglesson

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55

ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS

Expand your creativity Three easy steps to creative enlightenment Pete Riley, Rhythm [email protected]

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ometimes it’s easy to fall into a rut of playing the same ideas, unable to break out of familiar patterns or create anything new. Here are some tried and tested ways of expanding upon a simple idea – after all, that’s all your favourite drummers have done to create that thing that sounds both unique and effective. The ideas are very simple – however all of this can be made easier with an understanding of the principles at work; a grasp of the rudiments, reading, etc can really help visualise this approach. We begin with old favourite,

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Example 3a, permutated into the six-stroke roll.

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Another hand/foot triplet figure, this time inspired by Tony Williams. 3

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We can also play the same kind of idea through 16th notes to create a fill.

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The classic hand/foot triplet shown on the snare but can be played all around the kit.

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A single paradiddle. Try playing the unaccented notes very quietly.

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triplet, popularised by drummers as diverse as Elvin Jones and John Bonham, but here we’ll change the orchestration and dynamics, ghosting the left hand and firstly playing it as a swing comp figure in Ex. 5. In Ex. 6 it’s played through 16th notes to create a fluid sounding fill where the right hand moves around the kit. Ex. 7 shows another hand/foot triplet combination, this time one used by Tony Williams and which in Ex. 8 shows how some of today’s gospel chops drummers are using it but played through 32nd notes, to create a fast syncopated sound around the kit. Three approaches can be used to expand an idea; change the sticking, change the dynamics and change the subdivision, so be sure to try applying these principles to create your own new ideas.

the single paradiddle and the first thing we’re going to do here is apply dynamics so that the first of each group of four notes is accented with the remaining notes played quietly. This immediately gives it shape, making it easy to apply on the kit without it sounding like a constant stream of notes. In Ex. 2 we permutate the paradiddle sticking to give us the inverted paradiddle so the double strokes now reside in the middle. This now encourages some accenting of the fourth note of each group which can have a profound effect upon its sound on the kit. Ex. 3 features another rudiment, the paraddiddle-diddle. In its basic form it has some interesting sounding uses – however, once again, once permutated (this time into what’s often referred to as a six-stroke roll) it takes on a slick rolling feel that with a little practice can be phrased around the kit. Ex. 4 is the hand/foot

YOUR TUTOR

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When played through 32nd notes, this creates a sound often used by today’s gospel players.

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PLAY BETTER: TROUBLESHOOT YOUR DRUMMING

Take control of your limbs Limb independence is key to opening up your playing YOUR TUTOR Pete Riley, Rhythm [email protected]

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egardless of the style of music, a lack of independence can be terribly frustrating and invariably results in some kind of compromise, perhaps by changing the pattern being played to avoid the issue, or stumbling through it – ultimately affecting the feel and execution. The only solution is to tackle these issues head-on because once they’re learned they’re in place forever and new creative doors will undoubtedly open combined with a new-found fluidity. The exercises included here are predominantly

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A basic eighth-note time feel, can be played as 3/4 or 4/4.

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aimed at time-playing by breaking down some key independence moves which include eighth-note time, broken 16th-note time and stepping quarternotes with the left foot. There’s a degree of overlap with all of them so feel free to move between them as opposed to feeling they need to be completed one after the other. Examples 1-7 can all be played with a cyclical feel in 3/4 or with the final beat added to make 4/4. Examples 1-3 are based around the right hand playing eighth-notes on the ride or hi-hats. This should be done with accented quarter-notes to give an additional coordination challenge. Examples 4-6 then work through the same routine, only this time with a broken 16th-note pattern in the right hand. Next in Example 7 we turn our attention to the

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Here the focus moves to the bass drum which now plays groups of two notes.

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Again, like Example 2 but with the broken right-hand pattern.

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This is essentially the same as Example 1 but features a broken 16th-note right-hand pattern.

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The groups of two move to the bass drum again in Example 6.

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Coordination between the feet becomes the focus of Example 7.

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The left hand now plays groups of two notes which are intended to be ghosted at first.

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Watch the video at http://bit.ly/independencelesson

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feet where two 3/4 foot patterns are shown with the left foot stepping quarter-notes. The idea here is that once the basic patterns are comfortable the two-beat hand patterns seen in Example 8 are overlaid over the top. This will make the resulting pattern six beats long which may seem a little odd, but remember all of these examples are intended as exercises. However once mastered be sure to try utilising the ideas in grooves as you should find things coming a little more easily where previously there may have been conflicts in coordination. For the best results work on these ideas slowly and methodically, only moving on once a pattern is feeling smooth and effortless.

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Now try playing these hand patterns over Examples 7a and 7b.

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57

ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS

Master the art of brushes A new sound, a different approach, another string to your bow YOUR TUTOR Pete Riley, Rhythm [email protected]

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hen first using brushes, most drummers tend to play the kit in the same way as they would with sticks but with the light, unique sound that brushes offer. However soon the lure of the smooth legato sound used by jazz players kicks in, often quickly followed by the conclusion that it’s actually a lot harder than it appears. Playing with brushes is deceptively difficult and requires a completely different way of thinking to sticks, so

here are a few simple principles that need to be adhered to in order to create the desired sound.

Stay in time! In order to play consistent time the left hand has to remain in time. The classic circular motion is only of any use if it’s done with a consistent pulse.

Stay in contact The legato effect is best achieved when contact with the drum is maintained by either hand. The first point regarding the left hand comes into play here but ideas can be played with either hand as comp or fills, though ideally with one hand remaining in contact with the drum.

Play horizontally not vertically The essence of brush playing is about creating and maintaining the sweeping sound, and by playing the strokes from outwards to inwards each hit becomes a sweeping motion thereby creating a longer, more legato sound. All of the above points take some practice as they’re so far removed from playing with sticks, but hopefully some of the examples presented below should help start developing your brush skills. Watch the video for a detailed breakdown of each pattern. Watch the video at http://bit.ly/brusheslesson

Example 1

Example 2

This is a basic medium swing brush pattern. Note that the left hand is playing a clockwise circular motion with a little pressure added on ‘2’ and ‘4’. The right hand plays the jazz ride pattern, crossing over the top of the left hand on beats 2 and 4.

A popular variation of the basic swing pattern where the right hand remains in contact with the head right until the last minute, sweeping across between beats 1 and 2 and 3 and 4. This can also sound more intense using an anti-clockwise left hand motion which feels as though all of the quarter-notes are now emphasised.

Example 3

Example 4

Classic ballad figure-eight pattern that actually looks more confusing than it really is. The easiest way is by playing a circular quarter-note pulse in both hands then alternately sweeping one hand over the top of the other, but the figure-eight will sound more intense as the hands are covering more drumhead between beats.

The medium tempo swing pattern will work in most playing situations, however if things get too rapid it’s time to reduce the workload. For those situations this up-tempo pattern creates a similar sound but uses much smaller movements.

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PLAY BETTER: TROUBLESHOOT YOUR DRUMMING

Master odd-time Porcupine Tree’s Gavin Harrison guides you through the choppy seas of odd-time signatures Gavin Harrison: “With larger numbers there will be anchor points and you need to decide how you’re going to count it”

YOUR TUTOR Gavin Harrison, Porcupine Tree www.gavharrison.com

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hen I was about 13 I went to the National Youth Jazz Orchestra and I sat behind this drummer called Graham Ward, he was about 15 and he played something in 11/8. I’d never heard of 11/8. I think it was my fear of getting lost or caught out which made me become interested in odd time signatures. Really the key to not being scared is to think, well, can you play a group of two notes? Yes, you can go ‘right, left’. Okay, can you play a group of three notes? Yeah, you can go ‘right, left, left’. Okay then you can play any odd time signature. They can all be broken down into groups of 2 and 3. You just have to remember the sequence of how many 2s and how many 3s, when you switch from the 3 to the 2, or the 2 to the 3, in any part of any odd number. When I was young I had this little sequencer called a Roland TB303. It was the bass version of their drum machine. I would program bass lines that I’d heard on Frank Zappa records, or bass lines that I could sing. Just having a bass line in 5, 7, or 11 going round forever, you could find a rhythm, you could start to play fills. After 20 minutes you’re starting to feel comfortable enough that you’re not having to count it or worry where the downbeat is, which is exactly what you’ve been doing all your life in 4/4 but didn’t realise it.

Don’t lose the ‘1’ When you first try to play a rhythm in 7 for instance, you get to ‘7’ and then you hit a crash cymbal on ‘1’. You keep reconfirming that you haven’t lost where ‘1’ is. But once you’ve done it for half an hour continuously, you don’t need to hit the ‘1’. Then it might be a nice idea to play quarter notes through 7/4 and realise that they are going to be on the beat in the first bar and off the beat in the second bar. Then play dotted eighth notes and you realise it’s going to take three bars of 7/4 to land back on a ‘1’ again, but you start to feel where those syncopations are in 7/4. It’s a sign that you’ve got more comfortable with odd times when you don’t have to keep hitting the ‘1’. Sometimes it can be comfortable to play as much of the bar as if it’s a 4/4 bar. If you’re playing 7/8 you play a bar of 4/4 but chop off the last eighth note. If you play a bar of 15/16, you play it like a bar of 4/4 but you jump the last 16th. Now quite often the music won’t be going like that – whoever wrote the song might have grouped the pattern another way. They might have grouped it as three groups of 5 and playing backbeats on ‘2’ and ‘4’ doesn’t sound very good against the guys playing three patterns of five 16ths. When you get large numbers, let’s say 27, within that there will be anchor points and you need to decide how you’re going to count it. Usually I’m going

to get a clue from the bass line, guitar riff or melody. Maybe it’s three groups of 9. Maybe it’s three 7s and a 6. If the music sounds like it’s 7, 7, 7, 6, you might put a bass drum at the start of every 7 and the start of the 6. Or you might put a bass drum at the first 7, a snare drum at the start of the second 7, a bass drum at the start of the third 7 and then play the 6 as two 3s with a snare drum in each one. Now that’s going to start to sound like a slightly unique drum rhythm. That’s something that really interests me. Can you actually write a drum rhythm that you’ve never heard before? I don’t struggle too much with 5, 7 and 9 but

if there is a bass line that’s in 11 or 13, I’m going to try to figure out what the sub-grouping is, get on the drums and start playing over it and finding where to stick the downbeat and backbeat and feel comfortable that I always know where the ‘1’ is coming. You don’t really ever want to lose that. Once you’ve lost it in an odd time, you’re pretty screwed. Terry Bozzio once said when he had to play odd time drum solos, he would sing a bass line that he knew in that time signature and it’s quite easy then. If you analyse the bass line that he was singing, it was all groups of 2 and 3 anyway.

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59

ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS

Nail blast beats Enhance your technique with devastating metal beats

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last beats, in my opinion, are not grooves! This is maybe why some drummers simply don’t get them or their purpose, which for me is accelerating the energy levels further in a metal track. They are one of the most intense things to play on a drum kit and do actually require a lot of technique to execute convincingly – mainly, co-ordination and speed. Example 1 shows the traditional blast beat. This is basically a single-stroke roll with the right foot following the right hand which plays the ride cymbal

YOUR TUTOR Jason Bowld, Rhythm [email protected]

Watch the video at http://bit.ly/blastbeatlesson

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and the snare playing in between. This particular blast beat can be played in many different ways, eg: the workload of the kick drum can be spread between two feet but this is harder to co-ordinate, and likewise the right hand can play half the amount on the ride. Other blast beat variations include complete unison hands and feet known as the ‘hammer blast’, shown in Example 2. Once again the different approaches mentioned previously can be employed. Finally, try doubling the kick drum for maximum devastation in both blast beats.

The traditional blast beat. Don’t forget, it’s just a single-stroke roll split between the ride or hi-hats and snare. The main thing to aim for is consistency in your sound – especially on the snare. variation with feet shown here . . .

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Learn to jam Prog ace Marco Minnemann on how to be an improvisational drummer YOUR TUTOR Marco Minnemann, Aristocrats www.marcominnemann.com

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like jam nights, sometimes on the road we will go in somewhere where a band is playing and we’ll jam. Jam nights can be really good, it gives you a chance to get on stage and create something, there’s nothing wrong with that. You should go into a jam with the mindset that you’re going to have a good time, just go on stage knowing what you can do and enjoy it. It’s just like having a great conversation with someone. The first thing I do on a jam is feel out the personality of the people I’m playing with. You need to connect on a personal level. You might talk and find a topic about music and see what they like and what they feel comfortable with. That’s a good platform for a jam. Sometimes though you go jam with people you don’t know, then you have to just listen carefully to their playing. You need to leave space, you shouldn’t bombard people with information, you need to figure out what everyone else is playing. As the drummer at a jam you can be the bread and the other guys

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can be the other ingredients. Jamming allows you to play with new people. Playing with different players is important, it opens you up to different players, different sounds and also playing in different environments – that is very important, to play in different rooms. You can only get that through experimenting. I will go into a jam with the mindset of thinking, ‘Okay, this guitarist is this kind of player, he will play in this way with these kinds of chords,’ and then I will know what they are comfortable with and I can build something from there. For example if it is a guitarist that plays a lot of notes I will think about keeping it tight.

Marco Minnemann on jamming: “It’s like having a great conversation with someone”

When the magic happens… In a jam things will happen very naturally, all of a sudden you will be comfortable and that is when you can stretch out and play and deliver something that sounds unique. I do that with my band The Aristocrats. We were all in one room playing together and magic happened. When that happens it is fantastic. When you go into a jam nobody knows what will happen, in the first five minutes you might start off grooving with each other and then look at where you can go and what you can create. “The recent bands I’ve played with like Steven Wilson and The Aristocrats, we jammed. With

Steven’s band we would go into the studio and just record, no one would be saying, ‘Don’t do this and don’t do that,’ we wouldn’t hold back and that worked. But you still need to bring your ears so you can hear where the guitar melody is going to kick in so that you can hold back – it’s the same with jams and it comes with experience. After a while you will be on the same page as the other musicians.

PLAY BETTER: TROUBLESHOOT YOUR DRUMMING

Speed up your hands and feet Develop faster limbs at the kit

Timing building speed as they change subdivisions which keeps you changing the muscle groups and helps to keep the mind focused. Exercise 1 is singles as 16ths and eighths – a simple but effective idea. Exercise 2 combines paradiddle-diddles and a paradiddle to turn the exercise round to lead with the left hand. This can be a tricky one so keep it slow to let it sink in. The last two exercises are both linear patterns, no two limbs play at the same time. This can be a great way to get round the kit with speed as you can move your hands to another drum while you’re playing the kick. Learn the patterns then experiment with their placement.

YOUR TUTOR Kyle Cullen, Rhythm [email protected]

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lthough this is an article about speed it has to be said that speed without clarity isn’t much use. I believe speed comes from slow correct practise then moving up through BPMs till you hit a wall; backing the tempo down and then staying at 70 or 80 percent of your maximum for a long time. I do all my practise with a stopwatch, normally staying on an exercise for five to 10 minutes before moving to a different tempo. Both of these snare exercises are great for

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Watch the video at http://bit.ly/handspeedlesson

Singles as 16ths for two beats and eighths for two beats.

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Take your time with this linear pattern. Practising it between only the snare and kick before moving round the kit is helpful.

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Another fun linear pattern, this time with a few more kicks which gives you time to move the hands all round the kit.

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“This is an absolute must for drummers, with apps for smart phones there is no excuse for not having a metronome, make this part of your practice routine and put the slowest click on and try play along, to make it easier to begin with, turn on the subdivision on the metronome.”

Paul Walsham (Hurts)

Nerves “Being nervous before a gig is perfectly normal. It’s how you deal with it to make sure your performance isn’t jeopardized. Make sure you’re comfortable with your set-up, warm up before (rudiments, limb stretches) and have plenty of interaction with the other musicians on stage. Don’t let nerves ruin the enjoyable part!”

Ben Kennedy (Foxes/Ladyhawke)

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Three beats of paradiddle-diddles as 16th-note triplets followed by a paradiddle to switch the hand you lead with. 6

Bonus tips

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Stamina “When you get to the show, and the adrenaline kicks in, your heart rate shoots up and a lot of energy can be exerted. For myself, I’ve found that keeping a very regimented cardiovascular exercise routine while at home and on tour is a major key to maintaining great stamina behind the kit. I focus on a daily exercise routine that gets my heart rate up prior to show time, so that my body doesn’t go into ‘shock’ from the adrenaline when I do get on stage. Doing this allows me to harness my stamina behind the kit and really keep the momentum going throughout the show.”

Matt Halpern (Periphery)

Creativity “I simplified my set-up from a four-piece kit to a two-piece with only a couple of cymbal options due to a spine injury. Little did I know that trying to play with only a couple of drums and a couple of cymbals would force me to be super-creative with the few pieces that I had to work with. I notice that when I do sit on bigger kits with more options to get crazy with, I become more creative. Try simplifying the kit in half and then going back to a bigger kit. It might make a big difference and make playing more fun and creative.”

Sheel Davè (Bad Rabbits)

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PLAY BETTER: HOW TO MAKE YOUR BEATS GROOVE

To be a truly great player, you need to be able to hold down a groove with sublime feel and deep pocket. Here’s how… WORDS: PETE RILEY

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sk 10 different drummers to play the same kind of groove and you’ll get 10 subtly different versions, with each having a different touch, feel, placement of notes and dynamics. All of these elements help make up the somewhat intangible area of drumming that is making things groove and feel good. However, as intangible as these qualities might seem, like all aspects of drumming they can be practised and developed, with the exercises

presented below aimed at doing exactly that. The exercises cover a variety of areas, starting with developing some mastery with the click as a key groove-playing essential is consistent meter, or time. Next are some ideas illustrating how to approach creating a groove when the space within the music offers lots of possibilities. Changing the right-hand pattern or ostinato can also have a profound effect upon the feel of a groove so having the ability to choose from a range of options can help find exactly the right one for the

GROOVE LESSON 1

Go to http://bit.ly/grooveEx1

Playing on, in front of and behind the click Once you’re comfortable playing along with a click, another challenge can be to develop more flexibility by learning to purposely play in front of or behind the click to create a sense of urgency or a more lazy feel respectively. This could also be tried with just the backbeat on the snare as opposed to the whole kit. To illustrate how this would sound we’ve created an ideal environment using one of this issue’s Partners In Time basslines (on your CD) which has a loop as well as a click. This way you can hear how the drums sit in relation to the unmoving loop as well as the click and bassline. In this respect if attempting this in a live setting with a band and no click, the chances are if you ‘push’ the time, the band will simply speed up with you and vice versa. However when

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track. Ghost notes are also an excellent way of creating subtle movement within a groove, either filling in the spaces or creating their own rhythmic undercurrent. Finally odd time signatures can inherently sound odd if you’re unsure as to how to approach them, and our final examples demonstrate a simple system that can make even the most intimidating time signature feel good. For the first two examples you’ll be working with two basslines, which you can find at the links below (print) or by clicking on the play buttons (iPad).

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playing along with something static the effect will be more apparent. Aside from attempting to change the feel, manipulating the time this way is a good way of developing your ability to correct small discrepancies with the click where you may have pushed ahead or fallen behind, with a less experienced drummer often responding excessively. This is rather like a racing driver putting in too much oversteer when the rear of the car steps out, resulting in the inevitable fishtailing, perhaps ultimately sliding off the road, or in our case losing the click altogether. Hearing you’ve moved in relation to the click but being able to rectify it subtly is an important skill whether done intentionally to create effect or not.

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ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS GROOVE LESSON 2

Go to http://bit.ly/grooveEx2

Creating a drum part where there’s a lot of space

is a James Brown ‘Cold Sweat’-inspired idea using a displaced backbeat on the ‘&’ of ‘4’ in the first bar of the two-bar pattern. Our final approach looks at stripping things right back and letting the bass carry the groove with the bass drum playing a minimalist part. Once again ‘the best’ idea can be subjective but you can only really decide if that’s the case after trying it in relation to some other possibilities.

In some pieces of music space within the rhythm section parts can create lots of options as to how they can be filled. This is of course quite subjective and dependent upon genre but here – and with the use of our second Partners In Time bassline – we’ve used three different approaches on the A section patterns to explore some of the possibilities. The first idea seems a good starting point, alternating 16th notes on the hats, ‘2’ and ‘4’ on the snare, while the bass drum follows most of the bassline. Next up

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GROOVE LESSON 3

Go to http://bit.ly/grooveEx3

using a selection of eighth, broken 16th-note and 16-note patterns but also notice the placement of the accents, either on the downbeat or upbeat, which can greatly impact upon the feel of a groove.

An ostinato simply means a repeating pattern and for most of us the default right-hand pattern involves playing eighth notes on the hi-hat. Here we’re changing the right hand pattern to see what impact it has upon the groove. We’re A

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PLAY BETTER: HOW TO MAKE YOUR BEATS GROOVE GROOVE LESSON 4

Go to http://bit.ly/grooveEx4

Making odd time signatures groove

make feeling these time signatures much easier. In essence the idea involves subdividing the last three eighth notes into two even dotted eighth-notes. This gives a funky syncopated feel to the end of the bar, smoothing out the potential lump caused by the odd measures. This dotted rhythm can be placed at the end of all of these odd times and depending on what the top number of the time signature is it will affect either the kick or the snare. One final idea you may want to try with these examples is ‘over riding’ where the right hand emphasises downbeats in the first bar and upbeats in the next.

Odd time signatures over four, ie: 5/4, 7/4 etc, tend to be reasonably easy to negotiate, simply adding or subtracting the relevant number of quarter-notes, allowing us to count to five or seven at the same speed we’d count to four. Where things tend to become more demanding is when we’re dealing with an eighth-note based time signature, ie: 5/8, 7/8 etc. Here the time can tend to be moving quite quickly and there can be a requirement to syncopate the groove to avoid it sounding lumpy with the missing or additional eighth notes. The following system allows us to negotiate these time signatures relatively easily and consistently, and whilst it’s not a silver bullet that will work in every situation it will definitely A

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The most important quality to have when working on ghost notes is the ability to play them really quietly. This requires the left hand to be very relaxed, with just a delicate drop of the wrist giving all the movement required to play a light tap about an inch off the drum. The grooves below show a selection of related ideas that increase in difficulty and should really help to develop the ability to incorporate ghost notes freely.

Essentially there are two approaches to this; one where the left hand fills in any 16th-note spaces in the pattern whilst not landing in conjunction with any other notes (Ex’s 5A-C), and the other using a layered approach that is used in the final three examples. David Garibaldi’s book Future Sounds is an excellent resource for this kind of material.

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65

ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS

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drum solos

RHYTHM’S QUICK GUIDE TO SNARE DRUM SOLOING

Become a drum solo superstar, using rudiments to create some interesting and challenging snare solos

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to fast which, while beneficial, lands some way short of interesting. What would be ideal would be a way of moving from one to another in rhythmically interesting and challenging ways – as a solo. In 1945 Charlie Wilcoxen’s All American Drummer was first published. Often referred to as the Bible of snare drum solos, it’s a hugely influential drum book that’s been used by drummers worldwide for nearly 70 years and its 150-solo content is as challenging and relevant for developing technique today as it was then. The piece below, which includes six-stroke

ears ago, when studying with a drum teacher it was the norm to be refused access to the kit until you were able to play all of the rudiments on a snare or pad. Looking back that might seem a little harsh, yet the coordination and fluidity developed from working through these combinations undoubtedly develops a strong foundation – one that can often be missing in the playing of drummers who mostly learn beats and fills. However what do you do once you’ve mastered a few of the rudiments? For most of us the next step usually involves playing them individually from slow

roll phrasing, is typical of these kinds of solos, with the only dynamics marked being accented notes and with the occasional use of repeat marks. For the uninitiated the appearance and stickings can be quite intimidating, but it is well worth taking some time to develop this kind of repertoire. See Rhythm every month for more soloing ideas. This type of playing has to be of benefit to any drummer, regardless of style. Although you might struggle to find a direct application for this on your next gig, a new-found fluidity and sense of control is guaranteed.

Play all solos at: 60BPM http://bit.ly/solosEx1 80BPM http://bit.ly/solosEx2 100BPM http://bit.ly/solosEx3

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PLAY BETTER: DRUM SOLOS

SOLO 1

Flam paradiddles into flam taps (bar 1).

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67

ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS

DRUM STARS’ SOLOING TIPS

Some of the world’s greatest drum soloists share their approach to playing a solo GAVIN HARRISON “I used to do a solo in Renaissance back in 1983. They’d walk off stage and I would play for as long as I wanted, which would be as mercifully short as possible! I realised that immediately the band walked off your brain completely empties of all good ideas! It’s like that quote, ‘From the moment you’re born, your brain begins to work and it continues to work up to the moment you stand up to speak in public.’ So all you can really do is have a bunch of tricks and your solo becomes you trying to remember all your licks and string them into some sort of order. “I am very aware when I watch solos that that is mostly what people are doing. They are not improvising, they are sticking together a load of pre-rehearsed stuff – because some of it is so technical that there’s no way on earth you could have improvised it.”

STEVE SMITH “I want my playing to feel the same, emotionally and physically, as when I’m accompanying other musicians. When I first started playing solos, as soon as the solo started I’d immediately play louder and faster. It took some years before I figured out I needed to relax, continue to play musically and use an extremely wide range of dynamics and moods. “One needs to keep their equanimity when playing solos and respect the same rules as when playing with others: play relaxed and in time, use dynamics and build your solo as you would build behind a singer or an instrumental soloist.”

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JOHN BLACKWELL “My approach to a solo depends on the moment and the type of music that I’m doing, but no matter what, I always want to tell a story. A story has a beginning, middle and end. I feel if I don’t approach it that way, then it doesn’t make sense to the audience or to myself. To me you’re just talking and saying nothing.”

AREJAY HALE “My approach is to make it feel like the whole crowd is a part of it. It’s more fun for me and for them to interact and get them involved. It’s my duty to take over the show like a ‘frontman behind the kit’ for the solo and really have fun with the audience. I like using electronic pads to make weird space sounds, I’ve even used dubstep samples. Sometimes I’ll do a call-and-response with the crowd, smash my gear, jump up and down, kick my cymbals. I’ll solo with just my hands or giant sticks. I want people to leave with something unique and fun to take home.”

