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December 1989

December 1989

Cover Photo by Andrew MacNaughtan FEATURES

18 After being with Rush for 15 years, Neil Peart continues to find new challenges and is still excited about every performance. He discusses the evolution of his - ming, and explains how he develops parts for new songs. by William F. Miller Gould Rick by STEPHEN Photo 24 MORRIS The members of New Order—and before that, —have always submerged their individual identities into a total band image. But here, drummer Stephen Morris steps out to reveal how he blends acous- tics and electronics into a unique drumming signature. by Adam Budofsky WALFREDO / LFI

Rapport 28 REYES, JR. by S. Currently occupying the drum throne with Santana, Photo Walfredo Reyes, Jr. has enjoyed a varied career, work- ing with such artists and groups as David Lindley & El Rayo-X, , Jimmy Barnes, and Tania Maria. He recalls his early years, and explains how he merges drumset and percussion into one. by Robyn Flans STICKS OF THE STARS The drumstick models favored by today's 32 leading drummers. Wales Lissa by MD TRIVIA CONTEST Photo Win a set of Sabian Jack DeJohnette Signature . 96 COLUMNS VOLUME 13, NUMBER 12

EDUCATION ROCK 'N' DRUM SOLOIST CLINIC Art Blakey: EQUIPMENT Using The "Sincerely Diana" PRODUCT As A Transcribed by Joe CLOSE-UP DEPARTMENTS by Louis Contino LaBarbera Yamaha Chain-Drive EDITOR'S 46 80 Pedals OVERVIEW by William F. Miller 4 STRICTLY THE MACHINE 38 TECHNIQUE SHOP Signature Series Cymbals READERS' Warm Up/Warm Down Go With The Flow by Adam Budofsky PLATFORM Exercises by Greg Moore 39 6 by Joe Morello 84 48 HEALTH AND ELECTRONIC ASK A PRO BASICS SCIENCE REVIEW 12 Shure Drumkit The Essence Of Rock Mental Practicing IT'S by Albert Bouchard by Billie Anne Bridges Microphones by Paul Van Patten QUESTIONABLE 50 86 42 16 CONCEPTS SOUTH OF Zildjian ZMC-10 Miking System Enthusiasm THE BORDER 1989 INDEX by Paul Van Patten by Roy Burns UPDATE Songo 44 62 For Drumset 100 by John Santos SHOP TALK DRIVER'S SEAT 98 DRUM MARKET : An Engineering Setting Up Band 126 Analysis: Part 1 Figures by Spiros A. Psarris by Gil Graham 68 76

PROFILES NEWS PORTRAITS FROM THE PAST UPDATE THE JOBBING Joe Bonadio 8 DRUMMER The Duplex Drum by Joe Company Tradition And 64 by Kenneth A. Mezines INDUSTRY Authenticity 82 by Simon Goodwin HAPPENINGS 116 78 NEW AND NOTABLE 118 EDITOR/PUBLISHER MODERN DRUMMER Ronald Spagnardi ADVISORY BOARD Henry Adler, , Louie Bellson, Bill Bruford, Roy ASSOCIATE PUBLISHER Burns, Jim Chapin, Alan Dawson, Isabel Spagnardi Dennis DeLucia, Les DeMerle, Len DiMuzio, Charlie Donnelly, Peter Erskine, , Danny SENIOR EDITOR Gottlieb, Sonny Igoe, , Rick Mattingly Mel Lewis, Larrie Londin, Peter Magadini, George Marsh, Joe MANAGING EDITOR Morello, Andy Newmark, Neil Peart, Charlie Perry, Dave Samuels, Rick Van Horn John Santos, , Steve The Journey Back Smith, Ed Thigpen. ASSOCIATE EDITORS CONTRIBUTING WRITERS I recently had an opportunity to speak with a small group of young William F. Miller Susan Alexander, Robyn Flans, drummers, several of whom emphasized their determination to Adam Budofsky Simon Goodwin, Karen Ervin succeed as professionals. During our conversation, I asked what Pershing, Jeff Potter, Teri Saccone, players they had listened to for inspiration and guidance. The list Robert Santelli, Robin Tolleson, EDITORIAL ASSISTANT Lauren Vogel, T. Bruce Wittet. was impressive, yet it failed to include anyone much further back Cynthia Huang than the early '70s. When I asked if they'd ever taken the time to MODERN DRUMMER Magazine research what happened in drumming prior to that, they seemed (ISSN 0194-4533) is published rather surprised at the suggestion. ART DIRECTOR monthly with an additional issue In talking with young players over the years, I've noted that Terry Kennedy in July by MODERN DRUMMER many seem to be under the impression that it all started with Publications, Inc., 870 Pompton Steve, Dave, Vinnie, and Neil—certainly great players to be ASSISTANT ART DIRECTOR Avenue, Cedar Grove, NJ 07009. Second-Class Postage paid at admired. But I've always maintained that every serious student of Scott G. Bienstock Cedar Grove, NJ 07009 and at drumming should also, at some point, take the time to investigate additional mailing offices. Copy- the rich heritage of the instrument. You could begin with a day at a ADMINISTRATIVE MANAGER right 1989 by Modern Drummer good library. You're not likely to find one book solely devoted to Tracy Kearney Publications, Inc. All rights the great drummers of the past, but you're sure to gather a wealth reserved. Reproduction without of valuable information from a variety of sources. the permission of the publisher is ADMINISTRATIVE ASSISTANT While you're there, search out a few vintage recordings. prohibited. Anthologies like The Smithsonian Jazz Collection (P6-11891), The Joan C. Stickel Drums (ABC/lmpulse-ASH-9272), and the entire Anthology Of EDITORIAL/ADVERTISING/ ADVERTISING DIRECTOR ADMINISTRATIVE OFFICES: American Music Series (New World Records) are particularly good. Modern Drummer Publications, Look hard enough and you could get back to Zutty Singleton and Bob Berenson 870 Pompton Avenue, Cedar Baby Dodds to hear the melding of the military and jazz styles of Grove, NJ 07009. the early '20s. You'll have to listen hard to hear the drumming on DEALER SERVICE MANAGER the older tracks, but you'll still come away with a good Crystal W. Van Horn MANUSCRIPTS: Modern Drummer understanding of the styles of the period. welcomes manuscripts, however, Of course, all the Gene Krupa and recordings are cannot assume responsibility for CUSTOMER SERVICE them. Manuscripts must be accom- priceless and plentiful, but how about also checking out the harder- Laura J. Martin panied by a self-addressed, to-find work of Dave Tough—or the immortal Chick Webb, who stamped envelope. influenced everyone, including Buddy! You may have heard the names, but have you ever really listened to Sid Catlett, or to Papa MAIL ROOM SUPERVISOR MUSIC DEALERS: Modern Drum- Jo Jones with the early Basie band? If you continue into the bop Leo Spagnardi mer is available for resale at bulk period of the '40s, you'll hear rise from the swing rates. Direct correspondence to bands and take drumming to still another level. Listen to Max CONSULTANT Modern Drummer, Dealer Service, 870 Pompton Ave., Cedar Grove, Roach throughout his career to hear the influence of both Clarke TO THE PUBLISHER and Catlett. Check out Philly Joe Jones with Miles, and Art Blakey's NJ 07009. Tel: 800-522-DRUM or Arnold E. Abramson 201-239-4140. Jazz Messengers during the '50s, two artists who bridged the gap between Max and , , and Jack DeJohnette. You'll hear the natural evolution of the art form, from its starting SUBSCRIPTIONS: $25.95 per year; $46.95, two years. Single copies point to where we're at today. $2.95. Obviously, you could do the same thing if your interests lie SUBSCRIPTION CORRESPONDENCE: Modern Drummer, P.O. Box more with rock. MD's History Of Rock Drumming in the June 480, Mount Morris, IL 61054-0480. Change of address: Allow at least through November '82 issues provides a marvelous perspective. six weeks for a change. Please provide both old and new address. Toll And many opportunities still exist to hear the recorded work of Free Phone: 1-800-435-0715. players like Earl Palmer, Hal Blaine, Al Jackson, , POSTMASTER: Send address changes to Modern Drummer, P.O. Box Mitch Mitchell, , , Charlie Watts, and John 480, Mt. Morris, IL 61054. Bonham. If you're unfamiliar with our rich history, take some time to do a little research, and discover why all these players are still so important to us today. Think of it as another essential aspect of your musical education—a journey back in time through drumming. I'm sure you'll find it a fascinating and rewarding experience. ISSUE DATE: December 1989

TERRI LYNE CARRINGTON gust issue, and found it to be very profes- drumheads. Boy, when you guys go for affirmative ac- sional indeed! In addition to my own con- Amrawco, Werco, and Oremus were all tion, you really go for it! Your September tributions, the additions from the other family-owned and operated enterprises. cover: a jazz drummer, a black drummer, sources in the story of this most monumen- What happened to these companies and and (gasp!) a female drummer...who can tal of all changes in "drumdom" were very families as drummers snapped up the more really play! All right, I know that Terri Lyne accurate as well. Congratulations! How- weatherproof—and thus more suitable— isn't really into jazz that much anymore; ever, one facet of the story that everyone plastic heads? There was consternation and she's made a pop and has played in seems to forget is the tremendous changes disbelief amongst them. The initial reac- a hot contemporary TV showband. But she the development of Mylar caused in the tion was best put by my great friend, How- made her first splash in jazz, so that still natural drumhead manufacturing industry. ard Emory, president of Amrawco, when I qualifies her. I mean, at least she's not some In 1953, when Ludwig had its first fac- made one of my regular drumhead pickups pseudo-drummer/bimbo in spandex and tory expansion, we were purchasing at their Goose Island plant (not far from see-through. Terri Lyne certainly has the $20,000 to $22,000 worth of raw calf skins Chicago's downtown area). He was hold- credentials to be an MD cover artist, and I, monthly. As the drum industry grew through ing one of the new plastic drumhead flyers, for one, am glad to see that she came in as the years 1953 to 1960, our needs for fac- and he looked up at me from his desk and your first female cover. I only wish there tory space and raw materials increased said, with a wry smile, "Do you think I were more talented, credible female drum- dramatically. This set off a wave of expan- should sell my business, Bill?" mers out there who could also rate that sion within the calfskin tanning industry. In We laughed at his remark—after all, at honor. 1958, Chicago's American Rawhide Manu- this point (1960) I was signing checks for Alvina Worthington facturing Company (Amrawco) doubled $35,000 per month just for Amrawco pur- Baltimore MD their factory size. White Eagle Rawhide of chases. But in retrospect, we know now Chicago (Werco) also expanded, as did that he should have! The proverbial hand- TROY LUCCKETTA Oremus Company, in Summit, Illinois. writing was on —on the eve of Tesla may not be the world's best rock band, By 1959, Ludwig alone was purchasing Amrawco's greatest expansion yet in plant but they're pretty close to it. And a lot of $30,000 worth of unmounted skin heads and office equipment. the credit has to go to Troy Luccketta. Be- from these three suppliers, and we were As the years of 1958 through 1964 wore sides his drumming contributions—which demanding more—as was Bud Slingerland on, Ludwig—as well as other plastic head are self-evident—Troy displays an attitude and the Gretsch drum company. Also, Ro- experimenters—gradually perfected mount- that seems to anchor . After read- gers drums—under the Grossman Com- ing systems that were increasingly reliable ing Teri Saccone's interview with Troy in pany—was expanding. There seemed to be (as your story well documents). As our calf- your September issue, I can understand why. no end to the insatiable demand for calf- skin head orders gradually diminished Anyone who can handle a family of six skin drumheads. through this six-year period, the tanners from the age of 20 is well-equipped to Then a new tanner emerged: Steve Polan- cut back sharply, with layoffs and decreased handle the pressures of rock touring and sky, who came from Europe and founded expenditures. The Emory brothers, of recording. Teri's story really increased my United Rawhide Mfg. Co. He gained our Amrawco, even blamed me for their adver- admiration for Troy as a person. (I already confidence by tanning simply superb bass sity at a 1964 lunch! dug him as a drummer.) Thanks very much drum heads—all white, and not a blemish Drummers of today may be inclined to for a great interview. on them. And he would deliver to our door! think that plastic drumheads were always Geoff Allen He was trying to break into a tough busi- available, or that the transition from animal Arlington VA ness, and he succeeded to a very large skin heads to plastic heads was fast—say, extent. So there was still a gigantic rush to in a year or two. It was most certainly not. MORE ON MYLAR HEADS fill the drumhead market with new entrants The natural drumhead companies mounted I read and re-read the story on the develop- domestically, as well as from overseas. And furious advertising assaults to win the favor ment of the Mylar drumhead in your Au- all on the eve of the rising tide of Mylar

Greg did get to showboat a playing the music ourselves. led L.A.-based metal outfit Greg Ellis little, however, on the Fleet- Those people have to come Madame X, has started to wood Mac cover "The Chain" and see the band live because become accepted as a from their new album. "It's we'll change their minds— legitimate talent, not "a good very different from the original, guaranteed." drummer as far as girls go" but there's a drum break at the Currently on tour in the U.S. type of thing. "It would be nice end, a real syncopated beat with , Vixen to have people look at female that involved electronics, has been out on the road for rockers just as 'rockers,'" adds which is the only time I used most of the last year support- Petrucci. "It really shouldn't them on the record. I have an ing their self-titled gold debut even be mentioned whether anvil sound on a pedal release. "I've got tour fever," you're male or female. to the right of my kick drum exclaims Roxy, who adds that Hopefully, Vixen is helping to pedal. her drumming has strength- break down those barriers." happened to be in the studio, ened quite a bit due to playing —Teri Saccone and he was real blown away shows night after night. "I've that I did the part live, but the become a lot more solid, and a secret is that I have the sound lot more aggressive. And Share Larry Crockett on a trigger pedal, not on a [Pedersen, bass] and I have Greg Ellis describes the past pad. My hands are both hitting become a lot tighter together; year as the most intense in his something else at the same we've become a really life. It's no wonder, since Shark time. The whole tune is really happening rhythm section." Island has recorded their debut cool. Another one of my Throughout most of her life, album and hit the road. favorites on the record is Roxy was an accomplished Actually, it's been a hectic 'Passion To Ashes,' which has clarinetist who played classical couple of years since Greg a really neat groove, and 'Paris music in Detroit for several joined the band. "I got a call Calling,' the first single. It's a years. She eventually added from A&M saying they wanted very live album, and all of my drums to her repertoire when, me to do this session for Shark tracks were one take from start at 14, her -playing sister Island. So I went in and did a to finish, no punch-ins or decided to form a rock band. session with them for one of anything. You tend to like "I wanted to be involved," says their demos, and we totally hit things because of what you Petrucci, "but I knew that it off, so I joined the band. did on the song, but for the classical clarinet wouldn't This is the only band I would first time, I can really listen to exactly cut it in a rock band. I have joined, because they're just a solid verse played well, had always been interested in not a typical big-hair L.A. and I get off on it as much as the drums, so there was my You might call Larry Crockett band. The music comes first." doing a killer fill." chance. From the moment I sat "Mr. Sticks," his nickname. What's great about Shark —Robyn Flans behind a kit, I was hooked." Then again, you might do Island, Greg says, is the In high school, Roxy was better than that and call him chemistry between players, es- leading a rather musically an ambitious young drummer, pecially between him and the Roxy Petrucci schizophrenic life, as she puts one who's bent on making a guitar player, Spencer Ser- it, "playing Tchaikovsky during name for himself and securing combe. "I have always played the day and 'Purple Haze' at a slot in the highly competitive off guitar players more than night." To further complicate session scene, no bass players," he reveals. things, she was also involved matter what. After all, why "Definitely the bass has got to with a , playing would this native be there, and in different kinds drums in that group when she routinely do what he calls of music, of course, you play could squeeze the time in. "I "those tough triple gigs"—an off different things. In the always liked the variety," she afternoon jazz performance at bands I've been in, though, comments, adding, "I really a Manhattan restaurant, I've always been fortunate to enjoyed the clarinet because I followed by an evening show play with really good guitar was first chair in a small wind with an up-and-coming rock players, so I've just learned to ensemble, and people could band at a downtown club, and Wales play off guitar players more. hear everything that you finally an R&B set at an after-

Spence is just incredible. His Lissa played. There was no room to hours joint—all in one day? sound is so full and so by mess up, so it was really hard, "I'm eager and aggressive," I liked the challenge in that, says Crockett. "Sometimes I

powerful," Greg says, adding, Photo "I think what they lacked be- plus I also enjoyed the carry two sets of drums and fore in drummers was the What's it like to be a part of attention." three changes of clothes in my power. It may have been solid, the first successful all-female The type of attention she is car, just to save time between but it just wasn't that power. heavy metal band? Drummer experiencing these days is gigs. I'm on my way to CBGB's They had a drummer who was Roxy Petrucci of Vixen re- quite different, right Roxy? one moment, and then to a fusion player and who was a sponds, "Until now, it hadn't "Let's put it this way," she Sweet Basil's the next, and I good player, but he was all been done, so it's still a responds. "In an orchestra, you don't mind. I love to work." over the place and it just didn't novelty for a lot of people. don't get people throwing their Crockett has logged time fit with what they do. I think I There's a really good buzz out underwear at you when you're with everyone from Bobby brought a much more focused there for us, and we've done up there performing." Watson to Ruth Brown to energy into the band, and I really well over the last year, Aside from the "adulation" Motown great Martha Reeves. play more for the song than but there are still a lot of aquired from being part of a He isn't only Reeves's drum- showboating." people who don't think we're rock band, Roxy, who formerly mer, though, he's also her

musical director. "Larry is follow-up, Long Cold Winter, background: playing concert with Don Williams. steady and on the beat all the the lion's share of the drum violin. "It's easy for me to get Pat Gesualdo recently time," says the singer. "What a tracks was served up by drum parts down because I recorded with keyboardist pleasure it is to perform with a veterens and learned at an early age how to David Rosenthal, Kjell drummer as solid as a rock." Denny Carmassi. Why would pick things up by ear. I started Benner, and guitarist John Crockett points to Billy a band so hugely successful playing violin at age five, Milon. Cobham as his main influence, hire a drummer and then practicing between four and Cactus Moser on recently but says eventually he had to proceed to record without five hours a day, and that kind released Highway 101 album, shy away from listening to him? As Fred puts it, a lot of of training teaches you to hear Paint The Town. Also, Cobham recordings. "After a the studio problems concern- things and understand them congratulations to Cactus and while I was sounding too ing the drum tracks were quickly. Later on, when I his wife Ellen on the birth of much like him," Crockett caused by the relationship would join a cover band, I'd their son Michael Cahl Moser. explains. "One of the most between him and producer have to learn 50 songs in just a Eddie Bayers recording with important things is to develop Andy Johns: "I didn't like him, few days, which was never a Lionel Cartwright, Susan your own style. And that's and he didn't like me." problem for me. When I joined Boggus, Waylon Jennings, what I did." Ironically, a lot of the tracks Cinderella, they wanted me to Rodney Crowell (along with Since Crockett plays jazz, that Powell subsequently redid learn four songs in a week, but Vince Santoro), the Judds, pop, rock, soul, and , the (after Fred completed his) were I learned the whole album in a Alan Jackson, Earl Thomas obvious question arises: similar to the originals. Even day. I'm really lucky to have Conley, Anne Murray, Steve Which music does he prefer to Powell (who remarked on the that background, because it's Wariner, Sweethearts Of The play? "I go through phases," he subject in a recent Update) really helped me a lot." Rodeo, Mark Collie, Trader says. "One month I'll think admitted that Coury's tracks —Teri Saccone Price, Conway Twitty, K.T. jazz is it. Then the next it'll be sounded "fine" to him when Oslin for the soundtrack for rock or funk, or whatever. The he was initially called in to News... Sea Of Love, as well as Mark important thing is the quality record. To this day, no one O'Connor's new album, which of my performance, not what seems able to clarify whose Mark Craney has been includes two tracks with James kind of music I'm playing." drumming ultimately made the doing some spot gigs around Taylor. Crockett concedes that some final cuts (Coury's, Carmassi's, the L.A. area, and we're happy RUSS McKinnon now playing drummers might have a or Powell's). Unfortunately, to see him with Tower Of Power. difficult time working in so Coury has not been credited, again! Vinny Appice recording a many styles. "The worst thing but he seems to be mastering a Frankie Banali is now with Dio album slated for release is to sound like a jazz drum- "taking it all in stride" attitude. WASP. next February. mer playing rock, or vice "It's all behind me now," he Look for Chet McCracken's on the road versa," he says. "I like to think says. "I proved that I could first solo album, Flight To with Bonham. of myself as versatile and kick ass in the studio, because Moscow, recently out. Dean Sharp is the drummer/ professional enough to handle we went in with Bruce It's certainly no news that music director for LaToya any musical situation." Fairbarn [], who Ringo Starr has organized an Jackson's tour. —Robert Santelli produced something for us "All-Starr" band and has Dave Weckl, Joel recently, and it was great, recently been on the road. Rosenblatt, and Marvin really easy. We did it in three Drummers Levon Helm and "Smitty" Smith all did tracks Fred Coury takes. Jim Keltner join him (with Max on Michel Camilo's upcoming "I didn't really take the Long Weinberg sitting in for the album, On Fire. Cold Winter thing as hard as New York dates). Mark Zonder touring Europe everybody else thought I did," Ed Eblen gigging with with Fate's Warning. he continues. "A lot of people Johnny Lee. Chad Cromwell recently were making such a big issue Kenny Aronoff on recently worked with Neil Young, and out of it, while I was saying, released James McMurtry is now touring with Jackson 'Hey, whatever's best for the album, on three songs on Browne. band is best for the band.' Belinda Carlisle's new record, Richie Morales recently Maybe I don't have the experi- recording with Corey Hart, returned from a European tour ence, but I'll get it the next playing percussion on four with Spyro Gyra. He is time around. I feel fortunate tracks of Jimmy Ryser's currently preparing an Wales enough to be in the band in upcoming release with Greg instructional video.

Lissa the first place, and I'm really Finke on the drums, and Adam Nussbaum touring

by happy about that. I've waited sharing drum duties on Hearts Europe and Japan with all my life to get to this point." & Minds' 1990 release with . Photo Fred confides that one Mark Feldman. He is also on Vincent Dee touring with strength that has helped him the Jefferson Airplane's new Brenda Lee. Fred Coury has played with with both Cinderella and his album, as well as touring with Mike Bordin touring with Cinderella since 1986, joining stand-in work for Steven Adler the group. Faith No More. immediately after the group of Guns N' Roses (when Adler Jay Schellen in the studio Joey Nevolo can be heard released their debut Night broke his wrist last year, Coury with Hurricane. on the new album, Songs. Since then, Fred has replaced him for a couple of Ron Wikso can be heard on Howe II, and is touring with been out on the road with the weeks during their American records by Big Signal, Ritual, Howe. group, but not a recording tour) is his learning ability. He and Doc Tahri. He is currently Peter Grant touring with member of the band, a role says that he's a quick study on tour with Cher. , and is on New York that he's been often pressured when it comes to picking up Josh Freese is touring with Voices on GRP. to defend. his drum parts, a trait he Michael Damian. On Cinderella's late-'88 ascribes to his childhood Andy Peake on the road

DAVE WECKL Q. First let me compliment you on your ally became part of the song (to me) and I brilliant technique and tasteful execution played it the same way every time we in your playing. On the Elektric Band album played the song in concert. Eye Of The Beholder, you played an ex- The part following the fill signi- ceptional fill halfway through the title cut. fies a pulse, which seems like quarter notes. Could you please write out that fill? However, Chick elected to write this song Chris G. in cut time, so the quarter note is actually RockvilleMD twice as fast. Thus, the cowbell part is ac- A. Thanks for writing, and for the listening tually half notes. So, with that given info, support. The fill you are referring to is one here's what the fill looks like, starting with of the few that I've actually "composed" to the lead-in bar before. fit a certain spot in the music. The fill actu- Malkin Rick by Photo

DOM FAMULARO Q. Last year I had the opportunity to see result of dedicated practicing, and creativ- you perform at a clinic. I was simply ity will follow. amazed at your hand and foot speed, sub- I teach three days a week, when I'm in tlety, and creativity. Do you accept stu- town, at the Long Island Drum Centers. I dents, and, if you don't, how can I learn see myself more as a drummer's "coach" more about the interaction and phrasing than as a teacher. I don't use books as a that you exhibited at that clinic? method. After I familiarize myself with my Frank Carleo students' playing, I suggest books or meth- Merrick NY ods that will break down their barriers and A. Thanks for the question! I think of my help them blend technique and feel. feet as if they are an extension of my hands. Interaction and phrasing are the results For many years I practiced exercises with of fine-tuned technique joining emotional just my feet. In my travels, I have come musical expression. Practicing, private les- across many drummers who never, or at sons, studying books, performing, and lis- least rarely, concentrated on foot exercises. tening to music are major steps on a life- That always surprises me, because drum- long journey. Since I'm still learning, we're mers demand a lot out of their feet. But traveling the same path. Enjoy—and I'll see they don't put the effort into developing you along the way! them! Speed, control, and endurance are a

VINNIE APPICE Q. I've been highly influenced A. Thank you for the compliment. Actually, by Dio, and I really admire I have one book published, which is called your drumming technique. I Rock Steady. It's available through Warner read in your MD interview in Bros. Publications at 265 Secaucus Road, September 1985 that you Secaucus, New Jersey 07094. I also have wrote two books. Could you an instructional video out, called Hard Rock please tell me the names of Drum Techniques. It's distributed by Silver these books and how I can get Eagle Products at 6747 Valjean Avenue, them, plus anything else you Van Nuys, California 91406. The video was have worked on ? released in 7 987. Mark Bertonaschi Toledo OH Kirkland Gene by Photo

Q. I have been playing drumset seriously for about six years. I play Q. An old drum teacher of mine once suggested that if I apply a a right-handed kit, but I lead with my left hand. Recently I have thin coat or two of polyurethane on the inside of my drumshells noticed that this unorthodox style is causing problems and possi- (my drums are Pearl's Maxwin series) the results would be similar bly harming my growth as a player. For example, when playing to that of the "vibrafibing" process. To my knowledge, vibrafibing two bass drums, my left foot tries to lead, leaving my still stronger should make the drums more resonant and help the drums project right foot feeling awkward and confused. I know that with practice better. I'm not really sure if this is a good idea, so I figured I'd and discipline I could re-train my feet, but would it be better to check with you. I really want to make my drums sound better (I reverse my kit and re-learn the craft itself? I really don't feel very can't afford a better set right now), so any information and advice comfortable playing, but I do like the power I achieve by not concerning this idea will help a lot. having to cross my hands to play the hi-hat and snare. On a final J.K. note, I currently play in a hard-rock band that rehearses nights and Lacona NY plays gigs on weekends. How quickly could I re-learn to play at A. Whether or not applying polyurethane to the insides of your the level I have achieved now? shells will make your drums sound "better" depends on how they G.S. sound now, and what you wish to improve upon. As you note New Brighton MN yourself, sealing the inside of a drumshell with any material such A. When it comes to learning something new on the drums, the as fiberglass or polyurethane increases the reflectiveness of the only way to become comfortable with a certain technique is to shells. This tends to brighten up the sound and aid in projection. practice it. Several drummers today lead with their left hands, so Conversely, it reduces the amount of "warmth" associated with it's not an impossible technique to learn. It seems like one mistake wood shells that are not sealed. If you are happy with the basic you made was giving up playing ride patterns with your right pitch and tonality of your drums, but seek more projection and hand. Instead of changing your kit around and giving up on left- "cut," then sealing the interiors might be beneficial. If, however, hand ride all together, start using your right hand again, but don't you already have sufficient volume and cut, but are looking for stop using your left; use both. Place a second pair of hi-hats or improved depth, tone, or warmth, you would probably be defeat- another on the right-hand side of your kit, and switch ing your purpose by sealing the interiors. For those types of im- off between hands. You'll find that your overall coordination will provements, you might be better advised to experiment with tun- really improve. ing, muffling, and head selection—all of which are still fairly As for the , it's not your foot that's confused, it's your economical methods to employ. mind. Again, it's just something you have to work on. When you practice, take things slowly, and just as you did with your hands, try leading with either foot. One great thing about drumming is Q. I recently purchased a very old five-piece drumset, which is that there are no rules, so you can do it any way you want! Since partially damaged. Do you have any tips on repairing and restor- you mention that you are playing quite a bit with a band, it ing drums? shouldn't take you long to begin to get some of these things M.B. together if you can incorporate them into your rehearsals a little at Toledo OH a time. Be sure to try things when the band is rehearsing before A. MD has published several articles dealing with the restoration attempting them in performance. The most important thing to and repair of drums. Frank Kofsky's Shop Talk series, "The Care keep in mind is to just give it time, and it will happen for you. And Feeding Of Drums," appeared in the Oct./Nov. '80, Dec. '80/ Jan. '81, and Feb./Mar. '81 issues. David Creamer's extensive piece on drum refinishing appeared in that same department in Q. All of my drumming—now and in the past—has always been the December '84 issue, and Patrick Foley offered tips on snare with the backbeat on the 2 and 4. I would like to be better at drum improvement in the January and February '88 issues. Photo- comping with my left hand and bass drum while my right hand copied reprints of these stories are available from MD at a cost of plays the jazz pattern on the ride cymbal. I've been through a lot $5.00 each. Simply write to MD's Back Issue Department, 870 of books, but I just can't seem to get the feel for it. What do you Pompton Avenue, Cedar Grove, New Jersey 07009, requesting the suggest? specific stories you desire. Be sure to enclose your check for the B.U. appropriate amount. Norwalk CT A. Jazz-style "comping" with the left hand and bass drum requires two types of proficiency. First, you must have technical profi- Q. I read Rick Van Horn's Tama Product Close-Up in ciency, in the way of independence between hands and feet. the September '89 MD with great interest. Beautiful looking and Second, you need conceptual proficiency, which is knowing when sounding drums! Of course, several of them cost more than I paid and where to put in the comping so that it is musical. for my jazzy little Gretsch kit, complete with Zildjians, heavy-duty To develop technical proficiency, there is no substitute for prac- snare and hi-hat stands, and cases back in 1972. But hey...this is tice with a good book on the subject. You didn't mention which the '80s! (I can see the letters swarming in now.) But, in reference books you had "been through," but we do suggest Jim Chapin's to an item Rick mentioned in his review, what the heck is a Fattner Advanced Techniques For The Modern Drummer (Volume I) as the sound modifying disk, where do I get one, and how much money standard text on the subject of independence. However, studying are we talking about? On a recent gig I used a Supra-Phonic I got exercises with a book alone can be both frustrating and dull, no with a used kit and it sounded a little thin. Perhaps this Fattner matter how challenging the material. Many teachers suggest that might help me solve this problem. you hum a tune while practicing your time patterns. Use simple, D.B. familiar melodies that you don't have to concentrate on: "Satin Seattle WA Doll," "Bye Bye Blackbird," etc. Play part or all of the melody line A. The Fattner was described in Rick Van Horn's December '88 with your left hand on the snare drum, while keeping the time Club Scene, "Stocking Stuffers II." It is a disk of Mylar, similar to, pattern consistent with your right. Start this out with a. constant but thicker than, standard drumheads. It is simply laid atop the time pattern on the bass drum; then, as you become more adept at snare head, without any fixative device such as tape, and played "comping" with your left hand, begin to integrate the bass drum on. It serves to reduce the high-frequency sounds produced by the into the melody line as well. In this way, you develop your techni- drum, thereby allowing the lower fundamentals to project more cal and conceptual proficiency at the same time.

