Alguien escribió:My Sonor drums that I've used in the Europe for the last 3 years are Designer Maple shells.
8x8, 10x8, 12x9, and floor toms 14x12, 16x14 and a 22x17 bass drum in Earth finish.
Heads in the studio and live are coated emperors on the tops of the toms and either clear ambassadors on the bottoms or coated diplomats on the bottoms.
In the studio I would use a coated pinstripe or a CS Dot on the snare top. Live I use an EmperorX - it’s a bit heavy but the only one that will see me through the whole show without pitting too badly. Probably I can use the EmperorX for 2-3 shows maximum before I have to change it.
The bass drum has a powerstroke 3 clear on it and inside the drum it's about a 1/3 full of heavy pillows. Yep I like a dead bass drum. I noticed that live it's really hard to get a good punchy bass drum to come through a PA unless it's really dead, because most venue PA's will extend the note of the kick making it really un-usefully long. In fact PT's sound engineer gates the length of the bass drum to make it really short. Sometimes I ask him to turn the gate off and suddenly it sounds like an 808 sample with long sustain.
Also the bass drum is MUCH easier to play a double pedal on when it’s got a pillow pressed up against it. Acoustically it’s a bit of a 80’s Jeff Porcaro sound but when it’s amplified it sounds good to me.
The only strange thing I do with a snare drum is I normally put 12 strand puresound snares on it - but I cut down the outside strands so there’s just 8 left in the middle. It sounds better and feels better to play - just my preference.
For the last couple of tours I used the Sonor black steel 14x5 snare and it was consistently good in different rooms. I normally carry a few other snares but this one just sounded great so I used it every night.
Alguien escribió:On my snare I use a very slim "O" ring. In fact I've made about 6 or 7 "O" rings that are all less than 1" wide and I try different permutations of them (sometimes two together) until I get the amount of dampening that I want.
Alguien escribió:Many people have asked me about those little bell cymbals. They are in fact home made out of old broken 16" Zildjian crash cymbals that I had in my garage.
So I cut 5 of them down. The biggest one is just over 6" and the smallest is just under 5". The smallest one is actually made from a broken splash cymbal.
Then I got a friend of mine to make me a little bar to mount them on. Simple as that.
Alguien escribió:Hi e7z,
I'll try to answer your questions.
I use these microphones
Audix D6 at the from hole of the bass drum - no eq - about 2 inches away from the skin
Audix i5 on the snare top - little bit of 12khz boost eq - about 2 inches away from the skin
Shure SM57 for under snare - reverse phase - no eq
Electro Voice ND408 on the toms - no eq
2 Royer 122 ribbon mics as stereo overheads - reverse phase - no eq
AKG ck391 on the hi hat - low frequencies cut eq
2 Scheops CMC5 as stereo room mics.
They are connected to the desk and then into the Apogee Rosetta 192 digital converters - and into Logic Pro 7 software on my Mac G5.
Sometimes I use the Waves C1 compressor on the snare top and sometimes on the overheads. Sometimes I use the Space Designer reverb which is part of Logic Pro software.
I try to record the whole song in one performance. Maybe I will make 3 whole performances that I like and cut from one to another - but try to keep as much of one performance as possible. I don't like to record in little pieces and then assemble -
because I can hear that it's not continuos.
Alguien escribió:I find that if my snare is buzzing when I play the toms - it's usually just one tom (the one in front of me) where the pitch is very similar. If you turn your snares off and listen to the pitch of the snare drum - and then compare it with the offending tom - you should find they are in the same pitch zone, so you must decide if you want to raise the pitch of the snare or the tom. It doesn't matter - as long as they are significantly different.
I also cut down my snare wires from 12 strands to 8. Cutting the outside 4 off.
Alguien escribió:I've been playing Axis Longboards for a few years now. Slightly different feel from other pedals I've used - but I could instantly play things on them I was only dreaming of before. After that - there was no going back.
I didn't get on well with the Sonic Hammers - so I use the 2 way Pearl beaters.
Alguien escribió:Top 5 drum books?
In no particular order
Ted Reed's Syncopation (and the systems that you can apply to it).
Gary Chester's New Breed (similar idea about applying systems over ostinatos)
Gary Chaffee's Patterns Books
Fred Albright's Contemporary Studies for Snare Drum
Future Sounds - David Garibaldi
Alguien escribió:I just had a quick listen to Blackest Eyes. The fill at 0.25 is a flam between the tom and snare + another snare + a bass drum. It's basically a flam triplet with the last note as a bass drum grouped inside 16th notes.