IAN THOMAS “Say you are playing over a sequence, you can play over bar lines and get yourself into a mess, and you have got to get yourself out of it. Saxophonist friends say the good stuff happens when you are trying to get out of a mistake. And if you are not brave enough to make a mistake, you are never going to know. You have got to be brave enough to mess up.”

MIKE MANGINI “I have to make it for everybody. There are so few of us that have wired our brains to even begin to comprehend and recognise so many patterns that are so easy to do once you put in the work. Most people don’t recognise a base time, a feeling of 11 while a pattern of maybe five of those 11 notes is occurring at the same time. I have to tailor my solos to people who are not musicians, I can’t expect them to do the studying. They want to see sticks being spun and the guy that flips upside down. That drummer might be more entertaining. You need to please those people. I don’t judge that, I think all of that is tremendous and needs to be valued.”

MIKKEY DEE “Think, ‘Who am I playing this for?’ You’ve got the girls in the crowd: they need to stamp their foot and feel the rhythm. You got the musicians: you need to show them a few tricks. But the average listener doesn’t play drums, they just want a good show. Improvisation is only about five percent of my solos. The main structure has been the same for a few years but I do pop in little bits and pieces. I usually practise when we soundcheck. I don’t think I’m that a good a soloist, but I am good at coming up with a drum solo that entertains you as well, without being boring. It’s not just about technique. I like a solo to move forward. I start in the middle of a song, solo, back into the song, finish. If you see a guy doing slow s**t, you’re definitely running for a beer, including myself. But then, if you race through it like a f**king moron, it’s not good either. A drum solo needs to keep moving upwards, not down the hill.”

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Tips and techniques to help you play and sound better

PLAY BETTER: 30 DAY DRUM WORKOUT

30 DAY DRUM

WORKOUT I T ’ S T I ME TO GE T PHYSIC AL BEH I ND T HE K I T WI T H T H I S HARDCORE DRUM PROGRAMME DE SIGNED TO I MPROVE YOUR PLAY I NG I N JUST ONE MON T H WORDS: PETE RILEY & CHRIS BARNES PHOTOS: JOBY SESSIONS

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t’s a familiar scenario. You go for a fill or kick pattern and something gets in the way; the coordination isn’t quite there, something feels awkward, the fluidity is lacking and you stumble through, but not with the execution you’d hoped for. These moments are usually the result of coordination and independence problems, perhaps there are other skills that need attention. There comes a point when you must meet this head on to take your playing to the next level. The daily exercises presented here are intended to

gradually address key areas and progressively build the level of difficulty until new levels of technical ability, coordination and independence are unlocked, allowing you to reach previously unattainable levels of playing with a new-found confidence. We’ve worked hard to create a well-rounded plan and provide you with everything you need to prepare for and complete the programme, from the accompanying video lessons and exercise notation to tips and advice from experts on key subjects like nutrition, hydration and sleep. Progress is going to require some dedicated daily

hard work. Thirty days is just a guide – it doesn’t matter if your 30 day workout takes 60 days – your development will remain significant. Ideally you really want to be able to play the previous day’s examples relatively effortlessly before moving on. An alternative approach is to tackle each new day’s examples as best you can, making a note of the ones you’d like to revisit at the end of the month. These lessons will boost your playing and you should soon start to feel improvements as your hard work unlocks your hidden potential. So, let the workout begin…

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71

ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS BEFORE YOU START

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

WHAT YOU’LL NEED Ideally you’ll be using your full kit for this programme as many of the lessons will require you to work with your hands and feet. Use a well tuned acoustic kit, or select decent sounds on your electronic kit. Match your e-kit with a pair of comfortable, quality headphones for these extended periods of playing. If excessive noise is an issue with neighbours or family we’d recommend investing in drum mutes. These inexpensive pads sit on your acoustic heads and can reduce volume by up to 95 percent. If a kit is out of the question then a practice pad mounted on a stand is perfectly workable too. Pick up a bass drum pad too, if you can (head to p35 for more useful practice tools). Although you won’t be at a real kit, don’t forget the importance of good posture here, so set up your pads with ergonomics in mind.

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

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

WHAT LEVEL AM I? There are Beginner, Intermediate and Pro versions of each lesson in this workout. Here’s what those levels mean BEGINNER You’ve not been drumming for long, but have an understanding of the basics (if not, get started with our Drumming Essentials YouTube playlist: bit.ly/drummingessentials). In these lessons you will start slowly and ultimately should be looking to play each example, snag free, for 1-2 minutes at a time. Your focus should be on developing timing, accuracy and consistency of hits. INTERMEDIATE You already have a solid grasp of key drumming principles and kit experience. With commitment to this workout, your playing level should advance considerably. At this level you will build on your foundation of accuracy and consistency and perform examples at faster tempos. Aim to play each one for 2 minutes-plus at a time. PROFESSIONAL You really know your stuff, but feel you’re rough around the edges. Using these lessons will seriously boost your speed and endurance, with challenging tempos designed to really push your playing forward. With practice you should be able to play these examples for 2-3 minutes-plus at a time.

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3 Rest is best You’ll be taking on board a lot of information in the next month, both mentally and physically, so we’ll be recommending rest days too. These are an opportunity give your brain and body a break, and a chance to absorb what you have learned.

PLAY BETTER: 30 DAY DRUM WORKOUT BEFORE YOU START

5 Time to focus

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

Plan your diary so that you are able to commit serious time and focus to these lessons. Got a quiet month on the horizon? That’s the perfect time to plan it in. This workout is quite some undertaking so we’d recommend telling your family and friends your intentions so they can support you through and help you stick with it.

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

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

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

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

10 Take notes Whether you use old fashioned pen and paper or notes on your phone or tablet, like any workout it’s important to keep track of progress, recording what you have done each day and identifying any weaknesses that need attention.

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73

ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS BEFORE YOU START

WARM-UP ESSENTIALS Learn the right way to prepare your body before you play Playing the drums involves the whole body – hands, arms and shoulders, the legs and core all need to have good strength and mobility to ensure they don’t impede our creativity. All too often players reach a physical ceiling before they reach a creative one – this is where our focus on technique in practice steps in, and good range of motion and mobility in our muscles and joints is critical. Here James Hester, session drummer, Head of Drums at

BIMM Bristol and triathlete gives his advice on preparing physically for a practice session. “Warming up before we play raises the heart rate ready for work, focuses the mind and allows us to hit the ground running. Taking some time to warm up will prepare the muscles by bringing them up to temperature and increasing blood flow and nutrients to the muscles – this will help prevent injury and will also psychologically help you get ‘in

touch’ with your body. Which of these stretches you choose to do is dependant on the intensity of your planned session and what’s required of your body, but do them after spending some time using a snare and bass drum pad doing rudiments and simple co-ordination exercises to warm up. Start slow and with low velocity and build up tempo and volume. Once your heart rate is up and your mind focused, perform these stretches.”

SHOULDER BLADE SQUEEZE

FIST STRETCH

ROTATOR CUFF 1

Sit or stand with a straight back and pinch your shoulder blades together. Imagine you have a £50 note between your shoulder blades and don’t want to drop it. This is a great stretch for aligning the back and opening the chest area. This is one you can do a few times a day without needing to warm up.

Make a fist with your thumb over your fingers and grip fairly tightly – then open your hand out as far as it will go – do this four or five times with each hand. This not only works the hands but also the forearms too.

Put your arms out at 45° in front of you, palms down – then roll your shoulders so your palms are upwards – do this as many times as you like to increase the circulation. You can move your arms upwards so your hands are at the same height as your shoulders and also try beginning with your arms 45° to your side and do the same thing.

TRY YOGA… A more holistic approach may be to investigate the art of Yoga for strengthening your body, increase your suppleness and give you time to focus your mind. Radiohead/Portishead’s Clive Deamer tells us, “I started practising Ashtanga Yoga around 2005. If done regularly it provides many physical and deeper psychological and spiritual benefits. In the context of drumming, the most obvious being a strong back and a daily gradual increase in bodily strength awareness and flexibility. Yoga also develops your ability to relax. This feeds into good playing and practising technique, you notice the difference between excessive muscular tension compared to focused and engaged work.”

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ROTATOR CUFF 2

SEATED HIP FLEXOR

TOP TIP

Arms out to the side parallel to the floor and elbows bent at 45° – as if you’re holding something above your head. Rotate from the shoulder until your palms and forearms are horizontal, parallel to the floor. You can also start with your arms pointing downwards and rotate them upwards.

In a seated position, lift one leg up and place the outside of the ankle on the opposite knee and sit up straight. This will stretch your hip flexors but you can get a deeper stretch by gently pressing down on the knee of the raised leg. Do this on both sides.

It’s important to keep your mind strong too. The Headspace App talks you through the process of developing ‘mindfulness’ or meditation for 10 minutes a day – a recent US study showing that regular focus on this can improve concentration and memory and is an effective anti-depressant.

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PLAY BETTER: 30 DAY DRUM WORKOUT PERIOD 1

DAYS 1-6

PERIOD 1

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

combinations and time playing. There’s a video for each lesson. Each period also accounts for a rest day so you can take a break and let everything you’ve learned that week sink in. In this first period things stay relatively simple, with a starting tempo for each playing level setting the appropriate challenge. Beginners should aim to play each example consistently for 1-2 minutes, intermediates 2 minutes-plus and pro’s 2-3 minutes-plus.

DAY 1 MASTER SINGLE STROKES, DOUBLE STROKES AND PARADIDDLES RECOMMENDED STARTING TEMPO (BPM)

BEGINNER INTERMEDIATE PROFESSIONAL

110 (quarter-note) 150 (quarter-note) 220 (quarter-note)

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Watch the video at http://bit.ly/WorkoutDay1

here; consistency is a factor so watch for stick heights as they’ll be a dead giveaway to any volume discrepancies. And when it comes to pushing the tempo it’s essential to remain relaxed. Try to gradually move the effort from arms to hands to fingers as the tempo progressively increases.

It could be argued that everything played on the kit is a combination of single and double strokes with the paradiddle the natural progression of the two. These building blocks of drumming really need to be strong if a solid foundation is to be built. And remember it’s not just speed we’re looking for B

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DAY 2 ESSENTIAL SHUFFLE GROOVES RECOMMENDED STARTING TEMPO (BPM)

BEGINNER INTERMEDIATE PROFESSIONAL

90 120 150

Watch the video at http://bit.ly/WorkoutDay2

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

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

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DAY 3 UNLOCK FOUR-WAY COORDINATION RECOMMENDED STARTING TEMPO (BPM)

BEGINNER INTERMEDIATE PROFESSIONAL

90 120 150

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Watch the video at http://bit.ly/WorkoutDay3

snare and bass drum. And if that wasn’t difficult enough, the left foot should play on beats 2 and 4. Finally be sure not to accent the snare when playing the bass drum – sometimes not as easy as it sounds.

Four-way coordination is a cornerstone of any great player. This deceptively tricky exercise features single strokes throughout and requires not only negotiating the accents moving hand-to-hand but also top to bottom between the

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ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS PERIOD 1

DAY 4 USEFUL HAND/FOOT LINEAR COMBINATIONS – 3’S AND 4’S RECOMMENDED STARTING TEMPO (BPM)

BEGINNER INTERMEDIATE PROFESSIONAL

75 95 120

Watch the video at http:// bit.ly/DrumWorkoutDay4

An important stepping stone to creating more interestingsounding phrasing and fills is introducing the bass drum into phrases normally played just with the hands. Incorporating the bass drum this way will break up the phrase with the bass drum acting as a third voice. However, they also

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

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

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

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

PLAY BETTER: 30 DAY DRUM WORKOUT PERIOD 1

A WORD ON NUTRITION Whilst we’re not suggesting you should completely overhaul your diet, even small changes and improvements in what you eat can have a dramatic effect on energy levels, stamina, mental concentration and a general feeling of wellness that will help you complete the 30 days. Martin Armand, Personal Trainer, musician and owner of MA Health & Fitness (www.facebook.com/ mahealthandfitness) shares some tips on what to eat to supercharge your playing. “Long practice sessions can be both physically and mentally demanding, not to mention additional playing such as gigs, rehearsals and sessions on top. You need to get the right nutrition to get maximum results, and ensure you have the mental focus to practise and the endurance to last through a session. Although getting this right is important at all times in life, the correct nutrition during this drum workout plan will really help. Eating a well-balanced and colourful diet is important to fuel your body and help with recovery and performance. “Protein is essential for your body’s structure: it aids and regulates the building and repair of tissues and muscles, and is also good for satiation, the feeling of being full. Eating 4-5 portions of protein throughout the day will keep you feeling

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

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

DAY 5 DEVELOP BASS DRUM INDEPENDENCE – SINGLE NOTES RECOMMENDED STARTING TEMPO (BPM)

BEGINNER INTERMEDIATE PROFESSIONAL

75 95 120

Watch the video at http://bit.ly/WorkoutDay5

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

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

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DAY 6 REST DAY Whether you’re moving through this drumming workout, play sport regularly or simply live a busy lifestyle, getting an adequate amount of rest is vital to making you mentally and physically able to undertake the things you want. As such, we’ve worked rest days into each period of this workout. Of course, what you do on your day off is entirely up to you, but if you love drums as much as we do you’ll probably be doing drum stuff anyway! Today, inspire yourself for the next phase of your workout by checking out some awesome drumming. Immerse yourself in a classic album like The Who’s Live At Leeds, The Beach Boys’ Pet Sounds or Queens Of The Stone Age’s Songs For The Deaf, or whatever music gets you fired up to play the drums. Instead, you could head to YouTube and search for any drummer that takes your fancy. We’ve spent endless hours watching videos of our favourite players and it always throws up undiscovered gems. Either way, we guarantee you’ll see or hear the drumming essentials you’ve learned this week being put into practice.

Today, chill and listen to great music…

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ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS PERIOD 2

DAYS 7-12

PERIOD 2

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

DAY 7 ADD PARADIDDLE STICKINGS TO YOUR ARSENAL RECOMMENDED STARTING TEMPO (BPM)

BEGINNER INTERMEDIATE PROFESSIONAL

120 180 270

Watch the video at http://bit.ly/WorkoutDay7

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

By adding two or four single strokes to a single paradiddle we can create the double and triple variants. These tend to be easier to learn when played with the accents marked as in the notation below. We’ve also added the right and left paradiddle-diddles to the list. Note that these stickings, unlike the paradiddles, won’t switch hands but A

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9 GREAT PRACTICE TOOLS When playing your kit at home isn’t an option, here are some useful tools to help keep your hand in without disturbing the neighbours

1 BILL SANDERS PRACTICE PAD/KIT From £23

2 STAGG EBT-10 ELECTRONIC BEAT TUTOR

Long-lasting and with an authentic real-feel surface, Bill’s pads and full practice kits come in all shapes and sizes and plenty of top drummers swear by them. www.practicedrumkits.com

£43 A high-tech, high quality 7½" silicone pad that packs a metronome with programmable beats, tap tempo function and six training programmes. www.staggmusic.com

3 MEINL KNEE PAD

£13.50 This 4" pad may be small, but attach it to your knee with the adjustable strap and you have a portable pad so you can practice on the go. The small target helps you improve accuracy too. www.meinlcymbals.com

4 AHEAD 3 ZONE WORKOUT PRACTICE PAD £59.93 This 14" pad feels great under the stick; the three different playing surfaces –

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soft gum rubber, hard black rubber and MoonGel pillow – offer different amounts of rebound, mimicking the feel of drums and cymbals. www.aheaddrumsticks.com

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

6 AQUARIAN SUPER-PADS £TBC Standalone pad for silent practice and a low-volume acoustic drum mute that can be placed on anything: drums, tables, snare stands, beds or your lap. Placed on an acoustic snare drum the pad activates the snare wires for a

realistic, low-volume sound. www.aquariandrumheads.com

7 REMO SILENT STROKE HEADS From £10 Single-ply mesh heads that replace your standard heads. So it might be a pain to swap skins, but the extended practice they’ll afford you is worth it. www.remo.com

8 SOFTAPADS From £10 Sit on top of your regular drum heads, cymbals and kick, whilst still giving you decent stick response. Claim to reduce volume by up to 90 percent. www.jhs.co.uk 9 CYMBOMUTE From £7 Fit around the edge of your metals, held in place by their own tension. Let you play at a hugely reduced volume. www.cymbomute.com

PLAY BETTER: 30 DAY DRUM WORKOUT PERIOD 2

DAY 8 GROOVE WITH THE HALF-TIME SHUFFLE RECOMMENDED STARTING TEMPO (BPM)

BEGINNER INTERMEDIATE PROFESSIONAL

90 120 150

Watch the video at http://bit.ly/WorkoutDay8

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

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

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DAY 9 SYNCOPATED FOUR-WAY COORDINATION RECOMMENDED STARTING TEMPO (BPM)

BEGINNER INTERMEDIATE PROFESSIONAL

90 120 150

Watch the video at http://bit.ly/WorkoutDay9

is expected to step ‘2’ and ‘4’ and make sure that only specified notes are accented, with all remaining notes played very quietly. The first two examples imply a three beat figure moving through the bar while the third example plays it over two bars.

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

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DAY 10 TACKLE HAND/FOOT LINEAR COMBINATIONS – 5’S AND 6’S RECOMMENDED STARTING TEMPO (BPM)

BEGINNER INTERMEDIATE PROFESSIONAL

80 100 130

Watch the video at http://bit.ly/WorkoutDay10

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

In this next lesson we expand upon the previous linear hand/foot combinations from Day 4 by looking at combinations of five and six notes created by placing one or two bass drum notes on the end of a group of four single strokes. Once again, begin by getting familiar with the basic

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ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS PERIOD 2

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

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

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

£free Never miss practice or forget what’s on the agenda for each session by

populating your calendar app. Making excuses is easy – so why not set reminders with a particularly obnoxious tone so there’s no doubt when it’s time to work? iOs/Android

for longer periods with a kit that sounds great, and this high-tech app helps the tuning-impaired achieve even tension across the drum head quickly and accurately. iOs

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

RHYTHM

WATER TRACKER £free We stress the importance of water intake to a healthy, focused lifestyle on page 43. Set yourself the challenge of drinking the recommended daily allowance with the help of this app that tracks your intake and reminds you to drink when you get behind! Also try Waterlogged for iOS. Android IDRUM TUNE £3.99 You’ll be far more inclined to practice

From £2.99 We know, we know… but this is our mag, so we’re going to tell you to read more of it! Once you’ve finished with this workout, there’s no better way to keep your chops up than with the monthly video lessons in the digital issue of Rhythm (iOs only), including lessons from tutor Pete Riley, who wrote this programme. iOs (Apple Newsstand)/Android (Google Play)

MYFITNESSPAL

£free If this workout, and our nutrition advice on page 34, has inspired you to change your diet to boost your ability behind the kit, this is a great app for tracking your daily intake of food, and keeping an eye on how much goodness you’re getting each day. iOs/Android

DAY 11 NEXT LEVEL BASS DRUM INDEPENDENCE – DOUBLE NOTES RECOMMENDED STARTING TEMPO (BPM)

BEGINNER INTERMEDIATE PROFESSIONAL

75 95 120

Watch the video at http://bit.ly/WorkoutDay11

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

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DAY 12 REST DAY We all need something to aim for, so why not spec up your dream kit online? It’s still within drum-world, but you’re giving your hands, feet and brain a well-earned rest. Plenty of drum brands have kit builders on their websites so you can see your mega rig take shape before your eyes, but even without, you can design something tasty by trawling the pages of your favourite drum sites or heading to your local shop. The question is, will you opt for the workhorse, sonically stunning four-piece with matching cymbals, or a ridiculous, money-is-no-object set-up? Three bass drums? Gold hardware? Solid shells? Go large or go home, we say. Have fun!

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first exercise, if you want to push yourself try moving the right hand to the ride cymbal and stepping quarter-notes with the left foot for an excellent four-way workout. For a full rundown of the examples watch the video on your Rhythm CD. As always with all of these lessons, take time to familiarise yourself with the stickings before going full pelt.

DAYS 13-18

PERIOD 3

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

DAY 13 TAKE COMMAND OF PARADIDDLE COMBINATIONS RECOMMENDED STARTING TEMPO (BPM)

BEGINNER INTERMEDIATE PROFESSIONAL

80 (half-note) 120 (half-note) 160 (half-note)

Watch the video at http://bit.ly/WorkoutDay13

the examples to change hands on repeat. Once comfortable try playing the accents on the toms and cymbals whilst keeping the remaining unaccented notes on the snare. You could also step the hi-hat to push the independence to a whole new level.

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

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SHARPEN YOUR FOCUS WITH SLEEP

© istockphoto.com/dima_sidelnikov

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

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ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS PERIOD 3

DAY 14 ADD GHOST NOTES TO SHUFFLE GROOVES RECOMMENDED STARTING TEMPO (BPM)

BEGINNER INTERMEDIATE PROFESSIONAL

90 120 150

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

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

Watch the video at http://bit.ly/WorkoutDay14





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

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DAY 15 PUSH YOUR FOUR-WAY COORDINATION USING DOUBLE-STROKES RECOMMENDED STARTING TEMPO (BPM)

BEGINNER INTERMEDIATE PROFESSIONAL

90 110 130

(Day 3), only this time reversing the accents and bass drum notes. Again be sure to include the left foot stepping ‘2’ and ‘4’. This is a tough one to get your head around initially so be sure to refer to the video on your CD.

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

Watch the video at http://bit.ly/WorkoutDay15





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

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L L R R L L R R L L R

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DAY 16 CHALLENGING HAND/FOOT LINEAR COMBINATIONS – 5’S AND 4’S RECOMMENDED STARTING TEMPO (BPM)

BEGINNER INTERMEDIATE PROFESSIONAL

70 90 130

Watch the video at http://bit.ly/WorkoutDay16

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

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

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L

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PLAY BETTER: 30 DAY DRUM WORKOUT PERIOD 3

QUICK TIP!

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

QUICK TIP!

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

DAY 17 MOVING ON TO TIME PLAYING – RIGHT HAND INDEPENDENCE RECOMMENDED STARTING TEMPO (BPM)

BEGINNER INTERMEDIATE PROFESSIONAL

75 95 120

Watch the video at http://bit.ly/WorkoutDay17

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

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

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L L R L L

DAY 18 REST DAY

© istockphoto.com/remains

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

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ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS PERIOD 4

DAYS 19-24

PERIOD 4

Now you’re cooking on gas! For period 4, flams become the focus of our hand exercises, looking at the classic hand-to-hand combinations, while our shuffle grooves continue to focus on adding the ghost notes, only this time in a half-time setting. The four-way coordination exercise continues the double-stroke replacement theme only now using the more syncopated rhythms seen on Day 9. The hand/foot combinations on Day 22 cover some slick sounding four- and six-note motifs and show how they can be combined to make longer phrases, while the time-playing exercise again adds the pick-up note to the basic dotted figure which remains on the hi-hats. Let’s go…

DAY 19 LEARN FLAM COMBINATIONS RECOMMENDED STARTING TEMPO (BPM)

BEGINNER INTERMEDIATE PROFESSIONAL

80 120 160

Watch the video at http://bit.ly/WorkoutDay19

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

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

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÷ 24

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j œ

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DAY 20 ADD GHOST NOTES TO THE HALF-TIME SHUFFLE RECOMMENDED STARTING TEMPO (BPM)

BEGINNER INTERMEDIATE PROFESSIONAL

90 120 150

Watch the video at http://bit.ly/WorkoutDay20

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

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3

B

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

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PLAY BETTER: 30 DAY DRUM WORKOUT PERIOD 4

PLAY BETTER WITH H2O There’s a reason why we can survive for longer without food than we can without water. Water is massively important for so many functions of the body (on a basic level to avoid dehydration) but with drumming being such a physically demanding activity, it’s even more important to keep your fluid intake in check. For drummers, drinking plenty of water helps cushion joints, maintains strength and endurance, regulates body temperature, reduces sodium build up in the body, rids the body of toxins, helps convert food into energy, and is great for boosting concentration and the ability to absorb and retain information – all things that will help push and support the physicality of your playing and keep you feeling generally healthy.

Other drinks count towards your daily intake, but we’d suggest avoiding calorific sugary, fizzy drinks and too much tea or coffee. Alcohol doesn’t count here either. The amount of water you should be drinking each day, as suggested by The Institute of Medicine, is roughly 3 litres for men and 2.2 litres for women. This figure should increase if you’re undertaking serious physical exertion. Drinking regularly can be difficult to maintain, so we’d recommend having a water bottle with you at all times. The HydraCoach (www.hydracoach.co.uk) would be a wise investment if you’re serious about it. This high-tech bottle calculates your recommended daily intake based on your weight, and tracks your fluid consumption in real time.

DAY 21 FOUR-WAY COORDINATION WITH SYNCOPATION AND DOUBLE-STROKES RECOMMENDED STARTING TEMPO (BPM)

BEGINNER INTERMEDIATE PROFESSIONAL

90 110 130

Watch the video at http://bit.ly/WorkoutDay21

For Day 21’s drum workout, we are going to re-visit the tricky four-way coordination exercise that we looked at all the way back on Day 15. It’s time to make things even harder now as we push the complexity further with the addition of double-strokes replacing the unaccented

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single-strokes but also using syncopation to make the phrases even more challenging. Pay particular attention to the notation here, noting that the bass drum will fall on the first note of any double-stroke.

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QUICK TIP!

L L R R L L R R L

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

3

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QUICK TIP!

When you sit at your kit for a practice session, before you play, acquaint yourself with your set-up and get your body into a comfortable position.