Photo by Fin Costallo by William F. Miller it WAS ON A became confident in my WEDNESDAY playing, all of these things THIS PAST SUMMER when finally came together. Con- I spent an enjoyable day in- fidence really was the key terviewing Neil Peart at his for me. I was never a confi- lakeside retreat on the out- dent player at all—flamboy- skirts of Montreal. He had ant, overplaying, yes, but just finished recording the never confident. I had to drum tracks for Presto, Rush's step back from that 20-year first studio album in over two quest for knowledge and years. After Neil picked me ask myself, "Do I really en- up at the airport that morn- joy using all this stuff?" My ing, we sped to Le Studio, concensus was that, yes, I where he showed me his do like being able to draw drumkit and assortment of from all of these things I've snare drums (in the process worked on, but my mental

holding up Alex Lifeson, who MacNaughtan approach to it has to was starting work on guitar change. sounds). From there we For me, the center of eve- Andrew

made our way to his se- by rything, and what I most en- cluded cabin, where the in- joy doing, is what we—the terview took place. The re- Photo band—have just been laxed surroundings, over- "I was never a confident player at all— through, which is the proc- looking a mountain lake with ess of writing new songs a breathtaking view of roll- flamboyant, overplaying, yes, and arranging them. This in- ing hills covered with cedar cludes working out drum trees, provided the backdrop but never confident." patterns and trying to re- for our conversation. cord the parts as well as The following Saturday possible and as quickly as night I was in a Smokey, sweat-filled club in Jersey, elbowing my possible. That has been the nexus of it, having to change my way past well-oiled patrons to check out a local band. Between mental attitude toward what I do and having to re-evaluate in the sets the percussionist in the band, a friend of mine named Chris, true sense of values of what is important to me about it. It's not came over to say hello. During our brief chat, he asked if I had enough for me to just say, "I want to play my axe." I've spent 20- interviewed anyone of interest lately. I mentioned seeing Neil days odd years doing that, and now I have other ambitions and interests before, and as soon as I finished rambling, he said, "Hold on, you in life. have to meet someone!" WFM: So you are saying that you feel satisfied with what you are "Someone" turned out to be an excitable-looking fellow who able to accomplish on a set of drums? immediately asked me, "You met Neil?" As soon as I replied, he NP: I think the word "satisfaction" sounds too smug. It's basically reached for his wallet. Inside was a photograph that he always that I feel I have the raw materials to draw from to make the carries with him-—not a photo of his girlfriend, his mother, or his statement I want to make within a song. I can listen to a demo of a favorite dog, but a photo of guess who: Neil Peart. He said that song and really have a wide open mind and not have an axe to Neil was his favorite drummer and that keeping The Professor's grind, which is another important thing. Through all the years of photo in his wallet inspired him. Talk about a fan! my development there were always things I was looking to use, The reason I mention this story is to show the type of appeal because I learned how to do them. When I heard a song, I would Neil has with a lot of drummers. What is it about his playing that look for a place to put this lovely new idea that I had. Now I listen has captured the imagination of so many players? This was one of to a song openly and try to bring to it just what it requires, finding the questions I wanted this interview to answer. Most of all, though, what best satisfies the song and satisfies me. I'm not looking to I wanted to sit down with Neil and talk drums. impress myself or others anymore; I'm just looking to challenge WFM: In your Modern Drummer cover story in '84, you said that myself, and to me, that's the route to satisfaction. you thought there would come a time when your playing would WFM: Do you think a certain amount of your inflicting a lot of get as good as it could, and then not get any better. Have you notes into Rush's music in the early days was brought on by a reached that point? feeling of insecurity? NP: Yes, I think I have. It's a funny kind of thing to say, because it NP: I wouldn't say it was insecurity. It was more a hunger, a won't read the way it's intended. It took me 20 years to reach a desire—first to learn things and second to use them. That's what I level of even some confidence. I'm not talking about being a was saying about there being a dark side to it, because I'm sure virtuoso or being a master or anything like that. It took that long to there were times when I used rhythmic ideas that maybe weren't reach a point where I actually thought I maybe could play, and I the best for the song, but I really had to use them. But they all add think the last five years have seen the cementing of that. up to something, you know. This has required a lot of inner evaluation and a certain amount As a band we've grown through the same levels. We started of soul searching, too, because I had always lived on input and with a total concentration on musicianship, which was for a time growth. At the end of a tour I always felt I had learned all these all we really cared about. Our songs were subject to that. We new things, and every record marked a significant broadening of explored playing in different time signatures and odd arrange- my abilities and my choices of techniques. So now, I feel I've ments, and stringing a whole line of disparate ideas together, reached my potential. To make any technical improvements in my somehow. So we were lucky to spend that time developing to- playing would take too much time, and at this point playing a gether as a band, instead of just by ourselves. We were very faster Paradiddle doesn't mean as much to me. excited about it, and there was nothing negative about it or a I spent 20 years on technique and on learning the finer points of question of insecurity in a negative sense. keeping good time, developing tempo and shadings of rhythmic WFM: So you just wanted to see how far you could take it. feel, and keeping my mind open to other ethnic music and other NP: Yes. It becomes a series of experimentations, and like all drummers, and all of that was just flooding into me. When I finally experimentations, there are failures and there are successes, and looking back, I can agility on the drumset. judge them objec- There was a drummer tively. But all of them featured in MD a went somewhere. while back, Manu Even the failures Katche, and most of taught us something his drumming is very as far as what not to simple, but it is so ele- do, in terms of the gant. His work on the band anyway. It Robbie Robertson al- wasn't like we were bum or his work with Sidemen trying to Joni Mitchell or Peter please someone else. Gabriel is a joy to lis- I wasn't working in ten to. The Robbie the studios doing MacNaughtan Robertson album is jingles. I didn't have my favorite of Manu's to conform. All of us Andrew playing, and I think were wide open to by there may be three fills

do what we wanted. Photo on the songs he played We had, and still on the album. His have, a different set "I'm not looking to impress myself or others rhythms are such a hy- of parameters than a anymore; I'm just looking to challenge myself, brid between West Af- lot of other musicians rican music and West- have to work in. and to me, that's the route to satisfaction." ern music. WFM: Do you think There's an English yours is the best po- pop band called sition to be in, as far as being a musician? Crisis, and the drummer plays very simple patterns with very few NP: No question. I don't think many people would argue with fills, but again, what he plays is so elegant, and right for the music, that. It is pleasant sometimes to be a , though. All of us in and you can tell he has confidence. When he plays difficult this band have done it to varying degrees. I have a friend who patterns he plays them with such authority that they just flow by writes TV and film music, for instance. He's doing music for a soap you smoothly. Many drummers try to pull off a more difficult at the moment, and it's set in Chicago. So he was writing a lot of pattern or fill, and it comes off slightly less than smooth. I've been stuff with old patterns, and he called me to play guilty of that myself certainly! The really good drummers make on it. I had to play a lot of brushes, and all I did was what he told what they're playing sound effortless—not labored. When you me. It was great. There was no weight on my shoulders, no re- have drummers who have spent a lot of time learning, and a lot of sponsibility, easy. There's a real joy to that when you're used to time practicing and playing different styles of music, when they do having the responsibility of everything. The three of us are very set themselves to play simply, they have a certain authority and a democratic in a musical sense as well as a responsibility sense, uniqueness to what they are doing that sets them apart. They're and we share the responsibilities amongst ourselves according to not just playing the only beat they know. And that's what a lot of what we most prefer to do. However, stepping outside of that is a so-called simple drummers are guilty of. They're playing simply pleasure. But I have to think that the ideal is being in a band where because that's all they know. That's sad in one sense because it's you are allowed to do exactly what you want. It's hard to argue so limiting. They are victims to the "less is more" approach be- with that. cause they don't understand exactly what it means. You have to WFM: Getting back to what I was asking before, are you sure there know what you want to play and what you want to leave out—not aren't any techniques you'd like to get into on the drums? just play the only beat you know. A lot of times, less is less. NP: I really don't think so. Like I said, after 20 years of playing, There are songs on the new album where originally I heard the I've developed a lot of things that have proven valuable to me— demo that Alex and Geddy had made with a . Parts even the rudiments. There's a track on the new album where I play of it might have been recorded to a purely off-the-cuff, moronic a pattern that involves eight different ethnic drums, which I as- drum beat. When I came to work out my own parts for the song, I signed to pads. I played the bass drum and snare drum parts with tried everything. My basic way to work on a song is to try every- my feet, using my own sampled sounds triggered with foot trig- thing I know and then eliminate all of the stuff that doesn't work gers. The pattern I play with my hands couldn't be played without until I pare it down to something that satisfies me. But there were paradiddles, because I have to have my hands accenting in certain some parts of some songs that demanded to be simple. And it's a places. Without knowing how to do a Paradiddle I couldn't have reality that you just have to face. If it works best that way, it's done that. incumbent upon you not to mess it up. [laughs] Double-stroke rolls pop up in my playing all the time, and since I have to find other ways to musically satisfy myself, and I've I spent days and weeks banging on a pillow, "Mama Dada Mama experimented a lot, particularly in the '80s, trying to find ways to Dada," I can do a double-stroke roll. It is still a valuable thing to make things interesting to me. Playing a four-on-the-floor bass me, and time well spent. And that's true for any time that I've spent drum pattern has been a real challenge for me because I like it. woodshedding a particular approach or listening to a style of I've always liked music, but I could not sit there for five music enough to understand it, like reggae or fusion. A lot of it I'll minutes and play only that; I would shoot myself. So I have to find listen to as a drummer, just listening to it to understand. It's the ways to somehow make it work for me, because I want to do it, same reason for reading Modern Drummer—to read what other but in a way that's going to be technically and mentally challeng- drummers have to say about things, and either get inspired or ing. So I'll take a song that demands that simple part and say, angry. But all of that input is really important, and the time spent "Okay, if I have to play that simple part here, then I'll find a spot practicing is very valuable. elsewhere in the song to try to get away with more." If I have to I do get really annoyed with musicians who are proud of the fact play a simple pattern, I'll try to find ways to make variations in that that they don't practice and never took a lesson. I just think that is pattern so that it's really long, like a 16- or 24-bar pattern of such a cheat to say, "I just play simple; I don't need that." It's not repeating things so that I have to remember the simple pattern really true. You can listen to some simple drummers and tell they stretched over a long period of time. know everything. It's implicit. They have a certain confidence and Then you get into the question of delivering that pattern per- Peart On Record

If you go back and analyze Nell's playing from his first recorded performance with Rush, Fly By Night, and listen to each subse- quent album, you'll notice a very interesting progression. In general, the band's earlier material was more simple, allowing Neil to stretch out in regard to his use of fills and especially the length of the fills. As the band progressed into more involved time signatures and , Neil seemed to concentrate The next two beats appear in the verse section of "Circum- on those areas. And in more recent times, Neil has become stances," from the Hemispheres album (1978). more concerned with locking in the feel of the songs, coming up with interesting patterns, and selecting the different sounds he is generating, either acoustically or through sampling. But no matter what period of Rush's career, Neil has continued to come up with some inspired drumming. The following examples are taken from several Rush . When looking at the different beats that Neil has come up with, it's easy to understand why he has had such an impact on drummers. In most cases, the patterns shown are the basic beats Neil embellished. These first three examples are from the aggressive 7/8 intro- duction of "Anthem," from Fly By Night (recorded 1975). These are some of the patterns Neil played after the opening eight-bar drum fill section. The next pattern is from the instrumental section of "Free- will," from Permanent Waves (1979).

The next two examples are from "Vital Signs," off of Moving Pictures (1980). The first example is from the first verse, and the second is from the second verse.

This next rather syncopated pattern is from "Lakeside Park," off of the Caress Of Steel album (1975).

Neil played this two-bar pattern in the verses of "The Weapon," from Signals (1982).

The following beat is from the chorus of "The Temples Of Syrinx," from 2112 (1976).

This example is from "Cygnus X-1," off of A Farewell To Kings (1977). This driving 1 1/8 pattern appears near the end of the tune. can't hear it, I know I'm in time. That's great because then I don't by William F. Miller have to listen to the stupid thing. It's almost become a subliminal relationship with this bass drum pounding away, and I just sit in with it. As you get more confident with a click, you start fooling around with how much latitude you can get away with. It's like, "Just how far back can I pull this thing?" So being able to experi- ment within the framework of the click is something I like to do. A good drummer that I like who plays simply is Phil Gould, who used to be with . He plays very simple, R&B-influenced drumming, but when he pulls a fill out it'll be a beautiful fill. And his feel is great. If you try to tap along with their downbeat-on-the- 3 type of songs, you'll just about break your hand trying to come down behind the beat as much as he does. He has that feel down so well. It's very satisfying for me to listen to from a drummer's point of view or from a music fan's point of view. It feels great, has tremendous authority, and has the spice of a great little fill leaping out of it. The three drummers I mentioned I can count among my favorite drummers, although they don't play the kind of drumming that I like playing. They're playing the kind of stuff that I like to listen to. Music that I like to listen to is not always what I would like to be

Photo by Rick Gould playing. For instance, I could never be a reggae drummer; I would The next example is from the Grace Under Pressure album go nuts. But I love to listen to it; it's so infectious and I love the (1984). This is the 5/4 verse pattern to "Kid Gloves." rhythm. But I couldn't discipline myself enough to shut off my ideas. WFM: Would you say that overall you prefer to listen to a more simple drummer than a busier player? NP: For me it's more the style of music rather than the style of drummer. I do enjoy organized music, and it's one of the things that keeps me from getting emotional about jazz. I can listen to it, be inspired by it live, and appreciate it, certainly. But when it comes to music for pleasure, I like music that is constructed and organized, and that time has been spent on the craft of it. Technique, though, is important to me. I'm really impressed by it when I hear it done well. But there is just so little of it around on display, and what there is tends to be devoted to jazz. I guess that's just an unfortunate void that is in modern music. WFM: You mentioned earlier that you get the most enjoyment out of arranging new songs, and coming up with new drum patterns This example is taken from the later verses of "The Big Money," for songs. How do you go about coming up with your drum parts? from Power Windows (1985). Even though it appears to be NP: I usually work out my parts by myself now. Geddy and Alex in 3/4, due to the 8th-note feel of the song it is written in 6/8. will put down a rough demo tape of the song in a basic arrange- ment form with a drum machine. Then I go up to the demo studio alone and go over it and try what works and what doesn't. Gradu- ally I'll refine the drum part down to something that will work. WFM: How much time does that process take? NP: It depends on the song really. It's probably about a day for each song. That's the best way for me to do it—just immerse myself in one song. But that's not to say I work out every single note that I'm going to be playing. I'll decide where I may want a The last example is from the Hold Your Fire collection (1987). special fill, or where a specific time pattern is to be played, but I This pattern is played during the verses of "Turn The Page." (The leave plenty of freedom in the parts for some creativity in the hi-hat is occasionally played partially open.) studio. I said before that I liked organized music, but I also like spontaneity in its appropriate place. The studio is the perfect place for that because you are allowed to keep being spontaneous until you're spontaneously good! WFM: You mentioned that you don't feel you can improve much beyond where you are now. How important is practicing to you now? NP: I read a great quote recently by a young classical violinist. She was asked if she ever practiced, and her response was, "I never practice, I only play." And that was not to say that she didn't pick up her instrument and play, but she never picked it up to practice without playing music. That's basically the way it is for me. If I sit fectly, too. Again, anyone who has spent time learning and prac- down at my drums informally, I just sit down and play. I don't ticing drums knows what you can do with a simple 2 and 4 beat, worry about practicing a pattern or something. I'm a bit worried and how many different ways you can lean that, even with metro- about the smugness of having arrived at a certain point. Not by a nomic time. You can push the beat, land dead on the beat, or pull longshot have I learned everything there is to know, but I've it back as far as you can. Working with a click track in the studio, learned enough to satisfy me. as I have done for the last several years, I learned to play games I have a little set of drums set up in my basement at home, and I with that, too. I don't use a conventional click, by the way. I use a like to sit down and play with brushes—just playing around. I quarter-note bass drum sound. So if I'm playing along with it and I Photo Series by Edward Ajaj

Stephen Morris's name has guarantee mega sales, only for the whole nation, and the Substance (the latter not to be never appeared in the credits minimal interference in the music press is much more confused with New Order's of a Joy Division or New band's music making. Morris important—for better or singles collection, Substance Order record. Then again, and the rest of the band have worse—than it is in America." 1987). After a brief pause neither have the names of his been answering the same mo- Consequently, your average following the suicide of lead bandmates. And don't look for notonous questions about such fan in has much more singer and lyricist in them on inside jackets or even behavior for years now; they're access to the personal facts of 1980, the remaining members on the circular labels pasted to way past bored. their favorite bands than we in of Joy Division continued on the vinyl. For over a decade It's not that they're arrogant, the States would have to those under the name New Order, now, technical information has or pretentiously vague, as same groups. later adding keyboardist and been almost completely some have assumed. On the So what are the facts? Well, guitarist . subordinated by Factory contrary, Stephen Morris in 1977, Stephen Morris an- Since their beginnings, New Records designer Peter couldn't have been more swered a "Drummer Wanted" Order have led somewhat of a Savilie's wonderful cover art. courteous and modest the two sign in a Manchester, England "schizophrenic," as Stephen New Order have always times I spoke with him, even music shop, and became the calls it, career. Their five done things their own way, when asked about the band's founding drummer with a studio albums and one EP though. The band was never perceived mysteriousness for band called Warsaw. Warsaw have featured a mix of guitar- one to grant interviews to probably the thousandth time. soon changed their name to based, driving rock songs, every hack with a tape deck, A distinction has to be made Joy Division, and went on to highly electronic, keyboard- they steadfastly refused to here, though, between the become one of the most heavy dance tunes, plus songs mime to their songs on British music scene and the critically acclaimed and that balance the two extremes, "important" British American one. As Stephen fanatically loved bands in often with Morris expertly shows, and, rather than go says, "The situation is different England, joy Division released mixing acoustic and electronic with major labels' offers, they in England, which is primarily two albums, Unknown drums to varying contrasts. stuck with the independent where we work and live. Pleasures and Closer, plus the Schizophrenic, maybe, but as Factory—who couldn't Radio is basically one station posthumous Still and would say, you can lie back and listen to the most so-called "dance bands" than the electronic stuff, from to get the ultimate drum sound albums straight through; they have little use for. New the way it turned out." that would suit the track, the work as albums, not just Order's latest album, Tech- For the "acoustic" songs on idea being that you only have groups of songs. Then there nique, continues to display Technique, the band employed to get the performance right are the singles—dancefloor- varying styles and approaches, a different process than usual once, because you have al- ready, mostly electronic from the techno- for recording drum tracks. ready played it. Basically all concoctions that, since 1984's "" and "Vanishing Stephen explains: "We basi- the acoustic drums were done best-selling "Blue Monday," Point," to the ballad-like "Love cally recorded the drum tracks that way. have been staples in dance Less," to the guitar-driven onto digital tape, with me "I think you can waste a lot clubs on both sides of the "Run." In fact, Stephen says playing an acoustic kit with a of time fairly early off going for Atlantic. New Order has the that of all the New Order not particularly great drum a killer drum sound and then distinction of being played on records, Technique particularly sound. Then we used the tape finding out that it didn't really the most discriminating gives the impression of a split to trigger a Sycologic PSP suit the song," Morris contin- underground rock stations— personality. "On Low-Life," he audio-to-MIDI converter. We ues. "So in a way, we sort of Joy Division holds godlike explains, "there were things then loaded the drums into a approached it the other way status in punk/new wave like 'Elegia' that were elec- sequencer, but without any around; normally you get a circles—yet also on the turn- tronic/acoustic but that weren't quantization at all. When I say cracking sound first and then, tables of the most fashion-con- really dancey, and 'Every 'no quantization,' we did have play it. In this case, for some scious hipster dance clubs. Second Counts' on to move everything over strange reason—I don't know Because of (and undoubt- Brotherhood was also like that, earlier to compensate for quite how it came about—we edly part of the reason for) this whereas on this record it's getting later because it's gone ended up playing all the situation, Stephen Morris not more sort of one thing or through this audio-to-MIDI drums first so that everybody only writes and performs the another—the acoustic songs or business. You always get a de- else could get on with their perfect electronic beats and the electronic songs. But in lay. Once we had that repeat- stuff. I went into another room effects, he also must be a actuality, the acoustic songs able performance in the com- and started banging various capable kit player, something are probably more electronic puter, we then set about trying drums, which were then

by Adam Budofsky we use Passport's Master Tracks for sort of a general sequencer program. But when it comes to playing live, I can't see dragging a computer about, so we download any sequences into a Yamaha QX1 sequencer, which has been very reliable." Aside from figuring out how they're going to play in concert the songs they just previously wrote in the studio, Stephen and the band have found themselves having to find ways to duplicate as accurately as possible the sounds used on previous New Order and Joy Division records. Often these were played on analog , and with the move toward samplers, a lot of time has had to be spent getting today's

Photo by Ebet Roberts technology to jibe with State of the art, 1980: Stephen Morris with New Order during an early U.S. tour. yesterday's. On a recent tour with the Sugarcubes and Public Image, Ltd., the band sampled onto DAT. We loaded based ones, of a driving to use on this tour, to get away was able to play some older the sounds we decided on into forward type of feel, a pushing from this clap or wood New Order songs, such as the Akai or a British sampler of the tempo. One way Morris chopping sound that's "Ceremony" and "Your Silent that our engineer got, called a achieves this feel, he says, is chopping your head off. That's Face," but any Joy Division Greengate, and played the by playing in front of the beat. some decent gear that I'd like songs had to be left out for the sequence back, and lo and "The thing about the click to get into in the future. The time being. behold, it sounded a lot better. track, as once two times that it worked it "We usually do include Then of course we messed said, is that a lot of people seemed to be a good idea." some Joy Division songs in our about with the timings and who use it forget what it's Writing in the studio has sets," Stephen explains, "but stuff." there for. You can play before given New Order songs a something that has limited us a This "drum replacing" or behind it; you've got a certain amount of flexibility little is that we've just moved a method in a way dates back to reference point. If you use a before they are recorded, so bunch of samples and Joy Division days and pro- sequencer or anything else like that any technological or sequences onto a new batch of ducer 's that, you really couldn't do it' musical ideas that might come gear, and the Joy Division stuff recording theories. "Basically without a click track. We don't up in the studio can easily be doesn't quite fit the program- we were doing exactly the always use a click, though. employed. Does this cause any ming. And we've not got same thing, only manually," Sometimes you don't need to problems when it comes time around to finishing a lot of the says Stephen. "I'd play the kit, because you just go in and to figure out how they are back catalog stuff as well. So and then we'd replace the kit play the song; you've got it going to reproduce these often we're involved in somewhat of sort of instrument by instru- already written. 'Love Vigilan- complicated studio creations a limited repertoire. ment. I'd play the bass drum tes' was done without a click; live? "It's a lot of hard work completely on its own, then it was played just completely "Sometimes when we come getting the old songs to sound the snare drum completely on live. When you write in the out of the studio, we think, right," Stephen continues. its own, then the hi-hat studio, which is what we tend 'Oh my God, how are we "You have to keep tweaking it completely on its own, and to do, you'll probably use a going to play this?' In the past and messing about till you get then tom fills, which is really, I click track because there are we've come out of the studio it right. We started with the find, a difficult way of doing going to be so many parts put and gone straight into working new stuff and worked back- things. Because when you're onto it later, and you don't out how we were going to wards. Although we did get playing drums you're doing know what they're going to be play the songs live, which more than we intended done, three things at the same time. yet. usually seems impossible at a lot of the old stuff is not very When you're just doing one "Something I've recently first. But once you decide what balanced. Balancing is sort of thing, at the time I found it felt tried that I like is the Human you want to do with it, you like a modern equivalent of a very wooden. I found it very Clock, which is made by can usually get it done in three Medieval torture. When you difficult to see what he was Kahler," says Morris. "You to four weeks, finding ways to start sampling the getting at. I mean, it sounded program a sample into it; bass manipulate the sounds. When sounds, it becomes a bit of a alright to me before. It was sort drums work best. You go, hit, we're writing, we use a problem. That's what seems to of like, bang [long pause] bang 2, 3, 4, hit, and the next time Macintosh with a couple of take most of the time. Once [another long pause] bang...." you hit it, it miraculously starts sequencer programs. We use you've got it in there, you're Since much of New Order's a sequencer at the right tempo. UpBeat, from Intelligent basically remixing the song on music employs sequenced It enables you to play along to Music, which is one of the a very crude level. The original parts, a click track becomes a sequencer, and you can push best drum-type programs; it's intention was to get rid of indispensable. Yet there's often or pull the beat. Unfortunately very simple. It's like a Roland every synth on the stage and a feeling in their songs, the one I tried blew up. It was TR-808, really. We use that for replace the Emulators and the especially the more guitar- something that I really wanted doing most of the rhythms, and Voyetras with Akai S1000 Here are the beats that Stephen Morris has come up with for some of New Order's more "acoustic" songs. Most of the band's dance singles usually employ a carnival of electronics. These tunes, however, are very different; most of them are more guitar-based, and the percus- Worlds away from the techno dancefloor, "Broken Promise," sion is very much for the drumset. also from Brotherhood, is a fast, noisy, emotional song that This first example is from "Age Of benefits from Stephen's driving drum pattern. Consent," the opening song from Power, Corruption And Lies. Morris often deviates a little from a basic beat during a song to keep it from getting monotonous; in this case the hi-hat and bass drum parts vary a little towards the end, and the second bar of the beat is sometimes ignored. Some overdubbed "off" tom-tom fills are also added toward the end for texture. Note the interesting hi-hat accents and the fast tempo.

"Love Less," from Technique, is an example of Morris dealing with a very melodic part. The extra bass drum note in the second bar subtly adds a little more to the track's bottom end.

This pattern from "Ecstasy," also from Power, Corruption And Lies, gives the song a jerky dance feel. This song, an instru- mental, is a bit different from the others in that it is more of a keyboard-based track.

Another track from Technique, "Run," and another heartbreak- ing bass guitar melody. Overdubbed tom-toms mimic the hi- hat part, giving a galloping feel to the song, and also adding a Stephen plays this two-bar phrase during the verse section of bit to the mix's low end. Stephen lays into the hi-hat on this Brotherhood's "As It Is, When It Was." The drums are very high funky little pattern. in the mix on this track, making the accented tom hit in the second bar even more dramatic.

samplers. We didn't quite get samples I play are the same as spoke, the band was in the cies. "I was speaking to that far. In fact we've still got the samples that the drum studio recording Technique. At [producer/engineer] Arthur the Emulators. But we have machine plays. We use a drum the time, they were using the Baker about that the other managed to simplify it a bit. machine on some songs, when Akai S900 sampler, and day," Morris relates. "The "The setup on stage is an I play keyboards. On other Stephen had mentioned a funny thing is that the 5950s acoustic Ludwig kit, which is songs I play drums. So problem with low-end signals. don't have that problem. The supplemented by an Octapad. basically I use the same Since then, he has had a S950 is really what the S900 We use the Akai as the main sounds. So instead of having chance to try out the new should have been when it sampler, so the kit and the two completely different bass S950. Through more "tweak- came out. When you're sam- Octapad II trigger various drums, the one I play actually ing and messing about," as he pling low things with a short drum ports; a lot of people do comes out of the same place." says, the band was able to duration and lots of attack, that these days. Basically, the The first time Stephen and I overcome the S900's deficien- hen Walfredo Reyes, Jr. decided he would solo for about a half an hour on Luis Conte and his father on percussion. "It Whe would actually play drums for top of my beat. My hands would feel like was fun. If we were playing a couple of a living and give up his veterinary they were falling off, just keeping the rhythm days in a row at the same place, Luis and I aspirations, his philosophies couldn't have for him to play on. When he'd get done would get up early in the morning and go been further from what they have become. playing, he'd say, 'Okay, go.' He was push- back to where we were playing, and we Coming from a musical family in Cuba (and ing me physically as well as mentally. I would play the whole day. We experi- Puerto Rico, where they later moved to) in never thought someone could have so many mented a lot, and on the show, Doc fea- which his father's drums were omnipres- ideas. We would go back and forth. I would tured us. Every night we had our space to ent, Walfredo took the instrument for finish doing my solo, and then he would play." granted. While his father gave him lessons go into something else." The more Walfredo learned, the more on the drums and percussion just in case Around the time he went to the Mon- his new philosophies began to emerge, and he'd have to make money playing some- treaux Jazz Festival and other festivals in his one-dimensional focus on the rock day, it wasn't until he took a date to a rock Europe with the University of Nevada, Las world began to diminish. "The music you concert and witnessed the effect it had on Vegas band, Walfredo was becoming aware hear on Top-40 radio is great," he stresses, her and the audience that he made his of the importance of absorbing everything "but when I'm traveling all over the world, decision. was the goal then, possible. "Alex had gotten the job with I try to absorb what is native of the region. even though he had a varied diet of music Weather Report, so in my time off from The has so much to give. I all along. school, I would go to . That think you learn more going back and trac- "I would get up in the morning," Wal- was another school I had. I would spend ing roots from each country; that's one of fredo recalls, "and my mom would have a every summer in New York and take a few the things I'm into the most. I might pro- Latin album on. I would hear Cortijo, Gran lessons with Jim Chapin. New York in itself gram a drum machine, but my idea might Combo, Los Papines, Tito Puente—all the was a lesson—seeing all those different be inspired from something like three Latin stuff from Puerto Rico and Cuba. I worlds. Whenever Weather Report was aboriginals in Australia and something I would eat breakfast, go to school, turn the playing, I would out. My biggest les- heard from a street musician in New Or- radio on, and it would be , sons have not been college or drum les- leans. You can say, 'This is a Latin beat, this the Guess Who, , Santana—all sons, per se. They have been indirect les- is a reggae beat, this is a jazz beat,' but the rock 'n' roll stuff that I would dig. I sons from Alex and other musicians. each of those words mean so much. They would come back for a drum lesson and "One time I went to S. I. R., and Jaco was are more than just beats. Reggae is a whole my dad would turn me hip to Buddy Rich, there. He was playing these wild, big chords world. When I was working with Tania Tony Williams, and Elvin Jones." on the , very intensely hearing what Maria and Sergio Mendez, I saw there were When Walfredo was 13, his family moved he was doing, and it sounded like an in- many types of sambas, from different re- to Las Vegas, and Walfredo Sr. realized that credible Bartok piece. He was going, 'Isn't gions. When I play a reggae beat, or what- his son needed the discipline of formal les- this hip, man? These guys were so ad- ever, it's not just a beat that I'm playing; it's sons. "My dad always taught me drummers vanced.' I said, 'Who?' And he said, 'The an attitude. Each music comes from an atti- that other teachers didn't tell me about. Beatles—this song, "Come Together."' I tude. When I hear the word ',' I think He's a good teacher and has many stu- knew that song, but that wasn't what he of that era, those guys at Birdland—the dents, but since it was a father/son rela- was playing sounded like, with those big whole vibe. You can even get into it deeper, tionship, I would say, 'Hey dad, I'll do the chords. It taught me how sometimes what like where did it come from and why do lesson later,' so he put me with a teacher." you trigger in people is not necessarily what they play the way they play? Who was the Walfredo went through a year of study- you are playing. They might go to their one who started it? I love to really dig." ing with Leo Camera, going through books instrument and play it how they heard it It was with that attitude that Reyes at- and working on independence and read- from you, but it's not the same once it gets tacked the L.A. scene when he moved there ing. These certainly were important les- processed through their brain. Then I be- in 1981, and it was certainly the single sons, but what became invaluable to the gan to understand a lot of things, like when most crucial ideology that secured him and young player's growth was the relationship Steve Gadd played the Latin stuff. He was carried him through his entire career. This that developed between him and Alex doing the thing with the tom-tom on 2 and career has included early work with Ben Acuna, a friend of his father's who had left 4 and the cymbal and hi-hat, kind of Vereen, Marilyn McCoo, 's Puerto Rico for Las Vegas. imitating the sound he heard from samba, Salsa Picante Band, and subbing for Acuna "I always played percussion and drums," Brazilian stuff. He heard maybe three play- in Koinonia. Later gigs have included the Walfredo explains. "I would play ers with the triangle and the bell and the Latin-flavored Tania Maria, Sergio Mendez, and and drumset as if it were one 16th notes, and it was the way he heard it and Strunz & Farrah, the fusion of Alphonso instrument. It was all just drumming. It and then interpreted it that created his ver- Johnson's trio, Justo Almario, the Coffee wasn't, 'This is a drumset, and percussion sion. " Achievers (with Tim Landers), and Larry is something different.' Whether you play Walfredo began to work professionally Carlton, the gospel act of Nell Carter, the on the floor with sticks or on a set, you're in the ninth grade, playing congas and rock, reggae, and you-name-it of David creating rhythms. At that time, Alex was bongos in a dance school, slowly graduat- Lindley & El Rayo-X, the rock 'n' roll of heavily into Elvin Jones and Tony Williams, ing to some of the shows on the Vegas Jimmy Barnes, recording with Jackson and he turned me on to those people. He strip. He worked for such acts as Juliet Browne, and his current gig playing the always encouraged me to play, so he would Prowse, Lola Falana, and Paul Anka, and Latin rock of Santana. teach me a rhythm on the congas and then then got a gig with Doc Severinson, with by Robyn Flans Photo by Jack White "A great drummer is not necessarily a successful drummer."

