LIVE! MÖTLEY CRÜE

WHEN THE BOYS IN MÖTLEY CRÜE DECIDED TO HIT THE ROAD ONCE AGAIN AFTER YEARS OF SIDE PROJECTS AND SOLO RECORDS, WE COULDN’T RESIST THE OPPORTUNITY TO CAP- TURE TOMMY AND HIS NEW CARNIVAL OF SINS TOUR KIT IN ALL OF ITS GLORY. DW PHOTOGRAPHER MET UP WITH SIR THOMAS AND HIS COHORTS IN AMERICA’S HEARTLAND TO BRAVE THE PYRO AND MAYHEM AND CAPTURE THE WILD SIDE OF ONE OF ROCK’S MOST INFAMOUS HOUSE- HOLD NAMES. [TO SEE MORE EXCLUSIVE PHOTOS OF TOMMY AND THE ORIGINAL LINE-UP IN ACTION, CHECK OUT THE “BACKSTAGE PASS” LINK @ WWW.DWDRUMS.COM.]

[ E D G E 6 . 0 ] 2 9 >DW DRUM NEWS NEW PRODUCTS AND INNOVATIONS

sories, such as an additional 912 Cym- BUILT-IN bal Arm, 2034 Tilter Clamp or 2035 Percussion Mounting Arm (9.5 BOTTOM mm). The new 2030 Counterweight can also be added for balance and to extend DELIVERS cymbal arm reach. DW Founder and President Don ENHANCED Lombardi says, “Bottom line, we’re always trying to fi nd ways to make a LOW-END ’s life easier. With this stand, TONE several and percussion acces- VLT™ TECHNOLOGY NOW sories can be mounted in almost limit- COMES STANDARD IN ALL less ways with minimal hardware...it’s COLLECTOR’S SERIES ® all about options.” BASS DRUMS AND FLOOR TOMS Since its inception, Verti- cal Low Timbre (VLT™) has offered in- creased low-end exactly Drum shell made with Built-In Bottom— verti- where they need it. Put cal VLT-style inner ply with standard outer and simply, larger drums core plies. sound even bigger without unwanted overtones, but with all the drums way, way down like I high-end attack and clarity Collector’s used to in the beginning because Series drums have always been known now the technology’s in there,” to provide. VLT is a concept that was comments Olsson. born out of experimentation with alter- Hear Built-In Bottom at your nate drum making woods that had in- authorized DW Drums dealer herently vertical grain patterns. All DW today, or to get the low-down on shells are cross-laminated for strength, this exciting new advancement in but by fl ipping the inner and outer drum technology, visit plies, there was less tension put on the www.dwdrums.com. shell, thus a lower fundamental. VLT is an option on Collector’s Series drums and can be ordered on fl oor toms 14” and larger and on bass drums up to 24”. 9702 MULTI “Some of our biggest artists are on tour STAND IS JUST with VLT kits this summer,” says Exec- utive Vice President and drum designer THAT John Good. He explains further, “Built- IT’S A HEAVY-DUTY CYMBAL In Bottom is another way for us to uti- STAND AND SO MUCH MORE lize VLT technology in every drum we Based on many of the design in- make.” Big-name players such as Neil novations that have made the Peart (Rush) and (Elton heavy-duty 9700 cymbal stand John) are already big proponents of the a touring requirement for the new drum-making concept. world’s top pros, DW recently So, what’s the difference between unveiled its versatile 9702 Twin VLT and Built-In Bottom? In a nutshell, Cymbal Multi Stand. Similar to the optional VLT feature utilizes verti- the 9700, the stand features over- cal plies on the inside and outside of the sized 1.25” tubing, dual-vise, in- shell, while Built-In Bottom only has tegrated memory locks, oversized vertical plies inside the shell. Now the tube joints and an even hardier sound the pros are calling a revolution- “Mega-Base” tripod for increased ary way to achieve even more low-end stability needed for multiple cym- response on stage and in the studio is bal set-ups. available to all drummers on every cus- The 9702 not only holds two tom Collector’s kit. “DW has put that cymbals, but can be confi gured tonal quality in there that I was always in almost limitless ways when paired with DW Factory Acces- looking for. Now I don’t have to tune the 9702 Multi Stand >DRUM>DRUM NEWSNEWS