Same kind of thing happens at 0.36 but where there was one bass drum before - now there's two 32nd notes.
Alguien escribió:Sorry, Gavin. I totally made that up. It's in "The Creator Had A Mastertape" and it's
at 3:28. Sorry for the mix-up. That song has such energy...when the song broke down right before that fill, I was listening to it, putting together in my head what it would sound like when the song came back in...and the fill that I created in my head was exactly the fill that you played! I love it when what should be played is what's played. That fill sent chills up my spine. But I always have problems playing it. Any tips?
It's a really hard fill to play at that speed - but the nuts and bolts of it goes like this... L r r l l (on the snare) kick kick (on the double BD pedal) and then a tom with the right hand... so it's 8 notes grouped in the space of a dotted quarter note. The tempo is something like 166bpm - so that's going by quite quickly. At the start of the fill there's a bit of a snare roll/double kick and tom note leading up to the first snare accent (and that's where the pattern above begins). I think the "L" accent on the snare moves across to a tom every other time.
Okay, great. Now I can practice that a lot slower. I don't have any more questions but there was one other thing that I wanted to tell you- in the DVD version of "Futile", as well as in a lot of other tracks, you do a fill that I really picked up on. In "Futile", it's in the section where you're soloing a bit.
TOM ...xx ......xx
SNA ........X .......X
BAS xx........xx
If that made any sense- in other words, you play two eighth notes on the bass drum starting on the downbeat, and then two eighth notes on a tom (or two toms), and then a quarter note on the snare drum. I've started using it all the time and it's really cool.
Hey Foog, you're welcome. I was thinking about that fill the other day - I guess it's something I've been doing naturally for years now....it's just when I try to figure out how to play 8 notes in the space of six sixteenths it gets a little odd.
Anyway - don't wear it out - I might need it again !!!!!!!
Alguien escribió:Glad you like "The Start of Something Beautiful". That one is a good example of how my drum parts took shape. One day I was listening to a Sting song called "Big Lie, Small World" and I really didn't like the programmed drums on that track, so I thought to myself - what would I have played on that song? So I jammed along - and after a while I settled on a pattern that I liked. I wrote it down and thought nothing more of it. A few months later, I looked at the rhythm I'd come up with and still liked it. Sometime later - I played the drum pattern to Steve Wilson and suggested a different type of bass line that closely follows the way the drums move. That's how the verse groove got going to "The Start of Something Beautiful". I also had a much more urgent rhythm in 5/8 that contrasted the slow vibe of the 9/8. In fact I originally called the piece (as a joke) "9 to 5". I worked closely with Steve to create the basis of that piece - and I was very pleased with the design of the rhythmic elements. Steve of course turned it into a very nice song.
vgarate escribió:Hombre, no vayan a caer con lo de las tijeras de hojalata. Ayer compré unas, no como las de la foto, y no le hace nada al plato...
Creo que esas que salen son las que pone "de aviación" o algo así... algún experto en herramientas / metalurgia por acá? :martillo:
Alguien escribió:there's no big secret really. I use a Shure SM57 on the top and bottom of the snare drum. Sometimes an Audix i5 on the top. I reverse the phase of the bottom mic - and that's it. Playing in a good sounding room really helps too. Usually I use a Waves C1 compressor plug-in - depends on which snare drum and the song of course.
My main bass drum is pretty dead - with a large pillow inside. A port hole in the front head and an Audix D6 mic just inside the hole.
Sometimes I use a bass drum with two coated Ambassador heads on and no dampening. I put a Shure SM91 inside the drum and a Neumann TLM103 close to the front head for a big sound. Experimentation is always worthwhile until you find a sound you like - and that fits the style of music you are playing.
Alguien escribió:I hear a lot of bad things about the board that you use to record your drums (Mackie 32/8), but you seem to get really great sounds out of it. Do you find that the Mackie's apparent low quality preamps hinder you in any way or do you have to spice up your drum sound afterwards in Logic. Also, what recording gear are you using these days and how many channels of drums do you usually use per song? What AD/DA converters are you using and what's your signal chain look like?
Hi Kenneth,
I haven't heard bad things about the Mackie 8 bus desks. Sounds good to my ears - in fact the drums for the last PT album Deadwing were recorded through it.
I record 14 tracks together
BD
Sn top
Sn bottom
Hi Hat
Toms 1-5
Stereo overheads
Stereo Room
Ride
They all get routed through two Apogee 192 Rosetta's to make the A/D
Thanks for answering my questions, Gavin. I didn't think that the Mackie sounded bad to my ears either, but I've been told by several engineers to avoid it. Do you record flat or with a little bit of EQ and is your drum room completely dead? The drums on Deadwing sound very "in your face" and it sounds as if the drum room is dead quiet.