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ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS PERIOD 4

DAY 22 CONTEMPORARY HAND/FOOT LINEAR COMBINATIONS – 4’S AND 6’S RECOMMENDED STARTING TEMPO (BPM)

BEGINNER INTERMEDIATE PROFESSIONAL

80 100 130

Watch the video at http://bit.ly/WorkoutDay22

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

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

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DAY 23 TIME PLAYING – RIGHT HAND SHUFFLE THROUGH 16TH-NOTES RECOMMENDED STARTING TEMPO (BPM)

BEGINNER INTERMEDIATE PROFESSIONAL

70 90 110

Watch the video at http://bit.ly/WorkoutDay23

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

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

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DAY 24 REST DAY You should be seeing some significant progress by now. If you’re confident you’re nailing the workout then why not research and buy a new bit of gear? Maybe a new bass drum pedal, that snare you’ve been after, or even just some sticks or a new snare head. It’s important to reward yourself for good work, and any new additions to your set-up will offer an incentive to complete period 5.

QUICK TIP!

It’s often better to spend 30 minutes to one hour of practice in a specific area with full concentration and no distractions than hours of directionless drumming.

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PLAY BETTER: 30 DAY DRUM WORKOUT PERIOD 5

DAYS 25-30

PERIOD 5

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

DAY 25 GET TO GRIPS WITH FLAMS AND DRAGS RECOMMENDED STARTING TEMPO (BPM)

BEGINNER INTERMEDIATE PROFESSIONAL

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

Watch the video at http://bit.ly/WorkoutDay25

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

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

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DAY 26 TRY THE STEVE GADD SHUFFLE RECOMMENDED STARTING TEMPO (BPM)

BEGINNER INTERMEDIATE PROFESSIONAL

90 110 130

Watch the video at http:// bit.ly/DrumWorkoutDay26

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

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

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

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87

ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS PERIOD 5

DAY 27 A TAXING FOUR-WAY COORDINATION FOUR-BAR EXAMPLE RECOMMENDED STARTING TEMPO (BPM)

BEGINNER INTERMEDIATE PROFESSIONAL

90 110 130

Watch the video at http://bit.ly/WorkoutDay27

stems, however it’s important to make sure things feel comfortable using single-strokes first. And don’t forget to step the left foot on ‘2’ and ‘4’. By this point you should notice a significant boost to your four-way co-ordination!

Our final four-way coordination example pushes the 3-4 idea further by changing the basic figure slightly and also playing it over four bars. This should ultimately be practised using double-strokes, denoted by the slashes through the

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> > > > ! œ! œ œ œ! œ! œ! œ! œ œ œ œ œ ÷ œ œ ‰ ‰ œJ Œ 3

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DAY 28 HAND/FOOT LINEAR COMBINATIONS USING INVERTED DOUBLE-STROKES RECOMMENDED STARTING TEMPO (BPM)

BEGINNER INTERMEDIATE PROFESSIONAL

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

A

Watch the video at http://bit.ly/WorkoutDay28

Try combining these ideas with the previous figures to create longer more sophisticated phrases and be sure to move the accents around the kit, making sure that the unaccented notes remain as quiet as they possibly can be. Keep practicing all the linear phrases from this Workout and your creative repertoire will grow and grow!

We bring our linear combinations lessons to a close today with these longer groups of eight and nine notes respectively. Notice how both examples (A and C) move hand-to-hand, while replacing the last note with the bass drum allows the figure to remain in the same hand in examples B and D.

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

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

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DAY 29 BROKEN TIME PLAYING – RIGHT, LEFT, FOOT THROUGH 16TH NOTES RECOMMENDED STARTING TEMPO (BPM)

BEGINNER INTERMEDIATE PROFESSIONAL

70 90 110

These final time-playing examples are very effective at creating broken time feels by combining some of the concepts used in the lessons so far to create what are essentially linear grooves with a dotted eighth-note rhythm and right, left, foot sequence running throughout

Watch the video at http://bit.ly/WorkoutDay29 A

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whilst still maintaining the backbeat. In example B we’re substituting every other bass drum note for a stepped hi-hat, a pattern that can also be reversed to put the hi-hat first. Take a close look at the video to see how this is done.

B

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¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ÷ 64 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œœ œ .. ¿ ¿ ¿ ¿

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

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

PLAY BETTER: 30 DAY DRUM WORKOUT PERIOD 5

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

QUICK TIP!

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

QUICK TIP!

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

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ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS

THE BEGINNER’S GUIDE TO

BIG BAND DRUMMING

Big Band drummer-leader Pete Cater guides you through everything there is to know about big band and swing drumming, from making the right gear choices to essential techniques to give your playing authenticity, fills, solos, timekeeping and more WORDS: PETE CATER

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PLAY BETTER: BIG BAND DRUMMING

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here is probably no era or musical style that influenced the development of the modern drumset more than the golden age of big band drumming during the 1930s and 1940s. Key elements of the drumset; hi-hats, ride cymbals and tuneable toms all first came into common usage during this period. A great deal of what we play on the drumset across all manner of styles and genres can be traced back to the swing era. One key player who made the biggest impact is the legendary Gene Krupa. Krupa simplified the drumset, stripping away the ‘traps’, temple blocks, effects etc, leaving us with kick, snare, tuneable toms and cymbals. The biggest innovation of the period, which changed drumming forever, was the introduction of the hi-hat. Prior to this drummers did a great deal of their timekeeping on the snare drum using press rolls and embellishments, but with the introduction of the hi-hat a whole new rhythmic landscape opened up, and it was Papa Jo Jones (1911-1985) who was generally acknowledged as the originator of the jazz ride pattern that we know today.

Rhythmic hi-ways I get asked often why many of the players of the era would hold the hi-hat cymbals between the thumb and first finger whilst playing with the right stick. Prior to the development of the hi-hat drummers would often keep time by playing a cymbal with one hand and choking it with the other. Thus creating a primitive version of the ride pattern we know today. Ride cymbal timekeeping didn’t play a major part in drumming until years later. The cymbals of the swing era were too small and thin to carry a sustained ride beat. Also, it’s highly likely that the relatively primitive engineering of those early pedals made control of the cymbals difficult with just the foot alone. Something we always need to keep in mind as drummers is that it’s important to be authentic both in the manner in which you play and, crucially, your choice of equipment. Ultra heavy-duty cymbals designed for highly amplified heavy metal aren’t going to cut it in a big band. I like a medium weight bottom cymbal with a slightly lighter one on top. The A Zildjian New Beats are ideal in this regard. If the hi-hat cymbals are too heavy they will have too much fundamental (stick sound), and not enough harmonic (wash). It’s also vitally important that the hats make a bright, clear, ‘chick’ sound when stepped with the pedal. In spite of its inherent subtlety, ‘2 and 4’ with the left foot is crucial to a successful big band drummer. That’s what the musicians are listening to

THE SOUND in order to hear the tempo clearly. Similarly the ride cymbal should be thin enough to double as a crash. When you’re on stage some of the musicians are going to be a fair distance from where the drums are set up. They will want to hear your ride beat clearly, but the wash is important too, so just like when choosing hi-hat cymbals it’s important to have the right blend. When you play the ride cymbal you should use a really relaxed technique. There are two particularly good reasons for this. Often you may be called upon to play the swing rhythm at faster tempos, and if you’re choking the stick and becoming tense your endurance will be seriously compromised. Also, the more relaxed you are, the better quality of sound you will get. The legendary big band drummers were all revered on account of having a great touch on the instrument. Personally I play downstrokes on beats 2 and 4 and upstrokes on ‘1’ and ‘3’. The skip note (‘2’ and ‘& 4 &’) is part of the upstroke motion.

All about that bass Now we need to take a look at drum tuning and head selection. The first thing to bear in mind is that just like in the heyday of the big bands, the music is played largely acoustically. More often than not your kit will have few if any mics, you’ll quite possibly be working without monitors and most importantly of all you are playing with acoustic instruments and your drum sound needs to reflect that by being wide open and resonant, so single-ply heads are going to be the order of the day. The snare should be tuned so that it’s bright, crisp and clear. That means no tape, and no damping. I favour a fairly tight batter head and medium tension on the bottom head. Many times drummers make the mistake of over-tightening the bottom head to the point where it chokes up and won’t resonate effectively. After all you wouldn’t expect the guitarist in your band to over-tighten that really thin top string to the point where it simply won’t produce a note. The typical big band drum set-up goes back to Gene Krupa’s legacy yet again. Krupa, along with Buddy Rich, Louie Bellson, Sonny Payne, Butch Miles and countless others favoured one hanging tom and two floor toms. My personal set-up has been adapted in as much as I’ve reduced the tom sizes to 12", 14" and 16" as opposed to the more traditional 13", 16", 16" configuration. The 12" is tuned reasonably high, and the 14" is medium low. There should be a reasonably wide interval between the two pitches and this should resolve pleasingly when rounded off with a bass-drum note. Check the video for an example of this. The second floor tom is a great place to keep your towel as every Buddy Rich

IT’S IMPORTANT TO BE AUTHENTIC BOTH IN THE MANNER IN WHICH YOU PLAY AND, CRUCIALLY, YOUR CHOICE OF EQUIPMENT

VIDEO LESSON Watch Pete talk through his own gear at http:// bit.ly/guidetobigbandpart1

fan knows. I tune the 16" tom quite low, to the point where it’s just on the cusp of bass drum frequency. The reason for this is that when I’m doing swingstyle floor tom solos I like to give them a modern twist by incorporating contemporary linear ideas. There are video examples and there is notation of this later on in this feature. Lastly let’s look at the bass drum. Getting the ‘right’ bass drum sound is absolutely critical to sounding good and authentic in the big band rhythm section. A single-ply head, sometimes with an old-school felt strip damper, is ideal but not always essential. Of far greater importance is the type of beater and the technique involved to get the right sound. Vater have just introduced a vintage-style beater, which is perfect for achieving that warm, round tone, which blends perfectly with the acoustic bass.

USING A CLICK IN PRACTICE I am frequently asked about the benefits of practising with a click. Undoubtedly this is something that will sharpen up your sense of time and help you to internalise key points on the metronome – a great skill, which is lacking in far too many musicians. However my recommendation is that you spend half your practice time working with a click and no more. As drummers we need to be able to take charge of the pulse of time, and whilst a click will undoubtedly enable you to hone your skills it is important that you can play strong, confident and consistent time without any assistance. Work with the click, but don’t make the mistake of becoming reliant upon it. For the exercises this month I would recommend starting with a tempo between 100bpm and 120bpm. Once you are confident in this range start working on other tempos, both faster and slower.

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KEY TECHNIQUES

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ow we are going to take a more in-depth look at some of the key elements of timekeeping required for big band drumming. The most important element of all is that you should have a good, strong, compelling time feel which ‘drives’ the big band at the same time generating that all-important quality of ‘swing’. We know that the evolution went from snare drum press rolls to swinging hi-hats and eventually to the vast majority of our timekeeping being centred on the ride cymbal. The ride cymbal, together with the stepped hi-hat, is what the other

musicians are listening to in order to feel the pulse so the big band can play together cohesively. The ride cymbal should be the dominant sound coming from the kit and should not be overwhelmed by snare or bass drum. Irrespective of the style of music you choose to play, I firmly believe that the path to authenticity comes through having the right internal balance of dynamics between the hands and feet. Visualise four faders on a mixing desk when you want to vary your internal balance. It’s a really important skill to be able to vary the dynamic levels of each to make the overall sound of the kit ‘sit’ as nicely as possible. I teach this concept and call it ‘Independence of Dynamics’.

Jazz ride pattern and feathering the bass drum In Example 1, below, you will see the jazz ride pattern notated three ways. Watch the video to see all of the examples in this lesson demonstrated. There is a lot of debate about which interpretation of the jazz ride pattern is correct. The fact of the matter is that all three of them are applicable, and it is the tempo of the music that truly determines

VIDEO LESSON

YOU NEED A GOOD STRONG, COMPELLING TIME FEEL WHICH ‘DRIVES’ THE BAND AND GENERATES THAT QUALITY OF ‘SWING’

Watch Pete guide you through these examples at http://bit.ly/guidetobigbandpart2

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which interpretation you should opt for. The general rule of thumb is that the faster the tempo the straighter the eighth notes on beats 2 and 4 should be. If I hear a jazz drummer playing a very fast ride tempo with too much triplet it creates a sensation of ‘stop/start’, and can sound very stilted. Experiment with playing the jazz ride pattern at a variety of tempos and consciously alter the degree of ‘swing’ on beats 2 and 4. Now let’s look in a little more detail at how we’re going to apply the left hand and the bass drum. The bass drum is the foundation of the drumset in the big band rhythm section, and the ability to play a light four-in-the-bar (usually referred to as ‘feathering’) is an absolute must. The quarter-note bass drum should be at such a low dynamic level as to be unobtrusive. It should support the ‘walking’ four-on-the-bar from the bass player and not clash or overwhelm his lines. Debate has raged about the feathered bass drum for years. Whether or not to use it is entirely to do with the context of the music being played; for ‘old school’ big band charts (for example, Glenn Miller, Benny Goodman, early Count Basie, Duke Ellington etc), four-on-the-floor is an absolute prerequisite.

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PLAY BETTER: BIG BAND DRUMMING The left hand has many tasks, the first of which is to support the ride pattern to enhance the energy and forward motion of the music. This we refer to as comping. To develop our left hand comping skill we are going to play each swung eighth-note in turn until it feels really comfortable (Example 2). Once you feel comfortable with this repeat the exercise but with the individual eighth notes on the bass drum. Next, in Example 3, we are going to take two consecutive swung eighth-notes and move them through each possible placement in a single bar of 4/4 time as above. As before, repeat this exercise on the bass drum. Finally let’s take the left hand to the next level and work on groups of three (Example 4). The groups of three should be relaxed and flowing. Allow the rebound of the drum to work for you. With all of these exercises repeat each bar at least four times before proceeding to the next.

Where more contemporary material is involved you might want to use the bass drum solely for comping in the rhythm section and accenting horn figures. The bottom line is to use your ears, know your music history and listen to what is going on around you. In order to be a fully-formed big band drummer this bass drum technique is something you absolutely must master, and then decide when to use it.

Comping with your left hand A lot of drummers forge glittering careers by playing very little more than a solid ‘2’ and ‘4’ in the left hand. In the world of big band and jazz we have rather more to do. A big band makes a big sound when the whole ensemble is playing fortissimo, so just to play ride cymbal alone, without support from the left hand and bass drum, might not generate sufficient energy to kick the whole band when required.

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When we play figures with the brass section our drumming should reflect what the horns are playing in two key areas. Firstly: articulation. When the horns play a short (staccato) note we should choose a sound which matches, eg: snare, bass drum, rim-shot, stick-on-stick, choked crash cymbal, closed hi-hat etc. If they play a longer note, pick a longer sound, eg: crash cymbal, ride cymbal, open hi-hat, buzz roll, etc. When reading figures off charts it’s important to observe accents and articulation markings as well as note values. A quarter note with a ‘^’ accent will almost always be played shorter than an eighth note with a ‘>’ accent. These markings will help you to anticipate what the phrasing of the ensemble is likely to be. Very often drum charts may be a little short on markings indicating phrasing and articulation. As you rehearse each chart, listen to what the band is playing and add accents and markings to help remember what the band is doing so you can match their figures accordingly. Always mark charts with pencil only. Use of ink may result in JK Simmons-style Fill

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Dynamically speaking Secondly: dynamics and register. The drummer should always reflect the dynamics of the horn sections and importantly, the register in which they are playing. Be sure to read the dynamic markings as well as the rhythmic notation. Don’t play ‘ff’ (fortissimo, very loud) if everyone else is ‘mp’ (mezzo piano, moderately quiet). Lower pitches should be matched with lower, more subtle sound choices on the kit. For example, the snare blends well with the trumpets, but trombones are better ‘pitch matched’ with the bass drum. When the big band has rhythmic phrases to play it’s your task to ‘set up’ the figures. There are all sorts of different rhythmic possibilities here, but certain of them are especially commonplace; none more so than the ‘&’ of ‘1’. Notated on the chart it will look like it does in Ex. 6. On the accompanying video you’ll see me demonstrate this, and I’m using mostly swung eighth and triplet patterns, (and occasionally

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Now the fun really starts. Having done the four previous exercises, start to improvise mixing up snare drum and bass drum, either individual notes or groups of two, and put them anywhere in the bar. It’s important to do this very slowly to begin with, as you need to be able to think about which notes you are going to play in the moment that you play them. It’s vital you resist the temptation to just play memorised ‘licks’. In Example 5 we have a few bars of improvised left hand and bass drum suggestions. The interaction between the two sounds should feel conversational and melodic. This notation does not specify the sound source, it is for you to assign the notes as you wish. So, now that you’re comfortable with the key techniques involved, next we’re going to build on our swinging rhythmic foundation and take a look at phrasing and filling.

TIMEKEEPING

aving discussed the ‘what’ and ‘how’, we should also give some consideration to the ‘why’. What does timekeeping do in the big band? What do fills do? They enable the horn players to play their figures in exactly the right places. Fills and solos within the context of a big band arrangement serve exactly the same purpose as keeping time on the cymbals. All that rhythmic information serves to maintain the pulse and energy in the music. Your playing should have a rock-solid foundation, enabling you to control the band by means of time and dynamics. Fills and solos absolutely must have a strong, clear feeling of time. Don’t be tempted to throw in unnecessary and irrelevant chops, which only serve to muddy the waters. One of the most important musical relationships in the big band is between drums and lead trumpet. You should pay very close attention to what the lead trumpet plays; not just for time, but also phrasing.

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16th notes) in varying sequences. Ex. 7 shows a few examples of the type of patterns I’m using in the video. Notice that I have written these examples as a single-line rhythm with no suggestion as to sticking or orchestration. Practise these and find combinations of single and double strokes which fit. Once you have evolved the sticking, orchestrate it around the drums. The most common sequence of orchestration is snare, high tom, floor tom. Overused this can get to sound a little predictable. Try variations such as starting from the floor tom, going to the small

VIDEO LESSON Watch Pete guide you through these examples at http://bit.ly/guidetobigbandpart3

S

ooner or later as you develop as a big band player you will almost certainly be required to demonstrate your ability as a soloist, when you look at the chart and you see the words, ‘Solo 4 bars’, ‘Solo 8 bars’, maybe even ‘Solo 32 bars’ and, most challenging of them all, ‘Open solo’. What you can’t do is merely keep the groove going

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tom and finishing on the snare. An ascending sequence of pitches can be a musical breath of fresh air. Often I’ll start on the snare, move to the small tom and come back to the snare. Again this resolves the phrase in a less predictable fashion. In short, don’t go and buy more toms until you’ve exploited all the tonal variations of a basic set of drums. Also very popular is a hit on beat 2. Notice in Ex. 8 that the hit is notated as an eighth note with a ‘^’ accent on it. In the video example you’ll see how I reflect the shorter note value and accent in my use of sounds; ie: no long tones, crash cymbal etc. Ex. 9 is 12 bars of very typical rhythmic notation of the kind you will often encounter on drum charts. I envisage this as a medium swing tempo around about 180bpm. Look at Video Lesson 1 to see me playing this rhythmic line orchestrated on the drums, complete with time and fills. You’ll notice that in all the notation examples the notes are not assigned to any specific parts of the kit. It’s unusual for an arranger to specify what drummers are going to put where. That part is almost always up to you, and one of the hallmarks of a good reading drummer is the ability to interpret rhythmic notation in a musical fashion. Don’t make the mistake of playing the entire line on the snare. That demonstrates good reading ability but can be lacking in musicality. A good big band drummer listens to what the other

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musicians are playing and reflects melodic movement in the band. Just by sharing out a rhythmic line between the snare and bass drum you can create a melodic sense, which you won’t get from just using a single sound source. One of the key tasks of the big band drummer is to be able to fill between figures. You will often find yourself with anything from a couple of beats to a number of bars to fill. These fills act as links in the music, which enable one ensemble phrase to be seamlessly connected to the next. Take a close look at the third and fourth bars of the 12-bar notation (Ex. 10) and you will see there is an indication of a fill of three beats’ duration. In the video, I ‘loop’ these two bars several times. You can see how each time I manage to come up with different permutations of rhythms, stickings and orchestrations, so rather than using muscle memory and playing licks I am genuinely improvising. At our medium swing tempo a mixture of eighth notes and triplets would be ideal. A quarter note on the third beat of the bar immediately prior to the horns on the fourth beat will provide a clear and solid end to the fill, helping everybody to place the next phrase perfectly in time. Remember that a change of dynamics, ie: a crescendo or diminuendo through a fill can create musical tension and drama and really control the musical energy of the band.

SOLOING IDEAS with a few more fills than usual. This might suffice in other forms of music, but in jazz and big band you will need a more fully formed facility. You need to think creatively; to be able to compose ideas and improvise on the spot. Sounds daunting, but it really isn’t.

Four and eight-bar breaks For starters, here’s a really simple exercise to create a solid foundation for playing four and eight-bar

breaks. Start at a medium tempo – 120bpm is ideal. Play four bars of swing time feel and follow that with four bars of improvisation. Make the four-bar solo as simple as you like. Eighth-note triplets in singlestroke sticking will do to begin with. What’s important is that you play the correct number of bars. Repeat it until you can feel four bars elapsing without having to count every beat. The most important thing when a four- or eight-bar

PLAY BETTER: BIG BAND DRUMMING YOU CAN’T MERELY KEEP THE GROOVE GOING WITH A FEW MORE FILLS, YOU NEED TO COMPOSE IDEAS AND IMPROVISE (or similar duration) solo is required is that you start and finish in the correct place and maintain a consistent tempo throughout. You can add colour and variety to this straight away using any good rhythmic source material (I’d recommend Syncopation by Ted Reed). Pick a four-bar phrase like Example 11. Think of Ex. 11 as interpreted with triplet subdivision. Then, without changing the single-stroke triplet sticking play the ‘melody’ on a tom or cymbal (with bass drum support when using cymbals) and immediately you will have added a further dimension to what started out as a very simple break. Example 12 is the pattern orchestrated with all the missing triplets added in. I’ve orchestrated the rhythmic line on the small tom. Once you have it nailed at 120bpm try raising the tempo in increments of 4bpm. As the metronome gets closer to 200bpm create space by leaving out some of the triplets. This will leave you with quarter notes, swung eighth-notes, off-beat eighth-notes and rests. Good soloing needs light and shade. Shifting through the layers of time, from one subdivision to another, will enable you to achieve this. If you just stick to one subdivision without variation this can very quickly become uninteresting for the listener.

Free flowing solos Example 13 is an interpretation of the first rhythmic example that would sound good at a faster tempo. The accents denote the original rhythmic line. Good soloing should flow freely and musically with a strong

feeling of syncopation. Don’t allow your rhythmic ideas to get ‘boxed in’ by bar-lines. An easy way to develop this is to play three-beat phrases in 4/4 time. Notice that the phrase in Ex. 14 is based on three rhythmic motifs: quarter-note, two swung eighthnotes and eighth-note triplet. The start of each three-beat phrase is denoted by an accent. You can vary your ideas by changing the sequence of the rhythmic motifs. Again each three-beat phrase is indicated by an accent. See Ex. 15. Using this modular approach to rhythmic ideas will enable you to take a compositional approach to creating solos rather than just playing licks. Also you can enhance your technique by working on this type of idea as follows; a) count up the number of notes in the rhythmic figure (six in this instance); b) find a sticking or sequence of stickings with the same number of notes. Expand and contract the familiar sticking pattern to fit the rhythmic figure. I call this concept ‘rhythmic rudiments’ and it has enhanced my own playing enormously. Early examples of jazz drum soloing show influences of rudimental-style drumming on the snare. The development of tuneable tom-toms added a whole new dimension to the tonal palette. The early solo pioneers integrated the new tom sounds into drum solos, most famously Gene Krupa. This was often colloquially referred to as ‘jungle drumming’.

twist. The Krupa style of floor tom soloing consisted for the most part of syncopated rhythms over a driving four-to-the-bar bass drum ostinato. My take on this is to free up the bass drum and incorporate it into the hand parts in a linear style. A typical phrase might look like Ex. 16. Without changing the phrasing, try to come up with your own sticking permutations. That way you are getting into the habit of improvising. A good drum solo should be strong on musical content and rhythmic interest. Whether it’s a two-bar fill or an open-ended 10-minute solo, your playing should consist of musical ideas which are complete, coherent and flow seamlessly from one to another. Having great chops is nothing to be ashamed of, but always use your facility in a musical and creative way. Pre-learned ‘muscle memory’-type solos are unlikely to adapt well to the musical context of a specific composition, so get creative and get improvising. Having an improviser’s mindset will improve your playing in every musical context and allow you to unleash your creativity without limits.

VIDEO LESSON Watch Pete guide you through these examples at http://bit.ly/guidetobigbandpart4

Take inspiration One of the things I particularly like to do is to draw inspiration from music history and then add a modern

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ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS

FREQUENTLY ASKED QUESTIONS

PLAYING

So, after troubleshooting your drums, learning how to groove and solo and really honing your practice and your playing, you should be ready for anything, right? Well, there's always something still to be learned. Here are some questions frequently asked in the pages of Rhythm… a hard-hitter, how do I avoid Q I’m breaking sticks and heads? Because of the nature of drumming both heads and sticks must wear out sooner or later. It is quite difficult to break a batter head these days – you really do have to play it extremely hard over a period. Aquarian, Remo and Evans each have their champions and detractors, and all have long-standing endorsees, including extremely heavy hitters. For heavy hitters there are twin-ply and variously reinforced heads which may be what you need. Cheap sticks of inferior timber will indeed usually break more easily than expensive

If you break your sticks near the tip, you may be playing your cymbals at too sharp an angle

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professional sticks. And while you want your sticks to last a decent length of time, they are also designed to do as little damage to you and your equipment as possible. The idea is the sticks absorb the wear and tear rather than your hands/ wrists or your cymbals. Wood is the ideal medium between something which is so hard it does damage and too soft it is useless. Hickory is the springiest wood, oak is even harder but can crack. Maple is softer. There are synthetic sticks which are expensive but also generally last well. Ahead sticks (with aluminium shafts and protective nylon sleeves) are popular with hard-hitters like Mötley Crüe’s Tommy Lee and Metallica’s Lars Ulrich. If you break your sticks and heads a lot, the problem may be with your technique. Your teacher can help here. But generally if you are striking heads or cymbals at acute angles then you can snap sticks and dent heads. Also, try to bounce the sticks off the heads rather than drive into/through them. And where your sticks break can tell you what the problem is. If they’re breaking near the tip you may be playing your cymbals at too sharp an angle.

do you know what Q How to fix mid-gig, and how do I avoid detuning? The solution is not so much science as the practical craft of adapting and compromising. And it’s really down to experience and the particular situation. Let’s assume you know how to tune, and you know what sounds good to you, but now you are faced with unpredictable situations, so how are you going to cope? The problem is often more psychological – you have to learn to love your own sound. If you don’t, why should anyone else? So your snares buzz. Everyone’s snares buzz. Don’t be un-nerved by engineers. Get on the good foot. Go in smiling and make friends. Be positive, laugh it off and find a solution together. You should be a delight to deal with since you are genuinely concerned with sound. Don’t apologise for everyday problems which in the scheme of things are minor. Musicians are never totally happy with their tuning, and drummers are no different. Which is not to say you shouldn’t continually try to address and improve the niggles. But instead of

THE PROBLEM IS OFTEN PSYCHOLOGICAL. YOU HAVE TO LEARN TO LOVE YOUR SOUND. IF YOU DON’T WHY SHOULD ANYONE ELSE?