Collector’s Series® Maple Drums with Rich Red Fade Hard Satin fi nish over Olive Ash Burl Exotic

Good is now pre-selecting all wood that for what we do here at DW.” New Se- SELECTSELECT TIMBERTIMBER will eventually fi nd its way to the DW lect Timber that’s Timbre Matched® is DW HIGH-GRADE NORTH custom shell shop. “It’s really the only available now on all Collector’s Series AMERICAN MAPLE AND BIRCH ARE way we can assure that all face material drums. METICULOUSLY HAND SELECTED is as beautiful as it can be. The beauty DW’s commitment to fi nding superior is that now we can really be certain that wood has reached new heights. Execu- a kit will have matching grain patterns HARD SATIN tive VP and resident woodologist John throughout,” explains Good. He con- tinues, “Our mills have always worked CONTINUES DW’S closely with us to get us the very best LEGACY OF HIGH- maple and birch, but now we’ve re- QUALITY FINISHES ally stepped it up a IN BETWEEN LACQUER AND SATIN notch. I personally OIL, THIS NEW PROPIETARY FINISH travel to the mill to IS PURE DW select logs and ve- Hard Satin is a completely new Collec- neer that are perfect tor’s Series fi nish type that can simply be described as a matte lacquer fi nish. It provides the durability of Lacquer and the understated elegance of Satin Oil. The proprietary lacquer process can be ordered in combination with any Collector’s Series shell confi guration, standard or custom color choices, or DW drum designer and Executive Vice President even with Graphics and Exotic fi nishes. John Good Timbre Matches Select Timber drum The possibilities are truly limitless and the look is pure DW. shells at the DW factory. (Continued on page 33) [ E D G E 6 . 0 ] 3 1 ������������������������������������������������������������������������������������� ����������������������������������������������������������������������������� ������������������������������������������������������������������������������ ������������������������������������������������������������������������ ������������������������

����������������������������������������������������� ������������������������������������������������������� ����������������������������������������

��������������� ������������������������� >DRUM NEWS ������ �������� ����������� AIR LIFT THRONES: ����������� THE BEST SEATS IN �����������

DWTHE has HOUSE added two pneumatically ad- justable models to its 9000 Series line of thrones, aptly titled “Air Lift.” The 9120AL Air Lift Tractor Seat and 9100AL with 14” traditional round throne top can be combined with an adjustable backrest (sold separately) for those players that de- sire back support. Air Lift thrones are con- structed using heavy-gauge tubing, solid ear castings, oversized rubber feet and a new, dual-foam construction, effortless pneumatic height adjustment system and upward folding base with sturdy four-leg design. NEW CYMBAL STAND above left: 9120AL Air Lift TTractorractor Seat ACCESSORIES ThroneThrone shown with optional backrestbackrest (sold separately) 10, 12, 13 and 14” LIGHTEN THE LOAD ® PERFECT FOR EXPANDING YOUR NEW above right: 9100AL Air Lift Throne True-Tone wires 9702 OR ANY DW CYMBAL STAND Originally designed to maximize the fl ex- ������������������������������������ ibility of the 9702 Multi Stand, DW’s new ��������������������������������������� selection of Factory Accessories also offers ����������������������������������������� drummers a low-cost way to accessorize ������������������������������������������� their existing DW cymbal stands. For ex- ��������������������������������������� ample, the SM2030 Counterweight can be �������������������������������������� added to the back of any DW cymbal stand ���������������������������������������� to extend boom length, while creating the �������������������������������������������� perfect balance for far-reaching cymbal ���������������������������������������� set-ups. The SM2031 “Puppy Bone” has a ����������������������������������������� pivoting stacker that mounts to any 1/2” ������������������������������������������ rod, and the SM2034 Cymbal Tilter are ��������������������������������������� both excellent for mounting small splashes ����������������������������������������� and effects cymbals. The SM2035 Percus- ���������������� sion Arm (9.5 mm) can be used in a multi- tude of ways to mount tambourines, cow Solid Brass clip accepts bells, tempo blocks and other percussion cable ties or mylar strap items. All are available wherever DW Fac- tory Accessories are sold.

