Drummer 2014-10

133
INTERVIEWED: MIKE PORTNOY, JAMIE PERKINS, BEN KENNEDY, DYLAN HOWE

DRUMMER MAGAZINE
Issue 133 OCTOBER 2014
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DRUMMING MATTERS
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SIMON PHILLIPS • MIKE PORTNOY • JAMIE PERKINS • BEN KENNEDY • DYLAN HOWE • PLUS : NEWS • REVIEWS • FEATURES • TUITION
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REVIEWED: SALMINS
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SIMON
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UK £4.50 Issue 133 October 2014
GOING SOLO: HIS NEW ALBUM & LEAVING TOTO

PLUS: MARK SCHULMAN CLINIC, NEW-LOOK A PROBLEM SHARED + MUCH MORE
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CONTENTS
ON THE ONE…
Welcome to the October issue of Drummer! With page 44, Dylan Howe talks about his new album
ISSUE 133 the London Drum Show getting close (check
out our show special next month), times are
Subterranean, a re-interpretation of Bowie’s late
70s Berlin era.
extra busy and exciting here. We’ve got some On page 20, three lucky readers have the
Editor: Gemma Hill, [email protected] great things to share with you, starting with our chance to win a Sonitus Kicker! Dave Major
Sub-editors: Alex Ormiston, Nick Robbins expanded tuition section. We’re introducing a takes over our new-look ‘A Problem Shared’ on
Assistant editor: Dean Hendy guest tuition section to kick off our top tuition page 94. We have event reviews from the Mark
Feature writers: Gemma Hill, Brent Keefe, Andy Hughes, Jay pages, bringing you expert advice from big Schulman clinic tour (page 12) and the Montreal
Joseph, Tom Derryman, Dave Major, Martin Oldham, Spike name drummers – Ralph Salmins starts with tips Jazz Festival (page 62), plus more recording
Webb, Hannah Butler, John Griffin, Jamie Dawson, Ollie Tanner,
Craig Barton, Deborah Wildish, Nicky Brown, Marcellus Frank
for the studio (pages 83-84) – while our new insights from Nicky Brown and Marcellus Frank
metal expert, Hannes Grossmann, kicks his new (page 52). Our regular features are still here too –
Design: Matt Smith
page off on 91. with audition tips this
Ad Design: Katherine McArdle
Simon Phillips is our cover interview (page 24) month courtesy of top
Advertising manager: Neil Golding, 01271 858941, with an insight into his new solo album Protocol MD John Jenkins on
[email protected]
II and leaving Toto. Jamie Perkins, drummer for page 60, fitness advice
Studio photography: Thru-A-Lupe Photographic & Richard
Ecclestone
The Pretty Reckless, tells us about non-stop on page 58, news,
tour life and rental kits on the road (page 31). gear reviews and lots
Cover image: Richard Ecclestone
Mike Portnoy gave us a phone call (page 34) more. Enjoy Drummer
Music (Note) engraving: Kevin Sanders
to tell us what he’s been up to of late with the issue 133!
Tuition contributors: Phillipe Castermane, Hannes Grossmann, Winery Dogs, Flying Colors and Transatlantic.
Dean Hendy, James Hester, Pete Lockett, Ethan Lewis Maltby,
Steve Rooney, Ralph Salmins, Jamie Smale, Steve Timms Ben Kennedy (page 38) gives us the lowdown Gemma,
Published by: Blaze Publishing Ltd.
Lawrence House, Morrell Street, Leamington Spa, Warwickshire,
on his gig with Foxes and their upcoming
Pharrell Williams stadium support. While on editor
CV32 5SZ
31
Distribution: Distributed to the news trade by Comag
Magazine Marketing, West Drayton, Middlesex, UB7 7QE
Operations director:
James Folkard
Assistant publisher:
Ruth Burgess
Publisher:
Wes Stanton
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All Rights Reserved. No part of this publication may be reproduced
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permission of the publishers in writing. Under no circumstances
should this publication and its contents be sold, loaned out or used
by way of trade, or stored or transmitted as an electronic file without
the publisher’s prior written approval.
Disclaimer REGULARS
While Blaze Publishing Ltd prides itself on the quality of the
information its publications provide, the company reserves the right 6 Newsbeats
not to be held legally responsible for any mistakes or inaccuracies
found within the text of this publication. Drummer Magazine is an
10 Letters
independent publication and as such does not necessarily reflect the 12 Caught Live: Mark Schulman
views or opinions of manufacturers or distributors of the products
contained within. All trademarks are acknowledged. 13 Gig Guide
14 Audioscreen
16 Vintage Drums
20 Competition
48 The Riser
50 Drum Tech Diaries
Follow us:
twitter.com/DrummerMagazine 80 Musicians’ Union
facebook.com/drummermag
youtube.com/drummermag 94 A Problem Shared
72
When you have finished with this
96 The Future Drummer
98 Mad, Bad and Dangerous
magazine please recycle it.
DRUMMER magazine is proud to support the Music Industries Association

Subscribe Today – Page 22
4 DRUMMER October 2014
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OCTOBER 2014
FEATURES
55 Recording
Nicky Brown and Marcellus Frank on
bringing more to the studio
58 Drumming Fitness
Tips for looking good by Craig Barton,
Drummer’s new personal trainer
60 Auditions
Joseph Ross and Example and Lily Allen
drummer/MD John Jenkins give more
top advice
62 Montreal Jazz Festival

Andy Hughes reports back from Canada
INTERVIEWS
24 Simon Phillips
A new solo album, the Hiromi trio and
leaving Toto
31 Jamie Perkins
Life on the road with The Pretty Reckless
34 Mike Portnoy
New Flying Colors and Transatlantic
albums, plus how it was spending the year
with the Winery Dogs
38 Ben Kennedy
The Foxes drummer on working his way up
in the session world
44 Dylan Howe
On his Bowie interpretation album and
good news about Wilko Johnson
REVIEWS
66 Evans Heavyweight heads
24
68 Alesis DM10X Kit Mesh
72 Stagg Sensa series
76 Mapex Mars kit
34
TUITION
83 Guest Tuition:
Ralph Salmins
85 Jamie Smale
86 Dean Hendy
87 Steve Timms
88 Philippe Castermane
89 James Hester
90 Ethan Lewis Maltby
91 Hannes Grossmann
92 Pete Lockett
93 Steve Rooney
October 2014 DRUMMER 5
004-005 Contents_Rev4_NR.indd 5 28/08/2014 16:32

NEWS
NEWSBEATS
ALL THE LATEST NEWS FROM THE WORLD OF DRUMMING
BOWIE BANDMATES REUNITE

Legendary Bowie bandmates, producer/bass player Tony Visconti
and drummer Woody Woodmansey, are performing together for the first
time since 1971. Fronting the band is Glenn Gregory of Heaven 17, and on
saxophone and guitars is Spandau Ballet’s Steve Norman. They will be joined
by Woody’s stellar supergroup Holy Holy.
Woody Woodmansey says: “The first set we’ll be playing is the whole of The
Man Who Sold The World, which has never happened before, though we did
do a couple of songs from the album during the Ziggy period. To perform that
album with Tony Visconti, who played bass on the album and also produced
it, will be amazing. It’s been a long time since we grooved together!”
Wednesday 17 September – The Garage, London (SOLD OUT)
Thursday 18 September – O2 Academy 2, Sheffield
Saturday 20 September – O2 ABC, Glasgow
Monday 22 September – O2 Shepherd’s Bush Empire, London
1001 DRUMMERS NEEDED Holy Holy will release their debut single, ‘We Are King’, written by Steve
Norman, on 17 September.
FOR DRUMBEAT UK’S WORLD

RECORD ATTEMPT NEW ALEX ACUÑA DVD
In memory of Kate Fenney, co founder of The Music Shipping Company, Drum Channel is proud to announce Rudiments On Congas, featuring
and also to mark the deaths of the wife of Kip McBay (Guitar Guitar founder) world-renowned drummer and percussionist Alex Acuña (Weather
and Jon Brookes (Charlatans drummer) who died last year, Marshall Report, Paul McCartney, Whitney Houston,
Amplification, Natal Drums and The Music Shipping Company has organised Herbie Hancock, Chick Corea and more).
an event to bring together 1001 drummers to play the same drum pattern It contains nearly two hours of lesson
simultaneously on full drum kits, at EventCity, Manchester on 21 November. The material, featuring the master discussing
aim is to beat the current Guinness world record of 798 drummers. Full details and demonstrating how drumset
and registration to take part in the biggest drumming event of the year are drummers can quickly become conga
available at www.drumbeatuk.com drummers by applying traditional drum
The 2014 record attempt will be a non-profit making event. All money raised rudiments to conga drums. During the
will go to the Brain Tumour Charity. Aquarian Accessories, Cympad, Hearos and unique series of 13 lessons, Alex covers
several other manufacturers are also throwing their resources behind this event topics such as single strokes, double
by providing drumheads, hearing protection and other items free of charge to strokes, rolls, paradiddles and flams and
all who take part, while those who raise over £100 will be entered into a prize drags – giving drummers a foundation to
draw for some top gear. expand their technical and musical skills.
Confirmed to take part on the 21 November are: Don Powell (Slade), Paul Rudiments On Congas is available
Burgess (10CC), Graham Hopkins (Glen Hansard), Craig Blundell (independent), by instant download and DVD at the
Robin Guy (independent), and Jason Cooper (The Cure). DrumChannel.com store.
006-007 Newsbeats_Rev2_NR.indd 6 28/08/2014 09:04