I use very little eq on the Mackie desk - I didn't use the big ambient room on Deadwing because I wanted a kind of "in your face" sound from the drums. Yes the drum room is pretty dead.
Same method on my new DVD that you can hear on "Futile" - there's just a bit of Space Designer reverb going on.
Alguien escribió:I am befuddled by the incredible triplet fill at 6:16 in Gravity Eyelids. Any words of wisdom, explanation, gloating? I'm interested in anything you can say about that lick. Thanks.
I just listened to that fill. It's a favorite sticking of mine. 5 notes played in triplet form. RLRRL. In fact I go through this sticking/triplet idea in my DVD at some point.
Alguien escribió:thanks for the post. I've only recently (in the last 2 years) warmed up before a show. It came about because of Deadwing. When we used to open the show with the song Deadwing - my arms (especially my right hand) would hurt. I think it's because I was playing 4 in a bar open hi hat for something like 5 minutes at around 160bpm without stopping. That's nothing particularly hard - but when it's the opening number you tend to play too hard because of the adrenaline. Added to all that the fact that I didn't used to warm up - it would all add up to some bad pain. So I stretch my arms up so that my elbows are at the top of my head and my arms are going down my back. That really helps stretch the long muscles that run from the arm pit down to the elbow. Also I play double and single stroke rolls on a pad for about 20 minutes before the show.
We dropped playing Deadwing as an opener - but I've carried on with the stretching and pad exercises anyway - and I think it helps.
Alguien escribió:I just recently got my hands on a copy of "Mother and Child Divided." I'm curious as to where the opening beat derived from. I've counted it in 8 with the hi-hat playing 8th notes, but the underlying beat on the snare and bass is something i cant get my head around. Please help.
The funny thing is that I did a lesson about that song on a "Rhythm UK" cover mount CD about 3 months ago. Maybe someone here has it? Basically its a 2 bar pattern made up of (32 - 16th notes) but grouped as 3 x 10/16 and 2/16 at the end.
Alguien escribió:Real quick question. This is probably an obvious one, but in the track So Called Friend, from about 3:24 to 3:33-ish, you go nuts playing sixteenths on various cymbals. They sound like very very tiny splashes, or cymbal bells, I'm really not sure. I just want to know what those are, it's bothered me since I first heard the song (and I also want to know because it's such a cool sounding part).
thanks for the message. Questions about those little cymbals come up a lot. They are 5 tiny bell cymbals that I made myself by cutting down old broken crash cymbals to somewhere in the range of 7" - 4.5". The pattern in "So Called Friend" is a kind of 16ths pattern (like the classic Gadd hi hat to snare pattern) but split up between the right hand on the bell of the ride cymbal - and the left hand playing the small bells and snare drum....but in 7/4. Does that make sense?
Alguien escribió:Since we're in the topic of dissecting "Wedding Nails"... Could you describe what's going on in the fill at 4:14? I can't quite wrap my brain around what I'm hearing, except for registering the fact that it gives me goosebumps ;)
Love that song... the way you and Colin drive it while the guitars "do their thing"... (that song is, IMO, a prime example of "less is more" on the bass)
Thanks in advance,
Hi sotua,
that fill at 4.14 is basically groups of 3/16ths. First of the group is the snare, the second of the group is 2/32 on the bass drum, and the third of the group is a bass drum and crash cymbal together. Sounds like I get through about 5 of these groupings in that bar before resolving it off. It looks much easier when you see it written down.
Alguien escribió:we bought, about a year ago, a Yamaha 02R96 digital desk that we use as our monitor board. It means that all 5 of us on stage can have completely independent mixes from each other. We all wear "in ear" headphones (+ Steve has floor monitors and I have a sub speaker behind me just for the bass drum). I couldn't get enough low end pump through my "in ears". It also means (because the board has total recall) it's the same every night. In fact we don't even have a monitor man. We had so many bad nights on stage with a crappy sound, we decided this was the way to go....and we absolutely love it.
I also have a little sub mixer in my rack next to me where I can control the over volume of what I getting plus I have one extra channel that only has the very high frequencies of the bass drum (an extremely clicky sound) so that I can feed that into my headphones on the songs that require some double bass drum action. As you might imagine - with headphones in my ears - and only a sub speaker behind me - there's no way I could hear all the definition from the attack of the bass drum. This way I can have as much as I want without having all that clicky kick coming through my sub speaker and sounding very nasty on stage...the audience would hear it to.
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