S S ISSUE 10 ||| 2012-2013 ||| DWDRUMS.COM

A A

Neil Peart of Rush, on location in Los Angeles,A CaliforniaA Thin IS in.

Our newest Collector’s Series Gray Coat Aluminum, Polished Titanium, Black Nickel over Brass, and Stainless Steel snare drums feature a thin 1mm rolled shell for pure tone, attack, volume and sensitivity. See them all at www.dwdrums.com/snares

www.dwdrums.com ©2012 Drum Workshop, Inc. All Rights Reserved. the world hasknown. stages andinsomeofthemostlegendarystudios household namesonsomeofthemostnotable are accomplishedmusiciansthatback upthe Some ofthemarehouseholdnames,andothers believed inourmissionstatementfromday one. includes theprofessionaldrummersthathave the ideasintoworkable models.Ourstoryalso daily basisandtheCAD engineersthattranslate the machine shopworkers thatmillpartsona that maketheinstrumentsby hand,including the teamofdedicatedemployees andcraftsmen Drum Designer, John Good.I’mtalkingabout about DW Founder, DonLombardi,orresident brought ustothisplace.I’mnotjustspeaking dedication totheartofdrum-buildinghas and wearethankfulthatourpassion W reallyisan American successstory. ‘American Dream’isnotatermweuselightly Dream The American Editor’s Notes: Editor, EdgeMagazine Scott Donnell The Drummer’s Choice. things tothenextlevel andlive uptoourslogan, We’re listening.It’s theonlyway wecantake Facebook and Twitter andshareyour thoughts. we do,andwant tohear fromyou. Join uson to seefuturegenerations sharethesamedream the artform,andwhere it’s allheaded. We want business thatcaresdeeplyabouttheinstrument, ou enjoy thearticlesandfeatureswithin drummers. We’re aprivately-held, family-owned these pages,know thatwedothisallforyou, the brings artandcreativity into theworld. because you’re proudtobepartofsomethingthat they’re alifestyle. You callyourself adrummer drums aren’t justaninstrumentordailyactivity, because it’s aburningdesireinsideyou. For you, don’t play drumsbecauseyou have to;you play and thedrummersthatdaretodreamwithus. You magazine isdedicatedtothe American Dream drumming community. This 10thissueofEdge educate drummersandmakeacontributiontothe founded asameanstodoanything otherthan here doingwhat wedo.Drum Workshop wasn’t make tocreatemusic.Musicisthereasonwe’re drumming, butyou’re theonesusingtoolswe company makingproductstobettertheartof that keepthe American Dreamalive. We’re a S As y And wecan’ D t forgetyou. You’re theones S

www.dwdrums.com ©2012 Drum Workshop, Inc. All Rights Reserved. Contents 50 48 32 22 k drummerextraordinaire, Atom Willard, speakstoBruno 16 onathan DreselandSNL’s Shawn Pelton eaturing Conan’s James Wormworth, Jimmy Kimmel’s 12 ARTIST FEATURES 56 54 4 2 PRODUCT NEWS 61 44 42 36 30 28 10 7 IN EVERY ISSUE 58

NOTEWORTHY DRUMMERSATNAM RAMGOTRA THE GOSPELOFR&B AND HIPHOPDRUMMING NASHVILLE’S RICHREDMOND NEIL PEART BIG GIGS THE DRUMMERSOFLATE NIGHT PERFORMANCE SERIESHVXSHELL TECHNOLOGY 9000 SERIESPEDALS CONCEPT SERIESDRUMS AIRLIFT ST PERFORMANCE SERIESFINISHPLY® DRUMS, TRENDS: DeepSnareDrums SPOTLIGHT: DanielGlass’CenturyProject NEW ARTISTS STUDIO: JRRobinson IN THE 20 QUESTIONS:JPBouvet DRUM CLINIC: Albe Bonaccigoeslinear Latin America ROAD40th Anniversary Tour RULES: Chad WackermanTIME MACHINE: JACK WHITE’S DARU JONES Explore thew on Gospelc Godfather ofthegenre,Ger His risetothetopwithCountrymegastar legendary timekeepers Gearing upfortheroadwithoneofroc Mars’ EricHernandezandMatc Roc J F rising starontr Balancing HipHopandRoc right-hand drummer hops andwoodshedding ANDS &COLLECTOR’S THIN METAL SNARES orld ofcomposingwithHansZimmer’s ack EDGE 10|||DWDRUMS.COM ald Heyward, shareshisthoughts k gigskeepsthisBrooklyn-based hbox 20’s Stacy Jones k’s most , Jason Aldean

1 The LATESTgear Thin is in: DW Collector’s Series 1mm Metal Shell Snare Drums. Drummers are always looking for their next go- to snare, the drum that’s favored for recording or live gigs and has earned its place among the top choices within their arsenal. Some drummers prefer brass for its bite, attack and metallic overtones, others like the warmer tone of aluminum or the sheer volume and sensitivity of steel. Still others swear by the boutique, throaty sound of titanium. Whichever drum you prefer, we have a new class of snares that are destined to become your most beloved. We’re very proud of the addition of four thin- shelled metal drums to our family of Collector’s Series snares. The newly-added models include: Black Nickel over Brass, Gray Coat Aluminum, Stainless Steel, and Titanium. Each possesses its own unique sonic quality and is outfitted with DW’s latest Custom Shop features, including: True Pitch™ Tuning, True Tone snare wires, 3mm flanged steel True Hoops, MAG throw-off system with 3P (3 position) butt plate, and DW Heads by Remo USA. To see sizes, drum hardware color options, and more, visit: www.dwdrums.com/snares. ACollector’s Series 1mmA Brass, Aluminum, Stainless Steel and Titanium Snare Drums

Pewter Sparkle Black Diamond

2 EDGE 10 ||| 2012-2013 DW Airlift Hardware: Revolutionize Your Set-Up Let’s face it, it’s not easy being a drummer and a roadie all at once. Drummers just want hardware that makes their life easier. Introducing, the revolutionary new 9000AL Airlift hardware. It’s our tour- ready, industry-standard 9300 snare and 9900 tom stands, outfitted with a special, technologically-advanced feature. Each stand is mounted with a specially-selected pneumatic gas shock that literally floats the 9300AL Snare Stand top portion of the stand, drums included, on a cushion of air. The result is a stand that is effortless to adjust, even when holding your heaviest snare drum or toms. The technology was developed and time-tested by Randall May, International for marching drum applications and is now available for the first time on drum set hardware. Heavy-duty 9300AL and 9900AL stands are available at an authorized DW dealer near 9900AL Tom Stand you and include other pro features such as: heavy-gauge steel tubing, tube isolators, cast tube joints with Your Affordable Dream Kit has Arrived: Welcome to integrated memory locks, and much more. Performance Series FinishPly™ DW has always been To watch Thomas Lang demonstrate the synonymous with quality and innovation, but neither comes magic of Airlift, visit: www.dwdrums.com. cheap. What if California-made drums were suddenly within reach? Drummers, rejoice! Your time has come. Performance Series all-maple drums with exclusive HVX shell technology are now available in four popular FinishPly™ offerings to suit just about every style of music. Choose from traditional White Marine or Black Diamond finishes, or stage-stealing Titanium Sparkle or Pewter Sparkle. All are high-quality, durable wraps that feature DW’s proprietary overlapped seam with notched bearing edge to ensure that all head brands seat correctly. After all, it’s the sound of these HVX shells that really has professional drummers talking.

Other high-end features include: True Pitch™ Tuning, STM (Suspension Tom Mounts), F.A.S.T. (Fundamentally Accurate- Sized Toms), MAG throw-off, proportional counter hoops, DW Heads by Remo USA, and more. Available in a variety of tom pack configurations, each can be combined with a choice of 20”, 22” or 24” matching kick drums. For hard rock and metal players, it’s an easy way to customize your next double bass rig. The build quality and sound that musicians, engineers, and producers have come to love and appreciate from DW is White Marine Titanium Sparkle now easier than ever to acquire. For more information, and to see a complete list of sizes and finish options, check out: www.dwdrums.com/drums/performance.

EDGE 10 ||| DWDRUMS.COM 3 ebber W nn a : A : redit C hoto P

PDP Concept SeriesA A unBOXED by Dave Elitch

ince I live only 45 minutes from the Drum Workshop factory, I usually find myself paying a visit to DW at least once a week. It’s Salso a well-known fact that I’m a bit of a gear nerd and I have a growing collection of drum equipment, which is an open invitation for my fellow drummers to joke about my apartment looking like an episode of Hoarders! So, when DW asked me to check out these two new Concept Series kits, I simply couldn’t say no.

UNBOXING I had the sound stage at Drum Channel at my disposal for this around, so I paired up these kits with a selection of DW 9000 little experiment and I’ve had the good fortune of doing quite a Series hardware and pedals. bit of work in there, so I’m pretty familiar with the way the room sounds. So, acoustics weren’t going to be a wild card. Plus, they The first thing I noticed was that DW really stepped-up the features wanted me to sample a birch kit and a maple kit, so a familiar and build quality on these new kits. I saw a bunch of things from setting was an advantage. my Custom Shop DW kits. Stuff like: die cast claw hooks, MAG throw-off on the snare, and these new lugs looked oddly familiar. DW hadn’t told me anything about either of these kits prior to The DW folks told me that they were designed for Performance pointing to a pallet of boxes and saying, “Have fun!” I had no Series snare drums and that they moved them over to PDP for the idea what I was getting myself into. I was wondering, “What are new series. I also noticed a DW Drums logo on the new badges; the lugs going to look like? What sizes? FinishPly or lacquer?” that says a lot. To me, it means that DW has really put some pro I ripped into the boxes like a kid with a new toy. I could see features into these more affordable kits. I have a thriving teaching that some of the drums were completely assembled and others studio and I know my students will be happy to know they can needed some light assembly before I could completely set up get their hands on a DW-style kit early on and can still graduate the kit. Drum Channel always has some DW hardware lying to a DW kit when the time is right. It’s a win-win for everyone! PDP UNBOXED ||| DAVE ELITCH ||| DAVE PDP UNBOXED 4 EDGE 10 ||| 2012-2013 “The sizes that came with these 5-piece kits were FINISHES identical: 8x10”, 9x12”, 14x16” toms, 18x22” The next thing that struck me was the quality kick and a 5.5x14” snare. I love DW’s F.A.S.T. (Fundamentally Accurate Sized Toms) and I also love of the finishes. These kits look unbelievable the fact that you get a 16” floor tom. I’ve never for the price! Both have full-on lacquer paint been a huge fan of 14” floors and you’re forced to get them with many of the kits in this price range. “ jobs that caught my eye immediately. The birch kit has a nice little Candy Black Fade going on, while the maple kit is rocking a killer Black Metallic look. The birch kit is outfitted with chrome hardware and it has a very classic, almost exotic appearance. The maple, on the other hand, has black powder coated hardware which gives it a very monochromatic look. This kit would work perfectly for a hard rock or metal band. The powder coating is top notch (I’ve noticed it can get a bit ‘iffy’ on some of these mid-level kits). The PDP website, www.pacificdrums. com, shows that there are a total of eight finishes offered, six for Concept Maple and two for Concept Birch. That’s a massive variety at this price and it means there’s a little something for everyone. Personally, I like the really crazy stuff, but that’s why I go custom. For one of these review kits, I’d probably throw on a custom logo head and pair it up with one of my favorite metal snares. Plus, there are enough configurations available to build a really cool set-up. You can add a floor tom on the left or even an extra bass drum if you’re into that. I usually play two racks and two floors, but you can always change things up depending on the gig. PDP CM5 Pearl Black with DW 3000 Series Hardware and Pedal EDGE 10 ||| DWDRUMS.COM 5 SOUND BIRCH So, they look great. But how do they I hate to sound cliché, but all of the common tonal descriptions rang true with this kit. sound? I set both kits up right next to The toms like to be tuned just a bit higher; they have a quick sound, fast decay and each other so I could “Pepsi challenge” are a bit punchier and brighter than their maple counterparts. The snare loved to be them more easily. Drummers always tend cranked and had a really great ring to it that I wouldn’t want to muffle. I liked the fact to be very opinionated about maple vs. that the snare had a thicker 10-ply shell, which gave it quite a bit of crack! I asked birch. To me, it’s not an ‘either/or.’ They someone to play the kick for me and it projected nicely. Tons of punch! both have their place and I like different sounds for different reasons. Again, it’s MAPLE what’s right for the music or the gig. Let’s The maple kit was also true to form. As expected, it had a much lower and fatter sound face it, good drums are good drums, it’s than the birch. The resonance and decay were longer and the overall tone was on the all about how they’re played, tuned, head warmer side. The major difference with this kit was that the snare drum liked to be low. combinations, etc. That’s another thing, Like, “baseball bat in a wedding cake” low. Throw some gaff on and head straight into I’m playing these kits with stock Remo the studio with that guy! The kick was nice and punchy, but sounded almost identical heads made overseas. I know that if I put to the birch kit (not a bad thing at all). some high-quality heads on these drums it would make a noticeable difference. I PDP CM7 Silver Sparkle to Black Fade with play Remo and I’m sure that the Suede DW 3000 Series Hardware and Pedal Emperors that I have on my Jazz Series kit would work some magic on these guys. Bottom line, I’m sure these drums are versatile enough to mold into a bunch of different musical situations.

PDP CB4 Cherry to Black Fade with DW 3000 Series Hardware and Pedal

A A CONCLUSION It all comes down to personal taste, but in my world, this is a real drum kit. I also know that if DW makes something, you know it’s going to sound great and be around for a while. That’s a given. I really love these drums because of the outstanding job they’ve done with the look and the small details. We all know that drummers listen with their eyes. If the kit looks cool, it somehow sounds a little better and is more fun to play. Plus, let’s be honest, most mid-level kits aren’t up to spec and I’d never even think of taking them on a gig. Not these! These kits can hang with many pro-level kits out there. I’d love to see what this Black Sparkle kit looks like under the lights…oh no, here we go again! PDP UNBOXED ||| DAVE ELITCH ||| DAVE PDP UNBOXED 6 EDGE 10 ||| 2012-2013 Chad WackermanOVER THREE DECADES with and counting DW by Scott Donnell PHOTO BY ROB SHANAHAN A A s much as the affable Mr. Wackerman 17x18” floor toms on legs. name a few. When I did clinics we had to Awouldn’t want to be typecast or be put In 1982, DW was a two-man company. have a store order a kit, John would build in a box, we can safely categorize him as Don and John had one employee, Fonso, it and they would work hard to send it out a drummer’s drummer. His genre-defying to help assemble bass drum pedals, which in time. Everything was done one step at a career has seen him touring with established they would then sell to Gretsch to pay their time. I spent a fair amount of time educating pop icons such as James Taylor and Barbra rent. I loved the kit John built for me, but people about the drums and how they made Streisand, as well as exploring new ground we went through some modifications to it, my life so much easier in the studio. They with legendary masters like Frank Zappa, changing the inside lacquer and then the are custom, handmade kits; to this day, DW Allan Holdsworth, Steve Vai, and his good head combinations. They had shells and the kits have so much thought, research and pal Terry Bozzio, along with so many others. lugs, but I had to buy rims and spurs from passion behind them. I found that Don and To say he’s performed at a high level for so other companies, because they were not John had the same passion about drums that many years is a gross understatement. His tooled-up to make those parts yet. John’s I had about music, and playing DW allowed reserved demeanor and effortless playing head combination used coated Ambassadors me to feel even more comfortable because I have kept him working and garnered the on top and the Evans Hydraulic heads was so happy with the tone that I was getting. respect of his peers but, for the reasons for the bottom. This was the kit I used on My career has definitely grown as DW has previously mentioned, some would say Allan Holdsworth’s, Road Games and Metal grown. I worked very hard, but also got some he’s underrated. Classifications and labels Fatigue records and was my touring kit for good breaks. Playing with Zappa when I was aside, he’s as noteworthy and prolific as many years. The drums had a more focused twenty-one was amazing, and it allowed me he’s always been, while continuing to blaze and contained tone than other drums that I to gain credibility and respect among other new trails and make his memorable mark was using. I found them to be a dream in the musicians. Playing with Allan Holdsworth as a drummer, recording artist, composer, studio. also allowed me to play as myself and still and producer. We caught up with Chad I actually met Don Lombardi at a drum get noticed. At the same time, I was able to to talk about his latest endeavors and his clinic that I did in Santa Monica, CA when I get into session work, start my solo career, longstanding history with the company. was thirteen years old. I knew about Camco record my CDs and DVDs, play at drum drums and I heard that Don had bought the festivals, perform masterclasses and clinics, Scott Donnell: Talk a little bit about your tooling when Camco went out of business. and DW has always been supportive. experience in the early days of DW. Soon after, I bought my first DW kit in 1982 Some years later, we trialed a Chad Wackerman: I met John Good in 1982. and became an endorser. Don was very keen masterclass tour where a student could sign He had auditioned to be the drum and bass to have me try out the various experiments up for three masterclasses, one with Larry tech for the ’82 Zappa tour. John took the they had been working on. I used some of London on recording, one with Jim Chapin drums that I was playing at the time and put these on local gigs and on the road. They on hand technique, and one with me on new bearing edges on them, packed the lugs included the boom/straight cymbal stand, the drumset reading and stylistic versatility. The with foam, took off some internal lacquer various versions of the 5002 double pedal classes were scheduled one month apart, a and made them sound much better. It was and the cable hi-hat. We even experimented kind of travelling school. You can see that obvious to me that I should have him build with rack systems back then. Don had education in mind even back me a new kit after the tour. then. Now, that concept has expanded into My first DW kit was a burgundy lacquer SD: How has your career grown with the drumchannel.com. set. The snare was a 6.5 x 14” brass timbale- company? One thing that really grew DW’s type shell and had a strainer that was a part CW: When I started with DW, the endorsers business was when they put out the first DW of a luggage lock! I still have that snare. The were John Hernandez, Nick Ceroli, Burleigh American Dream video. They made it as a other drum sizes were: 16x22” kick, 9x10”, Drummond, Colin Bailey and myself, to free promo piece for stores to play in their 10x12”, 12x14” rack toms, with 17x16” and

EDGE 10 ||| DWDRUMS.COM 7 SM A G A Z I N E S shops. It featured: Jim Keltner, Jonathan I had the fastest foot on the planet, because Moffett, Tommy Lee, and me, all playing no one had a double pedal that worked and talking about the drums and how much well enough to use. I grew up playing two we loved them. Plus, it had an interview bass drums, but Frank didn’t want a second with John Good about his passion for bass drum on stage with another open mic. making the instruments. He still asked for some fast bass drum work, When Terry Bozzio asked me to tour but only on one bass drum, so the double JOHNandCHAD with him, DW was again helping us make pedal was the answer. THIRTY YEARS PLUS that happen. We have two DVDs on the After I got back from that tour, I by Brook Dalton DWDVD label, and continue to work met with Don and John and Don really A A together live and with drumchannel. DW started fine-tuning and refining the pedal. ew drummers have had a career with has been with me for the past thirty years Eventually, he came up with the idea of F the longevity and impact that Chad and they continue to support my efforts. adding a plate to the bottom to make it Wackerman has had, and Drum Workshop I was 100% involved in the beta more stable, and also having numbered has been fortunate enough to support him testing of the drums and hardware in the markings for the setting of the rocker and throughout the past three decades. Most fans early days. Don would come up with spring, so there would be a standard. They are aware that he played with Frank Zappa in a new version of the 5000 pedal, or a made the pedal even smoother, used better the early Eighties, but not everyone knows cymbal stand and I would use the stuff universal joints, replaced the cotter pins that his relationship with DW began around on gigs, then report back to him. A lot of with drum key screws, the hinges got better the same time because John Good (DW’s changes developed this way. I asked Don and better and the overall product became Executive Vice President/Drum Designer) at one point to make a cymbal stacker, a the workhorse that we all rely on today. was Chad’s drum tech during that era. The threaded part that replaces a wing nut on I’ve worked with every version of the time that they spent together led to both a a cymbal stand and allows you to put two 5002 double pedal and got into the 9000 long-lasting friendship and Chad’s inclusion or more cymbals on a single stand. The series much later. I normally use 9000 into the DW family. I recently spoke with cymbal stacker is now offered by several pedals these days, but have no trouble at Mr. Good about those early years and the companies. all switching to the new 5000 series. I indelible impression/influence that Chad has had on Drum Workshop ever since. just played a clinic last night in Toronto SD: What’s it like being an artist at DW? and they had the new 5002. All I did was Brook Dalton: How long have you known CW: The thing you hear over and over from loosen the springs on the pedal and I was Chad and how did you two meet? all the DW artists is that when you are with ready to go. The new toe clamp is the best, John Good: Actually, we met when I was DW you are in the DW family. There is too. called in to do tech work for him in the early such a positive attitude and passion that Eighties. comes from Don and John, and that is very SD: What was your reaction the first time contagious. you played DW drums? BD: Wow, I always thought you knew him CW: The tone was more focused, the tuning previously and that was how you got the job. SD: As someone who has played every range was bigger, and they were completely JG: No, I got that gig because I’d been working version of DW 5000 and 9000 pedals over comfortable. I was absolutely inspired by with Earth, Wind & Fire and Mark Pinske, the years, describe the evolution you’ve the sound and have never looked back. Zappa’s recording engineer, knew about DW witnessed with them and your take on and some of the work I’d done in the studio pedal and hardware innovation, in general. SD: Where do you see DW headed in the and he got me involved. Of course, I knew CW: I had the very first DW double pedal. It next 5-10 years? of Chad because he’d been generating some was presented to me by Duane Livingston, CW: I’m sure DW will have more surprises for buzz in the LA music scene. who was a previous Zappa drum tech. It us in the future. As far as drum innovations go, was made from all DW pedal parts, but they have led the way for years. Think of their BD: Talk about Chad’s thirty years as a DW had a fixed, welded, twisted bar from one contributions: the double pedal, cable hi-hat, artist and what that means to you personally. pedal to the other, instead of a linkage. It the modular hardware, the 3-position snare JG: Throughout these thirty years, he has did have two universal joints and cotter strainer, the various shell advancements, the always been the recipient of some new pins to hold the bar onto the pedals. It was Jazz series, VLT, Classics series…these are things, as far as stuff that I would try out, and held together by U clamps and looked very all amazing accomplishments and have he is always very constructive with criticism; much like something out of a school auto influenced the entire drum industry. DW he gives accolades where they are due, and shop. I bought it right away from Duane. I will continue to push the boundaries of what if there is a problem he lets me know and I learn from it. He’s been there, as a friend and showed it to John Good and he took it and drummers thought was possible. I could not an artist. He’s a person that we all respect cleaned it up the best he could. I used it have chosen a company with more integrity

CHAD WACKERMAN ||| SCOTT DONNELL ||| SCOTT WACKERMAN CHAD tremendously and it’s just great to have him throughout the Zappa European tour, but I and I’m always proud to share that with as a major part of our growth. didn’t overuse it, musically. People thought people.

