..of Brooks Wackerman.
Yes, even punk rock can be musical. I've been watching Bad Religion's set about every other night and waiting for the one time that he might actually follow the anticipation and go into half time.... But he never does. It's awesome. What a great drummer...
Friday, August 7, 2009
Wednesday, June 17, 2009
Rebound
If we must use a metaphor, bouncing a basket ball being the visual aid. Understanding the basic function of the ball-to-hand motion is necessary before anything else.
Like a lot of practices we sometimes forget about the basics. I watch a lot of modern drummers who didn't learn a few physical concepts that could lead them to the next level of playing faster than they think. One being rebound. A balance of the give and take of the player to the drum.
Most concepts are similar to this in the sense that you can use a single drum or drum pad to work through it. The two mistakes I see are swinging the stick down like throwing a heavy rock down into a puddle and with a undeveloped loose grip. The other is a bit more like stabbing the drum. This is usually pairs up with a tense player. Both make you work at playing drums way more than needed. And usually leaves the heads damages. Dented and punctured.
Like bouncing a basket ball down the court, you're letting the rebound of the bounce work with you, not against you.
This allows the drum to "sing" or resonate. And you'll be playing drums for a lot longer.
Like a lot of practices we sometimes forget about the basics. I watch a lot of modern drummers who didn't learn a few physical concepts that could lead them to the next level of playing faster than they think. One being rebound. A balance of the give and take of the player to the drum.
Most concepts are similar to this in the sense that you can use a single drum or drum pad to work through it. The two mistakes I see are swinging the stick down like throwing a heavy rock down into a puddle and with a undeveloped loose grip. The other is a bit more like stabbing the drum. This is usually pairs up with a tense player. Both make you work at playing drums way more than needed. And usually leaves the heads damages. Dented and punctured.
Like bouncing a basket ball down the court, you're letting the rebound of the bounce work with you, not against you.
This allows the drum to "sing" or resonate. And you'll be playing drums for a lot longer.
Saturday, March 28, 2009
Friday, March 20, 2009
Vivaldi's Inspiration
In my constant search for being more rhythmically inclined I also have this other need that tags along.
To be musical.
I started tapping into one of my favorite classical composers portfolio. Amongst the normal mundane but well needed practice I do of rudiments and mechanical drumming, I have this other head space that needs attention. It's the same space that gets me together with other players to spontaneously collaborate. But I don't get that opportunity too often.
Vivaldi has always had a great feel and movement to his writing along with very memorable melodic phrasing. But no set player behind him. He seems to be invisible. So I turned my 'required' drumming knob and turn up the 'spastic creative' knob as I call it. Stay in tempo of course (I don't choose tracks that are free-flow or fluctuate too much), and engage myself in the moments of spontaneity..
To be musical.
I started tapping into one of my favorite classical composers portfolio. Amongst the normal mundane but well needed practice I do of rudiments and mechanical drumming, I have this other head space that needs attention. It's the same space that gets me together with other players to spontaneously collaborate. But I don't get that opportunity too often.
Vivaldi has always had a great feel and movement to his writing along with very memorable melodic phrasing. But no set player behind him. He seems to be invisible. So I turned my 'required' drumming knob and turn up the 'spastic creative' knob as I call it. Stay in tempo of course (I don't choose tracks that are free-flow or fluctuate too much), and engage myself in the moments of spontaneity..
Friday, March 13, 2009
Having Some Road Remedies.
'Cause sometimes you don't know what you're going to get..
The last few shows on this European trip have been kind of an adventure one might say. I flew out merely with sticks, a click track, and some tuning keys. Everything else has been provided by the venue or promoter.
Uncharted territories. Unnerving. I've honed in on some quick remedies..
Let me share..
Because I haven't been sure what equipment to expect, I lean heavily on my minimalist set up. Crash, ride, and hi-hats will do. A rack and floor, snare and single kick. Anything else is a plus.