SM2031 “Puppy Bone” Cymbal SM2030 Counterweight Stainless Arm, SM2034 Cymbal Tilter and shown on 9700 Cymbal Stand steel SM2035 Percussion Arm strands

��������������� ������������������������� >DRUM NEWS MAY’S NEW IN/EX BLEND MODULE HELPS DRUMMERS GET CONTROL OF INTERNALTHEIR MIKING SOUND MEETS EXTERNAL MIKING LIKE NEVER BEFORE The all-new MAY IN/EX blend module is a two input, one output, high head- room, Class A microphone preamplifi er designed by award-winning manufac- turer PreSonus Audio. The module is designed to mix two snare microphones (one MAY internal and any external) to- gether into one channel to achieve the ultimate snare tone for live performance and recording applications. The high- quality Class A preamps are designed to handle high SPLs delivering an open and tonally rich snare sound. Other features include microphone input gain on each channel, 48V phantom power THE SECRET TO TRUER SOUND, on one input, mix control (blend), phase INSIDE AND OUT. inversion, main output, headphone out- Above: cross section showing put and fast-acting analog VU meter. It’s internal MAY XL57SD with external Shure an exciting new tool to help drummers SM57. Left top: IN/EX module front panel combine the best tonal characteristics of featuring analog VU meter and headphone both internal and external miking. jack with built-in preamp. Left bottom: Back ToTo see the full line of MAYMAY inter-inter- panel showing phantom power to accommo- nal shock-mounted microphones,microphones, visit date condenser microphones. Below: IN/EX www.dwdrums.com.www.dwdrums.com. module attached to tom stand via convenient mounting bracket (sold separately). >DRUM>DRUM NEWSNEWS NEW LINE OF PRACTICE PRODUCTS MAKES PRACTICING ANY PLACE, ANY TIME THAT MUCH DEADHEADEASIER™ PRACTICE PADS ALLOW FOR QUIET, YET REALISTIC, PLAY DeadHead™ pads are part of a com- plete line of drum practice products available from DW Smart Practice™. These extremely versatile pads can be placed directly on top of any drumset, providing realistic rebound with a low- volume, yet audible pitch. “Seldom do pads mimic the high-to-low pitch tonal- ity of a drumset. It’s a valuable tool for effective practice,” states DW President Don Lombardi. Outfi t an entire for practice DeadHead pads are versatile be- with the DeadHead™ Complete Package. cause they can be placed on the kit, in a snare basket, on a table top, or just about anywhere, while the ™ Practice Pad mounts easily to any 20- SMART PRACTICE 24” counterhoop via rubber-coated PACKPACK ISIS A STUDENT’SSTUDENT’S clamps. The bass pad provides excep- DREAM tional feel and the ability to use a pedal The Smart Practice™ one is used to playing. DeadHead pads Pack is a convenient are available in a 4-piece set complete practice solution that with 10”, 12”, 13” and 14” pads (the 14” comes with a 12” Dead- pad is also sold separately). Head™ Practice Pad, Also new from Smart Practice are snaresnare stand, drum-drum- DeadHead cymbal pads. The 5-piece sticks and a carrying set includes two pads, one bag. It’s everything a pad and top and bottom beginner or working hi-hat pads, and the 2-piece set comes player needs to warm with one crash and one ride cymbal up or just polish up pad. Both feature a foam rubber surface on the fundamentals. to completely muffl e the cymbal, while “We“We confi guredgured this still allowing maximum rebound. The pack with both drumdrum 4-piece DeadHead pad set, 5-piece cym- instructors and stu- bal pad set and Bass Drum Practice Pad dents in mind, explains are also available together as the Dead- Lombardi.Lombardi. “We“We reallyreally Head Complete Package, designed to wanted to have an all- outfi t an entire set (shown above). in-one practice kit at an affordable price.” GO ANYWHERE ™ PRACTICE KIT IS A NEW TAKE ON A FAMILIAR IDEA The newly-developed Smart Practice Go Anywhere™ Kit (shown at far right) is designed to easily set up for on-the- go or small-space practice applications. Great for beginners and perfect for warm-up, the fi ve pads have a durable rubber surface designed for realistic feel and natural rebound. Any existing bass drum pedal can be mounted directly to the stand to avoid creep on non-carpet- ed fl oors. A durable nylon-carrying bag for the Go Anywhere set is sold sepa- Marco Minnemann perfecting his mon- rately. ster chops on the portable Go Anywhere™ Practice Kit. Smart Practice™ Pack [ E D G E 6 . 0 ] 3 5 ������������ ���������������� ��������� ��������������

�������������������������� Few bands in recent memory have made their mark on the scene like . With their latest effort, entitled Lullabies to Paralyze, debuting at number five on the Bill- board charts, the roller coaster ride is just beginning for heavy hitter . Here’s your ticket to ride along with Joey as he shoots QOTSA’s latest video and plays a sold-out show in his hometown of L.A. Join the tour bus for more Backstage Pass at www.dwdrums.com

[ E D G E 6 . 0 ] 3 9 >DW DRUM CLINIC CONTEMPORARY DRUMSET BYTECHNIQUES RICK LATHAM

THAT CONTEMPORARY MUSIC IS PLACINGWE CAN GREATER ALL DEMANDS AGREE ON DRUMMERS OF ALL MUSICAL STYLES. WHETHER IT’S HIP-HOP, POP, FUNK, ROCK, FUSION, BLUES, LATIN OR , Get Rich STUDYING FUNDAMENTAL TECHNIQUES, SUCH AS DOUBLE STROKES AND GHOST STROKES, WILL BE HELPFUL IN REACHING YOUR GOALS. BELOW ARE Quick SOME USEFUL CONCEPTS TO GET YOU STARTED. Check out the groove Ex. 11 and 12. After you have a chance to play through these brief exercises, I’m sure you’ll see how these techniques can be incorporated to bring about some great new and innovative grooves, patterns and fi lls of your own. Have fun and re- member to always practice slowly and consistently at fi rst, gradually bringing things up to the desired tempo. Groove on! First, let’s discuss the left hand. It’s al- These concepts and exercises are taken ways a good idea to build strength in from Rick’s books “Advanced Funk Studies” both hands. Try playing hi-hat patterns and “Contemporary Drumset Techniques.” with Buddy’s 2-sided Pad that you now play with the right hand, More intensive study of these concepts can with the left hand instead. (Ex. 1) be found in these books as well as the accom- Now every aspiring drummer can practice Notice how playing the hi-hat with panying 25th Anniversary DVD. on a pad that features Buddy’s vintage White the left hand frees the right to move Marine look and signature “BR” badge. around the kit, as illustrated in Ex. 2 ABOUT THE AUTHOR and 3. Rick Latham is a drumset artist perform- Two distinct playing Also, practice hi-hat opening exer- ing, recording, producing and teaching surfaces are cises with the left hand (Ex. 4 and 5). in the area since 1984. Once incorporated to Now, let’s look at a technique bor- a featured member of The Edgar Winter develop both rowed from our rudimental tradition. Band, Rick is currently the founder and speed and This technique utilizes basic double driving force of his own contemporary jazz endurance. strokes. Notice in Ex. 6 and 7 how com- “supergroup”, Rick Latham and the Groove Start with a mon rhythmic fi gures take on a new Doctors. Throughout his career Rick has warm-up on sound and feel through the use of dou- performed with B.B. King, Quincy Jones, the black foam bles. Neal Schon and Pat Travers, among many You can see and hear how these others. rubber side. Then, doubles are used in the groove patterns fl ip it over to build in Ex. 8, 9 and 10. speed, sensitivity and Now, let’s look at “Ghost Strokes” control on the realistic-feeling, quiet or “Ghosting” a stroke, as it is some- rubber side. times called. A “Ghost Stroke” is more implied, rather than an accented or un- Play the pad on any fl at surface, accented note. Played very softly, it is place it on top of any drum or mount in any almost inaudible compared to the other standard snare stand to practice backstage, strokes in a pattern. A good example of at a lesson or on the go. It’s the perfect this concept is shown in the fi gure be- practice solution for all ages and skill low. levels! Free DVD included! The hi-hat on the “and” of the beat should be barely audible, so that it sounds like the fi gure below. >DW DRUM CLINIC EXERCISES