PLAY BETTER: FAQS being overwhelmed and defeated, go through each scenario individually and see if you can’t come up with a bunch of strategies, so you are less likely to panic if or when it happens. Like snare buzzes: loosen them/tighten them; adjust the orientation on the stand a few inches; loosen or tighten the tension rods nearest the wires; apply a smidgen of tape; move the bass rig… To prevent de-tuning you may need Lug Locks, or the tougher Lug Lockerz. These require that you tune up the drums and then lock them in that position. You can also get Tuning Locks which screw onto the lug bolts after they have passed through the hoop, so they can be re-adjusted at any time (whereas Lug Locks have to be removed if you want to change your tuning). Alternatively swap your bolts for TightScrews – lug bolts which have nylon inserts in a milled slot in the thread, providing extra friction. or wrap PTFE tape (waterproof plumbers’ tape) around offending bolt threads. Top drum tech Yard Gavrilovic tells us he sometimes uses clear nail varnish. With these tricks you will have to clean off the gungey residue occasionally, perhaps with WD40. Make sure the skin is bedded-in 100 percent – spend time ‘popping out’ the cracks when seating the skin, otherwise it will detune. Always tune up to the pitch you want, never down – it’s how guitarists tune new strings and it locks the tuning more. Rhythm tutor Jason Bowld tells us, “Lug Locks are the only thing I use and that seems to work. I put them on the bottom of the snare too, below where I hit, otherwise the bottom hoop comes loose. PTFE tape works, but it depends how often you change your skins. With the toms there are usually a couple of ‘key’ lugs that loosen a little. I just listen and if the tom’s flatulently flapping I give those lugs a tweak. This can all be avoided by setting the tom angles correctly and aiming always to hit the centre of the drum. It’s all about keeping the basics in check, which many people overlook.”

do I make my drums Q How sound original? Whatever equipment you use, it is without a doubt the player who makes the sound. Good players have their own recognisable sound, whatever make of drum or cymbal they use. It’s what they do with the equipment that matters. So if you want to sound original then you have to practise hard to develop your own technique and – at least as importantly – listen to all types of music (not just the drumming). This will expand your creativity, the range of ideas and sounds that come into your head. Then when you sit down with your band to write new songs you will be more likely to come up with interesting parts. Don’t just listen to the music you like or music in the style your band plays. New directions come from crossovers of different styles and cultures. Slayer is a classic heavy metal band, but their drummer Dave Lombardo was born in Cuba, so when he developed his double bass drums and heavy backbeat metal grooves he added Latin/Cuban style ride rhythms on his cymbal bell creating a different slant: HM but with a distinctive groove and lilt. A drum kit is not a single instrument but a union of several percussion instruments arbitrarily strung

Simon Phillips is a brilliant proponent of open handed playing technique

RUDIMENTS ARE DESIGNED SO THAT EVERYTHING YOU DO WITH YOUR RIGHT, YOU MIRROR WITH YOUR LEFT together, which means you can change the layout any way you want. Some players expand the kit with double bass drums, double snares, multiple toms and unusual cymbals, items of percussion and even electronic pads. So the easy way to sound a bit different and to attract attention is to add a few extra items. These can be as simple as a cowbell, woodblock or mounted tambourine. You can also experiment with your set-up. If you have two mounted toms, try swapping them around so the smaller one is in the middle of the bigger one and the floor tom. Billy Cobham takes this idea further with an extensive kit with all his toms alternating large and small. Bill Bruford sets his kit up rather like an orchestral timpanist with his toms arranged all at the same height either side of his central snare and bass. Being different for the sake of it is not always the best idea, but keep an open musical mind and you’ll soon be generating your own new sounds.

do I strengthen Q How my weaker hand? The most effective way to strengthen your weaker hand, let’s assume for argument’s sake it is the left hand (and your left foot for that matter), would be to turn your kit around and set it up for left-hand lead. Then spend a month or two practising everything that you already do, but leading with your left instead. Some drummers religiously pick up their coffee mugs with their left hand, brush their teeth left-handed and so on – it just takes a really determined effort. The thing is that when playing

right-handed it’s usual to play four beats with the right hand for every one with the left (particularly when playing rock). So your already-better right hand just goes on getting more practice and leaves your left one in the dust. Your right hand will always take care of itself. Anything that your left hand can do your right hand can usually do easily as well. So if you work on getting your left hand up to scratch it will improve your drumming all round. Another half-way approach is to play openhanded. This is a technique that was pioneered by Billy Cobham and then followed by Simon Phillips. Simply play your right-set-up kit, but make sure that you don’t cross your hands to the hi-hat. Lead with your left. Cobham (and Phillips) play left-hand ride also, but you can just as well play the ride on the right. Another, more conventional, method is to work on the rudiments. These are designed so that everything you do with your right, you mirror with your left. If you do this consistently, your left will surely start to improve. The classic book is Stick Control by George Stone. But there are numerous others, such as Joe Morello’s Master Studies. For jazz you really need this rudimental control, and you will also need co-ordinated ‘independence’. Jim Chapin’s Advanced Techniques is still essential reading and really gets your left hand working. And the thing to do is, once you’ve had a go at the exercises (which are all musically applicable) with right lead, tackle them all with left lead next. A few months of that and your weak hand is sure to improve massively.

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ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS

TIPS, TRICKS & PROJECTS TO HELP YOU

RECORD YOUR DRUMS

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RECORD YOUR DRUMS: INTRO

So you’ve got your gear sorted, your playing is now in the best shape it’s ever been – time to get serious about your music and commit your playing to record. In this section we focus on your sound and recording. From prepping your kit ahead of pressing ‘record’ to all that you need to know about recording your drums. We show you how to emulate classic sounds from some of the greatest ever drum recordings, from the types of mics used to the spaces they were recorded in, and just what you need to get the best from your drums. We also show you how you can build your own recording space, and even how to set yourself up as a remote session drummer and make a career out of the thing you love the most!

102 How To Prep Your Kit For Recording 104 The Easy Guide To Recording Drums 113 Classic Drum Sounds & How You Can Recreate Them 134 How To Build Your Own Studio 138 Become A Remote Session Drummer 144 Recording FAQs

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ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS

HOW TO PREP YOUR DRUM KIT FOR RECORDING Power up your drum takes with a little pre-session effort

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RECORD YOUR DRUMS: PREPARE YOUR KIT

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ust like any other instrument, drum kits aren’t always set-up for the perfect recording. A more experienced drummer will have evolved and enhanced their kit; they may have found a favourite snare or two, collected a few good cymbals, and will have set up their kit so that it feels right to play live. A drum kit will sound different in any room, and any song will call for a distinct drum sound, so for every session you will need to fine-tune the kit and the room for that specific demand. Every aspect of the kit has to be addressed and this feature takes you through all the issues that should be ironed out prior to you hitting the record button. There’s no substitute for experience, but this guide will help to ground you in the basics of the drum session, speed up the learning process, and give you a feel for how to get the kit tuned so that its sound wins through in the final mix.

CHOICE OF KIT

AS WITH any instrument, the quality of manufacture has a huge impact on the sound it makes. Any drummer worth their salt will have evolved a good fettled kit around them, but their playing ability might occasionally outstrip their ability to pay for a good kit. If your kit works for you then great, but if not you might want to consider borrowing one from a generous mate or even hiring one for your session. The same goes for drum mics – aim to get hold of the best quality you can. A poor sounding kit will sound exactly that on your recordings. The better recording kits include Gretsch, Ludwig, DW and Yamaha, and some makers are famous for individual drums. For example, Noble and Cooley snares, Ludwig kick drums and Zildjian cymbals. The Ludwig Black Beauty snare is a timeless classic recording snare. A good drummer will have a selection of snare drums and cymbals and the choice will be determined ultimately by the song you are going to record. It’s the job of the drummer and the producer to make gear choices based on how you want the end result to sound. Ask yourself questions such as, ‘Does the song need a deep fat snare or a high snappy one?’ Make changes to suit. If you’re not sure what sound you’re after, listen to some of your favourite albums to give you inspiration. Maybe you want your drums to sound big and boomy like John Bonham’s, or tight and crisp like Travis Barker’s, or even dry and punchy like Questlove’s. The more you know and prepare in advance, the less chance there is of you and your band feeling disappointed with the end result.

sure you have spare heads with you. Undoubtedly every drummer has their favourite heads but, as a general rule, coated heads record better – their tone is warmer and they still have a good ‘skin’ attack. And although it’s always a personal choice, two-ply heads tend to sound much better than single-ply. Clear heads tend to be overly bright and without body on the top side, but they work well for the bottom resonant heads where thinner is better. Once new heads are installed, ensure they are properly bedded in with some playing and stretching so that they don’t lose their tune during the session.

TUNING

WITH DECENT tuning and a good set of heads, most drum kits can sound and record brilliantly. Learn the basic principles of tuning, or get friendly with someone in the know. Our basic rule of thumb is to finger-tighten all tension bolts, working in opposites. Once finger-tight, use a key to tighten using a full turn on each opposite tension bolt until the head is fully stretched and cranked up and you can hear the glue cracking on the hoop, then leave it

are bunches of thin sticks lashed together which make a more diffused but clear hit. Or why not try nylon tips instead of wood tips for more attack, or play with the butt end of the stick? You could even arrive at a combination solution with a stick in one hand and a brush or hot-rod in the other.

DAMPENING

MOON GELS and gaffer tape are essential items for the studio to help dampen unwanted overtones and excessive ring. At this stage it’s also worth keeping in mind that things like a towel over the floor tom, or your wallet placed on the snare drum will eliminate ring and produce a ‘dead’ drum sound, as popularised by drummers such as Ringo Starr.

HEADPHONES

HEADPHONES ARE a necessary evil unless you go all-out for a live-style recording with PA and wedges and embrace the spill. But considering how you will be recording at home (or perhaps in a garden shed or pod-style recording environment), that’s an unlikely scenario! Most drum sessions will be done using headphones, and to avoid spill they should be of the closed-cup variety. The long-time classic studio headphone is the Beyer DT100. They’re hardy and not too bright for highvolume listening. That said, there are better-sounding cheaper headphones to be had, particularly from the likes of Audio Technica.

You really should have a good idea of what you’re going to play once the record button is pressed. There’s nothing worse than waiting while the drummer tries to nail a new fill idea KNOW YOUR PARTS

DRUM HEADS

SKINS SHOULD always be brand new, or at least thereabouts, for a recording session. Drum heads soon lose life after repeated beatings, so make

to stretch-in and settle. Repeat for each drum until complete. Turn the drums over to begin with the resonant head. Tap the head at each lug and tighten the bolts until you get a consistent equal tone. Once done, turn the drum over to the batter head and begin de-tuning. De-tune each lug by half a turn until the batter head is half a turn below your desired pitch and then gradually increase the tension until you are at your desired pitch level. Remember that a higher-tuned resonant head means a shorter, shallower note; a higher batter head means a deep note with long sustain and a good stick response, and if they are both tuned the same you get a longer sustained and pure note.

STICKS

YOUR CHOICE of sticks is determined by the song and the weight of playing required. A drummer should carry a selection of weights and varieties of wooden sticks, and you should have a feel for which stick is required. You may find that a softer song requires brushes or mallets. A good in-between solution is a pair of ‘hot-rods’. These

A LOT of time can be lost during a session because some band members aren’t completely clued up on their individual parts. There will always be the opportunity to change something when you’re recording if a part really isn’t working for the song, but you really should have a solid idea of what you’re going to play once the record button is pressed. After all, there’s nothing worse for the rest of the band than waiting around while their drummer tries to nail a new fill idea.

PHYSICAL PREPARATION

IF YOU’VE never warmed up before playing, now’s a good time to start. You want your takes to sound natural and flowing. If you’re stiff and pent-up, your playing will be rigid and lack life. Remember, this isn’t a gig so you won’t have an hour to get warm. You want to be ready to go for take one, so hit the practice pad or do a couple of run-throughs before you record. Get a decent sleep and eat well the night before, too, as you’ll be more alert and less likely to tire out when the ninth take of track 11 comes around.

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THE EASY GUIDE TO RECORDING DRUMS From sticks and skins to mics and miking, and the best settings in your Digital Audio Workstation, we show you how to get the best from both drums and drummer in that all-important recording session

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lthough at first it might not seem like the case, recording drums is actually surprisingly easy. Admittedly, it’s often the sound of a badly recorded kit that makes an otherwise great track sound like a ‘demo’, but if you follow some simple rules, you can avoid the pitfalls. Of course, a posh recording studio would make things easier, but we are going to be

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recording at home and turning our DAW into a drum studio with nothing more than a basic set of microphones, an audio interface and a set of headphones! Apart from the recording gear, the drum kit and the room, there is, of course, one more vital component: the drummer! If your drummer’s not up to scratch, all your efforts will be wasted. There’s no point listening to a great recording of

something that’s badly played. So make sure your drummer knows how to tune his kit, hits well, and can play with a click. Ready to go? Then let’s get some mics on your kit…

MIKING THE KIT

THERE’S NO ‘right’ or ‘wrong’ way to place mics on your drum kit but if you stick to the following

RECORD YOUR DRUMS: EASY GUIDE TO RECORDING Different mics can suit different kick drums, so it’s worth experimenting

guidelines you’ll be well on the way to getting a pro sound in no time.

BASS DRUM

THE ORTHODOX position is on the non-pedal side of the bass drum about level with the rim and slightly off-centre. Some drummers cut a small hole out of this head for the mic to get a look-in, while others don’t use a head on this side at all. Bass drum mics have an exaggerated low frequency peak for the boom and a high frequency peak for the click, and because

Keep the hi-hat mic as much away from the snare drum as possible to avoid snare spill

these peaks are at slightly different frequencies, different mics can suit different bass drums – so it’s worth trying different options if you can.

HI-HAT

THE BRIGHT crispness of the hi-hat is best captured by a condenser microphone. Great choices include the AKG C451 and C414 and the Rode NT5. Neumann pencil mics in the KM range are also great if you can get your hands on one. Place it 4-6" above, half way between the bell and edge and away from the snare drum as much

A spot mic placed 1-3" above the head is the usual way to mic a tom

as possible to restrict the snare spill. In the ’80s, when isolation was everything, you’d often find rugs hung on a mic stand arm between hat and snare mic as further anti-spill measures.

TOMS

A SPOT mic on each tom is the orthodox way to go. Position in a similar manner to the snare drum, a couple of inches above the skin and just inside the rim, directed at the centre. The rack tom always suffers from snare spill and all toms suffer from cymbal spill but generally

Overhead condenser mics capture the overall kit sound and cymbals

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ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS Overheads won’t always pick up the ride, so place a spot mic over the cymbal

Room mics will pick up the room’s natural ambience and add colour and character to your kit sound

toms aren’t used much so can be gated out after the event.

OVERHEADS

TO CAPTURE the top of the kit in general and more specifically the cymbal work, a pair of condenser mics are used over the top of the kit. They’re useful for providing a coherent picture to the whole kit into which you can place the spot mics. Without them the kit is a disparate bunch of unconnected sounds. Use a matched pair of the

best condenser mics you can lay your hands on. Depending on the height of the ceiling, place them 6-8ft above the floor either side of the kit, angled down to the centre of the playing area.

ROOM MICS

A MICROPHONE or two to pick up the general room ambience is vital to add colour and character to the overall sound of your kit. A pair of room mics can be processed heavily and just added in slightly to the mix to give it the required

energy levels as well as reinforcing the sense of space. A single mic works okay but for best results try a pair. Ribbon mics are popular here, and have a mid-range character that brings the best out in a room. Good condensers and valve mics are also up to the job. Start in the middle of the room with the pair equidistant from the kick drum. The brighter condensers and valve mics fare better nearer the ground to lessen the impact of bright cymbals. Ribbon mics work well around head height or lower.

SNARE

PLACING THE snare drum microphones can be tricky for a couple of reasons: firstly, you want to avoid as much spill as possible from the hi-hat mic and secondly, it’s hard to weave the microphone stand in between rack tom and hi-hat. A good starting position is around 1-3" above the head just inside the rim pointing into the centre of the skin. Angle it away from the hi-hat if you can and below the level of the rack tom rim. A mic underneath the snare (phase inverted) is a great way to capture the brightness from the buzz of the snare wires. Place it close to the skin and directly at the wires. Spill from the bass drum is a problem despite the fact that you can safely roll-off the low frequencies, so try and angle away from it.

RIDE CYMBAL Snare mics should be positioned 1-3" above the head pointing to the centre of the skin

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DEPENDING ON the drum part, be prepared to put a spot mic on the ride cymbal because its detailing tends to be out of the overhead’s earshot. The choice of mic is similar to the hi-hat and is placed between the bell and edge and as far away from tom spill as possible.

RECORD YOUR DRUMS: EASY GUIDE TO RECORDING

STEP BY STEP GETTING A GREAT RECORDING

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Plug the mics into your audio interface. The overheads go to inputs 1 and 2 and will need 48-volt phantom power (unless you’re using ribbon mics – in which case, don’t touch that switch!). Bass drum in and out go to inputs 3 and 4, while snare top and bottom go to 5 and 6. The ambient (hopefully a condenser, so requiring phantom power) goes into 7, and the floor tom mic into 8.

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Once your levels are sorted, it’s a good idea to run a test take to check for silly mistakes and any uninvited hum, hiss, clicks or crackles. You can also use the test recording to check the phase of the mics and ensure a fully-fat sound on playback. Even though the theory of phase is complex, the practice is easy…

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Now turn down the kicks and bring up the overheads, panned centre. Try inverting the phase of one of them. If the overheads sound fatter with just one channel phase inverted, leave it like that. Bring the kicks back in and blend them with the overheads. Change the phase on both the overheads now, and leave them set at wherever the kick sounds fattest.

Get the drummer to beat the hell out of the drum kit. A drummer will always play louder on the actual takes, so don’t worry about getting too hot a signal – having the highest peaks spike at around -5dB is a good target. There is something to be gained from clipping, but not on the way into the interface – keep it clean.

Insert a trim or gain plug-in into each of your eight drum channels. Bring up the first kick mic, followed by the second. When the two are balanced, try inverting the phase on the second kick channel (the button labelled with a circle with a diagonal line through it). Leave the button set where the sound is best.

Balance in the top snare mic and switch the phase to whichever setting sounds fattest with the kick and overheads. Bring up the bottom snare mic and set the phase to the opposite of whatever the top is set to. Repeat this process with the floor tom and ambient mics. This is quick ’n’ dirty, but now you’re set to record.

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ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS leaving a circular ring which you simply place directly on top of the drum head without adhesive. It works well to cut down the ring if that’s what you want. In the old days of pudgy, dead snare drums you’d even find dusters and tea towels taped across a section of the snare head. Kick drum damping again depends on the kick sound you’re after. For the more common tight punchy kick drum a pillow or cushion placed inside the drum lightly against the front head will suffice. Lessening the damping will increase the after-boom. If you want a very boomy kick drum, as in jazz for example, you can use the tom approach with gaffer tape and toilet tissue to shape the tail. Drummers with double-headed kicks often mount a strip of felt on the inside against the back head which works well.

Moongel can be placed on toms and snares to dampen ringing and unwanted overtones

BEFORE YOUR FIRST TAKE

TO START with get the drummer to hit each drum individually for a while. This will also start the drummer warming up. Consider whether you’re hearing the drum at its best. Does it sound the same as it does in the room? Could the mic position be better? Dial up a rough record level, bearing in mind the drummer will hit it a lot harder during a live take. Use EQ to improve the tone once you’re convinced the mic’s in the right place. This can be done on the way to ‘tape’ if you’re blessed with good EQs but otherwise it’s generally better on the playback side. The same goes for compression – you can’t undo bad compression, so leave it to the playback side. Once you’re happy with the individual drum sounds, get the drummer to play the whole kit. Check levels and balance the kit for monitoring purposes. Make sure there aren’t any odd noises and the whole thing feels consonant. Record a bit of their playing and let them hear it so you can discuss the sound and its merits for the track you’re about to record. Be prepared to make changes to any of the above factors. Now is the time to experiment and evolve the sound. It’s unlikely to come good just like that.

DAMPING

Once the kit’s in tune listen to the drummer playing the whole thing. You’re listening out for how the drums interact with each other and in particular the ring of the toms, the liveliness and ring of the snare drum and the boom and tightness of the kick drum. Invariably some drums will ring unpleasantly despite not being hit and will require dampening. How much is partly down to the liveliness of the kit and room and partly down to the sound required. A product called Moongel is a useful tool. These little squares of blue jelly can be placed on toms and snares to dampen the ring. By lightly touching around the outer edge of the top skin and at the same time hitting the drum you’ll hear a sweet spot where the decay is just right and that’s where to put the gel. There are of course

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other similar alternatives to Moongel available. You can also use gaffer tape and rolled up toilet paper on the same sweet spot but it takes more time to put on and take off when you want to try another spot. Gaffer tape is necessary to dampen the bottom head if you want to do that, either over wads of toilet paper or concertina’d into three or four fins that hang down and absorb the resonance. Damping the bottom skin is good for that thuddy ‘duf’ sound that goes in and out of favour. Bear in mind for an ambient live kit sound you may not need to dampen the drums at all. For snare drums, O-rings are great. Take an old snare head and cut around the edge at the point where it starts to curve up to the rim. Then cut a concentric circle about an inch inside the first, Check the kit for buzzes, rattles and squeaks that the microphones could pick up

FINAL DRUM TWEAKS

While the drummer plays the kit, listen for buzzes and rattles. If for example they’re not using a rear skin on the kick drum the loose lugs can rattle and these might need to be taped up. Listen for squeaky kick drum and hi-hat pedals and be ready with WD40. Check with the drummer that they’re using all the drums and any not being used should be taken away or damped with a cushion or something so they don’t add to the general resonant hum of the kit. Although you’ll prepare everything thoroughly before you set up mics and start recording, all the previous factors (drum choice, heads, sticks, tuning, damping etc) are all flexible and open to change right up to the last recording take. The

RECORD YOUR DRUMS: EASY GUIDE TO RECORDING

STEP BY STEP SETTING UP A ROUGH LIVE MIX

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Although you won’t create your final drum sound until the mixdown, you’ll need to get your mix half-decent for recording. Here’s some CPU-friendly advice to help you get it right. Create two auxiliary sends and returns from the ambience track. Insert a delay plug-in over the first return and set the L and R Delay times to 30ms and 60ms.

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Take your individual drum channels and the two new aux returns and set their outputs to a new bus. Create a new aux return for this bus and call it ‘Kit master’. This is your main drum channel. Now create two or three more busses and returns for the rest of your recorded track stems (guitars, bass, vocals, etc).

ultimate consideration is to the song being recorded, so although one set-up perfectly suits one song, you might have to re-approach the kit set-up for another to get the sound you want at source. Don’t fall into the trap of thinking that one sound covers all and you can fine-tune it in post-production. The source sound is king.

CLICK TRACK

Click or no click is always a big point of debate. The decision should take into account the needs of the song, the drummer’s ability and the feelings of the producer and the band. The results

Next, insert a room reverb over the second aux return, set to around 0.6s Decay time. Compress this and then add a harmonic distortion effect like SPL TwinTube. This artificial space will help the kit sound more ‘finished’ while you’re tracking – and a more exciting sound will make your drummer play better.

You should now have five or six ‘master’ faders, making it easy to create a good working balance and hear the drums properly in context. You can also create a separate sub-mix for the drummer by adding aux sends to the master faders and routing them discreetly to the headphones output. To minimise latency, you want your audio interface buffer size to be as small as possible.

are always very different so the decision shouldn’t be taken lightly. Using a click track always makes editing so much easier but that shouldn’t have a bearing in the debate. If you decide on a click, establish with the drummer the best sound for them to latch onto, the interval (quarter-note, 16th note etc) and level of accents for downbeats. You don’t want to be hearing the click in the control room so route it out of a discreet output. You also don’t want to hear strains of click spill on the drum overheads as the cymbals decay at the end, so always try to map the click with automation, turning it down in quiet sections and off on the last beat. That means making sure the

drummer always starts at the same point on the click. For example, tell them to hear one bar of click, stick hit the next and come in on bar three.

GUIDE TRACKS

The drummer’s going to need something to drum along to if you’re not doing a full band live session. For getting the best performance you can’t beat playing along with other people, ideally with a visual connection. With other players in the drum room you have to think about spill. If you can screen them off, great. If they’re playing electric instruments you can DI them. A guide

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TRY THIS!

‘clickiness’ without adding harshness from the cymbals.

GET A CRAPPY MIC BOTTOM HEADS ON TOMS Wherever there are two heads, there are three possibilities. If you tune the bottom (resonant) head of a tom to the same pitch as the top (batter) head, you’ll get a purer tone with more sustain – perfect for jazz and its derivatives. If you tune the resonant lower, you get a slight pitch drop-off and less decay – great for rock. Tuning the resonant higher shortens the decay further, which can be great for close miking. A good starting interval for the difference in pitch between heads is a minor third – ie: three semitones either way.