Most cases, there hasn't been a lot of time to check so I focus on tuning snare and toms. I don't leave out the kick drum, I just leave it to check toward the end because it's usually a quicker fix. Unless it totally sounds out and the tension on both heads aren't too tight, I make sure there is enough punch and the heads are padded with a towel or pillow of sorts, touching both sides. I then check on how it sounds from out front of the kit. I'll wait until another drummers playing it to give it a final tune. Oh and if I really don't have anything else.. a hoodie sweatshirts come in real handy.
With all the drums, I treat tuning heads like a guitar player would his strings. Loose to tight.. That is if I'm having to start over from scratch. I'm noticing most guys who have lent me their kit, crank their snares so high that there is barely any sgnificant 'crack' or depth left. So I've found myself de-tuning often.
Gaff tape has become my greatest ally. It's been hard to get a hold of moon gel consistently, which I prefer. Its easy to run out of it. But usually sound men have gaff tape lying around and cheap to buy. It usually takes a small strip to take the edge off a tom or snare that has loads of ring. I still try and let the drum resonate. If it's an old head that is beat to death, it will need more tape. Those drums can sound like a dying child without 'deadening' them first. Hope you understand the seriousness of that redundant statement.
By the way, I've been borrowing a certain female guitar player's PINK gaff tape... whatever works!
I try to grab the largest cymbals because even if I don't hit them super hard I want them to wash out well. I do a fait amount of cymbal rolls and washing in the set and that just doesn't sound good on a smaller high pitched crash that are the size of my hi-hats. If a crash or ride has been cracked I can't do much with it. If the top hi-hat are broken I'll flip them around.
The other night I received a snare and the throw-off was held down by a girls hair band... so I grabbed another available snare, then 16" then 12" toms. The snare and toms were black with a sparkle kick drum and the hi-hats were practically two separate splashes put together.
Build-A-Kit!
On a side note, I've been becoming accustom to smaller lower set toms and crashes. In a small club or venue I don't have to play as intense and I'm usually more relaxed with my grooves and fills. In this particular pop rock setting, its been important to stay agressive, but also know how to get the same sound without overplaying. The band isn't overpowered, and that's importnat for a vocally strong band.. It usually means less arm for me.. more wrist.
So that's possitive.
The last few shows on this European trip have been kind of an adventure one might say. I flew out merely with sticks, a click track, and some tuning keys. Everything else has been provided by the venue or promoter.
Uncharted territories. Unnerving. I've honed in on some quick remedies..
Let me share..
Because I haven't been sure what equipment to expect, I lean heavily on my minimalist set up. Crash, ride, and hi-hats will do. A rack and floor, snare and single kick. Anything else is a plus.
Most cases, there hasn't been a lot of time to check so I focus on tuning snare and toms. I don't leave out the kick drum, I just leave it to check toward the end because it's usually a quicker fix. Unless it totally sounds out and the tension on both heads aren't too tight, I make sure there is enough punch and the heads are padded with a towel or pillow of sorts, touching both sides. I then check on how it sounds from out front of the kit. I'll wait until another drummers playing it to give it a final tune. Oh and if I really don't have anything else.. a hoodie sweatshirts come in real handy.
With all the drums, I treat tuning heads like a guitar player would his strings. Loose to tight.. That is if I'm having to start over from scratch. I'm noticing most guys who have lent me their kit, crank their snares so high that there is barely any sgnificant 'crack' or depth left. So I've found myself de-tuning often.Gaff tape has become my greatest ally. It's been hard to get a hold of moon gel consistently, which I prefer. Its easy to run out of it. But usually sound men have gaff tape lying around and cheap to buy. It usually takes a small strip to take the edge off a tom or snare that has loads of ring. I still try and let the drum resonate. If it's an old head that is beat to death, it will need more tape. Those drums can sound like a dying child without 'deadening' them first. Hope you understand the seriousness of that redundant statement.
By the way, I've been borrowing a certain female guitar player's PINK gaff tape... whatever works!
I try to grab the largest cymbals because even if I don't hit them super hard I want them to wash out well. I do a fait amount of cymbal rolls and washing in the set and that just doesn't sound good on a smaller high pitched crash that are the size of my hi-hats. If a crash or ride has been cracked I can't do much with it. If the top hi-hat are broken I'll flip them around.