PHILIP SELWAY’S SECOND ULTIMATE
ALBUM ANNOUNCED PLAY-ALONGS
Philip Selway’s second album Weatherhouse is set for release on 6 APP PLEDGE
October with Bella Union. Four years after the unexpected and exquisite
treat that was Philip Selway’s debut album Familial, the drummer of Ultimate Play-Alongs is an app that
Radiohead returns with his sophomore record, Weatherhouse. allows you to play with the likes of Jojo
Weatherhouse was made in collaboration with Adem Ilhan and Quinta Mayer, Nathan East, Mike Stern and John
– artists in their own right who had previously performed in Philip’s Patitucci – its makers claim it will ‘change
backing band. “From the the way the world practises music’. The
outset,” Selway recalls, app looks and sounds great – the only
“we wanted the album catch is that it is relying on pledgers to
to be the three of us, reach completion. Pledgers at any level
and we covered a lot of receive an immediate download of a
instruments between play-along (donating at the second level
us. With a studio full gets the Jojo Mayer/NERVE play-along
of inspiring gear and a track). For more information, and to see
great-sounding desk, we interviews and artist performances for the
felt like a band.” Working app, visit ultimateplayalongs.com.
mostly out of Radiohead’s
studio in Oxfordshire,
Adem also produced and
engineered the album.
MANCHESTER DRUM SHOW

2015 DATE ANNOUNCED!
The second Manchester Drum Show has been confirmed for 17 May
2015. Put the date in your diaries! See last issue for our report of 2014’s show.
DOUG MEOLA TO HEAD

KICKPORT’S NEW SOUND
SPECIALIST PROGRAMME
KickPort International has unveiled its ‘Sound Specialists’ drummer
support/education program and announced that drummer and drum
educator Doug Meola is to lead it. The new programme has been
developed to share information about the nature of drum sound (and
the ability of KickPort’s kick drum, snare drum and tom devices to
improve it) with drummers, teachers and dealers.
“Traveling around the world and talking to players, I’ve learned that
every drummer has their own theories and beliefs about drums and
drum sounds,” Doug says. “However, very few really understand what
I like to call ‘The Science Of Sound’. During my presentations I explain
the differences between opinions and facts and why sound matters in
every playing situation. The
more a drummer knows
about the basic principles
of drum sound and tuning,
the easier it is for him or her
to get a great drum sound
and take advantage of the
proven acoustic benefits of
KickPorts and FX Ports.”
For more information,
visit www.kickport.com.
006-007 Newsbeats_Rev2_NR.indd 7 28/08/2014 09:04

NEWSBEATS: SPECIAL
AT EST N
L E
E
W
TH
S
w…
f ro
th
m
ho
is y s
ear ’
s biggest d rum
The company also offers a range of in-ear

monitors; from an entry level, modular system,
up to the flagship triple driver R302.
Team Read will be on hand throughout the
weekend to offer advice, take impressions and
talk about the latest developments in their
CHRIS JOHNSON
groundbreaking in-ear monitor range. To find
out more visit www.read-audio.com or call 020
LAUNCHES NEW
3397 8837
WEBSITE SHAW
PERCUSSION
Chris Johnson, who will appear on the main
stage on the Sunday of the LDS has revealed his
CONFIRMED FOR
new-look website – www.johnsonout.com. Chris is
currently playing live every week on ABC’s new TV LIVE STAGE TIMES
THE SHOW
show Rising Star and is well known for providing
the beats for Stevie Wonder and Rihanna. Check CONFIRMED!
out our London Drum Show special next month to Shaw Percussion will exhibit at this year’s SATURDAY
find out what to expect from Chris’ performance! London Drum Show, with a stand featauring its 11.15 - Gavin Harrison
full range of drumsticks, brushes, beaters, snare 13.00 - Eric Harland
READ AUDIO
wires and snare strainers, kit volume control 15.00 - Keith Carlock
discs, gloves, RimWrap, Portals and many other 17.00 - Todd Sucherman
SUNDAY
CONFIRMED
accessories. Even more importantly they will be
announcing the launch of a brand new major 11.15 - Matt Halpern (above)
TO EXHIBIT AT
drum product – made in the UK – at the show. 13.00 - Brian Tichy
The stand will also have available a wide 15.00 - Christopher Johnson
STAND 17!
range of items including Aquarian Drumheads,
This year sees the first outing for Read Audio

Cympads, Earpeace and other hearing
protection, and Drum T-shirts and goodies. THIRD STAGE
to the London Drum Show, and the team will be
bringing its innovative selection of professional
www.shawstix.com
PERFORMANCE
hearing protection and in-ear monitoring for
visitors to find out more about and purchase at
TIMES
the event.
Used by musicians, sound engineers, stage crew,
CONFIRMED!
SATURDAY
venue staff, students and industry, everything 11.00 – Guru Drums with Michelle Drees
manufactured at its London HQ is ready within 13.00 – Jeff Davenport, in association
48 hours of having your ear impressions taken. with Remo
Read Audio has a range of professional hearing
protection to suit all situations, with the Read BOOK YOUR 15.00 – Korg UK/Mapex bearing edge clinic
Amplified becoming the popular choice for

drummers and percussionists. The Read Amplified
TICKETS NOW! SUNDAY
11.00 – Kaz Rodriguez/Headstock
Head to www.londondrumshow.com to buy
reduces volume by 20dB and gives a flat response, 13.00 – Evans/Daddario UK clinic
tickets at the online exclusive price of £20 per
ensuring that you can hear everything that you More TBC
day, or £30 for the whole weekend.
need to at a safer volume.

009.indd 9 27/08/2014 17:25
LETTERS WWW.FACEBOOK.COM/DRUMMERMAG | [email protected] | @DRUMMERMAGAZINE | 01926 339808
Letters
GOT A QUESTION OR OPINION? LET US HEAR IT
TWEET
TWEET ALL ABOUT
ALL ABOUT IT IT
LETTER OF
THE MONTH
Laura Grist @LauraDrums
Perfect beach reading material :) @DrummerMagazine #summer
#drums #drummer pic.twitter.com/HzwID954Dk
Brian Coulombe @bcoulcustoms

@andycdgreen @DrummerMagazine @vicfirth never thought
anyone really wins anything, thought it was all just marketing HOT CHIP
scams. Good for you! Firstly, thanks for a great magazine, I always look forward to it falling
through my letterbox each month. Also, I’m looking forward to the
Paul Michael Saward @PaulSaward London Drum Show this coming November.
Drummer’s bathroom #LivingTheDrumLife #Drums @ I don’t know if you have ever come across Chip Ritter. I have
DrummerMagazine pic.twitter.com/o2JbzsLydr been following this guy for some time on Facebook and I am always
impressed at how he always makes drumming fun. Chip has a number
Muzic4Lyfe @m4lyfe36 of videos floating around and they always make me smile, watching him
@DrummerMagazine Working on some new grooves with Ableton play and interact with the audiences at the clinics he performs. I think
Live 9 & BFD3 ! he even appeared on the David Letterman show a number of years ago,
playing drums and juggling at the same time.
I hope you don’t mind but I have included a link to the latest video
GEOFF DUGMORE that I can find. It’s a bit long, but I think this video, out of all that I have
seen, gives a really good glimpse of Chip at work. http://bit.ly/1uRDquk.
I just wanted to thank you for doing an interview with Geoff Dugmore in the
September magazine – he is my absolute favourite drummer! He’s not in much David, via email
music press in the UK, but he should be because he is really flying the flag for us
around the world. Anyway, it was great to hear from him and good to see that he is Hi David,
as busy as ever. He really inspires my playing. Thank you so much for bringing this video, and Chip, to our attention –
Matthew, Swansea it’s great to see showmanship and a love of drumming like that. Because
we’re all for supporting each other as drummers, we’ve made you our
Hi Matthew. Thank you. Geoff is one of our favourites too! Not only as a top class letter of the month, so hopefully you will now have even more to smile
drummer, but as a genuinely fantastic person – it’s no wonder he is in such high about! ED.
demand for sessions. We’re pleased you enjoyed reading the interview and wish you
CONTACT US
every success with your playing. ED.
AUDITIONS
Thanks for the auditions feature in the last issue. I had my first audition for a www.facebook.com/drummermag
band this month and it was good to read some of those tips before I went. It
helped me feel a little bit less nervous! [email protected]
Tom, Manchester
@drummermagazine
Hi Tom. Glad to have helped! Keep an eye out for more tips on auditions in
future issues too – we’ve got even more experts lined up to give advice. Hope
01926 339808
you enjoyed your audition! ED.
WRITE IN AND WIN: OVER £100 WORTH OF VATER GOODIES FOR THE LETTER OF THE MONTH
12 DRUMMER September 2014

011.indd 11 27/08/2014 13:20
Caught Live
y
Mark Schulman’s
Nerve Breakers Seminar Where: Wembley Music Centre When: 31 July 2014
Words: Deborah Wildish Images: Matthew Cook
I
turned up at Wembley Drum Centre a little only on his playing but also his life: the three tracks that he has written, and also a song
early, and when I asked the boys what Mark Cs – clarity, capability and confidence. This that he plays with Pink – perhaps the artist
Schulman was like as a person, they replied was a particularly interesting concept, which for whom he is most recognised as working
“You know Gregg Bissonette...”. I knew exactly encouraged me to assess my own playing with. Although he described himself as a pop
what they meant, since I had the privilege of and life in the space of about 20 minutes. He drummer, I found him to be more of a modern
meeting Gregg a few years ago – I knew this was made it funny and interactive by getting the rock drummer, with a lot of tom fills.
going to be an involved, if theatrical, performance. audience to stand up and clap at different Another concept he had was to take
I was not wrong. The ‘show’ opened with tempos, explaining that the space between someone’s idea and develop it. Mark explained
TV screens showing snippets of videos of the beats is what you should pay attention to. that since most things have been done already,
various artists Mark has played with over the Mark took this even further and inspired us by there’s no harm in taking something that
years, then he came on stage and played a telling us about his book Nerve Breakers, in which he has been done and building on it. To give an
medley of many songs from those artists. Such has interviewed people in all walks of life, who have example of this, he took his friend’s idea of
a variety of genres and tempos made a great achieved what is considered to be the impossible, speeding up a Bollywood song and, rather than
introduction, and they were all recognisable and how this supports his own theories. just playing along to it, he changed the time
songs. He spoke about when he was diagnosed and feel. It sounded quite prog-rocky, and it was
Throughout the performance (he didn’t like with testicular cancer, and how after surgery he fascinating to see how he went about it and
the word ‘clinic’, he said he wasn’t a doctor), we was told he would never father children – but how it sounded.
got to know more about Mark. He told a story through determination, and a little help from I came away wondering if I had been to a
of how he auditioned for a band years ago and science, Schulman now has a beautiful daughter. drum clinic or a therapy session, but I certainly
didn’t get the gig, but he realised why, and He then went on to explain how he practised learned a lot of things that I can apply to my
came up with a theory, which would focus not and achieved what he wanted. He played some approach in playing, and even my life.
012 Caught Live_Rev2AO.indd 12 27/08/2014 21:02

GIG GUIDE
Drummer’s guide to who’s coming to a venue near you!