WR: In 1982 or '83, I worked with bass called me to form a band. I had player John Pena, and he was working at heard his name, but I didn't really Drumset: 3. 10"EFX that time with Tania Maria. They needed a know that much about him. When . 4. 18" A medium- drummer, and he recommended me. Her he called me, though, we talked an A. 14"& 15" LP timbales thin crash music is , and it's very im- hour on the phone, and he knew so B. 6 1/2 x 14 Ludwig Black 5. 10" K splash provisational. I got the gig, and she met me much. He talked about salsa and Beauty snare 6. 12" Z splash in Seattle; I had never met her before. They obscure musicians, and about C. 9 x 10 tom 7. 20" Z medium- had sent me a tape, which was really no Zydeco and New Orleans style, and D. 10 x 12 tom heavy ride good, because what happened on the tape then he would say, "Have you heard E. 12 x 14 tom 8. 18" medium-thin wouldn't necessarily happen on the gig. So this person who plays Okinawan F. 14 x 16 tom Platinum crash I played the first performance in Seattle, drums? I have to turn you on to it. G. 16 x 22 bass drum 9. 19" K China and I stayed with her for two years on and We should get together." So we got Cymbals: Zildjian. aa. Roland Octapad off. It was a really good band, and we got together. Although he's not univer- 1. 14" Quick Beat hi-hats bb. Electronics rack to tour Europe and do all the festivals. sally known and doesn't get a lot of 2. 19" K China cc. cowbell When I got back to the States, I got a call airplay, David has a cult following. from a percussionist friend of mine, Miguel He has played on a million albums Hardware: Drum Workshop hi-hat stand, double Cruz, who told me that David Lindley was with a lot of people, and he's very pedal (with hard felt beaters), and EP-1 trigger going to call me at home. With Tania I was well-respected among musicians be- pedals. Everything mounted on a Collarlock rack mostly playing funk/Brazilian, and David cause of his vast knowledge. system. wanted a rock drummer who would be I learned a lot from Lindley. He Heads: coated Ambassador on snare. Remo able to play strong in front of a big audi- doesn't want to just do one thing all clear Ambassadors or Emperors on tops of toms ence, but who would still know the Carib- the time. He wants to play with dif- (no muffling), clear Ambassadors on the bottom. bean stuff—reggae and ethnic music. He ferent people. He likes to do movie Clear Ambassador or clear Emperor on bass drum wanted someone who could play 2 and 4 soundtracks, he likes to play acous- with a feather pillow for muffling. and then turn around and play something tic instruments, he likes to go on the indigenous to a certain region. road with people where he's not the Electronics: Ron Aston wired and organized At that time, in 1985, I had gotten a gig leader, and then he likes to have his Walfredo's electronics rack, which includes a Hill playing percussion for three months for a band, El Rayo-X, play the music he mixer, two Akai 5900s, a Roland DDR 30, an Alesis drum machine, and a Yamaha SPX 90, all Motown revue on TV. It was a great band likes. That was one part of his per- MlDI ed together. with on drums, Paul Jackson, sonality and of mine, too. We got Jr. on guitar, Freddie Washington on bass, together and played in this little place Sticks: Pro-Mark Maxxum 412 and 58 hickory and the Jerry Hay horns, and we had a lot in L.A., and it was real interesting. models. of fun. We recorded on Tuesday and taped The bass player, Jorge Calderon, is on Friday. That was the same time Lindley from Puerto Rico, but you would have never known because he plays with and knows all stuff. It is very challenging to play with the styles. And the keyboard player, him. It is so hard to play so soft; one time William Smith, is a great song- for a joke I put in my stick bag a pair of writer and an artist himself. We toothpicks and a pair of Q-tips, which were played, and it was a lot of reg- the mallets. I started playing with them, gae, and I fit in really good and it was fine with him; he didn't even with the guys. So he asked if I notice, [laughs] But it was great doing the wanted to do some gigs. variety of work I got to do. We really had a fun time, It took me a little while to realize it, but and my association with David because of my influences, I wanted to play Lindley & El Rayo-X lasted on all kinds of music. Like if I'm playing with and off for three years. I would Alex and my father and , I play with Lindley, then come can feel comfortable playing with them, into town and work with other but if they start going into something spe- people at the Baked Potato and cific like a bata thing, I want to sound different places. I did some ses- authentic and be true to that style of music. sions and started doing a lot of There are two ways you can play: authen- TV, some jingles, and sound- tic to the style of the music, or your own tracks for movies like Vibes, interpretation—your own kind of samba, Pretty In Pink, and Bad Medi- your own kind of bebop. But like Tania cine. Last year we did some told me once, "We do our thing, and we Levi 501 commercials with experiment and do different kinds of mu- Lindley. And at the same time sic, but when I say I want a samba carna- I was working with Emmett val, I want to hear the real thing." I read Chapman, who invented the where said one time, "When I

White Stick. It was a totally improvi- go to Chicago and play blues, I want the sational gig, just me and him— guy to turn around and say, 'Hey man, are Jack Stick and drums and percus- you from Chicago?'" I want to be true to by sion. And then there was Clare the music. It's hard, but I like to delve like

Photo Fischer, who is a musical gen- that. ius. He's done all the orches- When I started playing with Lindley, I trations for Rufus and Chaka Khan, really found out a lot about me. I actually and now he's doing all the found that I could be everything that I was Walfredo's Setup

about, that I could play so many things. RF: What was your setup with that band? were the only two months I was in town We would play almost heavy metal, then WR: I had timbales on my left, which is steadily. That was when I did a track for the next song would be something like Bob something I learned from my dad and from Jackson Browne. Marley, and then the next song would be watching percussionists. I could play some RF: Tell me about that. The album credit more like New Orleans. And then I could rhythms with my left hand on the timbales says the programming was done by RUSS have my own interpretation and experi- and on the bongos, and even on congas Kunkel and you did the drums. How did ment with things I never did before. He sometimes, but I couldn't set up everything that come to be? allowed me that space, too. That's impor- right next to me. It can't all be there, but it WR: When I arrived there, there was just a tant. Sometimes there's music you can't do was fun experimenting with all of that. I percussion track. There was a , a that with. That's why a lot of musicians get didn't use electronics with Lindley. He loves clave, a clap, and a snare—a machinery frustrated. That's one reason why bands electronic effects and all that, but he loves track that sounded really cool, but Jackson are formed. You hear stories about musi- the acoustic drums, too. wanted more of a breathing element. After cians forming a band like Los Lobotomys— RF: You toured a lot behind that album. I played the drums on top, he left what and . They have WR: Just getting a record deal is an incred- Russell did with the clave, cabasa, and the fun with Toto, but that's Toto, so when they ible task, but it actually means nothing. clap, and I replaced the drum program- come home, they say, "I want to stretch out You might sign a contract, but the record ming. Then after I did it, Alex Acuna re- into other things." So they form a band company might not do anything with your placed the cabasa; I also hear Alex did with other musicians because they need to record. If a record company wants to push some shakers on the track. That's the way have those other outlets. you, they will promote it. Other times they Jackson works. The musicians he works RF: How did you feel about the record you make you promote it and go on the road. with shape the song, and he listens. He did with Lindley, Very Greasy? Instead of them shedding money for pro- sees where the musicians can take the song. WR: It was a lot of fun, but at that time we motion, they make you do it. What hap- For example, when I got there, were on the road so much, and all of a pened with us was that they gave us a had started a groove with the machine, sudden we had this record deal. I think we budget and a record, and they wanted us and then I took it and added another thing, went from the road to the studio too quickly. to go on the road, so we did, from June and the song took a different shape. Jackson We really didn't have enough strong mate- until October. I got a little burned out. It's was still not happy with the cabasa and rial to represent what we were doing live. great playing in a situation, but if you do it realized maybe it needed more human per- It's a good album, but I have some live on and on and on and on without backing, cussion, so he called Alex. tapes that I like more. you can burn out. April and May of '88 Jef f grips) . St u Jac k Magadin i Thigpe n Carringto n E d Purdie , Chambers , Mason , Pete r Flores , William s (w/shoc k E . Nussbau m Haki m Houghto n Smit h Gadd , Weck l Knudse n Calarco , McCracke n English , Lyn e Benante , Palme r Erskin e Collin s Porcar o Wallac e Porcaro , Stev e Nevit t Budd y Keit h Gavin , Stev e Terr i Jo e Artis t Pau l Che t Chuc k Denni s Bernar d Pete r Phi l Stev e Sheil a Ada m Car l Harve y Oma r Dav e Dav e Ia n Charli e 17/32 " .350 " Diamete r 19/32 " .555 " 19/32 " 19/32 " 1/2 " .515 " 1/2" 37/64 " 17/32 " .555 " .555 " 35/64 " 35/64 " 35/64 " 35/64 " 5/8" 7/8 " 3/8 " 7/8 " 1/2 " 14 3/4" 16 " 1 5 5/8 " 1 5 1 5 1 5 1 5 1 5 16 " 16 " 16 " 16 " 16 " Lengt h 16 " 16 " 16 " 16 " Hickor y Hickor y Hickor y Hickor y Hickor y Hickor y Hickor y Hickor y Hickor y Hickor y Hickor y Hickor y Materia l Mapl e Syntheti c Hickor y Hickor y Hickor y Mason Hakim Funk Gadd Erskine Weckl Palmer Collins 8 D Combo 8 A 3 A Jazz Rock Phil Carl X-1 0 Steve Omar Harvey Peter J az z Dave SD 4 5/ 4 Mode l Jazz 5/ 4 Rega l Rega l Rega l Rega l Thigpen) & Firt h Firt h Firt h Firt h Firt h Firt h Firt h (Ed Bran d Pro-Mar k Pro-Mar k Vi c Calat o Vi c Calat o Vi c Rimsho t Vi c Vi c Calat o Zildjia n Vi c Aquaria n Vi c Calat o Zildjia n Drumsticks vary almost as much as drummers do. That's only natural, since the design of a drumstick reflects a drummer's playing style, physique, and musical requirements. This collection offers a visual demonstration of the widely differing sizes and shapes of (nt) , Sange r Bil l Dawson , Wackerma n (nt ) Richi e Ro n (nt) , Cilso n (nt ) Davi d Wertic o Denn y Case y Ji m Jo e (nt) , Stev e Ferrer a Goodnes s Ala n Silverligh t Cha d (w/shoc k (nt) , Watt s Lync h Sonn y (nt) , Pau l Appic e Sli m Ulric h Bil l Shriev e (nt) , Moser , Jef f Bennett , Stev e Colaiuta , Castill o Humphre y Bayer s Terr y Sta n Appice , Baird , Chaffe e Fleetwoo d Cobha m Kenned y Lar s Burn s Marshall , Mastelott o Blair , Keltne r Gibso n Bruford , Smith , Eddi e Ale x Acuna , Mik e Ro y Cactu s Ralp h Bil l Wil l Morell o Rand y Michae l Phanto m Carmin e Vinni e Pa t Lavis , Morales , Scheuerell , Bill y Alvin o Car y Bil l Mic k Emory , Ji m grips) , Tutt , Ji m Vinn y Carmassi , 9/16 " 9/16 " 9/16 " .565 " .570 " 35/64 " .580 " 19/32 " 37/64 " 19/32 " 19/32 " .595 " 19/32 " 19/32, , .600 " 35/64 " 9/16 " 16 " 16 " 16 " 16 " 16 " 16 " 16 " 16 " 16 " 16 " 16 " 16 " 16 " 16 " 16 " 16 " 16 " Hickor y Hickor y Hickor y Hickor y Oa k Syntheti c Hickor y Hickor y Hickor y Hickor y Oa k Hickor y Hickor y Hickor y Oa k Syntheti c Hickor y 5 A Ti p 5 A Ti p 5 B Lites Combo Ti p Appice 5 A 5 A White 5 B 5 B 80 8 80 8 X-1 0 5 A 5 B Fatback 3 A 5 B 3 A Cobham) Cobham) Regal/Rega l Rega l Regal/Rega l Firt h Firt h Firt h Carmine (Billy (Billy Pro-Mar k Vi c Pro-Mar k Rimsho t Aquaria n Calat o Calat o Zildjia n Vi c Pro-Mar k Pro-Mar k Rimsho t Pro-Mar k Pro-Mar k Aquaria n Calat o Vi c drumsticks used by some of today's top players—many of whom designed their own model. Hopefully, it may help you gain some insight into the subtle nuances of this all- important tool of the drummer's trade. Brand & Model Material Length Diameter Artist

Zildjian 50 Hickory 16" 39/64" Jonathan Mover

Vater SS Hickory 16" 39/64" Greg Morrow

Pro-Mark 2B Oak 16" 5/8" Craig Krampf (nt),

Pro-Mark 2B Hickory 16" 5/8" Bobby Blotzer, Anders Johansson, (nt), (nt), Fran Christina (nt), Jon Fariss ,Louis Perez

Calato Rega l 70 Hickory 16" .635" Fred Coury

Rimshot 20 Hickory 16" .635" Carlos Vega

Aquarian X-10 Concert Synthetic 16 1/8" 19/32" Bill Berry

Calato Regal/ Hickory 16" .655" Johnny "Bee" Badanjek (nt), Regal Tip 2B Donny Baldwin, Frankie Banali (nt), (nt), Matt Frenette (nt)

Vic Firth SD9 Driver Maple 16 1/8" 19/32" David Garibaldi, , Chris Parker

Aquarian X-10 Rock Synthetic 16 1/8" 19/32" Gil Moore (w/shock grips)

16 1/8" Silver Fox J/RX Hickory 5/8" 16 1/4" Pro-Mark 707 Hickory 9/16" (Simon Phillips) 16 1/4" Pro-Mark 707 Oak 9/16" Terry Bozzio (Simon Phillips)

Pro-Mark ZX 707 Oak 16 1/4" 9/,6" Ed Shaughnessy (Ed Shaughnessy)

Pro-Mark 747 Rock Hickory 16 1/4" 9/16" Don Brewer, Fish, , Debbi Peterson (nt), Chris Blackwell

Pro-Mark ZX Rock 747 Oak 16 1/4" 9/16" Richie Hayward Pro-Mark 769 Hickory 16 1/4" 9/16" Gerry Brown (Gerry Brown)

Pro-Mark Maxxum 412 Hickory 16 1/4" 5/8" , , Joe Smyth

Zildjian Rock Hickory 16 1/4" 5/8" William Calhoun, Mel Gaynor, Rikki Rockett

Vater Myron Grombacher Hickory 16 1/4" 41/64" Myron Grombacher

Silver Fox H/R Hickory 16 1/4" 5/8" Mike Brigham, Vincent Dee, Liberty DeVitto

Vic Firth 20 Hickory 16 1/4" 5/8"

Rimshot 50 Longshot Hickory 16 3/8" .595" James Bradley, Jr., Joe Vitale

Pro-Mark Maxxum 419 Hickory 16 1/2" 5/8" Mick Brown, A.J. Pero, * Thommy Price, Glenn Symmonds

Rimshot Jason Bonham Hickory 16 3/8" .595" Jason Bonham

Vic Firth SD1 General Maple 16 3/16" 5/8" J.R .Robinson

Silver Fox M/S Hickory 16 3/8" 23/32" Steve Wacholz

Vic Firth Rock Hickory 16 5/8" 5/8" Kenny Aronoff, Gregg Bissonette, Tommy Campbell, Kenwood Dennard, Joe Franco, Kelly Keagy, (nt)

Pro-Mark 25 Oak 17" 5/8" , (Tommy Aldridge Willie Green, Herman Rarebell

Pro-Mark 2S Hickory 17" Doane Perry (Tommy Aldridge) 5/8"

Vic Firth Rock Crusher Hickory 17" Greg D'Angelo, 5/8" Anton Fig

Calato Regal 1A Hickory 17" .580" (Chester Thompson)

(nt) denotes Nylon Tips

Yamaha Chain- Drive Pedals controlling the pedal. among the latter group. With this design, An area of concern the secondary pedal can be used as a single with drummers who do bass drum pedal on a second bass drum, a lot of recording or should you have room for it. When the gig playing in quiet musi- demands a smaller kit, you can use the cal settings is the noise same pedal as the secondary pedal on your a bass drum pedal can double pedal. Yamaha explains this design make. Unwanted by saying, "Either pedal can be used inde- squeaks can really be a pendently, and the system can be modified nuisance. The Yamaha for one-bass/double-pedal, double-bass, or pedals are well-de- single-bass configurations." signed and put together; Another design feature that I liked was as a result, the action is the connecting rod between the two ped- precise, smooth, and als. The rod has two universal joints—one very quiet. on each end—which easily attach to and The FP-810 and FP- detach from the pedals with a standard Photo by Rick Mattingly 820 are first-rate bass drumkey. That makes the pedal easy to drum pedals. I'm a little pack up and more compact to fit into a Yamaha recently introduced three new reluctant to describe how they felt when case. I've had to use a separate case for my chain-drive bass drum pedals: the FP-810, played, because that's such a subjective double pedal because it did not separate the FP-820, and the DFP-850. It seems that thing. I've played pedals belonging to drum- from the connecting rods without a hassle. over the last few years a lot of bass drum mers who told me how great those pedals The connecting rod also allows a wide pedals have made their way onto the mar- felt—yet to me they seemed strange. So range of pedal positions, from a very short ket—to the point where a drummer has feel is a tough thing to describe. However, span to a wide gap. almost too many choices. Be that as it may, I'll risk it and say that these Yamaha pedals Okay, enough of this design business— these new pedals from Yamaha rank right felt great. If you're looking for a chain- how does it feel? As I mentioned earlier, up there with the best that I've played, and drive pedal, I would definitely put these I've owned two other double pedals, and that's a lot of pedals! two down on your list to check out. The the Yamaha is far and away the best-play- FP-810/FP-820 FP-810 for $130.00. The FP-820, ing double pedal of the three. I set my with its added baseplate, retails for $155.00. pedal tension rather loose, and with the These two models are single pedals that DFP-850, I was able to loosen up the sec- DFP-850 are exactly the same in design, with the ond pedal quite a bit. With the other double exception of a baseplate with a grip rubber This model is Yamaha's new design for a pedals I've played, they became very sloppy bottom that is attached to the FP-820. You double bass pedal. It has all of the above- when I tried to loosen the tension as much might prefer this version if you have a creep- mentioned features of the FP-810 and FP- as I did on the Yamaha. Overall, this pedal ing bass drum problem, or if you don't use 820, including the double-chain linkage, is the closest thing I've found to the feel of a rug underneath your drums. The base- the new footboard, and the very quiet ac- playing double bass drums. I guess that's plate causes the FP-820 to sit a little bit tion. I've owned two different makes of probably the best criteria you can have for higher off the ground than the 810, but chain-drive double pedals in recent years, judging a double pedal. The list price for otherwise doesn't affect the action of the and I was very interested in trying out the DFP-850 is $395.00. pedal. Yamaha's design. —William F. Miller Both pedals have a double chain that There are basically connects the footboard with the axle, using two types of double a non-sprocket design. According to pedals on the market Yamaha, this double-chain design gives the today. One type features pedal greater power and durability. (I can't a regular primary pedal, imagine being able to break it.) One thing I to which a secondary noticed about these pedals, which might pedal, a connecting rod, be attributed to the double-chain design as and the secondary well as the well-engineered, hinged-heel beater assembly are at- footboards, was that the footboard didn't tached. The other type have as much unwanted side-to-side play of double-pedal features as standard, single-chain pedals often have. a primary pedal that This made the pedal feel a bit more secure incorporates two beater beneath my foot. I also liked Yamaha's new assemblies in its design, footboard design, which is a little bit smaller and to which only the and less bulky than that of some other ped- secondary pedal and the

als. Even though I have big feet I preferred connecting rod are at- Photo by Rick Mattingly the smaller footboard, because it helped in tached. The DFP-850 is Paiste Signature Series Cymbals Photo by Rick Mattingly

The idea behind developing a completely offering of so many more sounds—no mat- also tend to speak nicely at lower volume new alloy for Paiste's new Signature Series ter how subtle their differences—has to be levels. What they perhaps lacked in pro- cymbal line sprung from the company's seen as a good thing, if only for the sake of jection and low-end power they made up determination that the previous standard— having more cymbal sounds to choose from. for in clarity and shine—if those were the a mix of alloys known as SnBZ 20 and If Paiste couldn't ensure a high degree of qualities you looked for in a cymbal. The SnBZ 8—had "reached a plateau" as far as consistency, and if the Signature Series new Paiste line continues in that direction, its innate ability to fashion any new sounds wasn't noticeably different from the yet with noted improvements in frequency from. Because of pending patents, Paiste company's existing lines, one would have range, body, and sustain—improvements won't go beyond saying that this new ma- to question the new line's value. But what that should make drummers loyal to other terial is a bronze alloy, and that it is the our tests suggested was that Paiste has been brands give Paiste another chance. One of first alloy developed specifically for cym- successful in their attempt to expand and our editors suggests it could be said that bal making. improve upon their already existing lines. Paiste's frequency spectrum simply has When a company with a cymbal selec- Not that all the hype preceding the re- always started higher than those of other tion as extensive as Paiste's adds a com- lease of these cymbals didn't fix us with a brands; now it dips a little more into their pletely new line—especially one with 21 healthy dose of cynicism from the start. territories, too. new cymbals, each available in several With all the extravagant claims of recent Before we get into what each individual sizes—chances are that the differences Paiste ads—including the company's state- cymbal sounded like, a short word about among some of the individual cymbals are ment that it took eight years to come up cosmetics. Since these cymbals were meant going to be pretty subtle. After all, no mat- with their new alloy—one might have been to hold sway at the top of the Paiste line, ter how revolutionary you try to make your led to believe that one smack or ping upon an appropriately delicate, regal-looking, al- cymbal line, it still has to sound close to these cymbals would have us all tossing most Gothic lettering was chosen for the what people expect of a cymbal, other- our old cymbals out with the trash. Well, model names printed on the top of the wise nobody's going to take it too seri- you might not want to dispose of your pres- cymbals, in contrast to the bold, modern ously. What we found with the Paiste Sig- ent bronze just yet, but the Paiste Signature logos of Paiste's other lines. The Paiste sig- nature Series was that, indeed, the differ- Series certainly might push you a little closer nature, which is a slightly broken script ences between some of the cymbals were to that end than their previous lines have. logo, was surely also chosen to suggest the like shades of gray. Paiste has been suc- Some qualities that Paiste cymbals have line's status. On the underside of each cym- cessful in the past at keeping the sounds been particularly noted for in the past are bal is stamped a list of models available in from cymbal to cymbal of the exact same excellent high-end definition, clear, pre- that cymbal's particular "program"—rides, model and size consistent, though. So their cise timbre, and a piercing cut. Yet they crashes, etc. It should be noted that these cymbals and Power rides would be quite appropri- were 14" models. Each pair lists for $330, were tested in a closed room, and in both ate, though each displayed somewhat dif- except Sound Edge, which lists for $380. low- and high-volume live situations. Opin- ferent sounds. The Dry Heavy Ride had a Splashes, , and Chinas ions were based on a consensus among very loud, distinct pinging sound, with very several members of the editorial staff. few overtones, loud, low undertones, and Also available in the Paiste line are two a clear, high-pitched bell. The Power Ride China cymbals—the Thin and the Heavy— Crash Cymbals had a lot of overtones that tended to build a Splash, and a Bell. The Splash we tried (a Among the crash cymbals in the Paiste up a bit of a wash, and a bell one editor 10") showed a lot of tone and was more line, we tested the 16" and 18" sizes of all likened to a fire bell; if you're in a noisy, bell-like than a typical splash, but had a four models—Full, Fast, Mellow, and obnoxious band, you'll love it. pleasing quality nonetheless. Bell Power. The 16" crashes especially demon- Ironically, the Dry Ride wasn't really what cymbals...well...they're supposed to ring strated what we suggested before about we would call "dry"; it had too many over- for a while, and this one certainly did "shades of gray": Aside from pitch differ- tones, though not as many as, say, the Full ring...and ring...and ring. Our test Bell was ences, they were somewhat similar in over- Ride. It also sounded like it was muted also a 10". It's a bit of a novelty sound, but all sound qualities. Those qualities were somehow,—like it wanted to vibrate more, if you have a use for one, Paiste's Bell very pleasing, though; they were very quick as one reviewer suggested. It also had a should work well for just about anyone. (even the Power Crash), making them per- slight hum, though it did have a decent Both Chinas we tried were 20" models. fect in medium- or low-volume situations, bell sound. The Rough Ride sounded to us The Thin China had a pretty fast crash, and were very musical, whether struck like an attempt at an old K Zildjian sound. and, as one editor put it, a staccato-like lightly or hard. Their quickness did make It was very deep and dark-sounding, had a cutting ride quality, and wouldn't be bad them less than desirable in loud situations bell with lots of overtones, and was pretty for moderately fast patterns. The Heavy where a sustained sound was needed, but trashy—even gongy. (As a result, it didn't China built up a predominant tone, was that problem can be compensated for by have great stick definition.) The Mellow much gongier, had lots of sustain, and moving up to the 18" sizes. These pos- Ride sounded nice at a low volume, though worked well when played loud. Quarter- sessed longer duration and more power it didn't have tons of character. It possessed note ride patterns are probably the fastest than the 16" models, but offered the same reasonable definition and a high bell, and one should attempt with this cymbal. The positive sound qualities. Predictably, both would probably work as a good general- Chinas we tested list for $325 each. The the 16" and 18" Power Crashes were louder purpose ride. A little thinner-sounding and 10" bell and 10" splash both list for $130. than their same-sized counterparts, with higher pitched than the Mellow was the Summary the 18" having a nice high-end shimmer Bright Ride, which had similar sound quali- and a medium-high pitch. ties and a nice, clean bell. One reviewer None of our test team had any qualms Among the other crashes, particularly liked this ride the best of the lot. Finally, about stating that this was, overall, the most good were the 16" Fast and the 18" Mel- the Full Ride: lots of overtones, ringy, washy, impressive and usable Paiste line any of us low, the former sounding almost like a big a great bell, good in a loud band situation, have heard. Some of their cymbals still seem but with nice high end and and more gutsy than most Paistes we've to suffer a bit from lack of projection and an airy, clean sound, and the latter proba- heard in the past.The 20" Flat Ride retails low frequencies. To be fair, though, this is bly working well as a general-purpose for $320. All other 20" rides for $285. in comparison to other cymbal brands (of crash—not overbearing, but with a healthy course it has to be to a certain extent), and, Hi-hats amount of overtones. Overall, the Paiste as has been said before, Paiste is obviously crashes retained the good high-end clarity Five hi-hat models are available in the striving for their own sound. For studio or from the company's other lines, yet added Paiste line: Medium, Power, Heavy, Sound low- to medium-volume gigs, Paiste's high- more substance beneath it. Edge, and Dark Crisp. The Medium was end cut and shimmering, crystal clear A note should be made here about pitch. high-pitched but had a full-bodied chick timbres have seemed the perfect sound in Among the different models within a par- sound, possessed more overtones than most the past. This new line only reinforces this, ticular program—especially in the crash of the other hats, and had a higher-pitched yet also adds some pleasantly fuller-bodied cymbals—the degree of pitch differenta- top cymbal than bottom. Perhaps good for cymbals that would give other companies' tion varies. For instance, because the Mel- jazz situations are the Dark Crisp hats, more powerful cymbal models a good run low Crash models are pitched slightly lower which had a very low pitch, a distinctive for the money. than the Full Crash cymbals, the 18" Full chick sound, and a crisp splash sound. They Following are the available sizes for each and 16" Mellow cymbals will not be that almost sounded Oriental. The Power hats cymbal in the Paiste line. far apart—pitch-wise. They will still ex- were higher-pitched, with a more cutting Crashes: Power [16", 17", 18", 19", 20"], hibit different timbres, though. Conversely, chick sound, but not quite as good a splash Mellow [15", 16", 17", 18"], Full [14", 16", an 18" Mellow Crash and a 16" Power sound. Because of their volume, they were 17", 18", 20"], and Fast [14", 16", 17", 18"]. Crash may sound even farther apart in pitch also good for really laying into. Rides: Dry [19", 20", 21", 22"], Dry Heavy than their sizes alone would indicate. All Sound Edge hats, as you might be aware, [20", 21", 22"], Mellow [18", 20", 22"], Full 16" crashes list for $205; 18" crashes are feature a bottom hat with a wavy profile in [19", 20", 21", 22"], Bright [20"], Rough $250. order to avoid air lock and achieve faster [20", 22"], and Power [20", 21", 22"]. hi-hat technique. Because of this design, Ride Cymbals FlatRide[18",20",22"]. though, you also get less metal-to-metal Hi-hats: Medium [12" 13", 14", 15"], Dark Compared to the crashes, the Paiste ride contact, which might account for the cym- Crisp [13", 14"], Sound Edge [13", 14", 15"], cymbals exhibited a wider variety of sound bals' very high-pitched, brittle sound qual- Power [13", 14", 15"], and Heavy [12", 13", choices. Seven rides are available in the ity. The cymbals also seemed to exhibit an 14", 15"]. program: Bright, Dry, Mellow, Rough, Full, extra ping sound when chicked together. Chinas: Heavy [18", 20", 22"] and Thin Power, and Dry Heavy. (We tested 20" The hi-hat with the most body was the [14", 16", 18", 20", 22"]. models.) Also available is a Flat Ride, Heavy hat. It had plenty of overtones, was Splash and Bell [ 8", 10", 12"]. which, like a flat ride should, had good able to take a good beating, yet didn't have —Adam Budofsky stick definition and didn't build up. It was to in order to display a nice sound. Along also full-sounding and had a bit of a low with the Dark Crisp, it was the general undertone. For louder gigs, the Dry Heavy favorite of the test group. All hi-hats tested

Shure Drumkit Microphones

Shure Brothers is one of the most respected hi-hats, if the high-end EQ is boosted (not larly applicable for drums, since strong elec- names in the music industry for manufac- great, but not too bad either). In light of its tromagnetic fields are not present when turing top-quality, professional micro- relatively low price ($137.00), the SM 57 is miking up a drumkit in most studios. How- phones. Famous for producing the ever- an excellent all-around drum microphone. ever, this could have some validity in live popular SM 58 and SM 57 models, the The Beta 57 is a premium-quality, dy- performance situations. company has expanded its line with the namic microphone designed specifically for The Beta 57s frequency response of 50 recent introduction of the new Beta 57. I applications. It features to 16,000 Hz puts it in somewhat of an was sent the traditional SM 57 as well as a true, supercardioid pick-up pattern odd position for drum miking. The 50 Hz the Beta 57, both of which are dynamic throughout its entire frequency response rating doesn't quite allow for effective bass- microphones. Shure also sent four con- range of 50 to 16,000 Hz. According to drum miking. The 16,000 Hz rate is a bit denser mic's: the SM 81, SM 91, SM 94, Shure, "The Beta 57s supercardioid pat- too high for snare drums (due to upper and SM 98. tern facilitates more focused and directional harmonic ring), yet still a bit too low for pickup than that of the traditional SM 57. accurate cymbal reproduction. Tom-tom Dynamic Microphones This yields improved separation between miking seems to be the best application for SM 57 and Beta 57 sound sources, improved rejection of back- this microphone. It sells for $258.00. The SM 57 is a unidirectional, dynamic ground noise, and reduced feedback." Condenser Microphones (moving coil) microphone designed to be There are newly developed features on the SM81,SM91,SM94, SM 98 used for wide-range reproduction of both Beta 57: a neodymium magnet structure music and voice. It features a cardioid for hotter output, an increased frequency Condenser microphones basically differ pickup pattern, which means it rejects response, a new isolation system, and an from dynamic mic's in their sensitivity, sound emanating from the sides and rear of advanced humbucking coil for reducing which gives them a much wider pickup the mic'. The mic' casing is made of die- hum. pattern. Also, they usually display a very cast polycarbonate with a stainless steel While some of these features may truly wide frequency range that features excep- screen; the mic' is fitted with a three-pin be significant improvements over and above tionally smooth and flat response through- XLR connector. The frequency response the SM 57, they do not have any dramatic out. These performance specifications give ranges from 40 to 15,000 hertz, with a effect upon drum and percussion miking. them their clear, crisp, precise performance. rated impedence of 150 ohms. After working with the SM 57, my sound This makes them excellent mic's for all The SM 57 has been widely recognized engineer and I immediately subjected the acoustic instruments—especially brass and for its bright, crisp, and clear overall sound. Beta 57 to the exact same drumkit and cymbals where complex upperharmonic My findings confirmed these response char- conditions. structures are present. acteristics in each and every test I sub- In A/B comparisons, the Beta 57sounded Since condenser mic's feature wide jected it to. Due to its frequency response quite similar to the SM 57 on the Noble & pickup patterns, they are especially well- range, the SM 57 would be best suited as a Cooley snare. The only significant differ- suited for overhead cymbal miking. For snare or tom-tom mic'. With all settings flat ence was that undesirable high-frequency close-miking drums, condenser mic's can on the mixing console, I tested it out first rim harmonics were more evident with the give you problems with signals bleeding on a 7" Noble & Cooley wood snare. The Beta 57; these needed to be filtered out from other sound sources, as well as the overall response was excellent. From the with the EQ controls on the mixing con- need for heavy EQ alterations. Overhead quietest roll to the loudest backbeat, the sole. On the toms, the Beta 57 performed cymbal miking is one area where very spe- SM 57 performed wonderfully. It repro- well; however, it sounded like a carbon cific technical criteria must be met, and duced the snare's bright, crisp sound, and copy of the SM 57. In terms of using it in a both the SM 81 and SM 94 are well-suited projected the "crack" of a strong rimshot squeeze as a bass drum mic', it did not for the job. quite well. The SM 57also proved to be an reproduce well at all. I found that the 10 The SM 81 is designed to meet the most excellent choice for use on tom-toms. I Hz difference between the two mic's made demanding of professional applications, tested it on a Yamaha Power Tour Custom a big difference in low-end response. As a both in the studio and in sound reinforce- drumkit with 8", 10", 12", 14", and 16" hi-hat mic, it outperformed the SM 57, by ment. It features a full 20 - 20,000 Hz toms. A warm, rich, and well-rounded virtue of its crisper, clearer high end. It frequency response, with very low noise or sound for each tom was produced. It would work for you in this manner, yet it distortion characteristics throughout its en- sounded nice on each drum with all EQ would still need some high EQ boost. I tire range. As with other condenser mic's, settings flat; adding a touch of digital reverb personally would not recommend it as a phantom powering is necessary for opera- resulted in a truly impressive sound. permanent, dedicated hi-hat mic. tion. A high SPL (sound pressure level) rat- Since the SM 57s response only reaches I feel that the new Beta 57 must be bet- ing is also found, which makes it quite down to 40 hertz, it would not be well- ter-suited for other instrument miking situ- useful as an overhead microphone. suited for use on bass drums. However, if ations such as brass, reeds, or guitar amps, How does it perform? The SM 81 is one you had no alternative mic' available, you and might have some potential for back- of the finest-sounding mic's I have ever could get by with a good dose of EQ. Due ground vocals. The new humbucking coil encountered. In both hi-hat and overhead to its 15,000 Hz upper response, the SM was designed into the Beta 57 to reduce applications it displayed exceptional re- 57 will give an acceptable performance on "hum in strong fields." This is not particu- sponse. I first tested it as an overhead mic' Modifier, since mic' bleed was a problem to contend with. It's an additional $49.00. The third condenser microphone sent for review was the SM 97. Shure recommended that the SM 91 be used for bass drum mik- ing, since it is a PZM (Pressure Zone Micro- phone) designed for surface mounting ap- plications. The technical specifications looked impressive: a wide and flat 20 to 20,000 Hz frequency response, low distor- tion, high output, high sensitivity, and a low-frequency roll-off switch. I used this mic' on two different bass drums: A 16 x 24 Yamaha Recording Cus- tom and a 14 x 20 Yamaha Tour Custom. Upon Shure's recommendation, I placed the SM 97 in front of each drum; I also ex- perimented with placement inside each drum. The SM 97 didn't distinguish itself Mattingly well in either drum. We experimented with