The other night I received a snare and the throw-off was held down by a girls hair band... so I grabbed another available snare, then 16" then 12" toms. The snare and toms were black with a sparkle kick drum and the hi-hats were practically two separate splashes put together.
Build-A-Kit!
On a side note, I've been becoming accustom to smaller lower set toms and crashes. In a small club or venue I don't have to play as intense and I'm usually more relaxed with my grooves and fills. In this particular pop rock setting, its been important to stay agressive, but also know how to get the same sound without overplaying. The band isn't overpowered, and that's importnat for a vocally strong band.. It usually means less arm for me.. more wrist.
So that's possitive.
Sunday, February 1, 2009
Click, Sticks, and Kicks
I always come back to having a good warm up. Using the click. Making sure everything is smooth sounding, my wrist are loose, arm and leg muscles stretched and relaxed.
If this isn't the case, then nothing behind the kit makes sense..
This week it was playing 8th and 16th notes with sticks and kicks. 130-180 bpm
If this isn't the case, then nothing behind the kit makes sense..
This week it was playing 8th and 16th notes with sticks and kicks. 130-180 bpm
Sunday, January 18, 2009
The Shuffle
I've had the chance recently to play in some more "jam-like" atmospheres. Which is refreshing in a sense to not have to learn a full set, go out and play it and be done. A chance to stretch my muscles.
A fellow drummer and I got together. Having a great groove and feel as our main believe, we started there. Arriving to 'the shuffle', one that Todo is famous for, I was reminiscent of how the shuffle is an ever-defining skill.
The shuffle carries it's own sense of gravity. If you're not too careful, it can trap you in an uneven mess. Frankly in it's nature, is not even per say. The 8th note being swung, can be easily misinterpreted and rush the entire groove.
That said. The only way I ever locked into the shuffle was through going slow, making that feel right, then bumping up the tempo. I see a lot of drummers have phasing problems between kick, ghost notes, and hi-hat. In Zoro's book on R&B drumming he's got some general shuffle grooves that really help build a foundation. I used this recently as a guide to warm-up and refine some things.
Most importantly, I've found it's always smart to start slow, steady, and simplify, then add the tricks when you know you're solid.
Sidenote: The music lingo world needs a new word for jam. Let's use something along the lines of spontaneously collaborating. Anyone else?
A fellow drummer and I got together. Having a great groove and feel as our main believe, we started there. Arriving to 'the shuffle', one that Todo is famous for, I was reminiscent of how the shuffle is an ever-defining skill.
The shuffle carries it's own sense of gravity. If you're not too careful, it can trap you in an uneven mess. Frankly in it's nature, is not even per say. The 8th note being swung, can be easily misinterpreted and rush the entire groove.
That said. The only way I ever locked into the shuffle was through going slow, making that feel right, then bumping up the tempo. I see a lot of drummers have phasing problems between kick, ghost notes, and hi-hat. In Zoro's book on R&B drumming he's got some general shuffle grooves that really help build a foundation. I used this recently as a guide to warm-up and refine some things.
Most importantly, I've found it's always smart to start slow, steady, and simplify, then add the tricks when you know you're solid.
Sidenote: The music lingo world needs a new word for jam. Let's use something along the lines of spontaneously collaborating. Anyone else?
Monday, January 12, 2009
The Rock Time Zone
I was thinking through some different styles I've played recently, either on drums or my iPod. I think feel can be unawaringly uninvited sometimes. Between styles like folk, jazz, rock, ect there has to be a certified specific approach with a drummer's feel. And, the feel of the other players..
I entered the discussion of touching on how each style works. Jazz is different from folk is different form rock and then swing and so forth. Country drummers lay back on everything. Jazz guys keep the ride steady, but kick and snare are used more like axillary percussion half the time. Rock guys on the other hand just "lay down the law" so to speak. The ground work. Solid. The accountability. These words come to mind.
