“For the hobbyist, I always keep an open mind.  Although I’m a ‘technique geek’, I find it pointless to keep a new drummer on a practice pad for a full year, then move to the kit – yawn!  Drums are meant to be fun!”  Well I want a teacher like that!

Those words were uttered by drum instructor Mike Michalkow in an interview with Drums Etc. magazine back in the Fall of 2007.  Although he takes his drumming very seriously, he’s just as serious in teaching his students to ‘always have fun’.  That is a very refreshing view to take to the drums, and is part of what makes Mike’s approach to the drums and his drumming style so appealing.

I became familiar with Mike back in 2009 with the release of his flagship DVD instruction course, the “Drumming System”.  At the time, I was looking for a drumming course where I could learn at my own pace, just focusing on what I wanted to focus on, when I wanted to.  The “Drumming System” fit the bill nicely.  But even more impressive than the course itself, was its instructor.  Mike’s a very friendly guy, who never talks down to you and is always encouraging.  This endearing quality prompted me to want to talk to the man himself, and he was kind enough to grant The Paradiddler some of his time.

In speaking with Mike I saw why he has so many raving fans:  his enthusiasm for drumming is infectious.  You can’t help but get inspired by his story, and he definitely has a story to tell.  He truly is a drumming success story, and he holds nothing back.  Some of the things Mike talks about include:

• How his persistence in increasing his drumming skills led to some very interesting jobs
• Why you should regularly check and refine your playing technique
• Why he saw the need to create the various instructional DVD’s that he’s produced, and why you want them in your library
• Tips for teachers on how to address the needs of the student
• How to land that gig, and how to get better ones (this is key)
• How and why (and when!) you should address your drumming weaknesses
• The proper attitude to have to continue pursuing your passion of drumming
• And so much more!

The interview is over an hour, and it is chock full of gems that drummers of all levels can grab from.  For convenience, the interview is divided into two parts, so the listener can easily set aside time for each.  Plus, this format makes it easier on the ears.^*

Will learning from Mike Michalkow make you the best drummer in the world?  Well, that’s a tall order for any teacher.  Can he help you be the best drummer you can be?  Now we’re talking!  Enjoy listening to a drum teaching great, check out his drum instruction courses, and prepare to up your drumming game.

There are so many great drummers out there these days that it’s hard to keep up with them.

We of course have our main influences, the drummers we’ll always like and will always be our favorites, no matter what.  But it’s always a good idea to ‘broaden our horizons’, if you will, to check out the unique skills that so many up and coming drummers bring to the table.  This becomes great fodder for inspiration.

In my case, I favor the classic rock drummers such as Neil Peart and Phil Collins, plus guys like Steve Smith, Alan White, and the like.  It’s a style that’s very ‘composition’ like, and I find that it’s not always necessary to be ‘blasting’ beats throughout entire songs, be it with your hands or your feet.

However, one day I was driving around and changing stations at random on the radio, and I hit upon a college station playing death metal, or something like that.  Mind you, I am not a fan of this type of music, because the themes at display and the constant screaming at the top of your lungs or sounding like you’re hawking all the time – that style just doesn’t appeal to me.  But the drumming – I had never heard anything that fast before.  Lots of single strokes, for sure, but they sounded clean, both from the hands and feet.  I couldn’t stop listening.  I pretty much focused on the drummer (I don’t know what song or what band it was).  That was my epiphany moment regarding drummers in that genre.

I gained a lot of respect for drummers that can play that fast for any length of time, let alone a whole song!  I didn’t necessarily go looking for that kind of music to listen to even still, but if ever I did hear it, I would always pay attention to the drumming.

Flash forward a bit, and now I’m watching the Modern Drummer Festival 2006 DVD, and one of the drummers featured was Brann Dailor of Mastodon.  Here’s what I said back then in the review of the DVD:

“I’m not into heavy metal or death metal or whatever it’s called these days, but I really liked Brann Dailor’s presentation. I’m accustomed to seeing huge-o drum sets for this style of music, but Brann showed you don’t need that many drums to play in this style. Again, very fluid and precise.”

Once again, an eye-opener for me as far as the ability and skill of these drummers.  Now I really had to pay attention.

Fast forward a bit more, and Drum! magazine back in February of this year offered participants in their forum a chance to ask Jason Bittner any question they wanted (well, ok, the questions needed to be drumming related, and he had to feel impelled to answer them!).  Just before this forum event I had been in the market for a digital recorder.  I came across the Zoom recorders and one of the audio demos featured at ZoomH2.net was a drum solo of Jason Bittner recorded with the Zoom H2.  Not only was the sound great, but the solo was phenomenal.  I was convinced right there that that was the recorder I wanted.

Since Jason would be answering questions in the forum, I decided to ask him about the settings that he used on his H2 when he recorded the above-mentioned drum solo, and he was gracious enough to set me straight on some of the settings he used.  He also set me straight on something else, which you can see for yourself in the thread. 

By this time I was now familiar with who Jason was, I’d heard and seen a couple of his solos, and now I knew he was someone to pay attention to.  So when Ken Stanton Music of Marietta, GA announced that he was going to be performing a drum clinic on May 10^th (2011), I knew I had to be there.

As usual, I arrived about an hour and a half early to get a ‘lay of the land’, as far as the seating arrangement, which part of the store the drum set would be set up, my possible camera angles, etc.  Jason was already setting things up, making adjustments to the kit and the audio equipment he’d use to play the music he’d be drumming to.  He was also coordinating with the sound engineer located at the back end of the audience.

I decided to walk up to the kit, and when I noticed a pause in the setup activity, I decided to start a little small talk with Jason.  He mentioned that he had flown a lot that day, with very little sleep, but that of course, the show would go on!  Since that was the case, after confirming that it was ok to take pictures, I let him continue his setup process.

During the sound check he played to a song, and it actually was a great performance, although to Jason it sounded bad, which made him play bad (at least to him).  He got a round of applause from the audience, because at least to them it was great!  But Jason refused the applause, explaining that it was just sound check!  Just a testament to his professionalism.

The kit Jason played on was a beautiful Tama Starclassic Bubinga 5pc kit with what I believe is the garnet red glitter finish.  The snare was the Starclassic 5.5”x14” Antique Maple snare, rounding off the 6pc kit.  The cymbals were Zildjian, of which Jason became a recent endorser (he used to use Meinl):

• 3(!) hi-hats
• 2 chinas
• 2 splashes
• 3 crashes
• 2 rides

After a few words from the Zildjian representative, who was very glad to welcome Jason to the Zildjian family, Jason came out to thunderous applause.  After a brief introduction as to the content of the clinic, Jason rips in the first song.  (Note: since I was not familiar with Shadows Fall or the other projects that Jason was and is involved in, I didn’t catch some of the song names.  My apologies!).  Watching this first performance, right off the bat, convinced me why it’s such a great idea to go to as many drum clinics as possible.  You learn so much from the different styles of play.  Jason played with a lot of power, but his movements are extremely efficient.  From my perspective, he wastes no energy.  He’s not flailing away all over the place just for a showy display.  To play the style of music that he plays, you have to conserve your movement, and he’s a master at it.  Contrast that with, say, Thomas Pridgen, who plays all over the place!

Oh and by the way, this clinic was loud – the loudest I’ve been to.  My head was pounding on the way home.  I’m not complaining, though!

During this song, it seemed like there were some audio problems.  You could see in Jason’s face that he was very frustrated, but that turned out better for the audience because he played with anger and ever more power.  It was very impressive.  Since he had a ride cymbal on each side, he often switched between them, riding the right cymbal as is typical when playing right-handed, and also riding the left cymbal, playing ‘open-handed’.

Jason continued through a few more songs, including Shadows Fall’s “Thoughts Without Words”.  He displayed some serious blast beat drumming.  I was really liking his use of the two ride cymbals.  Having one on each side makes it easy to incorporate 32^nd note playing on the rides, which is a very colorful way to fill in the musical space.  I also continued to be very impressed with how much control and efficiency of movement Jason played with.  If you didn’t know who was drumming on these songs and you listened to them for the first time, you’d think he’d be flailing his head all over the place just for show.  His control was admirable.

Next Jason put on a drum solo where he put on an incredible display of independence.  The first part of the solo he dedicated to the late Joe Morello, playing a little traditional grip.  But after that, it was on!  Jason has very fast hands and feet, of course; but not only that, he really showed his independence skills during the solo.  He was playing these double bass patterns while also alternating strokes with the hi-hat and jam block (all feet).  Each stroke was cleanly articulated.

During the solo Jason displayed a couple of other jaw-dropping independence patterns.  He was playing a pattern with the two hi-hats that he controlled with the pedals while playing some other pattern with his hands.  On another occasion he played a constant pattern with the bass drum, while seemingly playing different meters with the sticks.  Each time he changed the time signature with his hands, it still matched what he was playing with his feet.  Don’t ask me what the time signatures were, because I don’t know them. 

He then ended the solo with a little swing pattern, which morphed into blast beats, then ending with another swing pattern.

Next was a questions and answers session.  Here are some of the interesting answers that came out from questions from the audience:

• Jason uses DW pedals “because they rule!”  They are what work best for him.  He tried the Tama Iron Cobras, but he just didn’t like the feel.  The DW 9000 pedals, adjusted at medium tension, are what give Jason the best response.  Any tighter and his legs start to hurt.  He emphasized that that is what worked for him. Each drummer needs to test different models and settings and determine what works for them
• It was around 2005 during Ozzfest where Jason got the idea of using two ride cymbals on each side of the kit.  He wanted to spice up some songs that he played a lot, and this was a way to do it.  It stuck with his kit ever since
• He tries to execute patterns however it’s easiest to play it at the moment.  This teaches dexterity as it allows for multiple ways to play the same pattern.
• He leads with his left foot when playing double bass patterns.  He didn’t realize this until drummer Dom Famularo pointed it out to him!
• His favorite drummer of all time is Neil Peart.  His favorite ‘modern day’ drummer is Steve Smith (hey, those are my two favorite drummers!)
• One day he showed Steve Smith a certain pattern on the bass drum (1-2 1-2-3 1-2), which is a pattern that can be played in a jazz setting.  Next thing Jason knew Steve was already playing the pattern like the next day live.  At least Jason had the satisfaction that he taught Steve something!
• The first drummer to inspire Jason to play drums was Keith Moon
• Jason had high praise for Mastadon drummer Brann Dailor (who was actually present at the clinic):  “He’s like a baker – he has rolls for days”

Next Jason went into the ‘clinic’ part of the clinic, if you will, where he handed out sheets that had many bass drum exercises.  He explained that the right foot lead is beginner level, whereas left foot lead is intermediate.  Some of the exercises he went over included:

• single strokes
• double strokes
• 8^th note triplets
• 16^th note
• 32^nd note (very fast!)

Jason emphasized that it’s a very good idea to alternate and reverse footing on each exercise which will expand dexterity and independence.

A tendency beginning drummers, and even intermediate drummers have is when they’re not double-bassing their hi-hat foot does nothing.  Jason emphasized that it’s important to learn how to keep time with the hi-hat.  “You have four limbs – use them!”

What does polka have to do with blast beats?  They have the same time signature (1-2)!  Jason displayed this by playing a basic polka beat, and then speeding it up super fast – it morphed into blast beats.  I’ll never look at polka the same.

Jason went on to play a song from another project he’s involved in (Hellspeak) where he incorporated a lot of the double bass techniques he had discussed.

Jason went on to answer more questions from the audience:

• Some of Jason’s weaknesses in his playing include:
  • His right hand.  He has had some physical issues with his right shoulder and elbow, so he always has to work really hard to keep his right hand up to speed
  • Double bass!  Although he’s known for his exceptional double bass skills, he feels he always has to work very hard at playing them cleanly; it doesn’t always occur naturally
  • Jazz, swing, odd time signatures
  • Traditional grip – he uses it when he plays Jazz and Latin, but that’s not often
• Always play for the song.  There’s no need to overdo blast beats just because you can.  If it fits, play it – if not, don’t.  Everything he practices he thinks of how they can be incorporated into songs
• As far as how often Jason practices – always!  After a tour he may take a five-day break, but any more than that and he feels he starts to lose something.  So if he’s not touring or in the studio, he’s practicing
• Some projects Jason’s working on is Hellspeak (he had played a song from that band earlier), and is working on a fusion project with Megadeth guitarist great Marty Friedman.  This latter project is ‘way out of the box’ for Jason, but it’s another way for him to express his creativity and to show that he’s not just a metal drummer

Next up was a discussion of the multi-pedal exercises on the lesson sheet.  It’s basically like playing double bass, except that you’re moving your feet to the other pedals.  It may sound simple, but it takes practice to execute it smoothly.  He demonstrated how to play a paradiddle with the feet using the different pedals (which, by the way, were bass drum, hi-hat, and jam block).  He had to try it a couple of times, but when he got it, it was downright musical.