In association with Ents24
More tickets and tour dates available now at Ents24.com
Art Garfunkel Funeral For A Friend

Friday 5 September – Friday 12 September – The Brickyard,
Bridgewater Hall, Manchester Carlisle
Sunday 7 September – New Saturday 13 September – Citadel Arts
Alexandra Theatre, Birmingham Centre, St Helens
Monday 8 September – Royal Thursday 25 September – Hobos, Bridgend
Concert Hall, Glasgow
Friday 26 September – King George’s Hall,
Wednesday 10 September – Blackburn
Colston Hall, Bristol
Saturday 27 September – Brighton
Thursday 11 September – Royal Racecourse, Brighton
Festival Hall, London
For more details and tickets, visit: http://bit.ly/1AawyIK
For more details and tickets,
visit: http://bit.ly/1oGNPFZ Photo: Adam Schartoff
Nik Kershaw
Wednesday 10 September –
Martha Reeves Theatre Severn, Shrewsbury
Friday 5 September – Think Tank?, Newcastle upon Tyne Thursday 11 September – The
Sunday 14 September – Pyramid, Warrington Lights, Andover
Wednesday 17 September – Corn Exchange, Cambridge Saturday 13 September – Union
Chapel, London
Friday 19 September – The Buttermarket, Shrewsbury
Monday 15 September – City
Wednesday 24 September – Grand Pavillion, Porthcawl
Varieties, Leeds
Thursday 25 September – Concorde Club, Eastleigh
Thursday 18 September – The
For more details and Apex, Bury St Edmunds
tickets, visit: http://bit. Friday 19 September – St Paul’s
ly/1q6yiLO Photo: Andrew Hurley
Centre, Worthing
Sunday 21 September – The Lowry, Salford
Thursday 25 September – Robin 2, Wolverhampton
Friday 26 September – Sage, Gateshead
Saturday 27 September – ARC, Stockton-on-Tees
For more details and tickets, visit: http://bit.ly/1mFNcrp
The Magic Numbers

The Saturdays Wednesday 10 September – The Garage, Glasgow
Sunday 7 September – SECC, Glasgow Thursday 11 September – East Village Arts Club, Liverpool
Tuesday 9 September – Newcastle City Hall, Newcastle upon Tyne Friday 12 September – Manchester Academy, Manchester
Wednesday 10 September – Memorial & City Hall, Sheffield Saturday 13 September – LMUSU, Leeds
Friday 12 September – Theatre Royal & Concert Hall, Nottingham Monday 15 September – Leadmill, Sheffield
Sunday 14 September – O2 Apollo, Manchester Tuesday 16 September – The Institute, Birmingham
Monday 15 September – The NIA, Birmingham Wednesday 17 September – Bierkeller, Bristol
Wednesday 17 September – Olympia Theatre, Dublin Saturday 20 September – Cambridge Junction, Cambridge
Thursday 18 September – Motorpoint Arena, Cardiff Sunday 21 September – O2 Academy, Oxford
Friday 19 September – SSE Arena, Tuesday 23 September – St George’s Church, Brighton
Wembley, London Wednesday 24 September
– Wedgewood Rooms,
Saturday 20 September – Brighton
Portsmouth
Centre, Brighton
Thursday 25 September –
Monday 22 September – The BIC, The Forum, London
Bournemouth
Sunday 28th September –
Tuesday 23 September – Plymouth QUBSU, Belfast
Pavillions, Plymouth
For more details and
For more details and tickets, visit: tickets, visit: http://bit.
http://bit.ly/1uKc2M4 Photo: Simon Fernandez ly/1oGRRhD
013 Gig guide_rev3AO.indd 13 28/08/2014 10:09

FEATURE
Audioscreen
WE TAKE A LOOK AT A SELECTION OF New alBums aND DVDs WORDS: BRENT KEEFE
DeeP PuRPle Tavaglione’s saxophone contributes to ‘Renewing

Graz 1975 Disguises’, while the influences for ‘Weather
www.ear-music.net Reporting’ should be obvious. Earl’s great production,
The Purple (Overseas) Live Collection expands with musicianship and casting significantly contribute to
a vinyl release of Copenhagen 1972 and this superb, this fine album.
previously unreleased 1975 Austrian show, one of
the last from the MkIII line up, released on CD and cHaRles lloYD
vinyl. Featuring the soulful vocals of David Coverdale, arrows Into Infinity
this is arguably Purple’s finest period, with this set www.ecmrecords.com
combining material from their Burn and Stormbringer This fascinating, almost two-hour DVD documents
albums, coupled with the obligatory ‘Smoke On The the remarkable life and career of saxophonist Charles
Water’ and a 20-minute ‘Space Truckin’. Glenn Hughes’ Lloyd. So what’s it doing in a drum magazine?
occasional vocal shrieks are somewhat irritating, but Over the course of his career, Lloyd has worked
Ian Paice’s drumming incorporates a fantastic energy with several legendary drummers, including Jack
and sense of swing, plus some impressive chops on a DeJohnette, Eric Harland, Billy Higgins, Billy Hart and
searing ‘Burn’. Zakir Hussain and these, along with the Doors’ John
Densmore and Jim Keltner, are featured in the film.
GINGeR BaKeR The latter two feature only in interview, while the
why? others all appear in live footage, with all except Hart
www.motema.com and Higgins also interviewed. Lloyd also recorded
The notorious Baker sounds spirited with his current ‘Of Course, Of Course’ with Tony Williams but his
quartet, comprising saxophonist Pee Wee Ellis, bassist only appearance here is on a great promotional
Alec Dankworth and percussionist Abass Dodoo, on still. Lloyd speaks extensively, recalling his Memphis
his first release in years. He revisits three of his own beginnings, arriving in New York, his ground breaking
compositions from previous albums: the possibly 1967 Russian visit, drug use, moving to Big Sur and
‘Afro Blue’-inspired ‘Ginger Spice’, where he lays being sought out by Michel Petrucciani, the influence
down a trademark afro 9/8 groove, ‘Cyril Davis’, and of Lester Young, his comeback on ECM records and
the gently swinging ‘Ain Temouchant’, additionally more. The musical footage includes some superb
interpreting the standards ‘St Thomas’ and ‘Footprints’. live and poignant home movie segments with Billy
The album’s highlight, however, is probably Baker’s Higgins, along with several vintage Jack DeJohnette
self-penned ‘Why?’. Although Baker fans will clips, while other interviewees include Robbie
doubtlessly be jubilant at this release, his 1999 album Robertson, Herbie Hancock, Manfred Eicher and
Coward Of The County still remains his jazz peak. Lloyd’s wife and DVD co-director/producer Dorothy
Darr, making this essential viewing for Lloyd and jazz
RaY BaRReTTo fans alike.
eye of The Beholder: can You Feel It?
www.expansionrecords.com RaNDY BRecKeR
The legendary conguero’s two 70s Warner Brothers The Brecker Brothers Band Reunion
albums, combined here, are more funk, soul and www.moosicus.com
disco than the Latin music that he was known for, This release comprises a studio CD of all new material
but are still highly enjoyable. Eye Of The Beholder, plus a live DVD (with different track list) filmed in
a funk/fusion affair produced by The Crusaders, is New York in 2011. The 98-minute DVD (which is the
arguably the better of the two, featuring Terry Bozzio focus of this review) opens appropriately with ‘First
(two tracks) and Steve Ferrone. ‘Salsa Con Fusion’ Tune Of The Set’, an animated funk romp featuring
(Bozzio) and the more latin-infused ‘Tumbao Africano’ solos from George Whitty (keyboards), Mike Stern
(Ferrone) are the standout tracks. Can You Feel It? is (guitar) and Dave Weckl, who’s in blistering form.
more a soul/disco vocal album, featuring drummers One can only guess what inspired ‘The Slag’, but it
Richie Morales and Andy Newmark, but still includes has a dirty funk groove with Will Lee’s bass playing
four great instrumentals. being a significant factor. ‘Adina’ is dedicated to
Randy’s wife, saxophonist Ada Rovati, who has the
JImmY eaRl unenviable task of filling Michael Brecker’s shoes,
Renewing Disguises while Randy Brecker’s alter ego Randroid makes a
www.severnrecords.com vocal appearance on ‘Really In For It’. Normal service
Bassist Earl’s third album is an instrumental is quickly resumed with ‘Straphangin’, before vocalist/
collection, including six originals, a burning version keyboardist Oli Rockberger guests on the soulful
of Gershwin’s ‘Gone’ and Prokofiev’s ‘Night’ with the Rockberger/Rovati composition ‘Merry Go Town’. He’s
awesome Gary Novak on six of the 10 tracks. Earl excellent, but the soul vocal seems somewhat out
combines beats/samples to great effect alongside of place here. The DVD closes with two Heavy Metal
Novak’s drums and Lenny Castro’s percussion, giving Be-bop classics: the driving shuffle of ‘Inside Out’,
several tracks a spacey, futuristic vibe – especially the featuring another burning Weckl solo, and an encore
opener ‘Africa Cento Cinquanta’, which also includes of ‘Some Skunk Funk’. In spite of the vocal intrusions,
some searing trumpet from Tim Hagans. Steve it’s still a killer set.
014-015 Audiobeats_Rev4.indd 14 27/08/2014 20:45

New Releases
Drummer’s recommendED new releases
Pat Mastelotto & Tobias Ralph – Manu Katché – Live In Concert