8 EDGE 10 ||| 2012-2013 DAVE GROHL ENOUGH SAID. RoadRULES

DW LatinInvades America by Juels Thomas

o commemorate our 40th year as The Drummer’s Choice, we decided Tto embark on an ambitious clinic tour that took the DW crew to four marquee Latin American cities. Internationally-known artists, Marco Minnemann and Chester Thompson were joined by Mexico’s own, Alvaro Lopez to put on a show that few will soon forget. The audiences were colossal and passionate, and our own, Juels Thomas was there every step of the way. This is her personal road diary of this historic drumming adventure.

Travel Day - Crew and finishing Marco’s complex phrases 16 JUNE 2012 – TRAVEL DAY (crew) with “Woo!” right on cue. This local Our three-man crew (me, Steve Vega crew was fantastic! They were super [DW Artist Services] and our local professional and beyond welcoming. rep, Pablo) arrived in Mexico City late The venue was a huge hall at the tonight. It’s raining, but all it took Musician’s Union, which also has a was some fabulous Mexican food and music school and shop on campus. cervezas to brighten the night! The show ended around 5:00 p.m., followed by nearly TWO HOURS of autograph signings, and they still couldn’t get to everybody! It was so Travel Day - Artists sad, but we had to go. Even when 17 JUNE 2012 – TRAVEL DAY (artists) the van came to the side entrance to Still raining today. Actually, some pick us up, people found out and were thunderstorms moved in this afternoon still trying to get autographs, while which made Marco and Chester’s flight screaming, “I love you!”, shaking the in very bumpy, but they eventually van, and drawing hearts and drums on made it safely and in time for their the windows. It was incredible to see press conference. Alvaro arrived later the guys getting all the adoration they in the evening, and now I can go to deserve! I really wish we could have sleep knowing they’re all here together, met everyone in Mexico City today, safe and sound. but we have to get on another plane tomorrow. Mexico City, Mexico 18 JUNE 2012 – SHOW DAY Travel Day Long day, but so worth it! Crew 19 JUNE 2012 – (MEX to BOG) started at 7:00 a.m. for load-in with A four-and-a-half hour flight from soundchecks starting at 10:00 a.m. Mexico City to Bogota, Colombia. Doors opened at 1:00 p.m., then over Today doesn’t seem too bad, but don’t 3000 people entered the venue ready

ROAD RULES ||| JUELS THOMAS RULES ||| JUELS ROAD forget to add the 2+ hours at Mexico to be rocked!! Show started at 2:00 City Airport, previous to the flight and p.m. and the audience went crazy! another 3+ at Bogota airport getting They were chanting along with Alvaro, through Customs and Immigration. clapping clave with Chester, Bonkers!! At least the rain has stopped.

10 EDGE 10 ||| 2012-2013 Bogota, Colombia Travel Day 20 JUNE 2012 – SHOW DAY (BOGOTA, 23 JUNE 2012 – TRAVEL DAY (UIO to GRU COLOMBIA) via LIM) Day started with a really great press Unfortunately, the Mexican government conference with the three stars at 10:00 a.m. couldn’t grant the proper Brazilian visa to Then, the crew headed over to the venue Alvaro on time, so he isn’t able to join us on at noon to start setup. Today’s venue was a the last stop in Sao Paulo. Fortunately for super cool theatre called the Down Town him though, his flight home is not as long Majestic. Once again, the local crew was as ours today. The rest of us had a nearly incredible!! Can’t say enough about how thirteen-hour day of travel from Quito to Sao helpful and enthusiastic everyone was here. Paulo with a connection through Lima, Peru. The show started at 7:00 p.m. and over 1800 The view of the Andes mountain range from people filled the entire floor and balcony to the plane sure was spectacular! capacity. We ended at 10:00 p.m. and once again the autograph session lasted almost as Day Off! long at the show. The guys managed to meet 24 JUNE 2012 – DAY OFF! and take photos with everyone. This crowd Except for another really great press was so warm. I love the people in Bogota! conference this morning at 11:00 a.m., today we get to enjoy a day off. YAY! The guys definitely deserve it. So, it’s time to just Travel Day explore Sao Paulo with our fantastic hosts, do 21 JUNE 2012 – TRAVEL DAY (BOG to UIO) a little shopping and rest up for the big finale Today’s flight from Bogota to Quito, Ecuador tomorrow. was only an hour-and-a-half. Even with the additional airport hours at both ends, we got Show Day to the hotel at a reasonable time. Our host 25 JUNE 2012 – (SAO PAULO, BRAZIL) invited us all to his home for dinner with his Everyone told us we were going to have family. And when I say “family” I mean the a blast in Sao Paulo, and they were right. WHOLE family: brothers, sisters, cousins, The people here are so fantastic! Once children, EVERYONE! It was such an honor again, the local crew blew us away with to get to spend this special time with our kindness. Load-in started at 11:00 a.m., with generous hosts. They seriously treated us soundchecks starting at 2:00 p.m. The venue, like royalty. Did I mention that they grilled Teatro Mix FM, was really nice and the sound the most amazing things? There was sausage there was excellent. Since Alvaro couldn’t and chicken and Ecuadorian steak and lots be with us for this performance, local DW of MEAT! It was all so delicious! Even this artist, Robson Caffé, started the show at 6:00 vegetarian had to try a bite of the steak. After p.m. The audience loved their hometown dinner, they were gracious enough to give us hero, and Marco and Chester welcomed him a little tour through town so we could witness with open arms, as well. Everyone sounded the beautiful architecture, monuments and incredible tonight. Show ended at 9:00 p.m. churches. It was an incredible night of Now it’s time for the final autograph session relaxing and just enjoying the experience and tear-down. Then, it’s time to celebrate!! together. Travel Day 26 JUNE 2012 – (GRU to HOME!) Quito, Equador I’m so very sad that we’ll all be going our 22 JUNE 2012 – SHOW DAY separate ways today. This tour was way too Back to work! Load-in at 9:00 a.m. quick and we all want to keep going, but Soundcheck starts at noon and the show it will certainly be nice to get home. After starts early, at 4:00 p.m. If I haven’t made about a twenty-hour travel day for most of us, it clear enough already, our hosts and local we’re back to Los Angeles. Well, guess I’d crew in Quito are unbeatable. It is an better settle in. Thank you everyone! We had absolute pleasure to work with them all. The an awesome time meeting you on this trek. venue today was a very modern theatre on Hope to see more of you out there very soon. a hill overlooking beautiful Quito. The guys Who knows where the next DW International played flawlessly and had the crowd roaring clinic tour will take us? Don’t forget to check again. Sadly, this was the last show with www.dwdrums.com/edu/calendar.asp for the Alvaro, so it was bittersweet to hear his final latest dates and educational happenings. note tonight.

EDGE 10 ||| DWDRUMS.COM 11 SM A G A Z I N E S

The DRUMMERS ofLate Night by Brook Dalton A A

ate Night television is as much of an institution as it is and autograph sessions I’ve ever seen at a clinic, we sat down to Lentertainment. While there are many elements that shape our discuss his playing in the SNL Band. fondness for particular shows (writing, time slot, guests, etc.), the I asked Shawn to describe his rehearsal routine for the show. factors that really set their tone, ambiance and pace are the host Even though I knew that he is a twenty year veteran with SNL, (and sidekick, if applicable) and the band. Yes, I am positing that implying a second-nature familiarity with what his job requires, the members of the band are as important as the host in terms I was somewhat shocked at his response. He explained that the of setting the energy and mood of the program. And since the band rehearses one day a week, that day being the Saturday of the drummer is the heart of the band, they have a huge responsibility broadcast (occasionally, he is needed on a Friday if he sits in with that helps dictate the timing and tempo of the show itself. I the musical guest, but that rarely occurs). According to Pelton, was lucky enough to sit down with three of the most watched/ “SNL is so interesting because it’s evolved over the years. We respected drummers from the world of late night television to talk (the band) show up Saturday morning and we have the stage from about their gigs, schedules, and expectations while gaining some 11:00 am until 1:00 pm, then the actors do a long dress rehearsal insight as to what their daily routine is like. After visiting with until 8:00. Then, we do a run-through of the show. At 11:00, we Shawn Pelton (Saturday Night Live), James Wormworth (Conan), do a warm-up set for the crowd and start the show at 11:30.” It is and Jonathan Dresel (Jimmy Kimmel Live!) I quickly realized mind-blowing to me that one of the most viewed and historically that their level of expertise and adaptability, combined with an respected television shows continually comes together and is, ever-present light-heartedness, is what sets them apart from the literally, finalized in the eleventh hour. Furthermore, Shawn average drummer. These guys are the pro’s pros and after getting explained that the 8:00 run-through contains an extra thirty a taste of what their jobs demand, I can honestly say that I will minutes of material that may or may not make it into that night’s watch their shows with a newfound respect and admiration from show, depending on the reaction at rehearsal. One advantage here on out. of a schedule like this lies in the fact that Saturday Night Live Have you ever been called in to work on your day off and broadcasts about twenty-two episodes per year, filming from LATE NIGHT ||| BROOK DALTON LATE been happy about it? Me neither. That is, until I was asked to September through May, whereas shows like Conan and Jimmy interview Shawn Pelton on a mid-summer Saturday afternoon. Kimmel Live! shoot that many episodes in about six weeks. Mr. Pelton (affectionately nicknamed, Cat Daddy) gave a clinic Pelton spoke about some of the pressures of playing for for an event at the DW factory where he demonstrated his a live broadcast. Even though he has been doing this gig for groove-oriented styles, playing along with tracks that he had more than two decades, the nature of a live show (especially a recorded with the likes of Sheryl Crow, Kelly Clarkson, and Bruce comedy show that is reputable for moments of zany impromptu) Springsteen. After giving the most relatable and comical Q&A still causes him to be “hyper-focused on what’s happening”

12 EDGE 10 ||| 2012-2013 James Wormworth o C o C e am T / in c l a ir S egh a n : M : redit C hoto P

EDGE 10 ||| DWDRUMS.COM 13 around him. While Shawn is a heavy hitter and executes a pocket-oriented precision, he compares his “mental toughness” on the show to the “survival skills” he incorporates while tracking in the studio. He explained that some of the problems that come about aren’t with the band itself, but with a host or actor that needs to keep time on certain skits that have a musical piece accompanying them. “There have been music moments when we were playing behind somebody in a monologue or skit and they’ll skip a beat or skip a line because they’re not musicians, they’re actors or actresses trying to do their thing…and that can be really stressful. Maybe they don’t ever do the same thing the same way twice but we have to commit to the performance and structure of the song.” It’s a testament to the professionalism and quick-thinking

ive of Pelton, and the rest of the eleven-piece L

i mm el SNL Band, that issues like this don’t K

i mm y translate very often in the broadcast. : J : of Jonathan Dresel After all, as Shawn pointed out, “Live TV s y ourte

C is filmed without a safety net.” hoto P Days after meeting with Pelton, Scott Donnell (Director of Marketing for Drum Workshop) and I drove to the Warner Brothers studio in Burbank to visit with James ‘Worm’ Wormworth on the set of the Conan show. After passing through several security stations, I was immediately hit with the sensory overload of the studio’s back lot. It was a scene straight out of Pee-wee’s Big Adventure, just as I hoped it would be. A surreal landscape with palpable energy. Shawn Pelton Employees racing around on bikes, large, weird props everywhere (wooden bulls, canoes, a ten-foot bust of Conan O’Brien’s head), and stage builders hammering away. Mr. Wormworth took us past the set to an instrument-filled sound room backstage where he, and the LATE NIGHT ||| BROOK DALTON LATE rest of the Jimmy Vivino and the Basic Cable Band, goes over songs before the actual rehearsals for the show. I asked Worm about his preparation for the show, and it struck me that while the yearly quantity of episodes for Conan is much larger than SNL’s, the format of the rehearsals is nearly the same. The show

14 EDGE 10 ||| 2012-2013 airs Monday through Thursday, with the loose” and it’s demonstrated with their a deep appreciation for the level of band arriving daily at noon and preparing spot-on playing and the sincere smiles on professionalism that he and his band mates until their 1:00 run-through with the their faces on any given night. display. They learned a handful of songs, whole crew. As the ever-smiling drummer Whereas the studio for the Conan never playing one more than twice, while explained his routine, it became clear just show is on a walled lot, the Jimmy Kimmel making adjustments on the fly (“When we how creative, eclectic, and adaptable he Live! show tapes at the El Capitan Theatre play it tonight, make the verse four bars needs to be for this gig. For instance, the in the heart of Hollywood Blvd. As shorter…”). Cleto asked for Dresel to show that was airing that night required Jonathan Dresel led us to the rehearsal, we start with a ‘shaka-doom, shaka-doom,’ song selections ranging from Baliwood, had to pass through throngs of folks on the Jonathan knew exactly what he meant Blues, and Rockabilly. Worm told us street, some dressed as movie characters, and off they went. There is a conditioned that his ability to play/learn a spectrum some doing street performances, all of familiarity present with this band, as of music came from his time as a gigging them energetic. Once inside, Mr. Dresel Dresel says, “There is a lot of energy. This musician in New York, as a member of showed us the theatre’s world-famous is our tenth season together and because the Musician’s Union. He explained, “If green room, the backstage area, the band’s we’re here so much we get to develop you’re going to be a New York drummer, hang out room (complete with dozens relationships with each other.” When I you have to be able to answer the call” of funny quotes/inside jokes written on asked him about the immense audience and with an excited air, acknowledged, scraps of paper that they have amassed that he plays for nightly, he acknowledged “I’m still learning all the time!” Even over the years hanging on the walls), and that he factors in the viewership while though the music being played for the the stage, featuring a framed pair of Gary playing, “We’re playing for the audience, show is often on the air for a short while, Coleman’s pants above the venue’s seats that’s why we’re here.” Like Pelton and James specifically stated, “The two most (seriously). Wormworth, when watching Dresel play, important things for us are: 1) Heading Like the Conan show, they film it is obvious just how much he enjoys out to commercial together, getting it right Monday through Thursday with rehearsals what he’s doing. As he told us, “Music is every single time and 2) When we come starting around noon, at which time the about having fun.” Trust me, it shows. back from commercial, we need to end all band (Cleto and the Cletones) learns These three musicians understand together. And we take pride in doing that.” a selection of songs and goes over the the hard work and sacrifice that it takes to Aside from the daily pressure and bumper music for the show, sometimes get, and keep, the jobs they have earned expectation that Wormworth deals with, it picking tunes that are specifically related (between the three of them, they average is abundantly clear that he loves his job to certain guests. We watched Jonathan fifteen years with their shows). All of them and he realizes how important it is to have and the band run through four songs, have transplanted from long distances in the right attitude for a gig like this. “It’s so including a Foo Fighters cover, for that order to play music, they had extensively much fun, man. My job is to, basically, night’s episode. Incidentally, I asked all trained and studied before landing the come to work and laugh for a few hours.” three of the gentlemen for this article if gigs that led to their television roles, and He likens it to being able to play with there were ever any drummers that played they adhere to an open-mindedness that is his friends in the sandbox. The barefoot as guests on their shows that really stood essential in dealing with both people and basher states, “The whole day is filled with out to them, and they all responded with, music. They are lucky in the sense that laughter, but when it’s time to make the “Dave Grohl.” Jonathan explained that their shows are entertaining and varied hit, that’s what we do. That’s what we’re the band gets to choose the bumper music from one episode to the next, as to keep here to do.” I asked him if the band’s and that he charts out the music for the things continually fresh and innovative relationship with Conan is strengthened show during the previous night. He has for them. As Jonathan Dresel says, “There because the host is also a musician and even written some original songs for the is a danger in being complacent.” As understands their role better than someone show, demonstrating that “everybody gets viewers and fans, we are lucky, too. Pay who has little, or no, musical training. a taste of the process.” At 1:00, Jimmy attention to these drummers the next time “Absolutely! Conan loves to play music Kimmel, along the writers and producers, you watch one of their programs. Chances and he’s a drummer, too. Sometimes took the stage to go over videos and are, they will be playing with a heartfelt, during commercial breaks, he’ll come potential jokes for the monologue. Again, abundant energy while smiling from ear- over and boot me off of the drums and start like SNL and Conan, it is astounding to me to-ear. These guys are enthusiastic about whacking around on them.” How cool is that these shows are having the material their instruments, they appreciate their that? This level of familiarity and mutual written and finalized a mere hours before jobs, and they love being able to perform love of music definitely adds to the feel being performed, but that is what allows for the audience. Night after night. of the show and provides an on-set bond them to remain fresh and topical. that is one-of-a-kind. Worm refers to the I have to say that getting to watch disposition of the band as “professionally Jonathan at work in rehearsal gave me

EDGE 10 ||| DWDRUMS.COM 15 SM A G A Z I N E S

Stacy Jones

Eric Hernandez BIG GIGS ||| ATOM WILLARD BIG GIGS ||| ATOM Atom Willard ohn s on J i sa : L : redit C hoto P