Before he played his last song, Jason went on to talk about one of his experiences at Berklee.  He took a Jazz Independence class, and to teach Jason a ‘lesson’ he asked him to play a swing pattern, which he did.  The teacher then told him to play four on the bass with the swing pattern.  Then he was told to play heel down.  Jason is a heel up player, so that took some getting used to.  Then the teacher told him to walk the hi-hat.  That set him back about three weeks (Jason demonstrated what walking the hi-hat is)!  [Editor's note: Mr. Bittner later confirmed with me that he said 'rock' the hi-hat, not 'walk' the hi-hat. Thanks for the clarification, Jason!] Then the teacher told him to play in ‘unison’, which if I remember is throwing in the snare.  Well once he did that he lost his swing on the ride, so he had to go and get that back.  All happy now Jason showed the teacher, but now the kicker:  the teacher now told Jason to sing “A Hard Day’s Night” while playing!  So after all that, when Jason finally got that down, the teacher told him, “I just taught you 5-way independence”.  That was a beautiful lesson.

To sum it all up, Jason said that to him these are the most important things:

• Independence
• Dexterity
• Slow and steady
• Have fun!

He then proceeded to thank Ken Stanton Music for putting on these clinics.  He loves doing them and feels there aren’t enough of them.  I agree!

To yet more applause, Jason plays one more song.  This time, I put the camera and notepad away, and just enjoyed the performance with the rest of the audience.

Seeing the type of drummer Jason Bittner is in a live setting confirmed for me one thing:  there are great drummers in all genres of music.  Not only that, but it’s very likely that a lot of these drummers are good at other genres of music as well, not just in the one of their profession.  Jason is one such drummer.  He’s mainly known as a metal drummer, but he showed that he is a very well schooled drummer, very versatile, and his colorful drum solo and displays in Jazz and Swing really displayed his creative and technical side.  And let’s not forget:  Jason is an awesome metal drummer.  Very fast, and also plays with plenty of power.  Definitely a world-class drummer.  A Jason Bittner clinic is not one to miss, and I’m glad I didn’t miss this one.


]]> http://theparadiddler.com/2011/05/18/drum-clinic-jason-bittner/feed/ 0 http://theparadiddler.com/2010/10/23/drum-clinic-thomas-pridgen/ http://theparadiddler.com/2010/10/23/drum-clinic-thomas-pridgen/#comments Sun, 24 Oct 2010 03:59:06 +0000 Omar http://theparadiddler.com/?p=1815

I knew who Thomas Pridgen was.  Then again, I didn't know who Thomas Pridgen was.

The dilemma I face as a drumming fan (and I'm sure many are in the same boat), is that there are so many great drummers!  There are those, however, who think that the drummers of today are no match for the drummers of yesteryear.  Well, that may be a debate for another time.

However, there are drummers who transcend time.  They would have been world-renown regardless of when they were born.  It's analogous to baseball, where some players would be great regardless of what era they played in.  As far as drumming goes, Grammy award-winning Thomas Pridgen is one of those drummers.

Since there are other drummers occupying my attention these days, I was not too familiar with Thomas’ work.  However, I had seen enough of him to be extremely impressed.  I had it ‘in my notes’, so to speak, to eventually pay more attention to this drummer.  I had seen him initially on DrumChannel.com (at least that’s how I remember it ), and I was taken aback at his, well, explosiveness. His arms were all over the place.  Actually, his whole body was all over the place.  I was surprised he didn’t fall off the throne!  But it was chaotic organization, because everything he played made sense – nothing was missed.

I then went to Drummerworld.com and looked him up there.  Among other videos, there’s one where he’s playing with The Mars Volta on the David Letterman Show.  This is a must see, because it to me personifies Thomas’ style.  Chaotic organization in action.  Now I knew for sure that if he was ever in town, I had to go see him.

I was notified via e-mail by Ken Stanton Music that Thomas Pridgen was going to be putting on a drum clinic in their Marietta, GA store on October 19^th (2010).  Yes!  My chance to see this master up close.  I immediately made plans to attend.  I wanted to arrive early (as in 1 ½ to 2hrs early) to get the ‘lay of the land’, as far as where Thomas’ kit was going to be set up (for camera angles and the like), determine the audience size, and to get a good seat!  Plus, you can’t go to a music store and not browse around. 

Of course, not everything goes as planned.  I was delayed, so I got there 45 minutes early instead.  Not too bad, but there was a good crowd there already, and the best seats were taken.  So I determined, as I did when I covered Will Calhoun’s drum clinic, that the best seat would be, well, standing.

I did, however, arrive during sound check.  Our ears were in for an onslaught, because it was loud. Thomas was testing each mic’ed section of the kit, and was very involved with the sound engineer to ensure optimum sound.  Although probably not intentional, it was a little funny watching the ‘bickering’ back and forth between him and the engineer.  But it was worth it, because in the end, it sounded awesome.

After sound check, Thomas stepped away to prepare for the show, and the drum techs stepped in to do final checks.  This gave me a chance to get a better glimpse of the kit by itself.  It’s a DW Collector’s Series kit.  Thomas did note later that the kit was not his, but that it was loaned to him for the clinic.  The cymbals were in store cymbals (Zildjian).  It was a 6pc kit, with the two floor toms being of the same size (13x16), with different tuning.  I thought the color of the kit was some flavor of cherry, but was corrected later:  it was red silk onyx, except for the last floor tom, which was blue twisted oyster.

The cymbals on the kit were huge, 18” and larger.  Even the hi-hats were 18”!  Later Thomas mentioned that on his home kit he uses 19” hi-hats!  That should encourage some experimentation!  The cymbals were curiously positioned (at least for me).  They were very close together, and it seemed like they clanged against each other when Thomas slammed them.  ‘Not that there’s anything wrong with that!’

To kick things off, DW and Zildjian representative Mike Carter of World Class Percussion, Inc. demonstrated how the sound, or pitch, of the shell can be greatly determined by the direction of the grain (which DW calls “Specialized Shell Configuration” [SSC]).  Although they did a great job explaining this concept, you really had to be there.  However, they did quote John Good, Sr. Executive Vice President and drum “woodologist” at DW.  He and Neil Peart created a couple of fantastic videos explaining what Mr. Carter demonstrated at the clinic.  So I’ll include links to the videos here:

Thomas came out to a roaring applause – here’s what we really came for.  He mentioned how appreciative he was of Ken Stanton Music, and how they cater to the students, instilling in them the love and appreciation for the music and musicianship.  He lamented that there was not as much emphasis these days on playing the actual instruments, but more on sampling and producing.  While recognizing that the latter are important, learning the actual instruments, to Thomas, brought more joy and satisfaction.

He then went into playing to a song.  Of all the clinics I’ve been too, this one seemed the loudest, not so much because of the amplification (Marco Minnemann’s clinic was very loud also), but because of how hard Thomas played.  He absolutely slams the drums and cymbals— relentlessly.  The hi-hat stand was swaying to and fro, maybe because they cymbals were 18”!  I was afraid he was going to knock those over, but the stand stood firm (kudos to DW hardware!).  His bass drum play was also spectacular.  He used a single pedal, but at times it sounded like a double pedal.

Thomas is really a spectacle to watch drumming.  He doesn’t just play ‘with his arms’.  He puts his whole body into it.  At times he looks like he’s falling over!  His flailing dreads contributed to the animated drumming – it truly was a one-man show.

After that song, he talked a little bit about how great it is to be doing something you love.  He’s never had a day job (that happens when you win the Guitar Center Drum-Off at nine years old).  He said that playing drums are supposed to fun.  Whenever he tried to make money playing drums, he didn’t make money.  But when he played for fun, the opportunities came more easily, and the money came with it.  Funny how that works!

He then went into a second song that had somewhat of a Caribbean feel to it, but it was hard rock, hard hitting all the way.  Again, a one-man spectacle.

After that display, Thomas went on to explain practically his whole story of how he got to where he is.  He spoke too fast for me take in everything he said, but that wasn’t a bad thing – he was very enthusiastic and animated, and funny as well.  He didn’t speak down to the audience, but rather he just seemed like ‘one of the guys’ just having a pleasant conversation.  Some highlights:

• He wanted a $3,000 Pearl Master Series drum kit at nine years old
• Entered and won the Guitar Center Drum-Off at nine years old (he won the Pearl kit)
• Dennis Chambers took a personal interest in him
• Went to Berkeley for two years

He went on to talk a little about his stint with The Mars Volta.  Since he was the only African American in the band, he had to find a way stand out, to be as visual as possible.  So he took his shirt off, used a huge gong, and tried to play as loud as possible.  Well it worked!

He also talked about how proud he is of his current band, The Memorials.  It’s his band, and it allows him more flexibility to be himself.

He went into yet another song, introducing it as “don’t know what it’s called – just listen.”  Sure, no problem!

Thomas continued to dazzle with his seemingly unlimited energy and precision.  He went on to play another song that had somewhat of a Middle Eastern flair, but again, with a heavy hard rock edge.  He never lost his place, although you’d think he should with how ‘all over the place’ he played.  On occasion he dropped a stick, and even yelled at himself at times, but never was the beat lost.

You also can’t ignore how incredibly fast Thomas played.  Whether he’s rolling the snare at a low volume, or flying across the toms, his speed is blazing.  He has incredible control of dynamics.  His ghost noting is also exceptional.  You’re always hearing something being struck, and this is where he uses ghost notes masterfully – he fills all of the musical space, and doesn’t necessarily leave that to the other musicians.  You could describe his overall playing as a constant drum solo, but always within a musical context.

Thomas took an opportunity to answer a slew of questions from the audience.  Here are some of the answers he provided:

• He doesn’t suffer from carpel tunnel syndrome or the like because he varies his grip frequently (French, American, German)
• He plays double bass ‘secretly’ at home.  He won’t play double bass just for the sake of playing it.  He feels that it is somewhat overplayed these days.  He’s not against it, but will play it only if inspired musically to do so
• He plays without a shoe on his bass pedal foot.  He has the emblem shaved down off the pedal of his home kit to allow easier implementation of different pedal techniques
• He loves seeing kids at clinics.  He started very young, and is inspired when young kids take up musical instruments
• He feels he plays great every night
• He hits himself in the face a lot
• While he’s in his 20’s, he’ll play loud and hard, with no shirt.  He’ll leave the jazz playing for when he’s in his 60’s and 70’s, and maybe he’ll wear a suit then too
• He laments that there are so few African Americans in Rock (something he had conversed with Will Calhoun [Living Colour])
• He demonstrated some finger exercises to increase speed
• The only way to get faster in drumming is to practice, no way around it.  He demonstrated some bass drum techniques to a youngster from the audience

There was more that was said, but like I mentioned before, he says a lot fast, so it was hard to keep up.  In any case, after the Q&A, he went into one more song, and he really poured it on.

One of the questions asked during the Q&A was from a fan who wanted to know how Thomas virtually transported the listener to another place with his playing.  That’s really what happens when you watch him play.  He has so much power, but doesn’t hold any of it back.  His playing is a visual feast.  After watching him play, your hunger for drumming is completely satisfied.  You could liken his style to an organized Keith Moon.  In any case, a sight to behold.  Yet another drummer to add to my small list of favorites.  If Thomas Pridgen is in your area, either via a drum clinic or with The Memorials, you do not want to miss it!  I’m very glad I didn’t.^*

_________
^*For a great many more pictures taken at the clinic, please visit The Paradiddler's Facebook page]]> http://theparadiddler.com/2010/10/23/drum-clinic-thomas-pridgen/feed/ 5 http://theparadiddler.com/2010/10/15/interview-mike-johnston/ http://theparadiddler.com/2010/10/15/interview-mike-johnston/#comments Fri, 15 Oct 2010 06:29:42 +0000 Omar http://theparadiddler.com/?p=1796

What would it be like to have a world-class drummer give you personalized instruction?  What if he gave you his contact information, because you just might need his help when you go buy that snare or that new cymbal?  Yeah right.

Well, yes – that is right!  That’s the type of instructor Mike Johnston of MikesLessons.com is.  Although, he would never want you to think he’s a world-class drummer.  But watching his playing, well, you may think otherwise.

