into the time machine WITH BERTRAM ENGEL, Brothers in DRUMS: ULF AND BODO STRICKER.

magazine The Official Publication of Drum Workshop INTERNATIONAL EDGE 1.0

versatileTHOMAS LANG FROMAUSTRIA TO AMERICA

Plus CLOSE UP WITH CARLOS HERCULES, the latest gear & MORE! INTERNATIONAL EDGE 1.0 it’s not just a 14 CUSTOMkit it’s a DW. Inc. All Rights Reserved. ©2010 Drum Workshop, Welcome to the very first edition of Edge Magazine International. To put it bluntly, this idea is long overdue. We’re fortunate to have one of the best international artist rosters in the industry and have been waiting for the right opportunity to expose these accomplished players to the world. Well, the time is now. In these digital pages, you’ll find articles and features that we hope will entertain and inspire you and in coming issues, we’ll be featuring artists from other European countries, Asia, South America and everywhere on the globe. Thanks for reading and, as always, thanks for making us “The Drummer’s Choice.” Scott Donnell –Director of Marketing, Drum Workshop, Inc.

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IN THIS ISSUE 08 Time Machine: Bertram Engel ARTIST FEATURES 12 DW Drum Clinic with Ulf Stricker 14 Thomas Lang jonny quinn | snow patrol From Austria to California, nothing is impossible. PRODUCT NEWS 04 Product Focus: SSC 20 Carlos Hercules 06 Gear Guide: Factory Accessories custom shop=custom sound Authentic sound in whatever he plays. 18 PDP Product News: Mainstage Snares, Mega-selling alternative rockers Snow Patrol are fueled by the beat, big drum m5 Drumsets and 500 Pedals grooves and fat, organic drum sounds. When their stickman Jonny Quinn needs 24 Bodo Stricker a certain vibe, he knows there’s only one place to call, the DW Custom Shop in Known for his fast feet and intense licks. California. Whether he plays his Collector’s Series rig or this versatile Jazz Series™ set-up, he knows that producers and front-of-house engineers will be floored by the full-tonal spectrum and resonance that he gets from his DWs. www.dwdrums.com For more on his Collector’s Series kit and DW Custom Shop Shell Technology, International EDGE Magazine is a publication of Drum Workshop, Inc. ©2011 Drum Workshop, Inc. All Rights Reserved. For promotional use only. NOT FOR SALE. log on to www.youtube.com/drumworkshopinc >product focus SSC, Sonically Custom SSC >SSC, Sonically Custom SSC Many custom drum companies make First, there was VLT, or Vertical Low features such as ESE (Enhanced Sound shells however you want them, but this some pretty visually unique drum sets, Timbre, shell technology. These were all- Edge), reinforcement hoops, or not, and is the default shell selection, the one that but how many of them can customize maple shells that were laminated utilizing even alternate woods, like birch, and the we’ve seen work time and time again for sound? At DW, we’ve made it our short grain to put less tension on the whole thing seemed undeniably exciting, artists like Neil Peart, Terry Bozzio and mission to give drummers the tools to shell. The result was shocking, a much but somewhat overwhelming. others. Remember, we’ve been doing build their dream drum sound from lower fundamental tone than traditional this a while so DW artists have already scratch. > 7 and 8-ply DW shells. Then there were To make things easy to figure out, we tested VLT, X and VLX on some major tours X Shells, another foray into the science of introduced SSC. It’s the culmination of and in some of the world’s top studios. grain orientation, but this time we went years of Custom Shop shell technology You’ve probably already heard it and diagonal, and the note went even lower all wrapped up in one kit. So what thought, “Those drums sound killer!” still. Most recently, we unveiled VLX, a is SSC? Put simply, it stands for Now, you know the secret. combination of VLT and X technology that Specialized Shell Configuration and it’s yields the most fundamentally low and the recommended DW shell selection. We almost left out the best part; SSC beefy sound to date. It’s perfect for floor For instance, if we’re talking about a doesn’t cost a cent more than any other toms and kicks. All of this grain-oriented 7-piece drumset with 8” through 16” Collector’s Series kit. It’s all about you shell making technology has advanced toms, that would include an 8” X shell, telling us exactly how want to sonically sonic customization dramatically, but at 10” and 12” VLT shells, 14” and 16” customize your set and we’ll do the rest. the end of the day, it all seemed very VLX floor toms and a VLX kick. Snare We’re a custom shop, we live for this confusing. Drummers really wanted to drums are always completely subjective, stuff. If you’d like to learn more about know which specific shell configuration but it’s hard to top a straight-up 10-ply the science of grain orientation with Neil was suited for each tom size and how VLT snare, meaning no reinforcement Peart and John Good, visit: they could use this to create the sound hoops. I know what you’re saying now, they’d always been hearing in their then how is this new SSC thing custom? www.dwdrums.com/ssc head. Combine that with other shell The DW Custom Shop will still make

COLLECTOR’S SERIES® VINTAGE STEEL Classic looks for state-of-the-art players.

the snare drum company™ ©2011 Drum Workshop, Inc. All Rights Reserved. ©2011 Drum Workshop, www.dwdrums.com www.dwdrums.com

[INT. EDGE 1.0] 5 >gear guide ® dw factory accessories

Premium Quality Accessories A cutting-edge line of drums, pedals and hardware deserves a cutting-edge line of innovative accessory options. That’s why we created DW Factory Accessories. Not your average add-ons, DW accessories are thoughtfully designed to give drummers more custom options and flexibility with their set-ups.

From a myriad of clamps and arms, to DW Coated Clear and Clear Edge drumheads, True Tone Snare Wires, replacement parts and so much more, DW offers premium- quality accessories for the most discerning co ll ecto r ’s se ies drummer. Take, for example, our new 101R rubber and 101W wood 2-way beaters. Both are based on our popular selling 101 plastic and felt beater design and offer 2 new ideas to help drummers create new sounds and find their dream bass drum tone. Also new dw is the 2141X, the perfect way to easily and

securely mount a folded hi-hat stand to a & double-bass rig. “Metal and rock drummers always appreciate a new way to solve and old problem,” explains DW Director of R&D, Rich Sikra. He continues, “Older clamp designs were bulky and hard to adjust, this one uses an integrated claw-hook clamp to at more efficiently attach to the counter hoop from both sides, avoiding slippage and the need to clamp to nearby cymbal or tom dwdrums.com stands.” now Standard equipment on every

MORE ® engel than ever Collector’s Series drumset Now, DW Factory Accessory brand parts THE DRUMMER’S CHOICE. is our unique True-Pitch tuning system, www.dwdrums.com/factoryaccessories are available to buy online at: STM (Suspension Tom Mounts), DW Heads by Remo U.S.A. and every kit is Timbre-Matched for www.dwdrums.com/factoryaccessories optimal sonic consistency and tunability. With unsurpassed sound and one-of-a-kind looks, Find everything you need to customize or it’s today’s standard in custom drums. repair your kit in one place! Distributor for Germany, Austria, Switzerland, Benelux: GEWA GmbH • D-82481 Mittenwald [email protected] GEWA Benelux: Switzerland, Austria, Distributor for Germany, t r am