FRONT HEAD ON THE KICK OR NOT? The front (resonant) skin on the kick drum is important for creating a good, meaty tone. Jazzers love it, and most rock/ poppers have a hole cut in it to allow microphones and dampening material (a small blanket, say) to be placed inside. For metal styles, where you’re mainly looking for click and thud, you may as well just remove the front head so that you can get a mic right in on the beater point.

TIGHTEN THE KICK DRUM It’s possible to create a little kick drum chamber using, blankets, duvets or a coat. These are draped over the kick drum, and any microphones are placed in and in front of it. Use a couple of small mic stands to hold the blankets up. The chamber prevents spill from the cymbals and snare getting into the kick drum mics, making it easier to boost the high frequencies at the mix stage and thus enhance the

Tape recorders used to come with built-in condenser or electret microphones. Put one of these old machines into record/ pause mode and take the output into your DAW for an exciting, super-crunchy sound. Sometimes, rubbishy old battery-powered mics can sound good too. Put these types of mic in a place where they can hear the whole kit. The corners of the room can offer interesting results – experiment!

RECORD WITHOUT CYMBALS Recording a kit in a difficult space without ideal equipment can be a fruitful and rewarding experience, but you might still feel that your results sound amateurish. One of the classic drum sound problems is too much cymbal spill. This happens in the best of studios, and when it does, the pros just record the crashes afterwards. That way you can bring up all the exciting roominess of the drums themselves in the mix, then blend in perfectly recorded cymbals afterwards. As long as they share the same buss compressor no one will ever know (although any drummer will hate playing without cymbals).

ESSENTIAL GUBBINS FOR A TROUBLE-FREE DRUM SESSION Moon Gel, for damping; 3-in-One oil, for squeaky pedals; a spare drum key (because drummers always tend to forget theirs); an adjustable spanner, for rattly stands; gaffer tape, for holding stuff; masking tape, for attaching damping materials and the like; empty cigarette packets and J-Cloths, for that ’70s sound; blankets; stage weight or sandbag; and Japanese cooking chopsticks which are great for tom parts!

3-In-One oil is handy for getting rid of unwanted squeaks

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instrument on the room and overhead mics is a no-no. Fine up to a point if you’re doing live takes but not for something that isn’t going to be in the final mix. You can always resort to just an aural connection and have other players in another room and everyone on headphones. If you’re using a click track you can always record the guide parts initially in the room with the drummer and then re-record them overdubbing to those guides. Not ideal for performance but it works well.

ESTABLISHING TEMPO

The best way to do this is to get the band to play free until you have the right feel and capture the tempo from that performance. You can usually do this on the tempo counter of your DAW but if not there are plenty of phone apps that do it. If the natural playing speeds up and slows down through sections you’ll have to carefully program the click to do the same. This is the sort of thing that would be best worked out in rehearsal because it can take time. Above all rehearse and settle into your performance before you begin recording. Good luck!

MAKE SOME ROOM

Before you hit the record button, you need to prepare your session. Working with a sprawling production featuring 20 tracks of backing vocals and tons of plugins is going to mean complications down the line. By bouncing down the key elements of your track as new audio files, you can unload all plugins from the session. This will prevent latency problems, so that the drummer will hear everything right in his headphones and there won’t be any complicated latency compensation

Kick drum damping, and how you achieve it, will depend on the kick sound you’re after

RECORD YOUR DRUMS: EASY GUIDE TO RECORDING

GET ORGANISED 10 top tips for recording a drum kit

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Once you’ve got all your drum tracks, recording levels and playback processing, save the session as a template so you can import it as a start point for other songs in the drum session.

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Group the drum tracks together so you can duplicate them all or create a fresh playlist with one click and keep the session flowing.

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If you’re using a click try to ensure the drummer always starts at the same bar.

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Do one or two takes then have a playback to discuss sound, parts, performance etc. It will also give the drummer an objective view and a breather.

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Continue with a couple of takes at a time followed by a playback until you’re happy you have all the parts available for a compilation edit.

Do a test take to make sure every part of your kit is recording as it should

processes happening in the background. You should aim to end up with a few bounced ‘stems’ – guide drums, bass, guitars, keys, vocals. Make sure they all start on bar 3 or later, so that you have at least a couple of bars of count-in. The click or guide drum loop can be MIDI-triggered or printed as audio. These few tracks then need to be turned down to around -15dB – this will leave plenty of headroom for the click to be clearly heard by the drummer over the backing track and the drums.

LET’S RECORD!

You should now be ready to press the record button, safe in the knowledge that you have the sound of the drums completely nailed. Of course, there’s a whole bunch of stuff to do post recording to turn the raw drum takes into a mixed kit. First, though, we have to make sure we record everything we need. There’s nothing worse than putting up your drum recordings, long after the drummer has packed up and left, only to find that the bottom snare mic hasn’t recorded or that your middle section has click track from the headphones spilling all over it. That’s why a test take is important; here are a few tips on how to get the most out of the session...

GET LOTS OF TAKES

Without going overboard, the more takes that you can get the better. If possible, use folders or playlists to keep your takes sorted, and make

notes as you go as to what each take was and why you did it: ‘Take 4, felt beater instead of wood’, ‘Take 9, keep hats closed’, etc. Ultimately you may find it best to edit a selection of different parts together to build the perfect take.

RECORD SINGLE HITS

At the end of your drum session, record individual hits of each drum and cymbal at different volumes. Allow plenty of time for toms to ring and cymbals to decay. These backup components can then be used to help you repair almost anything after the event – invaluable for moments when the drum stool creaked or a motorbike went by and ruined an otherwise perfect take.

6

Always offer encouragement, feedback and advice and keep the drummer as fresh as possible.

7 8

Listen for energy, tightness, groove/feel, fills.

Don’t be afraid to try big brush-stroke changes if things aren’t working.

9

Always remember you can overdub additional drum parts – tom fills, cymbal crashes, hi-hats.

10

Keep an ear on the foldback mix and suggest any changes you think could help their performance.

PREPARE TO BUILD A MIX

Once you’ve got your recordings, you need to get the drums sounding killer in the mix, so get the session well organised. Work with your stem session to start with, then bring the rest of your multitrack back in. Organise the key elements of the mix into auxiliary busses, and bring them all down to -10dB. As a rough guide, your kick drum should be metering between -12 and -7dB. This will leave you with loads of headroom to build a punchy drum sound without clipping your master outputs.

For more on home recording, we recommend the Home Studio Handbook: Beginner and Expert Editions, available from newsagents and from www.myfavouritemagazines.com.

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AVAILABLE IN PRINT & DIGITALLY NOW

RECORD YOUR DRUMS: CLASSIC DRUM SOUNDS

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c i s s la

In this monster feature, learn the stories behind some of the most iconic drum sounds and find out how you can recreate them yourself! WORDS: JAMES HESTER PHOTOS: JOBY SESSIONS

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ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS For this track, drums and cymbals were recorded separately – drums with e-cymbals…

NO ONE KNOWS Queens Of The Stone Age Drummer Dave Grohl Album Songs For The Deaf Producer Eric Valentine and Josh Homme Approach Isolated drums and overdubbed cymbals

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hen you’re recording one of the most famous drummers of all time, the question of ‘how do I record them?’ is bound to crop up. Guitarist/vocalist Josh Homme wanted to make the record sound bizarre and claustrophobic and so they used a technique they’d used before, recording the drums and cymbals separately. The lack of reverb and space makes all of the instruments sound in-your-face and, really, in your head. Producer Eric Valentine is no stranger to drums (he was the drummer in T-Ride) and has a taste for innovation in terms of sound, from developing and making his unique ‘drum-brella’ to focus the tone of the drums, a mic-adjusting robot that he can manipulate from his control room, through to a handmade console that is made from porous material to stop reflections of sound.

And then the real cymbals recorded with drum pads

HEADS UP PHASE

Phase describes the position of one sound wave relative to another. Two identical waves are ‘in phase’ when the peaks and troughs of the wave meet, and are ‘out of phase’ when the peaks of one signal meet the troughs of another.

sound getting to the mics. I was most careful about making sure the left, right and centre overheads were the exact same distance from the centre of the snare to keep PHASE in close check. Once this was done, the job then was to go around the room and hunt down anything that was resonating when I was playing the kit – from a radiator to cymbals, or a loose wingnut on some spare hardware. Going around the room with a fine-tooth comb you suddenly realise how many rattles

How we created it

The first job was to record the ‘drums’ part with no cymbals at all, just electronic pads. To emphasise the feeling of close, dead, ‘claustrophobic’ drums, I used lots of gaffer tape and Moongel to stop as much interaction between the drums as I could. I also used an idea that Stanton Moore showed me – putting an acoustic tile or a soft snare case under the floor tom head to stop the resonance bouncing back from the floor to the head – it makes a huge difference to the resonance. I assimilated Eric Valentine’s ‘flapper’ idea with a couple of sweat bands, a metal plate and some gaffer and this worked very nicely, allowing a small amount of resonance from the head. I then set up Roland pads to allow me to play the cymbal parts without any

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Really locking down the staccato hi-hat patterns with the previously recorded drums was something I really needed to pay attention to and squeaks there are. Once I had taped down, covered with blankets or removed anything I could find, I then lowered the movable ceiling clouds to really close the

room in. Tracking the drums was simple enough (apart from ‘that’ fill in the chorus) and the key here is consistency of sound on the snare and bass drum. Having no reverb on the track made me acutely aware of the fact that it had to sound exactly how I wanted it to as it hit the mics. With the drum take done, it was a case of switching all of the drums for pads and the pads for cymbals. I kept the left, right and centre overheads the same, I didn’t need the drum mics but after a few tests I discovered I was going to need a little control of the hi-hat so that was close-miked. In terms of playing the cymbal part, I was surprised to find that really locking down the staccato hi-hat patterns with the previously recorded drums was something I really needed to pay attention to. Remembering exactly what I had played on the drums (was there a skip note on the snare, did I hit the rack tom? etc) was much more important to getting the cymbals to sit right within the track than I thought it would be.

The mix

I didn’t use any compression or EQ on the overheads, I had them panned hard left/ centre/right and they were the lead mics in the mix. I edited the tom mics to gate them so they were only live for the tom hits and I EQ’d the bass drum and snare to really

RECORD YOUR DRUMS: CLASSIC DRUM SOUNDS

ON RECORD Producer Eric Valentine on ‘No One Knows’

To control the crashes, James hard-panned the left and right overheads

fine-tune the sound. I added a fair amount more to the mix to get the definition than I thought I would. Adding the cymbals to the mix, I was able to really control the crashes as I had the hi-hat mic, so I hard-panned the left and right overheads (as I did with the drums mix) and took the centre mic out completely. Sitting this in the mix was easy to balance. Overall this approach was interesting, a little time consuming but it’s certainly a

technique worth trying out. It gives you such a huge amount of control over what you can do to the drums and the cymbals – more than what we have done here as there’s no compression or reverb on the track. This approach would allow for some very interesting experiments but would require a lot of patience on your and the drummer’s (if it’s not you) part to get the sounds, reset the kit and to play everything exactly as it was first time around.

Also Try LONDON Third Eye Blind Brad Hargreaves Has a QOTSA vibe to it but recorded in a more organic way than ‘No One Knows’ – Eric Valentine at the controls on this record, the drums sound great on the whole album.

CARRY ON Elliot Minor Dan Hetherton Supposedly the drums and cymbals were tracked separately here. The drums have a real punch on this album and the cymbals have a very controlled nature to them in terms of mix levels.

RED RAIN Mic AKG D112 Pre-amp Universal Audio 4710D (Trans) Mic AKG D119 Preamp Universal Audio 4710D (Trans) Mic Audio Technica ATM 350 (out of phase with top mic) Preamp Universal Audio 4710D (Trans)

Mics Sontronics DM1T Preamp Focusrite 428 Mic Audio Technica ATM 350 Preamp Focusrite 428 Audio Technica AE3000 (centre overhead). Sontronics Sigmas (left & right overheads, spaced the same distance up and out as the centre mic), all run through Focusrite 428 pre-amp

Peter Gabriel Jerry Marotta / Stewart Copeland Peter Gabriel is famous for his innovative recording techniques and this song highlights the use of programmed drums, live drums (from session maestro Marotta) and the renowned hi-hat work of a certain Mr Copeland.

Watch the video at http://bit.ly/ No_One

“We used my ’80s Sonor Phonic Plus drums for kick and toms and a Tama Bell Brass snare. These drums are incredibly heavy and respond well to being played really hard. The Sonors are 9-ply beech wood. We used Coated Emperors for the top heads and clear Diplomats on the bottom of the toms. The kick had coated Ambassadors on both sides and had torn up pieces of paper inside to reduce the amount of reflections inside the drum. Typically there was a pillow used on the resonant head that would be adjusted to manage the sustain of the low-end on the kick. The drums had to sound exactly right because you could hear any tiny rattle or buzz in the sound. “The most striking thing about Grohl’s playing is how consistently he hits the drums making it much easier to accommodate the really hard playing. I have heard people speculate that there are samples layered in with the drum recording. There are definitely no samples. Grohl just plays with inhuman consistency. “QOTSA had recorded cymbals separately on the previous record and wanted to try that approach again. The advantage of this is that it allows a lot more flexibility in how you can mic the drums. This time we actually set up electronic cymbal pads for Dave to play when the drums were recorded. Having cymbal pads to hit made it easier for Dave to play the way he normally would and allowed all of us to hear some sort of cymbal sound while everyone was playing. After all the drums were recorded for all songs, we set up to record just the cymbals with a dummy snare and toms, padded to be as quiet as possible for him to hit while playing. Overdubbing cymbals separately is very difficult. Dave is an extraordinarily positive guy with a seemingly endless reservoir of energy and enthusiasm for playing drums. Even he at one point started to get frustrated with overdubbing the cymbals on 10-plus songs. If I had it to do over again, I would have had cymbal mics ready to go on the drum kit so we could overdub the cymbals immediately after capturing the drum take. The thing that made it extra difficult was Dave having to re-learn or remember every detail of his drum performance a week or so later.”

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A single mic was used for this track, 3ft in front and about 6ft up from the bass drum

Some experimenting showed that Clyde’s notoriously light touch in the studio would pay dividends here, not least on the cymbals the label, Brown’s band never knew where they would end up recording. This Miles Davis-inspired (the brass part comes from ‘So What?’) hit was recorded at King Record Studios in Cincinnati and by all accounts was tracked with one mic on the whole band.

COLD SWEAT James Brown

How we created it

Drummer Clyde Stubblefield Album Star Time (box set version) Producer James Brown Approach One mic, parallel compression, great kit balance!

A

classic sound, a classic beat. James Brown’s ability to pick amazing musicians is well known, his ability in the studio to direct a band on the fly and to listen to what’s happening is as close to genius as his live performances were. Often recording at studios on the road as and when songs were ready or needed by

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HEADS UP EQ

EQ or ‘Equalization’ is the process used to alter the frequency response of a recording using linear filters to adjust the bass and treble.

The key here when recording with one mic is going to be kit balance. After tuning the kit as close to the recording as possible (dead medium tuning on the snare, more jazzy mid-tuning on the bass drum and a bebop high tuning on the rack tom), some experimenting showed that Clyde’s notoriously light touch in the studio would pay dividends here, not least on the cymbals, where I had to really lay off to ensure the drums cut through well enough. A pair of 7A sticks were selected to attain the thin, light sound we were after. Miking was fairly straightforward – a single mic, 3ft in front and about 6ft up from the bass

drum pointing between the bass drum and snare drum.

The mix

The mix involved some parallel compression – a technique where in this case I duplicated the single mic then added a fair amount of compression to the duplicated signal. Mixing that with the uncompressed channel allows for a very balanced kit sound in terms of dynamics but still allows the differing tones of the drums and cymbals to come through. I also sent a tiny amount of these two channels to a reverb auxiliary channel to give it the sense of size as on the recording. I EQ’d the reverb so it was most prominent on the snare backbeats. It’s hard to know just how much of the other instruments being in the room and playing through the same mic had an effect on the overall sound but some experimentation shows that just one mic can be used to give a great sound. If it’s good enough for James, it’s sure okay by me!

RECORD YOUR DRUMS: CLASSIC DRUM SOUNDS

Mic Sontronics STC – 3X (cardioid pattern ) Preamp Vintage Shure M67

Also Try

ON RECORD Clyde Stubblefield on ‘Cold Sweat’

THE FUNKY DRUMMER James Brown Clyde Stubblefield Again recorded at King Studios, Clyde steps up the drum break challenge. The sound of this classic break has had producers and audiences flipping out since the ’70s.

AMEN BROTHER

In Rhythm 184 Clyde told us, “[‘Cold Sweat’] came out of nowhere. There were no lyrics, no music. We were in King Records’ studio in Cincinnati to record something. I set my drums up and started playing that beat. The bass player joined me, the guitar joined in and we had a groove going. Brown walked in the studio and put lyrics to that, put horns on it and he had a hit. The next thing, I’m riding the bus and I’m listening to some station and they say, ‘Here’s James Brown’s new hit.’”

The Winstons George C Coleman If we’re talking drum breaks then here’s another classic. If this wasn’t recorded with one mic then it was recorded with very few – again, kit balance and genius groove are the critical points here. We wouldn’t have drum’n’bass without it.

ROCK STEADY Aretha Franklin Bernard Purdie The sound on this track is legendary, as is the break and the drummer. The mono power of this flat, dead-sounding kit, produced at Atlantic Studios, New York by Jerry Wexler, is well worth trying to replicate.

Watch the video at http://bit.ly/ Cold_Sweat

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WHEN THE LEVEE BREAKS Led Zeppelin Drummer John Bonham Album Led Zeppelin IV Engineer Andy Johns Approach Stairwell, baby!

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his delay and reverb-drenched Led Zeppelin track is a Holy Grail for drummers in so many ways – the feel is as critical as the sound on this track – not only was John Bonham’s sound so legendary but the sound of the drums mixed with the fact that they were set up at the bottom of the stairwell at Headley Grange (a recording and rehearsal studio in Hampshire) creates a unique and uncompromising sound. The fact that such an iconic drum sound was realised by engineer Andy Johns using a couple of ribbon mics is an inspiration, and a reminder that all the mics in the world can’t make up for the biggest part of the formula when it comes to incredible drum sounds: that of the drums, the drummer and the room.

How we created it

The closest I could get to Headley Grange was The White Space in terms of that massive stairwell – it was certainly ‘live’ enough to capture a real reverb which was my main focus to begin with. I tuned the drums as close as I could to Bonham’s kit first of all. The bass drum had a full front head and no dampening, tuned mediumhigh both front and back heads and the snare was tuned medium-high with a couple of Moongels. Close inspection of this track shows some interesting factors – not least that the hi-hat accents (most prominent in the first verse) are actually a product of compression – the hi-hat notes leaping out in between the bass drum and snare drum are perhaps linked to that. There’s an especially loud one that escapes the compressor at 1:35 in the track. Another

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point to bear in mind is that there’s a fair chance that Bonham recorded this with the delay in his headphones, as to go out slightly with the delay results in a shuffle-like feel being created. The balance of the drum kit was key here and, as with a lot of the tracks where this was critical, the hi-hats and the cymbals were the most important areas to keep under control.

Chad Smith playing in the famous ‘Levee Breaks’ stairwell for Spitfire Audio’s recent The Grange sample library

Watch the video at http://bit.ly/ Levee_Breaks

The Mix

Once tracked, the mixes involved first of all getting the channels balanced, which was fairly easy as I played with a balance that would replicate the track. Only the snare needed to be dialled back a little as the close mic brought a presence to the sound that affected the room sound too much. After that the key was to get the hi-hat compression to work so it ducked under the bass drum and snare drum (as I had no vocal to use). As with ‘In The Air Tonight’ I used a technique called SIDE-CHAINING on the compressor that I had placed on the hi-hat mic channel.

HEADS UP

SIDE-CHAINING As part of compression, the compressor uses the volume level of an incoming signal to determine by how much the compressor will reduce the gain on its output. Eg: a DJ’s mic signal is routed to the compressor’s side-chain so that when the DJ speaks the compressor reduces the music volume.

Side-chain compression is what broadcasters and DJs use on the radio to duck a track under their announcements – the track will have a compressor side-chained to their vocal mic. This allows the trigger for the compressor to come from somewhere other than the source mic. Doing this also meant the crash cymbal bleed into the hi-hat mic was reduced by the bass drum hits. The delay involved initially finding a main single-repeat delay for the bass drum and snare drum and then a less prominent ‘chatter’ delay that had more repeats. The single repeat delay was fed by the bass drum and snare channels (a little more bass drum than snare) and the chatter delay was fed by the room mics. The mix of this track needed some EQ’ing to try and sit it in the ’60s sound, scooping a little mid-range out – I then compressed the overall mix a little to let the dynamics sit more consistently. This was a tricky track to replicate as it’s just so iconic, but the ideas applied worked well and can be adjusted to create differing effects – especially the idea of side-chaining.

The fact that Bonham’s drums were set up at the bottom of the stairwell at Headley Grange creates a unique and uncompromising sound

RECORD YOUR DRUMS: CLASSIC DRUM SOUNDS

Headley Grange, Hampshire, England, where Led Zeppelin and others recorded in the 1970s

Roger Taylor in the stairwell of Headley Grange

ON RECORD

Two delays were used on this track, seen on the far-right channels

Also Try

Engineer Andy Johns on ‘When The Levee Breaks’

“I’d been using very few mics on tracks like ‘Can’t Find My Way Home’ by Blind Faith. I had recorded the whole thing using just two mics including vocals, guitar and Ginger Baker’s drums. So I was really getting into that. [For ‘Levee…’] I used two Beyerdynamic M160 microphones and I put a couple of limiters over the two mics and used a Binson Echorec echo device that Jimmy Page had bought. They were Italian-made and instead of tape they used a very thin steel drum. Tape would wear out and you’d have to keep replacing it. But this wafer-thin drum worked on the same principle as a wire recorder. It was magnetised and had various heads on it and there were different settings. They were very cool things! And so playing at that particular tempo on ‘Levee…’ the limiters had time to breathe and that’s how Bonzo got that ‘Ga Gack’ sound because of the Binson.”

IN MY PLACE

Mic Sontronics DM1B on unported reso head Preamp Universal Audio 4710D (Trans) Mic Sontronics DM1S Preamp Universal Audio 4710D (Trans)

Coldplay Will Champion This track has the ‘Levee…’ approach to drum parts more than anything – it’s a good example of the bare bones of the groove and how much of the feel of the Led Zep classic comes from Andy Johns’ production as well as Bonzo’s incredible feel.

Mic AKG 451 Preamp Focusrite 428

CLUB FOOT Overheads were Sontronics Sigmas as a spaced pair about 8ft from the bass drum, about 5ft up. The room mic was a Sontronics STC–3X (Cardioid pattern). These mics were run through the Focusrite 428.

Kasabian Ian Matthews Ian himself isn’t quite sure how much of this track is him and how much is programmed – what is apparent here though is how the compression on the hi-hat makes it leap out of the track, apparently accented – just like on ‘When The Levee Breaks’.

HIGH AND DRY Radiohead Phil Selway The vibe is a stripped back version – no delay but plenty of room sound – even if it’s not as enormous a room as Headley Grange. The bass drum tuning is a clear Bonham influence and sits on this track so well – although I sense they changed the kit around for certain parts of the song.

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ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS When recording, it’s useful to experiment with mic positions

GIVE IT AWAY Red Hot Chili Peppers Drummer Chad Smith Album BloodSugarSexMagik Producer Rick Rubin Approach Huge marble room

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ick Rubin’s ability to break a band through his production knows no bounds, from the Beastie Boys to Run DMC and beginning one of the world’s most famous record labels – Def Jam. The recording of the Chili Peppers’ definitive album is well evidenced on the documentary Funky Monks and the sound of the album seems to be as much an exploration of the acoustics of the mansion it was recorded in as it was a process of the band members finding their musical and personal equilibriums. It’s ironic that recreating this track became a study in ‘balance’ both in terms of kit dynamics and in the mix.

Watch the video at http://bit.ly/ Give_It

How we created it

The space in the intro of ‘Give It Away’ allows the true beauty of the big room to shine through. Again, working from the ground up, the first thing to do was to get the drums to sound as close to the original as possible. A biting snare, tuned medium-high with a little Moongel and a thumping, fairly welldampened kick drum with quite a lot of attack from a slack batter head was the

James Hester hard at work on one of the tracks at The White Space

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No reverb was added as the room was ‘the sound’ we were after, but the snare and kick were gated with a short release and EQ’d to give real clarity

RECORD YOUR DRUMS: CLASSIC DRUM SOUNDS

Most of the sound on this track would be coming from the room mics, so getting the kit balance right from the start was vital

order of the day. The White Space was the perfect place, especially with its marble floors. Test recordings highlighted the importance of getting the kit balance right from the off, as most of the sound would be coming from the room mics, meaning adjusting the individual levels after recording would be impossible. The focus was on keeping the snare and kick at about the same volume whilst really laying off the open hi-hats so they didn’t dominate the mix. The mic set up was a kick and snare mic and a couple of overheads (some distance away), and we added a room mic which was also as far from the kit as we possibly could.

The mix

No reverb was added as the room was ‘the sound’ we were after, but there were some issues with getting the definition on the

actual drums themselves, so the snare and kick were GATED with a short release and EQ’d to give some real clarity – dialling in the beater attack and low-end of the bass drum and the snap and body of the snare. Only a small amount of this was added to the left and right overhead mics which were left as they were but panned to three and nine o’clock respectively to give a bit of space. Finally in the mix is a touch of very heavily compressed room ambience to fill in the spaces. Balancing the mix was a challenge as too much of the close miked drums detracted from the room sound on the overheads but too little meant it lacked the power from the drums themselves. Eighty percent of the sound came from the room mics in the end, with about 15 percent from the close mics and the rest from the ambient, compressed mic.