I had the pleasure of interviewing him on Monday, October 11^th (2010).  Mike is a humble, but very engaging character who is on a mission:  to teach anyone who wants to, how to play drums.  And when I say anyone, that means everyone – no matter where you live on Earth.  He has set up his web site of drumming instruction to be able to teach you to play, regardless of schedule or location.

Some of the subjects Mike had very interesting things to say about were:

• Traditional vs. matched grip
• Ideal bass drum technique (not what you’d expect!)
• His early days as a touring musician
• How MikesLessons.com came to be (very interesting story), and what the site offers to make you a better drummer
• Etc. 

With the talent that Mike possesses behind the kit, you’d think he’d be touring the world.  But, as you’ll see (or hear), there’s something else, something bigger, that drives him.  So sit back, and enjoy the story behind MikesLessons.com and Mike Johnston – and prepare to be inspired.

Mike Johnston on YouTube
Mike Johnston on Twitter
Mike’s Lessons on Facebook
]]> http://theparadiddler.com/2010/10/15/interview-mike-johnston/feed/ 3 http://theparadiddler.com/2010/09/01/interview-with-charles-fisher-off-set-bass-drum-pedal-company/ http://theparadiddler.com/2010/09/01/interview-with-charles-fisher-off-set-bass-drum-pedal-company/#comments Thu, 02 Sep 2010 00:15:45 +0000 Omar http://theparadiddler.com/?p=1745

Several months ago, I was looking through one the drum magazines, like I usually do (well, like most of us usually do), and I came across a somewhat peculiar product.  It was a picture of a strange looking double bass drum pedal.  I’d never seen anything like it.  The two beaters were in the middle, instead of in the usual location, on the right.  Once I saw that picture, right away I knew that these pedals were special. As a matter of fact, I thought that these might be the most practical double pedals in the entire market.  (I have seen Will Calhoun use the Sleishman Twin Pedal when I attended his drum clinic a while back, but that is a significantly different design [a little more on that later]).

So I immediately contacted the company, and before long I had the pedals in my possession (because I just had to have them).  Well, let me backtrack a little.  I previously had used the Vex Pro Touring double bass pedals, of which I created a series of videos detailing how to configure them.  My intention with the Off-Set pedals was to review them as well.  But once I got into the details of the pedal for myself, I was hooked.  No more Vex pedals for me!

I did end up writing an extensive review of the Off-Set pedal (which, of course, I strongly encourage you to read if you haven’t already – very educational and informative).  In the meantime, I’ve been keeping in touch with the founder and owner of the Off-Set Drum Pedal Company and hence creator of the Off-Set double bass pedal, Charles Fisher.

Mr. Fisher is very passionate about his product and his company, and his candor is very contagious.  I thought it would be a great idea to hear (or read), in his own words more about some of his background, how he came up with the Off-Set pedal design, and why he thinks his pedal is the best in the industry.  I think you’ll find what he has to say very compelling, and is an excellent complement to the aforementioned review of his Off-Set double bass pedal.  If you thought that this pedal was too extreme, or too different, now you’ll have even more to consider!  TheParadiddler.com thanks Charles Fisher for making himself available to talk us.

The Paradiddler: A little about yourself, Charles!  How and when did you start drumming?

Charles Fisher: I was born before Rock, back in the 1940’s. I started studying music, mainly percussion, in second grade, came up through the school music program, which at that time was very good.  I started taking piano lessons in fourth grade and studied piano for four years.  I started tap dancing when I was six years old, so I always had pretty fast feet.  I got my first drum set (Slingerland) at 13 and played my first gig in the Jay Moore Polka Band at the VFW in Coalport, my home town, at 14.  My mother had to chaperone me because I was under age.  The last formal gig was The University of Pittsburgh Varsity Marching Band, in which I played snare drum for three years while in the School of Dental Medicine.  Later, I became known in the area as ‘The Doc(tor) of Rock’.

TP: Who were your early influences musically, drumming or otherwise, and what drummers and musicians inspire you these days?

CF: My initial influences were what my mother was listening to:  classical, jazz, swing, and then formative Rock & Roll with Bill Haley and the Comets, etc., all the first R&B groups, and then, of course, The King.  My early influences concerning drumming were all the great jazz and swing drummers, for example, Gene Krupa, Buddy Rich, Joe Jones, Philly Joe Jones - it goes on and on.  And believe me, they could play rings around today’s drummers.

TP: When in your musical development did you start to become interested in double bass drumming, and was there any type of formal training regarding double bass techniques at that time?

CF: The first time I saw Cream.  I just had to have two bass drums like Ginger Baker.  Cream was the cream of the crop at that time - the ultimate blues rock trio:  Eric Clapton, Jack Bruce, and Ginger Baker. (You are probably not old enough to remember when they were calling Eric Clapton the “God” of blues rock guitar.)  I was playing in Cut The Mustard, a five piece that I put together that did all original material, mostly southern style rock.  Absolutely the first local band to go record an album and actually sell it through the stores.  We are still regarded in this area as the band that started other bands thinking, “We can do it if CTM did it.”  And we recorded at Jeree’s in New Brighton, PA, where Donnie Iris and Tommy James and the Shondells did a lot of their recording, so we went first class right off the bat.

There was no formal training in double bass drum at the time.  Remember, we are talking about the 70’s now.  With me, it was all instinct.  But I had a head start because of the tap dancing history.  I was a very good tap dancer, and had very fast feet.  As a kid, I used to win Fire Hall talent contests all the time, except when the girl in the wheel chair showed up with her accordion and got the sympathy vote.  Later, when I practiced dentistry she was a patient of mine and we used to joke about the talent contests when I was treating her.  I’d say, “I’ll get you this time for winning that one back in ‘55.”  It was all good natured.  In retrospect, it was one of life’s good lessons, on how to accept defeat even though you knew that you were better than the winner, and develop compassion for the less fortunate, which is sometimes really hard for precocious children to learn.

TP: When and why did the idea of the ‘off-set’ design come up?

CF: In the fall of 1999 I decided to go back to doubles after playing single in a country band for a year.  But I did not want to lug two bass drums around, and the formats were simply too small for that kind of set-up.  And the mounted toms must be directly in front of me.  So I sat down behind the bass drum, centered in front of me, with the mounted toms centered in front of me on the bass drum, sat the snare between my legs and (it was a “no brainer”) said, “A pedal board on each side.”  I immediately got up, went to the Musicians Friend catalog, found what I needed, and ordered two Pacific double bass drum pedals.  Between the time I ordered, and the time I received them, I finalized the design on paper.  Once I had them, I had the first prototype finished in two days.

TP: When you decided to switch from double bass drums to a single bass drum, what concerns or problems did you encounter with double bass pedals at the time?

CF: Absolutely none!  I had never played a double bass drum pedal of any kind before I sat down behind my first prototype.  Why would I?  They were all the same;  they all put the bass drum and mounted toms somewhere in outer space;  and the hi-hat God knows where;  and they were all designed wrong, with absolutely no concern or regard for the human skeletal system.

TP: When you came up with the ‘off-set’ design, what was the reaction of the first person you presented the design to?

CF: The very first person to see the unit was Ray Ayotte, at that time the head of Taye Drums. It was at the 2000 Winter NAMM Show.  I was showing the Point Classic Tremolo at the time, and just threw it in a box and took it along to show some people.  You have to understand that, at first, I did not build the pedal as a commercial venture.  I built it for myself because it was what I wanted, and, at that time, nobody had designed or built what I wanted. Ray was the one that informed me that the first double ever designed was the Sleishman, and it was bi-laterally symmetrical also, but completely non-adjustable, with no in-direct linkage for adjustment purposes. Ron got the bi-lateral symmetry thing correct the first time.  I have no idea why nobody else used that idea but, instead, came up with the design that everybody but me uses today.  Ray also told me that I could probably get it patented because of the multi-adjustable facets of my design, and that if I ever did get “paper” on it, he might be interested.  That was what got me thinking of the possibility of marketing it.

TP: When actually getting into the nuts and bolts of the ‘off-set’ design, what factors did you take into consideration to ensure the pedal would be taken seriously, due to the radical difference of the design?

CF: You have heard the saying, “You can’t see the forest for the trees.”  Well, when I stepped back and looked at the big picture, I realized that the picture was so big, that very few were going to see this “tree” for the forest.  The competition was just too large.  So the only thing I could do was design the unit to be much stronger, faster, and more multi-adjustable than anything on the market, so those who did take the time to check it out, would instantly realize that this was a serious piece of well designed, well built hardware.  For instance, it took John Buswell, owner of Drum World in Pittsburgh, PA, and an executive board member of the Five Star Drum Shop Organization, only ten minutes to realize that it was the best pedal in his store. He was the first, and one of only 14 stores, that would agree to retail the unit.  He just kept shaking his head and saying, “And you’re a DENTIST, from COALPORT!  (Coalport is in PA also.)  And this is the best xxxxing pedal in the whole xxxxing store!”  He was prone to expletives.  He was honest as hell.  He told me flat out, “Yeah, I’ll take a look at it.  But if it is junk, I will have absolutely no qualms about telling you so.”  Instead, he was blown away by it.  He said, “Do you have any more?”  I sold him three right off the bat!!

TP: How do you feel the industry in general feels about the ‘off-set’ design compared to the typical double pedal configuration?

CF: In the beginning, when it first came out, I think most of the larger companies felt it was a passing fad, not a serious effort at re-directing the development of the double bass drum pedal to a higher level.  But since the Off-Set’s introduction at the 2003 Summer NAMM Show, I have had to take issues with three of the larger drum manufacturers who have attempted to duplicate the design using their own base products.  First in 2003, second in 2005, and the latest, the day before the 2009 Winter NAMM show started. The design is so totally logical that sooner or later, the ‘bigs’ were going to realize that this is the way it should have been done in the first place, like so many of my customers keep telling me.  The ergonomics of the unit is far superior with reference to the handicapped drummer or those with injuries restricting range of motion. And the bass drum has just got to be in the center of the set.

TP: Do you feel the typical double pedal configuration has reached the point of diminishing returns as far as improvements go?

CF: Yes.  All the bells and whistles have been addressed on the standard design except the ability to change the size of the drive wheel without tearing the pedal apart.  The only pedal to have that feature is the Off-Set Double Bass Drum Pedal.  The diameter of the drive wheel can be set infinitely between 1 1/2” and 3” with only a drum key.  And the title of the patent is “Bi-lateral Drum Pedal.”  Pretty hard to get around that one!

TP: Due to the uniqueness of the design, many may be skeptical as far as the practicality of the Off-Set pedal.  Can you think of some reasons for the skepticism, and how would you respond to those concerns?

CF: I will answer this question by transcribing a letter from a recent purchaser.  His name is Greg Tustin, Director of Design and Development at Tappan Street Restaurant Group, Inc., in Alpharetta, GA:

‘Charles,

Just a quick note to let you know I received the double pedal and hi-hat stand and all I can say is “WOW!”  What an incredible difference.

I spent a great deal of time reading about all of the double pedals out there and the pros and cons were about 50-50.  Then I came across a review done on your  pedal by the “paradiddler” (an amazing review by the way) and the only negative comments came from people that have never seen it or even tried it and the rest absolutely loved it... and now I see why.

As a drummer of many decades I was hesitant about “going against the tried and true” but I could not get past the fact that your pedal is the way it should have been done in the first place!

For the first time ever I feel comfortable behind my drums.

Thank you.

Greg’

TP: There are very few companies that manufacture double bass pedals in this configuration.  What distinguishes yours from the others?

CF: There is actually only one other company making anything that looks remotely like the Off-Set pedal, and the only reason that is happening is that I am allowing it. The only other bi-laterally symmetrical unit is the Sleishman double, but uses no drive rods and, as such, has very little adjustability. The Off-Set design allows for maximum adjustability in every arena, allowing the player to tailor the feel to exactly his/her liking.  And it never seems to break.

TP: Without revealing company secrets, what do you see in the future for the Off-Set pedal?