Since rock records have advanced in a sense of heavier production, most of the them lock the band in to one 'time space' I'll call it for now. No 'breath' between instruments. Weather the rock drummer has a "behind the beat feel" or plays "on top", (usually on top), the band is right there not straying from every hit. It may sound tight, but the reality of the band 'breathing' doesn't exist.
When you listen to a Led Zeplin record the guitars totally take off at times, ahead of the beat, and that's because they probably tracked it playing live in the studio. Now, I don't endorse leaving a bad take in a final recording, by all means, get good takes!! Don't be sloppy. But, when it comes to the feel of rock, guitar players are going to push, bass players should lay back, and drummers shouldn't budge the groove or tempo. It's everyone's job to play and listen 'to' the drummer as well as 'with' him. Oh right, the singers.... well, they've never been ones for tempo.
So if you're way into Travis Barker lets say, and like to push the tempo, cool. Just stay consistent with it. If you're a big ol' classic rock John Bottom kind of guy and like to stretch that pocket wide open. Sweet. Stick to it. Don't fluctuate. I'll beat you up.
jk. but seriously.
I entered the discussion of touching on how each style works. Jazz is different from folk is different form rock and then swing and so forth. Country drummers lay back on everything. Jazz guys keep the ride steady, but kick and snare are used more like axillary percussion half the time. Rock guys on the other hand just "lay down the law" so to speak. The ground work. Solid. The accountability. These words come to mind.
Since rock records have advanced in a sense of heavier production, most of the them lock the band in to one 'time space' I'll call it for now. No 'breath' between instruments. Weather the rock drummer has a "behind the beat feel" or plays "on top", (usually on top), the band is right there not straying from every hit. It may sound tight, but the reality of the band 'breathing' doesn't exist.
When you listen to a Led Zeplin record the guitars totally take off at times, ahead of the beat, and that's because they probably tracked it playing live in the studio. Now, I don't endorse leaving a bad take in a final recording, by all means, get good takes!! Don't be sloppy. But, when it comes to the feel of rock, guitar players are going to push, bass players should lay back, and drummers shouldn't budge the groove or tempo. It's everyone's job to play and listen 'to' the drummer as well as 'with' him. Oh right, the singers.... well, they've never been ones for tempo.
So if you're way into Travis Barker lets say, and like to push the tempo, cool. Just stay consistent with it. If you're a big ol' classic rock John Bottom kind of guy and like to stretch that pocket wide open. Sweet. Stick to it. Don't fluctuate. I'll beat you up.
jk. but seriously.
Sunday, January 4, 2009
Sometimes Its Simply About Keeping Time
I sat in at a church last month. I have a friend in rotation to lead worship that gave me a call. Normally in these cases I familiarize myself with the songs and the arrangements before the day comes. Only one rehearsal the morning of... No rocket science here.
Turns out the arrangements were pretty straight forward. The song in's and out's weren't hard to follow. Nothing fancy. No busy patterns or breaks. Some fills to lead into the chorus'. Sounds boring right? A test of patience possibly? But, that's what the situation called for, nothing more nothing less. The band just need me to keep time.
I've been apart of several scenarios like this in the past, and plenty of drummers think this is an oportunity to play their favorite fill of the week on every measure, or try to see how many different places in the song they can fit in a splash accent. Reminder: You are not playing for Dave Mathews Band.
Seen this kind of thing yourself? It takes a true intuitive player to just show up and play what the music calls for. Point being. You must lock to the grid! The rest of the band will appreciate tempo over complexity any day...
Turns out the arrangements were pretty straight forward. The song in's and out's weren't hard to follow. Nothing fancy. No busy patterns or breaks. Some fills to lead into the chorus'. Sounds boring right? A test of patience possibly? But, that's what the situation called for, nothing more nothing less. The band just need me to keep time.
I've been apart of several scenarios like this in the past, and plenty of drummers think this is an oportunity to play their favorite fill of the week on every measure, or try to see how many different places in the song they can fit in a splash accent. Reminder: You are not playing for Dave Mathews Band.
Seen this kind of thing yourself? It takes a true intuitive player to just show up and play what the music calls for. Point being. You must lock to the grid! The rest of the band will appreciate tempo over complexity any day...
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