EX. 1 EX. 2

EX. 3 (SAMBA)

EX. 4 EX. 5

EX. 6 EX. 7

EX. 8

EX. 9

EX. 10 To hear Rick play these exer- cises and to download a larger print version, go to: www.dwdrums.com/eddept/

EX. 11 EX. 12

[ E D G E 6 . 0 ] 4 1 TOM MY PLAYS DW 9000 PED 9000 SERIES ® PEDALS www.dwdrums.com ©2005 , Inc. ALS CLASS IN

SET-UP SPECS: 6 Pacifi c LX Series Maple drums in Regal-Royal Fade 9

1

3 18x22” Bass Drum

7 5x14” Snare Drum 8

4 8x10”, 12x14”, 14x16” Tom-Toms

2

1 0 5 SP900 Single Pedal HH920 Hi-Hat Stand CB900 Straight/Boom Cymbal Stand (x3) DT900S Standard Drum Throne SESSIONCURT BISQUERA WORKING WITH A-LIST MUSIC SUPERSTARS IS NOTHING FOREIGN TO STUDIO CAT CURT BISQUERA. FROM SESSIONS TO ARENA TOURS TO FEATURE-FILM SOUNDTRACKS, HE’S DONE IT ALL. >>> EDGE: First question, describe what you’re have to be able to read to some degree. started to produce with right wearing. before his untimely death, unfortunate- EDGE: You’re known as a live player, and ly. But he brought in on that, and he Curt Bisquera: I’m wearing a Dogtown you’re also known as a studio and session was recommending me prior to that to a Skateboards long-sleeve hooded sweat, guy, and maybe even a “cat.” How does that lot of other producers, songwriters and my grey Dickies 874s, and low-top Con- happen? How did you get your foot in the arrangers, and getting me on some re- verse, black and white. door? ally cool, high-profi le session gigs. EDGE: Talk a little bit about the early stag- CB: I graduated two months early from EDGE: Whether it’s an artist, producer es of playing drums, your history, and about PIT when I auditioned for Morris Day or tech, what are some of the tips that you your music education. & The Time. And I got that gig when I can give people about being personable and was nineteen. And I did the R&B/Funk adapting to different personalities and situa- CB: I started playing drums when I was touring circuit for fi ve years, and then tions? Because you’ve played with a variety three years old. I started pounding on my fi rst session was with Bonnie Raitt of artists, both live and in the studio, and pillows and pots and pans, and I got on the “Luck of the Draw” record with you’re dealing with engineers and produc- my fi rst drumkit when I was fi ve. And I Don Was producing. And it was from ers who have strong opinions about things, was playing in nightclubs at the age of that session on where I started doing how do you relate? eleven with my mom who is a B3 and more sessions, and it became word of player. And I was playing in the mouth real quick. And just hanging out CB: Well, you just try to give them what Central Coast area, Santa Maria and San at the studios, going to Ocean Way and they’re looking for and try to make Luis Obispo, playing in nightclubs at Capitol, and seeing who’s there and suggestions and be as musical as pos- the age of eleven on the weekends. getting to know the guys who were in sible. No matter which type of artist the game at the time. I’m working with, I always try to un- EDGE: You’ve had formal drum training, derstand what they’re listening to these so how did you get from point A