Toparama (Manu Katché – drums)
(Pat Mastelotto & Tobias Ralph – www.actmusic.com
drums)
www.7dmedia.com
David Sancious and Tone – John Coltrane – Offering:Live At

Transformation (The Speed Of Love) Temple University
(Ernest Carter - Drums) (Rashied Ali -Drums)
www.esotericrecordings.com www.vervemusicgroup.com
Christopher Cross – Secret Ladder Mike Ellis – Me/LP v.1

(Keith Carlock – drums) (Mike Ellis – drums)
www.ear-music.net www.mike-ellis.co.uk
Antonio Sanchez – Three Times Mark Guiliana – My Life Starts

Three Here
(Antonio Sanchez – drums) (Mark Guiliana – drums)
www.antoniosanchez.net www.markguiliana.com
014-015 Audiobeats_Rev4.indd 15 27/08/2014 20:45

Feature
Jay Joseph Drums specialises in desirable,

museum grade American vintage drums,
sourced directly from Chicago, Illinois, where
these drums began their life. If you’d like to
know more about the kit featured here, or any
of our extensive vintage for-sale collection,
visit jayjosephdrums.com, instagram.com/
jayjosephdrums or email [email protected]
wrap, from Ludwig’s pre-serial era. This outfit

consists of a 22”x14” kick drum, a 13”x9” rack tom,
a 16”x16” floor tom and a 14”x5” ‘Jazz Festival’
snare drum. There were two popular outfits
during Ludwig’s golden years: the Superclassic
and its little brother, the Downbeat, which
comprised the same four-piece set-up, but in
smaller sizes (20”x14” kick, 12”x8” rack, 14”x14”
floor and 14”x4” ‘Downbeat’ snare drum), and was
mainly marketed towards jazz and bop players.
Due to its larger shell sizes and broader tuning
ranges, the Superclassic became the kit for a lot
of drummers working in larger bands, televised
performances, on large stages and festivals,
especially when the golden age of rock‘n’roll and
amplified bands came into full swing around the
mid-late 60s. The Superclassic has become the
vintage kit of choice and it often outperforms
many modern drum kits. It’s robust, provides all
the fundamental highs and lows needed by an
expressive player, sounds great miked up, works
well in acoustic settings and has an expansive
and impressive tuning range, which is way in
F
rom its humble beginnings in Chicago, excess of the Downbeat. Getting your hands on
Illinois over a century ago, to its present a decent example won’t break the bank either.
place at the centre of the drumming world, Comparatively, you get way more bang for your
‘Ludwig’ and ‘drums’ have become synonymous buck with a vintage Ludwig Superclassic than
with one another. With drumming heavyweights you would with any modern day competitor.
like Joe Morello, Ginger Baker, Mitch Mitchell,
John Bonham, Buddy Rich, Bun E. Carlos, Ed Shells
Shaughnessy and perhaps most notably, Ringo The early 60s Ludwig shells were constructed
Starr, all playing Ludwig for most of their careers, using three-ply mahogany, poplar, mahogany
it’s not surprising that Ludwig dominated the across the whole kit, with added maple
drumming landscape throughout the 1960s reinforcement rings. Re-rings provided rigidity to
and 70s, and continues to be at the forefront of the thin shells to stop them warping or going out
vintage and modern drum production. of round. Some say they added an extra tonality
This month we’re featuring a wonderful to the shell, but this is purely opinion. Sonically,
1962/63 Superclassic kit, in original Blue Sparkle mahogany is a wonderfully resonant material
Words: Jay Joseph Images: Pete Norton
This month, our new

vintage expert Jay
Joseph delves into the
history of the iconic
Ludwig Superclassic
016-018 Vintage_rev3_NR.indd 16 28/08/2014 10:28

017.indd 17 27/08/2014 13:20
Feature
with a beautiful natural tone, and it was used by

Ludwig and many other drum manufacturers for
its strength, durability, broad tuning range and
its ability to age well and improve sonically with
age. Good quality mahogany was also available
in abundance. The inner ply of poplar was used
for no other reason than it was cheap, soft, easy
to work with and was available in unlimited
quantities. It proved to be a tonally perfect
contrast to mahogany, and added a brightness
and warmth to what would have otherwise been
a very dark sounding shell. Poplar is sustainable
and grown quickly, so Ludwig and many other
manufacturers still use it as a first choice inner ply
material for most of their flagship lines today.
The shell hardware was made of chrome-
plated brass. Some say the hardware makes
no difference to the tone of a drum, but when
chrome plated brass is the material of choice,
the difference is noticeable. Brass is strong,
durable, doesn’t fatigue easily and gives an
amazing tone enhancement to any drum, old or
new. If you use brass hoops, you will know how
good they sound.
Snare Drum
The snare drum that completed the Superclassic
outfit was the 14”x5” Jazz Festival. Don’t be
fooled by that name – these snare drums are
anything but just for jazz. Given the versatility
that the Superclassic offered, it was only right
that it included a snare drum that could do it all.

The Jazz Festival snare copes effortlessly under
any musical direction, from a mere whisper
to a roaring fat back train beat. The shell is
constructed in the same way as the rest of the
kit and the drum features eight classic ‘bow-tie’,
double-ended lugs and the simple and elegant
P-83 strainer, a design that hasn’t changed much
in over 60 years. The ‘if it ain’t broke, don’t fix it’
approach is certainly one that has worked for
Ludwig to this day. These snare drums really sing.
You would be forgiven for thinking a 5” shell is
limited, but they don’t only do cracking high
tones – with a single ply head, tuned just above
finger tight with a good dose of muting, this
drum gives a tubby, buttery, fat back depth that’s
often only associated with drums that are 6.5”
deep and more. Even if you don’t own the rest of
the kit, this snare drum is a reliable and capable
drum and a serious must-have in anyone’s set-up.
The toms and snare drums from the pre-serial
era came with ‘Ball-Bat’ mufflers, aptly named
because the muffler handle resembles a baseball
bat. No internal mufflers were added to the kick
drums. The kick drums feature a tom mounting
system called the Consolette rail mount. It’s a
simple design and fairly sturdy, although a lot of
drummers from that era either ordered the kick

Ludwig Superclassic
drums with straight centre-mounts, a Rogers Swiv-O-Matic mount (as used

by Ringo) or they simply removed the Consolette rail mount.
The pre-serial era ran from 1960 to around 1963, and as the name
suggests, this was the era that Ludwig didn’t include serial numbers on
their drums. Between the early 1900s and 1960, Ludwig went through
many company ownerships, acquisitions and eras. Without going into too
much detail, you had Ludwig & Ludwig, Leedy & Ludwig, WFL, the Keystone
Transition period in 1959, and finally back to the Ludwig Keystone period,
which is how we identify Ludwig drums to this day, with the exception of
the Blue/Olive badge which came about in 1970… but we’ll cover that in
a later issue. Ludwig’s modern flagship line, the Legacy Classic, bears the
same shell construction and brass keystone badge as you would have found
on a new kit from the 60s. Again, more about that at a later date.
Prices, Condition & Availability

The 60s pre-serial Superclassic drum kits range from approximately £1000
for a well-used ‘player’s’ grade kit, without the matching snare, to £2500+ for
a collector’s grade kit with the matching snare drum in original, out-of-the-
box condition. The Blue Sparkle kit featured in this article will set you back
a cool £2500… but in such original, time warp condition, with not a single
sign of damage, corrosion or mis-care, it’s a small price to pay for these
steadily appreciating beauties.
These kits make fantastic pension investments that you can use to great
benefit in the meantime and aren’t showing any signs of depreciating in
value. With good quality kits becoming rarer and harder to find, the time to
buy is now. We’re fortunate as drummers that the vintage drum market has
been so slow to react when compared with the vintage guitar and other
instrument markets. A 62/63 Fender Jazz bass in similar museum grade
condition would set you back six to eight grand. A 62 Fender Stratocaster…
well you’d be lucky to get change from £15,000!