©2011 Drum Workshop, Inc. All Rights Reserved. Be r >Time Machine BERTRAM ENGEL: >Time Machine: BERTRAM ENGEL all from around here. I joined their band and Alvin Lee of Ten Years After, an act from mailed it back again. He said, “Ok, that’s A German-Engineered Career practice once and listened to them play. the 1970’s. So yes, I did a lot of different great!” Afterward, he transferred half of the When Udo said to me, “If our drummer things in the last 34 years and covered a lot payment and I sent the full tracks. Payment ever breaks his leg, I will call you”, that of different styles. I’m really a background in full was to follow. Another time, I received was a strong hint, in a way. When I was 17, drummer and I consider myself to be a a call from a bass player who had played Udo finally called me. I had already been a classic rock drummer with soul influences. with Ozzy Osbourne, I think his name was huge fan and I knew how to play all of their In the beginning, I listened to a lot of black Bob Daisley. He called me up because he songs by heart. That’s when I got the job. music such as Otis Redding, Bill Withers, liked my playing, yet we had never met in Then, Peter Maffay saw me at the German and so on. person. Later on, he used my drums for a Museum in Munich with Udo and he hired certain project. It’s all a bit strange. Playing me for his band right away. Since then, I’ve Edge: Do you still enjoy listening to that kind together, the actual interaction with friends mainly been playing in these two bands. of music? and musicians has declined. This makes being part of Peter Maffay’s band, as we Edge: You mentioned that you have been playing Bertram: Yes, I’m really quite old-fashioned continue to record albums the old-fashioned in these two bands for 34 years. Are there any when it comes to this, and I always say that way, even better. new challenges? these are the roots for everything nowadays. Edge: Do you feel that traditional recording is Bertram: There are challenges with Peter much better? Maffay in particular. We have done so many projects, i.e a children’s project called At the age of 12, I Bertram: Yes, the traditional way to make “Tabaluga”, featuring a small green dragon. had my first band music with a combo. The audience is spoiled That was more than just a musical. Then, we and it didn’t take by certain sound expectations, i.e. different had a project called “Begegnung”. In the too much longer, rhythmic sounds and samples created by course of this project, we worked with seven because I practiced computers. It’s impossible to create such or eight different nations that naturally sounds with only 4 men in a room. Back in played a totally different style of music all day and all night. the day, this wasn’t the expectation because than the one I had been used to for so many those sounds didn’t exist. However, there years. I also acted as producer in this project are some new bands that record garage- and I had to keep all of the pieces together style and for that you need the dirty feeling which was a challenge, of course. What was Everything’s really a fusion of earlier styles. and the groove. Kings of Leon are a good special about Peter Maffay was the fact that Young acts play like Led Zeppelin or Free example for this. Some elements may not interview and photos by Stefan Fischer we didn’t always have the same cycle of or Bad Company did in the 1970’s. They sound 100% perfect, but it sounds like it did tour, album, song writing. We always did might mix things with hip hop, techno or in the 1960’s or 1970’s. They are young guys something new. And working together with electro, which are modern, but they also who live in 2010, but they have managed to Udo has always been interesting because he contain influences from the 60’s or 70’s. It transport a lot of influences from that era. Edge: To what extent has drumming equipment the Rolls Royce of drums and luckily get an Bertram: Yes, there was a certain moment. often worked with other people. Yet, I wasn’t was a great time of invention for me. Those Edge: How did you learn these skills and changed in the last 30 years? endorsement (laughs). There are, of course, I was 8 years old and I saw this film about involved in each of the album productions. are the acts that I grew up with. I tend to what made you eventually decide to become a sonic differences between the drum sets that the Beatles called “Live at Shea Stadium”. I Nevertheless, I have always been involved pull important things from this time, which producer? Bertram: I believe that the hardware section I play now. The best sound for me is in the remember Ringo played on this unbelievably in the live segment and that’s where I had to has given me my basis. What I mean is that has changed, especially. In particular, “Cadillac-Mint” set that John built for me high platform. I think this wasn’t just for learn and be able to play the music that was drummers such as John Bonham, Ian Paice, Bertram: I was asked by Peter Maffay if I the area of cymbal holders, pedals and back in 2008. With this set, John specifically show, as the bass drum was directly by created by others. It’s always a challenge Mitch Mitchell, Nigel Olsson, the big names could produce songs with my colleague, Carl their manufacturing. I believe that the catered to my style; he observed my moves the ears of John, Paul and George. They to play pieces live that were created by from that time, were influential. Carton. He was the band’s guitarist. Peter workmanship has changed overall. PDP and hits and put together the configuration didn’t have monitors, after all. It definitely others. My musical life has always been Edge: In the span of these 34 years, how did you had heard some songs that we had recorded kits have reached a level that high-class kits afterward. If someone who builds drums impressed me that Ringo stood on such a very interesting. From the 1990’s until the manage to stay on top of things? in our spare time. We had simply composed by Pearl, Sonor, and Yamaha used to be at in knows you well and has observed you play, high platform and that 50,000 people were beginning of 2000, I was dealing with a lot something, Carl on guitar and me on keys. 1980 or 1985. that’s a determining advantage. Up to now, cheering for him. That’s when I told myself, of foreign acts. I played with Robert Palmer, this is definitely my best sounding kit and “That’s a good job. That’s something I’d Joe Cocker and Bruce Springsteen in Berlin. Bertram: I was busy night and day. At the We played it at practice and when Peter Edge: Would you say that the sound has I’m about to receive a new one, just in time like to do.” Thereon, I started to take music The latter was for a video recording, it was moment, the music business has declined Maffay heard it by chance, he really liked improved significantly? for the next Maffay tour. They also built me lessons which were taught by my father. My a great experience. I also played a tour with a bit. Studios are shutting down and it. That was in 1989, we had just produced a White Marine FinishPly set with a 26” bass father is really an architect, but also a hobby Jimmy Barnes, who is a top act in Australia. you start creating your own rooms, and “14 Jahre” and that’s when he heard our songs. It was like an audition, an audition Bertram: Well, the best sound is with my drum. It also has a 24” but I prefer playing musician, so he had a violin, a piano and a I went on tour through Australia and New you even make recordings there that you that didn’t feel like one, because he simply DW Drums. I have been playing DW the 26”. The configuration is the same as small drum kit at home. I started with piano Zealand with him for about 2 months. We can use. I had a house on Mallorca and asked for the songs in the recording studio. Drums since 2006 and I have definitely that of the last set. Even John’s idea of the lessons, but always liked the little drums. were headlining in Australia and in New recorded people in my studio that no one He then asked us if we could produce his noticed that this is the best sound for me, VLT and the X-Shells, that’s a sensational That’s how I came about drumming. At the Zealand, opening for Tina Turner. With even knew. One time, a producer called me titles in the same way. compared to all other companies that I progress! age of 12, I had my first band and it didn’t Peter Maffay, we often had guest acts. We up and asked, “Can you record some drum used to play. I had always wanted to play take too much longer, because I practiced all played with a multi-platinum Canadian tracks for me?” I’d simply send the tracks At that time, he had just been recording new DW but it somehow just never worked out Edge: When did it become clear to you that day and all night. At the age of 17, I had the artist, Amanda Marshall, and Alannah as MP3s, and the producer listened to them song ideas on some sort of a Dictaphone. because I had been involved with other you’d like to be a musician? Was there a certain chance to join Udo Lindenberg and become Myles was on tour with Udo Lindenberg. and said, “Yes, I like it, but could you open Peter was gone for 7 days and we produced companies. One day, I met John Good at the moment? part of his “Panikorchester”, because my This is how I got to know a lot of different the hi-hat a bit more in this one area? And, the songs our way. That was pretty much Messe in Frankfurt and I could finally play older brother knew everybody there; they’re people. We also did a project with Chris I’d like to get a different bass drum figure Thompson of Manfred Mann’s Earth Band in the last chorus.” Then, I changed it and the door-opener to become a producer for [INT. EDGE 1.0] 9 >Time Machine: BERTRAM ENGEL