being the EDGE: So, when you were hanging out at days, what their infl uences are, where family drummer to something you were the studios, did you go in there with friends they’re coming from artistically and try more serious about? who were engineers, or friends who had ses- to follow within that vein of drumming, sions, or were you just kind of trying to be yet stay out of the way of their creative CB: I graduated high school, and I was in the scene? idea ‘cause in the end it’s their record. working at a grocery store and had Even though you’re drumming on it, saved up some money because I saw an CB: I was just going by myself and it’s their vision and you have to help ad in “Modern Drummer” magazine for hanging out. Mostly to kind of just ab- them see their vision to the end. Percussion Institute of Technology in sorb the vibe of what was happening in Hollywood. So I worked for two years the studio. ‘Cause it was one thing play- EDGE: So, sounds like you do a fair amount and then had enough for my tuition to ing live, and I know how to do that, but of research. Do you put in some time listen- go to PIT in ’84. to play the studio scene is a different ing to that style of music and mastering type of energy. It’s as intense as play- that style? EDGE: How comprehensive was that pro- ing in front of thousands of people, but gram? it’s controlled to the point where there’s CB: Absolutely, ‘cause I think in music microphones all over you and they can we’re always infl uenced by other styles CB: It was a year-long intense, intense, hear your breathing. That’s how intense of music, whether it’s brand new or re- intense, intense program that, for me, the studio thing is, so I wanted to know ally old, and it just gets re-hashed into was just about reading, ‘cause I was al- what it took to become a studio player. this new form. So you always have to ready kind of a street player who knew Not just in the reading and the technical keep abreast of what’s happening, you different styles, but I wanted to be able aspect of it, but what you had to be, in know, in this moment. In the skate- to read and write what I was playing. terms of the person, to be in an enclosed board community, which I’m a big part So for me, it was very intense because I room all day long. of, there’s lots of music going on that’s had to learn drumming all over again. new for me, that’s really happening. So, EDGE: Did you have somebody who was a you have to just keep up on it and listen EDGE: So obviously, for what you do now, mentor, someone teaching you the ropes? and look and be willing to learn. And that was really important. not stay stuck. CB: Defi nitely. Jeff Poccaro played a CB: Absolutely. To be a studio player huge role in bringing me in on sessions. EDGE: What about engineering? Do you and play different kinds of music you He brought me in on a record that he do that as well? [ E D G E 6 . 0 ] 4 5 People paid a lot of money to come see the artist you’re play- ing behind, and they want it to sound like the record. And when you’re making a record in the studio, you want it to be the end- all signature drum sound.