Also Try HARD TO HANDLE

ERIATARKA The Mars Volta Jon Theodore Recorded at The Mansion by Rick Rubin (who by then owned the premises), the track is too frantic to allow for the same amount of room reverb to be used as on ‘Give It Away’ but has the same live room sound, especially apparent in the quieter moments of this track.

Led Zeppelin John Bonham Recorded at Headley Grange, this has a great room sound to it (as does ‘The Rover’) and as Bonzo was such a huge influence on Chad Smith, its inclusion here is a must!

Mic Sontronics DM1S Preamp Universal Audio 4710D (Trans)

For room mics we placed a pair of Sontronics Sigmas 15ft apart and a Sontronics STC-3X in the centre of the room set to a figure-eight pattern with a patio door behind it to the rear. These were run through the Focusrite 428

Producer Brendan O’Brien on ‘Give It Away’

The Black Crowes Steve Gorman Produced by Rick Rubin again – the drum intro on this features a backed-off version of the room sound from the BloodSugarSexMagik sessions but it has that same, very live feel.

WANTON SONG

Mic Sontronics DM1B just inside the bass drum head port Preamp Universal Audio 4710D (Trans)

ON RECORD

HEADS UP GATING

A noise gate reduces background noise by muting the sound’s signal below a certain level and restoring it when the level increases again. A noise gate allows a signal to pass through only when it is above a set threshold, ie: the gate is ‘open’. The gate is ‘closed’ when the signal falls below that threshold and no signal is allowed to pass through.

“We had this main room where we did most of the tracking, but they had a couple of songs where they had this little solarium off to the side, totally cased in marble. For ‘Give It Away’ we had a small kick, a small snare, two small toms and a couple of cymbals. I think we just used four mics – kick, snare and a couple of overheads, no tom mics. That was just the sound of that room, there was nothing fancy about it, just the room sound. You can certainly screw it up by miking stuff incorrectly. There is a skill to it, but it knocks me out when someone says, ‘I have this new miking technique.’ No, it has been used a million times before, but by all means use it. It looked like it was going to work, it sounded great so we kept on moving. The magic ingredient was Chad Smith. He is frikking awesome and he sounded great. I think it was very important to give him in his headphones what it sounded like in the desk. Chad heard that and he was excited to be playing it, and that was what you got. I don’t remember ever talking about the drum sound. I just did this thing where if I had a good room I would gate the room to make it sound like a snare reverb rather than using reverb. Rick’s way was just, ‘Make it sound good and let me know when it’s ready.’ And I think Chad was the same way.”

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ROSANNA Toto Drummer Jeff Porcaro Album Toto IV Producer Toto Approach Slick LA production!

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et’s face it, an album written and produced by Los Angeles’ finest session musicians is going to have a great sound. Ably assisted by recording legend Al Schmitt as engineer, the drum sound on the track ‘Rosanna’ is as much a part of its legendary status among drummers as the famous Bonham/Purdie/Bo Diddley drum parts’ origins are. Porcaro was born to play in the studio. He played in a way that made the mics work at their best, his kit balance was perfect, his dynamics at their optimum. So you can all play the beat (can’t you?), but how on earth do we go about getting the sound? Schmitt’s usual work ethic equates to using no EQ or compression on the drums but then you dial in that he’s in million-dollar studios, with million-dollar mics and preamps working with million-selling musicians, then we have to think outside the box to get as close as we can.

How we created it

I followed Al Schmitt’s documented ‘go-to’ drum miking approach, standard high-end close mics on the drums, pair of overheads into Neve preamps. Check out ‘Studio Notes’ (opposite page) to see how I replicated it. This version was tracked in my studio as the version in the White Space was way too live and I couldn’t get the focus on the close mics. It was the initial reason I went back and revisited what I had thought was the sound on this record. All of these mics were in a very standard placement. I heeded Russ Miller’s wise words in regards to people placing mics too close to the drums and picking up a fairly unnatural sound. The snare mic was fairly far from the head, as it was on the toms, but the bass drum mic I placed inside the drum,

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Also Try BLACK COW Steely Dan Paul Humphrey Features a very similar sound, just with a slightly delayed reverb on the snare backbeat.

YOU MIGHT NEED SOMEBODY Randy Crawford Jeff Porcaro Very reminiscent of ‘Rosanna’, sonically and in the drum part. Proves that the formula and sound of drummer and engineer working in tandem works.

James had to go back to his own studio to revisit what he thought was the ‘Rosanna’ sound after the White Space was found to be far too ‘live’

RUBY BABY Donald Fagen Jeff Porcaro Porcaro’s 12/8 feel is almost identical in terms of sonics to ‘Rosanna’. Interestingly it was produced by Gary Katz and the engineers were Daniel Lazerus, Elliot Scheiner and Roger Nichols.

HEADS UP!

PLATE REVERB Plate reverb utilises a large, thin metal plate. A signal is supplied to an acoustic transducer at the plate’s edge, causing vibrations which are then picked up by transducers at other parts of the plate. This type of reverb can be simulated by digital effects units.

pointing at the beater. I then placed a packing blanket over the bass drum to really isolate the sound. The drums were tuned carefully but with the snare it proved very

used on the bottom heads to contain the harmonics from each other. After years of listening to this track I was under the assumption that the drum sound

Listening back with ‘production’ ears on, the first thing you notice is a fairly dry drum sound, with most of the reverb coming from the snare difficult to attain the bite of the backbeat while maintaining a thick snare wire sound. Moongel was used on the tops of the toms to focus the tone and some gaffer tape was

stemmed from a fabulously close-miked kit in a massive live room with some room mics for the big LA sound. Listening back with ‘production’ ears on, the first thing

RECORD YOUR DRUMS: CLASSIC DRUM SOUNDS Mic AKG D112 Preamp Universal Audio 4710D (Trans)

Mics Sontronics DM1T Preamp Universal Audio 4710D (Trans)

Mic Beyerdynamic M201 Preamp Universal Audio 4710D (Trans)

Mic Audio Technica AE3000 Preamp Sontronics Sonora

Mic Audio Technica ATM 350 Preamp Universal Audio 4710D (Trans)

Overheads were a pair of Sontronics Sigmas, XY configured, through the Focusrite 428

Mics Sontronics DM1T Preamp Focusrite 428

Watch the video at http://bit.ly/ Toto_Rosanna

you notice is a fairly dry drum sound with most of the reverb coming purely from the snare backbeats. Speaking of the snare drum – what of those glorious ghost notes that this track is famed for? Again, Al’s top and bottom miking approach allowed me to use one of my favourite snare drum production techniques: gate the top mic so that it only picks up the backbeats, then send some of this on an auxiliary channel to a nice PLATE REVERB (as you will find out, snare drums love plate reverb), that way you’ll just get pure backbeat reverb without cluttering it with anything else; then compress the bottom mic to squash the ghost notes and backbeat levels closer together. Whilst the dynamics of the bottom mic hits will be lost, the tone won’t be, and blending this with the top mic allows for the backbeat to ‘pop’ out dynamically. With this

technique it’s actually possible to get the ghost notes as loud as the backbeat but still keep control of both elements, although on this track the ghost notes slide nicely under the snare backbeat.

ON RECORD Toto’s David Paich on ‘Rosanna’

“I’d been listening to a song called ‘Panic In Detroit’ by David Bowie, and that had a standard Bo Diddley beat – so, if you can imagine, [I had] the verse and the intro starting out with a Bo Diddley drum beat and Jeff immediately went into the beat that you hear on ‘Rosanna’ on the intro. And I mean, immediately. He later selflessly described that beat as a combination of Bernard Purdie’s beat from ‘Babylon Sisters’ and John Bonham’s beat from ‘Fool In The Rain’. Jeff was so analytical when he was teaching drums and very good at breaking down his own drums, but I know for a fact that was just pure unadulterated Jeff Porcaro playing. As soon as he heard my song, he just started playing that beat, he didn’t sit down and think about it and analyse it. The ghost notes were never really supposed to be heard, but so many times you hear people playing that groove and you hear the ghost notes really loud and they sound like the guy’s playing a triplet shuffle. What you’re supposed to do is hear the bass drum and snare and mainly the hi-hat beat, the ghost notes were just Jeff keeping time. It was very important for him to hear those just a little bit, as that was kind of unique to him.”

The mix

I edited out the bleed from the toms mics as is pretty standard these days (essentially gating the tom notes by deleting the audio when the drums aren’t being hit) as this also helps keep things slick and clean. The mix is straightforward aside from a little EQ on the toms (don’t tell Al!) and a tiny amount of reverb on the overheads on an auxiliary channel. The key is the dynamics within your own playing with this track – don’t overuse compression, learn to develop a three-layer dynamic and tone – backbeats the loudest and thickest tone, the quarter-note partial on the hi-hats and the ghost notes tonally thinner at the next level and the skip notes on the hi-hats under that. That said, there isn’t massive dynamic contrast between them all, it’s subtle. Do this and the mics will love you!

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IN THE AIR TONIGHT Phil Collins Drummer Phil Collins Album Face Value Producer Hugh Padgham Approach Processed and gated/reverb drum sounds

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here are some drum sounds that define a song but few enter the non-drummer consciousness more than the drum fill that announces the back end of Phil Collins’ 1981 hit single. As with most things this distinctive, there’s a story behind it. The SSL console talkback story is well documented but to cut a technical story short… The SSL 4000 desk not only allows the control room to ‘talk back’ to the live room musicians via a switched microphone going to the headphones but also allows the live room musicians to speak to the control room. However, this requires a serious compressor because you never know whether the person talking to you will be 1" or 100ft away from the installed mic. Playing the drums through this mic/compressor combo created a unique sound that Padgham and Collins discovered and then rewired the console to allow them to record the sound to tape. The sound was actually discovered during sessions with Peter Gabriel and first appeared on his song ‘Intruder’. Surprisingly it has nothing to do with gorillas and chocolate.

How we created it

As with all of the sounds in this project, the source was key – get it wrong at the start and you’re chasing issues and you can’t focus on the end result. We decided to go the whole hog in terms of drums – we turned the toms into ‘concert toms’ – removing the bottom heads as is Phil Collins’ preference to provide the ‘bark’ of a single-headed drum. We taped up the bottom lugs to stop them rattling and miked up the kit. Without cymbals, it was all about the tuning of the tom notes and getting a punchy snare and

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HEADS UP

COMPRESSION Compressors attenuate signals above a certain threshold, ie: it reduces the volume of loud sounds or amplifies quiet sounds by narrowing or ‘compressing’ an audio signal’s dynamic range.

Note gaffer tape on the drum’s bottom lugs to prevent any excess rattle

bass drum sound. We placed the two rack tom mics above the toms but the two floor toms sounded

We decided to go the whole hog in terms of the drums and turned the toms into concert toms – removing the bottom heads like Phil great with the mics underneath, inside the shell of the drum, pointing at the head. The room mics were set up in a triangle – a left

and right pair about 30ft from the kit picking up the massive room sound and a centre mic as far away as possible (about 50ft) by the patio doors, set to a figure-eight pattern. In terms of getting the sound right ‘to tape’ it took a bit of vision as to how I was going to produce it afterwards – I knew that I needed to get a great room sound so I could gate it afterwards and so we focussed on getting the toms tuned correctly with the ‘bark’ to the close mics, and then focussed on getting a controlled room sound from the left and right room pair, and finally a massive, all-conquering room reverb from the centre room mic. That done – I got to play ‘that’ intro. I can confirm it’s a lot of fun!

The mix

In terms of production, I gated the kick, snare and tom mics so that there was no bleed of the room coming from them – I actually went back to the gates later on in

RECORD YOUR DRUMS: CLASSIC DRUM SOUNDS

ON RECORD Producer Hugh Padgham on ‘In The Air Tonight’

the mix and gated them even more severely as there was way too much room going on when I brought in the room mic faders. There was much trial and error with the room mics and in the final mix I ended up duplicating the left, right and centre room mics and doing different things with them. The first left, right and centre set were heavily COMPRESSED and I also sent a little of this to an auxiliary channel that I set a phaser effect up on. There is very little of both these channels and the FX auxiliary channel in the final mix but it helps to not sound completely gated – it adds a consistent room sound under all the other gates and compression and without it, it sounds too staccato. The other left, right and

centre room mics were simply gated – but side-chained – that is, the trigger for the gates to open was a buss channel that I sent all of the close mics to. It meant that the gate was only opening and closing in relation to the close mics picking up a signal and not the room mic itself as it was almost constantly picking up a signal due to all of the reflections. I couldn’t make a simple gate open and close surgically enough for every drum hit so the side chain was the way forward. The gate was set to close about an eighth note after the drums were hit. The majority of the classic gated reverb sound that you know and love from the ’80s came from these two channels so no extra reverb was added in the mix.

Also Try INTRUDER Peter Gabriel Phil Collins Hugh Padgham developed the sound that finally ended up on ‘In The Air Tonight’ a year earlier. This version isn’t quite as full-on as the Phil Collins solo hit but without this earlier experiment, it would have sounded very different.

A VIEW TO A KILL Duran Duran Roger Taylor Produced by Chic bass legend Bernard Edwards, this track features a super short gated reverb on the snare. Futuristic at the time, this sound has come to define the ’80s in terms of drum production.

BORN IN THE USA Bruce Springsteen Max Weinberg The snare/synth-only intro highlights the use of classic gated reverb on this track.

Mic Sontronics DM1B Preamp Universal Audio 4710D (Trans) Mic Sontronics DM1S Preamp Universal Audio 4710D (Trans) Mic Sontronics DM1T Preamp Focusrite 428

“The whole essence of the sound is the compression of it which makes it sound really fat and then the second that there is a lull in the sound the gate just shuts it off. The fact that the drums were in a very live room, when you compress a sound in a live room it brings up all the background noise and the echo in a room. When you compress a drum sound in a live room like that it makes it just sound much bigger and it makes the room sound bigger as well. Therefore when you go from something sounding big to nothing, ie: a sort of anechoic chamber, you get this feeling of massive contrast. “There is a very good instance of listening to single-headed drums on Phil’s second album, Hello I Must Be Going, the first track on that starts off with him playing the toms and me miking them inside. Because they only had one head on them you could stick mics inside so we miked them underneath and slightly inside the drum as well as on top. And if you listen to that song, the sound changes from the underneath mics to the normal miked drums with the room as well, so it goes from very close inside the drums and morphs into outside and more roomy-sounding drums. That’s the best recorded instance from my point of view of those singleheaded drums.”

Mic AKG D112 Preamp Focusrite 428 Room mics were two Sontronics Sigmas spaced 20ft apart through the Universal Audio 4710D (Trans) with a Sontronics STC-3X 30ft away, set to figure-eight pattern through the Sontronics Sonora preamp

Watch the video at http://bit.ly/ In_The_Air

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The sonics of the room were harsher than where the track was originally recorded, so the bass and snare hits were a little more defined than on the original

The most surprising thing when it came to mix the track was how crucial the percussion (tambourine, hand claps etc) were to the sound

BE MY BABY The Ronettes Drummer Hal Blaine Album Presenting The Fabulous Ronettes Featuring Veronica Producer Phil Spector Approach Wall Of Sound – room reverb

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ome drum sounds transcend the hitting of sticks on skin, or even sound hitting microphone and then vinyl. The vibrations of Hal Blaine’s drum intro on the Ronettes hit ‘Be My Baby’ are still being

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felt now, with bands mimicking the drum intro, the production and attitude, all of which emanates from one of the music world’s finest, quirkiest and pioneering of characters. Without Phil Spector’s eventual free rein to experiment in LA’s Gold Star Studios, culminating in the ‘Wall Of Sound’ production, we wouldn’t have had Brian Wilson’s groundbreaking production on Pet Sounds and therefore Sgt Pepper wouldn’t have sounded as it does. Whilst this is quite well known in music circles, what isn’t so well known is that the echo on Spector’s records wasn’t made electrically. The secret to Gold Star’s huge success (search for the list of hits recorded there) was the two 20ft specially-built rooms designed and built by studio partner David Gold. Gold was an innovator that deserves more recognition – even going as far as building the studio

console and an AM transmitter so mixes could be checked on nearby stereos.

How we created it

I was keen to use as much of The White Space’s natural reverb to recreate ‘Be My Baby’ as possible. The kit was tuned as close to Hal Blaine’s bass drum and snare as possible but, with reverb plastered all over the track, the tuning and type of drum almost becomes irrelevant – although I did opt for quite a dead snare and used a couple of Moongels. The actual sonics of the room were a little harsher than Studio A’s chambers at Gold Star, meaning the initial hits of the bass drum and snare were a little more defined than on the original. The pure room sound was huge so all of the sound comes from just the two overheads and room mic – the two close

RECORD YOUR DRUMS: CLASSIC DRUM SOUNDS

mics were fed to an auxiliary plate reverb channel that was pushed quite hard, the mics themselves aren’t in the mix at all.

The mix

The most surprising thing when it came to mix the track was how critical the percussion (tambourine, hand claps, shaker/cabasa and castanets) were to the sound – without them, it just doesn’t sound right. I overdubbed the percussion at my studio and fed them to the plate reverb to sit them in sonically. The mix was quite straightforward in terms of balance as the room mics were effectively the reverb channels too – it was just a case of balancing them against the plate channel. I EQ’d the master channel to dial out some mid-range and make it sound a little more ‘tape’-like. It’s hard to tell how much of the overall sound of the original is due to all of the musicians playing in that room and so much of it being sent to the echo chambers – getting just the drums to sound like the final product is a sum of all the other instruments being involved too.

ON RECORD Drummer Hal Blaine on ‘Be My Baby’

“My memories of a Phil Spector session are just the greatest. Not hard, but it took a lot of stamina because Phil did not like to take breaks. Through the years, ‘Be My Baby’ obviously had a major influence on drums and drumming and rock and roll. For some reason I really did not remember anything about a drum part that was written out. We may have been rehearsing with a straight backbeat on ‘2’ and ‘4’ the entire song. But, the red light goes on and I counted off and I dropped a stick on the floor! All of a sudden I’m not playing on the ‘2’. Playing the ‘4’ with my good hand that’s still working as I’m reaching for another drumstick out of my trap case! When you’re in the studio, if you make a mistake, do it every four or eight bars, it becomes part of the arrangement. So, they seemed to love it and it worked great. Leave it the way it is. We did a number of takes with Phil; 28, 29, something like that. It was an amazing time.”

Also Try DON’T WORRY, BABY The Beach Boys Dennis Wilson (although some think it was Hal Blaine) Brian Wilson reputedly listened to ‘Be My Baby’ up to a hundred times a day and ‘Don’t Worry, Baby’ was his attempt to ape Spector’s hit. The production here is much tighter and distinct sonically but shortly after recording this, Wilson began using a lot of the same session musicians (including Blaine) and even began recording at Gold Star Studios. You might recognise the drum intro though!

THE BOXER Simon & Garfunkel Hal Blaine Probably the daddy of all ‘real’ drum reverbs! Recorded at Columbia Studios in New York – Roy Halee (Producer and Engineer) was notorious for seeking out esoteric acoustic spaces and discovered that the space just in front of the ramp to the studio lifts produced an epic sound. Hal set up two toms in front of the lift doors, donned headphones and waited for the chorus…

Be prepared, and have more mics to hand than you may need to use

JUST LIKE HONEY The Jesus & Mary Chain Bobby Gillespie Determined to find something from another era (and without Hal Blaine on it!) – you may recognise Bobby Gillespie (now Primal Scream’s head honcho and lead vocalist) and the drenched reverb sound.

Watch the video at http://bit.ly/ Be_My

Mic Sontronics DM1B – Mic Audio Technica AE3000 pointing at the resonant head Preamp Universal Audio with a blanket over the bass 4710D (tube) drum/mic Preamp Universal Audio 4710D (tube) Sontronics Sigmas used as overheads 15ft away in XY position through the Mic Sontronics DM1S Focusrite 428 and the Preamp Universal Audio Sontronics STC-3X in a 4710D (tube) figure-eight pattern facing the kit as the ambient

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For this track we went for a very simple kit/mic set-up with most of the sound coming from the room

LIKE I LOVE YOU Justin Timberlake Drummer Pharrell Williams Album Justified Producer The Neptunes Approach Nail your kit sound first

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harrell Williams’ skill-set doesn’t just stop at big hit production – he can clearly lay down a killer beat too. The drums on this 2002 hit were recorded at either Master Sound Studios or Windmark Recording, both in Virginia Beach. The benchmark for the new Timberlake record (produced by Williams and Chad Hugo, aka The Neptunes) were Earth, Wind And Fire records, but when it came to the drums, the hip-hop influence shone through. Neptunes engineer Andrew Coleman reveals that Williams would play grooves on a regular kit that Coleman would then cut into 16-bar sections for use in the song. The drum sound on this track is fairly straightforward, with the exception of the 808 sub kick pattern that was added to beef up the bass drum.

How we created it

This struck me initially as possibly being one of the easy ones. It just goes to show – it turned out to be one of the trickiest to try and get sonically accurate in the room before recording. The ring on the snare is so precise and there’s very little background information into how and with what this was recorded. I experimented with a lot of dampening approaches on the snare, but anything more than half a Moongel right near the edge of the head resulted in it sounding too dead. The bass drum was also minimally dampened but I buried the beater in the batter head which stopped it from resonating too much. Fine hi-hat work was required to allow the compressor to do its ‘accent’ work (as with ‘When The Levee Breaks’). Close inspection of the original suggested a very simple kit/mic set-up, with most of the sound coming from the room.

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Also Try COLD SHOULDER Adele Pete Ray Biggin Producer Mark Ronson’s love of taking Motown-influenced arrangements and fusing it with breakbeats-style drums is in evidence nicely. Sounding like a single or dual mic (possible one overhead and a bass drum mic) recording with little or no treatment, it takes a master touch of someone like Pete Ray Biggin to play with such great kit balance.

A LITTLE LESS CONVERSATION Elvis Presley Hal Blaine An amazing mix where everything has its place in the stereo mix. Hal’s drums panned hard-right and sounding ace, as ever, you can almost sense the space that the drums were recorded in – a lesser producer would have processed this to death but even the King’s voice sounds raw and alive!

FORCE FIELD Smash Mouth Micheal Urbano Once again Eric Valentine demonstrates a great touch when it comes to drum production. The opening (and later refraining) tight room kit sound takes a large amount of skill to make it sound big, keeping the mics in phase and not resorting to reverb and compression to hide the basics of the drums, the drummer and the room here.

A fairly small room reverb was used to try and recreate the original environment the track was recorded in

The Mix

As you can see from the mix screen shot – all of the balances were even across the kit – each of these four mics were sent via a BUSS channel to one channel with nothing on it and another with quite a heavily compressed sound – reducing the kick and snare hits to allow the hi-hat towards

compressed kit sound to a fairly small room reverb to try to recreate the environment that Pharrell sounded like he was in. Finally a long 808 sub pattern was played in via a Roland TD-30 and was balanced with everything else. It was the stripped-back nature of this track that made it so hard to replicate. It

This struck me initially as being one of the easy tracks – it turned out to be one of the trickiest to get sonically accurate before recording the end of the phrase to jump out a little. It was a case of balancing these two buss channels to maintain the dynamics but to also make sure there was plenty of punch to the drums overall. I sent quite a lot of the room mic and

just goes to show that often the most heavily-produced kits are easier to replicate because you can hide behind it to some extent – whereas here you have some drums, in a room and a couple of mics and that’s your lot!

RECORD YOUR DRUMS: CLASSIC DRUM SOUNDS

Mic Sontronics DM1B just inside the bass drum head port Preamp Focusrite Octopre Mic AKG D119 Preamp Focusrite Octopre

Overhead mic was a single Audio Technica AE3000 suspended 8ft above the kit’s centre. Ambient mic was the Sontronics STC-3X, cardioid pattern, facing away from the kit. Both through the Focusrite Octopre

Watch the video at http://bit.ly/Like_I

HEADS UP BUSS

A buss is a path through which one or more audio signals are routed to a particular destination. Most commonly busses are used to control several sources with a single fader, whether it’s the entire drum kit or all the backing vocals at once.

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T HEADS UP REVERB

Reverberation is the acoustic environment that surrounds a sound. Natural reverb exists everywhere, and is composed of a series of tightly-spaced echoes. The number of echoes and the way they decay define the sound you hear. Software and synthesisers can replicate reverb to replace the natural reverb that may be missing with close miking and acoustically dead space.

REGGATTA DE BLANC The Police Drummer Stewart Copeland Album Reggatta De Blanc Producer Nigel Gray Approach Delay FX

he drumming of Mr Copeland has fascinated and confused drummers for so many decades now that the challenge of trying to figure out one of his mysterious approaches was one that filled me with a little trepidation. The track ‘Reggatta De Blanc’ features a barrage of cross-stick, bass drum and hi-hats in the intro that is both baffling and exciting. The use of delay in reggae has been a feature for so many years that it’s almost regarded as a musical instrument in its own right. Not one to miss a trick, Stewart Copeland latched on to its unique sound and was able to not just harness it in the studio but had it as a staple in his live rig throughout the band’s career. This is not for the faint-hearted. Issues with feedback and timing require a deft touch and more than a little audio engineering know-how. As with a lot of unique sounds, there’s a lot of internet chatter on how these sounds were recorded but ultimately, as with a lot of things, it comes down to a person and a vision for something fresh.

How we created it

Experimentation is key: we first tried this track at The White Space, but too much room bleed meant it worked better at James’ own studio

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Whilst some tracks seemed to get close very quickly, this one took some experimentation and testing, both before tracking and also during mixing. The first recording in The White Space resulted in too much room bleed to do anything fairly surgical with the delays in the mix, so a decamp to my more acoustically controlled studio was needed. As we were only recreating the intro, a snare that produced a nice clear cross-stick was required along with crisp hi-hats and small kick. Mics and miking were very standard. One of the toughest challenges was to try and figure out what Copeland may have actually played – the delays confuse the issue so there was a lot of experimenting with parts and then adding delay to figure out what was going to work and what wasn’t. One of the key aspects of recording today, with computers, software, plugins etc, is that we don’t have to track with effects and processing going to tape. Parts can be tracked in their raw state, knowing full well that (so long as our computer’s processing can handle it) we can have as many compressors, delays, REVERBs, EQ’s or gates as we’d like on each channel, all available to us when we’re mixing – something that in days gone by would have been impossible in even the most expensive studios. One of the downfalls of modern recording and using mainly software plugins means that if you want to track with effects in place, you’re likely to suffer from processing latency issues (hearing the drums after you’ve hit them), which is not at all desirable. My work-around for this was to record to a click so I could set the delays up to it later. A simple solution, but one that was critical to achieving the effect we were after. So, once a delay-timing work-around was established,

RECORD YOUR DRUMS: CLASSIC DRUM SOUNDS

and a pattern that some test delays seemed to agree with were thought up, the actual tracking was fairly straightforward!