Rick mic' position, tuning, and muffling, but no by matter what we did, a very high degree of overtones were present, and there was such Photo a wide pickup pattern that signal bleed with 16" and 17" crashes, a 20" ride, and a trum. It has a very high SPL rating, thereby was a major obstacle. Yet while it might 19" China. With all EQ controls set flat, the making it an excellent choice for snare and not be a great bass drum mic', I believe overall sound was very crisp, with a bright, tom miking. With the installation of an that the SM 97 might work well as an am- transparent quality. Response throughout A98SPM Polar Modifier (which is an op- bient room microphone when you are mik- the entire audio spectrum was very full, yet tional accessory), the pickup pattern is ing an entire kit and going for a big sound. did not present any harsh overtones within changed to a tighter supercardioid without The price of the SM 97 is $310.00. the upper harmonic structure. For close hi- significantly changing the mic's flat re- Summary hat miking, the sound was just as impres- sponse. sive. For those of you who are into elec- I performed an A/B comparison on the I highly recommend both the SM 57 and tronics, this mic' would be an excellent SM 98 with and without the Polar Modifier. SM 98 for snare, tom-tom, and various choice for sampling your own sounds. It The difference was quite radical. Without acoustic percussion applications. Both mic's displayed the hottest output signal of any the modifier, the 7" Noble & Cooley snare sounded very good; however, if you can of the mic's tested for this review. The SM sounded great, but I did have to bring down afford the higher price of the SM 98, it is a 81 is expensive ($380.00), but definitely the high-frequency response. The Yamaha much better mic' overall. The Beta 57can worth it. toms each sounded full, warm, and rich, produce a good, workable drum sound, The SM 94 is another unidirectional con- yet there was a good deal of that aggravat- but it is a multi-purpose mic' designed to denser microphone. Though considerably ing high harmonic ring. I also found that work with many different instruments, and less expensive than the SM 87, it still per- on both the snare and toms there was a I think that it would be best suited for use forms well as an overhead/hi-hat mic'. It considerable amount of bleed, requiring with instruments other than drums. In all has a reduced frequency range of 40 - extensive gating. honesty, I could not see much potential 16,000 Hz, but retains a smooth and flat I then tested the SM 98 on the exact with the SM 97 in direct drum-miking ap- response throughout. When subjecting this same drums under the same conditions with plications, although it might function ad- mic' to the same tests as the SM 81, I the Polar Modifier installed. There was a mirably as an ambient room mic'. needed to add some high EQ in order to fill dramatic improvement in isolation, yet each While the SM 57, Beta 57, and SM 98 out the upper range. Although its frequency drum's tonal quality seemed unchanged. could all be used effectively as dedicated response would suggest use as a snare and My complaint is with the A98MK mount- hi-hat/overhead mic's, I would recommend tom mic', you would be faced with a tre- ing kit that was included with my test mic'. the SM 94 and SM 81 as much better mendous amount of bleed, which would (It, too, is an optional accessory.) It features choices. The SM 94 gave a very acceptable require gating. EQ alterations would be an adjustable clamp that mounts on the performance in both areas, and is relatively necessary as well in order to remove the rim of any drum. A strong and firm goose- inexpensive in comparison to other con- same high-frequency rim harmonics I found neck is attached with a fully adjustable denser mic's on the market. If you cannot while using the Beta 57. Using the SM 94 mount for positioning the mic'. It is very accept any compromises in overall per- as a hi-hat mic' proved to be effective, but well-designed for its intended function, but formance and quality, then you owe it to once again I wanted a bit of high EQ. The it simply did not isolate the SM 98 well yourself to seriously look at the SM 81. SM 94 is a nice way of obtaining a very enough from mounting vibration. Extrane- This is one superb microphone. From the good overhead/hi-hat mic' for those of you ous buzz/rattles were evident, and we could choices Shure has to offer, you have quite who are on more of a budget. At $250.00 not seem to rid them from the tests. a few possibilities for building a good over- it's not inexpensive, but it is more afford- The SM 98 is well-suited for live appli- all microphone system, while adhering to able than the SM 81 and definitely worth cations. Its small size not only keeps it out an almost modest budget. consideration. of sight (from an audience's viewpoint), but Special thanks to Mr. Mark Custavson, The SM 98 is a miniature condenser also makes it less likely to get hit by a engineer and producer at Penguin Studios/ microphone that also possesses a unidirec- drumstick. All in all, the SM 98 is a fine Syracuse, New York. His technical assis- tional pickup pattern. Its frequency response choice for miking snares and toms. The tance and insight are greatly appreciated. is 40 - 20,000 Hz, and is also flat and mic' alone sells for $250.00, but I would —Paul Van Patten smooth throughout the entire audio spec- strongly suggest using the optional Polar Zildjian ZMC-10 Cymbal Miking System

other and begin to cancel each other out, thereby producing undesireable variances in the overall cymbal sound. Since the ZMC mic's are mounted directly underneath each cymbal, overhead signal phasing is elimi- nated. The resulting sound is cleaner, clearer, and much more distinct. The rectangular-shaped mic's are quite small, being only 1" x 1 1/2" in size. Each has its own mounting clip permanently at- tached, by which you affix the mic' on your cymbal stand. Phantom power is sup- plied directly from the ZMC-10 mixer. Standard 1/4" to 1/4" cables are required, but not supplied with the system. This is an intelligent move on Zildjian's part, since the length of cables required will vary from drummer to drummer based on different

Mattingly sized setups. Although the standard ZMC-10 system Rick comes with one hi-hat and three regular by mic's, you are given an additional two chan-

Photo nels in which to expand. For even more advanced applications, you can "Y" two In 1987 the Zildjian Company introduced inputs. The master output is mono, and mic's together into one channel on the a revolutionary cymbal miking system to offers the user the choice of either 1/4" un- mixer, using a standard "Y" cable. In this the drum and percussion world with the balanced or XLR/LO-Z output jacks. One type of application it is recommended that ZMC-1. After extensive road-testing by very useful feature not found on most elec- cymbals of similar types be used together many top players, a second version has tronically based musical instruments is the on the same channel (i.e., a crash with a recently been introduced. The new ZMC- included dual-voltage power supply switch. crash). 10 is a scaled-down version of the ZMC-1 Standard American AC voltage runs at 110 My tests proved the ZMC-10 system to designed for working drummers who need volts, while many foreign countries use 220. be very accurate in reproducing the vari- cymbal amplification on a budget. While This presents a problem for the touring ous cymbal setups I used. I used a wide retaining many of the same features as the musician who may find him/herself per- variety of cymbals, including: 16", 17", and ZMC-1, the ZMC-10 incorporates new and forming outside of the States. A simple flick 18" crashes, 17" and 19" China types, 8" improved specifications as well. of the switch adapts the ZMC-10 to the and 10" splashes, 18" and 20" rides, and The ZMC-10 is basically a six-channel desired voltage rating. even an authentic Chinese cymbal. All mono sub-mixing system, designed to work The patented ZMC microphones are the cymbals sounded crisp and clear except only with Zildjian's specially designed same as those included with the ZMC-1. the splashes, whose their lower frequen- microphones. Channels 1 - 5 are set up to They were designed by Zildjian in coop- cies seemed to be projected more than I work with crash, ride, splash, and China- eration with Barcus-Berry, a company well- prefer. This was easily overcome by using type cymbals, while the sixth channel is known as a manufacturer of high-quality the master EQ control; however, this also specifically set up for hi-hats. The submixer pickups. Cymbals are notorious for con- boosted the overall high-end response of itself is built into a single-space, 19" rack- taining an incredible array of overtones that the other cymbals. mount housing, allowing the user quick spread out over the entire audio spectrum. One interesting note regarding the hi-hat and efficient operation. With this in mind, the ZMC mic's were de- channel: Zildjian recommends mounting The front control panel is both concise signed to adequately reproduce a cymbal's the hi-hat mic' directly under the bell of and logically laid out. The dedicated hi-hat wide harmonic range by using a full 20 - the bottom cymbal. By mounting it this channel has its own volume and EQ con- 20,000 Hz frequency bandwidth. way I found that the clarity of stick defini- trol, while each of the five regular chan- These mic's are both unique and quite tion was lost, and that closing the hi-hats nels has its own separate volume controls. ingenious in design when compared to with the pedal gave a muffled and muddy There is also a master volume and master regular microphones. Overhead miking sound. Adjusting the hi-hat channel EQ equalization control for the combined out- techniques utilizing traditional mic's can helped remedy the situation quite a bit. But put. This EQ control has been redesigned, produce the side effect termed "phasing." what really made a big difference was plac- since users of the ZMC-1 often found it This is caused by sound frequencies gener- ing the mic' approximately 6" to 8" under difficult to obtain an acceptable EQ set- ated by the same source (cymbals) reach- the bottom cymbal, and slightly boosting ting. ing the overhead mic's at different times. the hi-hat EQ control. Overall response was The rear panel has six 1/4" unbalanced These frequencies get in the way of each

by Louis Contino Using The Floor Tom As A Bass Drum

Floor toms can exhibit as much impact as the most piercing ride cymbal, or can be as subdued as a brush stroke on a snare drum. The floor tom has had several musical roles throughout its his- tory, but today more than ever, the floor tom is becoming a main voice within the drummer's kit. Thanks to the total ambidexterity concepts of people like , Lenny White, and (more recently) Gary Chester, Gary Chaffee, and others, the use of the floor tom within the rhythmic groove and as a second bass drum sound has be- come more and more popular. Even second floor toms on the left side of the drumset are now being used for more melodic phrasing with the left hand. Drummers such as Manu Katche, Gary Hus- band, Steve Ferrone, Mel Gaynor, and Dave Weckl are all utilizing their floor toms both as an enhancement to their tom voices and at times as a second bass drum for more melodic phrasing. The following are some simple patterns designed to help you gain confidence in playing your floor tom in a more rhythmic way. Hopefully these patterns will help you to spice up some of your own patterns. Remember, the idea is to become fluid in utilizing the floor tom in other than the normal way, so be sure to experi- ment with it on your own! Play the floor tom with the right hand in the following ex- amples. In some of the patterns your left hand will be playing the hi-hat.

The last two patterns involve playing a floor tom on the left side of the kit, using the left hand.

by Joe Morello Transcribed by Keith Necessary Warm Up/Warm Down

Exercises Mattmgly Rick by Photo The purpose of the following exercises is to loosen the muscles and get the blood flowing. It's best to do these exercises slowly and evenly, and work up to a moderate speed. Use only full strokes. Full strokes start with the sticks pointing towards the ceiling, perpendicular to the floor. Keep the sticks in constant motion. These exercises use different groupings of 8th notes against a quarter-note pulse. Continue to add one 8th note to each hand until you're playing twelve 8th notes in each. (The following exercises only go up to six 8th notes per hand, but continue on until you're playing twelve in each hand.) Start at about quarter note = 60, and play each example eight times before proceeding to the next. When you get into the odd groupings (3's, 5's, 7's, 9's), you'll notice that the metronome click will alternate from the downbeat in the first bar to the upbeat in the second. Just concentrate on playing evenly while this is going on. Up the tempo once you're comfortable playing all groups up to 12. If you feel any tension, slow down.

Do the same exercises for two or three minutes to warm down. Warming down after you've been playing for a while will help you relax. You can also do these exercises at the drumset. Play the bass drum in four with a 2 and 4 hi-hat. Be sure the hi-hat stays on 2 and 4, especially during the odd groupings. This exercise will help you get used to playing odd-note groupings against a click track. We all know the benefits of warming up, but some may be skeptical about the warming-down exercise. Try it for two or three weeks. I think you'll really notice a difference. Any questions on this series of articles may be directed to Joe Morello c/o Modern Drummer.

The Essence Of Rocby Albert Bouchardk

Drums are the essential ingredient in rock Grip And Posture with my heel down is when I'm playing music. If it doesn't have a beat, it doesn't jazz and I want the bass to be soft. rock. Rock drumming isn't always the How you hold the stick also affects the Tom-Toms simple, neanderthal pounding its detrac- sound. You must be careful not to choke tors imagine, though. In the right hands the stick by gripping it too tightly. Grasping Let me share a basic theory of sound (and feet), rock drums can be rhythmically too tightly can lead to blisters, cramps, and organization. Music is sound waves— complex and sophisticated. tendonitis. Most rock drummers propel the sounds that are waves of air traveling The classical or jazz drummer may see stick with a combination of fingers, wrist, through space. I imagine those waves to be forearm, and shoulder. But the back and his function and mode of attack somewhat like waves of water, with bass drum notes differently. But rock drummers generally abdominal muscles come into play, too. being like gigantic ocean-type waves, and share an attitude. Even the classically or Proper posture can help avoid backaches cymbals being the kind of light, choppy jazz-influenced rock drummer projects and other problems that frequently plague waves the wind makes. The lower sounds, power, aggression, strength, and hopefully, drummers. because of the size of their waves, have to some sex appeal. But attitude alone isn't To get a relaxed yet powerful and ag- be more organized to create emphatic, going to take you to the top. gressive feeling in the music is no easy powerful sounds. The most effective way feat. You must do a kind of dance on your to utilize tom-toms is to use the high ones Snare Drums throne. If your body is held too erect and for faster, more complex fills, and the lower The most important drum in rock is the stiff, the beat will likewise be stiff. You toms when you want to get slower, more snare. In classical music, the beat is de- must bend into the drum with your back as regular, and heavy. Try it on your own set. fined by the conductor. In jazz, the ride you hit the backbeat, but it's important to When you get fast and complicated at the cymbal defines the time. But what do you sit up straight again and not remain hunched lower end, it sounds muddy. Likewise, you'll over. hear loudest on a rock record or in con- sound like a cartoon character if you try to cert? The snare. On the earliest rock rec- Another thing that will make the beat thump dramatic downbeats on your high- ords, it was often the only drum. stiff is to think about it too much. The train- est tom. So due to basic scientific facts, To get the best sound from the snare ing you've developed by going through the bass and lower toms have to be simpler drum, you must hit it consistently in the same motion a zillion times should make and more regular than higher-pitched parts. middle. The more consistently you do this, the instant before you hit the drum an un- That's not to say that bass parts have to be the less you'll have problems with snare conscious moment. This is why it's so hard slow; especially with double bass, they can drum ring and soundmen telling you to to just pick up the sticks and be a great be extremely fast. But they do have to be muffle your drum. You may think you're drummer without a lot of practice. It takes consistent and concise. hitting the drum as hard as you can, but the same confidence—acquired through Tuning And Setups unless you're hitting the center, your drum practice—that a quarterback needs in the will not be as loud as it can be, and your Super Bowl, or a hitter needs in the World Theories about tuning drums are like efforts will be in vain. Series. If you're thinking too much, you'll opinions—everybody's got one. I've found fumble that touchdown pass or choke at Not long ago, I spent some time with a two things to be true: A head will resonate very creative young drummer whose band the plate. the most if every lug is tuned to the same had just received their first gold record. The Bass Drum tension, and every drum seems to have a Before their soundcheck, his roadie was certain pitch that it sounds the best at. Dur- playing the drums, and my friend expressed The second most important drum in rock ing the recording of the Blue Oyster Cult is the bass drum. Musicians in rock bands something that had been troubling him for album Secret Treaties, I tuned the toms to some time. Did his drums sound differ- are always saying "Give me more bass notes that were in the chords of the songs. I ent—and possibly more powerful—when drum!" to soundmen, recording engineers, got many compliments from listeners who his roadie played them? I reassured him and drummers. The bass drum provides felt my drums were particularly sympathetic the basic pulse. Since the snare drum is that everybody has a different style. But to the music. I was actually amazed that upon paying closer attention to my friend's often relegated to the backbeat, the bass anyone noticed. form, and then examining his drumhead, I drum pattern often supplies the true per- During the process, I didn't get any com- realized what the roadie was doing that he, sonality or feel of the song. Some people pliments from my band, who weren't despite his great talent, didn't understand. even go so far as to say that it supplies the pleased with the lengthy drum set-up times. He had many welts on the head about an sensuality of the groove. And, as is useful In the end, I felt the drums were not as inch and a quarter off center. Although he in other sensual endeavors, it's important resonant as they might have been had I was hitting the drum with all his might, he to establish a good pattern and stick with tuned them to their natural pitches. Later it. wasn't as loud or as solid as his roadie. on, I got over this problem by adding Roto- He could have corrected this problem Not only should bass drum work be con- Toms and , which are easily tun- several ways. He could have moved his sistent, it should also be concise. It's got to able. seat back, choked up on his sticks, or be exactly in time; it can't be sloppy. You There are many experienced drummers changed the angle of his wrist. Before your don't want the bass sound to get muddy or who still have trouble tuning by ear. For album goes platinum, it's a good idea to the energy diffused. My method of keeping those of us without perfect pitch or perfect practice backbeats with the tip of the stick the bass drum sound under control is to patience, I recommend any of the torque hold the beater into the drum after I've hit up by your shoulder, and whipping it wrenches made for drums. They ensure that straight down on the drum. You want to get it. I also play on my toes, with my heel up each lug is tightened the same, with a mini- to the center of the drum directly, not from 99% of the time. I've found this to be the mum of mystery. any sideways angle. loudest way to play. The only time I play As for drum placement, giving all the toms, including the floor tom, a bit of a tilt, seems to greatly increase their projection. Cymbals resonate more and are less likely to crack if they're not tightened too tightly. If you have a lot of cymbals, spread them out so they don't hit each other. Drumming is an expression of your indi- viduality. That's where art takes over. I think drum and cymbal sizes are up to the indi- vidual. If everyone had the same set and sounded exactly the same, we'd be better off with drum machines. Like many rock drummers, I've experimented with differ- ent brands, setups, and gizmos during my career. Some kits have been better suited for some applications than others. I've often encountered fans who told me that seeing me play a massive double-bass set in their hometown arena inspired them to pour their life savings into a similar kit. Hopefully, it was the right move for them. If my job hadn't involved powering a mas- sive rock show (with roadies to carry it), I might have used different tools. I will say that some of the most exciting rock drum- mers I've seen use only one rack tom, one bass drum, and a minimum of cymbals. If you can't make it happen with the basics, all of the toms on 48th Street won't help you! have a that I get on and more a matter of getting into shape play. During a break in the prepara- for touring physically, and not men- tions for the new album, I recorded tally. After hundreds and hundreds of some basic tracks that I can play ma- shows of very intensive drumming, rimba along to. I just picked out some you can't avoid playing a lot. You're chords and keys that I liked and re- putting out full strength all of the time. corded them. I have them on cassette I also feel a tremendous amount so I can play along any time I want of responsibility about playing live. to. I enjoy that because it allows me You're up there to deliver, and there the chance to play the instrument in- are no excuses. It doesn't matter how stead of playing scales or technical you're feeling or how things are going things alone. technologically or whatever. That at- WFM: Do you have to practice a cer- titude is sort of inbred in me in a tain amount of time just to maintain puritanical way, that if it's worth your abilities? Does it go away? doing, it's worth doing well. My fa- NP: Ironically, no. I traveled a great ther used to hammer that into me, deal last year, and there was a period but it's become kind of a credo of my of several months where I was conti- own. nents away from any drums to play. WFM: When you've been on a long When I started to work on getting tour, do you notice that you're think- back in shape playing-wise for the ing less about every note that you're new album, I was wondering just how playing and more about just the far back I was going to have to go to spices, as you say? get it back. But I found that after so NP: Yes, I'd say that's definitely true.

many years of playing, and especially Photo by Andrew MacNaughtan Ideally, you shouldn't have to think so many years of touring, the muscle about what you're doing, but you memory is intense. All I really had to should always be thinking about what do was get some callouses back on my It surprised me. I was never that confi- you're going to do. You always have to be hands. I hadn't forgotten how to do a thing; dent to think that I could lay off and still be well ahead of yourself. And by being able I hadn't lost any fluidity or agility. The able to play. I always thought that you had to think ahead, your drumming has so much smaller fast-twitch muscles in the wrists to maintain this thing. Before tours, I would more confidence and authority because you and fingers had to be developed a little bit, always start weeks in advance preparing know what's coming. Mistakes are made in but it was nowhere near as difficult as I by myself, putting on headphones and play- moments of indecision. The more playing thought it was going to be. ing along with our records. I think that was you do, like during a tour, for example, the better that "automatic pilot" becomes. early days we were left alone, too. We For the most part, when we begin working You're not turning your mind off. On the were allowed to take four albums before on a new project we all have ideas to get contrary, you're turning it on in a much we even broke even. Most bands at that things rolling. Sometimes we do start from broader sense. time, or especially this time, would not get scratch though. I think that can be a very WFM: I'd like to talk specifically about the that kind of latitude. We were kind of over- positive approach. We have gone into a new album for a moment. I recently heard looked. It was a small company at the time record situation and been one song short that Rush is now on a new . and they were a little bit disorganized. Rush for an album, due to whatever reason, and How did that come about? has out-lived, it would seem, countless hi- sometimes good things come from that. We NP: Well, we had been with Phonogram erarchies of management at the label. We have even gone so far as to plan for it, since day one, so that's 14 years. We had just went along through all of that. And we where we will write all the material except signed several contracts over the years with also weathered through the "hot new band" for one song, and then have to come up them, and we'd had good relations with syndrome, where the label would get ex- with something on the spot. On our album them. The band had talked about making a cited about some new band that would last Hold Your Fire, we had written the entire change in the past but never did it, and a year or two and then be gone, but we're album, and at the last minute we decided then when our last contract with Phonogram still there. That was the problem: We were that we wanted a different kind of song. So expired, we decided not to renew. We just there. on our very last day of pre-production, we started to feel a little taken for granted. We WFM: Do you have any added pressure on wrote what became the opening song on are not a record company's dream. We go you with this album since this is a new the album, "Force Ten." So it was done on along from album to album and sell a re- situation with a new label? a self-imposed kind of pressure. spectable amount, but we never have block- NP: No, to the contrary, I think it's up to WFM: How do you feel that song turned buster hits and we don't go quadruple plati- them to prove it. We've had a lot of albums out? num. We just go along at our own speed, that have done pretty well. Atlantic, our NP: Oh great! It's one of my enduring fa- and it works out great. new label, is convinced that they can do vorites from that album. Another song that We've never had any really strong radio- better for us. We're not saying, "Sign us we did this same way was "Vital Signs" play support, so touring has always been because we'll sell more records with you." from Moving Pictures. That song was last our only mode of exposure. As far as we They're saying, "Sign with us because we'll minute in the studio! We had finished ev- could see, we were out there selling our sell more records." It's a pretty simple thing. erything else for the record, so we felt free own records, which is fine, but we thought It doesn't put any pressure on us at all, any to try something. It could be anything we that maybe another record company could more than we already place on ourselves, wanted it to be, so that was a refreshing help us out a bit more, and not make it which is serious enough. When you go in feeling. So it can be a very beneficial thing. always incumbent upon us to sell our goods. with the blank slate and begin the whole WFM: Now that the band seems to be start- We felt that the whole machinery rested on process of coming up with a record, it's a ing fresh, with a new label and all, how us—that if we stopped doing interviews, if fearsome thing. In fact, it's something I would you describe the music on this new we stopped touring for any reason, nobody avoid. If we have decided to go to work on album? else would be doing anything. some new material, I always try to get away NP: For one thing, I think we've stretched That had a good side to it as well. In the and work on lyrics to have something ready. the parameters a little further. As records become less and less a part of the modern basic unit, which is guitar, bass, and drums. simple parts challenging for me. The most media, that's given us a certain freedom On past albums we tended to write a lot challenging aspect of new music is coming time-wise. We're no longer regimented to with keyboards and then apply the other up with the right part or the right pattern. 20 minutes a side for an album. Records instruments afterwards. We thought it would Some things just seem to fall together, where are less than 10% of what people purchase be more interesting to be a bit more linear I hear the piece and immediately have an now. We looked at the cassette and the CD and do the writing around the guitar frame- idea, and luckily it works. However, that's as the definitive versions, so we thought in work, and thinking of it as an ensemble as the exception. terms of roughly an hour of music. We guitar, bass, and drums. Not to be reaction- There's a song on the album called "Show gave ourselves the option for more songs, ary—we won't omit keyboards as a point Hotel," which begins with a syncopated and more room to poke into the corners of principle. To the contrary, we will proba- guitar riff that appears two or three times stylistically. That extra latitude makes quite bly use keyboards as much as ever, but the throughout the song. That was about the a bit a difference in how we would nor- focus will be different. hardest thing for me to find the right pat- mally do things. WFM: Were there any moments on the tern for. I wanted to maintain a groove and We ended up with 11 songs, and they're new album when you found yourself being yet follow the bizarre syncopations that the all quite different. With this album, we challenged by a drum part? guitar riff was leading into. It was demand- started out with a couple of basic underly- NP: I mentioned before the dichotomy of ing technically, but at the same time, be- ing ideas to work from. We discussed the balancing simple and complex, which is cause of that, we were determined that it idea of letting the music grow from our something that is always difficult. I find should have a rhythmic groove under it. It's not enough for us to produce a part that's technically demanding; it has to have an overwelming significance musically. So it had to groove into the rest of the song and it had to have a pulse to it that was apart from what we were playing. There's another song on the album, called "Scars." On this song I was playing eight different pads with my hands in a pattern, while I played snare and bass drum parts with my feet. I was using paradiddles with my hands to get the accents in the right place and on the right pads. Then I had to organize the different sounds on the pads correctly so they would fall in the order I wanted them to. Then I had to arrange all of that into a series of rhythmic patterns, not just one. It was more than a day's work before I even played a note. That was a challenge of a different sort, but it came about in an interesting way. When Geddy and Alex did the demo for the song, they put all kinds of percussion on the track, including congas, timbales, and bongos. We talked about bringing in a percussionist to play in addition to the drum pattern that I might play. I wanted to bring in Alex Acuna, someone who is tremen- dously facile in that area, who could make the track exciting as well as interesting. I figured he could assign me the simple parts and we could do it together. But then they thought, "What if Neil did it all himself using pads?" So it happened as I described, with me playing the percussion parts with my hands and holding down the snare and bass parts with my feet. It was very satisfy- ing to me to come up with a part that worked by myself. WFM: Is that something you'll be able to pull off live? NP: Oh absolutely! That's the thing, there isn't an overdub on it. When we first played the tape for our producer, he thought I overdubbed the whole thing. Most listen- ers will probably think that when they hear the song. Sampling has been a Godsend to me, to be able to include sounds in my playing without having to overdub anything. I have little triggers placed around my kit so I can always get to one if I have a special sound that I want to use on a given song. Sam- pling brings the world of percussion to a place the size of a coin. Around an acous- WFM: Were there any new drum products really experiment and find out what I like tic drumset there are plenty of places to that you used on the new album, other about each of them. I have my old faithful stick a little trigger, and of course there's than electronics? Slingerland snare that has been my num- always room for a footswitch. You can al- NP: Snare drums have been my main area ber-one snare for years. I've always kept ways slip a foot off of the hi-hat and send of research lately. I tend to go through peri- my ears open over the years for different off another sound. I feel it really adds a lot ods of examination of the drums that I use, drums, but that one always sounded best. to the character of what I'm doing. the heads that I use, and so on. I'm con- But this time I really wanted to experiment. WFM: On the last few albums I know you stantly re-evaluating what I use, and I try I tried a few piccolo snares, some of the experimented a great deal with sampling not to take any of it for granted. As I went custom-made snares, just trying whatever I and coming up with your own unique through the rehearsal process, I had time to could get my hands on. I had an old Camco sounds to trigger. Did you continue with experiment. I was going over the songs on snare drum that was given to me in Japan this on the new album? my own, not wasting anyone else's time, by Tama, and suddenly it sounded great to NP: Yes, I did a little bit. I really did resist so I recorded what I was doing and really me. I liked it for years, but all of a sudden it getting into electronics for a long time— listened to the snare drum. I tried each of started sounding real good to me. I ended long after just about everyone else took it the tracks with different ones. up using it on four songs on the album. It's up. It got to the point where I couldn't I really got to know my little snare fam- a very bright-sounding drum. resist it. But even then I didn't want to ily. I had a rough idea what each of the Solid Percussion has a drum that I really replace my acoustic set. That's when I came drums could do, but I never had the time to like. It's a piccolo drum that has a solid up with the idea of the back-to-front satel- lite kit. Anybody who saw my kit in the late '70s knows I tried to put everything up there, including all types of percussion in- struments. It just got to the point where I could not get any more around me. I wanted more keyboard-percussion items on my kit because at the time I was really pushing myself to play more parts on mallet instru- ments. I never expected to become a virtu- oso on keyboard percussion, but I thought I could contribute to the band sonically. All of those instruments are big. You know, when you start wanting to have a marimba, , timpani, and chimes, it's just an impossibility to get it around you. So when sampling came along, that's when electronics just won me over completely. When the KAT MIDI mallet controller came along, that was what I had been hoping for. All of the keyboard per- cussion stuff that I had been trying to fit in physically and also get reproduced in a live setting, I was finally able to do. I used to have a glockenspiel where the KAT is now in my kit. We would mike those bells, and that mic' would pick up only part of the instrument, but it would pick up half the drumkit and most of the bass sound! So using the KAT completely avoids those types of problems. I sample all of my own sounds. If I hap- pen to need a timbale sample because I want a timbale on my right-hand side—my acoustic timbale is on my left—I sample my own timbale. On the song I mentioned earlier, "Scars," I sampled my own snare drum and played it with my foot. On the last studio album we have a song called "Mission," which had a syncopated ma- rimba, bass guitar, and snare drum solo. When it was originally recorded I recorded the snare drum and overdubbed the ma- rimba to it. Live, I assigned both the snare drum sound and the marimba sound to the same pad, so I can have both sounds! On the song "Time Stand Still" I used temple block sounds. Through the wonder of elec- tronics I was able to manipulate the pitches of the temple blocks, so I got the sound I heard in my head for that part. I have an antique Chinese drum at home that's too fragile to do anything with, but by sam- pling, I was able to use it on the record. note in a useable range. Most piccolos have NP: Well, I've tried them, but I just don't a long time. It really does it all live, but at tremendous definition and a great high- like the sound. The distance between the this point I'm not sure. I would think that end crack, but they don't have much in the heads gives the drum an odd response, at the cocobolo drum is a strong contender way of a bottom end. The Solid drum that I least to me. They feel funny to me. I know because it really does everything well. have is made of cocobolo wood that gives they have their uses, but they don't fall into WFM: Talking about drums, besides your it a resonance that carries into lower fre- what I'm doing. snare drum sound, you've always had an quencies. That must be the fundamental I'm the same way with tom-toms. I prac- excellent bass drum sound. You're proba- difference, because I tried another piccolo tically had to special order a set that didn't bly going to tell me that you changed your of theirs made of ply maple, and it sounded have deep-shelled toms. Everyone thinks bass drum setup on every album and tour, like a good-sounding piccolo, but not as that depth equals volume or resonance, or but how do you have them tuned and versatile as the solid-shell cocobolo. It's a something. It's something that I've experi- muffled? joyous drum to play. I used that drum for mented with, and have found no basis in NP: Actually you're right, I haven't changed most of the record. fact. I use the standard tom sizes and get a what I do with them over the last few years. WFM: When you showed me your kit and sound that I'm most happy with. In the studio, I generally take off the front all of your snare drums in the studio, I WFM: Which snare drum are you going to heads and use quite heavy damping. I'll noticed that you didn't have any snare drum take out with you on the road? use those quilted packing blankets placed deeper than a 5" shell. You're not inter- NP: Now that's a tough one! Number one right against the head. ested in deep-shelled snare drums? [the Slingerland] has been number one for It's a funny thing with damping. I won- der if I'll get to the point where I'll be able to get the sound I want without any damp- ing. Years ago I muffled everything on the kit—the toms and the snare. Then, as I became better at tuning drums, I stopped using muffling completely on toms and snare drums in the studio. But with the bass drums, I don't know; it's one hell of a big barrel with too much out-of-control tran- sient stuff going on. For live work, I use both heads on the drum. The front head has a hole just large enough to get a mic' inside. For muffling I use a product I saw advertised in your very pages. It's a crescent-shaped muffling de- vice that just sits inside the drum and rests against both heads. WFM: Does that muffle the drums a lot? NP: No. It's a very light foam that lets a lot of the air pass through it, so the drum isn't completely dead. The thing I've always liked about double-headed bass drums is that they have a liveliness that feels great, and they're much more dynamic. It's just like the difference between a double- headed tom and an open tom. The open tom has one sound, whereas the double- headed drum has an infinite variety of sounds. As for heads on the bass drums I like the clear dots for their durability. And I just use your typical felt beater. It's mundane, I know. [laughs] WFM: Speaking of toms, for the longest time you had both double- and single- headed drums in your setup, and you men- tioned in previous interviews that you liked that setup. However, now you're only us- ing double-headed drums. NP: That's right. During the last album I recorded a song with the open toms and then re-recorded it with double-headed toms, and the effects were surprising for me. The only open toms I had on my kit were the four highest drums, the 6", 8", 10", and 12". With two heads, the drums just came alive. I ended up changing my setup a little bit because I was duplicating a drum size. My toms used to range from left to right, 6", 8", 10", 12", all open toms, and then 12", 13", 15", and 18" double-headed toms. When I completely switched over to double-headed toms, I got rid of one of the 12" toms. WFM: With the upcoming tour are you then placing the electronic pads around trying to be able to come up with the right planning on using the revolving riser with that, it all sort of fell into place. As far as fills, so if they're enjoyed by the audience the two drumkits? having a ride cymbal above a snare drum, I that way, terrific. NP: Yes, because it gives me the flexibility think it's great. It makes me do different WFM: Whenever I've seen you perform, to use both electronics and acoustics. I don't things. And because of where I have that you have an expression on your face of have to compromise one for the other. cymbal positioned, as well as the ride cym- sheer concentration. WFM: How did you come up with the bal from my acoustic kit, I have two ride NP: I'd call it desperate concentration, of the instruments on the elec- cymbals that I can reach. I have been play- [laughs] tronic kit? I mean, the ride cymbal is prac- ing patterns lately involving 16th notes be- WFM: But your expression is not too ex- tically on top of the snare drum! tween two ride cymbals that I could never treme when you compare it to other rock NP: Yes, that's a bit different. It just be- do on a normal kit. drummers. And yet, you do things like stick comes inevitabilities. It reminds me of WFM: Every time I'm at a Rush concert I tosses and twirls. So I was wondering how Sherlock Holmes, "Eliminate the impossible, see drummers in the audience playing along you feel about drumming and showman- and whatever's left must be the truth." It with you, air-drumming. Do you try to ex- ship. kind of comes down to that with putting actly reproduce your recorded parts live? NP: I think it's great, as long as it's both; together a drumset. NP: It depends if it's hard enough. I men- the drumming has to be as important as the A lot of times people think you start with tioned before about difficulty being an showmanship. When drumming and show- all this equipment and figure out a place to underrated quality, because it's the diffi- manship are talked about they tend to be put it. For drummers, I think as your kit culty of a song that keeps it fresh. If we've like technique and feel, as if they were changes and grows, it does so by one little gone to the trouble of making a song a mutually exclusive of each other. Obvi- unit at a time. When my kit started growing challenge to us, then we really don't get ously they need not be. from a small drumkit into a big one, it was tired of playing it. Gene Krupa was probably my first seed literally one cowbell, one cymbal, one Our song "Tom Sawyer" is a perfect ex- of wanting to be a drummer. There's no whatever, found its spot. Other things would ample of a song that is a complete chal- question that he was very flamboyant. To then have to work around that. You find lenge for me to play years after the record me he was the first rock drummer. Keith little ideas that will help you economize came out, because it's difficult physically Moon was another early drummer that I on space and let you squeeze something and mentally. So to me, there's admired a lot, and he was probably the in. Putting one cymbal on top of another is messing with it. I'm just trying to make it as most flamboyant drummer there has been. a time-honored one, and getting the right accurate and as musical as possible. But So I think in the hands of someone who angle of payability on your toms and get- there are other songs that do get tired or we can already play, showmanship is great. ting things in close enough to you so that become disenchanted with, so we certainly For me, to toss a stick up in the air is a you can play them with conviction. Things change them. If some songs just are past really dangerous thing. Who knows where have to be in reach and controllable. the point of interest for us, we retire them. it's going to come down? So it adds a cer- When it came to adding the back kit, As far as people air drumming along at tain amount of risk to the performance, once I had thought of getting an acoustic shows, I take that as a compliment that and a certain amount of excitement. And I bass drum and snare drum, cymbals, and they like the fills. I spend a lot of time like to toss them high, so it's a challenge. It's not something you can take for granted; the ears. I've read a lot about it, and most ness about it that's irreplaceable and part it's a little moment of tension for me. of the information is conflicting. The band of the energy of rock that I like. However, I That's an interesting point you mentioned has a serious ear check every year before think you're losing touch with your instru- about facial expression, though. It seems we begin recording an album, because in ment with ear plugs, and if you need them that when I'm performing there's so much the studio you're talking about increments to get through a performance, then maybe chaos going on inside of me, and yet when of equalization that are so tiny that we the music is too loud. I see a film or a still photograph of myself, think it's very important, aside from the WFM: Do you find that a long tour affects it doesn't seem to reflect the reality as I obvious reasons. It may be the case that I'll you emotionally? know it. I feel like I'm literally a storm. My go deaf when I'm 60—as long as I don't go NP: Touring alone does, just because you mind and my body are just frantic, com- blind. are isolated away from everything. We were pletely over the top. I never feel like it's By the way, I really object to ear protec- lucky to have come up through the ranks ever totally under control. tion. When I see bands that play ridicu- slowly. We saw a lot of other bands head- WFM: With all of the years of loud playing lously loud and wear ear plugs, I think it's a lining, and saw how they handled fame that you have done, have you noticed any stupid thing. If you're not going to accept with all its temptations. I certainly got to problems with your hearing? it, why should you bludgeon your audi- see how dangerous it is for an unstable NP: No, I haven't. I think it's an ill-under- ence with it? I love loud music and always person to deal with the whole situation. stood thing, the effects of loud sounds on have, and I think there's a certain forceful- I've seen many of them just crumble under- neath it. So strong character is pretty much an irreplaceable quality to have in this busi- ness. That is something that doesn't always go with a very creative personality. WFM: Does the band have a lot of input into all of the elaborate production "events" that happen in a Rush performance? NP: As I mentioned earlier, each of us in the band has different areas that interest us, so we specialize in them. Geddy, for in- stance, is very interested in visual arts, and he's a big film buff. He was very influential with our live concert video, A Show Of Hands, because it was a way for him to apply an interest. I've always had a secon- dary interest in both words and visual im- ages, so art direction falls into my job de- scription, as well as being the stenographer for the band, collecting up all of the credits and lyrics for album covers, submitting them, and making sure they're all organ- ized. It's a way for us to help each other and the band so that all of us don't have to do everything. WFM: You just mentioned your concert video, A Show Of Hands. While watching it, I noticed that you have to play along with a lot of sequenced parts. Do you have any suggestions on working with a se- quencer in a live setting? NP: It's very similar to working with a click in the studio. It's really just a matter of practice. It's a barrier that drummers need to get over. Once you get over it, working with sequencers really becomes a second- nature type of thing. One difficult thing about sequencers live is being able to hear them. I still use headphones a lot for that reason. WFM: I thought I noticed a lot of sequenced parts where you didn't seem to be wearing headphones. NP: Oh yeah, a lot of them. I just have them through my monitors. In fact a lot of them I trigger myself. The challenge to it really is that many of our sequenced parts aren't entire songs in length. Of course the sequence is the exact tempo that the rec- ord was made to, and playing live, that is not always a realistic proposition. But in this case, I have to set myself up through the whole song so that maybe in the sec- ond chorus, when the sequencer comes in, I'm going to lock in with it and it's not going to sound as if suddenly the whole song slowed down or got faster. That takes a lot of practice, and it is just a matter of time. Speaking of sequencers, each of us trig- ger these things live on stage. The line we draw is that all of those things have to be triggered manually. It's not like using tapes. Sequencers, especially in the context that we use them, are coming in all over the place in our performances. They have to be triggered obviously to the millisecond, or they'll be off from what we are playing. The dangers that can happen musically are nerve-racking. We don't feel as if we're cheating because of the way it's all put together by us, as opposed to if we were up there playing along to tapes. We'd never be comfortable with that. WFM: Over the years you've been known for your long, and well-executed, drum solos. The solo on A Show Of Hands seems to have been edited. NP: It was truncated quite a bit. It had to be in order for it to fit within a certain amount of time. When we were coming down to deciding what to put on the tape, whether it be my drum solo or another song, I told them that I would prefer an- other song. And then I went on a bike trip of the Rockies. When I came back, I got a call from the office asking me if I'd like to include the drum solo after all. We only had a certain amount of time on the CD to fit it in with all of the songs we wanted to include, so I went in and killed a lot of the things in the solo that had appeared on earlier recorded solos of mine, so that the listener would have something fresh to hear. For the video, I had even less time for the solo. But I was still very happy with what was presented there, and since I got to decide where to edit it, it was no imposi- tion. WFM: One of the things in your solo that I liked were the horn kicks at the end. Were you triggering those yourself? NP: Yes I was. There was an interesting story behind that section of the solo. I took the idea from a Count Basie CD that I have. ! sampled the horn hits off the CD and triggered them live, but I didn't feel right about using someone else's sounds on our record. I have strict morality about sam- pling, and it's one reason why I use mostly my own samples. I don't like to think that they have been robbed off of someone else's record. So I went into the studio where they have a Synclavier, which is a super-deluxe synthesizer. We analyzed the chording of the Basie samples and reproduced them synthetically. So I got all of the intervals I wanted, and it ended up sounding beauti- ful. I could then wipe the guilt off my brow because I had gone to the trouble and ex- pense of creating those samples. WFM: During that section, how did you go about triggering those horn hits? NP: With Simmons pads. I assigned each one to a different pad, and to a foot switch. I struck the pad and at the same time so the hits came off exactly to- gether. I worked it out so that things were tionship between the fills I play within a people's minds I probably overplay, but in in the right place so that I could do that given song. They're either variations on my own aesthetic I don't. And I don't in- kind of drum construction I wanted and be each other, or they're progressions towards trude upon other people. Just as I am sure in the right place for the brass accents. a certain thing. Let's say the first fill I play other people have a firm rationale for doing WFM: Something I've noticed in your play- in a song will intimate a triplet feel. The what they do, I have very well-thought out ing over the years is the way you organize next fill will state it a bit more clearly, and parameters for approaching things the way I your drum fills within a song. Many times on the last fill, it will be no holds barred. do. you arrange them from more simple in the Rideouts in songs that have fades are al- When I was younger, Keith Moon was beginning of a song to much more com- ways the time when Geddy and I really my idol, and because of this I always wanted plex by the end. Is this something you make stretch a bit. At that point the main state- to be in a band that played Who songs. But a conscious decision about, or has this just ment of the song has been made, and we've when I finally got in a band that was play- happened naturally? been good boys throughout, and then the ing Who songs, it was all so crazy that it NP: It's a conscious decision. I do it be- rideout comes and we feel we can let loose. didn't suit my character. My personality cause I hate doing the same fill twice in the A lot of drummers think that playing busy demanded structure and organization, and same song. As I expressed before, I do like is as simple as playing everything you know within the context of trying to play like Keith simple fills. But if I do one once in a song, all the time. But there really is a broader Moon in Who songs, it wasn't me. That's an then I feel compelled to do something dif- significance of those things and the appli- important dividing point for any drummer— ferent the next time. Usually there's a rela- cation of things. I know that in a lot of when you find out that the way your hero plays is not the way you should play. That was a significant turning point for me, when I found out that the way I thought I wanted to play really wasn't the way I wanted to play. WFM: Throughout this interview you have mentioned drummers who have inspired you. But there are a lot of drummers whom you have inspired. In fact, you're probably the most popular drummer... NP: ...in this room! [laughs] WFM: Seriously, you may be the most popu- lar drummer to emerge in the last 20 years. What do you think it is about your playing that has interested so many drummers? NP: I guess it's that I play a lot within the context of the band. We've had a lot of good fortune being in a band that plays the kind of music we want to play, and stretches out all over the place. I suppose my appeal would be to primarily younger drummers, who would be more impressed by a lot of playing. It's also that the band I'm in has a certain amount of success, and has given me a great deal of visibility. That's really a tough question. There are so many things involved. As a band we went to the trouble of learning all those technical things that take a long time to learn. And, just as I can't help admiring any drummer I hear who learned how to play all of the rudiments, learned how to apply them, learned how to keep good time— those things carry a lot of weight with me and will win the respect of most any drum- mer. WFM: When I watch A Show Of Hands, I'm struck by the amount of fun that you and the rest of the band seem to be having. NP: Again, on another night it would show so much more because, on that night, we were concentrating so much on trying to be good. But I'm glad it shows in that context. WFM: You've been in Rush now a long time. NP: It's been 15 years this year. WFM: Do you really still enjoy it? NP: Oh yeah. I mean there are nights, and there are nights; any musician knows that. But after all of these years there are still really magical, wonderful performances that we have where there's no other place I'd rather be.