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To be in with a chance of winning,
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– or fill out the form below and answer
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INTERVIEW
OBSERVING
PROTOCOL Simon Phillips discusses his new solo album Protocol II, playing in
the Hiromi Trio Project, and why he decided to leave Toto
Words: Brent Keefe images: Richard Ecclestone
S
imon Phillips has enjoyed a stellar career, from his teenage i mention using a click! For the first two days it was all going well, but
years as a first call London session player in the studio heyday the engineer, michael Bishop, had some sort of flu at the end of the
of the 70s and 80s, through to relocating to LA in 1992, when second day. it was really cold in new York and i woke up the next day
he was asked to join Toto after the unexpected and tragic loss of Jeff and was sick as a dog; by the end of the day i had a fever of about
Porcaro. Simon recently left Toto, but even in today’s ever changing 101. i don’t really remember much about recording on the last day.
and certainly more challenging music business, he remains constantly Fortunately, we had got all the really tricky stuff done because i was
busy and still at the top of his game, working on his solo projects, starting to feel sick the day before, so i pushed to get the final tricky
sessions, running his own studio and, since 2010, being a member of song done then. it was the worst flu i’ve ever had; it lasted about three
pianist Hiromi’s Trio Project. Drummer spoke to Simon during the trio’s weeks. So that really distorted the fun of the sessions for me because
recent three-night run at London’s Cadogan Hall, and Simon began by it’s not much fun having to play in that state.”
explaining how he became involved with Hiromi’s trio. Simon continued, explaining how new material evolves in the
“it was a call out of the blue. in 2010, i was working on post- trio. “Hiromi gives us charts, which are essentially lead sheets with
production on a Toto DVD, when somebody emailed me a clip of Chick some figures, all of the meter changes and a solo piano demo.
Corea and Hiromi playing ‘Spain’ on two interlocking pianos, and it The grooves that i play are totally up to me, although sometimes
was stunning. Then, a day or so later, my phone rang and the voice at Hiromi will make a suggestion. i always listen to what the music
the other end said, ‘Hello, my name is Laura Hess Hay and i manage is doing and that tells me what to play, but it has to feel right. i
Hiromi. Do you know who Hiromi is?’ so i replied, ‘Actually, i do. i was don’t really think about it and it’s always been that way. i was
just watching a YouTube video of her.’ She said, ‘Well, she would like taught like that by the people i played with.”
you to play on her next record with Anthony Jackson.’ So i said, ‘oK. Are The album contains some difficult music and Simon went on
you aware of what i do and what kind of player i am?’ and she said, ‘oh to discuss some of the more challenging tracks.
yes, Hiromi is a big fan of yours.’ That’s how it started and i really didn’t “in ‘Alive’, the groove section in the middle is in 27/16. We
know how it was going to work volume wise, but here we are, four start in seven, play the intro, and then we play four bars of
years down the road. 27 and the whole piano solo and drum solo is in 27. if you
“i’d never really been in a situation previously where i played don’t listen closely, you could hear it as two 7s badly played,
without a guitar. When you take guitar out of the equation, it’s but it’s very definitely 27 and i have to say i’m responsible
amazing how thin and empty the sound is on stage. in the trio, you’ve for that; i felt we had played in seven a lot, so to make it
got two percussion instruments; a piano and a drum kit, and the only different i suggested that we play it in 27. it’s something
thing really occupying any space is the bass. on the first few concerts that Billy Cobham did on the track ‘Total Eclipse’.
we played, everything felt hugely loud, which i’d never noticed before.
it was a huge challenge, especially playing two 24 inch bass drums the keeP calm and lisTen
way i play, but, over the years, i had begun to play a lot quieter than So how does Simon deal with playing in 27? “i just listen
i used to, largely because of my hearing and the fact that i realised i to the music and hear the phrase. There are certain
didn’t have to play so hard. i still produce the same sound, but i found little tricks that you can use to get you through it and
i had a lot more energy and a much wider dynamic range. it’s about once you get past that stage, you try to be a bit more
developing the technique to be able to get the most out of the drum creative and maybe shift the accents. With odd meters,
with as little energy as possible, and that takes years to achieve. i also the first thing that i look for is whether it’s a prime number
started taking the drums out of my monitors because of my hearing. i or not. Then i see if it’s divisible by three, because three can get you
did the 2010 Toto tour on in-ears just for the ear protection, but it was out of a load of problems if you just count straight through it. it also
horrible – i couldn’t hear any detail or finesse – so i went back to using opens things up because a lot of people get trapped or boxed in when
monitors, took the drums out and just used the monitors to hear what playing odd meters. The first thing to check out is whether it’s divisible
i couldn’t hear otherwise.” by something and it’s either going to be two or three. if it’s two, then
it’s just like playing in four, but if it’s three then it could be much more
sick and no click intricate. in this example, three times nine is 27, so you could play
The trio’s third album Alive was recently released, but, as Simon nine triplets and you could start those triplets wherever you want.
explained, the recording was challenging – and not just musically. Sometimes we make mistakes, though; i noticed sometimes when
“We recorded Alive over four days at Avatar, which is the old power we started playing it, during the drum solo, they started falling back
station in new York, and it was all live except for a couple of fixes. We into seven, so i need to really emphasise the ‘one’ at times. There were
didn’t use a click for anything; Hiromi looks at me very strangely when also a few mistakes last night, but we struggled because of the sound.
024-030 Simon Phillips_Rev4_NR.indd 24 08/09/2014 14:49

Simon Phillips

INTERVIEW
“Over the years, I had begun to play a lot quieter than I used to,
largely because of my hearing and the fact that I realised I didn’t
have to play so hard. I still produce the same sound, but I found I had
a lot more energy and a much wider dynamic range”
We could hear, but when I played the hi-hats because you cannot drive when you are pissed up with that linear groove. That particular song
Hiromi was hearing two hits as the sound was off. It’s the same as playing. I know so many really benefited from that approach; it’s almost
bouncing around. The reverb of the room was musicians who get so bent out of shape when like being a drum machine for a while and I’ve
so loud that it was really difficult to figure out they or somebody else makes a mistake. The always loved playing parts like that.
where we were, unless I literally nailed every audience can see it and I’ve never understood “‘Warrior’ is also a tough one. It’s a very
downbeat, which is not a nice way to play that. The best thing to do is laugh because specific piece with every bar written out
music. It was extremely difficult. On one of the people see that you are human and that you and every bar line in a different place. From
straight ahead sections, we totally got out. I are a good musician because you can get out memory, I think it was written 9/8, 6/8, 12/8,
dropped out and they carried on and then I of the problem. Many of them probably don’t 9/8, 6/8, 5/8, 5/8. That head is very difficult and
came back in and it was like, ‘Where are we?’ so even notice anyway, so if you are laughing and it took a while to firstly figure out and then to
we were kind of chasing each other and Hiromi having fun on stage, they probably won’t know remember, especially after having a break of a
and I hooked up, which is what we normally what the hell happened. That’s very important couple of months before playing it live. Every
do, and just sit there and wait for Anthony. to remember.” time I play it I’m almost relearning it and, as for
It’s very funny. It’s like Tom and Jerry; cat and the sticking, forget it – it’s different every time!
mouse. The secret is to not let anybody know Refining and Remembering It’s starting to be more consistent now that
about it, not worry about it and not to get “‘Dreamer’ is one of the most popular tracks on I’ve figured it out and I also play it using three
pissed off. the record, especially live. We had played many snare drums, so that’s really fun.”
“Playing the music is a challenge, obviously, songs in 7/8 and I was feeling a little tired of Those wishing to witness the trio in action
but the real challenge is getting back when playing similar rhythms in seven, so I tried to in their own home may want to investigate the
you make a mistake, and that’s what sorts out approach it from a totally different angle; more trio’s excellent new DVD, Move Live In Tokyo,
the men from the boys. The first thing you do is like I would in a rock/pop setting. I put Hiromi’s filmed in Japan over two nights in 2012.
you don’t panic. It’s like driving a racing car; if demo into ProTools, chopped out one section,
you miss a gear you mess up, but you can’t get looped it and just played along with it. I kept Time For Protocol
it back, so forget about it. Don’t get pissed off refining my part until I was happy and ended Simon’s last solo project, Vantage Point was

Simon Phillips

INTERVIEW
in 2000, and his latest album Protocol II is great to have something to sell on the gigs. total group effort and ‘Octopia’ is something
released in Europe in September. It’s an electric Let’s make a new record.’ This was in 2012, so I that Steve and I put together.”
fusion album and, in addition to some great rang Andy Timmons and Steve Weingart, who
playing, the album is sonically fantastic. Simon were both available and up for it, but when I Frankentrack, But No
explained the reason for the sizeable gap rang Melvin Lee Davis, he was only available Drum Solo
between releases. for the recording but not the live gigs. I wanted “‘Upside In Downside Out’ is mostly in 13,
“I had been too busy with Toto in recent the same person for both, so I called Ernest and there’s a section in nine but it depends
years to do anything. I had been writing Tibbs and that was it. I booked the studio time, how you count it. We all count it differently!
material for all that time, but wasn’t sent all of my demos to everybody in one big Everybody is phrasing it differently; nobody
particularly knocked out with it. I did some file and said, ‘Here’s what I’ve got. I’m not that can agree on it but I love that. Andy came
sessions in New York with Mike Stern, Bill knocked out with it, but if you like any of it, up with that. With the 13, I sang the basic
Evans, Anthony Jackson and Jim Beard. We did then you can use it… even if it’s just two bars.’ Indian Konnakol to Steve and he came up with
three songs; one of them is great but I felt that “Much to my surprise, they all said, ‘What something but I was looking for something
I still needed to write some material that I was are you talking about? This is great’, so we a little more angular, so he altered it and we
really happy with. Then last year Toto activity worked it all out in the studio and what you eventually got it. We did it in sections. Then
was finishing by a certain time and Hiromi was hear is what we did. We began with my demos I chopped up a few things in Pro Tools, until
busy doing A Night At The Proms, so I knew and the co-writes came in as we were working. we came up with the final thing. It was really
I would have some free time. I contacted my ‘Wildfire’, the opening track, and ‘Gemini’ are great that we all came up with something on
UK agent and I asked him whether I should mine and the rest was stuff that grew from my the spot. At 10am we had nothing and by 6pm,
arrange another tour with PSP [Phillips, Pino demos, where the guys just took them and we pretty much had the whole track, although
Palladino and Phillipe Saisse] or tour with made other suggestions. I actually did some rethinking after we’d
a solo project with my own band. He said, “There are also two songs that we wrote recorded it. I felt that the form, as we originally
‘Definitely solo’, so then I thought, ‘It would be from scratch; ‘Upside In Downside Out’ was a recorded it, could be improved, so I changed it

Simon Phillips
up and then we decided to recut part of it with album. It’s always tough doing a solo record; 2010, Luke [Steve Lukather] and Dave [Paich]
just Ernest and Steve because Andy had gone sometimes you finish it and you feel a bit spoke about putting the band back together
home. Andy re-recorded his guitar part, sent it unsure about it but I’m really happy with it just for a short European tour and to see what
back and I was able cut that into the existing musically and sonically. Protocol II is released happened from there. It was a very different
solo section because we’d cut that track to on CD and vinyl on 29 September and will be band because Bobby Kimball was not asked
a click. It was a bit of a ‘frankentrack’ in it's distributed by Proper in the UK. We plan to back and Mike Porcaro was not able to play
origination but it worked out great. tour Europe in April 2015 and hope to play due to his illness. Lee Sklar, who had originally
‘Octopia’ starts in 15 (split as 7 and 8) some UK dates then. I’m also starting to write subbed for Mike until 2008, wasn’t available,
and goes into 3 later, and was largely Steve material for the next Protocol album, which so Nathan East became the bass player.
Weingart’s idea. Steve asked if I was going I hope to record in January 2015, as it’s been Obviously, we needed a new singer, so Joseph
to do a drum solo on the album and I said, two years since we recorded Protocol II.“ Williams was asked back and Steve Porcaro
‘No, not on a record. That’s just boring and I re-joined, so we had two keyboard players
probably would never be happy with any of Leaving Toto again. There was also a lot of stuff going on
them anyway.’ Steve then suggested that we Simon joined Toto in 1992, and their recently behind the scenes as we had a management
do a duet, so we set up facing each other, released 35th Anniversary Tour: Live In Poland, change, and a lot of stuff that I felt was pulling
tried all sorts of things and wasted most of the available on CD/DVD/Blu-ray and a deluxe us in two directions. I had been excluded
day. Then, all of a sudden, it came together edition box set on Eagle Rock, is a stunning from certain decisions and, after being in the
but I had to work on the co-ordination of document of both Simon and Toto. Sadly, band for so long, I wasn’t happy with that. The
everything." however, it also documents Simon’s farewell thing about being in a band is that it’s 80 per
Clearly happy with Protocol II, Simon was tour with the group. Simon explained his cent business and 20 per cent music. You are
hopeful that he will play live in the UK in 2015. reason for the decision. running a company and it’s a partnership but
“This is one of the best bands I’ve ever “I was with Toto for 21 years. We disbanded the partners have to have one common goal,
been involved in and I’m very happy with the and took a bit of a hiatus in 2008 and then in and when that ceases to exist something has