16 EDGE 10 ||| 2012-2013 hese days, drumming gigs are more competitive than ever. T Big money record deals are few-and-far-between, tours are downsizing and emerging artists are easily lost in the shuffle. So, how does a drummer get one of the big gigs, the kind that has them playing on SNL one week and on major European road dates the next? We asked our favorite staff writer, and ‘big gig’ drummer in his own right, Atom Willard, to sit down with Bruno Mars’ Eric Hernandez and Matchbox 20’s Stacy Jones to get the skinny on drumming for a superstar act. True, the music BigGigs business is changing, but there are still plenty of big gigs. by Atom Willard A A hange. A lot of people avoid it at all AW: That’s always a good feeling. Ccosts, while others seek it out on a ATOM: Stacy, tell me about the gig with SJ: Yeah, so T.S. was opening the show, daily basis. At the end of the day, it simply Matchbox 20. The band has been around and it was some kind of street fest or beer can’t be avoided. Unquestionably, this a long time! fest, and at the end of the show I trashed rule holds true for working drummers. STACY: 20 years. Well not quite 20 years, the drum kit. Partly, because that’s what There’s a constant ebb and flow of gigs, but a long time. you did in the 90’s, but mainly because we bands, producers, songs, side projects… wanted the audience to know that we were and then, there’s the most amazing gig that AW: That’ll be a big party when they do hit finished. We didn’t have any more songs to fulfills every aspect, the creative AND the 20, right? play. It was a rental kit, and even though it realistic (meaning you can pay your bills SJ: Yeah, I would imagine, but it’s already looked destroyed it wasn’t really that bad, and, ultimately, live the dream while doing kind of a party. Even just at rehearsals, but after the show as I was hanging out with it). Today, I’m talking with two guys that these are great guys to work with. the (future MB20) guys, these cops showed have embraced change throughout their up and tried to arrest me for wrecking the careers and, for right now, it’s paying off AW: So, Eric, how did your gig come about? drum kit! I was able to talk my way out of big time. Did you guys audition, know somebody, or it. Now it’s something that whenever I’ve were you referred? run into them over the years with my other Stacy Jones has been in plenty of bands, ERIC: Well, sort of. Bruno Mars is my bands, we always have a laugh about it. In and not just as the drummer. He’s done brother. fact, American Hi-Fi opened for MB20 in it all, from singing, songwriting and 2004 and it’s always been good with us. producing, to being the Musical Director AW: What? Really? Literally? The original drummer, Paul, is still in the for pop princess, Mylie Cyrus. Versatility EH: Yep. I come from a strong musical band. is Stacy’s middle name, and most recently, family and background. We’re all pretty he finds himself behind the kit for a massive into music and that includes my little AW: Wait, what?? tour to support Matchbox 20’s latest effort. brother, Bruno Mars. So, he is my brother SJ: Yeah, he plays guitar now. They had an So, what does it take to land the big gigs and my boss at the same time. unofficial “5th member” guitar player who and keep them? I asked Stacy to let us in left in 2006 and Paul just decided to play on his magic formula. AW: Oh, that’s awesome, and kind of guitar. Now, I’m playing drums. I’m super terrible all at once. stoked on it. I love the guys, I love the Then, there’s Eric Henandez, the soft- EH: [Laughter]. music, and stylistically, it’s perfect for me. spoken, Brooklyn-born, Hawaiian-raised SJ: Yeah, I did audition (for Matchbox 20), I get to hammer out some tunes and play risk-taker. This former law enforcement but I’ve known these guys for a long time. I some more subtle groovy-type of stuff too. officer left the comfort of home to make it knew them before they were called MB20, in L.A. He embraced the unknown and hit when they were called, Tabitha’s Secret, AW: That’s kind of my next question. Did the big time with his employer and brother, and my band, Letters to Cleo, played a show either of you guys have to make any big Bruno Mars. In retrospect, he made the with them. It was one of the first shows we adjustments to your playing styles for these right move, but did he ever have doubts? had played out of town and where people gigs? Maybe talent, people skills, faith and luck were actually there to see us. EH: Well, the biggest change for me isn’t are enough to get the big gig. stylistic, it’s just being aware that more

EDGE 10 ||| DWDRUMS.COM 17 BIG GIGS ||| ATOM WILLARD SJ: Sometimes, I’ll do some things that SJ: Sometimes, I’ll do some thingsthat me and,you know, he’s right. the song.” Sometimes he just has to remind put a stop to it and say, “Hey man, just play trying tochop upsomedrumsthere.He’ll way,own me my or here, it’swhetherfill a sometimes I’lltrytointerpret themusic simple. So,helikesittostay likethat,and based on four chords; he likes to keep it EH: Well, mostofBruno’s successis it prettystraight ahead? AW: Doyou getto“gooff”alittlebit,oris song. both hardhitters,andtendtoplay forthe challenge. Ourstylesare so similar. We’re parts, isalittlebitdaunting,butit’s a nice at me,includingtheguywho invented the Sitting upthereandhaving everyone staring great musicianandareallytalentedguy. his partssomuch, andrespecthimasa SJ: Yeah, totally!Especially, sinceIloved watching you thewhole time! because theguyisinband,and AW: It’s gottobealittleintimidating, all my homework. and what hewas doingandkindofjustdid even checked outthe(temporary) drummer YouTube toseewhat hewas doinglive, and watched I everything. parts, fills, note, for parts. Basically, I learned everything note he comesupwithreallygreat,creative drummer). He’s such agreatdrummer, and wanted todowas torepresentPaul (original the records,becausemainthingthatI playing prettymuch exactlywhat is on SJ: For me,thebiggestchange isthatI’m out when we’re doingthosethings. EH: Right.SoIjusthave tonotpsych myself goes EVERYWHERE! be sobig,butthatcamera rightthere,that AW: Yeah, that TV soundstagemightnot is my job!I’mliving my dream. wherever, and this is really happening! This I’m hereplaying drumsinSwitzerland,or being remindedthatI’mactuallydoingthis. of people watching! It’s also that I’m always doing The Grammys orSNL,therearealot more than ever I’m aware that when we’re listening. It’s agoodchange. You know, people are watching, and people are 18 EDGE 10|||2012-2013 like it’s anotherinstrument oranother SJ: The thingisthis,ifyou play totheclick AW: I’mtheexactsame way. weirder when Idon’t have itnow. whole show is on a click, so I almost get spent thelastfewyears withMylieandthat It’s somethingtheywanted totry, andI’ve it. Plus,I’monaclick for85% oftheshow. SJ: Yeah, ithasamuch morenatural feelto AW: Soithasmoreofahumanfeel,right? single sounds. stuff manually, eitheraonebarphrase or everything, andhe’lltriggeralltheloop Matt Beck, who canplay anything and those live. We have anauxiliaryplayer, and samples, but we are triggering all of ten years andtherearesomenewsounds like, in, album full first their either.is This SJ: Yeah, withMB20therearenotracks them (changes), andyou’re waiting. just goonautopilot,becausehewillcall It’s notoneofthosethingswhere you can in alive concertsituation,butnoton TV. EH: Yeah, hecalls‘emallthetime,especially it upalot?Doeshecalloutaudibles? AW: Sohow doesthatwork? Doeshemix to stick toaformat. just gooffonatangent,sohedoesn’t want freedom; heisashowman, andhemight never reallyworked out.Brunolikesthe tried sometracks hereorthere,butit’s complete live actthewhole time. We’ve guitar, then the horns,andwe’ve beena and keys,butwe’ve beenaddingguys,lead shows withjustBrunoonguitar, thenbass complete horn section. We used to play we’re uptoaninepiecebandwith EH: Nope,notracks, noclicks. Infact, tracks orclicks? AW: Doeitheroneofyou guysplay to look. [Laughter]. don’t I “Um, the, got I and shuffle so” think I did this long straight 8th snare fill over the and yesterdayplayingshuffle, were this we seems tonotice.So,that’s cool,butinfact, learned fromGregBissonetteandnoone squeezing inthis Tony Williams lick thatI wink fromPaul orthebassplayer. I’llbe weren’t therebeforeandI’llgetthenodor SJ: Iagree.Sometimes,your perceptions are comfort zone. whatever andnotgetoutsideofthesong’s like Icanpushthroughabridgeor AW: Yeah, Ifeellikeitgives meafreedom, how fartogo. synch itback fortheverse. Iknow exactly and when thatchorus comesIknow thatI’ll bass player pushingandIcanplay ontop, around it. With somesongsIcanfeelthe can feelreallybad,butIliketoplay loose glued toit,and you can’t deviatefrom it, it be areallycomfortablefeeling.Ifyou’re person thatyou’re playing with,itcan ©2012 Drum Workshop, Inc. All Rights Reserved. off or you just got off a 14 hour flight and growing up, we had our family show, a 60’s know, either by a riff he does or what his you’re sleep deprived and the adrenaline review-type band. That’s where we got our voice is doing. So, I feel that kid, and it’s kicks in. It really helps in those situations. start on stage. Then, we both kind of went our history that makes it easy. It’s not like a ball-and-chain to me at all. If our own way. When we turned 18, we did you can do that, and be loose with it and our own thing for a few years and I ended AW: Have there been any “getting to feel natural doing it, the click can be a up leaving a really good gig in Hawaii to know you” moments with the band? Also, really great tool. come to L.A. any weird musical things, song starts or endings? AW: Amen, brother! AW: So, you’re pretty familiar with each EH: Yeah, man. Even though we’re all SJ: [Laughter]. other musically. pretty mellow, easy going dudes, there’s EH: Yeah, we’ve been playing together in still a “feel-out” process when someone AW: Eric, how long have you been in this so many different projects, even Top 40 new comes into the band. You know, like incarnation of the band? acts at pubs. I really know him and what is this person cool, is he level-headed and EH: Since 2008, but we’ve been doing this, he’s going to do. I feel when he wants gonna gel with the band and the music? really, since we were kids. Back in Hawaii, to transition to the B-Section. I already Are they here for the right reasons? End of

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Boutique-Inspired Drums for Every Drummer. What a Concept. Today’s young, in-demand players are choosing Concept Series drums to make their musical statement. Big tours, big artists, big dreams. Shouldn’t every drummer demand pro features and pro quality at a reasonable price? We think so. Check out a Maple or Birch Concept kit at an authorized PDP dealer near you, or online at www.dwdrums.com. EDGE 10 ||| DWDRUMS.COM 19 the day, we’re bros, we’ve got love for each when I watch it back it looks great. I watch not only in a family environment, but with other. Oh, and it’s also super important drummers smash on the kit fully suited-up other players as well, is to play the music. that they’re clean! Good hygiene is a too. I envy that, I just can’t do it. Sometimes I tend to over think or over play. plus, because we’re gonna live together in I’ll be trying to do some cool lick I saw on close quarters on a bus or flying on a plane AW: Have there been any changes to your YouTube and I’ll try to put it in the show, and I’m not a fan of dirty, stinky people. kit? but it doesn’t always fit the format. Then, [Laughter]. EH: Typically, I have been doing a 10” or I’m not supporting the song or the artist SJ: Absolutely. If you listen to MB20 and 12” tom up top and two floors, which are properly. Know what the vibe of the song really check them out, there are some 14” and 16”. Right now, I’m trying both is and play the song correctly, because it’s very intricate arrangements and really the 10” and 12” up top, but offset, a little to not for you, it’s for the audience. If you’re interesting ways of starting songs. Like, the left. Then, 14x14” and 16x16” floors, in a high-profile gig, you need play the there’s a “bar of 5 situation” that’s hard but I have been experimenting with flip- song the way people have grown to love to notice. Another thing I’ve never done flopping the floors, so the 16” is closest. it. We musicians try to flip things around before is have a trigger set up with a because we get bored, and we’ve played it cowbell sound that only the guys can hear. AW: Cool. What size kick are you running? so many damn times, but coming out of the I keep time for them, so whenever I have a EH: I have a 16X20” and an 18X22”. I’ve gate you need to know how to hold back pause, I gotta remember to keep it going. been playing the 18x22” more lately. and play it like the record. The audience is And yeah, the count-ins, learning what They’re all the Jazz Series. I’m really happy the reason we’re there, so give them what everyone is most comfortable with, there’s with these drums. they want. Support the song. a little bit of a learning curve with that too. SJ: The biggest change for me is that I have SJ: I’ve only auditioned for a couple things, just done a deal with DW. and one of them was Smashing Pumkins AW: Is there anything that you maybe when Matt Walker was just out of the band. haven’t done before or something you AW: Yeah! I walk in and there’s a drumset set up and don’t really like to do, but it’s part of the SJ: I’ve really never had a “real deal” before it’s very obvious whose kit it is (Kenny gig? and I’m totally thrilled. To just look at the Aronoff), with the rack toms reversed and SJ: I really have to say that with this gig and drums, how they’re made, and the shells a super low seat. They tell me I can’t move with my last gig, there really hasn’t been are so nice, and they’re made in the states. anything. I play through a few songs and I anything like that. There are definitely come out and Kenny is there, and he gives things that, you know, I wouldn’t have AW: Such a big thing. me this big bear hug and says I was great played that way, but that’s what makes Paul SJ: Yeah! It’s a really big thing that they are and everything, but I knew, I just knew it so unique, and makes Matchbox who they made here and are so incredible. wasn’t my gig. I think I even knew it when are. It’s good for me to play those parts I was on the plane to go there. So, you and learn to play them naturally, to make AW: Which series are you playing? have to trust your instincts. them feel like I have been playing them for SJ: I’ve been on a 24” kick for a long time 20 years. and decided that an 18x22”is a perfect fit AW: That’s hard to do because you think for this gig. I’m also playing a 12” rack and you really need that gig. AW: That’s pretty insightful, to be able to 16” and 18” floors. SJ: Yeah! But it just felt wrong. You have see it as a challenge. to know what’s right for you and don’t be SJ: Totally! It’s not that I don’t like it, or AW: Which series? discouraged. With this gig, I knew right whatever, just that it’s different. SJ: The Collectors Series with the VLX from the start that this was something I EH: The only thing that makes me shells for the kick and two floors, it really really, really wanted to do. I’m not saying uncomfortable on this gig is when I’m sounds great! don’t go on auditions, you always should asked to play in a suit. You might have because, if nothing else, you will learn seen us on several TV shows in fitted suits. AW: Changing gears. What would you like from it. But if you don’t get it, it’s okay. Don’t get me wrong, I love to clean up and to pass on to up-and-coming drummers It just wasn’t meant to be. So, yeah, trust look dapper in a nice suit, but I can’t stand trying to get into a situation similar to your instincts and be prepared! Know the playing drums in one! I’ve had sticks get yours? music better than you know anything! Get stuck in my sleeve and then pop out of my EH: Well, if you think that this is what up there and play with confidence. The hands. I’ve had the kick beater get caught you’re supposed to be doing and it’s your drummer needs to drive the bus. That’s in my pant cuff...uhhhhh, frustrating! Plus, universe, then you keep doing it, no matter what the band needs and what the people I’m kind of stocky, so a fitted suit just how many times you get shut down. If it’s want. restrains me. Then, I start to over-think supposed to happen, if it’s the path you’re how uncomfortable I am, stressing myself supposed to lead, then it’s going to happen. out. I get the whole “look” thing, and Also, one thing I’ve learned from playing,

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©2012 Drum Workshop, Inc. All Rights Reserved. FEATURE en w i ck R a ig r : C : redit C hoto P GEARING UP ||| NEIL PEART

22 EDGE 10 ||| 2012-2013 GEARING UP for the by Neil Peart ROADA A eil peart writes about machine, where I ease into something like for having done it — physically and Nhis preparations for the rhythm of cross-country skiing (though “morally” — but I do not love it. Quite the Rush’s Clockwork Angels tour, without the pretty setting). Keeping a contrary. I told Carrie, “If there were a pill launching in September, 2012. fast, steady pace against a fairly high I could take that made me feel the way I resistance, I raise my heart-rate to near do after exercising, I would take that pill my recommended maximum, and keep it instead.” During the mixing of our Clockwork there. After thirty minutes I am well pumped Angels album in January, 2012, Alex and A row of those machines, along with and sweated, and I go to the mats for Geddy and I started making plans for the treadmills and other types of ellipticals, a program of yoga and calisthenics. upcoming tour. The first show would not overlooks the pool, and I often seem to be Back in 2000, when I first moved to Los be until September, but after thirty-eight there when a geriatric water aerobics class Angeles, I combined my Y workouts with years as a touring band our musical and is underway. It is not exciting to watch. I yoga classes several times a week, and I visual presentations have grown ever just keep pumping, and think my thoughts. believe the effect was enduring, keeping more elaborate. The staging, lighting, and Some people like listening to music while me balanced and flexible and preventing effects are enhanced by rear-screen films they exercise, but that has never worked injury. that lend much drama and comedy, and for me. It’s the same with motorcycling Since then I have incorporated the these ambitious productions take time to and skiing — some like music along for most useful poses and transitions into my prepare. the ride, but I feel that those activities, like own workouts. Standing on the mat, I do Similarly, our live show is always music appreciation, are “exclusive” states a series of neck and shoulder rolls, then highly demanding physically, as we, and of mind, wanting no distractions. The only work through the standing poses of the Sun our audiences, naturally tend to prefer activity I combine with music is driving, Salutations, holding each pose for a count our most energetic and hard-hitting songs because long trips by car are clearly made of twenty Mississippis. I especially like for the concert stage. As the one who has for listening to music. For me, exercise one of the Warrior poses, standing on one to do that hard hitting, my physical state is an act of will, and not conducive to foot (gaze fixed on a distant point) with the also requires some preparation. The ideal listening, reading, or creative thinking. other leg held back by its matching hand timing for me is when tour rehearsals So the time passes slowly. On the cross- and stretching everything in that direction. follow a winter season of cross-country trainer, I watch the red LEDs displaying Triangle is nice too. Lunges not so much skiing and snowshoeing, or a summer of time, distance, heart rate, calories burned, — but, they feel...worthwhile. Then swimming and rowing. Those are natural and level of resistance, and rarely go as Downward Dog into Plank, and Upward and enjoyable ways to build one’s stamina. long as a minute without checking the Dog, each for that count of twenty Old However, the seasons did not so clock’s achingly slow progress. I count Man Rivers, three times around — a flow converge this time. I knew I would be down each fraction of a minute, and each of motion and pose called a vinyasa. facing the most physically demanding fraction of the thirty minutes. “That’s one (Lately I avoid pushups, as I do heavy Rush tour ever, and I would be turning fifth . . . that’s one third . . .” weights, because they expose weaknesses sixty as the tour got underway. So in One time I got into trying to see how — like a long-ago fall while skiing that February, while we were still mixing, I many sevens I could post on the screens remains vulnerable to over-exertion of my began visiting my local Y three times a (I think I got up to six). Suffice to say, it’s left shoulder). Then a few sitting stretches, week, and continued that fairly religiously painfully tedious. It takes a huge effort all adding up to about twenty minutes. for the next four months. of will to get me there, and to push me Next, bent-knee situps on the board, A twenty-minute bicycle ride across through my routine. But it works. inclined upward. I think twenty-five or so town, with my workout gear stuffed One morning I was grumbling about is good (because I’ve had enough by then). into a backpack, is a decent warm-up. going to the Y and my wife, Carrie, said, My brother, Danny, is a personal Changing at the lockers, I trade the helmet “But you love the Y!” trainer by profession, and over the years for a bandana, to keep the sweat out of I could only stare at her in disbelief. I have often consulted him about my my eyes (the same purpose as the hats I How can a guy be so misunderstood? workouts. With the weight machines, wear while drumming). My first ritual is a I make myself go there, and feel good Danny counseled me to alternate muscle thirty-minute session on the cross-training

EDGE 10 ||| DWDRUMS.COM 23 groups, so I’ll do leg presses, bicep Coast Highway and back every day. You Still, it’s pain. curls and tricep presses, leg curls, chest really cannot beat that. But it’s necessary. The thing is, I like presses, leg lifts, and high-lat pulldowns. During those months between, Alex, to hit the drums hard — for the primitive I do twenty reps of each, and for me, the Geddy, and I exchanged many emails on physical satisfaction of it, but mostly for appropriate weights have gravitated to the subject of the setlist — what new songs the sound. For example, my backbeat on 50, 70, and 90 pounds, depending on the we would play, and which old ones we the snare is almost always full-force across muscle group. In the free-weight room, wanted to either keep or resurrect. Gump the head and the rim, and I like to hit the I do twenty chest flys with 15-pound made me playlists of the proposed sets, toms hard for both definition and a slight dumbbells on an inclined bench. pulling together the recorded versions of detuning effect under hard impact that Then comes a cooling reward of sorts the songs for me to play along with. For the gives a “throatier” tone. — a long swim. If it were summer at the first few days we had the band’s longtime By the second week, the fatiguing lake, and swimming and rowing my only programmer, Jim Burgess, on hand to set nature of that trauma began to subside a workouts, I would row around the lake up the sampling arrays for the new and old little (though it never stops, really, for the — about three miles — then swim up the songs, and to provide me with some new remainder of the tour). I enjoyed relearning shore to the next dock and back for a mile. soundscapes for my solo. some songs from the mid-’80s we hadn’t But in the gym, after all that other sweaty Our friendly neighborhood Roland played for many years, like “Grand exertion, a quarter-mile swim — fourteen man, Drew, dropped off a set of the Designs,” “Territories,” “Middletown laps of front crawl, two of breast stroke — new V-Drums, the TD-30, for me to try. Dreams,” and “Manhattan Project” and I is ample, and relatively pleasant. They were set up beside my main kit, could tell they were going to sound better It is unlucky that my bicycle ride home and I gradually worked my way through than the records (because we play better is all uphill — albeit gentle. I had the same the presets, looking for useful sounds or now than we did back then). But it soon situation when I lived in Toronto, and setups, and admiring the new level of became clear to me that the proposed sets wished it were reversed. But at least the dynamic sensitivity Roland has achieved were way too long. Typically, we like to grocery store is on the way home, because with them. play a one-hour first set, take a twenty- another important aspect of fitness is diet, The main kit would be the same one minute intermission (before which Geddy of course. Being the meal-planner, grocery I used for the Time Machine tour — the always makes an announcement along shopper, and cook in our house (Chef custom DW drums and Sabian cymbals — the lines of, “We have to take a break — Bubba is a working homemaker), our because, like that tour, the visual design ’cause we’re about a hundred”), then play meals always offer a healthy assortment was already built upon the Clockwork another hour and thirty or forty minutes. of nutrients. Lots of fish and chicken, Angels steampunk theme. The album had Gump and I could tell the two setlists steamed vegetables in multiple colors, and been recorded with those drums (except I was playing to would add up to much a comforting carbohydrate. I also believe the first two songs, recorded earlier on the more than that, and we would need to in a daily multivitamin as a supplement Snakes and Arrows kit). Gump had spent a drop at least four songs. However, there (and single malt whisky, when the day’s few days tearing it down and “restoring” it, were no obvious candidates, and when I work is done). and it looked and sounded as amazing as mentioned this reality to Alex and Geddy, ever. the three of us couldn’t agree on dropping From February until June I maintained After such a long period of any. So I suggested something different that regimen, then on June 25th I started conditioning, I came in physically strong, for us: putting together two shows, Show my drum rehearsals at the Drum Channel but the only real training for drumming A and Show B, that would alternate four studio with my tech, Lorne “Gump” is drumming. See, it’s all that hitting. different songs each night. In the past we Wheaton. Geddy once joked that I was the Irresistible force strikes immovable object had always preferred a fixed format for GEARING UP ||| NEIL PEART only musician he knew who “rehearsed to and that . . . a few thousand times. the setlist, and when confronted with only rehearse,” but I like to be prepared — and In professional athletics this approach one or two songs in excess, we would as we’ll see, I need the workout. Gump is called sport-specific training. Cyclists either knuckle down and play them, or and I would have three-and-a-half weeks have to cycle and runners have to run. drop them for time constraints. This time, to work on the songs, smooth out any However, it remains true that all of the somehow the idea seemed more attractive technological problems, and dream up advance fitness work I did gave me the to us when it was bigger (as it should). some new solo ideas. This is my favorite foundation to build on. It did mean having to learn that many part of the touring process because I begin But during that first week of hard more songs, and work them out musically, the day at home with my family, then have drumming, each night I went home aching technically, and production-wise, but it a challenging and satisfying hard day’s all over, and woke up feeling even worse. seemed worthwhile — even just because work, and end up at home cooking the But, as I always say, it’s okay if I hurt it was different. family dinner and sleeping in my own everywhere, and not in one specific place. I faced a similar dilemma with my bed. And it includes one of the world’s Not my back, or shoulder, or knee, but solo. In the recent past I had always best commutes, fifty miles up the Pacific “from my nose to my toes.” performed a long solo, around nine