Udo at the age of 17, I was naturally very, Bertram: I developed it with my wife. We Niedecken or Helge Schneider, Frank very arrogant and very self-confident. I set had auctioned an hour with me via eBay Zander, Herman van Veen (a Dutch artist) up an enormous kit and I pretty much got for a foundation called, “Reporter Ohne and internationally, Ronnie Wood from the naked. I sold myself to become famous. I Grenzen” (reporters without borders). It Stones, Bob Dylan, Tico Torres from Bon didn’t have the skills at the time and I don’t was a charity thing; simply play the drums Jovi, John Mellencamp. There are many think I would have gotten the job. I wanted with Bertram Engel for an hour. I thought, international music artists who also draw. the job, but there was my love of music, too. “Wow, someone paid 800 euros to spend They do it out of passion and they don’t It wasn’t the show for the show’s sake. It an hour with me and play. That’s great!” even sell their paintings. was for the music’s sake. My wife said, “We should do this more often. You could try and pass on what Edge: What advice would you have for someone At the age of 18 or 19, I had a little change you’ve learned in 34 years.” So, I tried it trying to follow your same career path? of direction because I realized that if I didn’t out at the Drums and Percussion Festival stop the show and seriously start dealing in Paderborn, Germany. It went really Bertram: If you love music and your with my drums, I wouldn’t be able to well. Later on, I held a rhythm seminar in instrument so much that you don’t care advance. Then, I really started practicing Marktoberdorf in 2008. It was sensationally about anything else, then go for it. You and I started thinking about what I really successful and I really enjoyed it, too. Most won’t play your instrument as a job, but wanted. I thought, “Do I still want to play recently, I was at the Drums and Percussion more because it’s your calling. It has to be a music in 20 years from now?” I remain self- Festival in Paderborn with Uli Frost. It was calling. Professionally, it means that I make confident with what I do, and have always a one-week recording workshop and you money with it, to make a living off it, yet, been a backbone for the bands that I play meet a lot of people, many world-famous not everyone has this passion. There are with. I have that in me. drummers such as Simon Phillips and Steve many professional musicians who simply Smith. play because they can make money with it, Edge: Did you begin playing to the click and do because they found a job that earns them as Maffay. If you are a producer and musician, snare. I usually have a hanging tom in front more effective to play these songs as simple you use one today? So then, my wife had the idea to do much money as being a carpenter or a painter you suddenly have a different competency, and I create “my world” around it. And I as possible, rather than swirling around. something with art and music. We were or a baker. Then, there are people like John which means you have more responsibility. might play a side bass drum like this 28” for Swirling around has never been my thing, Bertram: I didn’t play to a click because it looking for names and at some point, we Good, who know how to build great drums You aren’t just sidemen who play music. example, to have a different sound. It’s not anyway. I always wanted to play to the song didn’t exist back then. Ah, wait, there were had the following suggestions: “Rhythm and there are others who see it as a product, about double bass playing for me, but the and these types of songs didn’t demand two songs with Lindenberg in the show, and Blues and Rock ‘n’ Roll” and “Rhythm who have it manufactured in factories. That We produced all of Peter’s albums from 1989 second bass drum serves to create a direct any technical insanity. That’s why I have because some things came from tape. Back and Art”. We googled it and it didn’t exist usually means that the drums aren’t that until 2004. Then, we experienced a change connection to another sound. The same goes always been a relatively simple player, but then, we didn’t have computers, they’d give yet. “Rhythm and Art”, that sounds great, good. Everyone should do his job because of because everybody wanted to try something with the second snare. It gives me many as the experts say, “Simple does not mean you a click or a metronome and the wind we had to do it! “Art and Rhythm” was his calling. Even my drumtech does his job new. After 14 years, Peter felt the urge to hire sound options without having to use a huge easy”. I haven’t always been the drummer’s and string players came from the tape. That some company, but “Rhythm and Art” with the feeling that it’s his calling. He says, someone from the outside for the production, kit. It still looks like a rock ‘n’ roll kit, not so drummer, but I was the audience’s drummer. was the first time I played to such a thing. wasn’t taken yet. We secured the domains “I know I didn’t make it as a drummer, but which was totally understandable after much like a heavy metal set-up. You can put Udo has always been in favor of this kind first and then started looking for a location I ended here as a drumtech.” Maybe he will so long. Two years later, I produced the a lot of melodic things into practice with it. Edge: How did you deal with success at the early of perfection. He started to loop himself. to hold workshops twice a month, similar to build his own drums one day. Passion is the “Begegnung” album. We even produced the I’m also a singer and I sing backing vocals age of 17? And now, 34 years later, what’s your He played a groove for 20 minutes and then the Rock ‘N’ Roll Fantasy Camp they have in determining factor. latest album together, since everybody has with Maffay. So, I’m also a fan of drummers perspective? he took the best 2 bars and looped them. America. You can play with the stars. I also developed really well in the band and we all such as Don Henley or Phil Collins who He looped complete drum pieces early on. offer individual lessons if someone have some production skills now. It’s our can sing at their kit. Back in the day, Ringo Bertram: At 17, I still had this naive arrogance We’re talking about 1976, which means he is interested. Certainly not from 9 to 40-year-anniversary best of album named, Starr would do vocals for one song and because I wanted the job, I wanted to get was one of the pioneers of working with 5, as it would be the case in a music Selected Discography: “Tattoos”. It reached number one and that’s how I started. Yet, you have to have there and there were hundreds of others such technical things. He has always had a school, yet on demand, that’s the way 1975 Jackboot: Angel everybody added to the album; suddenly all a totally different type of independence who wanted the job with Udo Lindenberg. perfect ear, which helped me learn to play to I plan on doing it. At the same time, 1976 Udo Lindenberg: Sister King Kong four of us were producers! for that. It came to me naturally. Other He was the top act, after all. There was 1977 Peter Maffay: Live machines. No click-tracks, no metronome, we’ll sell artwork by musicians. On 1979 Marius Müller-Westernhagen: Sekt oder Selters drummers who try and learn this at a later no Grönemeyer, no Xavier Naidoo, no no setting tempos, just by feeling. We September 3rd, we start with Udo 1980 Eric Burdon’s Fire Department: Last Drive Edge: Does playing the piano and other point in time sometimes have difficulties. Silbermond, all these bands weren’t around 1980 Johnny Tame: Indistinct Horizon practiced for such a long time that the Lindenberg, then we host Wolfgang 1980 Gillian Scalici: Hell, I want more instruments help with your producing and You really have to play everything straight at that time. We were the act in the rock tempos were stuck in my head. 1981 Average Businessmen: Average Businessmen would it be more difficult if you only played in time, and because the lyrics might change area. It was as if you became part of U2, cool 1981 Johnny Tame: Untamed 1981 Udo Lindenberg: Udopia drums? the meter, you sometimes have to shift or and with commercial success. Back then, I’m not saying that I have become old 1985 Elephant: Just tonight make changes. This means you’re singing Peter Maffay was a bit more unknown and musically, but nevertheless, I’m old now. 1985 The Raiders: Single: Touch me and pushing the beat from behind. That’s maybe less attractive with all of his German 1986 The Pretty Things: Out of the island Bertram: Yes, because I see the big picture. I’m mellower, more experienced and can 1987 Tony Carey: Bedtime Story I think I probably would have stayed something you have to learn. For me, it popular music. Yet, a few colleagues had deal with certain things more intelligently. I 1988 Mark Aubin: Restless heart a sideman in that case. Naturally, my was like second nature because I had been already worked with him and said to me, 1991 New Legend: Deep Colors Bleed approach things in a different way thanks to 1992 Anne Haigis: Cry Wolf drumming is different because I see it from singing all these years. I’d listen to Elton “Come over some time. He is planning to maturity and experience. Personally, I find 1996 Jimmy Barnes: Hits the keyboard player’s perspective: harmonic John albums and try to play the piano, and take a different direction, just join us. Have the way I play today is 1999 Robert Palmer: Rhythm & Blues 1998 Yothu Yindi: One blood parts, bridges, verses, etc. then I’d try to play the drums. Then, I’d a look at it and be open-minded, get to much better. 2001 Lucyfire: This dollar saved my life at Whitehorse let a friend play the piano, because he was know him as a person first.” When I got to 2001 Carl Carlton and the Songdogs: Revolution Avenue 2003 Bruce Springsteen: The video anthology (DVD) Sometimes, I like using completely different better at it than me. And that’s how my first know him in person, he was totally different Edge: You also have a 2003 Silver: Intruder instruments. Let’s take this drum set for band was formed; we played these Elton than I had expected. Now, we have put a project called “Rhythm 2004 Casanova: All beauty must die example: I put up different cymbals than John songs together. Of course, they were career of 34 years behind us. Sometimes, 2006 Peter Maffay: Begegnungen and Art”, tell us about 2008 Udo Lindenberg: Stark wie zwei I usually use here, and I put up a tom on ballads and thus, relatively easy to play. But you have to get rid of your prejudices and that. 2010 Peter Maffay: Tattoos the left side, where I usually have a side even as a 12-year-old, I knew that it was way simply go there and listen. When I joined [INT. EDGE 1.0] 11 >drum clinic Thomas Lang’s Groups of 3 and 4 in different note values By Ulf stricker

In Most of the time hand-foot combinations sound stiff and boring because the amount of notes within a group sets the note value, i.e. a group of 3 is always a triplet and a group of 4 is always 16 th notes. Here are 2 little execises to help you develop fill and lick ideas in different note values.

The first exercise is a group of 4 notes, meaning right-left-foot-foot. It moves up and down in the note value therefore I called it a rhythmical pyramid. The idea is to play the exercise with a quarternote pulse stepped on the hihat by your left foot. So you make sure you hear both, on the one hand the hand-

Photos by Stefan Fischer

See it at www.youtube.com/drumworkshopinc foot combination on the other hand the pulse. Now you are able to play groups of 4 in 8th notes, 8th note TM triplets and 16th . Once you feel comfortable, add more values, like 16th triplets, 32nd notes or odd values like quintuplets. Then start orchestrating it on the drumkit to find your very own licks with that

The second exercise is the same idea but in a group of three notes, meaning right-left-foot. Be aware of the crossrhythm in the 8th and 16th notes. It takes 3 bars to resolve. This is what makes groups of three interesting playing even note values. STUDIO STAGE SOUND style

The all-new Performance Series is Thomas’ sound. Speed, power and fluidity define Thomas Lang’s drumming style. From his mind-blowing footwork, to his remarkably even single stroke rolls, he has raised the bar for drummers everywhere. To make the cut with a drummer of this magnitude, a drum set must possess maximum articulation, projection and a full tonal spectrum. Enter the new DW Performance Series, everything Thomas demands from a kit and more. Why wait any longer? Make Thomas’ sound yours…what’s your Performance?