INTERVIEW
to give. I hung in there until last year and then

we had another management change; I felt
that I was getting to the stage in my life where
I needed to pursue other things. First of all, I
wanted to pursue my solo project much more
seriously; secondly, the Hiromi project was
going extremely well and I have my studio in
LA – it’s very difficult to run the studio when
you’re on the road all the time. I thought '21
years is long enough' and I was ready for a
change, so I gracefully bowed out. Obviously,
pushing a new band (Protocol) is tough but it’s
just time in my life to do that, you know. I’m
getting to that age where I don’t really have a
second chance any more.”
www.simon-phillips.com
www.protocol-2.com
Gearbox
Drums: Tama
Starclassic Monarch Signature drums and
hardware
2 x 24"x15" kick drums
Monarch Signature Snare Drum
12" Pageant Signature wooden snare
drum
18"x14” floor tom
10"x7" mounted tom
12"x9" mounted tom
13"x10" mounted tom
14"x11" mounted tom
15"x12" mounted tom
16"x13" mounted tom
20” Gong drum
4 x Tama Octobans, low set
Cymbals: Zildjian
Armand 14" hi-hats
Armand 17" crash
Armand 18" crash
Armand 19" crash
Armand 22" ride
Armand 12" splash
Avedis 24" Swish Knocker
Heads: Remo
Snare: Coated Ambassador
Toms: Clear Ambassadors (top and
bottom)
Kick drum: Clear Ambassadors (front and
back)
Sticks: ProMark
'Simon Phillips' drum sticks

ust
JAMIE Perkins
aying,
I get
sed
with
up
ally
body.
tely
hole
and
t
ave
t that,
me
ur
st
ing. It
bout
career
nts
d I am,
hile.
g To
Jamie Perkins on the perils of the rental kit, and his almost non-
stop tour life with New York band The Pretty Reckless
Words: Andy Hughes images: Rob Fenn & Little Press
M
ost drummers dream of being part lucky on this tour. I have had a Pearl Reference hold things in place while I played them – that is
of a successful band and touring kit, which has been great to use. [What kit you pretty fundamental. Times like that are when the
the world. It sounds like heaven, but get] does depend on various factors such as fans pull you through. We have some real intense
beware the rental drum kit. Unless you are where you are and what is available. Most people fans, especially in Brazil, and they helped me pull
established superstars who can afford to bring a have horror stories about rental kits. Mine is from through that night.
drum kit around the world, you can either store the first time we went to Brazil. We got to the “One lesson I have learned is to bring my
one on each continent, or hire a rental kit out show and the kit was there, but it was not even own cymbals with me. Cymbals can be…
when you land. set up. I said, ‘Look guys, that kit is not going to variable, let’s put it that way. It’s part of feeling
This is the situation for Jamie Perkins, do the job.’ I went straight to the tour manager comfortable with your own kit, which you know
drummer for The Pretty Reckless, who are and told him I needed another kit for the rest and feel right with. The cymbals are the most
currently seeing their star ascending thanks to of the Brazil gigs, but it was too late to change portable aspect of a drum kit, so I can take
hit singles and a punishing, almost continual tour the one that had been provided for that night, them with me wherever we play. Cymbals are
schedule. This latest visit to Europe has seen the so I had to suffer with it. Playing under those very individual and specific. I like a diversity of
band opening for Fall Out Boy, and also access to circumstances is all part of being a professional, sounds from my cymbals, which I wouldn’t get
decent rental drums for Jamie. But this was not but I was not happy, not at all. It was falling apart from a rental set, so I am pleased to know that
always the case, as he explains backstage before as I played it! I’m not a demanding person, but wherever I am, my cymbals are always going to
the band’s Manchester show. “I have been very I pointed out that I needed stands that would sound how I like them.”
031-033 Perkins_Rev3_NR.indd 31 08/09/2014 14:56

INTERVIEW
Understated that can mean dialling things down and keeping

Because The Pretty Reckless are a band on the everything tight. I am still learning that balance,
rise, their pedigree allows them to play stadiums but I am aware that my fundamental task is to
under their own right, as well as being guests on support Taylor [Momsen, the band’s singer], and
the Fall Out Boy tour – a step up that presents underline what she is doing. If that means putting
a new set of circumstances for the musicians. in some chops here and there, then I will do that,
You’d imagine that playing massive arenas means but I think that mostly my job is not to be noticed.
making your visual presence felt from the back There is the oft-used phrase that the drums are
of the stage – plenty of arm waving and full-on the engine room of the band, and it is true. There
kit attack – but as Jamie explains, the opposite is is a definite image of a drummer as a caveman
actually what is required. “I tend to rein it in a little who hits things, but that is an image put about
more when I am playing a bigger venue. A lot of by people who don’t understand what it is that
the flashy stuff that might work in a smaller venue drummers do in a band, the part they play in the
doesn’t really translate well when you have bigger sound, and how important that part is.”
acoustic spaces to fill. I know you would imagine
that the instinct is to be more flamboyant and Getting the right style
push for bigger, more flamboyant strokes, but if An essential part of playing drums in a band is
you do that, and you can hear that the sound is knowing your band’s music, its audience, and
just getting lost in the size of the room, then it ensuring that your playing style matches both.
is time to rein it in. There is a surge of adrenalin You wouldn’t put Mike Mangini with Status
when you hit the stage in a stadium, and your Quo, just like you wouldn’t put John Bonham in
instinct is to really give it some full force, but you Coldplay. It’s all about getting your technique
have to remember that you have a job to do – and style right for the occasion, a lesson Jamie
your job is to anchor the sound of the band, and Perkins understands completely. “I do see my role
Gearbox
Drums: Pearl
VBX
24"x22" kick drum
14"x6.5" Sensitone Elite Black Brass snare
16"x16" and 18"x16" floor toms
13"x10" rack tom
Cymbals: Paiste
14" Signature Dark Crisp hi-hats
18" Signature Full crash
19" Signature Feflections Heavy Full crash
20" Signature Reflections Heavy Full crash
20" Signature Full ride
18" Twenty Custom Metal china
Heads: Remo
Snare: Controlled X Sound
Toms: Emperor coated
Kick: Powerstroke 3
Sticks: Vater
Power 5B Wood
Hardware:
Tama Iron Cobra Double Pedal
Electronics: Roland SPD-SX

Jamie Perkins
as holding the bottom end down to allow Taylor patient. There are times where I work out a drum back issues, but I have sorted them out with
and the rest of the guys to do what they do over part and I really like it, then they don’t like it and proper stretching during warm-ups.
the top of that. I do get encouraged by the band we try something else, but I have learned to trust “People underestimate the importance of
to do more, but I am only willing to do that if I am their instincts. I am here to support the songs and warming up before you play and warming down
sure I am not sacrificing the overall sound and the band, and not to try and force my own ideas afterwards; it is really important to look after
atmosphere that the band has. on things. Everyone has the end result in mind – your muscles and your whole body. Posture also
“On the road, I have carte blanche to do my being precious doesn’t help.” is vitally important – if you are not completely
own thing; they trust me to get it right. In the balanced when you sit behind your kit, it ruins
studio, there is more of a set way of doing things. Looking after number one your whole night’s playing. If you have your pedals
Taylor and Ben write the songs together, and Another vital aspect of playing drums in a out of line from what you are used to, then you
they usually have a very specific idea of what touring band is the endless travel which plays are reaching for drums and cymbals because
they want for each song, to make it sound how havoc with your body. You ride buses for days on your positioning is not right, and that leads to
they want it to work. I have to come in and end, sleep in endless numbers of strange beds aches and strains really quickly. You need to have
work out how to interpret what they want, and in strange rooms, and still have to be on top of an economy of movement when you play, and
what our producer wants in terms of overall your playing for five or six nights a week for a without that, you won’t enjoy playing, and you can
sound. Sometimes they will have an idea of the lengthy tour schedule. Jamie is keen to explain be storing up some physical issues for later on.
sound they want, we discuss it, and I work it out the importance of physical health in terms of “Another important aspect of playing is
from there. Other times, they like me to try out prolonging your career as a player, and ensuring holding your sticks properly from the start. If you
different ideas and they will pick the direction that your playing technique is top notch to don’t learn to hold your sticks correctly, you can
they want to follow – we develop from there to counteract the damage caused by the grind of get thumb problems, wrist problems, strains and
the finished song. getting around to the next show. “The travel is aches in your arms, the whole thing. It can be
“The best person to interpret what Taylor and hard,” says Jamie nodding in agreement. “But the really bad for you, and you don’t always know
Ben are after is Kato Khandwala, our producer. We two favourite things I love to do on the whole about that damage until it’s too late. If you want
all sit down and work out roughly where we are planet are to travel and play drums, so I am a long-term career as a drummer, you have to
going, and when they hear what they want, they totally in the right place now. I am lucky because sort out those vital ingredients before you do
know, and we move on. If I try something and they even if I feel really tired, or I am sick, or I have just anything else. If you are a hard hitter, and I am, it
don’t like it, I will ask specifically what it is they had enough today, when I get up on stage and is even more important if you plan to do this for a
don’t like, which will give me some idea of where I am playing, that all goes away and I love the while. And I certainly do!”
to go next. It is all a matter of working through show so much. When I get off stage, that’s when I The Pretty Reckless return to the UK with their
ideas, and seeing what fits – you just have to be collapse, until the next night. I used to have some Going To Hell tour on 17 November