CF: There are no company secrets.  What you see is what you get. I believe the Off-Set design will, in time, be regarded as a break-through in double bass drum pedal design, and accepted as a viable option for all drummers.  Bob Sperzel invented and patented the locking guitar tuner around 1983. This was a breakthrough in tuner design.  But, although Bob came up with the idea of a locking tuner, once the idea was introduced, several other companies were able to develop other ways of making a locking tuner that did not impinge upon his patents. Once his patents expired in about 2003, those who had not come up with a viable option before that time started to simply duplicate his design.  Now, every tuner company has a locking tuner.  Why?  Because it is the way it should have been done in the first place.  Sound familiar?  That is not possible with my product because, as I mentioned previously, the title of my patent is “Bi-lateral Drum Pedal.”  No company can make a double with a pedal board on each side, no matter what it looks like, without violating my patent.  But I predict that by one year after my patent expires, every drum company will be marketing its own bi-laterally symmetrical double bass drum pedal as part of its product line.

TP: What do you see in the future for the Off-Set Bass Drum Pedal Company?

CF: The company will continue to grow as the design is more universally accepted.  I will then sell the company to Ray Ayotte and retire to my island in the South Pacific.  “Hey, Ray!??”

TP: What has been the main reaction of those who’ve switched from the typical double bass pedal to the Off-Set pedal?

CF: Comfort and speed!  The most common comment that I receive is that the player first experiencing the unit feels instantly that he/she can play much faster, either because of the pedal’s construction, or the fact that they at once feel more comfortable behind their kit, and therefore, can perform at a higher level, or both.  Second, would be pedal response.

TP: One more question!  Many drummers may be reluctant to go for the Off-Set pedal for various reasons (valid or no), be it due to brand name recognition, radically different design, etc.  What words of encouragement would you offer to those to coax them to give the Off-Set pedal a shot?

CF: There is a seven day money-back guarantee on the unit.  If, for any reason, (you don’t like the color “blue,” etc.) you do not feel that the unit is right for you, simply return it within seven days of the date of receipt in the original condition, and your money will be cheerfully refunded-except the shipping charge.  Shipping is non-refundable.  Since 2005, I have had exactly one unit returned, and that was because the customer decided that he was just too old and set in his drumming ways to start learning doubles.  “Hey, Ray!??”

And that was the end of the interview!  I was impressed with both the pedal and the designer, which is why I’m a fan.  As I mentioned in the review, these pedals come very close to being the perfect pedal, and definitely worth trying out.  I hope my conversation with Mr. Fisher at least inspires you not only to re-address what you consider to be a practical double bass pedal, but to never be satisfied with what you have.  Always question your setup, your tuning, your throne height - everything. Along the way, you’ll be a better musician for it.

Off-Set Bass Drum Pedal Company web site]]> http://theparadiddler.com/2010/09/01/interview-with-charles-fisher-off-set-bass-drum-pedal-company/feed/ 1 http://theparadiddler.com/2010/06/13/drum-clinic-walfredo-reyes-jr/ http://theparadiddler.com/2010/06/13/drum-clinic-walfredo-reyes-jr/#comments Sun, 13 Jun 2010 05:27:38 +0000 Omar http://theparadiddler.com/?p=1684

In January of 2009, TheParadiddler.com covered Sabian Live at NAMM, via DrumChannel.com (I would have loved to have been there, but since I couldn’t, thanks Drum Channel!).  Both the performances and backstage interviews were covered (as best as could be done).  One of the artists that dropped by was Walfredo Reyes.  No, not Jr. – Sr.

It was very interesting to hear from him and his son Danny what it was like at dinner time at the Reyes household (you can read all about it in the article).  It was a very musical environment, the result being a fine ‘batch’ of musicians!  Little did I know that covering this event online was a foreshadowing of things to come offline.

Almost a year and a half later (more specifically, May 27^th, 2010), Ken Stanton Music in Stone Mountain, GA hosts a drum clinic by none other than Walfredo Reyes, Jr. The family circle is complete! 

The location was familiar enough.  TheParadiddler.com also covered Will Calhoun’s clinic there, and it was a sensational experience.  It’s not a huge store, which allows for close proximity to the drummer, and a more personal experience.

I was not familiar with Walfredo before the clinic, but I knew he was very well known in the drumming community, having played with many big time artists, such as:

• Santana
• Gloria Estefan
• Toni Braxton
• Lindsey Buckingham
• Christina Aguilera
• Ricky Martin
• Smokey Robinson
• Steve Winwood

…oh my goodness, and on and on and on.  That’s just the short list.  A session drummer like this must have a wealth of experience to impart, so I knew I it would behoove me to attend.  I didn’t go alone this time, however.  My partner in crime came with me, my son Devin (the star of the Off-Set pedal review).

We arrived about 40 minutes early or so.  I like to take a ‘lay of the land’ so I can know where the good camera shot angles are (plus I like to sit in the front row ).  I like to mess around with the gear, not just the drums.  I didn’t get too much of a chance to set up right away though, because when I walked in, Walfredo was already practicing at the kit!

The gear he was playing on was a beautiful Mapex Meridian Maple kit (I’m going to say the finish was transparent cherry red), with Sabian cymbals and an assortment of ergonomically placed percussion gear (LP bongos, blocks, cowbells, and the like).

Walfredo was practicing with brushes, then with sticks.  His playing was very controlled and fast, easily flowing over the whole kit.  It’s not that I was surprised, but I was definitely impressed.  He made all the fills look incredibly easy.

In addition to practicing by himself, he had a couple of other musicians he was going to play with that evening: Gabriel Monticello on bass, and Myron Feltner on keyboards, two local musicians.  The thing to note is that Walfredo had never jammed with these two at all – it would all be spontaneous, improvised.

While the musicians were discussing which direction to take the improvisation, Walfredo demonstrated a few of the more famous drum licks of all time:

• the beginning of “Rock With You”
• thunderous drum fill in “In the Air Tonight”
• Jeff Porcaro on Toto’s “Rosanna”

After practicing, Walfredo got up and greeted some of those already there, myself and my son included.  Wally (as he referred to himself) was very friendly and down to earth, very approachable.  After the pleasantries Wally went off to prepare for the actual clinic, so that left my son and I to peruse the store.

Sometime after 7pm, Wally re-enters the scene to a most receptive crowd and starts explaining in detail what to expect from the clinic.

He mentioned that he had just recently flown in from Hong Kong, and had just met the two musicians he’d be playing with.  He’s very keen on being creative, not being structured when not necessary (although structure is very important too – more on that later).  He went on to talk about how music is the ‘universal language’, that even though we may speak different languages, we can all groove to any style of music and ‘get it’, no matter where we’re from.  And speaking of where we’re from, he made it a point to stress how grateful we should be in this country that we can so easily go to a local music store and have a wealth of instruments and gadgets to choose from, and people willing to give us lessons.  He had been to parts of the world where none of this was available, and anyone interested in percussion would have to fabricate their own sticks.  Of course, these sticks would not last for any length of time.  Some of those players had such great groove, but could not play for more than a few minutes.  So Wally ended up giving out some actual drumsticks so they could at least play for ten minutes straight.  Again, we need to appreciate the availability of the instruments here (and the accessibility of music stores, and artists themselves!).

Wally stated that he was going to start playing himself, and then later have the other two musicians join in.  He was going to display different styles, from rock, to Latin, Afro-Cuban rhythms – Wally called it the “Wally World Travel Agency”, and boy were we in for a ride!

He started his solo with just his hands and fingers, to something like a world beat, an amazing groove.  He then conspicuously incorporated brushes while never losing the beat.  He steadily maintained the beat while cleverly alternating between the snare and toms (snares down, by the way).

The Latin beat was ever present, especially when playing the bongos on his left.  The ‘woodblock’ and cowbell were prominently played as well.  While not skipping a beat, his snares went up and he switched to the regular sticks, and that’s when it got crazy!

Now Wally was playing very fast 32^nd’s (who knows, maybe faster ).  As he varied the tempo, he incorporated the cowbell with a steady beat.  It was ever present, even while he was alternating beats between the snare and toms.  It was an excellent application of a Latin-type structure in a solo setting.

By this time Wally was on a rampage of dizzying fills, double bass onslaughts, and his arms flailing away all over the place (organized chaos, you could say).

After that fantastic opening, Wally went on to explain some of the origins of the different parts of the kit, particularly the cymbals, which as currently configured on drum kits are really Turkish in origin.  The drum kit itself relative to other instruments is a recent development, as in within the last 100 years or so (whereas other instruments have been in existence for centuries, and even drums themselves as individual instruments for as long as humans can remember).

Next was a demonstration of how Wally uses the drum kit to essentially play two parts – the part of the drummer, and of the percussionist.  Different parts of the kit could mimic the percussive counterparts, for example:

• hi-hat --> shaker
• snare drum with snares down, and toms --> timbales
• cross-sticking --> woodblock

A drummer in his kit could also incorporate the actual percussive instruments, like the cowbell, woodblock (clave), timbales (or mini-timbales), bongos, etc.  Here’s Wally’s kit from behind, where you can pick out the different percussive instruments incorporated into the kit.

With this ‘practical’ percussive kit, Wally demonstrated the samba beat.  He made it sound like a percussionist more than a drum kit player, but then that was the point.  The drum kit player can be both the percussionist and the kit player (even simultaneously!), while the percussionist is just that.  Of course, that’s not a knock on the percussionist, but it’s a specialty.  The kit allows for more flexibility.  Wally also talked about the ‘bossa nova’ and described it as samba played on a drum kit with jazz.

Wally told a story about when he played with Santana and that for some reason (I don’t remember why) the percussionist was not there.  So Wally had to improvise the percussion while still holding down the beat with the kit.  Having at least a fundamental knowledge of both the kit and percussion allows for more flexibility (and more gigs!), as has been the case with Wally.

Subsequently, Wally started playing a ‘percussion’ solo, which then slowly morphed into a whole kit solo.  It was amazing how the transition was so fluent that you hardly noticed it until he was playing on everything.  Great example of using ‘what you got’.

Wally mentioned that he considers himself a ‘rhythmist’.  This makes perfect sense because if you look at drumming from a ‘rhythmist’ point of view, your view expands to other percussive instruments beyond the kit.  I think that, after seeing this clinic, Wally is the ultimate ‘rhythmist’!

He went on to mention something that I hadn’t thought of before, but it’s very true:  ‘Acoustic drums are a reflection of what you put in it.’  You can get a lot of different sounds from an acoustic kit (like getting percussion-like sounds out of the kit, as previously mentioned).  Just using the sticks, he struck different spots around the entire kit, and there were so many different sounds generated, very melodic.  When you buy an electronic kit, you’re buying specific sounds; you’re playing samples.  And even though there have been a lot of developments over the years in percussion and electronics, the mainstay, the acoustic drum kit, has always been the foundation.  It’s always there, always needed.

Wally then proceeded to start the next jam with the keyboardist, and then the bass player came in afterwards.

After this jam, Wally demonstrated the dynamic range that the drums have, particularly with brushes.  He demonstrated the ‘abanico’, which is the Spanish word for ‘fan’ (as in the device that keeps you cool).  It’s like a buzz roll incorporated into a beat.

But one of the coolest things Wally displayed was how to make the drums talk.  He made each drum a different member of the family:  the kid, the mother, and the father.  I call it the ‘Ice Cream Bit’.  The kid was asking for ice cream, but the mother had reservations about it.  The father emphatically said “no!”  The father was the floor tom, while the mother a higher pitched tom, and the kid higher still.  It was hilarious.  It was very similar to what Marco Minnemann displayed in his drum clinic when he drummed to “What Have the Romans Ever Done for Us?” from the Monty Python movie “Life of Brian”.  Both examples displayed how versatile the drum kit is and how it can convey a wealth of moods.  Outstanding.  This led to another Latin-type jam with the other two players.

Wally then went on to discuss the flexibility that is needed to play to different audiences.  You may have great chops, but if your audience is a group of older folks expecting swing, then don’t play rock!  Someone once told Wally, “Do not disturb the groove!”  If your audience is more a dance-type audience, then play that kind of groove.  If your audience is all drummers (say, at a drum clinic), then all bets are off and just go crazy – do it all.  That’s what the audience expects!

He then went on to say that it is good to be open to different genres of music because it can have a positive effect on your growth as a musician.  He mentioned a funny story about when he was younger and he liked Alice Cooper, but when his father saw “that” he said, “I don’t think so!”  Then later Wally’s son is liking Slipknot and Wally said that every song is like Halloween!  How the tide turns.  But later his son presented him with a very melodic song, and Wally was surprised to find that it was Slipknot!  So basically he’s saying that it’s good to have an open mind as far as what effect different genres of music can have on our playing.  Of course, he then went into a little reggae jam (sweet!).