TM www.dwdrums.com ©2011 Drum Workshop, Inc. All Rights Reserved. DW Heads by Remo USA are standard equipment on all Performance Series Drums. We sat down with the international aspect. Two out of those three should Thomas the music fan? drumming phenomenon to find out why always be fulfilled. If I get along with he’s often misunderstood and what he’s the people really well, then I’ll probably LANG: Those are two different things, doing to change his stereotype. There’s also like the music; I could probably two radically different things. Strictly no doubt that Thomas Lang’s mighty make a compromise financially. Or, the as a drummer, I listen to very little chops and powerful persona have taken money is so great that I don’t care about music. I don’t get much satisfaction the drumming world by storm, but it’s the music or the people, which never out of it, it’s not that enjoyable. The his very calculated and thoughtful happens. Or, the music is just so great, listening process is more analytical and approach to playing that has kept that I overlook everything else. So, I try it’s a more active listening process. To him in the spotlight. As a music fan, to avoid gigs where I dislike the music. me, that’s not as enjoyable. I don’t seek he likes everything under the sun and I’ve done it many times before and out that kind of music, because again, as a drummer he’s versatile enough to because of those experiences, I don’t do it’s not a passive, pleasurable, enjoyable play it all. As he graces the cover of this it any more. Since these days, it’s easier thing for me. I have to concentrate the international premiere issue of International Edge, to make that choice, but I remember the more; it’s more cerebral and more we discover what makes everything in times when I did those gigs. It’s harder involved. As a drummer, I listen to more thomAS Lang Thomas’s musical world work out. work, as you say, but at the same time, complex, highly complicated stuff of all it’s still something that I enjoy doing. styles; that could be progressive metal, EDGE: Before we talk drums, we’d love to It’s still better than doing something jazz, fusion, whatever. The music that know what’s in your iPod. else. Still, when I’m making music I listen to as a fan is song-based music, that I really enjoy, there are aspects to totally melodic and very simple from Thomas Lang: I’m a fan and thankfully, a drumming aspect. The drumming is I’m working in the field of music. It’s a completely part of the song and that’s big plus. I have a very eclectic mix of the music that I enjoy listening to a lot stuff in my iPod; it’s a wide range of all more. That‘s also the kind of music that styles and eras. Recently, I downloaded “I feed off I produce and write. the new Deftones, the new Alice in Chains, the new Avenged Sevenfold, of the energy EDGE: How do you separate yourself from a lot of Electronic, R&B and Hip Hop, of the audience your drumming career? What defines you? too. I’m pretty much into anything that’s hip on the radio right now. I try and the band, LANG: There is, of course, Thomas Lang to be informed at all times about what’s that always the man and there is Thomas Lang the happening on the charts because I also musician. As a person, the things that write and produce music. So, I listen to works for me in define me are, of course, my experiences a lot of stuff on the radio and download in life, relationships, my children and a lot of stuff that I like. I think in the the end.” my family, my cultural background end, all music is good music, and I find and heritage, all of those things. All inspiration in pretty much everything of that is somewhat related to Thomas that’s out there. Lang the musician, of course. So, what the job that aren’t enjoyable. But you defines me as a person also defines me EDGE: How do you find the music? Do know what, I suck it up, because it’s as a musician, in a certain sense. I think you actively look at download sites? still good; I’m still playing music for a I’m a creative person and I think I’m a living and I still enjoy what I do very very diligent person, very productive, LANG: I listen to a lot of radio, then I much. So what, maybe I don’t like and very focused in general. write down what I like. I put it in my that song, but everybody else does and iPhone and there are also little pieces of there’s always an audience. They like EDGE: What would you do if you weren’t paper lying around with new artists that it and they deserve to be treated with drumming? I like written on them. I also have alerts respect and I can pull myself together which come up if an artist has a new and just pour my whole heart into it, LANG: I think I’d either be a physicist release on iTunes, so I’ll go to the store even if I don’t love it that much. I feed or a carpenter; polar opposites, but I and get it. I listen to a lot of samples on off of the energy of the audience and the like both. I like the simplicity and the iTunes, dig around and actively search band, and that always works for me in productivity of carpentry. It uses such for stuff that I might be interested in. the end. Even during the times when I natural material, it’s such a hands- had to play music that I didn’t like very on job; very immediate and very by: Scott Donnell/photos by Rob Shanahan EDGE: Is it hard to play a gig you’re not much, the music was never the real satisfying. I like the natural aspect and musically into? problem. It was the other aspects: the it requires a lot of skill and experience. He’s an Austrian-born, California transplant travel, the organization, the money or I’m also very interested in science. I LANG: Well, I try not to do those gigs somebody in the band who wasn’t cool. dabbled in physics for a while. I find at all. There’s a lot of stuff that I could It was never really the music, even if it it very intriguing because there are who’s been flexing his technical chops for well potentially do, or I get offered to do, wasn’t my favourite kind of music, it mathematical systems that work and muscle-bound musician than meets the eye. but which I’m just not interested in was still all good at the end of the day. that can be applied to anything. There over a decade now, but there’s much more to this musically. For me, there are always is such a massive system, a logical three reasons to do a gig, or not: it’s EDGE: Do you have different music you approach to describing the world, the music, the people, and the financial listen to as Thomas the drummer vs. which ceases to exist at one point.