INTERVIEW
034-037 Portnoy_Rev3AO.indd 34 28/08/2014 10:33

Mike Portnoy
connection Mike Portnoy on the Winery Dogs, new albums, connecting

with the crowd and who he likes to see playing drums
Words: Gemma Hill Images: John Zocco, Cosa Nostra PR, and Jim Arbogast
M
ike Portnoy has been a busy guy Are the Winery Dogs thinking the year for each of us to do other things, and
since Drummer last spoke to him; ahead to the next album? then we’ll reconvene at the top of 2015 and
he’s been out on the road with the Well, we’ve been out on the road for almost a bang out another album so we can get back on
Winery Dogs, including playing at Sonisphere, year now so we’ve been working really hard the road for spring and summer of next year.
and has new albums out with Flying Colors on developing it and establishing the band.
and Transatlantic. Somehow he found time to Like I said earlier, the three of us have been After the huge success that
squeeze in a quick phone call to tell us what around the block for many, many years, but you had with Dream Theater,
he’s got coming up next… it’s different when you come together and have you felt under pressure
start from scratch. We’re hitting every nook to make sure that the Winery
How was Sonisphere? and cranny that we could possibly play. It’s a Dogs is successful?
It was awesome -– it was really great. I love playing great band, we have great chemistry and we No. I’ve done so many things outside of Dream
festivals and it was the first one for the Winery absolutely love the music; it seems that the Theater, even while I was still in the band.
Dogs. We’re a band made up of veterans that have fans are really embracing us. We’re working our Every band has its own identity and I think my
been doing this for 25 years but we’re still a baby arses off and doing it the old fashioned way – name and reputation has standing on its own.
as a band, so it’s our first time doing a lot of things we’re not just taking the easy route because I don’t look at it like I’m the drummer from
and being able to play at Sonisphere was an the three of us have done this before. We’re Dream Theater and I’m doing this and that... I
honour. I think we killed it. We did our job and tore coming towards the end of the cycle at this look at it like I’m Mike Portnoy and I’m doing
it up, so mission accomplished. point – we’ll take a little time off for the rest of this and that. I’d like to think that at this point
How have you found the UK

dates so far?
It’s been from one extreme to the other. We went Gearbox 14" Ambassador snare bottom
Drums: Tama Bubinga Starclassic in Mirror 13" Ebony Emperor (EU:12")
from 50,000 people at Sonisphere to playing at the
Chrome finish 16" Ebony Emperor. (EU: 14")
Underworld in London, which is by far the smallest
Winery Dogs US kit (smaller EU kit sizes in 18" Ebony Emperor. (EU: 16")
gig I’ve ever played in London. Even my very first brackets) Ebony Ambassador bottoms
time here over 20 years ago was in a bigger place 18"x22" kick drum Double Falam Pad
than this. It’s fun and good in that way. 9"x13" rack tom (12")
16"x16" floor tom (14") Sticks: ProMark
Do you like playing in those 16"x18" floor tom (16") Custom Mike Portnoy Model 420 Sticks
small venues? Do you play 5.5"x14" Mike Portnoy Custom Melody
differently in a smaller Master Snare Bubinga Hardware
environment? SpeedCobra Double Pedal
Cymbals: Sabian – Brilliant Finish SpeedCobra HiHat Stand
To be honest, I don’t think I play differently. I try
14" Vault V hi-hats 1st Chair Round Rider Hydraulic Throne
to give it my all, no matter where I am. I always
18" AAX-Plosion crash RoadPro Snare Stand
try to have that connection to the audience. 18" AAX Ozone crash Combo Tom/Cymbal Stand (RackTom / 11"
It’s easier to connect on stage when you’re 19" Artisan crash Splash)
playing in a small club. At Sonisphere it’s hard to 20" AAX V crash RoadPro Straight Cymbal Stand x 5
really connect to the people, and for me that’s 19" Paragon china RoadPro Boom Cymbal Stand x 1 (Ride
so important, that interaction. That’s the most 11" MAX splash Cymbal)
important part of being on stage and it’s really MAX STAX Low 12"/14" Multi Clamp to small cymbal boom arm (for
hard to have that at Wembley Arena or on stage 22" Custom Shop V ride MAX STAX Low)
at Sonisphere or Download; it’s just a sea of
Heads: Remo Percussion: LP
people, where as when you’re in a club you have
With custom Winery Dog logo Cyclops Mountable Tambourine
that total interaction and connection. Last night
22" PowerStroke Pro Ebony
we played a small club in Wolverhampton and 14" CS Batter Clear with black dot Microphones: Audix
the front row was literally spitting distance from
me – and that’s a dangerous place.

INTERVIEW
my career and track record stands on its own, When you’re working with so bands I’m just a hired gun – so I have to play
and it’s no longer exclusively linked to Dream many different bands and different roles and wear different hats. But
Theater. I think if you look at what I’ve done playing in so many different as much as I do have to be a chameleon, to
throughout my whole career, there’s a lot of styles, do you have to tailor shift and change from situation to situation,
variety there that doesn’t necessarily relate yourself to be different for all that being said, I want to always sound like
to each other. Dream Theater did what it did, each band? Mike Portnoy. If you listen to Flying Colors
I’ve been doing Transatlantic now for 16 years, Yes and no – it can be a little bit of both. I or Avenged Sevenfold, even though they’re
which is very much its own sounding style need to be a chameleon and I need to suit the musically worlds apart, you can still tell it’s me
of prog. I did the Avenged Sevenfold record, different styles. I have to be a different type playing drums and there’s definitely an identity
I have Flying Colors, which is still actively of player for each different band, project and on everything I do. It's a little bit of both.
working, and that’s more of an alternative, album. The drum kits are different from project
poppy sort of thing. Now the Winery Dogs is to project. Some of my roles are different Tell us about Dog Camp, the
a whole other thing again, so they’re all their because in some bands I’m sort of the leader, Winery Dogs band camp...
own entity and they stand on their own. in other bands I’m a team player and in other It’s basically just something that was presented
to us. We’ve done a lot of clinics on our own in
the past. I don’t do them anymore; I stopped
doing them about 11 years ago, but at this point
we were asked to do something as a band. It’s
going to be cool because it’s going to give us
the opportunity to do something together.
We go off to a camp for a couple of days and
there’ll be musicians of all different levels, from
amateurs to professionals, and we can hang out
together, play together and it’s going to be a
cool learning environment for everybody.
Do you think that might be

something you’d do more
of, maybe elsewhere around
the world?
This one’s an experiment, so we’ll see how it
goes and then take it from there.
[Since the interview, the Winery Dogs’
website says that Winery Dog Camp 2015 will be
announced soon.]

Mike Portnoy
What’s Mike Portnoy’s He’s more of a hired gun type – he plays for Vince worldwide in October. We plan on squeezing
average day? Neil’s solo band and for Mark Slaughter’s solo in a London show, so we look forward to
When I’m on tour my day basically starts at 2pm. I band. He’s got to be one of the most unbelievable that. Beyond that, there’s a new Transatlantic
have to set my alarm in order to be awake then. I showmen I’ve ever seen - he’s like a modern day live album and DVD package that will be out
usually get up, have a couple of cups of coffee and Keith Moon, times 100. Search Zoltan on YouTube in October as well, then more Winery Dogs
head in for soundcheck and press, or any meetings and your mind will be blown. He’s a total star but starting in the beginning of 2015.
we have to do. Dinner is usually my first meal of still an unknown. He’s one of these drummers
the day, I play the show, see whatever guests and that I can’t take my eyes off on stage. To me, that’s
friends we have, and then get on the bus. I usually worth a thousand times more than any technique. Second Nature
Flying Colors' new album Second Nature
stay up until about 4 in the morning watching TV When I watch drummers, I want to be entertained.
is released on 6 October by Music
shows, movies or whatever, crawl in my bunk and I’m not going to name names, but there are a lot of
Theories Recordings and Mascot Label
then do the whole thing over again the next day. drummers out there who spend so much time on Group.
When I’m at home it’s different. I still do sleep technique and worrying about how to play 64th
late; even though I’m at home I’ll usually set my note triple paraddidle, flam a diddle whatevers... The band play London's Islington
alarm to get up around noon. God bless my wife Those kind of drummers bore the shit out of me. Assembly Hall on Monday 13 October.
for never really trying to change my touring I would rather watch someone like Zoltan, or More Info: http://flyingcolorsmusic.com
schedule and habits. She understands that I’m a Lars Ulrich, who gets so criticised for his lack of
night owl, or a vampire. I usually get up, deal with technique. I couldn’t care less about technique.
emails and whatever business that’s on the table. I want somebody that makes me smile. I used to
If I have to do interviews or oversee anything, I do watch Keith Moon and he used to make me smile
that. I try to spend some time with my kids – I have – that smile is worth a thousand times more than
two teenagers at home that I don’t get to see all any technique that might be impressive.
that much. I spend some time with my wife, go for
dinner and then end my night with TV, movies and What’s coming up next for you?
go to bed at about 4am. The Winery Dogs are the priority and focus
for me and we’ll wrap up the cycle in August.
Are there any drummers Next up is the Flying Colors album, which
around that you think we comes out at the end of September. We have a
should check out? limited window for touring because Steve is so
One of my favourite drummers right now, who is busy with Deep Purple, but it looks like we’re
still pretty unknown, his name is Zoltan Chaney. going to be able to get in a couple more dates

for
t?
d like
ce INTERVIEW
Patience is a
. The
’s
ns
again
velop
virtue
eep
UK hired gun Ben Kennedy tells