There were questions from the audience as well, so one of the questions asked was who were other drummers that influenced him (besides his father, which is an obvious one).  It was interesting that he not only mentioned drummers that influenced his drumming (Buddy Rich, Louie Bellson, Ringo Starr, John Bonham), but musical genres, such as salsa.  Growing up in Puerto Rico, you can’t help but be surrounded by salsa, and that genre had a big influence in his playing.  It shows in how Wally masterfully incorporates percussion into the drum set.

On that note, as far as influences go, Wally said that ‘if you want fresh rhythms, dig deep into the old rhythms’.  Many of today’s rhythms are based on different genres of the past, and one would be surprised to find out how diverse and complex some of the older music is, especially in genres like salsa.  A plethora of knowledge to say the least.

Wally started drumming at the age of 12, but it was not on a kit.  He was ‘forced’ to use just sticks and a practice pad for a full year before he got his kit.  This really helped him get the fundamentals down.  Nowadays he doesn’t go anywhere without his iPhone and a metronome.  You know what they say, ‘timing is everything’!  Playing to songs and to a click is essential in learning how to maintain a solid tempo when playing in a band.

Wally told a story about playing with Steve Winwood, and that he was told that a certain song was to be played at 87bpm (I believe the song was “Higher Love”).  Sometimes towards the end of a show the band’s adrenaline is pretty high, especially after a receptive crowd.  This could be problematic in the sense that the band may tend to speed up the tempo.  It’s the drummer’s responsibility ultimately (not exclusively) to maintain that tempo.  Even if the band complains later, you can tell them, “You guys said 87bpm, so I stuck to it!”

After the Q&A session, Wally finalized with a freestyle and funk-like jam, and an all out solo to top it all off.

After the drumming and the thunderous applause, Wally stuck around for a long time talking to those in attendance, taking pictures, signing autographs, and answering questions.  Very accessible, humble, a class act.

In conclusion, for me it was an unexpected pleasant surprise.  In the article “Beyond the Drum Kit”, I mentioned that even though I, like Wally, grew up surrounded by Caribbean music such as merengue, bachata, and salsa, I simply was not interested very much in percussion.  My interest was solely on the drum kit side.  Wally has completely changed that for me.

I see now that you can have the best of both worlds.  You can be a kit player and tastefully incorporate percussion, and still look and sound like a power drummer.  There are so many ways to express yourself, so many different tempos, so many different genres, that one is capable of playing if we just open our minds to the possibilities that drum kit percussion provides.

As far as Walfredo Reyes, Jr. goes, he’s made a major impression on me.  I was floored by his ‘controlled chaos’, his total control when he played his dizzying array of fills, both hands and feet.  He played with such power, but displayed an incredible sense of dynamics and grace, making the drums virtually speak.  The fact that he has so masterfully incorporated percussion into the kit solidifies his place, in The Paradiddler’s eyes, as a premier percussionist, a premier rhythmist, of our time.  He taught me how to incorporate percussion into the drum kit in a way that’s, well, just dang cool! I think when I grow up (drummingly speaking), I want to be Walfredo Reyes, Jr.




]]> http://theparadiddler.com/2010/06/13/drum-clinic-walfredo-reyes-jr/feed/ 2 http://theparadiddler.com/2010/03/26/passion-for-our-favorite-drummer/ http://theparadiddler.com/2010/03/26/passion-for-our-favorite-drummer/#comments Fri, 26 Mar 2010 07:21:39 +0000 Omar http://theparadiddler.com/?p=1577

My, how we love our drummers of choice.

At different stages in our lives, we cling to our favorites for different reasons.  When we were really young, say, five or six, we might have really liked the drummer of our big brother’s (or sister’s) favorite band.  As we got a little older, we made up our own minds and either stayed with that one, or started liking someone else.  This time, though, we might like the drummer because of the actual drumming, not because of the band as a whole.

For example, when I was very young, my favorite drummer was Peter Criss.  Was he a great drummer?  I think it instead more likely that he fit (perfectly!) what Kiss needed him to be more than that he was a great drummer.  There were other drummers around that time (we’re talking the ‘70’s in this case) that could run circles around Mr. Criss as far as technique goes, such as Billy Cobham, Steve Gadd, and of course, Buddy Rich.  But that didn’t matter to me – Peter Criss was ‘the best’!  And I was passionate about it, even at a young age.

Fast forward a few years and I was introduced to Neil Peart, and he became to me what I now call my ‘reference drummer’:  my base, my foundation, my main inspiration.  That remains the case to this day, even though I am greatly inspired by many other drummers, for diverse reasons.

And so it is that through the years, we change, and so do our preferences.  As far as our favorite drummers go, there are as many reasons to have a favorite drummer as there are drummers.  I’ve seen, however, that some take their passion a little too far.

Ok, I’m not talking violence.  It’s a lot of fun to banter about who our favorite drummer is, or who we think is ‘the best’ (even though I think there’s no such thing).  That kind of debate is rampant in sports, and it’s never-ending.  I’ve been to several drum forums where threads have been opened such as ‘Who’s the best drummer?’, or threads that are started about specific drummers.  In the latter, you see all kinds of posts.  Typical are:

• debates comparing the drummer in question to another drummer
• why the drummer in question isn’t good at all
• why the drummer in question is the best

The ‘end is listless’.  You might be able to guess the age of some of the posters.  If you see really short posts saying things like “Mike Portnoy is no doubt the best drummer on the planet!”, you may assume that that’s a younger poster (hm, ‘no doubt’?).  Sometimes others will go into long spiels extolling why this drummer is better than that one, and even have polls comparing, say, Mike Portnoy vs. Danny Carey, or Dave Weckl vs. Vinnie Colaiuta, etc.  Pretty interesting to say the least, because those who’ve followed these drummers closely get very specific as to the technique of these players, and the result is an education on the drummers in question that we may not see elsewhere.

I personally consider any ‘vs.’ debate to be futile.  There are just too many variables to consider when comparing drummers.  I think of all musicians, drummers are the most different from each other.  It is very unlikely that two drummers will have the exact same influences, so in addition to their innate ability, they’ll adapt their unique ability to try to imitate what their favorite drummer plays.  What results is a completely unique drummer, shaped by their aforementioned ‘reference’ (or references), their musical taste, their talent, and their drive to reach whatever musical goals they have.

Not only that, but the drum kit is the most configurable of all instruments.  Consider some of the variables:

• number of shells
• snare preference
• tom positioning
• cymbal placement
• throne height

And that’s only the beginning!  How many stick sizes are there, head thicknesses and materials, pedal configurations – gads, my head’s spinning (think I’ll stop now).  The point is, even if two people are the same age, go to the same music classes, and listen to the same music – they’ll still be two different drummers.

So really, how comparable are drummers?  There are certainly ones that can do certain things better than others, but that does not necessarily mean that one is better than the other in a general sense.

Let’s take a case in point.  This is my opinion; you’ll have yours, but this is how I see it.  I have a short list of favorite drummers.  On it are Neil Peart (if you’ve followed my blog that’s obvious) and Thomas Lang.  I’m very familiar with Neil’s work (as evidenced, for example, by my rating of his solos), but only recently (relatively speaking) have I been exposed to Thomas’ playing.  But I’ve seen enough of his playing that, well, he’s at least one of the best drummers in the world.  (If you’re subscribed to The Paradiddler’s newsletter, you would have received a sample of this.  )

These two drummers couldn’t be more different.  To me, Neil Peart is about composition; Thomas Lang is about technique.  Does Neil have technique?  Of course, but Thomas has more.  Can Thomas compose a good drum piece?  Certainly, but I think Neil is more creative that way.

As far as composing drum parts, Neil is a master.  If you haven’t already, I recommend spending a few hours watching Neil’s DVD “A Work In Progress”, where he breaks down in verbose detail how he composed the drum parts to every song on Rush’s Test for Echo. Sure there’s technicality explained and demonstrated (even some exploration solo footage), but this is textbook Neil:  drumming to suit the song, not the drummer.  To me, that’s what makes a drummer shine.

As far as technique goes, Thomas Lang’s best selling “Creative Control” and “Creative Coordination” DVDs demonstrate Thomas’ absolute mastery of the kit.  His drumming is so fluid and effortless, hands and feet.  I watch in awe every time I see this guy play.

So I don’t consider either of these drummers better than the other.  They both have tremendous talents to display, and no matter what genre of music we prefer, they certainly can give us a lesson or two on how to play.

Sometimes a great drummer (even a legendary one!) will get criticized when compared to someone’s favorite.  I’ve read on certain posts that Neil is a boring drummer, with not much technicality, and that the solos are boring.  When I read posts like that, I tend to think that the poster is missing the point.  Sometimes the drummer simply won’t display certain technical chops because the solo or song doesn’t call for it.  It’s very likely that when he practices, he’ll play certain rudiments and patterns for practicing’s sake.  If something interesting comes up that he can use in a song or solo, it’s in.  If the pataflafla doesn’t fit in the solo or song, it’s out, even if he knows how to play it.

Sometimes (actually, almost every time), it’s in the eye (or ear) of the beholder.  What are you looking for in a drummer?  What excites you?  Many drummers cite Tré Cool (Green Day) and Travis Barker (Blink 182) as their favorite drummer, and sometimes passionately exclaim that they are the best.  Like I said, the best doesn’t exist, so don’t bother!  They are the ‘best’, though, because they personify what the beholder expects to see and hear in a drummer.  In some way, these drummers inspire their drumming fans in a specific way, hence the adulations.

Sometimes the age of the drummer (meaning the pro drummer) is a factor too, and at what developmental stage they are in their career that inspires certain fans.  When you’re young, who you thought was the best may stick with you as you get older, even though you may consider others just as good later on.  I started to notice Neil Peart when he was a young drummer and he became my favorite, so the same thing may happen to any youngster who notices a drummer when they’re young.  A young person can have the same passion for the drumming of a young Neil Peart just the same as a young person towards a young Tré Cool or Travis Barker.

Drummers of the caliber of a Neil Peart, Steve Smith, and others, tend to not stay with the same style throughout their career.  These drummers evolve, one reason being is that they get restless when they take a certain style to it’s limit based on their ability, or just being bored playing the same style, and wanting to move on to something else.  Neil Peart’s current style of play may not appeal to a generation used to speeds as exhibited by Thomas Lang, Marco Minnemann and others, even though they may recognize him as a drumming legend.  I strongly recommend watching Rush’s live DVD Grace Under Pressure Tour, which was recorded in 1984.  There you will see Neil display an incredible amount of speed, power, creativity, and limb independence (check out particularly “The Weapon” – the ‘Professor on the drum kit’ indeed!).

Drummers like Neil and Steve Smith move on.  As good as Neil was in 1984, it might be boring if he still played like that.  Steve Smith ‘scratched that itch’ when he finished playing rock with Journey, to go back to his more jazzy roots.  Even as good as he is in this genre, he’s been messing with Indian rhythms as of late, just to challenge himself.  These are the types of drummers that appeal to me.

At the opposite side of the spectrum, you have drummers that tend to sound and play the same throughout their career, such as Joey Kramer (Aerosmith) and Tico Torres (Bon Jovi).  To me, these drummers sound the same throughout the tenure of the band they play in.  That’s not to say that they’re bad drummers.  It’s even possible that some cite them as favorites.  They play what’s required for the music they play, and ultimately, especially if you play in a band, that is what’s most important.

So what’s the bottom line?  This:  ‘best’ is in the eye of the beholder.  If you think Travis Barker is the best drummer in the world, and he inspires you, then more power to you.  If you think that Phil Rudd is the best drummer because he lays down a fat four and gets out of the way, then more power to you too.  If you think “Gadd is in the details”, then good for you too!

As for me, I’m staying out of the ‘this drummer vs. that drummer’ debate.  They all have something to offer.  Fortunately, drummers don’t mind having their ideas stolen (for the most part).  So let’s study our favorites, forget about who’s best, and just enjoy the performances and individuality of these great drummers.

]]> http://theparadiddler.com/2010/03/26/passion-for-our-favorite-drummer/feed/ 1 http://theparadiddler.com/2010/03/07/drum-clinic-marco-minnemann/ http://theparadiddler.com/2010/03/07/drum-clinic-marco-minnemann/#comments Mon, 08 Mar 2010 00:40:03 +0000 Omar http://theparadiddler.com/?p=1546

When I received the e-mail from Ken Stanton Music saying that Marco Minnemann was going to put on a drum clinic at their superstore in Marietta (Atlanta), GA on March 2nd (2010), I immediately started making plans to be there.  But it may not have been the case otherwise.