24 EDGE 10 ||| 2012-2013 minutes, somewhere in the middle of the it is.” I always insisted to both Freddie and that “partitioning.” Carrie now becomes second set. But...during the mixing of Peter that I was a slow learner, but a good a single parent for the next five months. Clockwork Angels, our co-producer, Nick student, because I would practice and Three-year-old Olivia has had most of a Raskulinecz, an irrepressible “enabler,” keep trying — even if it took forty-seven year with Daddy being around, and now insisted that I had to do my solo out of years. she finds his absence unsettling — and the drum break in “Headlong Flight.” It During these rehearsals, I found that upsetting. As I have remarked before, I can happened that that song would appear when I played along with the old songs endure missing Olivia, but I can’t stand around the middle of the second set, but we hadn’t performed for a long time, like her missing me. — ¡Jesu Christo! — “Headlong Flight” when I went into the upbeat ride patterns For myself, there will be nights I won’t is a fast-paced seven-minute song, in of “Grand Designs,” it felt the way I wanted want to “face the music” — won’t feel able the middle of a fast-paced hour-long that part to feel back in 1985, but had to go out there and drive myself that hard. performance of the Clockwork Angels only “approximated” it. Or when I played When I’ll be sore and tired, maybe ill, and songs, with another thirty or forty minutes the half-time sections of a new song like always homesick. still to go. Plus, coming out of that drum “The Anarchist,” I could physically see But those are not complaints — just break I will still need to drive through a myself leaning back and away, playing at part of the price we pay for the privilege of long guitar solo, another verse, bridge, full force yet comfortably sinking into the doing what we always wanted to do. and a double chorus, all at a fast tempo. groove of it — just “naturally.” A joke my father loved when I was a To say the least, it was daunting. When I’m rehearsing on my own that boy has always stayed with me — the one But...once again I applied some way, I know I’m starting to get somewhere about the man banging his head against a “polyrhythmic thinking.” when I have to start changing my sweaty brick wall, and when he is asked why, he What if I did two shorter solos, one in clothes two or three times a day. In those replies, “Because it feels so good when I each set? three-and-a-half weeks, I also dropped stop.” Ooh, yes — that had possibilities. at least ten pounds. (Obvious business Touring can be like that. Or like I described the idea in an email to my opportunity: “Do you want to lose weight old Sisyphus, who was sentenced to an estimable teacher, Peter Erskine, as well and tone your entire body — from your eternity of pushing a boulder to the top as reporting on an important observation nose to your toes? Sign up now for the of a hill, only to have it roll down to the I began to have in the latter days of these fabulous new, Bubba Drum Workout!” bottom again. rehearsals: It would be a counterpoint to another But there are those nights when weight loss program that claims to stop everything goes just right — when the three This time my former marathon-length solo insanity, only this one would be called, of us lock into a musical symbiosis that will be divided into two -- in the first set, an with reference to the upcoming tour, “Start transcends our earthbound humanity and old-school, all-acoustic venture with classic the insanity!”) sweeps the audience into a momentary rudiments and solo stylings, then in the spell. That is the timeless magic of live second set, a more textural, electronic, and Putting together a show like this one performance. melodic outing. will be is a grand adventure, no question. And there are the days off, when my And...both of them will start out I will never be jaded about that. But motorcycle will carry me down remote completely improvised (I say “start out” like some Victorian explorer planning back roads through natural splendor, because inevitably you fall into themes and an expedition to Africa or Antarctica, shades of history, encounters with friendly patterns you like, but that’s okay--and within the undertaking requires a great deal strangers, and every sort of weather. These the “spirit” of exploration). of advance thinking and preparation, a other kinds of grand adventure keep me So that’s huge. lot of people in our support crew (some stimulated and inspired through the Also, I had the realization in the past navigating without maps), and a goodly passing shows, and the passing years. week or so, as the playing started to come amount of adaptability. No doubt there But the biggest reward of all is being together, that these days, “I am playing the will be suffering, too. able to make a simple statement that has way I always wanted to play.” Right off the bat I will be away from taken me forty-seven years to earn: Meaning that for all these 47 years I home for more than two months straight, have been working toward this combination with band and production rehearsals “The way I play now is the way I have of technique, power, and feel -- “chops and in Toronto, and the first leg of the tour. always wanted to play.” groove.” That’s a nice feeling. The family will visit from time to time, Shame it took so long! But... but still — that is a long exile from one’s everyday life. Nearly forty years of such Of course it’s not really a “shame” a nomadic existence has adapted me — that’s just how long it took. As another to being separated from my loved ones, estimable teacher, Freddie Gruber, used to and taught me not to dwell on the sad say before his passing in 2011, “It is what fact of it, but those at home do not share

EDGE 10 ||| DWDRUMS.COM 25 SM A G A Z I N E S

Neil’s DW Collector’s Series “Time Machine” drums feature Maple SSC (Specialized Shell Configuration) shells and are finished in an ultra-custom Graphics Lacquer “Steam Punk” theme. His hardware, including stands and throne are copper-plated. For a complete list of sizes and specific pedal and hardware models, visit: www.dwdrums.com

To see Neil and DW Drum Designer, John Good, talk about the benefits of SSC, scan the QR code with your smart device.

GEARING UP oyer P a n

y for the

: R : Neil Peart

redit C ROAD A hoto A P by Juels Thomas

If you’re really paying attention at a Rush show, you might actually catch a glimpse of the covert technician on stage, just to Neil’s left, behind a rack of electronics and blinking lights. Lorne Wheaton has been Neil Peart’s invaluable gear guy, respected confidant, and trusted friend for far too many years to count. I sat down with Mr. Wheaton while he was at the DW factory to discuss just what it takes to prepare for a touring machine of this magnitude.

GEARING UP NEIL ||| JUELS THOMAS GEARING UP NEIL ||| JUELS A A Juels Thomas: What was your first Tech gig? man crew, basically getting $100 a week. and running and happening on time. And Lorne Wheaton: Technically, it goes back I would say my first real tour of any real if you have to kick in with the lighting to when I would help with bands in high size was with the band, Max Webster. We company or whatever, you pitch in. I school. One of those bands happened to were supporting Rush because they had remember doing that in the old days when be Rush, with the original drummer, John the same management company, and I was with Journey and we would show Rutsey. I would volunteer to help them at by this point Neil had joined the band up at some venues very late, for whatever school dances or coffee houses. It was part (Rush). That’s when I started really gettIng reason. I can’t remember why, but it was of the high school deal on the weekends serious about it. basically everybody in there putting the to try and keep kids off the street. So I lighting rig together so we could get used to volunteer because I really liked JT: What’s the biggest lesson you’ve everything up on time. You’re there to musIc. But my first real gig, like actually learned? make the show happen. Whether you’re getting a paycheck, was probably with a LW: To be a team-player, really. You the drum tech, Production Manager, band called, Goddo. It was a three-piece know, you don’t survive long if you go lighting guy, or audio boy, everybody has band, just about to break out and start out there and you’re just seeing in tunnel- to be there to get the job done. playing clubs. I was part of that three- vision. The whole idea is to get the gig up DW: So, it sounds like it was mostly on-

526 EDGE 10.010 ||| ||| 2012-2013 FALL & WINTER 2012 the-job training for you. Did you ever Garrison (at DW), is so helpful with us take any music business or production that even if I gap on something and have classes to prepare you for this life? to call up for a last-second request, he’s LW: Nope, it was all on-the-job training. so all over it! I feel privileged to be able I was lucky enough to work with and to deal with people like that. At the same around people who are some of the time, I try to make sure my memory best in the world. Still to this day! And I still works. I’ll look at how many dates, basically became the drum tech that I am because that’s how you base what you just by learning, going along, being open need for backup stuff. Even though Neil’s for suggestions and paying attention. not hard on the drum set. As hard as he plays, he doesn’t break a lot of stuff. So JT: What’s the most important thing for a that’s saying a lot for the manufacturers, drum tech to master? as well. Since he worked with Freddy LW: You know, first and foremost, you Gruber with drum lessons, it’s amazing have treat the drum kit like it’s your own. I was how much differently he approaches all of the cabling lucky enough to work with Steve Smith in the drumset and his playing ability. The underneath it. So, you know, you just ’83. He actually taught me how to tune heads last a hell of a lot longer with him deal with everything as it comes to drums correctly. Before that, I was just hitting them as hard as they possibly you. We’ve never been stumped by any tweaking them and not really having any can be hit versus somebody else, or challenges. We’ve always been able idea what I was doing. Aside from, you even versus himself before he had these to get through somehow. It’s a little bit know, just thinking I knew what I was Freddy Gruber instructions. It really does more difficult replacing snare drums or doing. He actually took time to teach me save drumheads and I don’t change them whatever on this drum set because you stuff. Often, you’ll run across drummers half as much as I used to. can’t really get in there like you can on and drum techs who can’t tune properly. a four-piece kit. Neil, and only Neil, fits So, I think that’s the most important thing: JT: Are there any tools in your rig that in there. So he basically has to jump off have a good ear and learn how to tune a you can’t live without? and I get up there, obviously, at the end drum correctly. LW: Probably my screw gun. I use it of a song. We’ve pretty much mastered it. for tension rods. That cuts the job to a Neil is so good with something like that. JT: Do you play drums or any other quarter of the time. Also, a ratchet driver If something breaks, he keeps his head; instruments? because there are a few moving pieces he doesn’t freak out and he knows it’s LW: I wouldn’t consider myself a drummer. on the kit that I have to make sure are going to be taken care of. I can play the drums, but compared to nice and tight. some of the guys I’ve worked with over JT: Lastly, how did you get your the years, I don’t come close. So you sit JT: It’s obvious that Neil trusts your nickname? back and you enjoy the talent that you’re expertise implicitly. How much input do LW: Well, it was back in the late ‘70s, working with. I don’t really have a whole you have when designing a new kit? I guess it would be, when I was with lot of interest in being a drummer. Yeah, LW: I’m probably his worst critic [laughs]. Max Webster and we were doing a lot guitar techs usually are guItar players. I’ve been with him long enough to be of touring (with Rush). Geddy was the Keyboard techs are usually keyboard able to throw in my two cents, but we one who came up with it. There was a players. You don’t necessarily have to don’t change a lot of things. He likes to goaltender for the Montreal Canadiens be a drummer to be a drum tech, but keep everything pretty much the same, named, Lorne “Gump” Worsley. And obviously it helps. Sometimes you’ll get even when we’re building new drum since my name is Lorne, Geddy just on tours where the audio boys would like sets. We have to build boards that all the started calling me, “Hey, Gump!” It has to have somebody playing the instruments hardware screws into and I just template nothing to do with Forrest Gump (the in a band-fashion, especIally if the actual one board to the other. We throw all the movie). And it’s probably gonna stick artists don’t like to do soundchecks. I can hardware into exactly the same place. He forever too, but I don’t mind it. There are play enough to be that guy, but Rush are doesn’t like to complicate it too much. worse nicknames to have than Gump. there for the soundcheck and they do it every day. JT: What’s the most challenging part of Actually, when you consider all the this upcoming tour for you? saves Lorne makes on the job, being JT: Do you make yourself an actual LW: Challenging? It’s always a challenge named after a goaltender is pretty fitting. checklist of what you need to bring and because you’re dealing with technology, And that’s obviously why Neil relies do before the tour? and you’re dealing with things that can on “Gump” to hold down the defense LW: Yes. Obviously, you have to stock blow up. Just spinning the drum riser, every night. up on things like sticks. And my man, something bad can happen because we

EDGEEDGE 10.0 10 ||| ||| DWDRUMS.COM DWDRUMS.COM 275 DRUM CLINIC GEORGE AND TED’S

ExcellentAdventure A A by Albe Bonacci

George and Ted’s Excellent Adventure by Albe Bonacci

IfGeorge there are 2and drum Ted’sbooks that Excellent I think every Adventure drummer should own they are Stick Control by George byLawrence Albe Bonacci Stone and Progressive Steps to Syncopation by Ted Reed. I’ve worn out 2 or 3 copies Georgeof each. They and are twoTed’s of the Excellent most creditably Adventure famous drum books of all time. If there are 2 drum books that I think every drummer should own they are Stick Control by George by Albe Bonacci InLawrence this installment Stone and we Progressivewill be looking Steps at the to firstSyncopation few pages by o Tedf each Reed.f there in combination areI’ve two worn drum out withbooks 2 oreach that 3 copiesI other.think Thisof each. is perhaps They are well-charted two of the mostterritory creditably for drum famous teachers drum and books studentsIevery of all drummeraround time. theshould world own, but they I thinkare Stick I If there are 2 drum books that I think every drummer should ownControl they by are George Stick Lawrence Control Stoneby George and Lawrencemay have Stonea fresh and take Progressive on things. Steps to Syncopation by Ted Reed. I’ve worn out 2 or 3 copies In this installment we will be looking at the first few pages of eachProgressive in combination Steps to Syncopation with each by other. Ted of each. They are two of the most creditably famous drum booksReed. of I’veall time.worn out two or three copies of This is perhaps well-charted territory for drum teachers and students around the world but I think I Let’s start with the first 13 hand patterns in Stick Control combinedeach. with They non-repeatingare two of the most figures creditably in may have a fresh take on things. InSyncopation this installment for the we bass will bedrum looking from atpage the 33first and/or few pages 34. Here of each isfamous line in 1 combinationdrum and books 2 from of withallStick time. each Control other. This(singles) is perhaps with line well-charted 1 from page territory 33 of Progressive for drumA teachers StepsA toand Syn studentscopation. around Let’s theput worldthe hi-hat but Ion think the I Let’s start with the first 13 hand patterns in Stick Control combined with non-repeating figures in mayquarter have -note a fresh pulse. take on things. In this installment,Syncopation we willfor thebe looking bass drumat the firstfrom few page pages 33 of and/oreach in combination34. Here is with line one 1 and another. 2 from This Stick is, perhaps, Control well- (singles) with line 1 from page 33 of Progressive Steps to Syncopation. Let’s put the hi-hat on the chartedLet’s territory start for withdrum theteachers first and13 handstudents patterns around thein Stickworld, Control but I think combined I may have with a fresh non-repeating take on things. figures in quarter -note pulse. Syncopation for the bass drum from page 33 and/or 34. Here is line 1 and 2 from Stick Control Let’s start(singles) with the withfirst line13 hand 1 from patterns page in Stick 33 ofContro Progressivel combined Steps with non-repeating to Syncopation. figures Let’s in put the hi-hat on the Syncopationquarter for the-note bass pulse. drum from page 33 and/or 34. Here is line 1 and 2 from Stick Control (singles) with line 1 from page 33 of Progressive Steps to Syncopation. Let’s put the hi-hat on the quarter-note pulse. Then we move to the double strokes in both starting positions but this time we’ll use line 10 from Syncopation. For a more diverse and challenging foot pattern simply move on to pages such as

GEORGE AND TED ||| ALBE BONACCI TED ||| AND GEORGE 37 and so on but it is important to feel the body sync up, so I recommend repeating patterns to start.Then we move to the double strokes in both starting positions but this time we’ll use line 10 from Then, weSyncopation. move to the double For a strokes more indiverse both starting and challengingpositions, but footthis time pattern we’ll siusemply line move10 from on Syncopation to pages. such For a moreas 37 and so on but it is important to feel the body sync up, so I recommend repeating patterns to diverse Thenand challenging we move foot to pattern,the double simply strokes move on in to both pages starting such as positions37, and so on,but but this it istime important we’ll useto feel line the 10 body from sync up, start. so I recommendSyncopation. repeating For patterns a more to start.diverse and challenging foot pattern simply move on to pages such as 37 and so on but it is important to feel the body sync up, so I recommend repeating patterns to start.

Then we are into Paradiddle stickings. Numbers 5 through 8 are Paradiddles in different posi- tions. Now, we are into paradiddle stickings. Numbers 5 through 8 are paradiddles in different positions. HereThen iswe line are number into Paradiddle 6 from Stick stickings. Control Numbers with number 5 through 3 from 8 Synare copationParadiddles while in stilldifferent stepping posi- Here is line number 6 from Stick Control with number 3 from Syncopation while still stepping quarter-note hi-hats: quartertions. note hi-hats. Then we are into Paradiddle stickings. Numbers 5 through 8 are Paradiddles in different posi- Here is line number 6 from Stick Control with number 3 from Syncopation while still stepping tions. quarter note hi-hats. Here is line number 6 from Stick Control with number 3 from Syncopation while still stepping quarter note hi-hats. 28 EDGE 10 ||| 2012-2013 So you probably get the idea. Continue through the first 13 hand patterns while adding in and mixing up page 33 foot patterns.

So you probably get the idea. Continue through the first 13 hand patterns while adding in and mixing up page 33 foot patterns. So you probably get the idea. Continue through the first 13 hand patterns while adding in and mixing up page 33 foot patterns. So, you probably get the idea. Continue through the first 13 hand patterns while adding in, and mixing up, foot patterns from page 33. Now, some random orchestration ideas on the kit, such as:

Points to consider: 1) For beginning students, start by playing the first five Stick Control exercises with just quarter-note kicks and then left foot hi-hat on quarters, then kick and hat alternating in both directions like this:

2) Watch out for flamming limbs. Start slow until things start to sync. 3) Make sure to be thorough. Play each Stick Control exercise with each Syncopation exercise. 4) Orchestrations. Dare to think for yourself. 5) You may notice that the two pages referenced aren’t reprinted here. There are two reasons for this: A) space and, more importantly, B) so that you, the readers, either get out and dust off your copies or you make a purchase at your local music store. These are must-own books. 6) For more advanced players, or for a different twist, swing the exercises (some work better than others). For Example:

You are not only playing a challenging warm up, you are forming the building blocks of grooves. In this case, a Jazzy-type shuffle groove.

I hope these will be fun and challenging exercises that are the foundation to open-minded and musical drumming, while, once again, reminding us how monumental these two texts are.