CB: Yes, I operate ProTools and Logic the end-all signature drum sound—sig- Abe, creatively and otherwise, and why you and have recorded and produced a few nature licks, signature sound—so they guys vibe together so well. records of my own, as well as some oth- kind of come hand in hand. er artists’. CB: Abe is defi nitely my drum brother EDGE: How often have you done a record as well as a personal brother. We just EDGE: Does that affect your drumming in in a studio for an artist and then toured for share so many things. all the any way? In other words, does that change that same record? It seems like oftentimes same things, the same things make us the way you play your instrument? you’re on the live gig and somebody else has laugh and the same things make us cry. done the record, or you do the record and But drumming-wise, I think we’re en- CB: Yes. By understanding the program somebody else does the live thing. How of- tirely different in terms of where he’s or platform that the engineers are us- ten does that cross over? come from and where I’ve come from, ing, I can gauge how fast or how slow our backgrounds, you know. His father I need to go. Because I know ProTools CB: There’ve been a few records with is a very, very well-known bass player, and Logic, I know what they’re going Elton and with Tom Petty and Mick Abe Laboriel, Sr. So, I came up listen- for. I know what to play and for how Jagger. Those three records were both ing to his dad playing with . long, so they can get their end result recorded then toured. But mostly, I ei- So I came up listening to those guys, as and chop up, edit and do what they ther come in before or after the fact, you well as Abe did, but Abe was also infl u- need to do. Or if they’re going for takes, know, when the record is done. Or they enced by the stuff that he was groovin’ then I know that I have to nail it on the had another drummer record and I’ll to—a lot of the metal stuff and punk. fi rst take so the project can go by faster come in and do the tour. So, it’s usually And so we have that affi nity for one and the artist can be more creative and 50-50 where I’m spend more time on the songs. the touring and recording guy, or EDGE: You’ve toured with Elton, you’ve the recording guy toured with Tom Petty, Mick Jagger and or the touring guy. a long list of names, but, as we’ve talked It depends. about, you’re also a “go-to” studio player. Do you have a preference, or do you like EDGE: Many things for different reasons? people outside the drumming commu- CB: I love playing in front of 90,000 nity may not know people in the stadium, and I love the that you and Abe scrutiny of being in a studio and being Laboriel, Jr., are like asked to perform and execute precisely. brothers. You guys By the same token, they’re one and the have very similar same because people paid a lot of mon- personalities and ey to come see the artist you’re playing relate in a very close behind, and they want it to sound like way. Give us some the record. And when you’re making a insight into your record in the studio, you want it to be relationship with another, respecting each other’s taste in CB: Things usually just come to me and music and food, so it just all goes hand I prefer it that way. I’m not one to dig SELECTED DISCOGRAPHY: in hand. And the thing about Abe and and search, and seek and destroy for 1991 Bonnie Raitt: Luck of the Draw 1991 Seal me is if I can’t do a gig, he’ll cover for gigs. I tend to just allow them to come to 1991 Paula Abdul: Spellbound me. Or vice-versa, if he can’t do one I’ll me and that seems to work best ‘cause 1992 Original Soundtrack: Toys cover for him because we can play each I’m not that good of a self-promoter. 1993 : Duets other’s style but add our own fl avor to But whatever comes my way seems to 1993 Dave Koz: Lucky Man it, as well as take it in an entirely dif- always be the right gig. So, you know, 1993 Aaron Hall: Truth ferent direction because we make mu- I see myself in the next couple of years 1993 Mick Jagger: Wandering Spirit sic together. We played in Chocolate playing some huge arena gig again in 1993 Tina Turner: What’s Love Got to Do Genius together, switching off on bass the States, and maybe a record follow- With It and drums, so I think that really helped ing behind that. I don’t know who yet, 1994 Original Soundtrack: Reality Bites 1996 Celine Dion: Falling into You solidify our relationship both musically but I’m sure that’ll be coming up soon. 1996 Tom Petty & the Heartbreakers: and as friends. Songs and Music From “She’s the EDGE: Do you have advice for guys coming One” EDGE: Let’s move into gear for a little bit up—you know, guys that want to follow in 1996 Johnny Cash: Unchained and talk more specifi cally about how much your footsteps and start stealing your gigs? 1998 Chris Isaak: Speak of the Devil gear you keep in your studio and live ar- [laughs] 1998 Ricky Martin: Vuelve senal. Also, what are your favorites—the 1999 Boz Scaggs: Fade into Light items you use on a regular basis? CB: Absolutely. Listen to as much music 1999 Shawn Mullins: First Ten Years as you can. Don’t be prejudiced about 2000 Celine Dion: Collector’s Series, Vol. 1 CB: Right now, my go-to kit is a Pa- any music because you could pull from 2000 Original Soundtrack: Coyote Ugly People paid a lot of money to come see the artist you’re play- cifi c kit. And this kit smokes so many all of it. Right now, I’m listening to a lot 2000 Elton John: One Night Only drum kits out there it’s not even funny. of speed metal. I fi nd that these guys 2000 Original Soundtrack: Road to El ing behind, and they want it to sound like the record. And when I’ll show up at the studio and the engi- have seriously thick, funky grooves go- Dorado neer is like, “What kit is that?” And I’m ing on. With all of that madness going 2000 Ricky Martin: Sound Loaded like, “Man, this is my Pacifi c LX Series, on with the kick drums, behind that is 2000 Nelly Furtado: Whoa, Nelly! you’re making a record in the studio, you want it to be the end- baby!” And they’re like, “You’re kid- a serious funky backbeat. A lot of my 2001 Various Artists: 2001 Latin Grammy ding me!” And they just fl ip about that. friends disagree, but that’s what I’m Nominees And they come out and look at it and hearing in it. 2001 Josh Groban all signature drum sound. 2001 Original Soundtrack: Legally Blonde hear it, and they’re just so blown away. 2001 Krystal: Me and My Piano So that’s my go-to kit right now. I have EDGE: And a lot of chops. 2002 Christopher Cross: Very Best of my arsenal of snares, and, of course, Christopher Cross the Edge is always the one that goes up CB: A lot of chops. And I have much 2002 Jeff Lorber: Very Best of Jeff Lorber fi rst. And there’s this new hi-hat com- respect for that. I mean, I can’t play a 2002 Nelly Furtado: Whoa, Nelly! [Bonus ing out, the remote hi-hat that you will drum solo to save my life. But these Tracks] be unleashing soon... guys, I have such respect for them be- 2003 Bonnie Raitt: Best of Bonnie Raitt on cause they’re technically happening Capitol 1989-2003 EDGE: The Universal Hi-Hat... and their sounds are happening, and 2003 Heather Sullivan: Bound 2003 Shawn Mullins: Essential Shawn I’m pulling from that and learning that Mullins CB: The Universal Hi-Hat that both Abe I could apply that to my pop recordings 2003 Johnny Hallyday: Parc des Princes and I helped R&D. I think this is gonna or my pop gigs, and I try to pull that in. 2003 .: Reason change the way drummers play drums So, my suggestion is to listen to as much 2004 Original Score: Bourne Supremacy ‘cause it’s a remote hi-hat, but it’ll add music as you can and not be prejudiced 2004 Elton John: Dream Ticket another musical realm to your drum- to any sort of music. And have as big 2004 Lionel Richie: Just for You ming. ears as you can and try to play different 2004 Original Soundtrack: Reality Bites: types of music ‘cause that’ll help you 10th Anniversary Edition EDGE: Do you have a typical studio set- appreciate the music that you really do 2005 Original Score: Robots 2005 Various Artists: Smooth Jazz Plays up? love. Your Favorite Hits CB: Yeah, my studio set-up usually consists of the “two-up, one-down.” So again, with the Pacifi c kit it’ll be a 10”, 12”, 14”. >FOR MORE ON CURT EDGE: What bass drum pedal are you us- AND YOUR FAVORITE DW ing these days? ARTISTS, INCLUDING SET- CB: 9000. Loving it. 9000 and loving it. UPS, TOUR DATES, MUSIC, PICTURES, DESKTOP EDGE: Have you messed with it WALLPAPER, BACKSTAGE quite a bit or is it factory settings? PASS AND MORE, CHECK OUT CB: Out of the box, factory settings, rul- WWW.DWDRUMS.COM. ing! That’s the bottom line. But it’s al- ways been that way, ever since the 5000 pedal, you know. Before I was even an endorser for DW, I was always a big fan of the 5000 pedal. And out of the box it was always right. USHER:USHER: CONFESSIONSCONFESSIONS (2004)(2004) EDGE: What’s your next dream gig? Where do you see yourself in a couple of years? [ E D G E 6 . 0 ] 4 7