[EDGE 1.0] 15 lot of these students experience that for say this one has completely changed EDGE: Part of what defines you is also your the first time in their lives. After three their approach to practicing and to Austrian heritage. Do you feel that moving days, there are definite results. I want playing in general. They’ve made to California has changed your drumming? everybody to walk away being able to huge improvements, because they have play something that they weren’t able experienced what it takes to do this and LANG: Well no, I think my style is to play, and to have concrete results at how to be disciplined and focused, and independent from the location. I think the end of the camp. By doing that, by how to practice correctly. I’d be inspired by the same things if I spending that amount of time even just were living somewhere else. Of course, over a weekend, we can achieve that. EDGE: Do you feel that you, as a player, in recent years there’s been a massive It’s a really intense learning experience. learned more from practicing by yourself or Gospel drumming presence, which It’s a small group, so I can work with by playing with other musicians? has inspired and influenced most each student to correct whatever hand everybody in the drumming world. positions or mistakes they make and LANG: I think playing and practicing That sort of thing inspires everyone, interact with each one of them, like are two different worlds, and one regardless of where they live. What in a private lesson. Logistically, this influences the other. They cannot exist mostly influenced my playing was has been a good thing for me, because without each other. You can’t achieve the fact that I stopped doing a lot of when I have a session, then a few days the same technical level if you haven’t session work in London. I lived there later, another gig, I can fill gaps in my practiced by yourself and you cannot for almost fourteen years and I did a schedule with these camps. I may become a great musician if you’ve lot of session work there, working with already be in that city or have some time never played with other musicians, many, many different artists, touring off, so I can organize and host a camp so I think you need both. It’s like the with them, recording with them. I left hand on the fretboard is doing “My approach to instructional products is to pack deliberately left that pop scene because something completely different than I was getting bored with the music and the right hand when it’s strumming, but as much information in there as possible and that the whole vibe. Quitting those kinds of together, the two hands make music. type of information is strictly technical.” jobs and sessions has had a great impact “I think They’re two different activities and on the way in which I approach the two different mindsets are required for instrument. Now I have the time and playing and either practicing or playing, but doing People think you’re a chops guy and don’t Pridgen, Derek Roddy, Alex Acuña, a musically in the next couple of years? Will the luxury to just sit back in my studio practicing are the right amount of both creates the understand that you’re a musical player. long list of guys. Talk a little bit about the you take the gigs as they come? here in California and write whatever perfect balance. There is a saying that experience and being part of the DW family. comes to mind. I get to work with two different goes, “Never play when you practice LANG: I’m typecast as the drum- LANG: Well, I’ve avoided long tours my band, Stork, and play some crazy worlds, and one and never practice when you play” monkey, clinic-titan-whatever-drum- LANG: I had a ball! It was a great for a number of years now because of music and join some crazy, fun bands which underlines that you can’t do the guy and it has to do with the fact afternoon and a fun hang. It was great my kids and I was concentrating more like Schwarzenator, not thinking about influences the one without the other. that a lot of drummers only know me for me to really meet a bunch of the on projects, but now they are in school the commercial aspect. It allows me other.” from instructional products. These guys from my new family in person, not and it’s all good. Now, I’ll be able to to be more selfish, more artistic and a EDGE: Do you feel that you’ve been instructional products are strictly about only to hang and snack on the food, but tour more, and I’m always writing little more creative again with playing, stereotyped in any way? technique. When I release a book also to play and jam and talk drums. I and producing and working with my maybe that was the result of moving that’s called, “Creative Coordination” had a great time meeting everybody own band. Of course, I’ll continue to here. LANG: Totally, yes. In the drum or whatever, that’s what it’s about and playing the new Performance do session work as a side thing. It is at the moment. I can take my camp to world I’m known as a technical clinic and there’s nothing else in it. My drums. I was blown away by the not my main focus now, but I do a fair EDGE: Let’s talk a little bit about your the people because it’s a small guerilla guy, although it’s the smallest part of approach to instructional products is quality, the sound, the look and I think amount of sessions. drumming boot camps. operation. my actual career. I understand that to pack as much information in there it was a very smart thing to do; to get many drummers are only focused on as possible and that type of information everybody into a room. There was such EDGE: This is the last and the most LANG: I’ve played many drum clinics EDGE: How do readers find out more about drumming. They Google drum solos, is strictly technical. So, when there are a variety of different players from so important question: Have you heard any and have worked in the drum world it? and that’s it. performances that demonstrate these many different styles of music and it good jokes? for a number of years, and it all started technical exercises, a lot of people think was wonderful for me, not only to hear to become a little less satisfying for me, LANG: Well, there’s a website: www. EDGE: Do you like drum solos? it’s my musical identity, or this is who I everybody play their very unique and TL: (laughs) Yes, I have heard a few performing for a large crowd of people thomaslangdrumcamp.com where am, but it’s not. individual style, but also to hear the good jokes, but I can’t repeat them! for a short amount of time. I wanted you can register for the camp and find LANG: They put me to sleep right away. drums like that. It really showcased (more laughter) How do you know to do the reverse. I wanted to spend out about camp schedules. You can There’s this mesmerizing thing about EDGE: That whole thing exists in the guitar the extreme versatility of the kit, the when a violin is out of tune? When the a lot of time with a small amount of even register and pay online. It’s very them; no matter how great the solo, it world, too. They have guitar heroes and we way it works in all styles of music and bow is moving. people, to get my ideas across and to inexpensive. I charge much less than I makes me fall asleep. That includes my have drum heroes. the way it speaks in all languages. I show them concepts in depth. I don’t would charge for a private lesson. So, own solos. It’s really weird, but I do like was amazed at how different the kit What’s one of the least frequently heard teach privately, but this is the closest I think it’s a very good value for the them, of course. I was always a great LANG: I’m flattered and proud to be sounds, depending on the player’s sentences in the music industry? Is that thing that I can offer. It allows the money. We offer hotel packages and fan of Buddy Rich. I do like drum solos, considered that in the drumming world, personality. Every drummer sounded the banjo player’s Porsche out there? students to have a really ultra-intense travel packages, the whole deal. there are so many wonderful, classic but at the same time, it makes me smile different on the same kit, but it sounded weekend or week. It’s actually hands- drum solos, but it’s not the reason why because it’s not exactly who I am. It has awesome every single time. The kit What do you throw at a drowning on playing, everybody plays. It’s not EDGE: Do you think that people take I became a drummer. To me, they’re become a valid business aspect in my seemed like it would assimilate and guitar player? His amp. a passive experience for the students. away a newfound discipline that they can’t secondary. In fact, when I’m doing career, but in regard to my real ambition adjust to the drummer’s style so well. This is actually hands-on teaching, experience elsewhere? a clinic tour, after two or three days and my actual musical identity, it’s only It was projecting and translating to What’s the difference between a where everybody is playing all the time of just playing by myself, I get totally a tiny part. whatever we did very, very precisely drummer and a drum machine? With for eight hours a day: four hours in the LANG: I know it for a fact. I get frustrated and it becomes hard work. and uniquely. the drum machine, you only have to morning, one hour lunch break and emails from a lot of the students who EDGE: You just attended a DW event punch in the information once. four hours in the afternoon until six. A have attended other camps, but they EDGE: I think that’s how you’re typecast. with a bunch of amazing players, Thomas EDGE: What do you see yourself doing [INT. EDGE 1.0] 17

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©2011 Pacific Drums and Percussion. All Rights Reserved. The PDP logo is a registered trademark of Drum Workshop, Inc. working in a warehouse. I knew I really she cares about. wanted to play the drums, so I decided to EDGE: Oh wow, what a great introduction. use my savings to go to Music College in EDGE: That was the opposite for George Michael New York, where I had family. I auditioned Carlos: That was it. Beverly’s gig was such wasn’t it? for the Brooklyn College Conservatory of a good gig, it was like a showcase for me as Music and that was the real start for me. a player. Carlos: Yes. Those were the first intensive lessons. I learned a bit of Jazz, piano, vocals and EDGE: It’s a really great band as well, isn’t it? EDGE: I think you had to play exactly what was also some music theory. This was the time on the record. in through the owhen I realizedu that tif I wantedd to makeoo Carlos: Yes, and it is rvery free, so we can playing the drums my profession that I had really produce her tracks. Whatever they do Carlos: Absolutely. George has great ears, he to be professional, too. I had no dreams, in the studio, we do live. So, we auditioned spends months doing the recording, getting necessarily, about staying in New York, on Wednesday and her tour began on it right, so by the time he has decided it is because I’d met a lot of good players there Saturday, it was literally that quick. good enough to go to the public, that he’s who couldn’t get work. I knew that England happy with it, he wants the live gig exactly would be the place where I could make a EDGE: You had to learn the whole set in three as he thinks it should sound. living. days? EDGE: How did you get the George Michael EDGE: So you came back to the UK. How did Carlos: That was one of the best things gig? Carlos HERCULES you get into your first professional gig? about having been to the Brooklyn College Conservatory of Music, having been taught Carlos: Well, that was a good story as well, Carlos: When I went back to England, I to read and score music. I got the CD, spent another example of who you know. I had started an original band. It was hard getting a day scoring it, and went to the audition. If a gig with the classical quartet, Bond. It work, we just kept hoping we would get I hadn’t scored it, there was no way I would turned out that production and half of the signed; every guy’s dream, you know! We band was George’s band and production