Enthusiasm by Roy Burns

People with enthusiasm are very fortunate— like this "groaners" because they always that the odds of becoming a successful ac- especially if they're in the music business. seemed to be "moaning and groaning" tor were not very good. When asked about Enthusiasm springs from tremendous ex- about something. Somewhere along the this, he said, "I felt that if I could discour- citement and interest—such as the excite- way, people like this have been so disap- age my children from acting, then it would ment and interest that all drummers have pointed or hurt that they are afraid to be be best if they didn't do it. However, if for the drums. enthusiastic. Or, they may feel that enthu- their interest, their enthusiasm, and their Enthusiasm makes us energetic, devoted, siasm is not "cool." They develop a "know- dedication was so great that they couldn't and true to our goal to become the best it-all" attitude and are usually very critical be discouraged—even by their father—then drummer that we can be. Enthusiasm helps of others. it would be okay for them to go into the us to overcome the difficulties we encoun- People with enthusiasm tend to follow acting business." ter in practice sessions when we are first and act out their dreams. Some young per- All four of Kirk Douglas's children are in starting. It tides us over until we begin to son, reading Modern Drummer or poring some part of the acting business, and all of develop the skills needed to play well. It over a drum catalog, may be one of the them are very successful. The point is, if helps us to overcome the frustration of hours next top drummers a few years from now. you can be discouraged easily, you don't of practice when we are young. The energy, self-discipline, and dedication have the enthusiasm to overcome all of the Have you ever noticed that some people needed to become a top drummer will be obstacles that you will encounter in the are always "up," always ready for the gig, there if the person has enthusiasm. tough business of being an artist. always on time, and usually in a good Don't confuse enthusiasm with the class Most people, when given a chance, are mood? These people have enthusiasm be- clown or the person in the band who is enthusiastic when they are young. Some of cause they love what they do. Musicians always pulling practical jokes. Such an us become discouraged or disappointed with enthusiasm make those around them individual may or may not have genuine because things don't always work out as play better. They are often the little extra enthusiasm. Remember, enthusiasm must planned. How do you keep your enthusi- "spark" that every band or group needs. have a goal; it must be directed at some- asm alive when your childhood dreams of Contrast that image with the person who thing. Enthusiasm without purpose creates being a star just don't work out? For one is always "down"—the musician who hates a person who is always excited but never thing, you must tell yourself that you are the music business or is always complain- has the discipline to practice. lucky to be in and/or around music and ing about something. We used to call people There is a certain amount of sacrifice drumming. You are also lucky to find out required in any pursuit of excellence. In just how you stack up as a drummer. It's order to become a great drummer, you must better to try to be a great drummer and not give up something. For example, while you make it than to be afraid to try. Then you are practicing or rehearsing, other young will never know. Give yourself credit for people are going to the beach or the mov- having the courage to try. After all, some ies, or just hanging out. You may be play- great football players have never played in ing at the dance while all of your friends the Super Bowl. That's life. are dancing. Secondly, if your early dreams don't work However, if you really love to play, you out, find something else to be enthusiastic feel fortunate for the opportunity to play. about. You can be in many areas of the Your interest is so overpowering that you drum business besides actual playing—ar- don't notice the sacrifice you are making eas in which you can feel close to drum- until much later. This is good, because ming and enjoy yourself. I have a friend becoming a good drummer takes dedica- who started out as a drummer, but is now tion and effort. If you feel that you are in the insurance business. He has never missing something when you practice, then lost his enthusiasm for drums. He still plays a career in drumming is not for you. once in a while, goes to clubs, buys rec- Kirk Douglas, the great actor, always dis- ords, and has as much fun with music as couraged his children from acting. He ex- anyone I know. plained to them at great length how tough Last, but not least, you should feel grate- it was to be an actor. He also explained ful if you even get the chance to do what you want to do. If you had been born in Russia or China, your chances of becom- ing a famous drummer would be: slim and none. Your chances in the U.S. are the best in the world. Of course, there are no guar- antees, but at least you have a chance. Keep your enthusiasm alive. Don't allow negative people to bring you down; get away from them. Seek out other musicians who feel as enthusiastic about music as you do—people with energy and dedica- tion. Enthusiasm is positive energy. Keep the flame alive. It's well worth the effort.

Joe one to teach me the technical stuff." In March 1979 Bonadio attended a ten-day Percussion Intensive at the Creative Music Studio in , New York. He stud- ied with Nana Vasconcelos, Jack DeJohnette, and the late Colin Walcott, all of whom advised Joe to move to New York City to start his career. Heeding the advice of these extraordinary players, Joe left home for New York City the following June. One of the first people Bonadio met in New York was drummer Billy Hart, who would occasionally invite Joe to sit in on gigs. Joe says Hart was a great inspiration in those early days for two very important reasons, one of which was those first play- ing experiences in New York. "Billy invited me to sit in on a gig he was playing with guitarist . As soon as I sat down behind the drums, the first tune Scof- ield called was 'Cherokee'...and he counted it off way upstairs!" After the gig, Scofield complimented Bonadio on his drumming. That gave Bonadio confidence that he could hold his own with the best. It was also Billy Hart who helped Joe get over his out-of-work blues. "Billy would say to me, 'Just because you're not on a bandstand doesn't mean you're not work- ing. Practice is work, and now's the time to take care of any weaknesses in your play- ing.' Those words helped me to avoid some dark times." Six months after moving to New York, Joe got a call from drummer Bob Moses, with whom Bonadio had briefly studied when Moses passed through Wisconsin on tour. Bob explained that he had recom- mended Bonadio to a producer who needed a percussionist for a recording session. About that same time, Joe began hearing about an extraordinary fusion group called NiteSprite, which featured a promising young drummer named Dave Weckl. When Bonadio showed up to that first record date, the group with whom he was to work turned out to be none other than NiteSprite. Joe's "It's easy to say good things about Joe Bona- sin, Bonadio depended largely on his rec- percussion work on the NiteSprite album dio," bandleader Chuck Mangione said to ord collection for his early development. led to his joining the group as percussion- me recently about the drummer with whom While his dedication and discipline were ist, and to many evenings of Weckl/Bona- he currently tours and records. "Joe has a apparent at that early age, he was still self- dio drum/percussion exchanges—which Joe great love for music and is one of the few taught. For Joe, that left a bit of a gap in his fondly recalls as "ESP." young players I know who is so diversified. education. "Growing up, I didn't pay a lot Bonadio and Weckl worked together in He really knows a lot of styles and, more of attention to technique," he says. "For NiteSprite from 1980 until 1983. At that importantly, he can play 'em!" Lots of me, there were two types of drummers: point Weckl left the group to tour with people are saying good things about Joe people like Ringo Starr, who isn't a master Simon & Garfunkel, and Joe took over the Bonadio these days, but compliments com- technician, and people like , drum chair. Bonadio was, by now, study- ing from one of contemporary music's pre- who is. For some reason, the technicians ing with Sam Ulano, whom Joe credits as mier /instrumentalists are special, always scared me. I didn't want to develop one of his main influences. "Sam was all indeed. technique. I felt you didn't need to play a about integrity and discipline," says Joe, Joe's love for music developed while he lot of notes to get the point across. who goes on to tell of the time he came was in high school. Since there were no "And then Steve Gadd came along," home very late from a gig and felt too tired drum teachers and not much of a live mu- Bonadio smiles, "and I knew I'd have to go to make his scheduled lesson with Ulano sic scene in his native Kenosha, Wiscon- to New York sooner or later to find some- early the next morning. "I called Sam, say- Bonadio by Joe Ferry ing I was gonna skip that morning's lesson. them sing the parts they are playing. This they've been known to delight astonished Sam said, 'Okay, then. Don't bother com- zeroes in on any deficiencies that are hap- crowds, one gets the feeling that they've ing back at all.'" Bonadio tried to explain pening and makes it easier to correct them." been pals for many years. (In fact, I'm proud that he only wanted to skip the one lesson. Joe feels his method gives his students the to say I introduced them in '86.) But there Ulano fired back, "If you got a call to do a best of both worlds: sightreading and kit is definitely a deep friendship there. Ex- record date right now for $1,000, could playing. plains Will, "Most guys as good as Joe are you get out of bed and do it?" "Sure," Joe Bonadio says that he and his bandmates not really sympathetic to you on a personal said. "Then you can get out of bed and in the Chuck Mangione Band (Rob Mathes level. But Joe Bonadio is my friend inside come to this lesson," Sam said, "because on guitar, keyboards, and vocals, Billy Mar- and outside the studio." this work will lead to that work." Needless tin on percussion, Gordon Johnson on bass, Joe Bonadio can be heard literally every to say, Bonadio made his lesson that morn- Mark Manetta on guitar, and, of course, day on jazz and pop radio across the U.S. ing. Mangione on flugelhorn) have grown mu- He is featured on Greetings From New York Joe continues about Ulano, saying, sically in the past three years. "Working by the SOS All-Stars, and he is on The Eyes "Sam's whole concept was 'How you prac- with Gordon Johnson is a lot of fun be- Of The Veiled Temptress by Chuck tice is how you'll play.' He had me killing cause he's so rhythmically oriented, having Mangione, a record that rode high on the ten birds with one stone." Ulano had Joe played with Peter Erskine on Maynard Billboard charts for months. He is also one using metal sticks in much the same way a Ferguson's band," Joe says. "He's real of those annonymous musicians whom you batter swings weighted baseball bats in the sound. I've learned a lot from him—same hear on radio and television jingles. Up- on-deck circle. That developed stamina and with Mark Manetta. The three of us have coming albums on which Bonadio has woke up arm muscles. "And rather than developed a musical vocabulary." Joe says played include the new compact disc by practice stuff like paradiddles with my eyes that the Mangione band does not rehearse David Mann on Island Records, the new getting nothing, he'd have me reading at much. "Chuck leaves the band alone," he single by Devonsquare with Stephen Stills fast tempos, which developed technique continues, "no meetings, not many rehears- on , and the critically ac- and hand/eye coordination." als. He gives us all the space in the world." claimed compact disc Lost To The Street by In 1983, Dave Weckl and Danny Gott- Joe says that Chuck encourages the band- Alex Rozum on Warner Bros. Bonadio and lieb recommended that Bonadio study with members to take the compositions into new have teamed up to form the rhythm the late Cary Chester. "Gary's method was directions, if that's what they're feeling. "For section on two upcoming releases about all about reversing functions: Anything you example," Joe says, "'Feels So Good,' which which Joe is very excited: the Christmas did with your right hand or foot you had to is the highlight of the show and, of course, '89 album Have Yourself A Merry Little do with your left. He used to say, 'All four Chuck's biggest hit, now breaks into a swing Christmas (on which Joe and Will back limbs make up the groove.' After playing a groove, which is totally different from the New Orleans R&B legend Dr. John on a page with each limb playing its natural original way the song was function, you'd play the same page with played. And Chuck thinks it's each limb playing reversed functions." Joe great. We are definitely not un- explains that the right foot would then play der a microscope." A fine ex- the hi-hat part, the left foot would play the ample of the contemporary Joe bass drum part, the right hand would play Bonadio is Mangione's Live At the snare part, etc. "It was completely for- The Village Gate album. Joe's eign to me, but it freed up all my limbs," rock-solid backbeat, dazzling Bonadio says. improvisation technique, and Joe tells a funny story about an unsuc- straight-ahead skills provide cessful attempt to beat Chester at his own the foundation upon which the game. "Cary was always hounding me to rest of the Mangione band practice the lessons at all tempos. Well, build a superb performance. one day I came to my lesson after practic- Aside from his work with ing all week with the metronome on my Chuck Mangione, one of LinnDrum at every setting from 40 BPMs Bonadio's favorite projects is on up. I told Gary to pick a tempo...any a group run by Rob Mathes. tempo. Gary looked at me and said, 'Okay, Rob's band includes bassist wise guy, try it at 30 BPMs.'" Bonadio sits Will Lee (of Late Night With forward in his chair as he continues to tell David Letterman), with whom the story. "'30 BPMs!' I said. 'My LinnDrum Bonadio struck a musical and only goes down to 40 BPMs.' Gary fired personal friendship immedi- back at me, 'Well, mine goes down to 30! ately upon their first meeting. Now play it!'" Bonadio still grimaces when Will said to me one evening he recalls the torture he experienced play- at dinner, "Bonadio hits those ing his lesson at that slow tempo. "I could drums just the way I like it, have had a cup of coffee between the 2 with lots of intensity. He has and 4. Gary always had something up his unbridled musical taste." sleeve to kill you with." That's another compliment Now that he teaches, Joe employs a hy- one cannot take lightly. See- brid Ulano/Chester/Bonadio system with his ing those two guys playing in students. "I want my students to be aware the studio or at the Westch- of their limbs," Joe explains, "so I have ester County clubs in which funky version of "Silent Night"), and the to the musicians ahead of time. This way, That brings up a very interesting point: debut album by keyboardist/composer they can familiarize themselves with the charts and reading. Does Bonadio come Charles Blenzig, which also features gui- music, saving time and grief later. Bonadio across lots of charts doing all these record tarist and saxophonist Chris has very strict views regarding preparation dates? Is reading important? "Reading is Hunter. for record dates. "It's one thing if no charts vital, but you've got to be prepared for One thing that really bugs Joe Bonadio is have been sent out or no rehearsal called," anything," Joe says, recalling the time he showing up to a record date and finding Joe says. "Then the producer or artist must played with rock musician . Bonadio that one of the other musicians is unpre- understand that the music will get worked had secured an audition with Sting, know- pared. "I've been on record dates with some out right there on the date." But Joe feels ing that there could not be any chart put in major players who asked me some pretty it's a cardinal sin to leave these materials front of him that he could not read. When dumb questions about the charts. It just untouched on your desk once they have Joe showed up at the rehearsal studio, he showed that they didn't take the time to been mailed out to you. "I feel that if some- was informed that Omar Hakim had been look the material over before they came to one is going to take the time to write up a given the tour. But Sting invited Bonadio to the session." Bonadio explains that it is chart and dub a rough cassette and send stay and jam. To Joe's amazement, Sting common practice for an arranger, producer, that stuff to me—and he's paying me— used no charts whatsoever. "Sting just ran or artist to send a copy of the charts— then I should find the time to sit down and the tunes down a couple of times with me along with a rough cassette for reference— learn the material. It's only fair." till I hit the groove, and that was it," he recalls, "and I realized that reading was not the be-all and end-all of music. I was playing with one of the biggest rock stars in the business, who was about to embark on one of the biggest tours of the season, and there were no charts." On playing with Sting, Bonadio remembers initially think- ing, "What in hell am I doing here? I'm from Wisconsin!" But the two quickly be- gan to communicate, Sting dancing joy- ously as he strummed his guitar. "We played some great stuff that night," Joe says, smil- ing, "stuff that never came out and other stuff like 'Set Them Free' that later became big hits." Sting said to Bonadio after the three-hour session: "You sounded great, Joe. Thanks for coming down." Another once- in-a-lifetime compliment for his memoirs. Although Bonadio's recording credits are It's been something like three years since quickly stacking up, solidifying his reputa- Chuck Mangione walked into the lounge tion as an affable and able musician who at New York City's Playboy Club to hear can be depended upon to do the job under the new drumslinger in town. After jam- any condition, what is not commonly ming into the morning hours, Mangione known is that joe is often involved in the and Bonadio struck a friendship and rap- stuff on the other side of the studio glass, as port that remains strong to this day. All in well. After the last notes have been played all, Joe Bonadio leads a happy life. He and the charts are put away, Bonadio will brings a sense of well-being and joy with stay on the project, returning to add his him wherever he goes. "Being on the road invaluable input during the mixing sessions. as much as we are can easily become a "As far as I'm concerned, my job isn't done grind," says Chuck Mangione. "But Joe until the record is in the stores. If the pro- Bonadio brings an enthusiasm to the band- ducer will let me, I'll stay involved right stand night after night. That's what I like through to the final mixes," says Joe. But most about him. Besides," Mangione says not everyone requests this input once his with a wink, "he's Italian!" drumming is done. "Mangione would rather I do my thing, go home, and wait for my check. Same with Don Sebesky. And that's fine, too. I can understand their way of thinking. I'm a professional being paid to play the drums. That's my main job. But people like yourself (Bonadio and I fre- quently coproduce records together], Rob Mathes, and Charles Blenzig welcome the fact that I'm willing to do a little extra, to help with the mixing and such. And if it's okay with you guys, it's something I really enjoy doing." With the high visibility that recording and touring with Chuck Mangione provides, Joe Bonadio has been offered a number of drum and accessory endorsements. He now plays Remo drums, , DW pedals, and Vic Firth sticks exclusively.

Joe Bonadio strides out from the wings onto the stage of the Palace Theatre in Stamford, Connecticut and sits down be- hind his drums, making last-minute adjust- ments on cymbal stands and tom-toms as the other members of the Chuck Mangione Band pick up their instruments. Joe counts off the opening tune—Mangione's brilliant "Land Of Make Believe"—and the entire house stands and applauds. Watching and listening to Bonadio lay down perfect grooves while smiling constantly at bassist Gordon Johnson or nodding his approval and yelling "Yeah!" when one of the guys turns in a particularly great solo, it's easy to understand why Joe Bonadio is so success- ful at his craft: He truly enjoys what he does. His love of music is apparent to ev- eryone in the place—band and audience alike. Drums: An Engineering

All drummers are concerned about "their layers very efficiently. This is why drum- rectional. (The megaphone works on this sound." Most of us can imagine the sound shells made of one solid material, such as same principle.) After the initial push of air that we want, but for many of us, achieving fiberglass or solid wood, usually have more is over, however, most of the acoustic en- it is sometimes a hit-or-miss process. How- projection and volume than a multiple-ply ergy has been released. (See Figure 1.) Thus, ever, it doesn't have to be this way. If we shell. the sound decays quickly, giving the im- keep a few basic physical principles in Let's add another factor to our analysis, pression that the drum has a sharp attack. mind, it becomes much easier to get the namely, that low-frequency sounds travel The double-headed drum works a little sound that we want. In this article, we'll through barriers more easily than high-fre- differently. Stick hits top head, top head approach an acoustic drum from an quency sounds. This explains why the music vibrates, shell and air column vibrate, bot- engineer's point of view, and discuss some from the party upstairs seems to be mostly tom head vibrates, energy reflects back up, things to keep in mind when buying drums, bass: The ceiling is more "transparent" to shell and air vibrate again, top head vi- or setting up what you already own. the lower frequencies. So we see that our brates again, etc. Notice that the energy First, a few basic concepts. At its sim- tom-tom, with its many layers of wood and sustains longer because it bounces around plest, engineering is essentially a study of glue, will subtly "filter out" the higher fre- inside the drum for a while before fading what happens to the energy within a de- quencies. This is not necessarily bad; it's away. (See Figure 2.) This produces several vice. For our purposes, we will consider just a matter of which sound you prefer. All interesting effects. Most obviously, there is the energy that passes through an acoustic else being equal, a 9-ply shell will seem less impression of "attack," because the drum. (Let's keep it simple and assume that warmer and less ringy than a 3-ply. sound is produced for a longer period of we're talking about a mounted tom-tom.) There's one more factor to consider, and time. Also, since there is no megaphone An engineer would look at this drum and then we'll move on. Most of us have heard effect, the sound radiates from the drum, see a device that converts "kinetic energy" of the theory of "inertia," part of which is rather than projecting directionally. (Single- (the motion of the drumstick) into "acous- that "a body at rest wants to stay at rest." headed drums radiate too, but not as much.) tic energy" (sound). We, as drummers, can Inertia is proportional to mass. For example, Perhaps the most important choice you have complete control over how this con- a boulder is harder to start rolling than a can make with your double-headed tom is version happens, once we look at the drum baseball. So if we have two drumshells of the relative tuning of the two heads. Most from this viewpoint and see how it oper- equal construction but different masses people know that the top head determines ates. (weights), the lighter one will have more your pitch. The bottom head, however, Now that we're thinking in terms of en- volume. The heavier one's greater inertia determines the character of your sound. ergy, let's consider what happens when will soak up part of the acoustic energy Before we discuss why, let's first talk about energy tries to pass through a barrier of trying to "mobilize" it, and thus less energy our last physical concept: "resonance." some sort. Remember when you were will be available to produce the actual To an engineer, "resonance" means that young, and your mother would wrap you sound. every object has a certain frequency at in endless layers of clothing before you Now that we know how drumshells act, which it "wants" to vibrate. For example, a went outside? Meanwhile, the kid next door how do drumheads fit into all of this? First, drumhead tuned low will give a certain wore a monstrous winter coat, but he froze we'll discuss how many heads to use. Again, sound when struck. Tighten the lugs and anyway while you stayed warm. Your there's no right or wrong; it's just a matter strike it again. Since you've raised the reso- mother understood a basic physical prin- of which sound you're ciple, namely that energy transmission trying to achieve. through a barrier is inefficient. You stayed Most drummers warm because your energy (body ) think of single-headed couldn't travel easily through many small toms as giving an "at- layers of air/clothing/air/clothing, etc. Mean- tack" sound, and while, your friend's body heat had only double-headed toms one barrier (although a big one) to pass as giving a "boomier" through; after that, it was home free. sound. These are gen- So how does this apply to our hypotheti- eralizations, and are cal rack tom? Well, think for a minute how not necessarily always drumshells are made. Most are a stack of true. However, there several plies of wood, glued together, and are advantages and bent into a round shape, right? Now think disadvantages to each of what happens when we whack this thing choice. with a stick. The drumhead vibrates, caus- The single-headed ing both the drumshell and the air inside to drum is pretty straight- vibrate, right? Not really. Consider the forward. Stick hits drumhead's point of view; instead of see- head, head vibrates, ing a "drumshell," what it sees is layers of shell and air column wood/glue/wood/glue.... Sounds familiar, vibrate, end of story. doesn't it? You can see that, just like your The open-ended air winter-clothing experience, the energy column projects well, won't be able to travel through all of these because it is highly di- by Spiros A. Psarris Analysis: Part 1