EDGE 10 ||| DWDRUMS.COM 29 SM A G A Z I N E S Software and Design’s programmer, Mike good with a mohawk. Her name is Sulene. ho s h

G Linden. I know that sounds official but She’s an awesome musician and she’s also a a ny T

: : Corkboard is actually partly my company. the guitarist in Helicopria, which is my redit

C Mike has been my friend since 6th grade, rock band. We have a new EP coming hoto

P when we played in our first band together. out this fall, so be on the lookout. We He and I started making websites for also have other free downloadable music musicians in our down time about five at: www.helicopria.bandcamp.com. I’ve years ago and it’s really bloomed into a grown to really like the mohawk. I can’t nice little business. Every single musician picture any other hair shape on my head. in the world needs a website. Who knew? I like it because it weeds out people who Mike also recently released an album judge a book by its cover. I don’t play that I was privileged enough to play on. Punk music. My main style is Fusion Jazz, Search “Mike Linden, Bubble & Squeak” so it throws people off when they hear on iTunes and you’ll find some crazy- me play. I made a pact with myself that I awesome fusion shredding. wouldn’t shave it off until I made a million dollars. I really just want to dye it green 2. If you are drumming, what are you when that happens. doing? Lately, I’ve been doing a lot of recording. 6. What’s the best electronic add-on for I play with a lot of groups and they all an acoustic kit? seemed to want to record at the same time, A microwave…just kidding. The Roland so the past month has been jam-packed SPD-SX, hands down. The other day, with studio sessions for Helicopria, Dave I officially filled up the 100th kit with Mackay Group, Mike Linden, Melanie imported sounds. I use it all the time. Lynx, and others. Keep your eyes peeled, With Helicopria, I have a kit for each of 1. If you’re not drumming, what are because they’ll all be released before the our songs. The click is set appropriately you doing? end of the year. I’ve just moved to New for each song and the necessary samples For fun, I love games. I’m pretty much a York City, so it’s been hard to find time to are there, as well. I set a kit chain of the ping pong wizard. Bowling is awesome. I practice. When I’m practicing, I’m usually songs in the set for that show, so when the love traveling more than anything, seeing working on some pretty ‘out there’ stuff. song ends, I just push the “next” button. the world, meeting new people. I love I’ve been trying to get really comfortable The click changes, the samples change doing things alone. So, when I get a with quintuplets and make them sound and the external pads I have connected to chance to travel to a new country alone natural in a musical setting. I’m always it change. Life is good. I use a trigger on a and I don’t know anyone or speak the working on independence and lately side snare for claps or various extreme 2’s language, that’s where I find some of the I’ve been exploring a lot of electronic and 4’s, and another trigger occasionally

20 QUESTIONS ||| JP BOUVET happiest, most content moments of my drumming. My buddy, Drew Ofthe Drew, on the kick drum for when we do dubstep life. Also, my family is amazing. Going is a genius bass player. He and I have been or electronic stuff. I’ll put a big, nasty- home to Minnesota is always wonderful. doing a lot of live dubstep and remixes. toned, distorted synth/kick in there with There’s a cupboard full of food (unlike the natural kick and the entire world cries my apartment) and I didn’t have to buy it. 3. If you could build the ultimate when I play it. I don’t know whether they One of my favorite things to do is sit on the drummer from three famous players, who are tears of joy or pain, but I think it’s a rooftops of some of my friends’ apartments would they be? And why? little bit of both. in Boston and New York City, and relax I’d go with Vinnie Colaiuta, Dave King while the sun sets. I’ve been writing and (The Bad Plus) and Jojo Mayer. Vinnie for 7. How do you train for a drum producing a lot of music lately, as well, his tastefulness, Dave for his emotional competition? mostly for R&B artists on Island Def Jam. connection, and Jojo for his technique and The motto is, “Practice makes you better wisdom. and preparation makes your worst better.” When I’m not drumming, as far as serious I’m a huge advocate of preparation. If I’m stuff goes, I spend a lot of time keeping the 4. LA or New York? really nervous for something, I usually business side of “JP Bouvet” rolling. I’m Well, I just moved to New York two days don’t play at the best of my ability on a control freak, which is good because I ago so, New York, but I don’t want to grow stage. It’s easier to find comfort on stage if have complete control, but it also means old in New York. After New York, I’m you are overly prepared. I spent hundreds I need to do everything myself. That going to move an hour outside of LA into a of hours preparing for the Guitar Center includes designing, filming, photo editing, nice house with a yard and breed little JP, Drum Off. I probably ran the structure I had publicizing, booking, managing, etc. Jr.’s. Honestly, Minnesota is the best place come up with 200 times. It was constantly Editing videos takes a long time. I usually in the world, so maybe I’ll go back there morphing and I was always trying new have four or five that are finished and and hang out with all the nice people. things. It’s important to remember that it’s waiting for the right time to go up (online). a drum solo competition, not a ‘who-can- I just finished designing jpbouvetmusic. 5. How did you come up with that hairdo? chop-the-fastest-and-loudest’ competition. com and passed it off to Corkboard A girl I had a crush on told me I would look The focus should be on the piece of music

30 EDGE 10 ||| 2012-2013 you are creating, not the licks you are 15. What’s your favorite drumming 19. Metal or wood snares? doing. There needs to be some sort of website? I usually use a wood main snare and contour or motion throughout, that’s what I feel like this is an appropriate place to plug a metal side snare. And while we’re on gives it life. I tend to think in sections, not my own website, www.jpbouvetmusic. the topic of snares, THE DW BALLAD unlike any normal song. I came up with com, where you will find awesome SNARE…oh my gosh! It’s a 16” diameter several points or themes I wanted to hit, interviews with people like Thomas that’s 10” deep. It’s being delivered to my then focused on finding ways to develop Lang and Cobus, lessons on my personal new place in NY in three weeks. I have that theme and finally, transitioning to the theories, behind the scenes footage in never been more excited about a drum. next one. I wanted to push my ability and the studio and on tour, play-alongs from Only DW would make a drum of such perform ideas that were unique and out bands, my blog, my email list sign-up and unparalleled awesomeness. Expect the of the box. I’m usually working on those other awesome stuff, but I won’t. fattest beats ever, in three weeks. very things, so it was easy for me to think of what to play. The 7/8 clave, the 5/16 I grew up on Drummerworld.com; it has 20. What is your advice for other intro groove and the independence stuff all of the best drummers in the world, musicians/people? were all things I was already practicing their bios, videos, hours and hours of My advice for others? I could monologue before the Drum Off. The competition inspiration. for an hour so, instead, I’m going to go just gave me a stage on which I could into a fit of random, fragmented ideas. play it publicly. PREPARE, BE SMART, BE 16. Who do you jam with? As soon as possible, learn to not give a MUSICAL, BE YOURSELF. Bam! I’ve had some seriously trail-blazing jams damn about what other people think. It’s with Helicopria’s bass player, Drew Ofthe hard, but the less you are concerned about 8. Greatest rock band of all time? And Drew. Electronic drums, dubstep, loops, other people’s ideas, the quicker you will why? samples from movies and every song you realize your own infinite potential. Work Red Hot Chili Peppers. I grew up listening can imagine. If we are doing something, really hard. Really hard, work really hard. to them, and I will always go back to them it is going to be done to the most extreme No one has ever become truly great at for the rest of my life. state possible. I really like jamming with anything without working really hard to people one-on-one, it’s a constant state achieve it. It’s about music, not chops. 9. Greatest Jazz drummer of all time? of creation and there’s no “comping” Visualize. Believe in yourself. Be fearless And why? or “soloing.” It’s a constantly morphing in every sense of the word. Never forget Brian Blade. Listen to “Crooked Creek” off improvisation and it could never be why you started playing drums. It was of the Brian Blade Fellowship album and recreated because it’s an exploration of probably because you loved it and had fun you will understand. That’s my favorite these two people’s brains in that exact doing it. Challenge yourself. No matter recorded drum performance of all time. moment. It depends how you are feeling how many people rip you up on YouTube, that day. I find it brings me much closer it will literally never, ever, ever affect your 10. Bonham, Keith Moon, or Ringo? with whoever it is I’m playing with, as career in any way. Take it from a guy with I don’t really listen to any of them. I know well. I like playing with key player, Dave hundreds of negative comments on my they are legends, but I never listened to Mackay (www.dave-mackay.com), and GC video. It stung for a little while, but any of those bands. I like playing with progressive-thinking now I get called for more gigs than ever guitar players a lot, too. before. Therefore, it is irrelevant in your 11. Vinnie, Weckl, or Gadd? life. Think outside the box. Work really Vinneckl. 17. Do you tweak your pedals a certain hard. Endorsements don’t get you gigs, way? gigs get you endorsements. When you 12. Do you have a “go-to” fill? I usually just turn the ‘awesome dial’ to one are being considered for endorsements, Not a whole fill, but a lot of times I find million. I like them not too tight, not too remember, gear is cool, but the support myself starting fills with an inverted loose. DW’s 9000 pedals are awesome, so and the character of the people behind the double between the hands and feet. I try I don’t really do anything to them. business, that’s the important part. Life is to avoid it as much as possible, because I about people and your relationships with hate falling into a routine. 18. Does your set-up constantly change them, so treasure it in every circumstance. or is it pretty consistent? You should also know, DW is the best drum 13. Do you play any other instruments? It constantly changes. I play with several manufacturer in the world. DW is lead by I can slap some mean bass. My mom different groups that all require different a kind, caring, innovative, brilliant family plays bass. I just try to be like her. sounds and set-ups. Sometimes I play 2 of down-to-earth people who have worked (rack) toms, sometimes 4, sometimes 3 hard to create what I honestly think are the 14. Besides yourself, which up-and- cymbals, sometimes 84, sometimes single best drums in the entire world and they coming drummers should we watch out kick, sometimes double kick and an extra have a support system unlike any other. I for? left foot pedal for clave and an extra right feel incredibly fortunate to be able to work It is mandatory that everyone researches foot pedal with Roland’s KD-7 trigger. I with this company and I love them dearly. these guys: Matt Garstka, Ian Barnett like to use different cymbals from gig to Shout out to DW, Meinl, Remo, and Vic (his band is Bear Language), and Zach gig, too. A different palette of sounds Firth for their belief and support from the Mullings. inspires different playing ideas. beginning.

EDGE 10 ||| DWDRUMS.COM 31 Q & A Rich Redmond

NashvilleStar

A A

ich Redmond is equal parts talent and tenacity. He has more than paid his dues in the Nashville scene er ma n B yre

a and now finds himself backing one of the biggest names in Country music. An east coast transplant, Rich has

: S : R

redit followed his dream to Music City U.S.A. and has made it his mission to impart his industry knowledge and knack C

hoto for success to others. We caught up with RR while on tour and he gave us the latest on his busy career. P A A

EDGE: Do you know much about the RR: The Nashville recording scene is committed rhythm section. We’ve been Q AND A ||| RICH REDMOND AND Q music scene out here in LA? healthy, there are a lot of drummers living playing together since 2000 and non-stop Rich Redmond: Absolutely! I have been and working in Nashville. Like LA, we with Aldean since 2005. We’ve played keeping tabs on it for years while I made have a massive pool of great drummers on free demos, showcases and tons of my way in the Nashville scene and I have that split their time between recording van and trailer gigs that have helped to plenty of LA musician friends that I keep studios and tours. I enjoy doing both. launch Aldean’s career. Since then, we’ve in touch with regularly. I know the state of My live work feeds my session calls and recorded a total of ten #1 hits with him and the music industry has affected everyone vice versa. It just works for me. I don’t toured nonstop, including 2011-2012’s around the world, so everyone is adapting like putting all of my eggs in one basket. sell out “My Kinda Party” tour. It’s been in all the music cities like New York and I’ve been in Nashville for fifteen years, all about persistence and determination. London, for example. There’s simply more and the only reason I am able to have my In 2007, Kurt, Tully and I added a fourth competition for fewer gigs and sessions, spot at the dinner table is because I have partner, David Fanning, and started a but that doesn’t faze me at all. You just relentlessly pursued my dream and never successful music production company have to roll up your sleeves, play happier, given up. I keep showing up and I’m here called, NV (New Voice Entertainment). smile often and run your business like a to stay. Whether I’m playing drums in the business. There’s room for everyone if studio or on tour, programming, shaking a EDGE: What are some of the other you‘re coming from an honest and sincere tambourine or writing, I love our industry musical projects you’re working on place that is fueled with passion. I’ve and my craft! right now? spent a long time climbing the Nashville RR: My production company is producing ladder. Why stop there? I’m thinking EDGE: How did you hook up with the sophomore release from country pop globally now. Los Angeles has been calling Jason Aldean? duo, Thompson Square. Their song, “Are my name for years and it’s time to start RR: I met a fresh-faced Jason Aldean in You Gonna Kiss Me or Not?” was the #1 answering back. Excited! 1999. I was introduced to the bassist most played song on country radio in and band leader, Tully Kennedy, by my 2011. So we’re working on reinventing EDGE: How would you sum-up the guitarist pal, Kurt Allison. After playing the wheel, but holding true to their brand current Nashville studio scene? one song together, we became a fully- as well. We also have releases to complete

32 EDGE 10 ||| 2012-2013 with the band, Parmalee. Their current have that kind of freedom with Aldean. I me up ‘soup to nuts’ for all my recording single on the radio is called “Musta Had also work on keeping things fresh for my sessions and showcase gigs in Nashville. a Good Time”. We’re also working with “CRASH Course for Success” drum events. In LA, I just had a nice meeting with American Idol darling, Kristy Lee Cook If there are specific grooves or pieces I have Dave Drewry at Drum Paradise, very cool and Canadian country rocker, Lyndsay to work on for a particular session or guest cat. I’m excited about that. I am super Ell. We recorded Aldean’s fifth record last appearance, I will focus on those things. I hands-on in maintaining my personal November and it is being released this also make it a point of warming up at least relationships with all of my sponsoring October, so we’ll be gearing up for tons of one hour before every show. That’s at least companies though. I’m very persistent TV promos in Los Angeles, yes! Nashville three hours of hands-on rudimental stuff about letting them know what I am up to is in the center of the country, so we use per week, maybe more. Lots of singles, and that their gear is being seen and heard. the Nashville touring model, which means doubles, paradiddles, flam combinations, If I am running low on heads, sticks, stick leaving on a Wednesday night and coming roll permutations and stuff I learned during wrap, cymbal felts or parts, I’m the one back on a Sunday. That leaves us with my eight years in marching bands. who makes the call. I prefer it that way. Monday through Wednesday to crank out radio-ready projects and write songs for EDGE: Other than Aldean, what would be EDGE: What’s your favorite snare drum Magic Mustang Publishing. In the cracks your dream gig right now? these days? of this crazy schedule, I’ll squeeze in RR: It’s funny you ask. I just had a RR: On the road, my front-of-house session calls for other producers or artists, drummer pal who I really respect, call and engineer, Chris Stephens, and I settled on do my drum-related events while on tour offer me an audition with one of the most a 5x14” all-maple Collector’s Series with with Aldean and finish working on two kick ass of all the classic rock bands, one Ruby Glass FinishPly and black nickel books I have in the works. Finally, I have of my real favorites. I used to jam along hardware. It has the perfect combination a drum tracking room in my home called, and even transcribe their grooves, note of snap, crackle, and warmth; it’s just Crash Studios. Now, I’m delivering drum for note, when I was coming up. It was a perfect. Everyone in the band loves it too. tracks via the internet using my Pro Tools real eye opener for me and very flattering, I have the same sized drum in the Black rig. This technological revolution allows but the timing just wasn’t right. I’ve been Ice finish, and also a 5.5x14” aluminum me to do it all! part of building the “Aldean empire” one for back-ups. For the studio, I’ve been brick at a time, so it’s time to enjoy the using the black nickel over brass 6.5x14” EDGE: How do you keep your energy up fruits of our labor. It’s such an up and that I used for this photo shoot out on with such a hectic touring schedule? down business, so it’s nice that the gig is the beach in Malibu. Also, the 5.5x14” RR: I’m lucky that I’m naturally a high- having such success and we can breathe a Super Solid (3/8” thickness) in the Ruby energy guy. I know how to pace myself sigh of relief for just a moment. There are Glass finish and black nickel hardware and I get sleep when I can. I love music so many artists I love and respect in this is a workhorse; it has an incredibly wide and my career path, so it never feels business. I truly believe that if you always tuning range and is really warm. When like work because this is my purpose play from the heart and are a good person, you mic up these drums, they sound like in life. I split my time between touring, then opportunities will literally land in your classic records you’ve heard for the last recording, teaching lessons, songwriting, lap at the right time. forty years. Playback in the studio goes music production and music/motivational “Ahhhhh.” When the engineer, artist speaking, so it’s go, go, go! I drink lots of EDGE: Do you have a hands-on approach and session musicians all make glowing water, eat a pescetarian diet (which means to your gear? remarks about the sound of the backbeat, the only meat I eat is fish) and focus on RR: I’ve been a bit spoiled on the road with you know you have something special! power foods like greens, berries, almonds my good pal, Ed Turner. He’s a genius cat, and avocados. I get regular exercise, and has been in the biz for over thirty years. EDGE: How do you decide on the sounds alternating between running, walking, If he gets into a bind, I’ll show up before you need for a particular gig? cross training, light weights and lots of sound check and help change heads or do RR: Whether I am playing live or in the stretching. some cleaning, but for the most part, he studio, I’m a team player, and always have takes total care of me. Because I have that tons of sonic options on hand. All of my EDGE: Do you still practice? part covered, I can teach private lessons DW snare drums sound like they came RR: I keep everything fresh by working all and master classes during the day before from God’s snare drum collection, so you of the time and by actively playing music sound check and even do some of my really can’t go wrong. Many times, the with other musicians. Between touring, CRASH events at high schools, colleges, first drum I pull up is the one we use on recording and producing, there isn’t much music stores and drum shops. It’s very the whole session. I just did a great record time to be alone in a room. I did that when helpful to have a great drum tech for that with a killer Rock chick named, Masha. I was younger (ha)! I like to keep the tunes reason alone! In Nashville, my pal Jim She’s a special talent. We recorded it I’m playing fresh every night by changing Handley and the crew of Session Services at Blackbird in Nashville with Nathan things here and there. I am so grateful we Unlimited take great care of me. They set Chapman (Taylor Swift) producing, Ray

EDGE 10 ||| DWDRUMS.COM 33 Kennedy (Steve Earle, John Mellencamp) asked me to come see his new band play. engineering and Michael Rhodes on bass. EDGE: What will you be doing in ten years? It was a total gas. Ray Kennedy and I RR: I plan on checking out of this world went in a day early and experimented with sticks in my hands! I always strive with ten different DW snares. We found for constant improvement in all areas of the perfect tuning spots for all the drums: my life, so hopefully I will keep doing steel, copper, brass, bronze, Edge, Super what I am doing at a higher level. I enjoy Solid, etc., and decided which drums were the multi-tasking approach to the music better wide open or muffled slightly. By business, so I’m sure I’ll be touring, the time the band came in the next day, recording, producing, writing, teaching we had all the drums nicknamed and and speaking, probably all at the same perfectly tuned for the room. When we time. Hopefully, there will have been were presented with the songs, we were some more international tours, a few able to pull from our collection of sonic books published and a strong and healthy “characters” and then tweaked the pitches marriage with my kick-butt sexy wife. She for each track. To me, it’s all about having has a very promising career with multiple that symbiotic relationship between the pathways, so it may be nice to travel and band, the producer, the artist and my ear. enjoy some of her success with her. It’s I always remember that the folks behind also a goal to take my CRASH events to the the glass are hearing “reality.” I trust them corporate sector and motivate and inspire completely. some people that really need it.