did this for a while, well you know how team. Unbeknownst to me, I auditioned these “sliding door” things happen, the for the George Michael gig when I was on band decided to do a showcase for some “I was 17 years old when tour with Bond. The tour went really well, agents to try to get ourselves some more I started. I wanted to play it went great and they were happy. I never work. It so happened, there was a show when I was about 7 years old, even thought about it, because the seat band on the same bill that weren’t using but my parents wouldnt let wasn’t available at the time. a drummer, they were using sequenced me because of the noise and drums. They saw me, and asked me if I EDGE: So, you were first call when the tour fancied doing some shows for them. I all that kind of stuff. Than a came up? said, “Of course, it’s work, why not?” neighbor moved in next door At that time, I didn’t realize the function and started a band.” Carlos: Yes, basically they didn’t audition scene really existed.a b Theye were working anyone else. It was a case of, come down As his name would suggest, he’s a Herculean drummer. He’s maybe 3 or 4 times a week, up and down meet the guys, and as long as everyone is the country and abroad. I kind of cut my happy with you, it’s yours. had some of the biggest gigs the UK has to offer and remains teeth with them. They had every track a first call touring player to Brit-Pop’s elite. Edge’s David sequenced and a click to play along to. have got the gig because the music for Bev’s EDGE: Talk us through what you had to do on set was very interesting and full of intricate that gig, because I know that there was a lot of Phillips met with the big man to talk about his background, EDGE: Really? So, a very professional band. little pieces. I didn’t even practice it, we got playing to loops and that sort of thing. to Saturday’s gig, read through it, and we career highlights and what’s on the horizon. Carlos: It was a really professional function were on the road. Carlos: That was very interesting, as well. band. They were working a quite a lot, so As a session guy, I’m always intrigued by When I started working with DW, it was a house and teaching a bit at the moment. taught? EDGE: So, what was that first gig like? It must everything new. This was a very different great pleasure to sign Carlos as an endorsee. it really was my apprenticeship. Then, I got have been pretty scary. gig in the sense that I had never before He is one of the UK’s most sought after EDGE: Are you still teaching then? Carlos: At first I taught myself by listening a call from a friend whose friend was the relied so heavily on electronics. I had never session musicians, a player who enjoys to records, playing along and trying to work bass player and MD’ing C Lewis, asking if I wanted to audition. I went down, Carlos: Well, it was hairy because on thought so much about trying to recapture the kind of career that drummers can only Carlos: Yes, yes, just between tours. I like to things out. I think I may have progressed auditioned, and got that one as well. That Thursday, they decided the bass player they sounds, playing things very much like they dream about. Not only has he been Beverly keep my hand in. quicker if I had taken lessons. However, auditioned on Wednesday wasn’t suitable. were originally recorded. For instance, Knight’s drummer of choice for the last 12 while I was listening to Chaka Khan, Earth was my first real pro gig in the early 90’s and So, they brought another one in on Friday “Careless Whisper” can’t really change years, but his music and personal skills EDGE: Starting at the beginning, when did you Wind and Fire and George Benson, that it all spiralled from there, really. and he had only one day, so he scored his much because all the fills relate to the have allowed him to work with some of the start drumming? kind of stuff, I didn’t realize until later I was EDGE: It still really comes down to who you part, went on stage and did the gig. It all song. It’s an iconic song. The drum parts world’s most influential and iconic music listening to a lot of jazz, the likes of Perdy, know, not what you know. turned out really well, and that was the are synonymous with that track and a lot legends, including: Eurythmics, George Carlos: I was 17-years-old when I started. I JR Robinson, all the great session guys. I beginning of it all, really. of fans know that song inside and out. It’s Michael, and most recently, Leona Lewis. wanted to play when I was about 7-years- think this was the big advantage to listening Carlos: Yes, it does. It’s all about whether one of those anthems that you have to play Carlos credits his success to hard work, old but my parents wouldn’t let me because to a lot of records. This was back in the people can vouch for you. I was on an EDGE: How long have you been with Beverly as it was recorded. The whole experience developing his natural talent and being of the noise and all that kind of stuff. Then, early 80’s, when there would have been no agent’s book for absolutely ages, and never now? was a good discipline. Even if sometimes honest and gracious. He has long said that a neighbour moved in next door to us and programming, no multiple takes, just start at got any work. Then I did a gig with Steve you think I wouldn’t have done it like that, getting hands-on experience with technology started a band; he was a percussionist. This the top and record it. Now, I think whilst Walters, the bass player and we got on really Carlos: 12 years. you have to remember, that song has been and programming is an important aspect of was when I started to learn some music, I may not have known what a paradiddle well. He said I should call the agent and in existence for 20 years. It really made me any modern drummer’s approach and his most of which was Caribbean. My parents was, I trained myself how to groove, really ask for more work. He said, “This time, tell EDGE: Are you still playing with her live? think about subtle fills, things that were rig is fused with electronic toys of all kinds. were a little bit more turned on by that, so making sure the pocket felt right. You really him I vouch for you.” Two weeks later the a half beat or a beat long, some little snare For this inaugural issue of International they bought me a set of congas as a sort of can’t miss if you’re playing along to those agent called and offered me an audition. C: Yes, we have some shows coming up in drum fills with ghost strokes, splash cymbal Edge, we caught up with Carlos to talk compromise. That’s when I got my foot in boys. That audition was Beverly Knight. In this August. She’s not as busy as all of us would work, that kind of thing. about touring and so much more. the door. Three months later, the drummer industry, it is all about reputation. People like, but it’s one of my favourite gigs. For of the band left. The drummer’s spot came EDGE: How did you then make the transition are always a little cautious when they put me, there probably aren’t many gigs where EDGE: So, just keeping the groove, but perhaps EDGE: Have you got a few days off at the up and I said, “Let me play drums, let me into becoming a professional musician? you forward for a gig, if they get it wrong, you get that much musical freedom. She with some slight additions to it? moment? play drums.” or you turn out to be a bit of an idiot, it goes is very, very up for whatever you come up Carlos: When I was 21-years-old and things back to them. with, and if it sounds good, it’s in. That’s all Carlos: Very small embellishments that Carlos: I am self-building a garage for the EDGE: So, did you take lessons or are you self- in this country seemed a little bleak, I was