Until recently, I knew very little about Marco.  I had seen his name mentioned at times, but never enough for me to notice (so many drummers, so little time!).  But recently, DrumChannel.com had both Marco and Derek Roddy (Serpents Rise and Hate Eternal) together for a chat and drumming session, and I was blown away by both drummers.  It may be because I'm not into 'blast beat'-type music that I've not heard much of these guys, but there's no denying the incredible talent these drummers possess.  It takes an incredible amount of technique and energy to play what they play, but the duo solos they performed displayed an incredible array of power, finesse, creativity, and melody.  Here's a link to the rebroadcast of that show.  Put it on your calendar and watch it, because not only are they extraordinary drummers, but they have very refreshing insights as far as their approach to drumming that drummers of all styles can learn from.

So after watching that show, I decided that I may need to pay a little more attention to Mr. Minnemann!  Then comes the news that he's putting on a drum clinic locally and, well, a perfect storm of sorts. I started making preparations to cover the event.

I made contact with Jeremy Truitt, Drum Dept. Manager at Ken Stanton music, to come by the store and talk about the particulars of the event.  He was most helpful, showing me where the stage was going to be, audience location, even showing different spots where I could get some great camera angles for some unique shots.  This was gonna be good!

So the day comes, and now I’m really into the event.  I’m very much looking forward to seeing an incredible display of chops, and learning whatever I can.  With much anticipation, I head on down to the store.  I wanted to get there pretty early so I could situate myself, get a ‘lay of the land’, so to speak, make sure I had a good seat, and see where I could take some great photos.

The clinic was cancelled.

Winter decided to dump a snow storm to the Atlanta area, and for the safety of the drummers and all who would attend, it was decided that the show would be a no-go.  The guys at the store were obviously very disappointed, and rightly so.  It is not often that a world-class drummer can be in the area to put on a drum clinic.

But all was not lost!  Fortunately, that was not the only clinic that Marco had scheduled.  The Atlanta Institute of Music (AIM) had also scheduled a drum clinic on March 4^th.  No snow storm scheduled for that day!  It was a little further out, but that didn’t matter – I would be there.

I suspected that the vibe for this venue would be different than at the store, and I was correct.  When I attended Will Calhoun’s drum clinic, there were drummers there of course, but there were also people of all ages, very young kids included.  But AIM had more of a classroom, college-type feel.  Most in attendance were young adults, with a few older cats sprinkled around here and there.  I didn’t prepare so much for this event since I wasn’t planning on coming, so I was more like a spectator like everyone else, instead of a ‘reporter’.  The campus halls were boringly decored, but fortunately the action is in the classroom, and AIM teaches classes in drumming, guitar, bass, and recording.

I arrived about an hour early, again to make sure that I at least got a good seat.  There was definitely a buzz in the atmosphere waiting for the clinic to begin.  These guys knew who they were there to see, and they were excited.  There was lots of talk about cracked cymbals, trying to get drumming endorsements, recent and upcoming gigs - a real drummer’s event.

There was a sound check going on while we were waiting, and if it was any indication of what the show was going to be like, we were in for a real treat.  The drums sounded just fantastic (even being on the other side of the door).  The bass drum was very boomy, but it sounded so full and rich.  When the drummer played double bass drum fills and combinations all over the kit, the boom of the bass drums blended in with the combinations and produced very powerful and clean, piercing sound.  Now I couldn’t wait to hear what these drums sounded like while in the same room!

I think artists are good at sneaking by people because as we were all waiting outside the door, an inconspicuous Marco and a companion whizzed right by us, almost without us knowing it!  By the time we did notice, he was gone.  Guess it was time to get ready for the show!  After that little episode, all were invited to enter the performance hall.

First thing you notice as you enter the hall is Marco’s drum kit.  It was a beautiful 7-pc DW Gold Glass FinishPly^TM Collector’s Series kit, with Zildjian cymbals and DW hardware.  In addition, Marco had an additional snare (which I believe was also a DW) to the left, and another suspended tom to the left of that (ok, a 9-pc kit).  Just a beautiful setup.

After everyone coming in finished going gaga over the kit, those in attendance started settling into their seats.  I was fortunate enough to get a front row seat stage right, which was a great view.  Marco did not aim the bass drum directly to the audience, as is typically done, but instead faced himself straight to the audience, and positioned the bass drum to his right (similar to the positioning when playing two bass drums).  This allowed for an excellent view of both his hand and foot technique.

After being seated for a little while, Mr. Minnemann was introduced and out he came to the stage.  Very humble to his applause, he looks just like any other guy (he is tall, though!), very unassuming.  You’d never know he’s a famous anything.  But once sitting behind the kit, look out.

After thanking those in attendance and mentioning what he was going to do for the night (songs, solos, Q&A, etc.), he started playing to one of his songs.  Since I hadn’t followed Marco before this, I didn’t know the names of several of the songs he played to (nor did he introduce them).  But it didn’t matter, because he was playing masterfully right off the bat.  The sound of his drums were so clearly defined, and incredibly powerful and full-sounding.  Although there was amplification set up for the drums, it was clear that he was hitting them hard and with authority, but with pinpoint accuracy.  He absolutely didn’t miss a beat; his timing was flawless.

During the first song, the knob on one of the stands keeping a splash cymbal in place slowly started to give, but mid-song Marco adjusted it while not missing a single beat in the song!  It was a great display of concentration (and persistence!).  This first song had quite a jazzy flavor to it, but it was played with a lot of power.  I don’t remember hearing jazz, or what to my ears appeared to be jazz, played that way.

He went right into the next song (amidst a roaring applause of approval from the audience), and this one was a more ‘straight at you’, more aggressive type piece.  Although it did have its jazzy fills interspersed within, it definitely had more of a rock feel.  The combinations and patterns he played were dizzying, but at the same time it was never exaggerated.  As fast and as many fills he incorporated into the song, it was never too much.  It seemed to all fit seamlessly into the song, without being overdone.  This takes a great mastery of composition to accomplish, and Marco was exceptional.

The third piece was even more aggressive, starting as a straight-four rock piece, with lots of ‘double bass onslaught’ fills thrown in.  This was the shortest song of the set.

The fourth song was more melodic, almost electronic-sounding, robotic-like.  I was amazed at how different his drums sounded in this piece just by the patterns he was implementing.  It eventually went into a very fast tempo.  He was just all over the kit at this point, as he entered into the first solo of the night.

Marco showed incredible interplay between the drums, with a prodigious display of independence.  But throughout the initial songs and this solo, what impressed me was the force with which he played.  So much power, yet it didn’t seem like he was over-exerting himself to play that way.  The notes were even, and the dynamics he employed gave such life and a personality to the solo that it was a song within itself.  Instead of just displaying chops or fast rudiments, he combined these elements plus an incredible knack for composition that, as lengthy as the solo was, it was never boring.  But through it all, it was hair-raisingly powerful, and the audience hooted and applauded many times over.

With all that going on, many times Marco employed his stick-twirling techniques that left your jaw dropped.  Because as all of the previously described was going on, on occasion he’d dazzle with his flawless stick-twirling.  And it wasn’t just the twirling in the air – the sticks would strike the cymbals and drums while twirling.  He dropped his stick once, but he recovered so quickly that it almost seemed like it was part of the act!  He smiled many times throughout the playing (including when he dropped the stick), and it was great to see how much fun he was having.  No doubt the audience was having a blast as well.

There were several styles exhibited during the solo as well, from funky grooves, to complex jazz patterns, to straight out double bass combinations with every part of the kit.  Eventually the solo featured a very specific part of the kit – the cymbals.  A solo of cymbals ensued, showcasing the various pitches of each cymbal, and even the different sounds that each cymbal could produce, based on how the cymbal was struck.  He then performed some stick-twirling tricks with the hi-hat which was just awe-inspiring (difficult to describe!).

There were many, many favorite parts to this solo for me, but near or at the top would be the ending.  Marco crescendoed with a dizzying array of speed and dexterity, face-bashing power combinations, to all of a sudden slam to a halt and play “La cucaracha” on the toms.  It was such amazing and unexpected comic relief that everyone was just laughing, it was so hilarious.  He’d play the first part of that song, then go back to an incredibly fast power combination of fills and patterns, then slam to a halt again and play the second bar of “La cucaracha”.  Then he again played yet another powerful combination of complex fills and patterns, then slammed to a halt again to repeat the first bar of “La cucaracha”.  And that’s how that solo ended, with thunderous applause to follow.  Definitely one of my all-time favorite solos.

Marco then grabbed the microphone and started discussing some of his approach to playing, and his main point was that he doesn’t like repeating things very much, that he likes to be very creative and try new things, and challenge himself.  There was a certain cartoon project he was involved in where he was discussing with a colleague how to come up with something new, some type of pattern that never repeats.  Marco had an idea already brewing, so he proceeded to play a pattern which seemingly had no rhyme or rhythm.  Then he asked his colleague to repeat the pattern.  Obviously, he objected, because there was no apparent pattern.  Then Marco went on to tell the colleague that in fact the pattern was played exactly to the lyrics sung to “We Will Rock You” by Queen:

Buddy you're a boy make a big noise
Playin' in the street gonna be a big man some day
You got mud on yo' face
You big disgrace
Kickin' your can all over the place

Now the colleague could play it immediately!  A seemingly random pattern was now associated with a familiar rhyme, and now the pattern made total sense.  Marco went on to show the audience another example, “Tom Sawyer” by Rush:

A modern-day warrior
Mean mean stride
Today's Tom Sawyer
Mean mean pride

So Marco figured out a way to create a pattern that doesn’t repeat, but made total sense.  So how could he apply this another way?  What if the words were not sung, but just spoken?  Could a drum pattern be, well, “patterned”, after that?  Marco came across a section of the Monty Python movie “Life of Brian” called “What Have the Romans Ever Done For Us?”  To our delight, a screen came down in the performance hall, and while the dialog of that scene was going on, Marco drummed a solo precisely to the dialog!  It was one of the most creative things I’ve ever seen done on drums.  Each character seemed to have a corresponding drum or combination of drums and cymbals.  A rumbling of drums would sound when all in the scene would mumble, and it was just hilarious.  Marco said that it took him about four days to figure out all of the spoken parts, first transcribing them to guitar and keyboards, and then to the drums.  Masterful.

He then went on to discuss independence, and started by playing a five pattern on one hand, while playing a nine pattern on the other.  Playing them simultaneously made for a sympathetic pattern that made sense.  He then went on to play a different pattern on each limb, and when played together it also made perfect sense!  This he says is how he comes up with patterns he ends up using later on.  If the pattern doesn’t work (meaning it sounds like crap ), he discards it.  Otherwise, he keeps it.

Next he played a double paradiddle using his feet on the two hi-hats in the kit, one on each side.  While that was going, he played a solo over it.  Independence indeed!

Next were some questions from the audience that Marco fielded.  Here’s the gist of them:

Q:  ‘What’s your favorite rudiment?’
A:  ‘Probably the 5-stroke roll’

Marco went on to demonstrate how versatile this rudiment is, and played over a 4/4, at different modulations, and different accentuations.  I never thought of the 5-stroke roll that way before!

Q:  ‘What’s your favorite genre of music?’
A:  ‘All kinds’

Marco emphasized specific bands more than different genres, and that these bands fell into all types of genre categories.  He likes music from Led Zeppelin, Frank Zappa, The Police, etc.  These helped with his playing because he liked them.  To him, it’s all about playing the right note.  “Whatever you like, you’ll learn it,” Marco said.

Q:  ‘What’s your musical background as far as family influences?’
A:  ‘Was one of the first in my family to play an instrument’

Even though his father was heavily into music, he did not play an instrument, but was very encouraging to his son.  Hearing metal music was what inspired Marco to pursue the music business.  His first gig was when he was about 12 or 13 years old, which he chickened out of.  But when he did actually get to play, he loved the response of the audience, and there was no turning back.  Even at the clinic Marco looked so excited to be playing to an audience and being very appreciative of it.

He always wanted to do his own thing and be as creative as possible, even regarding his kit setup.  That’s why, for example, the toms on his bass drum go 10”, 12”, 8”, instead of the typical 8”, 10”, and 12”.  This allows him more melodic possibilities for certain patterns he likes to play (I got this information out of him after the show with a little one-on-one time ).

It’s interesting that, as good a drummer as he is, when creating music Marco usually adds the drums last. He also plays guitar and keyboards, and after these parts are down is when he adds the drums.  To him this method allows him to be as creative as possible.