EDGE: If you could take a lesson from EDGE: What will you be doing in ten anyone, who would it be? minutes? RR: If Krupa or Bonham were alive, heck RR: I have three days in Nashville to take yeah!! What innovators and showmen meetings, co-write some songs with some they were!! I have always dug Carmine great writers and then re-pack and hit the and Vinny Appice, both are characters and road again with Aldean, so maybe I’ll get big influences. I met Vinny recently at The some sleep and hit the ground running Playboy Mansion! He was playing in one tomorrow with Al Roker and a few cups of Q AND A ||| RICH REDMOND AND Q of the bands for the Rock N Roll Fantasy coffee. Camp. He was so approachable and even er ma n B yre a : S : redit C hoto P

34 EDGE 10 ||| 2012-2013 WE HOPE YOU’D FOLLOW US ANYWHERE.

www.dwdrums.com NOTEWORTHY IN THE STUDIO WITH JR ||| DW DRUMS WITH JR ||| DW THE STUDIO IN IN THE StudioWITH JR Robinson by Scott Donnell A A

here’s no arguing that JR Robinson the bass drum and a Neumann 47 Fet on T is studio drumming royalty. His the toms. I love Sennheiser 421’s! I don’t discography reads like a who’s who of pop like bright mics on the toms as they tend icons and he’s been touted as the most to conflict with the overhead sound. The recorded drummer of all time. Indeed, overhead sound is the sound of the drum his grooves are fat and his pocket deep, set. For the overheads, I prefer AKG but how exactly does he get those sounds? C12’s; they’re my favorite mics. I also Studio secrets are hard to come by, so we love Neumann U 67’s or the newer U did our best to pick JR’s very knowledgeable 87’s. The snare is the ‘loud drum’ and it’s brain to find out how this session master captured perfectly with the Shure SM57. amassed such a glorious track record. I also blend an AKG 452 on the snare so the engineer can pick up brush sounds and SCOTT DONNELL: How would you more dynamics in general. For the hi-hat, I describe your signature sound? love the Neumann KM 84 and for the room JR ROBINSON: My sound has always been mics, that’s usually up to the engineer’s a “fat” sound, and my bass drum approach experience and how he hears the way the is the foundation of it. I tune a bit lower than drums are speaking in the room. most drummers and have an old packing blanket that sits just on the floor in front of SD: What’s your formula for miking a bass the bass drum. I also use an old sandbag drum? from my Rufus days that sits in the center JR: This starts with a good bass drum sound. of the drum. My snare drum sounds have I have a 6” hole in the southeast section varied throughout the decades, depending so the engineer can get any microphone on the style of music I’m playing at the time. inside the kick. I find that if you put the mic too close to the batter head, you’ll lose the SD: Does that sound have to do with a bottom and only get attack. However, Mick particular studio environment, the gear Guzauski is the only engineer that has done you play, or how you play it? this with me throughout the decades, using JR: My sound has to do with the way I play a Sony C500. Check out the new Daft Punk and pull the sound out of the drums and CD. Most engineers place the mic in the cymbals. Of course, a smaller studio will center-to-the-front of the kick. Then you limit the amount of ambience. However, place the second mic in front of the kick my sound does not change per venue. head to bring out the low-end woof. A good engineer will find the correct balance SD: Do you have a preferred microphone between the two. set-up? JR: If I have an unlimited budget, I have a SD: Tell us your thoughts about the new preferred microphone set-up. Shure B52, May Monorail. AT25 or Sennheiser 421 on the inside of JR: I love the Monorail system. Randy May

EDGE 10 ||| DWDRUMS.COM 37 has finally nailed the system that I have experience. As far as engineers go, there kick sound. Try it sometime, yikes! been using for years! You can move the have been many, such as: Roy Halee, bass drum mics anywhere to achieve any Mick Guzauski, Chris Lord Alge, Tom Lord SD: Tell us a bit about the heyday of the sound possible. You can stack two different Alge, Tommy Vicari, Humberto Gatica LA recording scene. mics on one rail; one for the batter and and Steve Sykes, but my favorite has to JR: OMG! I was extremely fortunate to be one for the resonant head. For example, be Bruce Swedien. He allowed me to be at the right place at the right time. I joined I have a Shure B52 and a Shure SM91 in myself, while at the same time, educating Rufus in May of 1978, at the height of that my 26” DW kick. Both can be moved me about microphone technique. He also band. Little did I know that Rufus and effortlessly. Outside the kick is a two-input caused me a bit of grief during the Michael Chaka Khan would go on to win another XLR that any engineer can access. It is the Jackson/Quincy/Rufus days. He would Grammy for “Ain’t Nobody”. I struggled as best miking system ever! remove toms from the kit and say, “Quincy a session player for about eleven months doesn’t want any tom fills on this record.” when I had just joined Rufus. I wasn’t SD: Who are some of your favorite He’d also do things like have a lead barrier thinking about a session career at that time producers/engineers and why? covered with a packing blanket placed because of the excitement of being in a JR: I have been very blessed to work with between my snare drum and hi-hat. This hip, new band. Coming out of Berklee I the greatest producers and engineers was to prevent leakage of the hi-hat into was a studio guy, and it ultimately led me around. Quincy Jones is by far the best the snare mic but it would almost prevent to join Rufus. A great bass player/singer producer I have ever worked with. His me from playing my own style and would named, Joe Chemey was the first to call sense of casting, direction and vision is force me to adjust. I’d have to lift my me after I joined them. After that, Rufus seldom equaled. I’ve also always loved right stick a bit higher so I wouldn’t hit had recorded “Numbers” on ABC Dunhill, working with Russ Titleman [Clapton, the barrier. Another time, Bruce had me the first solo record without Chaka Khan. Rufus/Chaka and George Benson]. playing the kick drum at pp and the snare It was great. I helped get Freddie Hubbard David Foster is a real genius. Working at f. This is not very easy. He jacked the on our record. Roy Halee [Simon & with George Martin was an amazing kick level way up to achieve a different Garfunkel] taught me about microphone IN THE STUDIO WITH JR ||| DW DRUMS WITH JR ||| DW THE STUDIO IN

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38 EDGE 10 ||| 2012-2013 technique. Once the record was released, would go mine. Those were normal days fortune of studying with Ed Soph when I I started getting some notice. The attention back then. I’m very blessed to be one of was younger and Alan Dawson at Berklee. came from Quincy Jones. I was asked the cats that were part of the glory days. if I did sessions outside of the band. Of SD: What does the future of the studio course, I said, “Yes.” Quincy became the SD: Who are some of the names you’d recording business look like? producer for Rufus and Chaka Khan’s, consider to be session influences? JR: Wow! Sometimes it looks bleak Masterjam. At that same time I was also JR: I’ve always loved Steve Gadd, Al and sometimes it looks great. I see recording on Michael Jackson’s, Off The Jackson, early Buddy Rich, John Bonham unbelievable studios going down and then Wall. After Off The Wall, I started getting and Philly Joe Jones. By the way, I could I see studios shooting up. Some say it’s calls. They kept coming, then I started extend this list forever. When I was at our responsibility to try and bring back juggling sessions and drum kits. There Berklee [1973-1975], I made it my duty the glory days. This is where I turn into were multiple times when I was using to learn everything about recording. I JR the politician. Where are the radio three different drum sets per day. Oh actually became the studio drummer at stations? Oh—digital, hmmmmm, pre- yeah, the good times! Everyone, please Berklee in 1974. I was taught about click programmed. Who the f--- is doing that? keep in mind that the record industry was tracks and how to overdub on existing How do you get your song played? How on fire. Writers were writing, producers big band tracks for the ‘music minus one’ do you get paid for this as a player? What were producing, and players were playing. system. I specifically targeted several if you’re the new hip guy? I remember Record companies were paying for drummers to learn from, just to raise the going to the radio station and hanging records, and most importantly, radio jocks bar. I listened to Harvey Mason, Billy with the DJ so he would work on our were playing our records. It was perfect! Cobham, Tony Williams, John Bonham, Ed record. It was magic, it was cool. Where I would be going to A&M to record Soph, Danny Seraphine, and Peter Erskine, is the cool these days? Why can’t the new something and all of the sudden I would to name a few. At Berklee, I was also artists bring back the cool? I’m a major see Jeff Porcaro. We would shoot the s---, listening to the Jazz greats, especially Jo supporter of vinyl. Vinyl rules! Listen to as always, and he would go his way and I Jones and Philly Joe Jones. I had the great Joe Walsh, he gets it.

JR’S 2012 BARBRA STREISAND TOUR SET-UP

• COLLECTOR’S SERIES MAPLE SSC IN BLACK GALAXY FINISHPLY™ W/CHROME HARDWARE

• 18X24” BASS DRUM (VLX)

• 8X12” & 9X13” RACK TOMS (VLT)

• 13X16” & 14X18” FLOOR TOMS (X/VLX)

• 6X14” SNARE DRUM (VLT)

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EDGE 10 ||| DWDRUMS.COM 39 the Jazz kit demonstrations. The “big also has some specific things he listens kit” set-up remained the same for the for, which is a definite consideration, demonstrations and the live performances. as well. JR is very into the engineering The Jazz kit only differed in the snare side of recording, so it makes it very and the overhead mic choices. I used a easy to communicate what he likes. We Telefunken M-80 on the Jazz kit snare and discussed what he enjoys using on major a Rode NT-4 stereo mic for the overhead. recording dates and then we made our On the big kit, we used a Shure SM-57 for choices based on what the studio had to the snare and a vintage AKG C-426B for offer, to get the best results. One thing we the overhead. both agreed on is that we were not using EQ or compression on any of the tracking. SD: How much ambient or room sound All of the initial recording was done from was used in the mix? mic, into preamp, into Protools. In the KM: There was actually a fair amount of mix we used some EQ and compression, the room sound used in the mix. I was of course, but tracking was pure. That way, careful about where the instruments were you always shoot for a finished sound right placed in the room and I spent a good off the bat. amount of time working on isolating the RECORDINGJR’s close mics that were on the guitar cabs SD: What’s your take on internal bass The and bass cab. On one of the tracks, we drum miking and the May Monorail Time Machine had Greg Mathieson playing the B3, so I system? DVD isolated his Leslie cabinet outside of the KM: Love it! I actually had the opportunity by Scott Donnell live room. Overall, for a live recording to test it out with Randy May and John scenario it’s good to have some of the main Good when Randy first came up with instruments in the room with the drums; the idea. I remember playing with the

RECORDING WITH JR ||| SCOTT DONNELL WITH JR ||| SCOTT RECORDING they tend to resonate with the drums and multiple movements and positioning that glue the performance together sonically. it was capable of and I was amazed by the Kevin Majorino knows a thing or two stability and isolation the unit provided. about engineering world-class drummers. SD: JR hits hard. Did that influence your The biggest thing for me was that this unit Years of experience at Drum Channel mic placements? was hard-mounted to the bass drum, but saw him working with the likes of: Terry KM: Yes, he does! But he also hits very was isolated well enough to barely transfer Bozzio, Chad Smith, Taylor Hawkins, accurately and intentionally. I took into any resonance from the shell of the drum Aaron Spears, Sheila E., Simon Phillips, consideration the fact that he is a hard- to the mic. The flexibility, in terms of Thomas Lang, Peter Erskine, and the hitter, but it didn’t scare me away from positioning the microphone, is also very list goes on for days. We asked Kevin placing the mics exactly where I wanted impressive. Well done, Randy! about his experience recording John ‘JR’ them. Being an engineer and working Robinson for his DVD, The Time Machine, with hard-hitting drummers, you have to SD: Did you double mic any of the drums? and we think you’ll agree that his answers pay more attention your mic and preamp KM: Yes, I did. I used two mics on the kick are enlightening. selection. Know what your mics and drum of the big kit. I used a Shure Beta preamps can handle and what they sound 52 on the inside of the kick drum and a Scott Donnell: Was JR open to microphone like, and then make your choice based Telefunken AK-47 on the front. The Shure and placement suggestions? on that. And, of course, what the drums Beta 52 is a studio staple when it comes Kevin Majorino: Yes! That was one of the sound like in the room. I actually prefer to kick drum mics. The Telefunken AK- great things about working with JR. He’s a harder hitting drummer (controlled, of 47 is a re-make of the vintage Telefunken very experienced in the recording world course) because it really makes the drums U-47 from the 50’s/60’s. The Beta 52 was and knows exactly what he wants to hear. speak and communicate with accuracy. used for the main kick sound. It captured We were able to communicate very easily That’s one of the things I love about JR, all of the punch and attack of the drum. and that made mic choices and placement you never question what he’s played on a The AK-47 on the front of the drum was very simple. track, and it’s always a statement. used to capture the subsonic overtones of the drum. If you spend some time finding SD: Did you have different drum miking SD: Did JR have any influence on mic the sweet spot for these mics and have a set-ups for JR’s drum demonstrations vs. preamps or compression? drummer like JR behind the kit, you can’t the band performances? KM: JR’s sound within the room influenced lose! KM: Yes, I had a different mic set up for what I wanted to use on the recording. He

40 EDGE 10 ||| 2012-2013 JR revolutionized

his bass drum. John JR Robinson upgraded his kick with the very latest internal shock mount microphone technology available today. Now, he can infinitely adjust his microphone position from resonant to batter head and find the ultimate “sweet spot” for recording and live situations. It’s all thanks to the patented Monorail Microphone System by Randall May International. And the Monorail is compatible with today’s most respected bass drum microphone brands. Have one factory-installed at the DW Custom Shop or install the aftermarket version yourself. Revolutionize your bass drum today.

See Randall May, inventor of the Monorail, and JR Robinson explain this versatile, all-new Monorail shock mount system at www.youtube.com/dwdrums Microphones picture and shown on Bi Mic-Monorail. ©2012 Drum Workshop, Inc. All Rights Reserved. BEN SIMS BRANTLEY GILBERT F

BEN STONE MIKE AND THE MECHANICS F

BRIAN NEVIN BIG HEAD TODD & THE MONSTERS F

BYRON MCMACKIN PENNYWISE F

CHRIS KNIGHT LEANN RIMES PH

CHRISTOPHER HARTZ CHILDISH GAMBINO F)

DANNY WALKER INTRONAUT F

DAREN PFEIFER HOLLYWOOD UNDEAD F

DARU JONES JACK WHITE F

DAVE CHAVARRI IL NIÑO F

DERRICK WRIGHT ADELE PH

ERIC HERNANDEZ BRUNO MARS F

HANNAH FORD PRINCE P

JASON PIERCE PARAMORE, TREBLE CHARGER F NEW ARTISTS ||| DW DRUMS ||| DW ARTISTS NEW

JAVIER BARRERA NATALIE JIMENEZ F

JIM PAYNE JIM PAYNE BAND F

JONNY CRAGG THE PIERCES, SPACEHOG F

JORDAN NUANEZ MATTHEW KOMA F

JP BOUVET HELICOPRIA F

LOIC MAURIN M83 F

MEYTAL INDEPENDENT F

MICHAEL IVESON GOTYE PH

MICHAEL MCMANUS SAVING ABEL F

NICK BURROWS THE INDECENT F

PETE ROBERTSON VACCINES F

PETER BYLIN ANDERS WIDMARK BAND F

RICH REDMOND JASON ALDEAN F

SATNAM RAMGOTRA INDEPENDENT F

SEAN WINCHESTER EVERCLEAR F

STACY JONES MATCHBOX 20 F

STEVE MISAMORE DIERKS BENTLEY F

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VICTOR INDRIZZO ALANIS MORRISETTE PH F = FULL LINE P = PEDALS WAYNE SALZMANN II ERIC JOHNSON F PH = PEDALS & HARDWARE

42 EDGE 10 ||| 2012-2013 NEW ARTISTS ENOUGH SAID.

EDGE 10 ||| DWDRUMS.COM 43 SPOTLIGHT DANIEL GLASS’ CenturyProject by Rich Mangicaro

CENTURY PROJECT ||| RICH MANGICARO CENTURY

A A

America has given birth to some of the world’s most coveted musical art forms, Jazz and Blues being two of the most obvious. What might not be as obvious to some is that the drum set is also a true American original. Granted, various instruments within the kit originated from other countries, but the idea of combining these elements into a single, one-man-band-type of instrument is undoubtedly an American innovation. Thus, the art form we now call drumming was a direct result of years of musical and mechanical evolution. In fact, the origin of the earliest drum set began over 100 years ago and, at the time, itsA appearanceA seemed to defy human physical capability.

fter years of presenting this material rise and fall of several musical genres, only being aware of the classic styles, Ain a live workshop or clinic format, each one accurately and authentically but also acknowledging the history of our master drummer, author and educator, depicted by Daniel and his all-star cast instrument’s unique development and Daniel Glass, decided to embark on a of musicians. Musical styles shifted with how early drummers experimented with it journey to document what he had learned historical milestones and drumming styles to voice their own creativity. As necessity about the history of the drum set and its inevitably followed suit. It’s a rich story truly is the mother of invention, we can parallel journey with the progression of that’s enthusiastically told, intelligently truly be inspired by the creative process of American music. His decision to span researched and finally realized. As Daniel the drummers before us. the tale over a 100-year period takes himself states, “Learning more about the us from the kit’s inception at the end of classic styles demonstrated in The Century Rich M: Daniel, how did the idea of The the Civil War, all the way to the British Project will make you a stronger and more Century Project first come about? Invasion. As he meticulously details competent drummer, regardless of what Daniel Glass: It was essentially born out of the development of the drum set, and style of music you play.” This historical a clinic I’d been doing, which eventually its many incarnations, we witness the sense of the instrument comes from not became more and more involved. As

44 EDGE 10 ||| 2012-2013 I got deeper into the material, the clinic it, is that you have a chance to open up Kickstarter their percentage, and also fulfill was turning into two to three hours, so I yourself personally to those viewing your your rewards. decided it was time to document it. In idea. You basically offer different levels presenting the material in a clinic format, of rewards for various levels of monetary RM: You had presented this idea to Don I learned a lot about how an audience funding–the more you donate, the more Lombardi some time ago. Talk about that. would accept it. You know, many people, you receive from the creator. Obviously, DG: Right. I had done DC Live back in when doing their historical homework, the higher you go, the better the reward. I 2009 and Don was the host. We just hit it don’t even go back to Ringo, let alone 100 did a huge amount of research on creating off from there. Don is all about education years, so I knew I had something here. I an effective promo clip for it and also and his vision for Drum Channel is very presented the material in a relaxed, fun researched other successful pages that had focused on furthering drum education, first way. I also involved the audience with achieved their goals. I also looked at what and foremost. So we began talking about a lot of questions, and I’d reward them kinds of rewards they offered. how to transfer the material in my clinics with various giveaway items from my to a DVD, while maintaining my relaxed sponsoring companies. I’d just make it RM: Your rewards included a vintage presentation style. One way we achieved fun. I wanted to take these aspects and Leedy snare, backstage passes, Royal that was to cut to a green screen to feature transfer them into the DVD. What I didn’t Crown Revue CDs and even a Day with the audience’s answers to the questions want was for this to be like a formal Daniel in LA; really great stuff. Even I presented. We did the lecture portion PBS documentary. I wanted to keep the though you’ve already achieved your in one day, and the band performance interactive aspect of my clinics and feature goal, I encourage all of our readers to sections in two days. I feel that what we some audience member commentary. check out your page on Kickstarter, it’s have now really captures the essence of really cool and inspiring. How did you the live clinic, along with a much more RM: You funded a part of this through put the promo clip together for that page? detailed history lesson. Kickstarter.com and I thought your promo DG: I had the idea for the content and video on that site was brilliant. Talk about basically knew what I wanted, and I had RM: Absolutely. Speaking of history, how you came to utilize Kickstarter.com a friend who worked at the Columbia Film you have a very interesting background. to fund the project. School edit it for me. It was a lot of work to You’re originally from Honolulu, Hawaii. DG: Thank you. I had previously appeared not only create the clip, but also manage What was that like as a young, developing on the show “DC Live” on Drumchannel. all of the donation levels. Once you musician? com and during that time, Don Lombardi complete your goal, before you collect, DG: Man, when I was growing up and (Drum Workshop and Drum Channel Kickstarter takes their cut and you also beginning to play drums in High School Founder) and I began talking about the have to fulfill all of your rewards. So one bands and Rock bands, I never could’ve idea. He was very interested in it, but my thing I’ve learned is that you must keep imagined playing drums for a living, let rather grandiose idea for the final outcome that all in mind when setting your financial alone focusing on the whole music history would cost a bit more than could come goal. There was one guy who donated thing. I was always just playing for fun and solely from Drum Channel, so I began $1,750. I’d never met him before. He even when I went to college, I majored in looking into sites that offer what’s called, worked as a private contractor for the US Psychology. There were 3 teachers though, crowdfunding. I came across Kickstarter Government, stationed in Kuwait and had that had a huge affect on my change of and liked their approach to the concept. an office job there. He’s a drummer and is direction. One was Bob Gullotti, a great They seemed to be the best known for a fan of Gavin Harrison. He was watching Jazz player and teacher from Boston. this, even though they’re an all-or-nothing Gavin on YouTube and Gavin mentioned When I finished college, I started studying venture. Meaning, if you don’t achieve that he was doing a project with a friend, with Bob and from that experience I your goal, you’re basically back to square- funding it on Kickstarter. So, this guy in realized that this is what I needed to be one (each project sets a financial goal to Kuwait then goes on Kickstarter and starts doing. I spent a couple of years after that reach within a specific time period. If searching around for anything related to touring and then went back to Hawaii the goal isn’t’ met, monies are refunded drums. By the way, I was very careful to and spent time in the woodshed. I finally to contributors). Because they’re the best make sure I optimized my search engine ended up at the Dick Grove School of known, they have a large audience, which word choices. He searched ‘drums’ and Music in LA. By the time I got there, I had is what you want when obtaining public my project came up. He checked out the some professional experience and really funding. video clip, loved the project and before knew what I wanted to focus on. Later you know it, donated the money! on, in the 90s, my path was influenced RM: Talk about the various rewards or by Freddie Gruber, with whom I studied incentives you offered to encourage RM: If you fulfill your goal and people for about six years. Later, I studied with potential funders to contribute to your idea. continue to donate, the amount over the one of Freddie’s long-term students, Bruce DG: What’s cool about Kickstarter, and goal is then yours as well, right? Becker. He teaches Freddie’s material very what I believe makes one successful with DG: It is, but you still have to pay effectively.