from a single-headed drum, but with more sustain and rich over- tones. Incidentally, the drumshell and air col- umn have their own resonant frequencies. These combine to form the drum's "true sound," meaning that if you tune your heads close to this pitch, their frequency con- flicts with the shell are minimized, and the drum works more effi- ciently. By now you may be thinking that more ef- ficient is better. This is not necessarily true. Say you have a five- piece set. You decide that you want all three toms to be super-effi- nant frequency (by increasing the tension), cient, so you spend hours finding each you hear a higher pitch. This all seems drum's ringiest pitch, and then tuning top straightforward, but what isn't as widely and bottom heads perfectly to that pitch. known is that stimulating an object at its Your drums will sound great by themselves, resonant frequency produces the highest but once your band starts to play...what efficiency possible. Think of a child on a happened? For some songs, the drums swingset: His weight, the length of the sound great; for other songs, they sound chain, and other factors all combine to de- lousy. Why is this so? Tuning for efficiency termine the frequency at which he will means deliberately minimizing frequency swing back and forth. Now, if you push conflicts among the shell and the two heads. him at a different frequency, you'll some- However, these conflicts are what gives a times be pushing against him as he comes drum its rich overtones, making it pitch-in- toward you, which is obviously inefficient. determinate. If you reduce these conflicts, However, if you push at that same fre- the drum produces a strong fundamental quency, you'll push with him each time, tone. This means that your drums start to and the sky's the limit. produce notes instead of sounds, and So how does this apply to our double- voila!—for some songs you'll literally be headed drum? Well, think of what happens out of key. if your two heads are tuned to different We've seen how some basic physics and pitches. When the top head is struck, it vi- engineering principles can help us under- brates at its resonant frequency, causing stand how a drum produces sound. Armed the air column and drumshell to vibrate at with this knowledge, you can now make that frequency. But the bottom head doesn't some intelligent choices about things to want to vibrate at that frequency; it's tuned try, instead of random guesses. Next month, to a different pitch. This sets up a tension in Part 2, we'll extend this analysis to drum- between the two heads, which can pro- heads. duce some really funky "pitch bend" sounds. But what happens if the heads are tuned to the same pitch? This conflict doesn't occur. All the acoustic energy that was previously used up trying to motivate a stubborn head to vibrate (sort of an "acoustic inertia") is now free to produce a clear, penetrating tone. This can produce a sound with as much initial attack as that "It's better to emphasize the sound of a machine than to spend ages trying to make it sound lifelike, when you could have done it yourself anyway using acoustic drums." particularly like 808 bass drums—you get cheap, purely monophonic Winfield organ. matter-of-fact response made me wonder a very clicky one on an 808—the samples The start of 'Atmosphere' was written using whether he was involved in any endorse- are alright, but at the end you've got this some of that organ's effects. I do about four ments. His little story reminded me of oth- horrible tide coming out, like a numbers on this tour—a bit less than usual. ers I had heard about the band's attitude 'shhhhhhhhh' sound very low, which you This makes it a bit difficult because the toward "the ways things are done" in the think is just the end of the sample. So you more drums you do, the harder it is to play music biz. Stephen didn't seem terribly load it into the Mac and try to chop it off. keyboards; your hands feel like pieces of concerned. "People ring me up, right," he But you discover that it's not quite at the meat." laughs, "but they always ring me up dead end; it starts out a quarter of the way The drumset Morris uses hasn't changed early in the morning. Like the guy from through. Somebody else told me they were too much over the years. "I would like to Ludwig—he'll be like, 'Come down, come having a similar problem trying to sample have renewed it before the tour," he laughs, down,' and he'll give me his address, but I low , It was a bit of a problem for "but it is still a Ludwig kit—10", 12", 13", never find the piece of paper that I've writ- us, but we got around it. We sampled it in and 15" concert toms—the deep ones—14 ten it on because I was half asleep. I really the Emulator and transferred it into the Mac x 14 and 16x16 floor toms, and a 22" bass should do something about it, though, be- and then back into the Akai, and lo and drum. I've just got this new Black Beauty— cause I could have used a new one on the behold, it sounded a lot better." a 5 1/2". I was using a shallower one—not new tour; the fittings were absolutely rat- Because the punk explosion of the late quite a piccolo, but shallower than the one tling. '70s made possible the philosophy that you I've got now. It was about an inch or so "I sort of compromised," he continues. didn't necessarily need lots of chop's to deeper than a piccolo. I saw another one a "What I did was buy a rack, which looks write and perform your own songs, Stephen few years ago and I wish I'd bought it. It's sort of like a walking cage. I always thought was able to teach himself some basic key- worked out alright; I only got it the first day they looked good before, but I never real- boards while recording and touring with of the tour and I haven't gotten a chance to ized how difficult it is to get some of the Joy Division. During live New Order songs, mess around with it." angles. Like the largest concert tom, which Morris leaves his drumkit at certain points When I asked Morris about his cymbal is usually pretty close in—now my arms and plays keyboards. "I know maybe three setup—"Cymbals? Oh, I've got the same are getting longer trying to reach it. But this chords," Morris confesses, "but it works for old ones: a little 14" crash, a 20" crash, a is my first experience with a rack kit, apart our purposes. In Joy Division we had this 20" crash/ride, and an 18" crash/ride"—his from a very old '20s kit that was in a music shop for ages. That's where I got the idea The first couple that I tried out—the big function; that's the greatest invention. For- that it would be a good idea to get a rack. Roland box, which I think had three but- tunately, it's always nice to have the choice When I actually got one I was a bit disap- tons that you could program—I had no of whether to use it or not. It's really handy pointed because it seemed a bit more com- idea how you were supposed to program for building up rhythms. The UpBeat pro- plicated to me. I thought I could have ev- it. It involved hitting a sort of rubber pad gram is the same sort of thing, really, a erything in the exact spot every time, but if that was shaped like a doughnut. It was loop thing, which is great for doing rhythms you get like a millimeter out, it's sort of ex- when we were doing Closer, and we got and bass lines. But as soon as you want to aggerated. But I had to use it, because it this thing to try out, and nobody could do anything that's not quantized, forget it; was either that or my drums would just fall figure out how to use it. you're not going to get anywhere at all over. "The same thing happened when we got with it. You have to get into this transfer- "I think there's a tendency on the part of the Boss Dr. Rhythm; that was basically the ring session if you want to get any further. manufacturers to neglect the acoustic kit. first piece of electronic equipment we got "I fell in love with drum machines a lot There's a lot of technology that can be with New Order. We were quite impressed easier than I fell in love with samplers," applied there rather than just in using elec- with that in its own sweet way. It was really Morris continues. "It's so easy to program a tronics. I mean, drums are possibly the old- when the 808 and then, more importantly drum machine now that I think a lot of est instrument in the world, and they've for us at the time, DMXs came out that we drummers think, 'Oh my God, producers not really advanced that much. There have got a loop in the chord—the autoquantize can program drum machines, and they've been a few wacky experiments with drums. I don't mean Simmons and things like that— just decent drums that are reliable. I usu- ally find that because of touring, a kit sort of has a lifespan, and after so long it's gone. I think I'd like to see people develop better drums." One would think that with all his interest in electronics, Stephen would have had an interest in electronic kits somewhere along the way. Though he did get the Simmons SDS-V when it came out ("the one that broke everybody's wrists"), he still prefers an acoustic kit. "What I use now is contact mic's on the drums triggering an Octapad II, and it gets around the problem. It just seems more natural. I think tuning makes a big difference, too. If you put new heads on and then put the mic's on, you get fewer miss-triggers. On the whole it works fine. Aesthetically I've never liked the looks of a whole set of pads. An acoustic set is also something to hide behind. The new Sim- mons, the SDX, looks very impressive, but it's very expensive. The Dynacord stuff is pretty hard to get hold of in England, but it is very good gear. Their bass drum thing, though—you talk about security," he laughs. Stephen says that he fell in love with drum machines right off the bat. What was it about the machines that intrigued him? "I always thought it would be good to have another drummer, but you'd always have to explain what you wanted him to play. With a machine I could program rhythmic bits and play the other stuff, or vice versa. got all this technology.' The best thing is to unless you know what you can do with bass and snare, or only on the hi-hat, and it get in there yourself and work it. It's daft to electronics, you can't just disregard them can do early or late accents. This seems say, 'I'm not going to work with this record offhand. Besides, I like reading manuals; like the way to go to me. Going back to the because it's got a drum machine or be- there's nothing like getting tucked into bed first Oberheim DMXs, they all had 'swing' cause it's got samples on it.' You've got to with a really boring manual." on them, and it never really worked. But know what you can do with them, and The drum machine that Stephen uses at the newer versions, like this 'groove' factor then decide whether you want to use them home is a Roland R-8, "which I really like, on the R-8, do seem a lot more promising." or not. Admittedly it doesn't suit every song but I must confess it still doesn't have The UpBeat program that Stephen uses or every type of playing; there are times enough groove features on it. The eight with the Macintosh computer has some- when it's not a good idea to use them, like programmable grooves—the ones that I've what similar "intelligent" capabilities, such when we did '.' The song managed to program have made it seem as random accent generation. "You have to just didn't need electronics. We wrote the completely out of time. With the R-8 you're be very careful about how much you use song acoustically. Sometimes you do that supposed to program a set of feels into it. it, though, because if you're not, it could and think, 'Well, we could mess around Then you program your rhythm, and then come up with a completely different rhythm with it a bit, make the rhythms a bit tighter,' you've got a choice of playing not only by itself, which won't sound terribly clever," but it just worked. Why mess around with different feels, but you can have different he warns. "But it's pretty useful if you've it when it was perfect the way it was? But feels on different instruments, like on the gotten so far and you just want an occa- sional variation." A big complaint a lot of people had be- fore artificial intelligence and randomizers was that machines sounded cold and me- chanical. In a lot of New Order songs, though, when there are acoustic drums and machines on the same track, it's pretty ob- vious which is which. In fact, the contrast- ing of the two has become characteristic of New Order's style. While "techno-pop" bands were sprouting up all over the place in the early '80s, with musicians barely having to move an arm to pass off entire tunes, New Order used the machines as enhancement, rather than replacement. "Yeah, you use a drum machine because it's a drum machine, and you use real drums because...they're real drums," says Morris. "The very early ones had a very unnatural sound to them anyway. They've obviously come a long way now, and with some of them it's very hard to tell the difference. But it's better to emphasize the sound of the machine than to spend ages trying to make it sound lifelike, when you could have done it yourself anyway using acous- tic drums." Like most drummers who start experi- menting with playing against machines, Stephen learned there were certain things you could and couldn't do. Was there any basic rule he learned to follow? "Yeah, keep it simple. The very first track that we did mixing the two, which I suppose was 'Everything's Gone Green,' we were basi- cally using the drum machine to pulse the synth—pre-sequencers or anything. So you had to play against something. What you do is get the drum machine to play sort of on beats, like a 16th-beat hi-hat pattern, with maybe just a clap or something to let you know exactly where you were—you might not need it, but it might make it sound a bit better—and you play off-beat fills and sort of skip some and put in some of the less boring bits. It's better than just triggering away and playing the same thing over and over again, because at the time all you were limited to was a two-bar pat- tern, so any fills or something like that would be completely out of the question. The thing didn't have enough memory, so obviously you would have to play those fills yourself anyway. Also it's quicker to put in a rhythm and play any fancy bit yourself. Nowadays you can do whole "After all, we have been on his label." claps, playful sound effects, etc. Many of songs on a machine, but personally I still Aside from Jones, remix masters Arthur us have probably experienced being at a prefer the other approach—starting off with Baker, Shep Pettibone, and have club, a song will come on that is very hot a very short bit and elaborating on it manu- also worked on the band's singles. As a at the time, and the reaction from the crowd ally wherever possible." rule, does the band get involved in the is almost as if they're at a concert. But what A feature of New Order songs that stands mixing process and make suggestions? about when you're in the audience, and out is Peter Hook's bass playing. Rather "No," says Morris. "Though we produce your song comes on? Is it almost like watch- than just pulsing out grooves, Hook just as ourselves a lot, the thing about remixes is ing a concert of yourself, incognito? Does often plays the main melodic parts of songs, that they're supposed to be different from Stephen ever go out to clubs to actually such as on "Love Less" from Technique, the original. I've always thought that if you hear a New Order song played, maybe to "Perfect Kiss" from Low-Life, or the single go into the studio when somebody's remix- see how their dance songs are being re- "State Of The Nation." Since it's normally ing your song, you've got such a fixed idea acted to? a drummer's job to play against a bass about it that it's better to let someone else "We've got a club in Manchester called player who is usually playing some sort of go ahead and do whatever they want." the Hacienda that we go to quite a lot," groove, does Morris find that he has to A lot of these remixes are custom-made Morris says. [The Hacienda was set up and attack songs a little bit differently? "Well, for the dance floor, with lots of nods to is run by .] "It's good going you certainly have to play a little more like disco—the bass drum on every beat, hand- out to clubs to hear what people are play- a bass line," he explains, "because there's nothing filling up the bottom end. Nor- mally what you get is a bass guitar that plays somewhere in between the bass drum pattern and the melody. But it's really just the bass drum that you get on the acoustic songs. It works, though; it's not really a problem. Sometimes live, when you go from a fully electronic song to something like 'Love Less,' although maybe it's not appar- ent to the audience, to me it sounds like half the band has walked off stage; it feels real empty. In the studio it's not a problem, though." Because many of New Order's singles, such as "Blue Monday" and "Thieves Like Us," never appeared on albums, the band decided to put out a compilation of these songs on the album . Stephen explains: "The problem in this country is that the record companies treat singles as a device to market the album with. And we've always looked at singles as something different, like, 'This is a single, and this is an album.'" Though the single was released at about the same time as Power, Corruption And Lies (and was actu- ally tacked onto the cassette version along with "The Beach"), "Blue Monday" has quite a different feel to it than the rest of the album, as if it were recorded during different sessions. "It is different," Stephen agrees, "which is why it was the single. If we had put 'Blue Monday' on Power, Cor- ruption And Lies, that album probably would have been a lot more successful. But it probably wouldn't have fit in on the album. It was recorded at exactly the same time, though. That was in the days when we knew what the single was," he laughs. "On Technique we sort of didn't know what the single was." "Blue Monday" is one of those singles that just doesn't seem to want to go away; you can still go into clubs and see people immediately reacting to the first bars of the machine bass drum pattern that introduces the song. Four years after its original re- lease, the tune was re-released as "Blue Monday 88," with producer at the controls of the remix. In America, New Order records have been released on Jones's Qwest label since 1985's Low-Life. "We'd been trying to get him to do some- thing on one of our records," Stephen says, ing. But the worst thing in the world is to cially around England right now, like acid As Stephen says, in some ways be in a club, and they start playing your house, which is basically very minimalis- is to the clubs today what punk was in records, and everybody sort of runs away," tic, but in a melodic sort of way. A lot of 1977: a simple, pervasive style that doesn't he laughs. Apparently trips to the club aren't rap records are just 'boom boom boom'— require much in the way of technical musi- especially for investigative reasons. "No, I very little melody. And I think a lot of the cal skills. Therefore pretty much anyone just get really embarrassed when they play house stuff, if it doesn't have a catchy tune, with a Roland 808 and a turntable can get our records at a club, especially if you start at least it has got a melody of sorts in it, in on the act. Where punk's influence was dancing to your own record. But there are which I find a bit more endearing than sort mostly on a white audience, though, house a lot of things happening in clubs, espe- of a cement mixer." has spread amongst, and in fact originated in, black musical styles, specifically from Chicago. New Order singles have similarly been picked up by various groups, such as blacks and Latins, in ways that Joy Division never was. Is Stephen ever surprised how New Order has been assimilated? Well, kind of. "Yeah, I do get surprised at some of the odd places that our music does turn up," he says. "In England it's actually used a lot on sports programs, like diving, cricket, football. And this is really bizarre," Stephen laughs: "They used 'Love Vigilantes' for The Hundred Greatest Coals Of The World Cup." The attraction of New Order music to sports show producers notwithstanding, does Stephen think that their music's at- traction to other demographic groups has anything to do with a shift in influences coming through in their music? "Yeah, partly," he agrees, "but I think that every- thing that influences you is sort of uncon- scious anyway, and you can't really nail it, because it happens without you really being aware of it. In a club you can hear a really great drum break or a really great rhythm, and you might not even know the name of the track, much less who it was by. Or it might just be the mix between two records that will produce that effect, and you note it. You basically forget about it until you actually come to do something in the stu- dio, then everything you've ever heard starts to resurface." Stephen's original attraction to the drums began at about age 14, when he and a group of friends decided to start a band. alright about it. I think it feeds on itself, when there isn't, really. And they start freak- "Everyone wanted to be a guitar player," really, if you're really into being a 'star' ing out because they think that you're lying he recalls, "but the band had about ten yourself. Joy Division did get a few, how to them, when they've created that image guitar players in it, and I was the worst. It should we say, crazy people, partly be- themselves. They want the truth, and they was like, 'Get out or do something else.' So cause of what happened to the band. People don't like it when they hear it. I look at I thought I'd play the drums. As you know, who have a few slates loose try to project myself as being quite an ordinary person, they are fairly loud instruments. So you that onto you and think you must have and I suppose that's not very interesting, is can't have a drumkit without a sort of brief some sort of macabre secret about you, it?" he laughs. consultation with your parents about it: 'You know, you'll be making all this noise, so you can have a drumkit—if you have les- sons.' So I had a few lessons and took it from there. The band immediately fell apart, but I just loved playing drums on my own, until a few years on I saw this advert in a music shop window looking for a drum- mer. So I thought, 'Hmmm. Might as well do it,' and off we went with Warsaw." Well, now that we've got around to the beginnings of Joy Division, it seems like an appropriate time to ask Stephen about this mysteriousness business, that, well, the band gets asked about all the time. Has it ever caused the band any problems? "No, the only problem it's caused is people al- ways asking you why you're so mysteri- ous," Stephen answers, with a barely de- tectable tinge of weariness. "We're not trying to be mysterious at all; it's not a sort of policy," he explains. "The only policy is that we make up the songs that make the records, and we have to put them in a container of some sort, so why not have a nice picture of something on the front, rather than your photos on all the time. We're not really into being terrific sort of rock 'n' roll personalities, if you like. I think that sort of thing can be a bit unhealthy, to say the least. "In England, most people respect us and leave us alone because of the fact we don't drive around in Rolls Royces, and they see us shopping at the market and things like that. Occasionally someone will come up and ask for an autograph. Usually they're by Gil Graham Setting Up Band Figures

The proper use of fills is the method we use to set Alternating the fill through the use of varied rhythms, accents, up figures, add color to a chart, and and different drums can lead to many variations. Examples 4-9 make it swing. Fills tend to be personal in nature, represent a small sampling of the many possibilities. and will vary widely depending on the individual player, time feel, tempo, volume, etc. Keep in mind, however, that a fill must always complement the music and aid the band by properly setting up the figure. The style of the fill must always fit the style of the music. A swing fill would not necessarily be appropriate for, say, a funk chart. The importance of counting also cannot be overemphasized, especially in a sight-reading situation. Practice and experience will eventually enable you to "feel" many figures. However, you can't develop the ability to feel figures correctly if you don't count to confirm your accuracy. Example 1 shows a two-bar phrase that includes a figure written on the & of 4. The time beat is played up to the figure, and the figure itself is played by striking a crash cymbal and bass drum simultaneously. Begin slowly with a swing feel and then gradually increase the tempo. Be sure to interpret the figure with a jazz 8th- note triplet feel. Written:

Played:

To expand on this, the figure should first be preceded by a "set- up" note on the beat immediately before it—beat 4 in this ex- ample. Clearly stating the 4 enables other band members to play the figure on the & of 4 more precisely, and helps to maintain unity within the band.

Example 3 shows how a triplet fill can be used to set up the band figure on the & of 4. Begin by playing the triplet fill on the snare drum only. Then try adding a tom-tom, or a combination of toms. Keep the time steady and count at all times.

Fills and figures must be played precisely in a big-band situ- ation. However, never lose sight of the fact that keeping the time is your most important function in the band, and that fills should never interfere with the flow of the music.

Tradition And by Simon Goodwin Authenticity

I often feel like taking issue with people slightly contemptuous of another player has finally split up, or after the death of an who accuse drummers of being a conser- who seems to be firmly stuck in a time artist, that a particular style becomes set. vative crowd. Although drums and cym- warp, and whose sound and style is clearly There are bands on both sides of the Atlan- bals have essentially changed very little that of a bygone age. But, the point is that tic who play Glenn Miller's music in the this century, neither, for that matter, have the "time warp" drummer is ideally placed, '40s style. If Miller had survived World War , saxophones, or grand ; it's just so long as the music that is being played II and continued to write and arrange, it is the use to which an instrument is put that is in his particular style. Put simply, a drum- likely that his style would have changed marks the progress being made with it. A mer who plays in an '80s funk group can over the years. Even the '40s material would little bit of study on the history of the sound just as incongruous in a '40s-style probably have been revamped, for better drumkit and drumkit playing will show us swing band as the drummer from that band or worse. However, as things stand, there is how much development has taken place could sound in a funk lineup. On the other a "Glenn Miller sound," which is insepa- over the last 80 years or so. Just look at the hand, neither needs to sound out of place. rable from the '40s. early days of jazz: the large bass drums, You can specialize and be flexible, or you I've already mentioned developments in the rows of temple blocks, the tiny cym- can just specialize. technology. Even if musicians are playing bals on goosenecks. And what about the Once a piece of music is recorded in a some sort of "old style" music, they often early days of rock 'n' roll? So often, when particular way, it doesn't mean that the don't want to accept the practical limita- you look at photos from those days, you style and arrangement used is then set for tions they would have to cope with if they see chubby drummers playing diminutive all time. We can all think of different ver- were to be totally authentic in their use of kits, as opposed to today's lean and mus- sions of the same number. Sometimes these equipment. Not only is there the satisfac- cular drummers with their vast array of are recorded at about the same time by tion of the performers, but the expectations equipment. So we look, and we listen. The different artists. They will often be in a of an audience to consider. I once saw a changing image of the drumkit (and per- similar style, although you can find some "band of minstrels" who were playing for a haps of drummers, too) has been a direct interesting variations, like a jazz version of medieval banquet in England. In spite of result of the continuous shift in musical a rock number, or a reggae version of a everyone being in period costume, they styles and the sounds required. country number. (There's an amusing game had their medieval instruments miked-up! The recording industry has had a great you can play: imagining and trying out well- (In fairness, if they had been playing acous- influence on these sounds. In the early days, known numbers in a completely different tically, they wouldn't have been heard drummers on records were restricted by style. You know the sort of thing: "Guns N' above the din.) the limitations imposed by the recording Roses play "—or vice versa!) On the other hand, you do find drum- equipment of the time. This meant that the On the other hand, it is interesting to see mers, for example, who take great pride in sounds heard by the public at large re- how the same artist will approach the same immersing themselves completely in the flected not only the drummers' ability to number after a few years have passed. I style they specialize in. They not only want create, but also the recording engineers' once had a gig backing a singer who had the type of equipment used for playing the ability to capture particular sounds and fre- had a hit record in the late '60s. Ten years original music; if possible they will get the quencies. It also means that our idea today later when I got to work with him again the actual equipment. There is dedication dis- of the way drummers played in, say, the disco thing was at its height. So, much to played here. The drummer who puts to- '20s is colored by what we can hear on my surprise, instead of the gentle medium gether a '20s kit is more or less restricted to records of the time—which might differ con- eight feel of the original, I now had to do playing '20s music on it; another, more siderably from the way those players actu- "four on the floor" and 16th notes on the conventional, up-to-date kit is required if ally sounded. Coming on to the '70s, re- hi-hat. that drummer wants to do other work. But cording engineers found that a dry, "boxey" Compare Elvis Presley's early recordings someone who only possesses a conven- drum sound without overtones was easier from the late '50s and early '60s with the tional kit can use it to play '20s music— to control than anything more ambient, and versions we hear on his filmed perform- although the addition of a few "effects" this spawned a generation of drummers who ances from the '70s. The increased power and some judicious re-tuning might be re- thrashed at heavily dampened drums— and intensity of the later versions is due to quired. trying to re-create the "studio sound" live. changing musical fashions and develop- The fashions in drum equipment reflect It's natural that drummers should be af- ments in technology, and to the performer's a variety of influences. There are trends in fected by the sounds they hear through desire to harness these advances and to image as well as in sounds. Some of us use whatever medium they receive their influ- project to an audience in the way they more up-to-date and expensive equipment ences. But the question I would now like to would expect a major artist to do. There than we actually need for our gigs, be- consider is the need for adaptability when might have been fans who would have pre- cause we enjoy being up there with "the a player's sound is applied to the wide ferred to hear the numbers done in the state of the art." This doesn't necessarily variety of music that he or she is likely to original way, but Elvis wanted to come mean that our music is "state of the art." have to tackle in the role of "jobbing drum- across as a current performer—not as some- On the other hand, the jazz drummer who mer." It's probably safe to say that the ma- one appealing only to the nostalgia mar- still likes to play calf heads and old K Zildji- jority of players are most influenced by the ket. ans might be playing a progressive style of "sounds of today," and might even be It is often only after an influential band

Transcribed by Joe LaBarbera Art Blakey: Leijen Joost

by \\ // Photo

Sincerely Diana

This month's Drum Soloist features a track off of Art Blakey's classic album A Night In (Blue Note 84094). "Sincerely Diana" is based on a 30-measure form, phrased 10 bars, 8 bars, and 12 bars. Although not notated here, Art keeps the 2 and 4 going on the hi-hat throughout the solo.

The Duplex Drum Com

D u p l e x " 1 9 3 9 " T u n a b l e T o m T o m s f I were to ask you, "What is the most revolutionary idea that has happened in the drum industry?" you might reply plastic drum- heads, electronic drums, innovative and better-made hardware, or attractive new finishes. These are all, of course, very important and certainly have made playing easier and more fun. But I'd like to direct your attention to several, more basic components of a drumset that we take for granted. We're going to go back quite a few years—to about 1882. Think of what a snare drum looked like at that time. (You don't have to visualize a drumset because they didn't exist.) In 1882, a snare drum would probably have had a wooden shell (or possibly brass or tin), wooden hoops, rope tension with leather ears for tuning, no throw-off switch, and some type of shellacked leather strands for a snare sound. It doesn't sound very glamorous, and I would imagine it wasn't. But it was also in 1882, in St. Louis, , that Emile Bou- langer started inventing drums and drum parts that would change the industry forever. Not a lot is known about Boulanger. His name indicates that he Model 1939 tunable tom-toms featured heads smaller in was probably of French descent. He and his family purchased a diameter than the shells. T-rod or key tuning was optional, and home at 2815 Henrietta Street, which is located near Lafayette the drums were available in pearl or sparkle finishes inlaid with geometric designs.

Square (a very nice neighborhood at the turn of the century in St. Louis). On September 13, 1901, Boulanger's Duplex Manufactur- ing Company incorporated in St. Louis. The capital stock was $2,000, divided into 20 shares split between Emile, his wife, and his daughter. Boulanger built a large carriage house in the back- yard in 1903 and expanded it in 1904 and 1905—probably to ac- commodate the growth of his drum business. Here are just a few of Emile Boulanger's inventions and contri- butions to the drum industry: 1. 1883 (April 3): Invents and produces the first separate-tension snare drum using metal tension rods. 2. Invents claw hooks for drum hoop tension. 3. Claims the invention for the center casing, which receives the two tension rods used on separate-tension drums. 4. 1887: Invents a hoop with metal flanges that the tension rods pass through, eliminating the claw. This was the forerunner of our present-day metal hoop. 5. Air vent for sound projection all the way around the drum. 6. 1898: Snares that lie inside the drum on the bottom head, thus protecting the snare. 7. Butt plate that tightens the snares. 8. Screw-type snare-tightening mechanism. 9. 1892: Waterproof woven snare string. 10. 1896: Internal muffler. 11. 1900: Two drums in one: a combined orchestra and band drum. 12. 1904: Snare brace: much like the old Rogers Dynasonic snare in the mid-1960s. When you take a closer look at what Boulanger did, you could say he personally propelled the drum industry into the 20th Cen- tury. This is not to say there weren't other notable contributors, but my findings have shown that at the turn of the century, Emile (and his Duplex Drum Company) was certainly a leader in the industry. After Emile died in 1908, his wife continued to run the business. In 1921, a man named Jules Meyer, who had been working for Duplex since 1893, became president of the company. Here are The cover of the 1939 Duplex Drum Company catalog. some of his contributions: pany by Kenneth A. Mezines

Emile Boulanger's patent for a separate tension snare drum was granted in 1883.

1. By 1933, Meyer had ten patents in his own name. 2. Distribution of Duplex products was nationwide and in six foreign countries. 3. Meyers in all probability was the inventor of the classic Du- plex drum. It was all-metal, with a plastic coating—the first such combination. It was light in weight, very durable, and resonant. 4. Except for the castings, all parts and drums were made "in- house." 5. As far as I can tell, Duplex made the first wire Snappy Snares, which are still used today. On April 22, 1968, Articles of Dissolution were filed with the Missouri Secretary of State, bringing to an end the Duplex Manu- facturing Company. It would seem to me that although Duplex was never a company that rivaled the major manufacturers of the drum industry, a debt of gratitude should be acknowledged for this company's tremendous contributions to all those "little things" we now take for granted.

THE STANDARD "SPIRIT OF ST. LOUIS" ORCHESTRA DRUM Has all of the basic principles of the DeLuxe Orchestra Drum, ex- cept that the shell is made of pressed brass. Head surface is 1 3 inches and outside shell diameter 1 4 1/2 inches. Internal Tone Control and E-Z Play Snares are standard. Select White Calf Batter Head and "Kangaroo" Snare Head. Patented Furnished in either 5-inch or 6 1/2 - No. 51 0 inch shell depths No. 510—5-inch Depth, Nickel Plated:...... :...... $35.00 No. 511—5-inch Depth, Gun Metal Shell, Gold Lustre Trimmings...... 35.00 No. 512—6 1/2-inch Depth, Nickel Plated...... 35.00 No. 513—6 1/2-inch Depth, Gun Metal Shell, Gold Lustre Trimmings 35.00 The Spirit Of St. Louis snare drum was the company's standard model in 1920. by Greg Moore Go With The Flow

Performing progressive musical styles requires the Drum Machine ability to "go with the flow," and often take it one (Agogo bells are added to this pattern, and are notated on the top step further. Drum machines have been seeping line and the first leger line above the staff.) into the music world for the past several years now and are a big influence on many music styles. Our job as drummers is to enhance our playing with drum machines, not fight them. The idea behind this column is to give you a few examples of how you can incorporate a drum machine into a live perform- ance situation. Currently I'm using a Yamaha RX-17 drum machine to supple- ment my acoustic drumset. Simple patterns and rhythms that the RX-17 provides add depth and professionalism to relatively simple drumming. The following are examples of drum machine patterns that can be used in conjunction with acoustic drum beats. For example, this simple drum beat:

The last example features a funk rhythm that uses a more diffi- becomes much more effective and exciting when played along to cult acoustic drum rhythm and a less involved drum machine this drum machine pattern, which features a shaker (written on the pattern. When you program a drum machine to accompany a third line) and a high and low part (written on the bottom drum part, it's a good idea to keep the drum machine part simple if line and the leger line below the staff): the set part is more involved, and vice versa.

Drumset

It should be noted that these drum-machine patterns are most effective when low instrument levels and programmable accents are used. The next pattern uses a simple but catchy drum beat that really starts to jive when the drum machine pattern is played with it. Drum Machine Drumset

As you can see, I prefer using a drum machine to play the auxiliary percussion instruments, leaving me to play all of the drums. By working with a drum machine in this manner your internal metronome will become very precise, and the band will become much tighter as a whole. Remember, the machine is to supplement you, and not vice versa.

by Billie Anne Bridges Mental Practicing

Re-creating your best performance night feels. Notice the warm feeling in your hands as outlined in your goal plan until your after night is very challenging. Even more and feel the skin as it strains across your mind has a vivid impression and is familiar challenging is being able to top that per- knuckles. Now open your hands and re- with each item. Once you feel confident formance. Yet it is possible. lease the tension. Feel each finger as it that you have absorbed and memorized Since drumming is both a mental proc- tingles and throbs. Let yourself experience your goal and the steps to take, you can ess and a physical activity, it is essential the difference between tension and relaxa- then proceed with achieving it. that a harmonious relationship exists be- tion. Repeat this exercise three more times, Visualization tween your mind and your body. When each time becoming more relaxed and more your mind and your body cooperate and peaceful. Movements are learned through visual work together, you can enjoy the freedom Curl your toes into a very tight ball and images. When your mind has a clear men- of playing naturally and spontaneously. hold. Feel the tension travel up through tal picture of yourself playing perfectly, your By practicing mentally, you acquire tech- your legs and into your body. Keep holding body is able to learn those movements, niques that assist you in re-creating—and until you experience complete stiffness. thereby recreating that same visual image possibly surpassing—your best perform- Slowly release the tension and let yourself into actual physical performance. ance, night after night. fall limp and loose. Feel this looseness as it As a child you learned tasks simply by spreads throughout your entire body. Be- watching others do them. Spontaneously, Planning Your Practice Time come aware of how light and free you feel. you went about repeating exactly what you Your mind works best when it has a pre- Focus your attention on your breathing. had seen. You did this quickly, easily, and cise purpose and practical plans. By setting Take a four-count breath in, loosen any without much thought or reservation. For a definite and realistic musical goal, your remaining tight limbs, then let a four-count adults, the same holds true. With a clear mind will automatically go to work for you breath out. Feel yourself float like a mental picture, your body will naturally by channeling energy into achieving that feather—weightlessly and effortlessly. respond with appropriate action. Therefore, goal. Breathe in relaxation and exhale any feel- you must learn to trust that your body will Developing and adhering to a structured ings of stress and tension. Notice the natu- instinctively accomplish this task. practice schedule accomplishes two things. ral tempo of your breathing and, with each Begin by creating a strong and vivid First, a precise purpose provides your mind slow and deliberate breath, begin counting mental picture of yourself having already with a focal point. This focal point enables to ten. accomplished your musical goal. Feel the you to reach and sustain a higher level of Mind Relaxation satisfaction of achievement and congratu- concentration. Second, being organized late yourself for work well done. Systemati- allows for a productive session that makes A still and quiet mind is one that is free cally proceed through each step of your efficient use of time. of internal conversation. By quieting the goal plan and visualize yourself as having Begin by setting the musical goal you mind, you can focus more readily and with already mastered each skill. For memoriz- wish to achieve. Break this goal down into greater intensity on your musical goal. By ing charts, it is a good idea to flash a visual categories and list exactly what needs to letting go of judgments, inhibitions, fears, image of the chart as often as possible. be practiced in order to achieve this goal. doubts, and self-criticisms, you become Playing Perfectly It's a good idea to record your goals in a more aware of what actually is occurring, journal. Keeping a journal encourages you and your attention can be maintained more Movement is also learned through "feel- to set future goals, and it also keeps track easily. ing images." Feeling images are when you of your progress. Begin by setting your mind to relax. To feel the moves in your body. By absorbing quiet down the chatter of your inner voice accurate movements, your body learns and Body Relaxation and to empty your mind of extraneous is able to reproduce these movements dur- A relaxed body is more sensitive to touch thoughts, focus on your breathing. Notice ing physical performance. and feel and is able to learn skills faster. its natural ebb and flow. Feel your lungs Begin by mentally seating yourself be- Accurate movements are absorbed easily swell with each breath in and deflate with hind your drumset. Feel of the because the body is more receptive. Addi- each breath out. Let feelings of peace wash sticks in your hands, and observe each part tionally, the mind is able to communicate over you and allow yourself to become of the kit. Make yourself completely com- spontaneously and efficiently with a body completely still. fortable, just as you would if you were that is calm and cooperative. If your mind wanders, ease it back gen- actually performing. Mental practicing actually programs those tly. If you begin to hear inner chatter, con- Now ask your body to begin playing. parts of the nervous system that will be tinue to focus on your breathing. Eventu- Feel how accurate and precise you are and used in physical performance. When your ally, a quietness will settle in your mind absorb each movement as it moves through limbs are loose, fluid movement and con- that will enable you to concentrate. your body. Actual physical movement is sistency in sound are easier to duplicate Concentration not necessary during this exercise, how- and maintain. ever, do whatever feels good and works Begin by making yourself very comfort- A mind in its concentrated state is alert, best for you. able. Close your eyes and set your mind on attentive, and aware. To be able to concen- Play through your entire goal plan, re- relaxing totally and fully. Breathe deeply, trate at a maximum level, you must suc- peating each step until you feel confident. completely filling your lungs. Let yourself cessfully harness any interference or dis- Listen and observe. Make any changes by become loose and free. traction. asking yourself to change. If something does Squeeze your hands into two tight fists Begin by fixing your concentration on not feel comfortable or natural, avoid trying and hold. Notice the tension and how it your musical goal. Go through each step too hard to fix it. Slow it down and repeat