After these questions, Marco played a couple of his speed metal-type songs, “Diminished to b” and “Epitaph”.  It’s amazing to see what energy and endurance is required to play such songs.  “Epitaph” was more of a request from the audience, and I’m not sure Marco was planning on playing it.  He hadn’t played it in a while, but he did have it on his music player.  So off he went!  There was a section in the middle of the song where he seemed to forget what to play, but while he was thinking he just played some other pattern.  You could tell on his face when he remembered what to play, and it was smooth sailing till the end of the song.  That’s how a pro handles forgetting a drum part!

After these two songs, Marco fielded a few more questions:

Q:  ‘Where do you get all that energy from?’
A:  ‘I play every day’.

To Marco it’s a matter of dedicating a certain amount of time to practice.  This keeps your body in playing shape, especially if you play such demanding pieces as “Epitaph” night after night.

Q:  ‘How did you develop the foot speed you have?’
A:  ‘By practicing 16^ths and 32^nds, and rudiments’

Again, it’s a matter of practicing.  Once you reach a certain level, you can push yourself by just practicing faster.  Practicing rudiments with the feet also help with developing foot speed.

What was interesting is that Marco doesn’t consider himself a blast beat expert, even though he plays like one!  He basically heard it, and tried to imitate it in his style.  So it’s good to develop a musical ear to pick up on how to play certain songs or patterns.  This allows us to be more creative, until we actually learn the specifics on how to play these patterns, or make up patterns of our own that work for us.

Q:  ‘Who are your favorite drummers?’
A:  ‘John Bonham, Buddy Rich, Stewart Copeland, Vinnie Colaiuta, others’

Having these drummers as in influence allows for playing virtually any style that requires a drum kit.  In order to prove this, Marco finished the clinic with one last song, a Buddy Rich jazz tune called “Time Check”.  He played this song in a way I’ve never seen before, something I liken to ‘hard rock jazz’.  He played it with such power, but you could hear all the jazz nuances.  I’ve seen Buddy Rich (well, not in person) play this song, and I think these two drummers played it as good as it can be played.  An awe-inspiring, powerful way to conclude the clinic.

There’s a new drummer in my short list of favorite drummers, and that’s Marco Minnemann.  He sort of embodies what I like about my other favorite drummers:  the speed of Thomas Lang, his dominance over different genres, such as rock and jazz (Steve Smith), the power of John Bonham, and the creativity of Neil Peart.  That may be saying a lot, but these are the drummers that were around before him, so he had their styles and influences to draw from.  What we have is a multi-talented drum kit player who knows how to ‘overplay’ without overplaying, so to speak.  He’s very fast when he needs to be, has impeccable timing, has complete control over his kit, is extremely creative, and is just a downright humble guy.  And he loves to share how he plays with others – he holds nothing back.

If you’re fortunate enough to have Mr. Minnemann put on a drum clinic in your area, you do not want to miss it.  As much as I’ve written about here, it is nothing compared to seeing this world class drummer in action.  Hopefully he’ll come around my area again.  If so, I’ll be there!

]]> http://theparadiddler.com/2010/03/07/drum-clinic-marco-minnemann/feed/ 0 http://theparadiddler.com/2010/01/16/sabian-live-at-namm-2010/ http://theparadiddler.com/2010/01/16/sabian-live-at-namm-2010/#comments Sun, 17 Jan 2010 02:09:13 +0000 Omar http://theparadiddler.com/?p=1410

NAMM is one of the busiest times of the year for the music industry.  Every January, the largest music products trade show in the world hits Anaheim, CA, and droves of enthusiasts go to check out the various products, or show off products of their own.  Then there are others who go for the music.  And at The Paradiddler, the focus is drums.

Once again, I did not have the opportunity to attend in person (maybe next year?).  Fortunately, we have sites like DrumChannel.com that streams the event.  It’s Sabian’s yearly “Sabian Live”, with live entertainment from some of the best drummers that use Sabian cymbals.  I, for one, use Sabian cymbals myself, and I’m very happy with them.  Of course, the pros make them sound phenomenal.

Similar to last year, DrumChannel.com had various camera angles during the show that you could switch between (five to be exact), with the fifth one reserved for the backstage interviews.  In reviewing DrumChannel.com’s Sabian Live 2009, I tried to glean from the interviews what I could while at the same time watching the live performances.  That was a tall order!  I missed some really great stuff on both sides, so I took a different slant this time.  I decided to be more of a photographer, taking video stills from the live stream of the musical performances, and presenting them here for your viewing pleasure.  Alas, I could not get the whole show (more on that later).

The event was co-hosted by Dom Famularo, drumming ambassador to the world, and Dream Theater’s own Mike Portnoy.  Dom reminds me of Terry Bozzio, in the sense that they’re both so enthusiastic about drumming that it’s infectious.  You can’t not like drums when you’re around those guys.  And that’s just from watching them online!  The only thing wrong with Mike Portnoy was that he didn’t play.  Well, he was there to host and MC, so we’ll let it slip (this time).

Musical guests for Sabian Live were:

• Little Kids Rock – students from the organization dedicated to putting music back in schools
• Chad Smith’s Bombastic Meatbats
• Terry Bozzio, Tony Levin, David Torn and Pat Mastelotto
• Steve Ferrone with The Master Volume All-Stars featuring Steve Postell, Leland Sklar, Kevin Ricard and other celebrities

Here are some highlights from the performances.

Here’s the scoop on this fine organization, taken from LittleKidsRock.org:  “Since 2002, Little Kids Rock has been dedicated to putting music back in schools. We provide students with free musical instruments and instruction that focuses on their favorite popular music styles, including rock, blues, rap and hip-hop. So far, over 1,200 schools in more than 23 cities nationwide have benefited from a Little Kids Rock program, and the response from kids, parents and teachers has been phenomenal.”

The kids at NAMM put on a pretty good show.  They played two songs:  “Aces High” from Iron Maiden(!) and “La Grange” by ZZ Top.  Ok, I don’t even remember if I’ve ever heard “Aces High”, but these kids’ rendition of it was very well performed.  I’ll have to give it up to the bass player, though:  anyone (especially a kid) who can play bass like Iron Maiden’s Steve Harris is fine in my book!

Their rendition of “La Grange” was a little fast for my taste, but they got through it well enough.  I think that’s a song that has to be enjoyed at the original speed, but that’s just me!

Here’s a pic from their performance:

I had not the chance to see any of this band’s performances until tonight.  This was a real treat, because this group was fantastic.

I like Chad’s playing in Red Hot Chili Peppers, but I like his performances outside of that band more than inside.  In the 2008 Buddy Rich Memorial concert review (2^nd article), I talked about Chad’s excellent performance in the show, one of the best of the night.  I think his performance with the Meatbats was even better.  It seems like he plays more liberated when outside of RHCP.  That’s not a bad thing, however.  When you’re in a band, it’s always about the song, and the best songs are those where the musicians put the song first before themselves.  But with the Bombastic Meatbats, it’s more about jamming, and boy did they jam.

It was a very spirited set, six songs in all.  At least, that’s what I counted.  One of the songs sounded like a medley of three.  Chad introduced the second song called “Oops I Spilled My Beer.”  I’m positive many in attendance could relate J.  The Bombastic Meatbats to me were the best part of Sabian Live.

Here are some pics from the performance.

If Terry Bozzio’s going to be on the bill, you know you’re in for, well, complexity. This night was no exception.  I should have timed the first song, because it took forever! It was a brooding, dark, menacing piece.  The next day during DC at NAMM Terry mentioned that it was all improvised, and that for a lot of the performance he could not hear at all at least one of the other musicians.  It sounded all in unison to me, which was very impressive.  It seemed more like a progressive rock piece, kind of self-indulgent (in a good way though!).  Tony Levin’s playing was just sick – it amazes me how he’s flailing away on his ‘bass’ and creates such beautiful melodies.

Unfortunately, it was at this point that the Drum Channel feed dropped for the longest time.  But I did catch some pics of the performance, so here they are.

Well, it was getting very late at this point, and the feed from Drum Channel was a little shaky, but I did get a few pics from this performance.  I have to say that this was my least favorite part of the show, even though the drumming was very good.  Steve had a very nice pocket going.  He swears like a trooper, though!  The song selection was not my cup of tea, but I like anything live!

Here are a few pics from this performance:

And that was the show!

As far as the sound goes, it was much, much better this time around than last year, so Drum Channel got that right this time.  Chad Smith’s drums sounded just fantastic.  Like I said, that was my favorite part of the show.

In a future article, I’ll put out pics from some of the interviewing that went on backstage during the performances.  It’s very difficult to cover everything from afar (hm, I’ll have to assemble a team for the next one!).  In any case, it was a good time, with very good performances.  I believe Drum Channel will be posting these performances on their site in the near future, so watch out for those.

And that’s a wrap!

]]> http://theparadiddler.com/2010/01/16/sabian-live-at-namm-2010/feed/ 0 http://theparadiddler.com/2009/12/27/great-snares-of-rock/ http://theparadiddler.com/2009/12/27/great-snares-of-rock/#comments Sun, 27 Dec 2009 21:51:38 +0000 Omar http://theparadiddler.com/?p=1342

DW Edge Snare

No other drum in a drummer’s kit stirs up more emotion than the snare drum.

It is a very unique drum.  As individual as the drummer themselves.  Some drummers go through a painstaking sampling process to determine which snare drum sounds just right for them.  For those who can afford it, many snares make it to the inventory, for when the occasion calls, there’s the perfect snare waiting in the wings.

For some drummers, even though they have their snares, that sound doesn’t define them.  Maybe the whole of the kit defines them.  Others are known for their snare sound, and even have their own signature snare made for them.  In any case, it’s a special drum.

In the article “Leave That Snare Alone!”, I talked about how special the snare is, and how attached drummers are to them.  Sometimes whole kits come and go, but when we hit the sweet spot with the snare, it stays.  Some even stay with the same drum (not only the make and model, but the actual drum) for decades.  ‘Leave that snare alone’ indeed!

Being that the case, over the years I myself have grown fond of this drum.  I currently have only two snares at the moment, but my search is on for the snare (or snares!) that I’ll fall in love with.  Ever since I was little, this drum has always captivated me with the sheer power of being able to penetrate through so much amplification.  You have to respect the snare drum.

So many different snare sounds as well, with their different sizes, differing snare strand counts, different tunings on both top and bottom heads, throw off, throw on, ringing, muffling – ‘the end is listless’.  It’s so much fun.

All that being said, after many years of listening, I’ve come up with a list of my top five favorite snare sounds in all of Rock.  Of course, there’s Jazz, Country, and whatever other genres, that use the snare too, but I grew up in a little town north of Boston listening mostly to Rock.  Hearing all these songs and bands on the radio, vinyl, 8-Track, cassette, CD, mp3, etc., well, you get to hear a lot of different snare sounds, if that’s what you’re looking for specifically.

Admittedly, this top five is very subjective.  Like I said, there are as many snare sound preferences as there are drummers; these are just my favorites.  There are more snare drum sounds that I truly love as well, but I’m limiting my countdown to five.

When I started researching for this article, I figured that, if I could, I would find out from the artists themselves what specific snare drum they used.  Some of us may want to imitate those sounds on our kit as closely as possible, so why not hear ‘from the horse’s mouth’ what the artist played?  I was thrilled to get responses from the very artists who produced these awesome snare sounds.

The descriptions I give about what I hear are strictly how I hear them.  Someone else may hear something very different, or not agree at all.  Or maybe you’ll wonder, “What’s that snare doing on this list?”  Sometimes it’s not just the sound of the drum, but it’s also how the music makes you feel (see “Not Just About the Drums”).  You’ll also note that there’s a common thread among these snares, which I’ll emphasize in the end.  So without further ado, here’s TheParadiddler.com’s list of the top five snare sounds in Rock.

The first time I heard this song on the radio, the drum sound immediately stood out.  Yes, you have the recognizable guitar riff, but to me, the snare sound was just beautiful.  Actually, I really love the bass drum sound too.  You can hear the smack of the beater create the full, rich bass drum sound with fast decay.  I like bass drums that are thick and fast, and get out of the way.  But even though the bass drum here had a tinge of boominess, it fit the overall sound just right.

But I digress!  Back to the snare.  When I first heard it a long time ago, I couldn’t describe why I liked it – I just did.  It felt so right in that song.  I like the snare’s innocent pop, but it’s also very pronounced.  I don’t like snares that have a lot of delay, as if the snares are loosely set, or by post-production (a la Def Leppard’s Rick Allen) – this snare was totally the opposite.  Fast, quick, responsive, slightly thick – a thing of beauty, a feast for the ears.