EDGE 10 ||| DWDRUMS.COM 45 RM: How did you come to focus and excel more about these various styles, I began people needed to know about this. in Big Band and Jazz drumming? looking for educational material to study DG: At Dick Grove we, of course, studied from and found that there really wasn’t RM: It really proves that we all must be all different styles of playing, so after I got much out there in the way of instructional open to what comes to us. Many times, out of that school it kind of just happened. sources. That’s what prompted me to what we’re seeking is presented to us if Actually, joining Royal Crown Revue was begin writing about this stuff. I began we simply keep our eyes and ears open! a huge turning point for me. I was into writing a series of articles for Modern DG: Yes! As I researched this stuff, I began Jazz and BeBop but can’t say that I was Drummer entitled, “Swingin’ in a Modern interviewing many of the drummers into the roots of all that stuff. When I first Age” which got me interested in writing who were still alive, who were the main played with RCR, I came into it playing more. Then, I decided to begin teaching influence for these various styles. They the music from a Tony Williams kind of about it. As I wrote in the forward to became my friends and really inspired approach and they told me that I wasn’t my book, The Commandments of Early me to create The Century Project and to stylistically correct. When I went back Rhythm and Blues Drumming (co-written focus on the 100-year time period that and listened to their music again, I began with Zoro), I kind of relate to Columbus, shows the development of these styles of to realize that what they were doing was who set out to find the West Indies but playing. In reality, every time you sit down one part Jazz, one part Blues and another found America. I came to LA like so many to play the drums, you’re doing something part Rock ‘n’ Roll. A lot of what they drew others, thinking I’m going in one direction, that was created and/or inspired by these from in their music was a blend of 1930s but then I ended up joining this band and guys. The timeline wraps up 1965, but if Swing, 1940s Jump Blues, early Rhythm suddenly found myself getting into all the you continue on, you can find styles of CENTURY PROJECT ||| RICH MANGICARO CENTURY ‘n’ Blues and Rockabilly; all of which are historical aspects of music. The more I got drumming that have arisen since then that played in a very specific way. To learn into it, the more I realized how much other are influenced by that same time period.

46 EDGE 10 ||| 2012-2013 RM: This could potentially be a viable set. We initially thought this material was resource for college level learning. going to be included as a special feature Have you thought about taking it in that within The Century Project, but when direction? we got into it, we had collected so much DG: Well, certainly. I’ve been living great stuff that we decided to offer it as a in New York for the past few years companion. TRAPS features vintage drum and recently, have been talking to The expert, John Aldridge, and we really get Drummer’s Collective about a possible into detail about the eleven vintage drum 10-week course. I’m definitely open to sets featured in Century Project. There’s opportunities like that. With this DVD, extensive history and great footage of the I’m hoping that people will get a better all the kits, so I encourage everyone to understanding of what I’m all about, and check that out. my approach to the historical material.

RM: Before we conclude, I want to mention the companion DVD to The Century Project. It’s called TRAPS: The DOWNLOAD IT NOW Incredible Story of Vintage Drums (1865- WWW.DRUMCHANNELDOWNLOADS.COM 1965). DG: Of course, thank you. With TRAPS, we focus on the evolution of the drum

EDGE 10 ||| DWDRUMS.COM 47 SPOTLIGHT Gerald Heyward’s Gospel OFR&BANDHip Hop

Drumming by Scott Donnell

DOWNLOAD IT NOW

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A A GERALD HEYWARD ||| SCOTT DONNELL ||| SCOTT GERALD HEYWARD Gerald Heyward might arguably be the godfather of Gospel-style Pop drumming. He’s worked with such R&B and Hip Hop luminaries as: Beyonce, Destiny’s Child, P Diddy, Blackstreet, Janet Jackson, Missy Elliott, Mary J. Blige, Chris Brown and countless others. His transition from solely playing in church to also being an in-demand mainstream player has become the norm for these genres, but it wasn’t always this way. Once the likes of Usher, Jay-Z and other top-selling artists heard what Gospel-trained drummers could bring to their live shows, they demanded a new level of musicianship and flair that only Gerald and his predecessors could provide. This Ais the gospelA of Hip Hop and R&B according to Gerald Heyward. Scott Donnell: How did major, chart- but other things you say; it’s a kinship. the drums, too. topping artists decide they needed your The only musicians that practice together style of playing? are drummers. We’re all connected as SD: Who are some of the young church Gerald Heyward: As soon as they heard drummers. We like to show each other players that have caught your attention it, they knew. It became a prerequisite; things. You don’t see a bunch of keyboard lately? they needed a church drummer to be legit. players getting together to trade licks! GH: There’s a guy from Brooklyn we call, They needed drummers that had studied at Junior. Then, there’s Josh and Little Mike church, stylistically. They’d say, “Can you SD: Do you feel responsible for passing from Texas, also Brandon and Big Sed from send somebody like you?” the torch to the younger drummers Trenton (New Jersey) and Jamal Moore coming up? (Aaron Spears’ brother). I’m inspired by SD: Talk about the style or genre of GH: I’m an older guy now and I learned all of their playing. I love ‘shedding’ with church drumming. from guys older than me, guys like Jeff these guys, it keeps me fresh. GH: It’s actually not focused on styles, but Davis, Joe Smith and Bobby Walker. The it touches so many genres, from Rock and crew that’s coming up in church now will SD: Tell us a little bit about ‘wood- Jazz, to Funk. If you come out of church, be in the working world soon, but they’ll shedding.’ It started with gospel players, you’re prepared! You’ll end up playing all always come back to church. The guys that right? of those styles in church and that’s what learned from me, like Teddy (Campbell), GH: Woodshedding is just practicing; church-style is. Lots of up-tempo, different Nisan(Stewart) and Aaron (Spears) are it always has been, but now they call it fills, backbeat, on top of the beat, we don’t already passing their knowledge down to ‘shedding.’ It’s so you can see your place, know we’re studying it at the time, but we the next crew. in terms of chops. A bunch of us come to are. learn, but there are always guys that come SD: Which drummers inspire you? to ‘kill’ and, basically, show off. They call SD: Do you feel like you have an automatic GH: My first concert was Billy Joel with it “chopping heads off.” Some guys are brotherhood with all drummers that play Liberty DeVitto. Liberty taught me about there to prove themselves. One night, in church? showmanship. When I saw him, it changed we were all there, Chris Dave, me, Teddy GH: It’s less of a church thing and more my life. That’s when I started working on Campbell, Aaron Spears, Mike Clemons, of a drummer thing, in general. It’s more my move of hopping up and down on the Doobie, Jeremiah Parish, Dana Hawkins about a drummer’s DNA. We all have that throne. Then there was hearing Gadd on and Little John Roberts. The young guys commonality. I can tell you’re a drummer Steely Dan’s, Aja for the first time, and said it was the best day of their lives. just by talking to you, not by talking drums, Vinnie changed my way of thinking about

48 EDGE 10 ||| 2012-2013 EDGE 10 ||| DWDRUMS.COM 49 NOTEWORTHY SATNAM RAMGOTRA ||| DW DRUMS ||| DW RAMGOTRA SATNAM

IN THE StudioWITH Satnam Ramgotra by Scott Donnell atnam Ramgotra may not be a name you’ve heard before, but he’s quickly being elevated to the upper S echelon of studio drummers. This may be due, in part, to his association with omnipresent, high-powered film composer, Hans Zimmer, but he has the uniqueness, style, and drumming prowess to back up his reputation. We spoke with Satnam about his move from strictly being a drummer, to also composing and engineering his own recordings. As you’ll read, he’s a drummer that’s keeping pace with today’s rapidly evolving music scene.

SCOTT DONNELL: Talk a little bit about your drumming past, career highlights, notable gigs, etc. SATNAM RAMGOTRA: I’ve done some gigs where I’ve definitely had to pinch myself! One gig I was honored to do for a little more than eight years was with Nikka Costa, whom I consider a true artist’s artist. We traveled to many parts of the world and got to be on tours with the likes of Beck, Erykah Badu, Prince, and Lenny Kravitz. I also toured with Jada Pinkett Smith’s metal band called Wicked Wisdom and we opened for Britney Spears, as well. A notable gig during that time was one of Prince’s birthday parties at Paisley Park. We got a personal tour of the studio and the garage that housed all of his cars from his old videos. Pretty cool if you grew up a major fan of his like I did in the ‘middle of nowhere’ Canada! He’s even jumped on stage and jammed with us! Beck had me sit in on the tabla on one of my all-time favorite songs. That song actually doesn’t even have percussion on it! That was a definite highlight. Getting to record drums with Bootsy in his home studio in Ohio was also pretty rad! Early on in my career, I got to be a guest artist on gigs for Sting, with Manu Katché on drums, and Seal, with Brian Blade on drums. These artists, and their drummers at the time, were major, huge influences on me. A long time ago, I did a gig that I’ll never forget, subbing for Abe Jr. in Germany with Mike & Teddy Landau’s group, The Raging Honkies. Every night I was pinching myself!! I sucked, but man it was fun! Nowadays, getting to be a part of Hans Zimmer’s world means we have the opportunity to collaborate with all kinds of musicians. Sometimes, we play together when we are coming up with ideas. One of the coolest times was with Dave Stewart and Pharrell Williams. It’s much different writing tunes on the spot as opposed to recording a tune that has already been started as a demo. Other times we’ve collaborated over dubs, but getting a chance to play with guys like Johnny Marr and Mel Wesson on a live, one-time- only performance like we did for the Inception premiere is the coolest. I have to say, the first real studio ‘pinch myself’ moment was when I got to record alongside my drum hero, Vinnie Colaiuta and percussion/drum hero, Alex Acuña on a Lee Ritenour album! Vinnie and I were recently part of a massive drum set ensemble, but I can’t tell you anymore than that right now.

SD: How has the tabla influenced your drum set playing? EDGE 10 ||| DWDRUMS.COM 51 SM A G A Z I N E S SR: Music breaks down language barriers. term. I get to play many different styles It’s just the opposite. When you’re on a gig That’s something that perhaps may be of music on both the drums and tabla. and you’re not happy, no one is benefiting. taken for granted by the masses. Music I’ve spent a year in Greece playing drums If it was just about a paycheck, we’d take transcends everything, and at the heart and tabla on traditional and hybrid Greek jobs that don’t require a lot of passion, and of it is rhythm. I always wanted to play music and I also play with an assortment we wouldn’t mind being bossed around. I the drums. My dad was insistent upon of Persian artists. I’ve been drumming on discovered the idea of recording on movie me learning the tabla too. So, when I a legit Funk gig for years and I’ve played dates as a soloist, but collaborating on started snare drum and drum set back in on Punk, Pop, Alternative, and Rock people’s songs and working with producers 5th grade in Canada, he taught me tabla gigs in the past. That doesn’t necessarily is the most gratifying for me. On movie simultaneously. Now, when I’m asked make me well-versed in my book. Music dates you might get handed a chart, but this very question, it’s hard to pinpoint. explorations really started in my home. it’s a blank palette in terms of the level of Western drummers say, “I totally hear your My mom sings and plays the harmonium, creativity you want to bring to it. Most of tabla influence in your drumming!” And and my late father played the tabla; both the time, composers and producers send the Indian Tabl-Ji’s (tabla players) all say, were avid music fans. I’m the youngest me their music and a click track and just SATNAM RAMGOTRA ||| DW DRUMS ||| DW RAMGOTRA SATNAM “I can really hear your drumming in your of five children and all of us are extremely say, “Can you make it better?” I realized tabla playing!” For me, they’re one and passionate about the music we listen to. that, in a way, this is sort of like composing. the same, but I get how one can hear more Being the youngest, I was turned on to Then, more gigs started coming to me as drumming influence in the tabla playing. everything from 60’s and 70’s Rock, Disco, a composer, where they would ask, “Can I do way more non-Indian gigs as a tabla 80’s New Wave, to hair bands, Punk, you just do a drum/percussion bed?” I player than I do Indian Classical gigs. Hardcore, and Skate Rock! Combine quickly found out that’s actually harder Indian music by nature is much looser in that with Indian Classical, Light Classical, for me. So, the first time I was presented terms of feel and swing. Playing in a band Indian film and Pop songs, Western with this scenario, I played a solo on my that doesn’t swing, but wants that ‘Indian’ Classical, Big Band Jazz, plus what I was dulcimer, found a pattern I liked, and feel means you’ve got to know how to learning in school, and that’s a pretty wide wrote a tune from that. It’s important to turn off that Indian swing and match the variety. Big Band is, incidentally, what note that I don’t play the dulcimer, nor western ‘clave’ if you will. The first time really taught me how to play the drums. have I ever been trained on it, but it has a I understood what Tabl-Ji’s meant by tabla My elementary school band teacher series of strings that aren’t rocket science influence in my drumming was back in would send me home with Fusion and Jazz to tune. It’s played with two thin mallets, Greece in 1997. I did a clinic at the Poly- records to check out Billy Cobham, Steve otherwise known as hammers, which are Rhythmos School of Music in Athens. I did Gadd, Elvin Jones, etc. I was very lucky to very similar to playing with drumsticks. a little solo thing on the kit, what I call, have a basement in Canada that allowed Then, I went back and layered in all of the “Look at me, look at me, look what I can me to practice for a gazillion hours a day. drums and percussion. When I played it do!” Then, I did a little solo thing on the What I’m trying to communicate is that all for them they loved it, and put in the film tabla. The whole room, including myself, of the music around me constantly taught as is. Voila, I had my first additional music said, “Oh, I see!” Then the questions me how to play. Practicing was just the credit, although I don’t think I actually got started to flow. vehicle to make it happen. Can you dig it? a credit in the movie. About a month later, another composer asked me if I’d like to SD: Would you say you have “chops”? SD: How did you make the transition co-compose on a demo for the theme to SR: I went to PIT, and for about eight years from session drumming to composing? Outsourced. At the time, it was a new after that, I’d say, “Yes.” By the way, during SR: I didn’t know that I completely NBC sitcom. Lo and behold, we got it! those eight years, I was broke, playing transitioned out of it. [Laughs]. It was But I’m not composing full scores just yet, in an awesome power-trio band that more of a natural transition than a I’m mostly composing for music libraries, unfortunately couldn’t break loose from conscious transition. To stop playing or and it’s really fun. the clubs. Anyway, now I’d say that chops performing, those are thoughts that do not don’t grab my interest as much as coming exist. In fact, I actually play more now. SD: What’s it like engineering your own up with a new way to interpret 123- Since I play on everything I’m writing, drumming performances? 123-12 accents on 1. Going back to the and don’t just program it, I actually play SR: [Laughs] Some days it’s great, and some previous question, that particular rhythm the instruments analog-style. It gives days it’s not so great. Sometimes you’re so is the universal rhythm. It’s present in me perspective. After years of always ‘in the pocket’ and other times, you want every single culture on our mother Earth! performing as a side man and always to be at the beach. I’m just kidding, a SD: Are you well-versed in many musical playing someone else’s parts, I’ve started little. At first it was weird, but it’s been styles? Talk about your educational looking at what gigs I really love doing, a great learning experience. I’m sort of background. and which ones have become chores. I old school, so I always want to attempt to SR: “Well-versed” is a really subjective know that sounds a bit ungrateful, it’s not. deliver a solid take from beginning to end.

52 EDGE 10 ||| 2012-2013 Sometimes I just don’t have the time, so become my unsung mentor is Lorne Balfe, myself. Last month, I was on a studio gig I’ll punch in, especially if it’s a crazy time who also happens to be a Classically- with Curt and he suggested I check DW signature that the composer has written in trained percussionist. out. He organized a tour of the facility, to match what’s happening on the screen. and I was sold after that! I didn’t want Like, where you are grooving along in 4/4 SD: What do you listen to in your car? to leave the building, and couldn’t see at 160 bpm and all of a sudden a bar of 9/8 SR: After reading this, nobody is going to myself not playing DW Drums. Honestly, shows up at the very end of the cue. Thank believe me when I say, Massive Attack, I’m honored to be a part of the DW god for the ability to punch in if you miss it Radiohead, old U2 and Joni Mitchell. family. They’re good people, making and the first time around! Mainly, I like to keep things mellow while promoting great music and drums. driving. LA can be testing on the nerves. SD: Who do you look up to? Do you have SD: Tell us about the kit you designed. a mentor for drumming/composing as SD: Do you see yourself touring again? SR: Y’all don’t know about this right here! well? SR: Yes, absolutely! If Massive Attack came It’s a Jazz Series kit with Electric Blue SR: Physically, anyone over 6’ 2”. [Laughs]. calling…peace, everybody! Seriously, yeah. transparent lacquer over Angel Pearl exotic My biggest drum heroes/influences are: If the right gig came knocking on my door, wood. My custom sizes are 7x10”and Vinnie Colaiuta, Billy Cobham, Tony I would, without a doubt, tour again. 7x12” toms, 16x16” and 16x18” floors, Williams, Jack DeJohnette, Steve Jordan, and 17x23” and 14x24” bass drums. Omar Hakim, Bill Stewart, Abe Jr., Steve SD: How did you arrive at DW? There’s also a matching 5.5x14” snare Gadd, Peter Erskine, Alex Acuña, John SR: Actually, I’m beginning to think that and a 6.5x14” oak stave snare. Generally, Bonham, Mitch Mitchell, Michael Bland, it was inevitable. My dear friend, Curt I play one tom up and one or two floors Buddy Miles, Philly Joe Jones, Stewart Bisquera, had never stopped planting the down. The thing about the small-to-larger Copeland, Neil Peart, Matt Frenette, and bug in my ear. And even Alex Acuña had tom sizes has everything to do with the Paul Brochu. Plus, so many I’m forgetting, said, “Man, you’ve really got to check it tabla, and its high-end/low-end ratio. I but I can’t forget my instructors: John out, it’s happening!” The curiosity and really like that contrast and want it to Fisher, Toss Panos, Efrain Toro, Chuck desire was confirmed when I was at Peter reflect in my kit, as well. Flores, Casey Scheuerell, Pandit Swapan Erskine’s place for a session and he was Chaudhuri, Amritpal Singh Jabbal, and, playing his DW kit. I couldn’t get over how SD: What’s the fastest land animal? of course, my dad. As for composing, I amazing they sounded! We got to talking SR: Cheetah!! Although, Shane Gaalaas definitely have a few composers that give about them, and he told me how they had has some pretty fast feet!!! me their honest, and sometimes not-so- totally revamped their philosophy on drum honest, critiques. The person who has truly making. Still, I was too shy to reach out

Integrated Felts

No detail is too small on our most popular pro cymbal stands. Drummers really appreciate a good quality cymbal felt, especially when it’s part of our innovative adjustable cymbal seat. Together, they allow drummers to create just the right cymbal tension for optimal playability and tonality. The only way to make it better was to streamline it, and we did. The entire assembly has gone from three removable parts to just one. We designed an integrated, barbed cymbal protector to capture the bottom felt, then we went one step further and combined the top felt, washer and wing nut into a YEARS revolutionary one-piece design. There’s an art to refining www.dwdrums.com even the smallest details. It’s what has made us the Drummer’s Choice for over 40 years. Learn about DW’s latest innovative details www.youtube.com/dwdrums ©2012 Drum Workshop, Inc. All Rights Reserved. SPEED, FEEL AND POWER FLAGSHIP 9000 Series 9000 PEDAL ||| DW DRUMS ||| DW 9000 PEDAL Ever since the launch of the Floating PEDALS Rotor™/Adjustable Cam 9000 pedals, drummers have been loyal to their smooth get a action and sheer playabilty. When the makeover DW Research and Development team decided to update the 9000 single and 9002 double pedals for 2013, it was a challenge to improve on an already unanimously accepted design. So, how do you make a great thing better?

For starters, it was decided to add the revolutionary new Tri-Pivot Toe Clamp. This new clamping mechanism provides a much stronger connection to the bass drum hoop, eliminating unwanted vibrations and slippage while, at the same time, preserving the integrity of the hoop. Next, we removed the Velcro® from the bottom of the base plate and replaced it with a specially-designed non-skid rubber pad, offering another level of increased stability for drummers. Not only does it work well on carpeted floors, but it can also be used on harder surfaces, such as wood. Finally, the re-tooled adjustable cam is now easier than ever to alternate from Accelerator-style to Turbo, or anywhere in-between.

The new 9000 pedals feature the same unmistakable feel and reliability that drummers have come to expect from DW, with some key improvements. To see some of your favorite drummers talk about the newest features available on these, and other models, visit: www. dwdrums.com.

