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s s ISSUE 11 ||| 2014 ||| DWDRUMS.COM a a Tommy Clufetos of Black Sabbath on location at the MGM,a Las Vegasa s s Contents Editor’s Notes: A Passion for Innovation ARTIST FEATURES 10 FULL THROTTLE: JON THEODORE At Drum Workshop, our mission statement In the driver’s seat with the Queens of the Stone Age stick man is fairly straightforward: Solve problems for drummers. To do so, means we have to constantly 16 DECADES WITH DW: DANNY SERAPHINE improve, remain ceaselessly innovative, and push Revisiting a Chicago and DW original the envelope of design. Whether it’s a top-of-the- 18 BIG GIGS: ARIN ILEJAY & CHRISTIAN COMA line product or a price-conscious one, the goal is Metal’s newest heavy hitters get friendly with Atom Willard the same. As a company, we were founded on this principle and it’s just as valid and relevant today, 22 TOMMY CLUFETOS maybe more so. Ozzy’s powerhouse joins Black Sabbath for a massive sold-out tour Steve Jobs once said, “Innovation distinguishes between a leader and a follower.” 32 BLUE MAN GROUP The most unique act in drumming joins the DW family There is no doubt that harnessing a wide range of ideas can be a daunting task and, let me assure 36 NOTEWORTHY: COADY WILLIS you, at DW there’s no shortage of ideas. The key See what all the buzz is about with half of The Melvins’ percussive attack seems to lie in looking at the entire landscape and deciding what’s most important and what 46 FOCUS: STEPHEN PERKINS will make the biggest impact on the drumming Nothing is shocking to this Alternative Rock pioneer community. Sometimes it’s just a hunch, a gut feeling, but oftentimes ideas simply come 50 HEADS UP: JOHN FRED YOUNG Black Stone Cherry’s basher on country roots and Rock and Roll from drummers telling us what they want. Our progression as an innovative leader has always IN EVERY ISSUE been predicated on listening to drummers, and our 6 TIME MACHINE: Clem Burke best test pilots are the artists we work with on a daily basis. There’s no better research laboratory 28 DRUM CLINIC: Bruce Becker than a concert stage or recording studio, and those two environments are where drummers make their 30 Q & A: Jimmy DeGrasso living, where the tools of their trade play a pivotal role in how music is made. We know we’ve done 40 NEW ARTISTS our job if drummers don’t have to think about their gear; it just works and it makes playing the 42 SPOTLIGHT: Cactus Moser drums easier, worry-free, and more enjoyable. If what we do as a drum company can open musical PRODUCT NEWS boundaries, we’ve done our job well. 2 ICON SNARES So, as you thumb through this edition of Edge and read about our latest product innovations, just 4 DESIGN SERIES know that we’ve done it all for you. If you feel so inclined, join us on Facebook, Twitter or our other 54 CONCEPT PEDALS & HARDWARE social media platforms. We’re listening. Scott Donnell Editor, Edge Magazine mfg Contributing Writers: DW Manufacturing Direct Drive Pedal Cactus Moser Atom Willard U.S.A. Brook Dalton The First DW Direct Drive Pedal. Scott Donnell Machined in California. Summer 2014. Brook Dalton - Copy Editor Crystalline Boyett - Layout Design www.dwdrums.com ©2014 DRUM WORKSHOP, INC. ALL RIGHTS RESERVED. EDGE 11 ||| DWDRUMS.COM 1 TheICON snareNo Signature Required: Collector’s Series Icon Snare Drums Created by DW Drum Designer, John Good, to pay tribute to some of the most iconic drummers in the history of Rock, the all-new line of Icon snare drums honors Neil Peart of Rush, Roger Taylor of Queen, and Nick Mason of Pink Floyd. The snare drum sizes and shell configurations are as played by each artist, with one dramatic new design element. The finish is painstakingly laser-cut, then hand- inlayed from a variety of jaw-dropping exotic wood veneers. For Neil Peart’s drum, the Time Machine motif is realistically recreated in the wood, while Queen’s ornate, Freddie Mercury-designed crest is depicted, as is Pink Floyd’s famous Dark Side of the Moon prism and waveform. Each drum is protected with clear gloss lacquer and includes Collector’s Series® snare drum standard features such as our MAG™ throw-off system with 3P (3 position) butt- plate, True-Hoops™, True-Tone™ snare wires, True-Pitch™ tuning and DW Heads by Remo USA®. Also included are a premium DW snare bag, certificate of authenticity, and a legend that describes the woods used for each specific drum. For more information on this iconic collection, visit: www.dwdrums.com. 2 EDGE 11 ||| 2014 PHOTO CREDITS: ROB SHANAHAN thisis Performance Series™ Bop: This is how