The sound I describe is mainly during the verses of the song.  Because the volume of the singers seems to go up a bit during the chorus, the snare doesn’t sound as pronounced.  Another thing I noticed is that the drums sound better on the radio than they do on my computer playing as an mp3.  Not significantly better, but enough for these ears to notice.  All I know is, whenever “All Right Now” comes on the radio, I must listen to that snare.

So what did Simon Kirke play on for this recording?  Well, TheParadiddler.com inquired, and he was gracious enough to answer me directly!  Not only did he give specifics of the snare, but of the whole kit.  It wasn’t a complicated kit, but here’s what Simon says (couldn’t resist the game reference ):

“The kit was a Ludwig Super Classic.  Regular size snare, 14x5.5”.  22x14 kick, 12x8 and 14x14 toms.  Paiste cymbals.  No special tuning.  A bit of duct tape on the snare.”^*

Well, that setup produced one of my favorite snare sounds of all time.  Some muffling on the snare is interesting, since I tend to try to eliminate the ringing of my snares as well (check out “The Ringing In My Ears”).  All in all, great sounding kit, greater sounding snare – it’s, well, ‘all right now’.

When I was very young, my brother took me to the cinema to watch a movie.  I had no idea what the movie was – I was just glad my brother was taking me out!  We went to see The Kids Are Alright. It remains one of my favorite movies.  It had such an impact musically on me as far as expanding my Rock palate.  Suddenly Kiss wasn’t the only band in the world!  Wow, these guys were fun, crazy, funny, and immensely talented musically.

The funny thing is, the snare drum sound I extracted from this movie was not from the movie itself, but from the soundtrack.  “My Wife” (the performance occurred at the Gaumont State Theatre, Kilburn, in London on December 15^th, 1977) did not appear in the movie originally, but what an impression the drumming made on me!  Well, the drumming made an impression on me before that, but this song awakened my awareness to what a snare with personality sounds like.  It has such incredible presence in this song.

It showcases such a rainbow of sound with each strike.  It almost sounds like it has microscopic jingle bells – I can almost hear the bells with each strike (within the context of the snare, very fast), almost trebly.  It has a fat, punchy sound, but fast and pronounced – it is never drowned out by any of the other sounds in the song, instruments or voice.

We all know about Keith Moon’s prowess on the kit.  I actually think this is one of his best drumming performances.  There are no holes drumming-wise in the song.  He fills all the gaps.  He uses the whole of the kit, and the snare is featured very prominently throughout.

I hadn’t heard this song in a long time, but I always knew that the sound of the snare impacted me from the moment I heard it.  I definitely stored it away in my mind as one of my favorite sounding snares.  If I had one phrase to describe the sound of this snare, I think it would be:  “an orchestra of sound in one strike”.

Now, as beautiful as the sound of this snare is, that’s equally how hard it was to figure out what the snare drum is!  We all know that Keith played Premier drums.  The January 2010 issue of Drum! magazine stated that he used Ludwig and Gretsch snares.  I inquired of several sources to determine if anyone knew specifically what snare Keith used on this recording.  That may have been a tall order, but alas, it was to no avail – no specific answer (yet).  As soon as The Paradiddler finds out, it will be posted.

Nevertheless, this is one of the best snare drum sounds I’ve ever heard, very difficult to duplicate.  But then again, so is the drummer!

I had a friend in middle school that was a Rush fan as I was.  However, he was also just as much into Yes.  I didn’t understand his obsession.  I knew about “I’ve Seen All Good People/Your Move” and “Roundabout”, but that’s all I knew about Yes.  (Actually, I liked “Roundabout” a lot, because of one of the most famous bass licks in Rock that Chris Squire plays.)  He tried to get me into them by playing “The Gates of Delirium” from Relayer. Suffice it to say that I just didn’t get it.

My older brother one day secured tickets to see Yes during their Big Generator tour.  It was a week after having seen Rush for the first time (best back-to-back concerts ever).  I said, “Oh well, what the heck.  Free show, right?”  To this day it was the best sounding concert I’ve ever been to.  Once they played “Heart of the Sunrise” (I believe it was the second song in the set list), which I’d never heard before, Yes was instantly my second favorite band ever (Rush was and still is number one).  Now I understood my friend!

I made a note to start listening to as much of Yes as my friend could give me.  I was particularly interested in Alan White (even though every musician that has played in Yes is superb).  He was such a great timekeeper, explosive when he needed to be, reserved when needed - a consummate drummer.

Eventually I procured Yes’ VHS release of 9012 Live (recorded at the Northlands Coliseum in Edmonton, Canada, on September 28^th and 29^th, 1984), and I absolutely loved it.  My favorite versions of “I’ve Seen All Good People” and “Starship Trooper”, to this day, are from that performance.  “It Can Happen”, to me, is epic.  But of course, from a drummer’s perspective, it’s the snare drum that stood out from Alan’s playing.

As the dynamics rose at the beginning of “Cinema” (the first song of the show), I was floored by the power and finesse that was emanating from the snare.  The ghost notes were very pronounced alongside the powerful strikes.  You can hear the echo of the snare in the coliseum as if you were there.  Well, if you have your VHS (or DVD) hooked up to your stereo system, you can hear Alan’s snare pack a powerful punch.

Maybe it was unintentional, but even though his kit as a whole sounded good, his snare sound to me was so much better as compared to the rest of the kit.  It had boomy pop, of sorts.  It responded perfectly to however Alan played it.  It’s almost like Alan and the snare made each other play and sound better.  I think the snare, more than the bass drum, was the driving force of Alan’s performance.  The finesse and power which came out of the snare particularly during the Würm section of “Starship Trooper”, was a triumphant climax in a stellar performance, playing and sound-wise.

This was another one of those cases where it was not only about how the snare sounded, but also about how it made me feel.  To me this snare sounded awe-inspiring, perfectly tuned, perfectly mic’ed - a perfect storm of a snare.

Ok, so what snare did he use that night?  Fortunately, Mr. White himself personally answered TheParadiddler.com’s inquiry, and I’m very grateful for that!  I know that drummers usually have several snares in their arsenal, but sometimes there’s one in particular that’s a favorite.  Here’s what Alan said about his snare that night (or those two nights, actually):

‘Ludwig 6.5x14” hammered bronze snare with die-cast hoops, Remo heads and a 12-strand snare.  Still using the snare on current kit.’

The fact that he’s still using that very snare on his current kit is a testament to the outstanding sound this drum produces.  I sense it’s a favorite of Alan’s, and it’s one of my favorites as well!

Following the career of Neil Peart has brought much musical joy to me.  He, together with Alex Lifeson and Geddy Lee, to me, form the best trio in Rock, due to their creativity, endurance, and never, ever, just going through the motions.

Many times they’ve had to stick to their guns, creating and playing music that was satisfying to them, and not necessarily the record company’s (a la 2112).  This also applies to the equipment they use as well.  If it sounds good and it works, why not continue with it?  This applies more to Neil’s choice of snare drum than anything else.

For the longest time, from the time he joined the band, all the way up to the Counterparts tour, he used a 5x14” wooden Slingerland Artist snare that he bought for $60.00, secondhand!  This ended up being a very versatile snare, and throughout the years Neil got a lot of different sounds from it.  I really loved how it sounded on Exit… Stage Left, both the video and the LP (later CD).  Maybe because that’s when I started liking Rush, and Rush fans tend to like most the Rush era when they got into their music.

But it would not remain that way.  Along came Counterparts in 1993, and I was floored by the dynamic sound of that CD.  A very raw, loud (but not distorted) sound, in your face.  All three musicians stood out – to me, this is one of Rush’s best sounding recordings.  The drums really stood out.  And obviously, so did the snare.  The same snare as always, but there was so much punch to it, very solid.  I don’t think I ever heard Neil’s “Number One” sound so good.

The goodness of this snare’s sound carried on to the tour.  I (lamentingly) didn’t get to see this tour in person, but I got a hold of a bootleg of the performance mentioned above (no I didn’t buy it, nor did I sell it, but someone had it, and I had to watch!).  I was floored by the sound of the snare on this performance.

I’d have to describe the snare as having a ‘snap of the whip’ type sound, but obviously with much more power and projection.  I think the acoustics of the venue served the snare drum quite well.  The fast fills were very well defined, and when Neil hit the snare with mighty force, the full-bodied snapping sound penetrated all other sounds fiercely.  One of the songs that particularly highlight how great the snare sounded that night was “Double Agent”.  I’m hoping someday that Rush release that show on DVD (one can hope!).

We were very lucky to have an authorized release of part of the show, anyway.  In the article “Neil Peart Solo Number Two – Counterparts, 1994”, which was part of an exhaustive ranking by TheParadiddler.com of all of Neil Peart’s published solos (you can read the beginning of the series at “Neil Peart’s Solos Ranked”), it was mentioned that this solo was included in the Anatomy of a Drum Solo instructional video by Neil Peart.  That, actually, was the qualifier for including the solo in the countdown, and I’m very glad it was published for the general public.  Such a great solo.  Neil’s drums always sound great, including of course, his “Number One” Slingerland.

This tour ended up being the Slingerland’s swan song, because it was retired in favor of some DW snares that Neil had grown fond of.  I’m sure it’s still a favorite in his heart.  As for me, it produced some of my all time favorite snare sounds.

One thing we can say about the sound of John Bonham’s snare drum is that it was very consistent.  The sound varied little from album to album, even to live settings.  But it was always vintage Bonham.  It’s very difficult to nail down a specific performance that exhibited the snare’s best sound, because it always sounded consistently great.

This is one of my favorite snare drum sounds, if not my favorite.  It is so powerful, yet when played softly, it whispers.  It plays ‘fat’, but the fat sound is gone as soon as it comes, giving it a complex, full sound.  It has nice bottom and high end frequencies, giving it a multifaceted voice.  I can’t say enough about its sound:  it absolutely rocks.

There’s something else about this snare that I’ve never been able to figure out to this day.  I think it’s only me, but who knows.  It seems like when Bonham struck the snare, it sounded like there was always a ‘ghost note’ struck simultaneously.  Sort of like an ever-so-slight echo, but right before instead of right after the main strike.  Ok, not every single time, but way enough times for me to notice.  I don’t think I’ve heard this phenomenon with any other snare (or drummer?).  At least it’s what I hear.  It’s hard for me to explain, but it only adds to the drum’s mystique.

So what snare drum is it that JB played?  It was the Ludwig Supraphonic 402, 6.5x14", chrome plated aluminum alloy.  For those who want to reproduce as faithfully as possible the John Bonham sound, many try to obtain these models made during the time Bonham was playing.  But according to Shane Kinney of the Drum Center of Portsmouth, NH, this is not necessary.

Shane demos lots of the gear sold at the store on their YouTube channel.  He does a great job, especially with their snare drums, to explain the virtues of the drum, and for the snares he demos their sound with low, medium, and high tunings.  One of the snares he demos is a new Ludwig Supraphonic 402 6.5x14" snare.  According to Shane, you don’t need to seek out a ‘vintage’ 402 to get that Bonham sound - the new ones sound just as good.  To see for yourself, here’s a video of Shane demonstrating the sound of one of the most awesome snares in Rock.

It has been noted that Bonham later used a 42-strand(!) snare on his drum, so if you really want that JB sound, you may want to experiment with different snare strand configurations, in addition to the one that comes from the factory.

So what conclusion can we arrive to after all is said and done?  As far as Rock goes, Ludwig rules. Four of the five drummers on this list used Ludwig snares.  And although Neil Peart wasn’t known to use Ludwig snares, from Rush’s Hold Your Fire release in 1988 up until the Counterparts tour in 1994 (thereabouts), his kit was Ludwig (when he then switched to Drum Workshop).  So again, across the board, Ludwig rules in Rock.

Of course, there are many, many brands of snare drums, and each drummer has their own preference.  I’m of the belief, and I’m sure I’m not alone, that the snare drum should be brand independent in a drummer’s kit.  It’s a unique drum in a drummer’s kit, and the one many are very passionate about.

I hope this little countdown of my top five snare sounds in Rock has created a little spark, encouraging you to experiment in duplicating your favorite snare sounds, or configuring a sound all your own.  As for me, the next time I’m in the market for a new snare, at least I know what brand it will be!

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^*All manufacturers mentioned here can be accessed from the Drum Directory of this web site



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