ON RECORD

The Mix

The mix comprised initially of just balancing the kit to get that sounding right – again, playing with the right dynamics made a huge difference here. Not playing the hi-hat too loud was a key aspect of not letting it bleed into the snare mic too much. Once the balance was established, the task of sorting out the delays was upon us. In the end, along with the regular balanced kit, I duplicated the snare channel and gated it very, very hard, so only the initial strike of the drum was heard. Not pleasant to listen to, but the idea wasn’t for it to be heard but to trigger the delay so it was sent only to the two delay auxiliary channels I had set up and muted in the mix. This allowed me to delay only the cross-stick strikes – surgical perhaps, but it

Stewart Copeland on ‘Reggatta De Blanc’

delay simulator to add that unique analogue sound, set as a ‘ping pong’ (alternating left to right channel) at eighth notes again which lasted about two bars but wasn’t very loud – it added to the chatter effect. Once I was happy with the kit balance, I

One of the toughest challenges was to try and figure out what Copeland played. The delays confuse the issue so there was a lot of experimenting allowed me to control the delays carefully. One of the delays was a dual channel delay that one side I set to eighth notes with two prominent delays (the bpm that I played to was 150) and the other side to 16th notes with more notes (more ‘feedback’) but at a lower volume. The eighth-note delay helped create the ‘what’s actually being played’ effect. The other delay channel was a tape

set about assimilating the environment the drums were recorded in – the heavily gated snare channel was sent to a simple plate reverb to bring that to life and some of the room mic was sent to a reverb channel with quite a bright sound. The close mics were fairly prominent in the mix along with the room mic and a touch of the overheads to give the kit a sense of left and right space.

Also Try BOOGIE WITH STU Led Zeppelin John Bonham The very groove of this track is dictated by the delay. A simple track to replicate and have fun with.

PRIVATE LIFE Grace Jones Sly Dunbar The first eight bars of this track feature a great snare delay on Sly’s cool steppers groove.

DEAD SOULS Joy Division Stephen Morris Joy Division’s producer, the late Martin Hammett’s, love of AMS delays features here on the snare backbeat and possibly on the rest of the drums. Hammett was a master of delay, using it on pretty much everything to create that signature spacey, ethereal Joy Division sound.

Watch the video at

http://bit.ly/ Police_Regatta*

Mic AKG D112 just inside the port Preamp Focusrite OctoPre Mic Beyerdynamic M201 Preamp Focusrite OctoPre Mic Audio Technica AE3000 Preamp Focusrite OctoPre

Overheads were a pair of spaced Red Audio RV85s and we used the trusty Sontronics STC-3X behind and facing away from the kit in a cardioid pattern for the ambient mic. All were through the Focusrite OctoPre

*Video without delay http://bit.ly/Regatta_No_Delay

“The song was recorded at Surrey Sound Studios in Leatherhead. I used Tama Imperialstars, my original baby blue Tama kit. The delay was a chance discovery which made cool hi-hat stuff really easy. It was a simple trick which is a one-repeat delay, so it doesn’t have multiple delays and it doesn’t build up, it’s just one repeat and that makes it much more crisp and with different settings you can get different rhythms. The basic one, which turned into a guitar technique that you can hear all over not only Police albums but U2 albums as well is the dotted eighth-note, or quarter-note, delay. What that means is, when you go ‘chunk, chunk, chunk, chunk, chunk,’ the delay of it is a repeat of the one before the last chunk that you played so the result is ‘chugga-chuggachugga-chugga’. Instead of it just being hit-repeat-hit-repeat, it’s hit and the repeat that you’re hearing is a repeat of the hit before the last hit. Am I making any sense? It’s one step removed and the note value is either a dotted quarter-note or a dotted eighth-note. “Those were the days of gating. It was just going out of fashion at the time, though we did do it because it controlled the sound and you could really make the drums punch. It was overdone in the ’70s, gating and compression, but I still do it to this day. It just clears the sound so what you have coming out of the speakers is what you really want. You have to do it so that you can’t hear it – you can’t hear the gates clicking on. But once you’ve gated, for instance, the toms you can leave that channel up really loud without having them go ‘ooohhhhhh’ throughout the track. Compression is instant power. It can be overdone and it has to be done cleverly but it’s not rocket science. “‘Reggatta De Blanc’ actually was the stage jam from ‘Can’t Stand Losing You’. We would play ‘Can’t Stand…’ and then at a certain point we would go off into a reverie which turned into a jam which eventually, as we were playing it every night, evolved and evolved and became this anthem-like, call-and-response thing. We’re in the studio, ‘Aw, s**t, now what? Let’s just play that!’ And so we concocted an album track out of that stage jam.”

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ENTER SANDMAN Metallica Drummer Lars Ulrich Album Metallica (AKA The Black Album) Producer/engineer Bob Rock/Randy Straub Approach Massive drum sound!

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here do you start with this track? Well, to paraphrase US politician Donald Rumsfeld, with this album there are things that we know, there are things that we think we know and there are things that we know we don’t know! So, what do we know about it that’s relevant? We know it was recorded at One On One studios in North Hollywood. Metallica recorded what has become known as ‘The Black Album’ in the enormous live room at the studio, changing the acoustics with shellacked plywood panels. We know that Bob Rock and Randy Straub were recruited in producer/engineer roles off the back of their work on the Mötley Crüe album Dr. Feelgood mainly because of Tommy Lee’s massive drum sound. The idea to use esoteric 36" Mitsubushi speakers to pump sub from the kick drum back into the room to ‘excite’ it to add to the sound came from the Tommy Lee sessions. We also know many takes (up to 50) of each track were done using up to 50 microphones and heroically edited by the aforementioned Straub. So what don’t we know? There is one question that sets internet recording forums alight with this pre Pro-Tools era drumming Holy Grail – did they use triggers? On the band’s DVD A Year And A Half In The Life Of Metallica, there is a panning shot of a track sheet and, lo! and behold, ‘Track 24: SAMPLE SNR.’ Some naysayers on Lars ability may be more surprised that track 21 contains the word ‘CLICK’. So, that’s it – case closed? Well, no, not necessarily. If it’s your plan to record that many takes and edit them together there is

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Also Try STICKY SWEET Mötley Crüe Tommy Lee Straub and Rock both worked on this record and pioneered a lot of the techniques that Metallica benefited from on The Black Album.

WHAT YOU WANT Evanescence Will Hunt Randy Straub gets a blistering drum sound on this album – the legacy of Metallica’s Black Album that came out some 20 years earlier.

For ‘Enter Sandman’ the toms were tuned to ‘flappy’, the bass drum to ‘punchy’ and the snare to low and dead using Moongel

INVISIBLE KID Metallica Lars Ulrich A strange inclusion perhaps as this is probably as far from the 1991 Metallica drum sound as you can get – the snare sound and muddy drum mix on St Anger will probably be talked about as much as the amazing sound the band produced 12 years previously. Bob Rock was still at the helm but there was no Randy Straub – perhaps therein lies a clue?

a risk that the drums may change tuning (especially if hit hard) and perhaps a sample snare was recorded by the band as a reference and to use to cover the edits.

How we created it

The mics and console used in One On One to track the album were high-end and the room was huge. I have limited mics, a

I had the tone of the drums and the tuning but the impact wasn’t there. My work with hybrid kits led me to think about the ‘samples’ rumour That said, perhaps they did use some of the sample technology that was available at the time. There is one final thing we know. The drums sound MASSIVE!

small room and I sure don’t have 36" speakers. In fact, if I did, there’d be no room in my studio for a kit. So drum-wise, I didn’t stray far from

RECORD YOUR DRUMS: CLASSIC DRUM SOUNDS

Mic AKG D112 Preamp Focusrite 428 Mic Beyerdrynamic M201 Preamp Focusrite 428 Mic Audio Technica ATM350 Preamp Universal Audio 4710D (Trans)

what I used for ‘Rosanna’, oddly enough. I tuned the toms down to ‘flappy’, the bass drum to ‘punchy’ and the snare to low and dead (using Moongel). I did switch the preamps around though as I wanted to get the thickest sound I could from the toms using the Universal Audio pre’s and the cleanest sound I could from the Focusrite 428s for the snares, bass drum and overheads. With things set up like this, I had the tone of the drums, the tuning etc but it wasn’t close to cutting it. The impact wasn’t there, despite some playing around with some production techniques. My recent work with Roland and the hybrid kit approach led me to think about the ‘samples’ rumour. Always one for trying out ideas, I fixed the triggers to the toms, kick and snare and dialled in and edited the sounds on the TD-30. This is closer. Much closer.

The Mix

Some rough mixes attempted and it’s getting there. So what did I do? Well not much actually. I dialled in some sounds on my module and what I found was that the complete isolation I gained for the

Watch the video at http://bit.ly/ Enter_Sandman

Mics Sontronics DM1T Preamp Universal Audio 4710D (Trans) Mic Audio Technica AE3000 Preamp Sontronics Sonora A pair of XY-configured Sontronics Sigmas through the Focusrite 428

drums meant I could do a huge amount of processing that wasn’t possible with bleed into the snare mic from, for example, the hi-hats. It’s similar to the more long-winded approach on ‘No One Knows’ in terms of getting complete isolation for the drums, but makes for a more organic playing approach. In fact the isolated sounds meant I could use them not only to reinforce the acoustic sounds but also to send to some plate and room reverbs to recreate the massive sound from One On One’s live room. In the final mix, the ratio is roughly 70 percent acoustic drums and 30 percent triggers. You don’t need much to really drive these sounds. It came together surprisingly quickly in the end, the longest task was getting the right plate reverb for the snare and the room reverb to try and recreate the huge live room.

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HOW TO BUILD YOUR OWN

DRUM STUDIO So, you’ve learned how to record your drums, and even recreate classic drum sounds, but there’s still the matter of where you record. Studio time can be prohibitively expensive, so here we show you how, with a little outlay, you can build your own studio at home WORDS: PETE RILEY

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RECORD YOUR DRUMS: BUILD YOUR OWN STUDIO Being able to record in your own home studio is every drummer’s dream

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s record and production companies continue to look for ways to cut costs, they become less willing to budget for musicians and recording time. However, the constant advancements in digital technology are making access to better equipment more financially viable for the artist or musician, in turn making setting up your own recording studio a realistic possibility. This will still require a sizeable investment of both time and money, however, so if done with a commercial incentive it’s a good idea to assess how much work it will generate, otherwise you may find yourself with merely a useful yet expensive practice space. But, if undeterred by financial ruin and the taste of plasterboard dust, read on, as we’re about to show you 10 important factors to consider when building your own studio.

1 Location, location, location The first consideration when contemplating building a studio is where to build it. Most drummers’ studios are at home in an outbuilding or part of the house itself, but some rent space for their studio. If you are

using a rental space, it’s important to consider how long it will be yours for – after going to the effort of soundproofing somewhere once, you probably won’t want to relive the experience for some time. At this stage it’s also important to consider just how loud a drum kit is and how viable soundproofing is for your situation. For example, if you want to convert a garage in your garden, you’ll probably be left with a reasonable space inside after soundproofing, with minimal noise escaping. However if you’re looking to convert a room in a house or flat, you may have your work cut out if you want to play without anyone hearing anything and, if the space is small to begin with, you may find it unreasonably cramped after soundproofing. With a suitable room chosen, let’s consider some other important points…

2 Let there be light Daylight is such an important ingredient when it comes to creating a nice place to work in, and a lack of it can make your workplace feel like a prison cell after just a few hours. It’s easy to assume that blocking up windows is the only option when soundproofing a room, yet a combination of a single

IT’S IMPORTANT TO CONSIDER JUST HOW LOUD A DRUM KIT IS AND HOW VIABLE SOUNDPROOFING IS FOR YOUR SITUATION

double glazed unit with no opening windows and a sheet of acoustic glass (comprising of two sheets of glass with a thinner sheet glued inbetween) will work incredibly well if installed and sealed correctly.

3 The doors Your studio will have at least one doorway to contend with and, like the window, this is another potential area for sound leakage. Simply using a heavy door can help, though adding weight by building a regular door up or applying a layer of Sheetblok (a special vinyl material designed to act as an effective sound isolation barrier) can have the same effect. You may also find it necessary to add a second door on the inside if results aren’t satisfactory. Either way, each door must seal completely when it shuts. While regular sealing strips are available from DIY stores, there are sets commercially available specifically for this purpose.

4 Something in the air With all of the windows and doors sealed and walls caulked and airtight, there is the small issue of how you’re going to breathe. Surprisingly easily overlooked, the supply of air into the studio is important, not only to avoid lapsing into unconsciousness mid-paradiddle, but also for the preservation of the recording equipment, on which moisture can collect. Long-time Rhythm contributor and BIMM tutor

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ULTIMATE DRUMMING TIPS, TRICKS & PROJECTS Adam Bushell has experience in acoustic engineering from a life prior to his current stature in the drum world. He explains that a room needs to have both an inlet and an outlet (if only one is used, the effect will be similar to breathing against a plastic bag, because the room needs to replace the air it’s pushing out). Only one of these needs a fan connected to it though. Another important consideration is to avoid putting these vents too close to each other as they will only exchange the air from the same point in the room and not from the room as a whole. Finally, in creating these air vents you’ll now have a reasonable sized hole in your soundproofing that will need an acoustic box built over it, one of which will house the fan. These can be made from MDF and contain an‘S’ shape duct within it and lined with acoustic foam. These are then placed over the vent holes in the building, along with some mesh to keep out unwanted crawly things, and sealed. One final consideration is to avoid putting the inlet vent where the sun shines, so to speak, as it will pull in unwanted hot air during the summer.

5 A room within a room Most soundproofing is done with the ‘room within a room’ principle in mind. In other words, a separate room is constructed within the original building, preferably having minimal contact with it. To begin with, if space allows, running a new wall of high-density concrete blocks, mounted on thin neoprene (a type of synthetic rubber compound) so that the blocks are not directly on the floor, internally is a great start. These can be tied to the outer walls using acoustic wall ties and, once you have soundproofed the original roof using mineral wool placed between the beams and a couple of layers of plasterboard mounted on resilient channel, do the same thing again on a second roof mounted to the new internal wall. This should stand you in good stead. These internal walls can then have 2x2 timber attached vertically, again mounted on neoprene, and after pushing in 2"-thick mineral wool inbetween the studs, our two layers of plasterboard can be fitted onto resilient channel. Finally, all surfaces should be sealed with decorators

A rug wrapped around your kick can augment the low-end of the bass drum

SOME KIND OF ROOM TREATMENT MAY STILL BE NECESSARY. HAVING THE ROOM CARPETED AND PUTTING A SOFA AT ONE END WILL HELP caulk – a small hole in the surface, which can be caused by cracks around the surface of a wall, can compromise its efficiency by up to 50 percent. Fortunately caulk is relatively inexpensive. It’s a good job too, as a garage-size space will require several boxes of the stuff.

6 I’ve got the power It’s often assumed that power and lighting cables should be run behind the new plasterboard walls. However, cutting out plug sockets will destroy your carefully built soundproofing. Instead it’s recommended that all power is surface mounted using conduit or trunking, or you could build out another area for light, plugs and power using timber and plasterboard. You need to consider acoustics and best positions for mics within your studio space

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7 That floating feeling People often talk about floating floors in relation to soundproofing a room. In essence, this is the same as we’ve done to the walls – decoupling two surfaces to prevent vibration being carried across. To float a floor, wooden beams can be placed on rubber U-Boat supports at regular intervals and, with neoprene strips inbetween, a chipboard floor can be screwed on top. A simpler and cheaper solution is to use PlatFoam to raise just the kit off the ground. PlatFoam comes in the form of long strips of high density foam which can be laid a few inches apart with a sheet of plywood placed on top to create a floating riser. This can work well in preventing the bass drum from shaking the building, as well as cleaning up the acoustic sound within the room rather like a large suspension mount for the kit.

8 Tuning the room With the room finished and painted and the drums looking rather splendid in their new soundproof space, the next question is how do they sound? Here you may well find that the reflective properties of the plasterboard make for a rather unpleasant and harsh-sounding room, which is not really what you want if you’re going to be recording in there, and certainly not what you want if you’re going to be monitoring and mixing in there either. Therefore some kind of room treatment may be necessary. This need not be expensive. For example, simply having the room carpeted and putting a sofa at one end will probably help, but the chances are it’s the reflections off the walls that need addressing. This can be done by using a combination of two solutions, absorption and diffusion. Diffusion involves sending the reflections off in different directions, breaking up the sound, while absorption soaks up certain unwanted frequencies. This is where the old eggbox myth can be laid to rest – while their shape should make them potentially good sound diffusers, their material isn’t reflective

RECORD YOUR DRUMS: BUILD YOUR OWN STUDIO

EASY HOME STUDIO TIPS 1 BOX CLEVER Empty, closeable cardboard boxes can really help clean up the low-frequency response of a room. They’re just closed volumes of air that will resonate at those key frequencies – the bigger the box, the lower the frequency.

2 BOOST YOUR BASS A stiffish rug around the kick can augment the low resonance and ‘note’ of the drum and boost the bottom octave. It acts as a physical barrier too, so you can wind some serious top end in on your kick mic without adding high-frequency kit spill.

3 USE YOUR DUVET Hang a duvet using cable ties on curtain poles, a few inches away from walls, to help diminish unpleasant reflections.

4 SHAKE SOME JELLY No Moongel to hand? A square of jelly from your kitchen cupboard (any flavour will do) will be just as effective in helping to get that perfect snare sound.

5 GO NATURAL A cube ofedible jelly can work as well as Moongel on your snare

enough, and its absorptive properties are minimal too. They don’t look very nice either! So, on your way back from the cardboard recycling at the tip to dispose of three tons of eggboxes, try picking up some 2ftx4ft sheets of hardboard and make yourself some absorption panels using 1" slabs of mineral wool (the same size) placed over the top and some dustsheet laid over and tightly stapled from behind. These will look much better and, more importantly, will actually work when hung on opposite walls. If you’d prefer to invest in something ready made for job, try some Aurelex, ProFoam or similar. These companies make a range of products for studios and some even make room packs with all the different elements you’ll need for different sized rooms. As you’d expect, this comes at a price, but gives professional results both sonically and visually.

Stick a mic in the bathroom or kitchen – bright and bouncy-sounding rooms – then record your drums in an adjoining room, with the doors open.

Bass absorbing treatment panels act on low-end frequencies to cut out unwanted reflections from the wall

9 One room or two? If this soundproof space is to be used as a recording studio as well as a practice room, your next consideration is whether to go for a one-room studio or to have a separate control room. It may seem obvious that a recording studio needs two rooms, one to record in and one to listen back in, but for drummers it can sometimes be easier to work in the same room as the equipment. One compromise in this situation is running a second computer monitor into the live room and using a wireless keyboard and mouse to control things. This way each room can be tuned to its optimum potential.

Melatech high-density melanine attached to the ceiling will deal with high-frequency reflections

10 Rome wasn’t built in a day Building a studio can be a time-consuming process and you’ll no doubt encounter setbacks along the way. As a result it can be frustrating as the time ticks by and costs add up, but try not to lose sight of the fact that once it’s complete, the space is yours to create your own studio environment in. You’ll be free to play when you want without disturbing anyone and you can be as creative as you like. That’s got to be worth the effort!

A more in-depth guide to building a home studio can be found in the Home Studio Handbook: Expert Edition, available from myfavouritemagazines.com.

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HOW TO BECOME A

REMOTE SESSION DRUMMER Rhythm runs down some of the things you’ll need to succeed in the competitive world of remote session drumming, from getting the clients to nailing the track WORDS: JAMES HESTER

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he boom in home recording has seen more musicians tracking their parts on major releases from the comfort of their own homes, including drummers. Having run my own studio for more than JAMES HESTER 10 years, I have noticed that the increase in James has a diverse CV interest in my own studio has coincided with from Island Universal/ Domino Records artists the reduction of bookings for me to go to Malakai and Portishead’s commercial studios. While playing music has Geoff Barrow to punk nutters Cars On Fire and always been and will always be my first passion, as the work has increased, so has Pitchshifter’s Mark Clayden. He is Head of my investment and my development as a Drums at BIMM Bristol businessman, engineer and drummer. The and author of the kind of work that I do varies from recording critically acclaimed drum tracks for TV, film, library music, record labels, book Mind Over Meter. pre-production, songwriters… It goes without saying that as a remote session drummer you’ll need a studio first, and some recording know-how. Elsewhere in Ultimate Drumming Tips, Tricks & Projects we

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have looked at how to go about building your own studio, how to choose the right gear and how to record your drums. But here, with the help of some leading session drummers including Ralph Salmins, Russ Miller, Emre Ramazanoglu, Cliff Jones, Jason Bowld and Pete Riley we’ll focus on some of the key skills that, once you’ve taken the plunge and set yourself up as a remote session drummer, clients will expect from you. Hard work, talent, dedication and a deeper understanding of music are the order of the day, whether you’re just starting out or have a few Grammys next to your gold discs. One of the main differences between remote and regular sessions is that you are ‘everyone’: studio manager, engineer, co-producer, musician, tea boy, cleaner… so you’ll need to be organised and have a focussed way of working. Set yourself briefs, record yourself playing to tracks, be ultra critical – your clients will be…

RECORD YOUR DRUMS: BECOME A SESSION DRUMMER

Whether you’re recording at a studio, as Ash Soan is here, or at home, focusing on and playing for the track remains the same

SESSION POSSESSION

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here are several differences between remote sessions and traditional sessions, but the ultimate centre point – playing the drums – remains the same. If you cannot deliver great-sounding tracks, with great time and with a high degree of musicality, no amount of great gear is going to help you. As US session ace Russ Miller explains, “Playing is the biggest part of it. I know guys don’t want to

hear it because it implies a lot of hard work and effort, but if everyone could do it, everyone would be doing it!” We all know the guys that get the big calls, we see their names in this very magazine and in the album credits all the time, but what do people like Ralph Salmins think they bring to the table? “Critical skills of a great session drummer,” Ralph tells us, “are: 1) Playing in time. The number one thing. If you can’t do

“PLAYING IN TIME IS THE NUMBER ONE THING. IF YOU CAN’T DO THAT THEN IT’S GOING TO BE DIFFICULT…”

that successfully then it’s going to be difficult; 2) Understanding what you need to play for the song; 3) Getting a great feel; 4) Getting a great sound – crucial. If you’re thinking about doing it, focus on those and get them and try to improve. I’m always working on these things, trying to improve.” These are big topics – things that take years of development and an ongoing ‘Holy Grail’ in terms of what clients want us to deliver, as producer/songwriter Cliff Jones explains: “Geoff Dugmore was the drummer on one project and he’s one of the go-to drummers for big UK records, with Ian Thomas and bass player Pino Palladino. You go to them because they will do the session in the way you want them, make it sound amazing and do it within the time constraints and budget that you’ve got.”

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Can you replicate James Gadson with Bill Withers? Know your references

JOB REFERENCES

A When it comes to practising for a session, try breaking down your skills and working on them individually

GOOD PRACTICE PRACTICE

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o, what’s the best way to practise in preparation for a session? Well, as with anything in this world, the best way is to break down the skills into smaller parts and work on them: click-playing, pushing and pulling time, beat placement, different backbeat placements, different subdivision feels on the hi-hat and ride, so many options and ideas, and then – and this is the critical bit – put it into context, record a track, feel and analyse what effect it’s having on the music. It’s important to take the time to do this for two critical reasons: 1) As Charlie Parker said, “You’ve got to learn your instrument. Then, you practise, practise, practise. And then, when you finally get up there on the bandstand, forget all that and just wail.” Coming up with a part that supports the music needs to be second nature, practising on a session is not the time or the place to do it. Russ Miller breaks it down for us: “From understanding the subdivision to the placement of notes in time, adjusting the pocket with tension and release, the dynamics of the piece. All of those are a means to an end. All of those technical pieces can’t be the focus when you’re on the session. It’s too late then! That’s why it gets done in the woodshed – practising, studying, taking lessons, recording yourself. The things that will affect the song the most are the placement of notes in time in regards to energy and release. Are you playing spot-on with the click, are you playing a little ahead, behind? If the song is relaxed then I’ll play behind, if it’s more aggressive or a dance-type track I’ll play more on the beat. The point is that all of these things happen

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but I’m not super conscious about it because if I was, I’d be playing drums, not music.” 2) You need to have options up your sleeve when the client asks you to deliver what you want them to. Very recently I was asked by composer Benson Taylor to play on two film trailers. Benson has written for Hollyoaks, The Ricky Gervais Show, Superbowl XLIII, The Dukes Of Hazzard, Clash Of The Titans, Coca-Cola and Wal-Mart, amongst others. We had a very quick turnaround (less than 24 hours) to record the drums and have them mixed and in the States. They had very clear ideas about certain fills in certain places but other than that, the word that was used to describe the track – and I tried to convey this in my playing – was ‘urgency’; playing square on the click, playing faster subdivisions with broken, more angularsounding patterns. Ralph Salmins sees understanding the emotion as an important thing to interpret: “I think the emotion is critical,” he says. “Music has an effect and whilst it happens more in film music for me, it happens in all the music we record. So the people I work for will tell us what effect they’re looking for: this is really edgy, there’s some tension going on, someone’s about to get bitten, or a monster’s about to jump out of a box, I need relaxation, tension, anger, unabounded love, chaos, fury… all of these things are important. If anyone says any of these words, I will try to conjure these up on the drum kit. Not because it’s a bit of a laugh but because that’s the effect of the music. It could be a little subjective in a song as you may have to read into the lyrics and decide what they mean to you.”

side from the emotional feel of instrumental music, there are several other key ways in which a client might point you in the right direction. For example, when I am working with Cliff Jones, he will send me some reference tracks for direction in terms of both kit sound and drumming approach, as he does when working with Ian Thomas. “The thing with Ian is he’s so familiar with genre,” says Cliff. “You can give him a precise reference: Dusty Springfield ’67 or Atlantic Memphis and he’ll know what that means. Mix Motown ’65 with Janet Jackson ’87 – he’ll fuse those together, because he understands styles and repertoire. His understanding is often better than the producer’s.” The two important things to develop here are a deep knowledge of music and then how

REFERENCES ARE IMPORTANT AND WILL AFFECT GEAR, RECORDING AND MUSIC CHOICES to replicate the feel and sound of those references, as Ralph outlines: “You need to know what your reference points are in music. Extremely important. People will ask for a Motown sound, Philadelphia sound, James Gadson with Bill Withers – all these reference points are important. These things will affect gear choices, recording choices and music choices so you must know your music.” And it’s not just popular artists and styles that are vital to your repertoire. The first piece of film work I did was for an underwater sequence filmed at Pinewood Studios (Alex Pearson’s Bait – you can find it on YouTube). As a big fan of Luc Besson films such as Ronin, Leon, The Fifth Element and Nikita I became interested in Besson’s regular film composer Erik Serra, and used his programming ideas of layering bells, hi-hats and rides along with heavily reverberating drum sounds from the film The Big Blue as my reference, layering and overdubbing sounds over my kit part.