RF: So you were playing all alone. Wachtel on guitar—this time Lindley WR: Yes. Some , bass, and the was not in the session—Jorge was on vocals were already on the track. bass, and I was on percussion. The funny thing is that I played Jim had about five trigger pedals through the song, and when I and an Emulator, and we did a lot heard it back, I said, "Okay, I think of experimenting with the song. I really got it now," and he said, Jim was playing with his fingers. "No, I like that." I said, "Oh please, He had programmed a hi-hat give me a second chance to play sound that he was triggering with it." So he listened to it again and his feet. At the end of the session, said, "I don't want to change this. we did so many takes that I had What is it you want to do?" I ex- Band Aids on my fingers and Jim plained that there was an accent I had Band Aids on his from push- wanted to catch, so he played the ing the buttons on his drum ma- song almost 75% through, and chine. It was funny—we went out then they punched in and I con- and bought them on the break. tinued to play the rest to get that RF: Any other interesting record- accent. ing you care to mention? I had done some work with WR: I got to do some jingles, and Jackson before on Lives In The Bal- I worked on a project Teo Macero ance. First I did the demo for one produced with Robert Palmer song, "Lawless Avenues," which singing and with Clare Fischer White was great to do. I had this idea to doing the orchestrations. It was do this thing that sounded like a Jack for a kind of big band. It was very shot. At that time, I was not into by bizarre to come into the studio electronics, and Jackson wanted Photo and find Robert Palmer there, to see where he could take it, so because it was almost like Ma- we did the demo acoustically as a chito—Latin big band. Luis Conte, band with Lindley and Jorge. It took on Mitchito Sanchez, and I were on per- a Police kind of feeling. Then after it cussion. I would also like to mention a was developed to there, he wanted to Tania Maria live album I did earlier, as experiment more, so he called me back me, because I was not really into electron- well as Louie Bellson and Walfredo de los again to do percussion on the song. This ics at that time. Jim has everything, and he Reyes' Ecue. I was also involved in a Japa- time he wanted to have Jim Keltner do is the coolest guy and somebody I really nese import, Don Randi's The Drum Al- electronics, which was the first time I got admire. Then Jackson had a whole other bum, which features different drummers like to work with him. That was a lesson for band with Danny Kortchmar and Waddy , Jim Keltner, and Hal Blaine; I did a track with Luis Conte on that record. RF: How did the Jimmy Barnes gig come about? WR: I met Jimmy Barnes through . Both of them came to a Lindley concert, and we jammed together. I didn't know who he was—just that he was a guy from Australia and he sounded great, with a real powerful voice. I played in a band for a party for Geffen Records, and I saw him there again, and we sat and talked. When he said he'd love to play together, I didn't give it too much thought, although I knew he was supposed to have a record out that produced, which Neal and Lindley were on. In August I got a call from Jimmy; he was going to open for in the States, starting soon. Could I do the gig? I explained I was com- mited to Lindley until September, but a few weeks later, he called me back and told me the tour in the States had been cancelled, but he was doing a tour of Australia. Jimmy is huge in Australia. He's like the of Australia, even though he hates to be called that. He told me the tour started in November, and I said I would like to do it. I wanted to move on and play some other stuff. It was a great experience. We played huge arenas. We played all the cities in Australia and . To give you an example, in , we played six nights in a row for 12,000 people a night. RF: What did you have to consider sound- wise now that you were playing in a whole new level? WR: It was nothing I hadn't played before, because with Lindley we had songs like "Mercury Blues," which were really loud. We played some big rooms and it got re- ally loud. RF: But arenas are something else. WR: No matter where we played, the are- nas or the smaller clubs, Jimmy's music was hard rock. One night, while we were playing an arena that had athletic rooms, we weighed ourselves and found out that we were losing five to six pounds per show. Of course, when you finish the show, you drink and eat it back up. But I was using gloves, and at the end of the tour I had infections underneath my callouses. Dur- ing one of the last shows I had to make an emergency trip to the doctor for some pain killers, and I had to play without using my thumb on my left hand. I was still playing with gloves, but the volume, whether we did arenas or not, was intense. There were two guitars, and I would almost use a P.A. system for monitors for myself. And I was triggering; I got into electronics last year. When I was doing a lot of things in L.A., I decided I really wanted to get into it. Ron Aston put my rack together, so I can trigger from my acoustic drums. I use the elec- tronics to enhance. I can always use the electronics triggering from the Akai with pads if the situation calls for it. But I also wanted to play the acoustic drums and have my acoustic drum sound. The electronics just give it more colors and more options. RF: You mentioned you played with gloves. Then with my sweaty hands, even if the called Alphonse Johnson to play, and he Was that just for Jimmy Barnes? stick is sanded with no lacquer, it feels like said he had heard Santana was auditioning WR: I still do. For these Santana gigs that the stick has become a part of my hand, drummers. At that time I was doing all the are high-energy, I kind of approach them especially in my left hand. I don't find any preparations to get married in San Fran- as an athlete. I usually warm up with Ar- problems playing with the gloves; I think it cisco, and when I called Santana's man- mando, doing stretches and such. It's al- helps me. agement they said to come to San Fran- most like a sports event. They are three- RF: What kind of gloves do you use? cisco. I was going up there anyway, so I hour concerts, we have to sweat, and we WR: Believe it or not, I switched from golf- made plans for the audition. will be physical with sometimes very high ing gloves to baseball gloves. The baseball RF: What did you do to prepare for the volume. I like to be relaxed and flexible. I gloves have this really nice, fine leather, audition? like to psych myself up a little bit, and and they last for a long time. The golf gloves WR: It was really wild. You have to realize when it's hot, I sweat a lot in my hands. I broke and stretched. I like them to conform he has 30 albums. Some of the material I would rather not play with gloves, but when to the shape of my hand. I don't use them knew by heart, and the management told my hands are sweating a lot, I have to grip all the time, but I do sometimes, especially me to learn some certain songs. I started to the sticks harder, and my hands will cramp. in summer and when the lights are really learn and refresh myself. When I arrived, The first thing you need is a good monitor hot or it's a long show. they had a rented set there, and the band system, though. When you don't hear your- RF: How did the Santana gig come about? was there. It ended up being strange; he self loud enough, you tend to play harder. WR: When I came back from Australia, I caught me off guard. What he did was start playing a lick on the guitar to see what I would play. He does this a lot; now I know, but I didn't at the time. So the keyboard player started playing, and the bass player started playing, and all of a sudden it was, "Am I supposed to know this song?" After- wards I learned they were ideas for new songs he was working on, and he wanted to see what I would add. Most of them were songs I did not know, and then they played one or two that I had prepared for. I had opened for Carlos about two years ago with David Lindley, so he had seen me play. I think one of the things that helped me get the gig was my knowledge of per- cussion. The gig is fun for me drumming- wise because the gig demands someone who is free to go left and right style-wise. RF: What specifically is at left and at right? WR: Anything from a Coltrane influence— Rashied Ali and Elvin Jones—to the newest rap grooves. He goes to Brazil, Africa, Cuba, L.A., or . Also, you have to know the original Santana stuff. It is a very heavy seat because you have to learn what , Ndugu Leon Chancier, , Tony Williams, and Chester Thompson did in those songs. You almost have to become them sometimes, but at the same time, Carlos doesn't want to sound like Santana 1969 or Santana 1974. You have to learn those drummers, but you have to add the new and be yourself. When I auditioned, I think that's one of the things that helped me. When Armando started playing on four congas and Chepito started playing a certain rhythm, I kind of knew the rhythm and what made them feel it, because I am a percussionist. We also jammed without the percussionists, and that was fine. We went everywhere from funk stuff to a mixture of world beat or reggae, and then Armando and Chepito came in doing Afro-Cuban stuff. Carlos wants ver- satility. RF: I think it was Graham Lear who said in his MD interview that the biggest key to playing with Santana is simplicity. Is it hard sometimes to find that space to play, with so much going on onstage? WR: When Graham Lear was playing drums, there were three percussionists in the band. As of right now, Chepito is no longer with the band, so it's just Armando and me. So when all of a sudden we were left without a timbale player, I added tim- bales on my left, like my setup with Lind- ley. It doesn't sound the same; it can't. But it's good. It sounds different. RF: Carlos once told Rick Mattingly that Armando was the pace setter—the leader, so to speak, of the tempo and the energy. WR: just like I do, Carlos has great respect for Armando. I could do a whole article on Armando; he's like a walking book. He has played with my grandfather and my father in Cuba. Playing with him is an honor. Carlos is right; when Armando is playing and it feels good to him, he starts dancing. When something is not clicking, he just stares. He'll make a face when something is not happening. Carlos might be up front playing the guitar, but he feeds off Armando a lot, and I do too. Carlos counts a lot of the tempos, I count a lot, and some Ar- mando starts. Armando is really happy play- ing with me, which makes me happy, and I'm really happy playing with him. We've gotten incredible; we do some things when Carlos leaves us alone. Like on "Sabor" he lets us do whatever comes out. Armando is the oldest man in the band at 76, and at the same time, he's the young- est in energy. Carlos introduces Armando as the heartbeat of the band—the youngest soul. He's the guy who pushes you to your best spirit. He gives it all for the audience. He gets up in the morning and wakes you up with, "Let's walk," and he walks for miles and miles, and it's, "Maybe tonight we can try this rhythm, and then let's mix this rhythm with this rhythm," and on and on. We don't really rehearse a lot, so we try it in front of the people. RF: So you talk about some of the things. WR: Some of the things. The thing about Carlos is he likes a lot of spontaneity, so all of a sudden, he'll start jamming a line. He wants to see what develops from there. Sometimes it develops into a song. Carlos likes a lot of fire in drummers. In fact, he's a pretty good drummer himself. He doesn't like a drummer who will play something that he can program on a drum machine or something someone else will do. He likes someone who will add something he's never heard before. And that's difficult because so many drumming statements have already been made. The goal is to hear a big fat rhythm, not the individual percussion parts. You hear this mixture, everyone adds, and there's a discipline involved. When I was playing with Chepito, he was a real firey timbalero, and a lot of the time he would do a lot of the fills, which is fine with me. Now that he's not there, I miss some of the things he did. I have more space to do some myself, but I can only do so much. For a lot of the things, I wish I had four more hands to play. I am really enjoying this gig. Talking to Armando on the road is so entertaining. You have to remember that when this man came to the United States in the '40s, there were no conga drums in American bands. It was a segregated time. He brought his Cuban culture to the United States, and then it got mixed with other things, and he's lived so many experiences. When we talk, it's really inspiring—with Carlos, too. The other day we were on a plane and we saw an article on Woodstock, so he was telling me how it happened. They were doing this first tour, and the last gig was going to be upstate New York at this little festival they were having. It turned out to be Woodstock, and they were not the same after that. It was really inspiring. Some- times I feel it's really incredible to be in this band where they respect me for what I do, but at the same time I feel like a groupie, because there's , there's Al- phonso Johnson who played with Weather Report and so many other bands, and Ches- ter Thompson, the keyboard player who used to be with Tower Of Power. Then there's Armando. RF: You were saying that you felt your knowledge of a variety of styles helped you get the gig, but even though the music has a Latin feel to it, it's not authentic Latin music, is it? WR: Carlos's father-in-law is a blues player in Chicago. Carlos may not play the blues like his father-in-law, but he comes from that blues background. He plays the blues with the Latin and mixes it. I know the authentic stuff, but sometimes Armando and I will intentionally not play something that has been played before. We will mix reg- gae and cha cha, for instance. RF: When someone says "not authentic Latin," what does that mean? WR: If you go down south to a black gos- pel church, that's really authentic gospel. They use the and they chant. and Aretha Franklin come from there, and when you hear their song, it's not authentic gospel, but you hear gospel. They can go back to where they're from, though, and they can sing in church and sound authentic. A lot of people who might do Aretha Franklin songs and that kind of material cannot go to a Baptist church and mix in authentically with those people. That's why I always try to find the root. It's just like a plant. I love to eat the fruit and I can see the trunk, but I always like to see how it started, the roots. It gives you more power, more vocabularly to choose from. Today, with technology, everything is mix- ing so much, and it's great in a way be- cause a lot of new music is coming out. You have access to more record stores and tapes. People that are in Europe go to Af- rica and bring a tape back with them and all of a sudden there is a lot of influence from African music in the new continent and European styles get mixed in, and it's going back and forth. I like it. RF: But sometimes the root can get lost. Without knowing the origin, it just becomes a hybrid. WR: That has happened. I was talking to Armando about that. In Puerto Rico, for instance, they have certain rhythms like bomba and plena, but they're not really used or mixed in their popular music. It seems that the kids, even in Brazil, want to immediately learn the metal rock beats, and sometimes the roots are not learned, so the older people die with some of the secrets. It happens a lot, even in America with a lot of the old blues and American root music. It's up to the younger genera- tion to really dig. It's okay to develop it into something else, but don't let it die. RF: Do you have any sense of what this new album will be like? WR: It seems to be unfolding with a con- cept. The album is called Spirits Dancing In The Flesh, and it's like a story that touches on a lot of spirituality in a very positive way. There is one song called "Choose," which is about choosing different paths of your life. Everybody works differently. Car- los isn't asking a lot of writers to submit tapes. He likes to have the writing come from him and bring the band into it. RF: How does he bring you into it? WR: He has certain groove ideas and cer- tain guitar licks and ideas, but it's not nec- essarily finished in its form, and a lot of the songs we've been jamming on are new. Some nights we'll take a different rhythm, and it will take a different form. We experi- ment on them to see where we can take them. It is still his thing, but he is open for a lot of suggestions from all of us. He feeds a lot on his musicians. This album will be very interesting. RF: What do you feel it takes to be a suc- cessful drummer today? WR: First of all, a great drummer is not necessarily a successful drummer. Musi- cally, I envision the successful drummer of the future must be, first of all, a great musi- cian, who knows about electronics, per- cussion, and drums, and drums is just the vehicle for him to express the music. He is a musician who can compose and knows about songwriting and is worldly influ- enced. There are going to be a lot of races and cultures mixing together in the future, so if you really want to work a lot, it's good to know your neighbors more—their cul- tures and what their music is all about. Also, you have to be liked and you have to make the other musicians you play with feel good, and I don't mean chemically, but musically. That's really important, be- cause if you're the greatest master drum- mer and nobody can get along with you, people won't want you around. You have to bring things out of other people too, musically, and if you can make a guitarist or a singer do what they do better, they're going to want you. Plus, for your own sake, know about the business of music. There are a lot of great musicians who are broke these days, and why? RF: I've come to realize that success is based on three things: There has to obvi- ously be the talent, there has to be the element of luck and being in the right place at the right time, and there has to be that inner drive or ambition that gets you to the right place at the right time. Part of that drive is the business thing—the phone call- ing, and knowing how to sell yourself and how to negotiate your own price. WR: I agree with you, and one without the other is worthless. I've gone to musicians' houses who are geniuses and I think, "This person should be on the stage. Why isn't he?" Maybe he didn't have enough drive. If you are clear-minded and physically and spiritually clean and in shape, that means you might have longevity. Like Armando, for instance, is 76 years old, and he can outplay me any time! And I am not saying you should be in the music business to make money, because if you are a drum- mer to become a millionaire, you might as well go for some other profession. But while you're making music, you should make a good living doing it. It's not just to get you rich and to have a great life, it is to buy more instruments and things to enhance your music. You have to learn computers, because that is coming strong. And at the same time you are learning the technology, terview, "If you could do it over again, of me. I always give ideas to others, and you have to go and dig the roots of the what would you do?" And he answered, now I have all this music inside of me, but past. You have to be futuristic but also "Try to find a better balance in my life, with what direction to take it in is another di- search the past. When I go into a record the music and my personal life." That's lemma. But I'm going to have to figure it store, I go to the section with the most really the challenge right now in my life, out, because that's part of the balance I'm current hits—what the record companies and in everybody's life I guess: to be happy looking for. are pushing—and also the oldest ethnic musically, get rewarded properly, and still I would like to stay in town more. I'm sections. If I search the past and the future, have a balanced personal life. It's really grateful that I'm doing what I'm doing, but that kind of makes me have something in hard to find the balance. First of all, an the grass is always greener on the other the present. artist is almost never happy musically, be- side. I want to do other things I am not RF: We had a conversation once about the cause there's always the next frontier, and doing now, but I'm happy doing what I'm business aspect of pricing yourself and the they're critical of what they're doing now. I doing, too. I haven't been able to be home importance of not over- or under-pricing have played a lot of wonderful things with for the past two years, although I'm grate- yourself. a lot of great musicians, and I have learned ful that I am working and making a good WR: I try to hear through word of mouth a lot, but I have always been a Sideman, living, and I'm playing the drums and I'm what the musicians I admire charge. There's helping other music to happen. Now I am playing with a lot of great musicians. But always that kind of scale, aside from the beginning to get a hunger to not only do there's a lot I haven't done yet. union. If an artist wants something and has my drumming, but my music that is inside been willing to pay that, that means he can. I'm not going to charge a friend of mine down the street who is not employed the same amount I would charge an RCA session that has a big budget, and I know the money is there. I always try to be fair. RF: But if you under-price yourself, it cre- ates a standard that they feel they can get away with, yet people want to work so badly they'll work for peanuts. WR: You hear managers say, "Why do I have to pay you this much when there are ten guys who will do it for half the money?" I say, "Just go and hire them." A manager will say, "I can go to a college where there are a lot of young kids who are burning to play, there's that young energy, and they want to travel, and they will do it for pea- nuts." I was there, too, and I did a gig where they were looking for somebody in his early 20's with a lot of young energy. That was fine, but I think if you want some- body who is great, there is nothing like experience. When you have a record to do, you want to bring in a musician who has been around different situations and is versatile, not because he learned it from a book, but because he lived a lot of that and has done it. When you bring that person in, it's like a guarantee that that person will do the best for your music. RF: It's like any job. If you open up the classified jobs section of a newspaper, the guy with the most experience gets paid the most. WR: Plus, this is not an egotistical thought, but when I think of what I'm doing with Santana right now and what I did with Jimmy Barnes, it's not just what it took as far as styles and versatility, but also as far as physical stamina and consistency. There was a great jazz musician I really admire who I went to see one night. He played great and I went back to the dressing room and overheard him talking business with someone. He said, "I love to play music that fulfills my spirit, but if I go home and open my refrigerator, and I don't have enough food for my wife and kids, the ful- filling music I played that night means noth- ing." RF: What is the most current goal in your mind? WR: Someone asked Steve Gadd in an in-

by John Santos More Songo For Drumset

The songo is not a specific rhythm, but rather a Examples 2 - 6 are all written in "2-3" clave. Naturally, they modern style of Cuban music heavily steeped in must all be learned in "3-2" (by reversing the sequence of the the traditions of the son, rumba, and conga— measures). In all of the exercises, strive for smoothness and dy- and as such, is extremely danceable. The songo namics. is a versatile, highly adaptable style, and its vari- Example 2 is basically the same as example 1, except for the ations in terms of instrumentation and rhythm addition of an accent pattern for the snare and the substitution of are endless. an open sound for the last beat of the hi-hat pattern. In each One cannot mention songo without giving credit measure, the third note of the bass drum is optional (notated in to its primary ambassadors and creators: Changuito (drums and parenthesis). percussion) and Juan Formell (bass) of the Orquesta Los Van Van of Cuba. However, many artists have been influential in direct and indirect manners in the formation and evolution of the style both before and after Los Van Van. The first Cuban "songoneros" to take up residence in the U.S. are the great percussionists Ignacio Berroa and Daniel Ponce. In the following examples, all hi-hat, floor tom, and cowbell parts are played with the right hand, while all snare and tom parts are played with the left. Example 1 is an exercise that forms the basis for the following five examples, as well as for most interpre- In example 3, the first note of the snare drum is on the second tations of songo on the drumset. beat of the first measure, giving a natural accent to the clave.

Example 4 features an interesting syncopation on the bass drum.

An expanded bell part, the use of a rack tom in both measures, and a bass drum part with more space than the previous ones are highlights of example 5.

A further expanded bell part and yet another bass drum vari- ation are featured in example 6.

In our continuing effort to maximize the value of Modern Drummer as a reference tool, the editors of MD are pleased to offer this 1989 Index Update. The listings presented here are a guide to virtually all of the biographical, educational, or special-interest information presented in Modern Drummer in the past year. Information presented in Modern Drummer issues dated 1986 or earlier is indexed in MD's Ten-Year Index (which was presented in the December 1986 issue). Year-end indexes were established in December of 1987, and will continue as a regular feature in the future. The format for the index varies somewhat, according to the information being presented. For example, the names on the Artist Reference List and Industry Personality Reference List are presented alphabetically, followed by coded information showing where any biographical or educational information pertaining to each person named might be found. In other words, you should be able to look up your favorite drummer and immediately see where anything MD published about that drummer in 1989 may be located. You'll also be informed as to whether that drummer has written any columns for MD, and if so, in which column departments you should look them up. Unless otherwise noted in their headings, the column departments are indexed alphabetically by the author's last name. In this way, you can check out "everything written by" your favorite columnist in 1989. Notable exceptions are Drum Soloist and Rock Charts, which are indexed by the artists' names—as are the reviews in On Track, On Tape, and Printed Page. Product reviews—regardless of the column in which they ap- peared—are listed alphabetically by manufacturer or product name in the Product Review/Information Columns section. In this way, you can quickly find out what our reviewers thought of any particular piece of equipment simply by looking up the item by name. A new feature of this year's Index is the inclusion of product press releases that appeared in the New And Notable department. These releases often contain addresses and/or phone numbers that can help you obtain further information on products you find interesting. These listings also appear by manufacturer or product name in the Product Review/Information Columns section. It is our hope that the manner in which we have organized our Index Update will make it easy to use, so that you can have quick and easy access to the wealth of information presented in MD's pages over the past year. KEY TO SYMBOLS USED THROUGHOUT THE INDEX The parenthetical abbreviations indicate where information on (or authored by) a given artist may be found. (In the case of the Product Review Columns, the abbreviations indicate where information on a given product may be found.) With the exception of (F), all abbre- viations refer to column or department titles. (A) = Ask A Pro (IH) = Industry Happenings (RJ) = Rock 'N' Jazz Clinic (AW) = Around The World (IS) = In The Studio (RP) = Rock Perspectives (B) = Basics (JDW) = Jazz Drummers'Workshop (SDS) = Show Drummers' Seminar (ER) = Electronic Review (NN) = New And Notable (SB) = South Of The Border (F) = Major Feature Interview (P) = Portraits (U) = Update (FP) = From The Past (PCU) = Product Close-Up (UC) = Up And Coming ARTIST REFERENCE LIST

—A— DENSMORE, John (U) Feb. KENNEDY, William (UC) Feb. ADAMS, Charlie (UC) Aug. DESBROW, Audie (U) Aug. KIRKE, Simon (U)Jan. AFFUSO, Rob (U) Aug. "Doobie Drummers" (F) Nov. (Hartman, Hossack, LaK- KNOLES, Amy (P) Oct. ALDRIDGE, Tommy (A) Sep. ind) KOTTAK, James (F) Jun. APPICE, Vinny (A) Aug., (A) Dec. "Drummers Of Montreal, The" (F) Apr. (Beslisle, Bro- ARONOFF, Kenny (A) Jan., (A) Sep. (author: (RP)] chu, Nadon, Primeau, Provencal) DUNCAN, Steve (U) Sep. LaKIND, Bobby (F) Nov. ("Doobie Drummers") LUCCKETTA, Troy (F) Sep. BADANJEK, Johnny "Bee" (U) May BAILEY, Richard (F) Oct. EDGE, Graeme (U) Jan. BARON, Joey (UC) Mar. ELLIS, Greg (U) Dec. MANN, Ed (A) Nov. BEAL, David (U) Jan. ELMER-KING, Suzanne (P) Feb. MASTELOTTO, Pat (F) Oct. BERG, Bill (F) May ERSKINE, Peter (A) Apr. [Author: JDW] MATTACKS, Dave (F) Mar. BERRY, Bill (U) Apr. MCBRAIN, Nicko (A) Apr., (A) Oct. BESLISLE, Camil (F) Apr. ("The Drummers Of Mon- McCARTY, Jim (U) Jun. treal") FAMULARO, Dom (A) Dec. MOLO, John (F) Jan. BLACKWELL, Chris (F) May FERGUSON, Gary (U) Aug. MORALES, Richie (A) Mar. BLAIR, Michael (F)Jul. FIG, Anton (A) Sep. MORRIS, Stephen (F) Dec. BONADIO, Joe (P) Dec. FISH(U)Jul. MOSER, Cactus (U) Jan. BOUCHARD, Albert (A) Oct. FORD, Shannon (U) Feb. MOVER, Jonathan (F) Nov. (cover), (A) Jan. [author: Snd BOZZIO, Terry (A) Mar. [Author: Snd Supl.—Jan] FOSTER, Al (F) Jan. (cover) Supl.—Jul.] BROCHU, Paul (F) Apr. ("The Drummers Of Montreal") FRANTZ, Chris (F) Aug. (cover) MULLEN, Larry Jr. (A) Jan. BROCK, Tony (F) Apr. FRASER, Denise (UC) Jul. BRUFORD, Bill (F) Feb. (cover), (U) Oct., (A) Nov. NADON, Guy (F) Apr. ("The Drummers Of Montreal") GLENNIE, Evelyn (P) May NAUSEEF, Mark (P) Jan. CALHOUN, William (UC) Jan. GOETZMAN, Steve (U) Jul. NEVITT, Stu (U) Nov. CAMPBELL, Tommy (U) May GRAVES, Mike (U) Feb. NEWMARK, Andy (A) Jul. CAPALDI, Jim (U) Mar. GUBIN, Sol (F)Aug. CARRINGTON, Terri Lyne (F) Sep. (cover) CASTRO, Lenny (F) Apr. PANGBORN, Ron (U) Jun. CHAMBERLAIN, Matt (U) Nov. HAKIM, Omar (F) Jul. (cover) PARKER, Chris (U) Nov. CHAMBERS, Dennis (F) May (cover) HARRIS, Beaver (P) Nov. PEART, Neil (F) Dec. (cover) COBHAM, Billy (U)Jun. HART, Mickey (U) Jul. PETRUCCI, Roxy (U) Dec. COLAIUTA, Vinnie (A) Feb. HARTMAN, John (F) Nov. ("Doobie Drummers") PERKINS, Stephen (U) Apr. COLON, Frank (F) Mar. HIRST, Rob (F) Jul. PHILLIPS, Simon (U) Oct. COURY, Fred (U) Dec. HOOPER, Stix (U) Oct. POE, John (U) Apr. CROCKETT, Larry (U) Dec. HOSSACK, Michael (F) Nov. ("Doobie Drummers") POWELL, Cozy (U) Mar. CRONIN, Keith (U) Jun. PREVITE, Bobby (F) Sep. PROVENCAL, Richard (F) Apr. ("The Drummers Of JOHANSSON, Anders (F) Jan. Montreal") DANELLI, Dino (F) Mar. (cover) JORDAN, Steve (F) Apr. (cover), (A) Jul. DEE, Johnny (U) Feb. DeJOHNETTE, Jack (F) Oct. (cover) REYES, Walfredo, Jr. (F) Dec. DENNARD, Kenwood (P) Apr. KEMPER, David (U) Oct. RILEY, John (P) Jun.

RILEY, Steve (U) Mar. MISCELLANEOUS Pfeifer, Jim, "Multi-Tom Fills On A Five-Piece Set: Part ROBERTS, Greg (U) May FEATURES 1 "—May, ROBINSON, John (U) Sep. "Multi-Tom Fills On A Five-Piece Set: Part 2"—Jun. ROCHESTER, Cornell (P) Sep. Equipment Features Zonder, Mark S., "The Click"—Sep. ROCKENFIELD, Scott (F) Aug. Sticks Of The Stars—Dec. ROCKETT, Rikki (A) Aug. Club Scene Historical Features Van Horn, Rick, "Apples In An Orange Crate: Part 1"— "Development Of The Mylar Drumhead, The"—Aug. SANTORO, Vince (U) Sep. Mar., "MD Drum Festival '88"—Feb. "Apples In An Orange Crate: Part 2"—Apr. SCHOCK, Gina (A) Feb. "MD Index Update"—Dec. SHRIEVE, Michael (F) )Jun. (cover) "On The State Of The Industry"—MD Equipment An- SMITH, Steve (U) Aug. Concepts nual, )Jul. '89 SWEET, Robert (A) Nov. Burns, Roy, "Pressure"—Jan., "Reading"—Feb., Instructional Features "Working For Stars"—Mar., "Focus On Electronics: Electronic Setups, ABC's of Sound "Holding Yourself Back"—Apr., TIMMINS, Peter (U) Nov Reinforcement, and Basic Electronic Terminology"— TOMKINS, Trevor (F) |un. "Discipline"—May, Feb. "It's Never Too Late"—Jun., TORPEY, Pat (U) May "Getting The Right Sound In The Studio"—May TORRES, Tico (U) )Jul. "Money Vs. Music"—Jul., "Believe In Yourself"—Aug., Manufacturer/"lnside..." Features "Drum Solos"—Sep., "Inside Evans"—Mar. "Talent And Follow-through"—Oct., WARD, Bill (U) Mar. "Inside PureCussion"—Nov. WECKL, Dave (A) Aug., (A) Oct., (A) Dec. "Artists And Endorsements"—Nov., "Inside Select Snare Drums"—Jun. WHEELER, Paul (UC) May "Enthusiasm"—Dec. WHITE, Alan (A) Feb. Readers Poll Results Different View WHITTEN, Chris (F) Nov. 1989 Readers Poll—Jul. WRIGHT, Simon (F) Feb. Ferry, Joe, "Reflections Of A New York Producer"— Aug. Sound Supplements "Terry Bozzio: Soloing Over Ostinatos—Jan. Driver's Seat "Jonathan Mover: 'Put Up Or Shut Up'"—Jul. ZEKAVICA, Milan (U) Sep. Graham, Gil, "Setting Up Band Figures"—Dec. COLUMNS INDUSTRY PERSONALITY Drum Soloist (Alphabetized by artist, not transcriber) REFERENCE LIST Around The World This list contains names of individuals known primarily Harrison, Edward, "Jaropo Playing"—Oct. Blakey, Art, "Sincerely Diana"—Dec. as manufacturers,or technicians. Jones, Philly Joe, "Locomotion"—Oct. Basics Jordan, Steve, "Casa Loco"—Jan. COHEN, Martin (F) Sep. Alpert, Brian, "Playing At High Volume"—Aug. Vega, Carlos, "Oasis"—Mar. EDLUND, Fred (IH) Sep. Bouchard, Albert "The Essence Of Rock"—Dec. Electronic Insights James, Douglas, "Triggering"—Feb. Brodbeck, Tom, "Alternative Practice Ideas"—Nov. Mucciolo, J.W., "Electronics On A Budget"—May

Equipment Reference Charts MD Editors, "Product Reference Chart," MD Equipment Annual—Jul.

From The Past Falzerano, Chet, "Gretsch-Gladstone Drums"—Sep.

Mezines, Ken, "The Duplex Drum Company"—Dec.

Health & Science Bridges, Billie Ann, "Mental Practicing"—Dec.

Kerr, Alan, "Shaping Up"—Jan.

In The Studio Krampf, Craig, "The Unrehearsed Session"—Jan., "The Common Goal"—Feb., "Recording With Singers"—Apr., "On Professionalism"—May

Jazz Drummers' Workshop Budofsky, Adam, "Finding Inspiration Away From The Set"—Nov.

Erskine, Peter, Motion Poet—Feb. "Ballad Playing"—Feb., "In Appreciation, Teacher"—Apr., "Thoughts On Playing Free: Part 1"—Jun., "Further Thoughts On Playing Free"—Aug., "Where's The Ethos?"—Oct.

Master Class Cirone, Anthony J., "Portraits In Rhythm: Etude #16"— Jan., "Portraits In Rhythm: Etude #17"—Mar., "Portraits In Rhythm: Etude #18"—May, "Portraits In Rhythm: Etude #19"—Aug., "Portraits In Rhythm: Etude #20"—Nov.

MIDI Corner La Cerra, Steve, "Syncing Drum Machines To Tape"— Mar. On Tape (Reviews alphabetized by artist, not by reviewer)

Airto & Flora Purim, The Latin Jazz All-Stars (video)— May

Blakey, Art, Art Blakey: The Jazz Messenger (video)— May

Bozzio, Terry, Solo Drums (video)—Jan.

Evans, Gil (Billy Cobham, Drums), And His Orchestra (video)—May

Ford, Shannon, Licks & Tricks (video)—Jan.

Keezer, Ron, Keezer On Drum Set (video)—May

Morgenstein, Rod, Putting It All Together (video)—Jan.

McCracken, Chet and Chester Thompson, Chet McCracken And Chester Thompson (video)—Sep.

Porcaro, Jeff, Jeff Porcaro (video)—Sep.

Samuels, Dave, Mallet Keyboard Musicianship Steps To Excellence (video)—Sep.

Smith, Steve, Steve Smith Part Two (video)—Jan.

Sulsbruck, Birger, Latin American Percussion (video)— Jan.

Torres, Tico, Tico Torres Of Bon Jovi, Drumming Essen- tials (video)—May

Tully, Tim, Stick Twirling (video)—May

Various Artists, Batouka, 1st International Festival Of Percussion (video)—May

Various Artists, Superdrumming (video)—Sep.

Weckl, Dave, Back To Basics (video)—May

On Track (Reviews alphabetized by artist, not by reviewer)

Camilo, Michel, Michel Camilo—Jul.

Carrington, Terri Lyne, Real Life Story—Jul.

Cole, Lloyd & The Commotions, Mainstream—Feb.

Corea, Chick, Akoustic Band—Jul.

Dark, Tamna Voda—Oct.

Erskine, Peter, Motion Poet—Feb.

Fairport Convention, Red & Gold—Oct.

Gottlieb, Danny, Whirlwind—Oct.

Gurtu, Trilok, Usfret—Jul.

Hart, Billy, Rah—Jul.

Hass, Jonathan, 18th Century Concertos For Timpani And Orchestra—Jul.

Hazilla, Jon (Trio), Chicplacity—Oct.

James, Etta, Seven Year Itch—Feb.

Little Feat, Let It Roll—Feb.

Machete Ensemble, The, Africa: Volume 1—Feb.

Mann, Herbie, Opalescence—Oct.

Marimolin, Marimolin—Jul.

Moore, Vinnie, Time Odyssey—Feb.

Phillips, Simon, Protocol—Feb.

Peterson, Ralph (Quintet), V—Jul.

Reed, Lou, New York—Jul. Shrieve, Michael and , The Leaving Time— Sabanovich, Daniel, Brazilian Percussion Manual—Aug. Bouchard, Albert, "Rock Around The Set"—Aug. Feb. Savage, Steve, The Billboard Book Of Rhythm—Nov. Fields, Howard, "Two-Handed Riding"—Oct. Smith, Steve & , Fiafiaga (Celebration)— Feb. Rock Charts Morton, James, "Mastering The Funk Shuffle"—Apr. (Alphabetized by artist, not by transcriber) , N.Y.C.—Jul. Shop Talk Allen, Rick, "Pour Some Sugar On Me"—Feb. Clarke, John, "Simple Remedies For Tired Drums"— Vasconcelos, Nana & The Bushdancers, Rain Dance— Nov. Oct. Carlos, Bun E., "Don't Be Cruel"—Nov. Fiore, Jim, "Building A MIDI THRU Box"—Mar. Williams, Joe, In Good Company—Oct. Colaiuta, Vinnie, "Dong Work For Yuda"—Aug. Nolly, Larry, "Taking The Mystery Out Of Tuning"— Williams, Tony, Angel Street—Feb. Ulrich, Lars, "Eye Of The Beholder"—Apr. Oct.