[INT. EDGE 1.0] 21 didn’t get in the way of what had already play, you are very exposed; very much part been laid down. Some of the drum tracks of the show. With this show, you had to deal Carlos: I have never been involved in a were very interesting to play because with your ego because you weren’t as much show where the band was so visual. You George has a bit of a bass player thing going part of the show. You are playing your part could be seen at all times, you could be on. “Faith” for instance, if you listen to audibly, but visually adding very little. flashed up on the screens at all times, and the programming, it’s incredible, so to try you really had to consider that. Also, there and relay that in a live situation was very EDGE: What was it like working with Annie were aerial lifts. I had done a show with interesting. Lennox and Dave Stewart? dancers but not the full aerial lifts; all that was going on, it was massive! In the early EDGE: It was such a big show, with a huge Carlos: Oh, that was fantastic! I have to say, stages, you had to learn to ignore it because band and massive stage. Did that make it more that has been one of my best experiences, it was distracting and you could miss cues complicated? just because they are gods in their own right. watching something you hadn’t seen before. Annie is such an iconic figure and fantastic We all rehearsed in our own little bubbles, Carlos: Yes, it did. The way the stage was vocalist, and Dave Stewart is very eccentric and then they put us all together to do the designed, you could only see one other and extremely clever. He is one of those show. The first time you see it all in dress player. So, I could only see the bass player. genius people. He knows the sounds, how rehearsal it’s a huge distraction. You had to There were 15 guys on the stage making he wants them put together, and all that be careful. It was only at the end of the tour noise, that you could hear, but you couldn’t stuff, yet he has the energy of a 10-year-old that I had a complete overview of what the see. It’s really, really hard to communicate boy. He was fantastic. whole show actually looked like. or vibe like that. That was a little bit surreal in the sense that you were part of a show, EDGE: What did you actually do? Was it a EDGE: How did you go about preparing for it? but it almost felt like you were in the pit at tour? west end show. On top of that, you couldn’t Carlos: Well, as always, you get as many of see the show because we were behind the Carlos: No, we hoped it would end up like the songs beforehand to do some prep work. “You need to be able to play a few styles fairly screens, so it was only when they were that, because it was kind of a reunion, but I also do as much programming before we running some video at a sound check that we did do some very iconic things like the go into rehearsals as I can. But obviously, competently. then, I think the rest of it is people you could actually see what you were American Music awards and the induction things change, and that’s what rehearsals are playing along to. to the Rock and Roll Hall of Fame, and some for. So, you go in and get the new samples skills more than anything else, being a good other American TV. It wasn’t a very long and new versions that you need. Then, we EDGE: It must have been really weird? period, but it was significant. start to go through it all. Next, the boss person on the road.” comes in and decides what stays and what Carlos: When the DVD came out, we all goes. Up until then, it’s all temporary until use the other kit. The kits are pretty much have laid down in the industry. I was on band. If there are young guys out there went, “Wow, what a show!” It was the EDGE: I saw you recently on the Leona Lewis you get the go ahead, then you can really the same; the only variation is the cymbals. stage playing for them, thinking, “Oh my trying to be the next Coldplay, or whatever, first time we actually got to see it, which tour. How was that experience? start to lock things down and start to say, God!” Yard was my tech, and I overheard that would be far more lucrative for you was really bizarre. The gig was also very “OK that’s it, that’s the final thing.” For me, EDGE: Do you find some gigs harder than him talking to one of the production guys. and let you live the rock and roll life. The different emotionally, as well. Most gigs you Carlos: That was brilliant, as well, actually. the gig was a good compromise between the others? He had asked him who I was. Yard told him session thing is a bit more of a 9 to 5 job, We had a lot of fun on that. Last year’s tour, full programming I did for George and the my name and what I’d been doing. He said a bit more hard graft; you’ve really got to she wanted it to sound very much like the very little I do with Beverly. Pretty much all Carlos: Not really, they are all different he had heard of me and went on to say he know your stuff. If you do decide that it’s record; that was her comfort zone. This of the electronic stuff that was on the album, for various reasons. The George Michael had been watching me for the last couple for you, or that your time has passed for tour, the brief was to make the sound as if I could play it, I played it. So, I had pads tour was more disciplined and the actual of days and thought I was great. I was the rock band, then I would say you have live as possible, to have the band involved. and I had a kick trigger so I could kick some concerts were tense because you were sitting there thinking, “Wow, who would to try and play all sorts of different music She was really open to what a live band sub-bass sounds or lay off a couple of pads, actually playing less, so you had to make have thought at 17-years- old this is where so you can sound authentic at whatever sounds like. Lots of trust issues come with etc. Yet, still every drummer will say there’s sure that when you did play, it counted. I would be?” you play. You don’t have to know it all this when you’ve been used to doing 3 or 4 nothing like playing a live acoustic kit, With Beverly, it’s probably choppier than inside out, because you are going to be very years of mostly PA’s with your tracks as they absolutely nothing like it. But, you know, in the other gigs. Some of the hits are quite EDGE: Is there anyone who you haven’t worked much a jack of all trades. There’s not one are on record. Leona could have wanted these modern times with everybody using adventurous, but that ups your awareness with that you would like to? type of music, especially in England, that everything perfectly the same every night so many sampled sounds, big, weird and on a gig and you are focused in a different will pay your bills all year round. Maybe like George, but she didn’t. With a live band, interesting sounds, you need to be able to way. Leona was really a mix of both. I had Carlos: Loads. The ultimate, I think, would some really big rock bands might keep you you might have a guitar playing lines that do both. a couple of solo sections in the show, and be the Prince gig. busy for a year or two, but on the whole, if weren’t there before and drums that aren’t then the rest of it was very groove-based. you’re a session player, chances are you’ll digital sounding, and that kind of stuff can EDGE: How do you change your kit between all Every 4 or 5 songs, you would get a little EDGE: Have you met Cora? simply be going from one thing to another. be worrying to people, but she took it in these different gigs? four bar blast, where you could really You need to be able to play a few styles stride and said, “Oh my God, this sounds unleash it. I used to get very excited at Carlos: No, Beverly did a support tour with fairly competently, so you have to hone fantastic!” We were really open on the tour, Carlos: If I’m on a big kit with a big tour those points. them and they did some of the O2. Funny those skills. Then, I think the rest of it is really allowed to interpret the music as best like say, The Waterboys, which is a very enough, I was on the George tour and I people skills more than anything else, being we could, the way we thought we should. rock- orientated gig, I’ve got a DW kit that EDGE: What would you say is your most missed it. Otherwise, that would have been a good person on the road. When you’re You could see takes care of that: a big 22” bass drum, memorable live performance? my gig and I would have been rubbing on the road you have to remember that you her grow from 13” mounted tom and 16” and 18” floor shoulders with the man. They even played only play for an hour-and-a-half, so it really the beginning toms. On the pop stuff, Bev, George and Carlos: Maybe the American Hall of Fame. at some of the after show parties he likes to is about how you behave off the stage, as of the tour to Leona, I use a standard 10”, 12”, 14”, 16” do. He loved Bev, took her back to America well. You need to have people skills for the end. It was floor toms and maybe two snare drums for EDGE: With Eurthymics? with him to do some recording, so that people to want to be around you. If you really, really some extra sounds. Now, I find I am also would have been a fantastic experience. I take George’s show, for instance, there were good. triggering kicks, acoustic kicks and/or Carlos: That was crazy! I was sitting back know of Cora, she’s a great player. about 200 people in the crew. You have to snare with two kinds of dedicated pads and stage with Travis Barker and his new wife, get on with all of them. Every venue has EDGE: This an electronic kick. When you are playing who had just made a TV programme. Then, EDGE: Do you have any tips for anyone that a new set of security, every hotel has staff, time, the band dedicated dance-orientated stuff it makes I was in the dressing room and Shakira came would like to become a session drummer? you have to be aware of all of this and think was right on no sense trying to reproduce it sonically on and sat next to me, and to the other side of about how you behave. Even if you’re the the stage and an acoustic kit. That kit is pretty much the me was Carmen Electra. I look out on the Carlos: It’s harder out there, I would say. I best drummer in the world, if you have an you could all touring kit and it is set up in the same way. I front row and there’s Woody Harrelson, don’t know if being a session drummer is attitude, people will begin to think, “You see one another have two of these rigs going, so if I have one Will Smith, etc. Then, you get up on stage necessarily the goal. When I was embarking know what, this gig doesn’t really need and play off one out on tour and if I have to run back and do with Eurthymics, and the response that on my music career, I never thought about you.” They’ll take someone who is a lesser another, right? something with someone else, I can always they get from such a star-studded audience being a session drummer. It kind of evolved player, but easier to get on, even if you’re reminds you of the significance of what they that way. I wanted to be a drummer in a brilliant. [INT. EDGE 1.0] 23 THE DRUMBEAST He’s a hard hitting time keeper known for his quick feet and even faster fills. In this inaugural issue of International Edge, we proudly expose the world to a German metal master as he talks shop and gives the kids a glimpse into his world. photos by Stefan Fischer

Edge: Tell us what’s going on at the moment. Edge: How long have you been playing drums? which looks the same night after night. So, I don’t really have to do anything different Bodo Stricker: Currently, I’m playing some Bodo: I’ve been playing drums for about because my workspace is always the same. shows with my band, Last One Dying, and half of my life now, so about fifteen years. If I was a singer and had to fill big stages we released an album last September. In I’ve never had any lessons, I’m completely like that, run around and entertain people, between playing shows, we’re writing self-taught. I just learned by listening it would be a different thing. Personally, I new material to record another album to CDs and tried to figure out what the prefer playing the smaller shows, like club soon. Along the way, I am doing a little drummer was doing. shows up to 1,000 person capacity, because project called Whyteboy, which is sort of you have much more interaction with the along the lines of Kid Rock and Methods Edge: What’s the most interesting show you’ve audience, whereas if you play big festivals of Mayhem. We played a couple of ever played? with big stages and security in front of it, showcases for labels and booking agencies you kind of feel a little isolated from the and stuff like that, but that’s just a little Bodo: The most interesting show would audience. I like the smaller shows because side project right now. probably have to be a festival that we you can get in touch with the audience played in China. I did this little 3 week and get that kind of feedback. BODO Stricker Edge: How did you come to join the DW tour with a band called Final Virus. It was family? sort of like Frank Zappa, with trombone Edge: Talk a little more about being self-taught. players and keyboards, jazz and metal all Bodo: That’s quite an interesting story, mixed into one. We had the opportunity to Bodo: Mostly, I was just listening to actually. I believe it was one of the trade go to China as a part of a cultural exchange records and playing along. At the time shows in Frankfurt, probably six or seven program. They brought a Chinese when I was learning to play, there was this years ago. I was playing DW pedals for orchestra over to Europe and a band from show on TV, called “Superdrumming” way longer than that. I think I bought the pool of this cultural exchange was sent featuring Billy Cobham, Simon Phillips my first 5000 series double pedal with over to China. We were lucky that it was and Louie Bellson. So, you got to watch a single chain about ten years ago. So, I us! So we played this festival in front of them play and then you were like, “Ok, was playing at the trade show in Frankfurt about 80,000 people, and since it was one this is how that works and maybe I can with one of my bands and I just wanted of the major events in China every year, it try this out.” And there was this guy to go by the DW booth and thank the was nationally televised. They said there named Gerry Brown who had all these guys for creating such a good pedal. So, I were almost a billion people watching it, stick-twirling moves and stuff like that, spoke to John Good and we hit it off right so that was quite something. so that was quite interesting. I think the away. We decided to stay in touch and he visual aspect is very important when you gave me his business card. We kept seeing Edge: Do you feel any pressure playing to are learning drums, because if you are just each other at these trade shows and then larger crowds? listening, it is sometimes hard to figure out eventually, we said, “Hey, how about if exactly what they’re doing. If you actually we make it official?” And that’s how that Bodo: To me, it doesn’t make that much see them play, it’s like, “Ah, alright, now happened. So there was a friendship long of a difference if it’s 80,000 people or eight I get it.” Then it’s just practice from that before there was a working relationship. people, because the way I see it, I always point on. feel comfortable. I’m playing my drum kit,