RECORD YOUR DRUMS: BECOME A SESSION DRUMMER

WORK FLOW AND FEES

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etting the clients might seem to take all of your time to begin with, but this is only the start. Once the interest builds, you need to think about what and how to charge, what you are charging for and how the process will work. The way I like to work with Cliff Jones is my usual work flow: Cliff will tell me about the artist, the song, the vibe and suggest some reference tracks – both for sound and approach. I’ll then record one or two full takes and send them over to him as MP3s for approval. If there are further suggestions, I’ll go back and redo the track, perhaps with three or four takes, but often Cliff is happy with my first approaches. As I see him regularly and he uses Pro Tools, I burn a DVD of the session (he can see my plug-ins and settings for the rough mix) and ‘it’s a wrap’. This is the same process I’ve been using on the Sound Wall Project except that Andreas, the producer, is in Italy and

works on Logic – the individual drum stems are bounced and sent via Drop Box for him to mix. There are variations to this system but the key is to be organised and have a system. It’s easy to end up agreeing a fee with a client only for them to request endless retakes, changes of parts, drums etc. Pop session drummer/programmer Emre Ramazanoglu explains, “Always read or listen carefully to the brief. As you get more experienced you’ll get better at really understanding what the client is asking for, but you’ve got to get close with your first version, especially with a new client.” Rhythm tutor and busy rock session drummer Jason Bowld is careful to remember that this is a business too: “Don’t release the separate drum tracks before full payment! Send people an example mix of the drums with their music in MP3 form so they can approve. It’s important to make people aware of what they are paying for –

ONLINE

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here are two internet focuses for the remote session player – promotion and marketing, and as part of the workflow. The online session world is exactly that – online – and will develop along with it. The use of YouSendIt-style sites for big files, private servers or Digidelivery to transfer files around the world at relatively quick speeds is allowing collaborations to happen that Cliff Jones sees as both creative and exciting: “I think it’s a wonderful

way to work and I think we’re seeing some really interesting developments as a result of being able to send stuff around the world digitally. Damon Albarn works collaboratively with musicians all over the world remotely. He often does it on his iPad, which is crazy… and brilliant!” Says Russ Miller, “I think the remote session thing is getting more and more popular and is only really limited by the speed of the internet. We can do ‘Live Producer Sessions’

ALL THE GEAR AND ALL THE IDEA

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here is a selection of gear that I have ready to go for various sounds that either myself or the client want to use to achieve the required result. I use various pieces of gear – Mapex Saturn kits, Black Panther snares, Paiste cymbals, Remo heads and Vic Firth sticks, along with vintage and esoteric snares and bass drums. There are so many manufacturers and models out there that your creative mind should never hit a brick wall! These are the types of sounds that I look for in my arsenal…

DRUMS TOMS: Either a warm focused tone, using coated double-ply heads and die-cast hoops to achieve this. Great for funkier, jazzier and more pop-orientated tunes. Or a clear, defined, ‘fast’ sounding tone. I use clear double-ply heads and triple-flanged hoops for this. I use this for heavier or more rocky songs where the tom sound needs to

here where the producer is on iChat and we have Pro Tools feeds into that, the same way I do my online lessons at my website. At the moment, we can’t shoot 18 tracks of 14bit 48k audio in real time over the net, we have to do MP3 roughs and work though ideas and get approval via email etc. Maybe one day we’ll be able to do that and do it live in two different studios in real time. You have to keep your eye on developments there.”

be defined due to the speed of the fills. BASS DRUMS: In terms of bass drums I have both a heavily-damped and ported drum and more open-sounding, full-headed bass drum. These sounds can fit a variety of music situations and have a lot to do with sitting with the bass guitar tone. I also have a jazzier-tuned 18" and a huge sounding 26" marching bass drum for the extremes. SNARES: Ranging from warm, bright, low, mid or highly-tuned, dry, resonant – all of which can be achieved with the size of the drum, the material, the heads, snare wires, hoops, tuning and dampening. I believe the snare sound has the biggest impact on getting the drums to sit with the song so it’s worth spending time with this.

CYMBALS HI-HATS/RIDE: I tend to favour darker and smaller hi-hats in the studio as I like to try and keep as much out of the snare microphone as possible. I tend to think about how the open/closed hi-hat sound sits with the track when selecting the right

professionally recorded drum tracks.” Setting the correct price for your musical and recording skills, the time you spend on it and the quality of your product is crucial. Rhythm’s Pete Riley elaborates: “Maintain communication with the client. Don’t make promises you’re unable to keep, ie: when you can complete the work. Don’t undercharge; recording without an engineer can be hard work. Lay down exactly what you’re willing to do for the fee, eg: not make unending adjustments to takes.”

SET YOUR PRICE While a regular session would usually be charged by the half-day or day, remote sessions are mostly priced on a ‘per track or album’ basis. In the US, their union has firm regulations as to the way sessions are charged but over here, things are more flexible. Gavin Griffiths knows that quality, time and effort are reflected in the price. “It’ll take you a whole day to set up the requested sound, then record, comp files etc, even for one song,” he explains. “You could do deals on more songs, since the set-up might only need doing once. I would imagine paying £150-250 for a session which may be one or two songs then a sliding scale for further songs with the same sound.” As your experience grows, you’ll be able to estimate how long it will take to set up, get sounds, record and prepare the track for submission – no two tracks are ever quite the same, as Jason Bowld outlines: “I try and stick to one set rate – a seven-minute prog-rock track is going to cost more than a three-minute pop song! You have to look at the time you put in as it’s not only just recording drums, it’s preparing the files or stems and any editing that may be required.”

ones. That said, if it’s a rip-roaring rock tune, out come the 15"s! It’s similar with ride cymbals and I try to match the decay, pitch and bell sound with the track as much as possible. CRASHES AND CHINAS: They are selected on the pitch and decay – then how complex they sound. For songs with more complex instrumentation I will have simpler and faster cymbals to stay out of the way. I often pick cymbal tones that don’t get in the way of the guitar tones – they sit under or over. Be careful not to over-hit cymbals as it restricts the amount of post-production that can be done on the overheads and will bleed heavily into the other mics.

STICKS, BRUSHES AND MALLETS AND EVERYTHING ELSE… Don’t mistake stick weight as anything to do with how fast you can play! It’s about tone. If you want a heavier, woodier tone, pick a heavier wood stick – like a 2B, if you want a lighter, thinner tone, go for a lighter thinner stick such as a 7A. The tips have a huge bearing on the hi-hats and cymbals so if you want a

brighter defined sound, go with nylon tips, if you want a truer, more rich sound, go with wood tips. As with drums, tone and volume are not the same thing: You can play quietly with a big tone on the hi-hats by playing the shoulder of the stick on the edge of the cymbal or play loudly with a thinner tone by playing the tip of the stick in the shoulder of the cymbal. Phil Selway (Radiohead) and Clive Deamer (Radiohead, Portishead, Roni Size) are both masters of this. Don’t forget the textures you can achieve with brushes (think about supporting the vocal, if it’s a legato, smooth swirling vocal, a crisp defined kit sound is unlikely to support it), mallets, and all the variety of ‘hitting things’ that we have at our disposal now. I also have a variety of random items and percussion that I keep to-hand when the right sound is needed. From broken cymbals, bath chains, bells, gongs, rain sticks, various (like 15-plus) tambourines (in fact I’m on the quest for the ultimate tambourine, I know it’s out there), cowbells, congas, shakers, bongos… the list goes on. I try to think of the sound that needs to go on the track and then pick/make or get the right gear to use accordingly.

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TOPPING THE CHARTS AND PICKING THE PARTS

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nother way a client may point you in the direction they want to go is to either send you a chart or to program the type of drums they want – either way, writing your own charts and reading/ interpreting a client’s chart is a skill that can be developed. The critical thing is that when you record the song it doesn’t sound like you’re reading it – think of a bad actor reading from a book; the words are right but the intonation, the delivery, the emotion and the impact are missing. Russ gets into the song away from the kit before coming up with ideas: “I listen to the song a lot before I play it. I either get or write a chart and I spend time listening to the vocal and the core instruments’ phrasing. There’s no point in me getting to the drums until I know what’s going on with the story. I think that’s when the best music happens, when you think like that.”

Writing out a chart or interpreting a client’s chart is a skill that can be developed

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Working remotely, Ralph Salmins admits he has to be more critical of his own performance

CAUSING FEEDBACK

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he way feedback on a part is delivered is unique to the remote session. In a regular setting, after playing a take, you will get some instant feedback: “Like the verse, change the fill into the chorus to lock-in with the piano line,” etc. In a remote setting, getting to where the client wants you to be can take longer and possibly be troublesome, as Pete Riley explains: “The distance in time between coming up with an idea and getting feedback from the artist can be frustrating and lacking in spontaneity as you can sometimes start down a certain route and go for the perfect take only to eventually hear back from the client that they’d prefer something else. In a regular session these issues can be addressed immediately.” Again, communication is the key but as Ralph

in the room with you, I may play a take and they say, ‘Yeah love it, that’s all I need – perfect!’” Whilst this may seem like a difficult issue to negotiate, Cliff Jones sees this ‘distance’ as a bonus to the work flow: “It often helps that you’re not in the room, that you can make nice clean, objective judgements. You’re not being influenced or concerned with hurting their feelings – you just ask for a deeper or more resonant snare or whawtever you want. So it’s an iterative process, so long as you’re familiar with that process.” And so long as that process is organised, it can be slick and quick, as Cliff explains about a recent remote session: “The Pro Tools session went to the drummer along with reference tracks – for sonics and feel, so they could hear how I wanted the drum track to evolve, how there is a story, a narrative in the drum track and emulate

“THE DISTANCE IN TIME BETWEEN COMING UP WITH AN IDEA AND GETTING FEEDBACK FROM THE ARTIST CAN BE FRUSTRATING” explains, it’s one of the key issues he has with this approach to work: “It’s much more difficult doing remote sessions as you have to make all of the decisions on your own. I do sometimes call the composer or the producer and ask if they want just cymbals at this point, or a snare on the second verse because sometimes you just don’t know. If you can get a decision from someone it helps, so a phone call will often sort that out.” This can often result in you doing lots of takes, giving the client lots of options or second-guessing your own playing. Ralph continues: “I have to decide about the quality of the performance myself so I might put myself under the microscope a little harder on a remote session, whereas if there’s someone there

that vibe. So they then did some takes, sent back some rough MP3s and by firing back emails between us over the course of an evening we arrived at a finished drum track.” There may be some added bonuses to being in the room on your own that you hadn’t considered too. Confession time: I did, in fact, record those film trailers in my boxer shorts (it was very hot in the studio). I’m not alone here – Russ Miller admits to recording in his pyjamas and Emre admits: “Maybe there’s a little less pressure and the ability to do a few more takes to really hone in on sections if you want to. It’s certainly easier to experiment with both sonics and parts working remotely. You can also wear shades inside and no one minds.”

RECORD YOUR DRUMS: BECOME A SESSION DRUMMER

Russ Miller: “The more you record, the more you realise your mistakes. It’s a great way to develop your playing”

GETTING YOUR NAME OUT THERE

COMPLETING THE LOOP

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hilst the ‘performance’ – the actual recording of the client’s track – needs to be done with a musical and reactive mindset, without thinking at all about stickings or technique, an open, critical and honest mind will see you noticing and improving your playing through listening back to what you have tracked. Russ Miller addresses a common misconception about people’s playing and how recording can highlight this: “Anyone that records a lot will really have their eyes opened to their playing. I get it at clinics where people say, ‘I know you play on a lot of records but I sound better live.’ No, you don’t! You just don’t have to hear it over and over again. When you record you have to hear it over and over. Live: it happened, it’s gone!” He goes on to explain some of the things you may notice: “The more you record, the more you realise your mistakes – if you’re

THE KEY SKILL IS ALWAYS GOING TO BE TO LISTEN AND TO REACT TO WHAT YOU ARE HEARING

honest with yourself. It’s a great way to develop your playing. I’m basically in a recording studio every day of my life and I can hear the common problems, I’ve had the chance to rectify them; such as every time I play a fill I would rush the down-beat on the crash cymbal ahead of the beat so I have to re-adjust, or realising I’m playing the hi-hat too loud as it’s bleeding into the snare mic which means I can’t bring up that channel. All those little issues get worked out as you record a lot. I think owning the gear to record can really help you iron those out.” There are so many factors to consider, but the key skill is always going to be to listen – to react to what you’re hearing and do the right thing to support it, from getting the acoustics in the room right, selecting and tuning the kit, selecting and placing the mics, using EQ, coming up with a part through to completing the loop and developing your playing so the next time it sounds better. Because that’s what everyone wants; for it to sound great – you, the client, through to the most important person; the audience. As Ralph explains, even if you’re one of the ‘go-to guys’ like he is, you’re never finished improving: “That’s one of the great things about hearing myself all the time recorded. You can hear it and say, ‘That feels a bit ‘fronty’; that needs to be a bit further back, that needs more energy, that needs to be more chilled,’ etc. That’s a daily thing. That’s the beauty of being human, we’re variable and we celebrate it! Then we need to get it blended with different players – a bass player might be in front or behind the beat – get with it! We have to do different things everyday and that’s fun!”

You have the studio, how can people find out about what you do, how you do it and how to contact you? While the main way of getting work is still word of mouth and recommendation, people do seek out collaborations online. My work with Italian producer Andreas Bonizzi came from a ‘cold call’ after Andreas heard some tracks I wrote, recorded and uploaded to Sound Cloud. Creating and maintaining a web presence is a critical way to keep you in people’s minds and keep them up to date with what you are doing, as with Emre’s approach: “Make sure you have a holding page with good demos, even if they only link to Sound Cloud, and an active and buzzing Twitter/Facebook. Go to producer hangouts like Sonicmeet, or the MPG (Music Producers Guild) gatherings and see what contacts you can make there. People often make requests for remote drumming services on music forums like Gearslutz, too.” Most of the people going to these sources will have been directed or recommended by someone else, so you need to make sure you get across who you are, what you do, how you do it, what gear you use, who you’ve worked with, etc – with style and clarity. Bad pictures, a poorly proof-read website and impossible navigation are a turn-off. Your website is a fairly static version of this so the bulk of it needs to be here. You need to direct people to read this, so keep updates with links to it going on Facebook and Twitter. Your web presence can often turn into your audition, as Ralph explains, “Meeting people is still the primary way. Then they check you out on the internet, though – it’s important. They say, ‘Who’s this guy? Oh he’s done that and that and that – cool,’ so it’s a shop front for you.”

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FREQUENTLY ASKED QUESTIONS

RECORDING You're fully prepared for studio and performance, you know what you need to capture a great drum sound… But, there are still some things that blight even the most well-prepared drummers as they embark on a gig or recording session. Here are some common conundrums on the subject of drum sound…

do I get rid of snare buzz? Q How All drummers experience snare buzz. It’s in the nature and physical construction of a snare drum that the snares will respond sympathetically to extraneous frequencies at some point. And it’s often an adjacent, similarly-sized tom that sets them off. A small adjustment in tom tension, or maybe slightly tightening the tension bolts on either side of the snare wires can often alleviate the problem. The fact that you can’t hear sympathetic buzzing on a top drummer’s recordings does not mean they never have to contend with it. There are, however, techniques when recording/ miking to subdue unwelcome noises. Thomas Lang

Blighted by unwanted snare buzz? The way you mic your snare drum may be the answer

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says, “Most of my recordings are closed-mic mixes of the kit and each drum is miked and controlled/EQ’d/ compressed/gated individually. That usually eliminates snare buzz from the mix.” Mike Portnoy tells us, “A big reason you don’t hear too much buzzing live or in the studio with me is that I prefer to use more of my top mic – for crack and attack – than my bottom mic (which is more snarey) in my mixes and drum sound.” Tuning and damping are obviously crucial though, and Mike adds, “Duct tape on the heads (both snare and toms) helps control excess buzzing as well.” However, Thomas argues, “For me, snare buzz is not unwanted noise, it is ‘sympathetic ring’ that is important for the overall drum sound. It adds a tiny bit of top-end and sustain to pretty much all toms and the kick. Snare buzz depends very much on the tuning of ALL the drums, as well as on the room/environment and on the type of wires and strainer you use. I personally like the buzz and miss it when it’s not there. Without the buzz, the drums feel more like a bunch of individual instruments rather than a ‘set’. There is a limit to the amount of buzz I can work with, but in case of too much buzz I will adjust the tuning and possibly

angle of the tom, rather than the tension of the wires. “I like to think of the buzz as the ‘glue’ that binds the individual components of the kit together. Maybe looking at it that way makes it a little more enjoyable! If you just can’t fall in love with it, experiment with the tuning of your snare bottom head and snare strainer tension. There are dozens of different snares, some with gaps, copper wires, strings, etc, and each has a slightly different sound, response and amount of buzz. There’s the perfect buzz for each one of us!”

I dampen my drums or Q Should leave them sounding natural? It’s not just drums but all acoustic instruments which have damping options. Violins can be played pizzicato, pianos have a soft pedal, guitarists and bassists muffle their strings, trumpets have mutes. Even when it comes to cymbals, some are full bodied and long-sustaining, others are dry and short. The instrument manufacturer’s job is generally to make the most resonant, full-toned instrument possible, and it’s then down to the musician to decide how much of that resonance is appropriate. And that will depend on the type of music, room acoustics,

“SNARE BUZZ IS NOT UNWANTED NOISE, IT’S SYMPATHETIC RING THAT’S IMPORTANT FOR THE OVERALL DRUM SOUND”

RECORD YOUR DRUMS: FAQS mics and so on. You can dampen resonance if there’s too much, but you cannot add it if it’s not there! Vintage drums were factory-fitted with internal screw-up dampers, and bass drums had external clamp-on dampers, so drums have always had the capability of muffling. Really heavy damping, though, came in as a direct result of close-miking, which evolved alongside modern rock, together with big amps and PAs from the late 1960s. The bass drum was particularly troublesome, it being the biggest and boomiest drum. So off came the front head, while engineers stuffed the shell with pillows and drummers started to ‘bury’ the beater. Before this, rock drummers, just as jazz drummers, kept both heads intact with minimal damping and had to bounce the beater off the batter head. John Bonham came from that era and was outstandingly good at this, hence his mighty reputation. Today this more resonant, tuneful approach is gradually returning, with more and more drummers keeping intact front bass drum heads with greatly reduced damping, while manufacturers have stopped selling new kits with port-holed bass drums. The amount by which drummers dampen their heads is the subject of fashion. Sticky gaffer or duct tape doesn’t damage heads, but left too long it leaves residues that are impossible to remove. But if it is less fashionable today it may be that we got better able to deal with livelier drums when miking up and recording. Drummers are maybe better at tuning, and engineers don’t freak when they hear a drum ringing. The use of towels on drums and cymbals was made famous by Ringo Starr, but a bigger sea change for kit drummers was the advent of drum machines and digital samples. Jojo Mayer has his own Sabian Hoop Crasher placed on a second snare eliciting all sorts of quasi-electro effects. Rob Turner of Gogo Penguin describes how he may drop a pandeiro on a tom for a “tambouriney snare drum sound”. Rather than a towel he lays a complete second head on top of his batter head for a tight crunchy snare response. So should we always go for an unadulterated tone? No. Whatever the music and your inventiveness suggests is correct!

kit feels out of tune – how Q My can I achieve the tuning I want? Tuning is one of the things that we beat themselves up over most, but drums are instruments of indeterminate pitch so there is no definite gauge by which to say a kit is ‘in tune’ or not. A five-piece drum kit has 80 tension rods, half of them underneath and easily neglected. Getting all of them tweaked just right has driven every drummer nuts at some stage. So drum tensioning is a craft in itself. But remember, most instrumentalists are continually retuning. Guitarists never stop. The difference is they have set frequencies to aim at while drummers are largely going by personal taste. Also, for drums, re-tuning might be necessary for the type of music, for recording, and crucially for the room. “My first suggestion is to put the kit and yourself in a different environment,” says Rhythm tutor Jason Bowld. “The kit will sound different in a different room and so will you – as drummers react, playing-wise, to the different sound created from a different room. If tuning really is starting to get you down, buy a Tama Tension Watch as these are great on toms if you need some reassurance from

Just how do you achieve that big, ’70s rock bass drum sound?

“TUNING IS IMPORTANT, BUT FOCUSING ON THAT ALONE WILL STUNT YOUR CREATIVITY AS A DRUMMER…” something else other than your ears. “Tuning is important, but focusing on that alone will stunt your creativity as a drummer, so if you’re not already, get yourself into a band. Jam with friends, play along to music – you will quickly see that some of those overtones from the toms get soaked up by the other instruments and you’ll be having such a great time interacting with people, you won’t even notice the tuning!” Jason adds that if you are getting cross-talk between two close-together rack toms, sometimes putting a small bit of damping on the bottom head of one of the toms works, and offers this specific tuning guide: “Starting with the floor tom – tune the top head to medium tension, not too high so it ‘boings’ and not too low so it ‘flaps’. Tune the bottom head a fifth interval higher than the top. The next drum up, tune the top head to the same note as the previous drum’s bottom head. The bottom head again on this drum should be a fifth higher. Carry this on right up the kit. Tuning this way will help the kit ring sympathetically and limit the amount of snare buzz you get when playing the toms.”

do I get a big, Q How hard-rock bass drum sound? Seventies rock legends played shallower 14" deep bass drums with larger diameters, ie: 24" or 26". Today’s drummers wonder why they can’t get the sound of a 26"x14" out of a 22"x18" (or even 20"x20"). You will get a deep sound, but it won’t have the slam of a 14" drum. For acoustic clarity and attack you really need shallow drums (just like with toms or snares). That’s the big band slam that Bonzo achieved with his 26"x14" and that everyone is still so fascinated by.

You’re not gonna get that with a 20"-deep kick. Deep Purple’s Ian Paice says, “There are many points to take into account with bass drum tuning, damping and miking. First, the only time you cut a hole in the front head is for using a mic. Acoustically, a bass drum sounds best with two complete heads. This gives depth, duration of note and warmth – which the microphone really doesn’t like! Personally, I love the ‘old school’ sound of a bass drum [with complete heads], but I do understand that in modern amplified music it often will not work as well as a ‘doctored’, miked-up drum. “The size of the bass drum is important. Smaller drums – 20" or 22" – are easier to control as they work at a higher frequency than larger drums. For miking a smaller-sized kick with a porthole, and fitted with a sound control batter head like a Remo Powerstroke, detune the heads to the point just before they start to look wrinkled. This will give a powerful, punchy sound. It’s helpful to have good monitors that allow you to hear the bass drum correctly, as most of the acoustic volume of the drum will have been eliminated to accommodate using the microphone. Bigger drums have their own problems, but when you get it right they give you a more satisfying and, when needed, more devastating sound. You have to use more internal muffling to eradicate the overtones and subsonic notes inherent in the drum, and I have never really found a method that works perfectly for every drum. The beater is important too: if the beater is soft you lose impact, if hard you lose depth. Many of us are now moving back to shallower drums, the theory being that the closer the heads are to each other, the faster the front head reacts to the beater note.”

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AND FINALLY… IF YOU’VE MANAGED to work your way through every project in this book, well done! By now, you should be flying high in the drum world! But if not, don’t worry. These things take time. All the great drummers took a long time and a lot of hard work to get to the top flight, but persevere and it will all come in time. We’ve suggested a checklist below to help see how far you’ve come with the help of Ultimate Drumming Tips, Tricks & Projects, with just some of the things you may have learned from it. So maybe you’re not quite there yet with all of them, but perhaps there are some more you can add? A ‘to-do’ list can be a great way to focus your efforts and maximise your time. So, all that remains is for us to wish you the very best of luck with your drumming!

CHECKLIST TICK ALL YOU’VE ACHIEVED Given my kit a good MOT Bought some cracking new gear Started my vintage gear collection Restored a drum, or whole kit Sorted out my grip Strengthened my weaker hand/foot Tuned my drums the way I want them to sound Learned brush grooves Improved my limb independence Mastered odd-time signatures Completed the 30 Day Drum Workout Built my own drum room Got my first gig as an online session drummer Learned how to swing a Big Band Composed and played my first solo Mastered the art of groove Recorded my own drums and got them sounding awesome

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Presents

Supercharge your drumming with advice on kit maintenance, buying new gear, improving your playing, recording your drums and more in this essential, practical guide from the UK’s top drumming magazine, Rhythm