Printed Page , Alex, "Finish What Ya Started"—Sep. Psarris, Spiros A., "Drums: An Engineering Analysis: (Reviews alphabetized by publication author, not by Part 1"—Dec. reviewer) Rock 'N' Jazz Clinic Bush, Glen, "Changing The Feel"—Feb. Schofield, Colin, "Cymbal Rivets"—Sep. Bailey, Colin, Bass Drum Control—Nov. Contino, Louis, "Using The Floor Tom As A Bass Show Drummers' Seminar Braman, Chuck, Drumming Patterns—Aug. Drum"—Dec. Marchica, Ray, "The Drummer/Conductor Relationship: Part 2"—Jan. Chivers, Jim, Dynamics In Time—Apr. Hurley, Mark, "Funkadiddles"—Jun. Slightly Offbeat Feldstein, Sandy, and Dave Black and Jay Wanamaker, Menefee, Grant, "Samba Grooves"—Oct. Potter, Jeff, "Oil City Symphony"—Mar. Alfred's Drum Method, Books 1 and 2—Apr. Miller, William F., "Linear Patterns Made Easy"—Aug South Of The Border Green, Jim, A Rhythmic Approach To Sticking Thru Santos, John, "Timbal Excursions #1"—Feb., System 21—Nov. Morgenstein, Rod, "What's In A Note: Part 2"—Jan., "Shekere"—Apr., "What's In A Note: Part 3"—Mar., "The Pandeiro"—Jun., Hart, Billy, —Nov. "I'll Never Forget The Time..."—May, "Advanced Conga Drum Workshop"—Sep., "Accented Triplet Warm-ups"—Jul., "More Songo For Drumset"—Dec. Hurley, Marty, The Phancy Phantom and Phantom Of "Switching Gears With Winger"—Sep., The Phield—Apr. "Drumset Warm-ups"—Nov. Strictly Technique Caselli, Tony, "Ratamacue Solo Ideas"—Feb. Irwin, Gregory G. and Lorraine C, Finger Fitness— Rock Perspectives Nov. Aronoff, Kenny, "Chuck And Bo"—Jan., Morello, Joe, "Doubles, Triples, And Buzz Strokes"— "Being Creative"—Mar., Jul., Johnson, Michael, The Drummer's Fitness Guide—Apr. "Count!"—May, "Endurance And Control: Part 1"—Aug., "Combining Your Drumkit With A Drum Machine"— "Endurance And Control: Part 2"—Sep., Mancini, Dave, Drumset Fundamentals—Nov. Jul., "Variations On Stick Control"—Oct., "'Justice And Independence '85'"—Sep., "The Drori Exercise"—Nov., Nolly, Larry, Drum Tuning—Aug. "'The Wheel'"—Nov. "Warm Up/Warm Down Exercises"—Dec.

Taking Care Of Business Frankfurt Music Fair Reports Drum Screen isolation system (NN)—Dec. Moran, Woody, "Making The 'Business' Of Your Music "Frankfurt Music Fair 1989" (NN)—Jul. Successful"—\an. Drum Workshop 5000N single and 5002N double bass Product Review/Information Columns drum pedals, 9700 cymbal stand, 9500 and 9501 snare Teachers' Forum (Listed alphabetically by manufacturer or product name) stands, and Metropad(NN)—May, Anisman, Steve, "21 Productive Ideas For The Private Drumkit (PCU)—Oct., Teacher"—Aug. Alfred Publishing Brazilian Percussion Manual and TBX-3 Jerry Bozzio Electronic Drumpad (NN)—Nov. Modern Drum Studies (publications) (NN)—May The Jobbing Drummer drumKAT(ER)—Jun., Alpert, Brian, and Dave Palamar, "Getting Prepared To Akai S950 Sampler (NN)—Apr., (ER)—Jun., drumKAT2.0 Software (NN)—Nov. Sub"—Jun. XE8 Drum Expander (NN)—May Drummer's Fitness Guide (NN)—Feb. Babcock, Scott D., "Drumming On The High Seas"— Aphex Model 612 Expander/Gate (NN)—Jan., jul. Impulse Model 810 MIDI Trigger System (NN)—May Duralite Drumsticks (NN)—Sep.

Coxon, Robert, "Controlling Tempo"—Jan. Aquarian Signature Series Drumheads (NN)—Jun., E-mu Systems Proteus Digital Sound Module (NN)— Imperial Dot Drumheads (NN)—Nov., Sep. Goodwin, Simon, "Varying The Backbeat Sound"—Sep., lack DeJohnette Snare Head (NN)—Dec. "Tradition And Authenticity"—Dec. Evans Resonant snare-side heads (NN)—Aug., Artist's Choice Castanet Machine (NN)—Feb. Genera Drumheads (NN)—Nov. The Machine Shop Moore, Greg, "Go With The Flow"—Dec. Backbeater Bass Drum Beater (NN)—Aug. Exer-Flex Exercise Putty (NN)—Feb. Weinberg, Norman, "Drum Machine Reference Chart"— Feb. Beato Musical Products Pro II drum, cymbal, and stick Fishman ADT-100-S Drum Trigger (NN)—Nov. bags, Pro I conga bags, and Gig Pouch (NN)—Mar. Gateway Rhythm Machine 2.00 Software (NN)—Feb. Tracking Boss BX-80, BX-60, and BX-40 mixers (NN)—Mar. Richards, Emil, "You Never Know What To Expect"— Gibraltar Percussion Service Center product line (NN)— Jul. May Cappella Resonant Drumsticks (NN)—May Understanding Rhythm GMS Drums (NN)—May C-ducer Drum Wizard (ER)—Oct. Magadini, Peter, "Learning Polyrhythms"—Mar., Gon-Bops of California Deluxe Conga Drums (PCU)— "Learning Polyrhythms: Part 2"—Apr., Collarlock Bar System (PCU)—Jul. Jan. "Learning Polyrhythms: Part 3"—May, "Learning Polyrhythms: Part 4"—Jun., Grooves Percussion I. Reid Maxwell Pipe Band Sticks Consumers Poll Results (PCU)—Jun. (NN)—Jan. "Learning Polyrhythms: Part 5"—Jul. DCI Dave Weckl: Back To Basics and Hal Blaine Leg Wallet (NN)—Nov. NAMM Show Reports Steve Smith Part Two Videos (NN)—Jan., Mattingly, Rick, "Summer NAMM '89"(F) — Oct. Dave Weckl: The Next Step Video (NN)—Aug., Holz (PCU)—Mar. Van Horn, Rick, "Highlights Of The 1989 NAMM Win- Everything Is Timekeeping Peter Erskine Video and How ter Market," MD Equipment Annual(F)—Jul. To Play Drums From Day One, With Jim Payne Video HQ Percussion Realfeel Practice Pads, SoundOff Si- (NN)—Sep. lencing Disks, PlasTech Drum Covering, and ShineOn Cymbal Polish (NN)—Jan. PASIC Reports 2 2.0 version software (NN)—Sep., "Highlights of PASIC '88" (photos only) (IH)—Apr. ddrum Tube (NN)—Nov. Impact II Drum Bags (NN)—Dec.

Intelligent Music Real Time Studio Software Programs Percussion Catalog (NN)—Aug., (NN)—Aug. Prestige Custom and Prestige World Jazz Drumkits, Custom Classic Snare Drums, P-950 Bass Drum Pedal, Invisible Drum/Percussion Stands (NN)—May and Multi-Gear Hardware System (NN)—Dec.

Keplinger Drumsafe (NN)—Feb. Pink Mink Beater (PCU)—Sep.

Korg DRM-1 Digital Rhythm Module (ER)—Jan., Premier XPK Drumkit (PCU)—May S-3 Rhythm Workstation (NN)—Nov. Polyblocks Synthetic Temple Blocks (NN)—Mar. Classic Conga Drums (PCU)—Jan., New Mini-Catalog, Low-pitch lam Block, and Ricardo Power Cradle Footboard (PCU)—Sep. conga (NN)—Sep., Spike and Super Guiro (NN)—Nov., Primera Different Drummer Software Program (NN)— Granite Blocks and Bell Blocks (NN)—Dec. Aug.

L.I. Laminates Drumshells (NN)—Mar. Pro-Mark Beaters and Mallets (NN)—Jan., Model Drumstick (NN)—Feb., Ludwig Deluxe Finishes and Long Lugs (NN)—Nov., Tommy Aldridge Model Drumstick (NN)—May, Black Rockers Drumheads (NN)—Dec. 707N Hickory Model Drumstick and Checkerboard Stick Rapp tape (NN)—Aug., (NN)—Sep. Maxxum 400, Maxxum 412, and Maxxum 419 Nylon- Tip Model Drumsticks, Bobby Rock Model Drumstick, Meinl LivesoundConga Drums (PCU)—Jan. and Gladstone-type Practice Pad (NN)—Sep.

Metalmorphosis Bobby Rock Video (NN)—Dec. Proscenium Entertainment Superdrumming Video (NN)—May M&K Productions Les Demerle—Rock Fusion Drum Set Applications: Complete Lesson Package #1 (video/ PureCussion NE Series Drums and Trigger Set (NN)— book package) (NN)—Aug. Aug.

Nady Wireless Microphone Systems (NN)—Sep. Rack Pak Drum Rack Bags (NN)—Feb. Remo Piccolo Snare (PCU)—Mar. Pacemaker II Metronome (NN)—Feb. Reunion Blues Back-Pack Cymbal and Hardware Bags Paiste 3000 and 2000 Sound Reflections Cymbals (NN)—Jun. (PCU)—Feb. Paiste (Signature Logo Series) Cymbals (NN)—Apr., Rhapsody Films Videos: Art Blakey: The }azz Messen- (PCU)—Dec. ger and Batouka (First International Festival Of Percus- sion) (NN)—Feb. Pearl Snare Drums (PCU)—May, Custom Z Series and Export Kits (PCU)—Aug., Rimshot Drumsticks (NN)—Apr. Competitor Series marching drums, Omar Hakim/May EA Miking System demo CD, and Marching And Concert Roland Octapad II (ER)—Jun., R8 Human Rhythm Composer (ER)—Aug.

Sabian HH Classic Rides and (PCU)— Aug., New AA Chinese cymbals and 14" Fusion Hats (NN)— Sep., Signature and lack DeJohnette Signature Cymbals (PCU)—Nov.

Scorpion sYbil Software (NN)—Nov.

Select Snare Drums (PCU)—Apr.

Shure Beta Series Microphones (NN)—Sep. Drumkit Microphones (ER)—Dec.

Silver Eagle Videos (including Carmine Appice and Vin- nie Appice videos) (NN)—sep.

Silver Fox Qwicksilver Mallets (NN)—Aug.

Simmons SDX (ER)—Feb., Drum Huggers, ADT (Acoustic Drum Trigger), and SDS2000 (NN)—May, Portakit(ER)—Jun.

Slingerland Spirit Drumkit (NN)—Jun.

Slobeat Rock Mauler and Advanced Funk Drumsticks (NN)—Feb.

Softapads noise-reducing practice pads (NN)—Dec.

Sonor International Kit and Piccolo Snares (PCU)— Mar., Protec Hardware (NN)—Apr., Hilite Drumkit and Z9390 bass drum pedal (NN)— Aug.

Star Licks leff Porcaro Video (NN)—May

Synsonics Stereo Pro Drums (NN)—Jan.

Tama Rockstar Kit (PCU)—Apr., Snare Drums (PCU)—Sep., Stilt Hardware (NN)—Nov.

TOA HY-3 and HY-4 Headset Microphones (NN)— Dec.

Valje Conga Drums (PCU)—Jan.

Vater Percussion Timpani Mallets (NN)—Aug.

Vic Firth Peter Erskine Signature sticks, Alex Acuna Conquistador timbale sticks, GB1 and GB2 beaters, M11 and M12 mallets, and Hi-Lo 2 tambourine (NN)— Jan.

Wuhan Cymbals (PCU)—May

XL-LF-SC Marching Snare Carrier (NN)—Nov.

Yamaha CB 632B Concert Bass Drum, MQS 68023 Marching Quint, and MQX 5B Quint carrier (NN)— Jan., D8 Kit (ER)—Apr., WHS-850 and WHS-850S Remote Wire Hi-Hats, FP- 810, FP-820,and DFP-820 single and double bass drum pedals, and Super Rack System (NN)—May, Power-Tech Marching Snare Drum, Corps-Master Snare Carrier, Concert Toms, Concert Bass Drum, Deagan Cold Standard Chimes, Dave Samuels Educational Videos, Percussion Pak Educational Packet, and RX8 Digital Rhythm Programmer (NN)—Jun., RX-8 Digital Rhythm Composer (ER)—Sep., WHS-850 and WHS-850S Remote Wire Hi-Hats and Super Rack System (PCU)—Nov., Chain-Drive Pedals (PCU)—Dec.

Zildjian K Custom Dry Ride and Z Mega Bell Ride (NN)—May, (PCU)—Aug, Cymbal Alloy Snare Drum (PCU)—Jul. of the customer back from plastic to skin heads, but all to no avail. First one com- pany—Oremus—and then another began to look for other markets for calfskin—such as twisty dog bones. Amrawco developed a market that they had always been in: leather for artificial limbs. This market was very strong—regrettably—after the Viet Nam war. Then Howard Emory died of cancer— though some would say of a broken heart over the ruin of his family business. He was followed rapidly by his brother, Mun- son Emory, a son-in-law, Dick Craft, and Howard's widow, Neda. Similarly, John Janac, the founder and owner of Werco, passed away. He was succeeded by his son, Richard. The Oremus family turned to ready-mix cement, and their trucks are seen often in the western suburbs of Chicago. Thus, there is a distinctly human side to the plastic head story that I thought you should know about. Many, many families were touched and had their lives altered forever as a result of this tremendous tran- sition. Many died untimely deaths as well, filled with sorrow as their businesses faded away—displaced by the march of technol- ogy. William F. Ludwig, Jr. Consultant, Ludwig Industries Chicago IL

DRUMMING PATTERNS REVIEW Thank you for reviewing my book Drumming Patterns [Printed Page, August '89 MD]. I appreciate William F. Miller's substantial (and positive) description of its contents. However, there are two errors that appear in the review: one of fact, the other of judgment. The first—for which I may take the blame—appears in the last paragraph. The cassette referred to as being packaged with the book is actually intended as a brief introduction to the book for reviewers, teachers, and endorsees. This is not in- cluded as part of the book for general read- ers, who, it is hoped, will take the time to carefully survey the book itself. The second error regards Mr. Miller's suggestion that the book be divided into two smaller books. Such a suggestion dis- regards the conceptual nature of the book (which, unfortunately, was not described in the review). Drumming Patterns defines the system underlying rhythm and drum technique. Such an approach simplifies and integrates a vast amount of information into a single, interrelated whole. Dividing the book in half would disintegrate this infor- mation. For a conceptual overview of the book, I would like to refer your readers to the Pref- ace & Introduction of the book itself, as a supplement to your review. Chuck Braman Drumstroke Publications Berea OH

music. It's down to what we feel happiest dramatically improved. I guess experimen- the skill until you feel your body has with. Certain developments in equipment tation is the name of the game in achieving achieved the desired consistency and ac- become firmly established so that they are an acceptable sound for each individual curacy. Through repetition at a slow tempo, the "norm": hi-hats, cymbal tilters, or plas- user. the body learns naturally. Having trust in tic drumheads, for instance. Other things Each mic' produces a fairly hot signal, yourself will correct any errors. fall into the category of "fads," and their and allows you a considerable amount of Praise and congratulate yourself on your habitual use belongs to a style of music input-gain headroom in which to custom- excellent performance. Notice how well that is placed firmly in a particular period mix and blend your setup. The individual you play—each movement effortless and of time: like temple blocks or Syndrums. channel separation is just wonderful. The easy. Enjoy and learn as each subtle move- As jobbing drummers, we are often called mic's were designed with special "side ment flows from your limbs. Keep practic- upon to play a variety of styles—and not ports" where the cymbal sound is actually ing until you feel completely confident that just current styles, but styles from the past picked up, and I was concerned as to you have mastered each skill. Play through as well. The question of authenticity should whether or not these ports would allow your entire goal plan until you have always be in our minds. Take the example signals from the drums and other cymbals achieved the desired mental picture you of an Elvis Presley song: Do you do the '58 to "bleed" through. This can be a problem had previously visualized. version or the '74 version? Some bands with overhead miking techniques, but the Hearing Yourself Play might take a song and do it in their own ZMC mic's eliminated it completely. An- style anyway, but we usually find that the other concern was whether or not any dis- Hearing the music you are playing en- audience likes to hear a version that they tortion would be present from placing the ables your body to recreate the necessary can relate to. This usually means being mic's so close to the cymbals. My findings: movements that produced that sound. Sing reasonably faithful to a well-known re- absolutely no distortion. to yourself the sound you wish to play. corded version while still giving it the sort Hold that sound in your memory and listen Summary of contemporary power and projection that to the playback a few times. Then ask your the audience is used to hearing. (This, inci- For drummers who need cymbal ampli- body to reproduce that sound. Trust your- dentally, can apply as much to a reduction fication on a budget, the ZMC-10 is a very self and let go. of power as to an increase. Just because attractive, inexpensive alternative to tradi- If you have difficulty reproducing a par- Metallica has a single on the charts, it tional overhead miking. The sound repro- ticularly fast passage, slow it down. Sing doesn't mean that we can treat a Holiday duction is accurate, clear, and precise, the passage to yourself at a comfortable Inn audience to an accurate portrayal of while offering exceptional separation in an tempo and listen to the playback until you that band as they would sound at a live easy-to-set-up configuration. You can eas- feel sure you know it. Then ask your body gig!) We need to be aware of trends as they ily expand the system to meet your needs to play it. Listening and being aware will occur, but new developments must be as well. All of these features, coupled with correct any imperfections. Once you feel looked at in their context. The desire to ease of operation, gives you a very high- confident with your sound and tone, move keep up-to-date shouldn't blind us to the quality, effective cymbal miking system. I through your entire goal plan. Keep prac- more tasteful considerations of authenticity strongly suggest that you check it out. The ticing until you feel you have achieved the when playing long-established styles of ZMC-10 carries a suggested retail price of desired results. music. $595.00. Because you have felt the moves, heard — Paul Van Patten the sound, and seen yourself performing perfectly, you have at the same time as- sured yourself of your competence. At this point, physically reproducing on your drumset what you have mentally rehearsed is easier to accomplish. By practicing mentally you further de- velop and strengthen that harmonious rela- tionship between mind and body. Recreat- ing your best performance, night after night, is possible.

as judges, with those companies, plus Ric of three students, one hour of solfeggio, SECOND Rac recording studios, awarding prizes to and one hour of general music education the winners. in groups of ten. Specialized courses that DRUMMERS meet for two hours per week in groups of six students are available in areas such as ALLIANCE MD TRIVIA computer music and . In ad- dition, extension courses of six-hour meet- COMPETITION WINNERS ings, once a month, are also available. For Twelve-piece percussion band Listen For MD's July '89 Trivia Contest posed the more information, contact the school at: The Noise were the winners in Drummers question, "Jack DeJohnette once led a Stix Drum Center and Music School, Str. Alliance's second competition, held at group called Compost, in which Jack S. Pietrino, 1/B, 06100 Perugia, . Sheffield City Hall in Sheffield, England played keyboards. Who was the drum- this past July. This year's competition mer?" Our four winners, who knew that involved rhythm section bands without the drummer in question was Bob Moses, ENDORSER NEWS vocals. Representatives from Zildjian, are Thomas Xiques, of Putnam Valley, Cheap Trick's Bun E. Carlos and Darrell Remo, Pro-Mark, and Carlsbro Music New York; John Penn, of Houma, Louisi- Sweet of Nazareth are now endorsing (England's largest music store chain) acted ana; Steve Vermullen, of Bridgeton, New Maxx Stixx. Maxx Stixx has also just Jersey; and R. James, of Los Angeles, introduced a stick according to Bun E.'s California. Each will receive a selection of precise specs, the Maxx BC. accessories from J.T. Enterprises. Recent additions to Pro-Mark's endorser lineup are Matt Johnson, Tim Hedge, Sal Sofia, Gina Schock, Mike Organ, and STIX MUSIC Fritz Lewak. Stan Lynch is using Ramsa microphones SCHOOL on his rack and floor toms and on special Stix Music School, in Perugia, Italy, is now effects drums on Tom Petty's Strange Be- offering classes in drums and percussion, havior tour. Madison among other instruments. Courses last Richie Hayward using Shure mic's on nine months during the school year (12 tour with Little Feat. by Jed hours per month), or three months during Sabian has announced a host of new

Photo the summer. Weekly, a course consists of members of its International Artists one hour of instrumental lessons in groups Programme: Liberty DeVitto, Michael Shrieve, Greg Granger, Mark Shulman, Tom Stephen, Keith Cronin, Matt Chamberlain, Mark Pinder, Geoff dramatically. The use of two Fattners to- bers; this identification was stamped into Dugmore, Steve Jansen, David Palmer, Ed gether lowers the pitch even more, and each Ludwig trademark in answer to deal- Shaughnessy, and Dom Famularo. gives an almost "gated" effect to the snare. ers' requests to facilitate inventory-keep- Grooves Percussion now being en- However, it also reduces projection quite a ing in their stores. If the trademark badge dorsed by Tommy Austin, Howard bit, and probably would work best in a is the Ludwig keystone, then your drum Michael Crafton, Kevan McKenzie, Lloyd miked situation. Further information on the would be older than if the trademark badge Mercey, and Al Webster. Fattner can be obtained from Timeline Prod- is the blue and green parallelogram used Evans Drumheads' list of newly signed ucts, P.O. Box 7523, Vallejo, California in later years. We switched from the for- players includes , Larrie 94590. A package of two sells for about mer to the latter in 1970. Londin, Jonathan Mover, Zoro, Tommy $10.00. "With regard to the material used in the Campbell, Chris Whitten, Michael shell, originally, all metal-shell Ludwig Shrieve, Dean Sharp, Ron Pangborn, snare drums were constructed using virgin Mark Price, and Gary Wallis. Q. I recently purchased a used Ludwig Su- brass sheet. In 1970 we changed to alumi- DW Drums have recently added to their pra-Phonic snare drum (serial number num to save weight, and also to avail our- artist roster: , Carla Azar, 682719). Any information you could pro- selves of new technology that enabled us Colin Bailey, Peter Criss, Dennis Holt, vide me about this drum, such as the year to stamp the shells out of one piece of Mike Jochum, Alan Kerr, Art Rodriguez, it was made and what type of metal it was aluminum. Tim Root, Mark Shulman, Paul Wertico, manufactured from, would be greatly ap- "Another change was devised in those and Dony Wynn. preciated. I was told that the drum is old. early years, and that concerned the width Herman Rarebell, Audie Desbrow, and (It has a classic Ludwig emblem attached.) of the snare bed. With the advent of plas- Matt Sorum are now Yamaha endorsers. The drum also seems to have a brighter tic heads, we noticed that this material did And finally, recent endorsers of Zildjian sound than newer Supra-Phonics I've heard. not flow readily around sharp corners as drumsticks include Jonathan Mover, Wil- Could something associated with the shell skin heads did. Ludwig snare beds meas- liam Calhoun, and Adam Nussbaum. design cause this, or is it just my imagina- ured 2 1/4" in width for 50 years or more. tion? To accommodate the new Mylar plastic E.T. heads, we were forced to change to a South River NJ much wider and gradually sloping snare A. We contacted William F. Ludwig, Jr., bed. No doubt this creates a different tone who provided us with the following infor- and response than that of older models— mation: "The age of your Ludwig Supra- as you have noted with your Supra-Phonic. Phonic is difficult to pinpoint, even though The appeal is in the ear of the beholder— you have supplied me with the serial num- a matter of preference to the listener." ber. I do not have files of the serial num-

lug casings, and factory-installed coated quality while assuring accurate tuning. NEW ITEMS Ambassador heads. The Prestige World's Solid brass lugs and counterhoops are select birch and mahogany wood shells standard. The Custom Classic snares FROM PEARL are available in identical sizes as the utilize a simple brass-plated snare strainer/ Prestige Custom's. World kits come Pearl has introduced their new Prestige butt mechanism. Gold-plated high-carbon complete with 750 series hardware, Custom and Prestige World jazz-styled coated wire snares enhance the sound produced exclusively in Pearl's matt kits. The new Prestige Custom combines quality of the drums while adding to their natural finish, and utilize standard double appearance. The Custom Classic is lugs. available in either a 14 x 6 1/2 ten-lug Pearl has also introduced their Custom configuration or a 14 x 5 eight-lug Classic snare drums, constructed from a construction. solid, 7.5 mm, one-piece maple shell. Also new from Pearl is their top-of-the- line P-950 double-chain-drive bass drum pedal. According to the company, the double-chain-drive system virtually elimi-

Prestige World

100% maple shells, standard tom sizes (8 x 12, 9 x 13, etc.), and smaller-sized bass drums (14 x 18, 14 x 20), to produce what the company calls "the tighter, more con- Custom Classic Snares trolled 'jazz' sound." The Prestige Custom Pearl has developed and equipped the series is produced in two finishes, Liquid Custom Classic with a new "bridge" lug to Amber and Piano Black, and is fitted with accommodate maximum shell tone Pearl's 850 series hardware, high-tension Multi-Gear Configurations

nates footboard side rolling, assuring full have an optional molded hard shell insert. contact between the beater and the bass Impact II bags are accented with a gold drum head. The exclusive felt-lined chain insignia and are made in the U.S.A. channel, also featured on the P-880 and Impact Industries, Inc., 333 Plumer St., P-780 pedals, is now smoother with the Wausau, WI 54401, (715) 842-1651. P-950. The pedal also features a newly de- signed footboard and heavy-duty detach- able base. The featured upper-grip hoop SOFTAPADS clamp helps cut down set-up and tear- Softapads are noise-reducing practice down times, and a new tension spring pads for drums and cymbals that allow allows players to change the beater angle drummers to practice on their own full without readjusting pedal tension. kits, while reducing volume up to 90%. Finally, Pearl has introduced its new The drum pad pack includes pads for 12", Multi-Gear hardware system. Each piece 13", 14", and 16" drums, plus a 4" pad for is available separately, providing an all bass drum sizes. Also available are 8", almost unlimited number of uses, such as 10", and 15" sizes. Cymbal pads come in hanging toms from floor stands and polypropylene action fabric, which is sets including 14" hi-hat pads (top and cymbals from boom stands, or zig-zagging weather- and puncture-resistant and has a bottom), 16" crash, 18" crash/ride, and 20" cymbals over and under existing drums. burst strength of 590 Ibs./ psi. All edges ride pads. Also available: 13" and 15" hi- The Multi-Gear system can be easily and zippers are covered with the same hat sets and 17", 19", 21", and 22" sizes. attached to existing hardware material for increased wear and abrasion Pads are all held in place with double- configurations. Pearl International, Inc., resistance. All Impact II bags have a high- sided tape, which the company says is P.O. Box 111240, Nashville, TN 37222- density foam lining, which is covered with easily removable and won't cause damage 1240, (615)833-4477. a high-strength nylon lining. Heavy-duty to heads or cymbals. After a long period of zippers also have nylon zipper stops. success in the U.K., Softapads can be Straps are 500# test with tubular "soft- ordered in the U.S. by contacting Softa- IMPACT II BAGS grip" handles. There are 35 drum sizes pads Drum Accessories, 685 West End Impact Industries has announced their available, three cymbal bags, a stick Ave., Apt. 6A, New York, NY 10025. new line of heavy-duty drum bags. These caddy, 36" and 48" hardware bags, and a bags are made of extra-strong 1200 denier 54" rack bag. Hardware and rack bags

stereo headphone amp is included in the LP is now offering their new Granite TOA HY HY mic's. Users can custom mix their own Blocks. Constructed of Jenigor, the same mic' signal with either a stereo or a mono unbreakable material used in LP's yam HEADSET MIC'S line level monitor send from the mixing Blocks, this five-block set is tuned to console. The HY-3 features an enclosed recreate the tones of traditional Chinese headband, while the HY-4 wire headband temple blocks. Granite Blocks produce a allows concealment in the user's hair. true, bright sound with plenty of pop, Both models include an internal head- according to the manufacturer. The blocks phone amp and inner ear headphones. are sold in the traditional single-row setup Toa Electronics, Inc., 601 Gateway Blvd., as shown. However, an over-under setup South San Francisco, CA 94080, (415) ideal for tight spaces is also available as 588-2538. an option. Granite Blocks retail at $189.95. Also from LP are their new Bell Blocks, LP GRANITE now available in three versions—a five- piece set, a two-piece set, or as a single BLOCKS AND block. Bell Blocks are made of American Toa Electronics' Professional Music and rock maple and have multiple layers of Entertainment Division recently intro- BELL BLOCKS alternating grain to prevent cracking. The duced its HY-3 and HY-4 headset micro- wood is glued with tongue-and-groove phones, with built-in monitoring. These joints, which, according to LP, creates a fixed-charge condenser mic's feature an virtually indestructible bond. Bell Blocks extended frequency response and a are designed to replace the traditional, cardioid pickup pattern designed to reject fragile temple blocks originating from surrounding noise. A latching "cough China. Bell Blocks will mount to any switch" is included in the mic's to silently cymbal stand with a universal mounting turn off the mic' element, and a red LED is clamp (single mounts only to 3/8" rod). mounted on the cartridge as a visual The mounting ease of the Bell Blocks indication of "live mic'" status. For enables set drummers to fit them into the versatility, the mic' element can pivot smallest places within their kits. Latin overhead or swivel away from the mouth. Percussion, 160 Belmont Ave., Garfield, For a personalized monitor mix, a NJ 07026.

Grinder in Hollywood, Metalmorphosis DRUM SCREEN LUDWIG ADDS also features state-of-the-art audio Designed for live, practice, and studio production. The video includes instruction situations, the Drum Screen isolates drums BLACK DRUM- on power rock techniques, syncopation, from other instruments, allowing the double bass drumming, linear ideas, microphones and PA to reproduce HEADS crossover patterns, four-way independ- percussion sounds with more definition, Ludwig recently introduced a complete ence concepts, and soloing. There's also a clarity, and punch, according to the family of Black Rockers drumheads, avail- segment on Rock at Cold's Gym "pump- manufacturer. Composed of three acousti- able from 6" to 26" in diameter. Con- ing iron" as he demonstrates how weight- cally designed isolation panels that are structed of heavy black Mylar, these heads lifting can improve a drummer's power hinged together, the Drum Screen is a feature the patented Ludwig Headlock and endurance. A workbook is also free-standing and portable isolation booth. system, which prevents pull-out. The new available with all the patterns covered in The screen is constructed of high-tech Ludwig Black Rockers drumheads will be the video and corresponding supplemen- acrylic plastics and aerospace polycarbon- supplied as standard equipment on the tary exercises. For information, write to ates. While the Drum Screen enhances the front of all outfit bass drums. Ludwig Metalmorphosis, 8033 Sunset Blvd., Suite sound quality of drums by using the Industries, Inc., P.O. Box 310, Elkhart, IN 110, Hollywood, CA 90046. principles of acoustic isolation, the makers 46515-0310. say that it does not affect the ability of other musicians to hear the percussionist AQUARIAN clearly. The Screen is available in clear, BOBBY ROCK blue, yellow, amber, smoked, and green, DEJOHNETTE and custom graphics can be done on INSTRUCTIONAL request. Dimensions are 6' wide x 4' high SNARE HEAD x 1/4" thick, with 2' wide side panels. The VIDEO Aquarian has introduced their new tex- studio version, which encases cymbals, Former Vinnie Vincent Invasion drummer tured black snare drumhead, designed has the same dimensions, except it is 5' Bobby Rock has released a new instruc- expressly for Jack DeJohnette. The Jack high. The screen can also be designed to tional video for drummers, titled Metal- DeJohnette signature head is the newest specific dimensions. Drum Screen, 2573 morphosis. The video focuses on enter- addition to Aquarian's Signature Series 28th St. S.W., Wyoming, Ml 49501, (616) tainment as well as education, and drumhead line. Aquarian Accessories, 534-8787 or (800) 992-2434. includes multiple-angled demonstrations, Corp., 1140 N. Tustin Ave., Anaheim, CA intercut interview footage, and solo 92807. performances. Filmed at the Music

next month in JANUARY'S ADVERTISER'S MODERN DRUMMER... INDEX

ABK Rocks ...... 115 Ac-cetera ...... 51 AKG Acoustics...... 99 Atlanta Pro Percussion ...... 48 Mike Balter Mallets...... 108 Sam Barnard ...... 106 Beato Musical Products ...... 83 Beyerdynamic...... 59 Calato/Regal Tip ...... 13 CMP Records...... 60 Corder Drum Company ...... 110 Custom Drum Shop ...... 69 DCI Music Video ...... 71,90,103 DC 1000...... 62 ddrum...... 107 Drum Doctors...... 98 ED Drummers Collective ...... 11 7 Drums on Sale ...... 114 Drumstix ...... 127 Kotos Drum Workshop ...... 56,74,85 Duratech Music Products ...... 58

Jaeger MANN Dynacord ...... 123

by Evans Products...... 88,104 Explorers Percussion ...... 114

Photo Gellentec/Skinhead...... 1 Chas. E. Foote, Ltd...... 106 Great American Drumstick Co...... 69 Gretsch/Istanbul...... 89 LA. GUNS' Grove School of Music ...... 119 Hot Lick Productions ...... 95 Jemm Co...... 83 STEVE Kaman Music Distributors...... 17 KAT, Inc...... 59 Latin Percussion Inc...... 54 Long Island Drum Center...... 124 RILEY Ludwig Industries ...... 94,Inside Front Cover Manny's Music Store ...... 72 Mapex Percussion...... 87 Melalmorphosis/BobbyRock...... 121 MD Library ...... 113 MD Back Issues ...... 104,122 MD Trivia Contest ...... 96 Musician's Institute ...... 66 Mustang Inc...... 57

Malkin Noble & Cooley...... 91 Paiste ...... 36/37 Rick Pearl International ...... 14/15,70,93,Inside Back Cover by Percussion Paradise ...... 120 Power Drumming ...... 111 Photo Precision Drum Co ...... 67 USA ...... 5 Pro-Mark ...... 51,88,118 Proscenium Entertainment ...... 102 PureCussion...... 77,79 Ramsa/Panasonic ...... 89 Remo...... 55,67,73 ALVIN Resurrection Drums ...... 75 Reunion Blues ...... 124 Photo by Stan Levey Rimshot America ...... 92 STOLLER Royce Percussion...... 108 Sabian ...... 52 Sam Ash Music Stores ...... 94 Sapphire Percussions ...... 118 Plus: Ed Mann Sound Supplement featuring Solid Percussion, Inc...... 53,61 Percussion ...... 101 Tama ...... 7,63,125 Chad Wackerman Taw Sound Co...... 110 Thoroughbred Music ...... 112 ...... 90,114 Veri-Sonic...... 120 AND Columns by: Kenny Aronoff Vic Firth, Inc...... 41,66 Vintage Drum Shop ...... 127 Rod Morgenstein Waddell's Cymbal Warehouse...... 67 Glenn Weber Drum Studio ...... 71 Steve Weiss Music ...... 116 Emil Richards The Woodwind & The Brasswind ...... 102 Yamaha ...... 6,9,11 and much more...don't miss it! Zildjian ...... 45,47,49,74/75,105,Outside Back Cover

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