54 EDGE 10 ||| 2012-2013 9000SERIES WWW.DWDRUMS.COM

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©2012 Drum Workshop, Inc. All Rights Reserved. SHOP TALK SHOP TALK ||| RICH MANGICARO TALK SHOP

THE PATH TOPerformance Series

HVX ShellTECHNOLOGY by Rich Mangicaro

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hen speaking to John Good, DW’s master drum designer, one is treated to such a wealth of knowledge that you feel Wlike a kid again. No matter what level of player you are or type of music you play, you can rest assured that you’ll walk away with a staggering amount of drum-related information while being inspired, re-charged and excited about the instrument. John has innovated drum making in such a way that he’s paved entirely new manufacturing techniques within the industry. I’m not the first to refer to him as a wood guru, as he travels the world searching for unique and beautiful varieties of exotic woods, many of which have never been used before in a drum-building application. He’s fueled by passion, loves sharing his discoveries, and our community is the better for it. As he says, “It’s all about education. The more you know about your instrument and your drum Ashells, the easierA it is to understand how to tune them.” On this day, we were here to discuss DW’s importantly, lived up to DW’s reputation we met with DW shell expert, Shon Smith. proprietary HVX shell. It’s only found on for professional sounding, drummer- He’s John’s right-hand man when it comes DW’s Performance Series drums, a series friendly drums.” to developing new shell technologies and that is price point sensitive, only in that grain orientations. It was these two that they are less costly than custom drums. As we sat in John’s office, we were developed VLT, or Vertical Low Timbre, Make no mistake, these are Oxnard, surrounded by wood veneers of every and this ground-breaking discovery lead to California-made, high-end drums with pro conceivable variety and shells literally X-Shells (diagonal grain orientation), VLX specs all the way! John makes it clear, littered the floor to the point where it was (a combination of VLT and X-Shells), and “We wanted to give Performance Series a hard to find a place to step. It’s obvious eventually, HVX. The smell of raw wood sonic personality all its own, not just make that John spends plenty of time doing his permeates the shell shop and, man, is it a production version of our custom kits. It homework. We were also treated to a walk- hot in there! Actually, it’s hot AND humid was really important to develop something through of DW’s state-of-the-art Custom in there; they have to pump water in the that was modern, versatile and, most Shop, the shell shop, to be specific. There, shop to make sure the moisture content

56 EDGE 10 ||| 2012-2013 is just right for shell making. It’s an art the outside veneer, the pitch of the drum vibration of the drum. We also found a form that John and Shon have dialed-in was almost always lower. This bothered consistency with tone and timbre between over these many years. In speaking with me, so Shon and I thought, “What if we shells within the same size diameter. This both craftsmen, HVX’s story unfolds with turned maple vertical?” When we did process led us to create something we’d colorful clarity. that, it became the starting point for the never made before: a medium-to-low- VLT shell. This really began to make sense pitched drum with tremendous consistency John Good: This program can only be when we started combining wood types and uncompromised shell integrity. fully understood if you understand veneer. as exotic veneers, turning veneer vertical Veneer’s attributes are as follows: no matter and then book-matching (mirror-imaging) Shon Smith: With the ‘X’ ply added, we what kind of wood, when it’s cut into a the sheets. It was then that the rest of the didn’t need to add the reinforcement veneer, if it has a long grain (horizontal), grain orientation world opened up. We hoops either. The diagonal ply gave it the it’s going to have a high timbre (pitch). also found out that by turning the wood strength needed by pushing back on itself. If it’s short grain (vertical), it’ll have a vertical around the shell, the shell’s pitch lower timbre. When you combine them remained very, very low and that offered RM: So, this ultimately saves man-hours in various configurations, varied sound up a wider range of woods as shell-making by avoiding the shell selection process, qualities are achieved. materials. These days, probably more than thus making it a very efficient production 50% of our exotic woods are vertical grain. item? Rich M: Does this also affect the strength JG: Indeed. Shon and I had never really of the shell? RM: What about the diagonal wood grain? done production-style drums until HVX. JG: Absolutely, that’s why we have to How did you utilize that? It really is the perfect recipe for our cross-laminate, or the shells would fold JG: We decided to try layering the diagonal Performance Series kits and artists are up like a hat box. Look at this piece of veneer in an ‘X’ pattern, with the outside going crazy for the sound of these drums. long-grain veneer (he holds out a piece sheet in one direction, then the next one in It makes sense because they have a nice of maple veneer across my fingertip). It’s the opposite direction. We found out that tuning range. You can tune these drums only 1/36th of an inch thick and it hardly the pitch went down even lower! So, as we low because of the ‘X’ factor within the bends on your hand, you can see the were progressing with our experimentation plies, and we’ve found that because strength here. Now watch as we place with grain direction, we were getting there are no reinforcement hoops, there’s the same thickness with a vertical grain, it lower, deeper sounding drums. Then, we yet another little advantage to the lower bends over your hand easily. Also, every thought, “How can we make an ‘X’ shell frequency range because reinforcement piece of wood has a musical note value even lower?” We thought to place two hoops raise the pitch ever so slightly. (as I held the horizontal wood veneer, vertical plies in the middle of the ‘X’s and They’re also really versatile. We’ve had John bent it and as it tightened, the pitch it proved our hypothesis by bringing the very positive feedback from Rock guys, raised, as opposed to the vertical grain that pitch down even more. That experiment Gospel drummers, Country drummers, was already much lower due to the short became a shell we now call VLX. That’s every style of music! In fact, when you grain orientation. Now, I have one more used for floor toms, and for bass drums buy a Performance Series kit, you get a piece, a 45° diagonal cut veneer (when we add one or two more vertical plies in demo of John “JR” Robinson playing the placed on my hand, it bent diagonally). there and that becomes VLX Plus. With drums in various styles, so you really get So, no matter what type of wood is used, four vertical plies in a bass drum, you have to hear them properly, as played by one of the important factors are the direction and to be careful because you can kill small the world’s most recorded drummers. orientation of the grain when assembling a animals with the low, subsonic frequency shell. Understanding this much will help generated by that drum! RM: It was always assumed that a drum’s paint a clearer picture of the path to HVX. sonic range had more to do with the RM: I’m sure there are a lot of drummers thickness or mass of the shell and you have RM: So, the importance of grain direction reading this right now with a big smile. both proven that that’s not necessarily the and how the veneers are layered gives Who doesn’t want a bass drum with that case. Do you feel like you’re toying with you not only the shell’s sound potential, kind of low-end punch?! physics? but also gives you control over the shell’s JG: Yes! This brings us to Performance SS: That’s what we thought too! But after strength. Fascinating! Touch briefly on Series HVX shells. We knew that our years of work with grain orientation, we’re, your early experience with timbre. Also, production kits wouldn’t be Timbre in essence, defying Mother Nature. This your familiarity with maple and how it Matched, so we decided to have the grain is just the tip of the iceberg. There’s a lot led you to experimenting with the other technology do the work for us. When we more we can do, and we’re having a blast woods you employ today. decided to try putting that diagonal ply as doing it! JG: Well, Curly Maple is mainly long grain, the last outer and inner ply of a standard but has a predominant figure of vertical shell with alternating horizontal and grain, as well, so when we used it as vertical plies, we wound up stabilizing the

EDGE 10 ||| DWDRUMS.COM 57 HEADS UP

JACK WHITE’S

Daru Jonesby Brook Dalton

DARU JONES ||| BROOK DALTON DARU

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f you’ve seen Jack White perform with The Buzzards as his backing band on his recent tour, you are lucky enough to have also Iwitnessed one of the most energetic and demonstrative drummers in the realm of modern rock. That may sound a bit hyperbolic but trust me, Daru Jones brings an intensity and heartfelt style to the show that is something to write home about. Mr. Jones is such a stand-out performer that he has earned a spot at the front of the stage alongside the band leader. His kit in itself seems to be as non-traditional as the tour he’s currently immersed in (there are two alternating backing bands, one is all-male and the other is all-female), with the toms and cymbals noticeably tilted away from his body. Although his mastery of this unique set-up somehow makes perfect sense while watching him wail away, there are certainly questions that arise from the experience. Luckily, I spoke to Daru while he was preparing for a show in Atlanta and was able to inquire about the tour, his passion for producing, and his inimitable style behind the kit. A A BROOK DALTON: You’re from Michigan, pains which resulted in me making the Hop production with singers on top of but you currently live in Brooklyn. Was transition to New York. it. One of the projects is with my sister, living in New York always a goal for you? Rena. She’s a Soul singer and the project Did you choose New York or did you end BD: You mentioned that you’re a is called, Honey. On the flip-side, another up there for any other reasons? producer. You actually run your own project that is not associated with Rusic DARU JONES: New York was definitely a company, right? Records is the band I play with from goal for me. It’s a working town for what DJ: Yes, I run my own production company Austria called, The Ruff Pack. That’s a I do. There are a lot of different jobs that called, Rusic Records. project that’s coming out really soon and don’t specialize in a particular field, you I’m very excited about it. can do Hip Hop, you can do Rock, or BD: What sort of projects do you have whatever you want. After high-school, going on with Rusic now? Or are you BD: Do you prefer playing live and I started making my New York rounds even currently active with it since you’ve touring over producing or session work? because I’m also a producer. In ’96 I was been on the road so much? Does one appeal to you more than the a teenager and I went to New York and DJ: Yeah, it’s cool that I’m in this scenario, other? performed at this A&R conference with with consistent work, because it allows DJ: Well, those are two different beasts. my sister and we got exposed to labels like me to work on my own projects with Right now, I’m fitting in the production Sony and EMI. After that, I relocated to Rusic. The sound is more of my style. I material in-between the breaks that we Pittsburgh and played the scene there until call it, Soul-Hop, which is a combination have on the road. We’ve been touring 2008 when I worked out some growing of Soul music and Hip Hop. It has a Hip since March and we do have some breaks

58 EDGE 10 ||| 2012-2013 between the runs. It’s equal; it’s a balance but, unfortunately, RZA had to cancel at he really allows me to express myself. I I have. Really, I do a lot of drumming and the last minute. However, it turned out to mean, I play the songs like the records I enjoy doing it because it keeps my chops be a blessing because that actually started but I’m allowed total freedom if I want to up, but after a certain period I get the Jack working on the solo project. He felt switch it up. In this scenario, if we want to longing and get inspired to produce and bad and didn’t want to send us home, so express ourselves, it’s embraced. I just try make some new music. he said he had a couple of tunes we could not to take advantage of it and add some mess around with and record. One of the flavor when I can. BD: Right, you’ve got to mix it up. songs ended up being Trash Tongue Talker DJ: Exactly. from the Blunderbuss album. So, that’s BD: I’m curious about your set-up. Aside how we ended up working out the first from you being at the front of the stage, BD: Since you’re so influenced by Hip tunes for this record. allowing for some of the spotlight, your Hop, Gospel, and Soul music, do you feel kit itself seems downright wacky. I mean, that you bring a lot of those elements to BD: Can you talk a bit about the two the angle of your toms and cymbals really the Jack White gig, or is it strictly a Rock different bands that are on the road for stands out, but that appears to allow you performance for you? this tour? There’s either an all-male or to play full-throttle on them. Was this a DJ: No, I believe he hired me because he an all-female band (The Buzzards and natural progression from a standard traps liked what I brought to the table and my The Peacocks) that will play the show. set-up or have you played the kit that way style is a combination of all the things that How do you guys decide which band is from the beginning? I listen to, from Soul and R&B to Jazz, it’s playing? DJ: No, I’m always experimenting, I’m all of that in one. I think he was looking DJ: Y’know, we don’t have control over always growing. Y’know, as drummers for me to bring that type of element in this that. In fact, we don’t find out who’s we always evolve. Within the past seven situation and that’s why I got the job. playing until the morning of the show. or eight years, I’ve been doing a lot of They want to have a surprise for the Hip Hop stuff, and in that community it’s BD: So, you didn’t have to adjust much to audience, and that’s the vision that he has, important to have an identity. Something play in this band. and that’s what we signed up for. All of that’s going to separate you from the next DJ: No, it was cool. the gear is covered up and, y’know, one of person. I’ve always been that type of the things that can give away which band creative person, switching things up, so I BD: How did you get the job? Did you will be playing is the drums. Literally, right made that sort of transition around 2005. audition? before we hit the stage is when everything I started experimenting, moving things DJ: There’s a Hip Hop artist that I work with is unveiled to the crowd. around with the toms, and it just worked from Detroit named, Black Milk. And, well with my style. I can be kind of a neat you know, Jack is from Detroit, as well. BD: Wow, so you need to be on your freak at times and I had my snare tilted, so I played on Black Milk’s last album and toes. Is the set list the same from night I thought, “What would happen if I tilted Jack had heard the track called, Deadly to night? my floor tom?” It ended up looking cool Medley, which has a real Rock-type of DJ: Well, there is no set list. [Laughter]. and, of course, I adjusted to playing it and vibe to it. I think that made Jack kind of Sometimes we’ll get some curve balls and I just kept adding to that. It works well excited. He produces these 7” singles we’ll have new stuff added right before for me. with his company, Third Man Records, and the show, so you never know, and we he wanted to collaborate with Black Milk. have to be watchful. But, I’m playing with BD: It works well for the audience, too. Since I was touring with him, he didn’t just really good cats; everybody was hired for It’s great, man. You make it look like go down and do the project with Jack on a specific reason. Everybody holds their you’re driving the kit; you play it like you his own, he brought the whole band. That weight and I’m thankful to be a part of this own it. It’s unique, for sure. allowed me to meet Jack and to record scenario. DJ: Thanks! The way I sit is very high, so I with him. We also did a performance at like to dominate the drums. I like to come Third Man (they host live shows, as well) BD: Well, it’s probably a learning down on them from the throne, and I try and I’ll never forget it. We played a song experience, too. I’m sure you’ll look back to perform from my heart and soul, so it called, Losing Out that has a drum solo at this someday and you’ll have stories. just works for the way that I play. I’ll do in it. After I played that solo, Jack ran up There aren’t many people that can say some showmanship stuff but it’s more or to the stage and yelled, “Yeah!” like he they’ve played a tour that’s set up like this. less like a ‘feeling’ thing, y’know? Like, was blown away. A few months later, he DJ: Yeah, it’s cool. I’m just glad that he’s if I stand up and play it’s because that’s contacted me to see if I wanted to come allowing the drummer to have a ‘shine what I’m feeling at that moment. There’s down and do a session for a collaboration point,’ even with the set-up. Usually, the an energy that I want to give out to the he was doing with RZA from Wu-Tang drummer is way in the back, but with this audience. That’s important to me. Clan. I was excited and flew down there stage plot, the drums are right up front and

EDGE 10 ||| DWDRUMS.COM 59 SM A G A Z I N E S JACK WHITE ||| SCOTT DONNELL WHITE ||| SCOTT JACK Trends Jack White and theBuzzards LIVE AT THE SHRINE AUDITORIUM by Scott Donnell

o see Jack White in concert is to the surprise. the song, “Sixteen Saltines” and proceeded Tappreciate the combination of to play favorites from The White Stripes, spontaneity and calculated, stylistic Tonight, it’s The Buzzards, and being able The Raconteurs and the aforementioned, influence that has made him a Rock icon. to watch Daru Jones perform is worth The Dead Weather. One of many things the price of admission. While seeing that this band understands is dynamics. There’s a reason he’s mentioned in the Daru deliver ample doses of greasy, ultra- They went from a whisper to a scream and same breath as the likes of Jimmy Page and pocketed grooves, one can’t help but took even jaded Rock aficionados on a Keith Richards. He had been touring for wonder if Jack picked a drummer that musical ride that left everyone clambering his Blunderbuss record for many months plays very similar to himself. Yes, that’s for more. Daru handled his duties in already and for those of you that aren’t right; the multi-talented Mr. White is also tasteful fashion, incorporating the kinds in the know, he’s been doing so with two a proficient drummer in his own right. He of tasty fills and grace notes you’d expect distinct bands, The Buzzards and The plays for his band, The Dead Weather and from a Steve Jordan or Stan Lynch in his Peacocks; the former being an all-male seems to possess the same backbeat feel/ heyday. That’s when Rock is at its best, band and the latter consisting of all-female quotient as Daru. when the band can dig their teeth into the musicians. Part of the thrill is wondering kind of material that’s perfectly suited for which outfit will be accompanying Jack As the drums are exposed, it’s obvious that live performance. Daru accentuated the as he delivers his brand of Blues-based, the audience knows about this little game. big riffs and vintage tones in all of the right alt riff Rock. The crew waits until the very Maybe some of them wanted to see the places, constantly aware of the subtleties last second before unveiling the drum kit girls that night, but they have no choice, of the songs and completely connected to before each show, as that would give away Jack calls the shots. The band ripped into the other musicians on the stage.

60 EDGE 10 ||| 2012-2013 Trends Deep Snare Drums Aby DaveA Elitch I’ve been collecting drums since I was be 5” or 5.5” deep, but every drummer I taking the Performance Series 8x14” steel around sixteen, or since I could afford to, know has at least one, if not several, 6.5” snare and cranking that bad boy up! You’ll I guess. My first deep snare drum was an deep snare(s). It doesn’t matter what the get a ton of crack from the brightness that 8x14” from the 80’s. I discovered it in shell is made of, wood, brass, steel or steel brings, but you’ll have a lot more the trunk of another student’s car in Auto whatever; it’s a sound that drummers don’t bottom end to go with it. Maybe even try Shop. I talked him into selling it to me and want to be without. Back in the day, I used some die-cast hoops or fatter snare wires. literally ran back to my car once it was in to show up to a Jazz festival or gig with Alternating head combinations also does my hands. I think I had my cheapo $300 my 8” deep drum and people would look the trick. For the fat vibe, try a coated import kit at the time with a matching at me like I had three arms! Nowadays, P3 with an inlay ring, or an Emperor X 5x14” steel snare drum, so when I got back deeper snares are popular again and NO with a reverse dot. Even a Fiberskyn head and played this monster 8x14” for the first ONE plays piccolos! will add a thick sound to a deeper shell, time, I couldn’t believe how much depth whether metal or wood. On the other end and power it brought to my drum sound! If I had to pick one, my favorite snare of the spectrum, try a single-ply, coated size would be 6.5x14”. It has the perfect Vintage Ambassador for that studio sound. Looking back now, after having the blend of tonal depth and cut, and I can Sometimes metal shells have a crazy ring. experience of an additional twelve years still get the articulate subtleties without Don’t always muffle it; occasionally it’s and literally hundreds of snares that have straining myself or making the drum do nice to have some extra character in the come in and out of my life, it’s interesting something it doesn’t want to do. In recent song. It’s all part of creating your own to reflect on what I like in a snare drum. At years, “hipster” bands from Brooklyn and sound. You should search for your original the time, Ska and Nu-Metal were hot, so Silverlake have brought back that gushy, formula when it comes to experimenting everyone was playing piccolos and, let’s wet “thwack” that was big in the 70’s and with larger snare drums, and if you’ve face it, the drum industry is like any other, that’s what a lot of players want these days. never tried something on the deeper side, trends are here today and gone tomorrow. John Good calls it, “Hitting a birthday cake give it a shot. You might be surprised with There’s something about a deep, big snare with a baseball bat.” I’ve got a lot of 6.5- just how versatile a deep snare drum can sound that just seems to be timeless, even 8” deep snares, and even a 12x15” (that be. Get weird with it! irreplaceable. Sure, the most popular one does the job beautifully). Deep snares snare shell depth throughout history has to aren’t just for retro, fat sounds though. Try

EDGE 10 ||| DWDRUMS.COM 61 BECK, JOHN MAYER, ANNIE LENNOX, GOTYE, DEPECHE MODE, FIONA APPLE, LIZ PHAIR, ELLIOTT SMITH, RUFUS WAINWRIGHT, R.E.M. AND THE LIST GOES ON –– JOEY WARONKER | MICHAEL IVESON | BLAIR SINTA | VICTOR INDRIZZO | AARON STERLING INDRIZZO | | VICTOR IVESON | BLAIR SINTA | MICHAEL WARONKER GOES ON –– JOEY THE LIST AND R.E.M. SMITH, RUFUS WAINWRIGHT, APPLE, LIZ PHAIR, ELLIOTT ANNIE LENNOX, GOTYE, DEPECHE MODE, FIONA BECK, JOHN MAYER, 36 EDGE 10.0 ||| FALL & WINTER 2012 9000 HEAVY DUTY • 7000 SINGLE-BRACED • 6000 RETRO, FLUSH-BASED CYMBAL STANDS

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www.youtube.com/dwdrums PEDALS AND ©2012 Drum Workshop, Inc. All Rights Reserved. HARDWARE EDGE 10.0 ||| DWDRUMS.COM 37 S ISSUE 10 ||| 2012-2013 ||| DWDRUMS.COM S