[INT. EDGE 1.0] 25 Edge: Why did you end up being more of a Facebook in the music industry today? of the time, especially in metal. I find it very “metal” drummer? hard because sometimes you have to feed off Bodo: I think one of the biggest steps was the energy of a big guitar riff or whatever, Bodo: When I began drumming, I started Myspace. It used to be and you really need to get that vibe going. out playing jazz and fusion and that sort that when you found out If you are just playing drums by yourself of thing. I didn’t have a double bass drum about a new band you’d with the click, that feels strange. The first pedal until I had played for five or six years. have to go around trying time that we went in and recorded an EP I think it had a lot to do with the music that to find their CD. Then was the hardest time to get the right feeling I was listening to at the time. I shifted my came Myspace and now, and the right energy. It was an interesting interest towards the heavier music when every band has their own experience, trying to play without having bands like Pearl Jam, Alice in Chains and page and you have their the energy of the band or the crowd. Soundgarden were really popular. A friend music on that page. So, you of mine turned me into Primus, which was have access to so much more Edge: What music do you listen to today? Who one of my major influences; Tim Alexander, music than you had before. are your heroes? a great drummer! By listening to some of the No matter how obscure the other stuff like Faith No More, that’s how I band is, they are most likely Bodo: Actually, I listen to a lot of different got in touch with the heavier stuff. Then I on Myspace and you can music and most of the time it’s not even played in a little cover band that was called listen to their music. I think metal, because when you are involved in Absurd and we did Primus covers. The it is a great promotional metal music so much, then sometimes you guitarist in that band gave me a CD from tool, especially for smaller just need a break from it. I like a lot of vocal Meshuggah and that’s when I said, “Alright, bands that people don’t jazz, like Diana Krall or Michael Bublé, that I’m really going to start practicing double know about yet. A smaller type of thing. I’m also a big fan of Sting and bass drumming now” because the stuff I band can be friends with everything that he does. I even listen to some heard on the CD was just so phenomenal. I a famous band and then hip-hop and prog rock, like Porcupine Tree. wanted to play like that guy. people are like, “Ah, if Gavin Harrison is one of my drumming they are friends with heroes, he’s a great drummer. When I’m in Edge: How did you develop your double bass them, maybe I’ll check the mood for some heavy stuff it’s usually technique over the years? them out.” something technical like Meshuggah; Tomas Haake is also one of my influences. Even will be mad at me if I can’t play.” And then Edge: Back to the drums, did Bodo: When I first started trying it, I found it when you don’t listen to metal, let’s say I actually did break my right arm in a really you try a lot of different set- with other people. I’m not a solo drummer, really hard to stay balanced, because both of you listen to Porcupine Tree, there is always stupid accident at a festival. I just walked my legs were sort of floating in mid air. So I ups over the years? some drumming stuff in there that you can so I’ll leave it to the people who can do that kind of thing. down a loading ramp that was apparently took the drum kit and set it up left-handed. use and adapt to your own style. I always a little too steep and I slipped and broke I played the bass drum with my left foot, Bodo: The set-up that try to expand my musical horizons and my right wrist fifteen minutes before stage the hi-hat with my left hand, the snare with I have right now, I’ve listen to new stuff so I don’t get stuck in my Edge: Have you imagined leaving Germany to play drums somewhere else? time and we had to cancel the show. After my right hand, completely the opposite of been playing that for niche and just play metal drums. that, I was like, “You know what? If I can what I would usually do. That helped me to about five to six years. break my bones by walking down a stupid develop the strength in my left foot, which I have experimented Edge: Can you sum up what drumming means “To me, drumming loading ramp, I might as well play hockey!” I needed for the difficult stuff that I wanted before and this is what to you? So, I’ve been playing hockey for a while now to play. These days, there are all these I always come back is an event where and nothing bad has happened yet. people who have tutorial videos on how to because it feels the most comfortable Bodo: I think it’s a lifestyle, especially if you people come to do the flat foot technique and the heel- to me. I like to have three toms above the are involved in the metal scene. All these construction, to get the sound that you hear Edge: Any advice for young, aspiring pro up or heel-down technique. When I first bass drum because I also use a lot of splash bands know each other and it’s like a big together...” in your head. drummers? started practicing double bass, there was no cymbals and bell cymbals for little accents, community. You see people at festivals that youtube.com to look all of these things up and if you play faster fills it’s much easier you’ve played with before, so it feels like a Edge: Do you remember your first studio Bodo: First of all, practice, practice and and you didn’t know what anything was to play the rolls if you have three toms up big family. I don’t go out and do solo things. Bodo: Of course. Wherever there is a cool job session? to play drums or a good tour, I am willing to practice. Use a metronome early on, so that called. You just did what was necessary to there and don’t have to move around that For me, it’s always been about hanging out you get a steady groove going and won’t play what you were hearing in your head. much. So I either play 3 up, 1 down or 3 up, and having fun with your friends, and it can go. As I said, we did tours in China and all Bodo: The first time that I did a real studio have trouble in the studio playing with a The hardest part about it wasn’t learning the 2 down. Right now, I am using 2 floor toms, also be an outlet if you’ve had a really bad throughout Europe and we would love to go session, I had already spent a lot of time click-track. Also, try to be versatile; don’t technique to move your foot that fast, but which I just recently went back to. I had day. You can get behind your drums and let to Japan, so sure, no problem. practicing with a metronome, so I was used just focus on only one thing. If you are just the endurance to play parts like that over rack toms for the longest time and usually it all out! It’s a kind of therapy. a pure metal drummer, then it will be hard an extended period of time. It takes years I play 8”, 10”, 12”, 14”, 16” and the 14” and to working with a click. A lot of times, you Edge: You also play ice hockey in your free time. hear the producer say, “This really young to find a job in that industry because there of practice with a metronome to build up 16” would always be floating. Recently, I Edge: Do you like the idea of doing clinics or Aren’t you afraid of hurting yourself? band came in and they just couldn’t play are so many good drummers that can play these muscle groups. A lot of kids ask me, switched back to the floor toms with legs workshops? every genre. Try to play with other people “How do you set up your pedal? How tight because I just like the way they sound. They with a click and were fighting with the click Bodo: Actually, my wife has been playing and stuff like that,” so it really helped me and, most importantly, listen. I know so is the spring tension on your pedal?”, and have a much fatter sound, especially since Bodo: That’s one thing that I would rather hockey for sixteen years now and we are to practice with the metronome almost from many musicians who are amazing at their I say, “You know what, I can tell you what DW came out with the X-Shell construction. leave to my brother because as I said, I’m both goaltenders so, naturally, we have a the beginning. It wasn’t that I was feeling instrument, but if you sit them down and I do, but that doesn’t necessarily mean that The 14” floor tom sounds as deep as one of self-taught and can honestly say that I don’t little more protection and padding than the uncomfortable, but it sure is different when say, “Alright, now play a song and play it will work for you. You are gonna have to my old, old kits. Every time DW comes up know what I’m doing most of the time. I rest. They don’t have the full face mask you have to play the same song a couple of along with this person,” they just do too find out what works for you.” So, you can’t with something new, you want to try it out am just trying to play the things that I’m and stuff like that. You don’t really worry times or if there are different tempos in the much, they can’t listen. So, as a drummer, really say, “Ok, this is what you have to do because you know it’s going to be great. I’ve hearing in my head. I couldn’t necessarily about hurting yourself out there. Mostly, song, then you play one part and then you it’s really important to listen to what is to become really fast with the double bass got one of these kits right now, which they tell you what I’m doing. I can play it for you, we play for fun and we play for the same play the other part. It’s very, very different going on around you; listen to what the pedal” because everyone has to do it their call SSC (Specialized Shell Configuration); but I’m not very good at explaining what I’m team, so we get to go to practice together. from playing live. You kind of feel a little guitarist playing, listen to what the bass own way. it’s a mixture of X-Shells, VLT-Shells and doing. Plus, I’m not very good at reading She was actually trying to convince me to go bit isolated, because most of the time you player playing. It is not about showing off VLX-Shells and that’s how you create your sheet music and I’m always kind of scared on the ice with her for the longest time and track the instruments separately. You do the your skills, it’s about playing what’s right Edge: Could you imagine living without social own individual sound. You can set them of teaching people something wrong. For I always said, “No, I can’t do that, what if drums first and then you do the bass and for the song. media platforms, such as Myspace, Youtube and up however you want, in terms of shell me, it’s always about the music and playing I break this or I sprain my ankle? The boys guitars, so you’re playing by yourself a lot [INT. EDGE 1.0] 27 all new KitBuilder™ 2.0

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