DW does Jazz ™ how The latest addition to the California-made line of Performance Series drums feature traditional sizes that are tailored for Jazz and gigging drummers alike. The 8x12” and 14x14” tom pack can be coupled with a new 14x18” bass drum, or any Performance Series™ bass drum, offering drummers more options within the line than ever before. We’ve also added a new Satin Stain Tobacco finish that is offered in all Performance sizes. doesjazz. The North American hard rock maple shells feature HVX technology that delivers round, resonant tones and can be sonically-customized using various head combinations. DW Coated Clear heads by Remo USA® come standard, as do STM (suspension tom mounts), True-Pitch™ Tuning, True-Tone™ snare wires, MAG™ throw-off, and more. Matching Performance Series™ maple or chrome over steel snare drums can be purchased a la carte. For more information and to see New York Jazz drummer, Henry Cole, demo the all-new Performance Series™ Bop kit, visit: www.dwdrums.com. The Design Series™ Frequent Flyer: Don’t Leave Home Without It Peter Erskine approached the DW design team with a novel question, “What if there was a travel kit that didn’t sound like a travel kit?” Seems obvious enough, but the minds at DW had never tackled the quandary head-on, as it wasn’t a simple task. So they set to work on a set that was just small enough to be travel-friendly, but also substantial enough to sound like a ‘real’ drum kit should. After, literally, years of R&D and discussion, the sizes were agreed upon: a 12x20” bass drum with low- mass spurs and a lightweight ratchet bass drum mount, an 11x14” floor tom with aluminum legs, and a traditional 8x12” rack tom with STM and matching 5x14” snare drum. The kit also comes standard with True-Pitch™ tension rods, MAG™ throw-off, True-Tone™ snare wires and DW Heads by Remo®. ™ ITS The kit is offered in two finishes: a durable White Onyx FinishPly and a gloss lacquer Tobacco Burst. As is the case with all Design Series™ drums, the shells consist solely of North American maple with no reinforcement hoops. Lightweight 6000 ZZ K ja Series hardware, including the new Ultralight™ cymbal stand, perfectly compliments the set and is sold separately. EW N ||| For more specifications and to hear Peter Erskine demo the Frequent Flyer™ visit: www.dwdrums.com. at E B CT RODU P 4 EDGE 11 ||| 2014 EDGE 11 ||| DWDRUMS.COM 5 TIME MACHINE & Tears. It’s actually kind of a Jazzy tune Rock, like David Bowie, Roxy Music drummer, is something that always and I remember they had put their amps and Gary Glitter. That drum sound was inspired me. I never really pictured myself Clem Burke in a square formation and placed a mic in where I was coming from, so it was an just sitting in the back. That may or may the middle and they had a couple of mics easy transition for me to get involved in not be a good thing to the rest of the band ambition on the drums. We recorded that song what was happening in New York City. mates, but it’s worked for me along the BLONDE and they played it on the radio. Then the Also, while growing up in Bayonne, New way. The Who, for me, were integral to by Scott Donnell public would vote, and they usually had Jersey, commuting to New York City was my early background, along with bands the competition at a ballroom somewhere easy because it’s close. When we first got like The Rascals, The Beatles, Yardbirds, in the city, but that year, it was at Carnegie Blondie together, I was working at the Post and The Kinks. Pete Townshend had just Hall! So, when I was fourteen, I played Office, going to college, and doing gigs. started getting back into music and I got at Carnegie Hall. I started at the top and My days were full. a call from Chris Thomas, the producer. I worked my way down. [Laughs]. It was went over to West London and spent about funny, I was recounting the story when SD: You were in Drum Corps, right? four weeks with Pete in his studio. Mostly, Blondie was at ABC Studios years later CB: Yeah, I was in Drum Corps. I played we were jamming and just kind of getting and after the interview, this guy came out rudimental bass drum. I was being back into it. A couple of the tracks wound from the back and said, “Hey, I was the mentored by the older bass drum player. up on the White City album. At the time, engineer on that session and here’s the You know, it’s not just standing with a bass Pete was actually talking a lot about Keith, tape.” He gave me the reel-to-reel tape of drum, it’s doing all the rudiments, like on a unprompted by me, and it was a great experience.