ol
My
Drummer about working with Foxes,
a supporting Pharrell and the key to
on
rcise
getting along with people on the road
all Words: Gemma Hill Images: Adam Prosser Photography
o
B
our
en Kennedy is a UK session success story. He’s worked with the likes of Did you have any input or involvement with
ly
Ladyhawke, Clare Maguire, James Walsh, Will Young and Girls Aloud and is the Foxes album?
now out on the road with Grammy award winning Foxes, who are about Glorious was already recorded when I joined Foxes – there was no involvement
to support Pharrell Williams on his stadium tour. on the record. Live, however, I certainly have input. Every drummer has a style
t and personality and when you bring that to a gig, you are instantly a part of
You’re working a lot with the Grammy-winning it. Sam Kennedy [keys player and MD] and the band have worked incredibly
singer Foxes at the moment – tell us a bit about hard to get to where we are now. It’s nice to work with an MD who will listen
her and how the gig is for you to ideas outside the box. We’ve agreed on certain things and disagreed on
apan
I have been working with Louisa Rose Allen [aka Foxes] for a year now. It’s been other aspects, but we’ve always delivered with a positive outcome. Sticking
amazing seeing an artist grow from the start of her album campaign. When her together and working hard is vitally important in this business; it’s a team
other
managing director Sam Kennedy first played me the songs, they were instantly effort, even if you aren’t in the limelight as the featured artist.
likeable – great songs, great melodies and an incredible voice. It excited me
e
straight away and I couldn’t wait to get into rehearsals and translate the record How does it differ to work with a new artist,
live. The touring schedule has been full on around the world; it’s been an in comparison with someone who is already
re
enjoyable year and thoroughly deserved for a talented major label artist who established?
ven’t
hasn’t been promoted through mainstream TV. I’ve always liked working with new artists and seeing the project
don,
develop because you’ve been there from the start – it makes you feel
t
You’re soon supporting Pharrell Williams on his more a part of it. Working with established artists is always exciting –
tour – what preparation is going in to that and you get that buzz from walking into a gig and playing a well-known
how different will playing in stadiums be? song that you have heard on the radio or you’ve listened to because
The opportunity with Pharrell is exciting. It’s one of those big gigs that happen you’re into it. It happened for me this year with James Walsh from
one year, and you dream of being a part of when you’re growing up, playing Starsailor, a frontman who I saw live and admired growing up,
your instrument. It all came about through our Radio One Live Lounge cover and then to get a gig playing his songs – that was pretty special.
of ‘Happy’. We’ve had a lot of live shows over the past year, which have been I remember in the first rehearsal, James turned around to me
well received, but you want to take it to the next level with such a massive and said we were going to play ‘Good Souls’. It’s a song I had to
opportunity. Summer festivals are finishing soon, so we’ll be back in rehearsals audition with to get in my first band as a 14-year-old kid.
for a week before the Pharrell tour to make the live show even better.
Who is your favourite band or artist
Talk us through your set-up that you have worked with, and why?
nare
When I first took on the gig, I was asked to stand and play with an electronic I’ve worked live with a different range of artists. I really am
hybrid kit. Initially this was a challenge, but it made for an interesting visual enjoying the Foxes gig at the moment. I always look back to
set-up, although it restricted my playing. After one rehearsal sitting down, the Ladyhawke gig as special, as it’s where the session work
everything felt great. I use Roland SPDSX pads and mainly 808 triggers samples started, really. I have so many great memories of touring
on the kick and snare to replicate the electronic sound from the album. I’ve around the world with a great team of people. You can learn
recently endorsed the Porter & Davies BC2 stool – it has changed everything. It’s to play in your bedroom, but getting out and touring is an
the most comfortable set-up I’ve had for a live show and to feel that bottom end experience that you can’t really teach people. You build
has solved the problem of feeling isolated with in-ears. your craft from gigging day in, day out and disciplining
yourself mentally and physically for a long schedule.
How would you describe your style of playing?
I am all about the song. I have never been the drummer who practised You’ve built up a solid CV over
fancy chops; I always worked on groove in relation to the music. Influences the years and are a good example
growing up weren’t necessarily drummers, it was all band orientated – the to drummers who want to get
Britpop era was a massive influence. I have a wide-ranging taste in music, into session work. What has
from hearing my granddad play ‘Big Swing Face’ by Buddy Rich on cassette, been your particular route into
my dad playing ‘Face Value’ by Phil Collins, or finding out about Dave Grohl the industry?
on my own on The Colour and the Shape. It’s important to be open to I think belief in your ability, perseverance, working hard
different genres; you can learn a lot from just listening to your peers playing and having a good attitude are vitally important. It’s
on a record. an incredibly tough business with a lot of musicians
038-040 Kennedy_Rev3_NR.indd 38 08/09/2014 14:55

Ben Kennedy

INTERVIEW
What do you do to keep healthy

in between touring?
It’s easy to eat badly and drink too much alcohol
on the road, so I try to keep fit in my downtime.
My brother is actually my personal trainer – he
runs a great business called Get Focused UK. He
focuses on me eating the right food and doing the
right exercise in preparation for the next touring
schedule. It’s all related to your playing: if you go on
stage with no energy and feel sluggish you won’t
perform at your best. It’s important to look after
yourself physically and mentally.
What’s coming up next for

you, Ben?
I have some exciting things around the corner,
which I can’t announce just yet. Foxes are off to
Japan again in early September, we are supporting
the Script at iTunes festival this year too and
have another headline tour in December. I’m also
working with a new, talented New Zealand artist on
out there trying to make a living. At music school, you first started working Parlophone called Ezra Vine.
I would turn up to every audition I got offered in music? The main focus is the Pharrell tour, really. We
just to meet and play in front of different people. I I think it’s important to not be naïve in this industry. are visiting some great cities across Europe that I
also played a lot of live gigs in original bands and At college, I had no idea how tough the music haven’t been to and we have two nights at the O2 in
function covers; you meet musicians along the way business would be – financially and emotionally. I London towards the end of the tour. There are some
and build a reputation. Live experience at an early had quite an open mind, I just wanted to get better great shows ahead before the end of the year.
age is important. It’s working hard in the practice at my instrument and see where it took me from
room, but having the confidence to step out of that there. I think you really have to look after yourself
and perform it live. and not necessarily trust everybody’s word. You
need to be mindful of the projects you choose to
Where would you like to see commit to and the people that you work with. You
yourself and your career in will get your knockbacks, but it’s about learning
10 years? how to deal with them and moving forward.
It’s scary to think that far down the line. I enjoy
playing live, I always will and hope I am still out What skills do you need to
gigging in a decade and beyond that. I have call upon the most in your
recently fixed a few gigs and I worked with X Factor day-to-day work with artists?
last year, providing their musicians for live TV. It’s Patience is key. Rehearsal, studio or gig days
something I put together while on the road and can be long; it’s important to keep a positive
it kept me occupied. I enjoyed the challenge it attitude throughout. Things can get heavy Gearbox
provided each week to find different musicians sometimes. Being open-minded and listening to Drums: Yamaha
of all styles. It was actually a nice distraction the people you are working with is also a great Beech Custom Absolute
from playing every night. Artist management is attribute. The artist is essentially your boss, so 22"x18" kick drum
something I would be keen on – I like discovering it’s about making sure they are happy with what 16"x16" floor tom
new talent and maybe I can help someone develop you are bringing to their project. Preparation is 14"x14" floor tom
12" rack tom
a career further down the line. another thing to concentrate on. Think outside
6.5"x14" Pearl Signature Steve Ferrone
the box to bring that something special to the
brass snare
How do you cope with session, whether it’s a different range of snares
spending so much time away or cymbals to suit the artist’s sound. Cymbals: Zildjian
from home? Does it cause any Dark K Custom
problems for you? Who do you call on for 14" hi-hats
I think you get used to the time away and it support or advice if you 17" medium thin crash
becomes routine. I found touring quite hard at need it? 19" medium thin crash
first, being away from friends and family. I also I don’t really call anyone, to be honest. I’d like 22" ride
had to conquer a terrible fear of flying to be on to think I could turn to someone if I needed
Heads: Evans
the road. I’ve always been fortunate enough to advice about something but I’m not sure who
tour with good people and they become your that would be. The MU has sorted some issues
Sticks: Vic Firth 5Bs
second family, in a way. It’s important to be for me in the past – it’s good to know they are
patient and easy going as the majority of time there for any complications you may face. I Electronics: Roland
you are in a tour bus or waiting at an airport. know a lot of musicians who use their tutors as
The time actually spent on stage is a small part a mentor and I think this is a great relationship Cases: Protection Racket
of touring. to have. I would like to have lessons again one
day and learn more – it can be too easy to get Other: Porter & Davies BC2
What do you know now that comfortable on a gig and lose that passion to
you wish you had known when develop your playing.

041.indd 41 27/08/2014 17:25
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17:17
or
in
cks,
ad I
it. INTERVIEW
ark
HOWE’S
clude
rd on
d I’m
don
BOWIE
er
n my
e
e
way
en a
trio
n on
rminal
me
r,
ing
rded
an
ger,
was
as Dylan Howe discusses Subterranean, his stunning new album re-interpreting
dition
Bowie’s late-70s Berlin era, and delivers excellent news of Wilko Johnson
n Words: Brent Keefe Images: Gary O’Brian and Zoe Howe
H
he’s
aving previously interpreted the Blue of making the album, which was quite a ended up using the original track. I recorded
ring
Note catalogue and Stravinsky’s ‘The long process, it was about trying to make it most of it using a click because that allowed
Rite Of Spring’, drummer Dylan Howe interesting, rather than simply changing the me to edit different takes together. With the
turns his attention to the instrumental music tempo or feel of a track. I wanted to get into it tracks that I started on my own at home, I
produced by David Bowie and Brian Eno on a little deeper and that’s why it took so much started with a click, added synths and bass and
Bowie’s Low and Heroes albums on his fantastic time. I tried to get a good balance between then added drums before having other people
new album, Subterranean. Dylan has skilfully acoustic and the electronics, but you need come in and overdub.”
managed to balance putting his own stamp on some of the same sounds and pads that are on
the music while largely remaining faithful to the original for it to sound authentic. Several of RECONSTRUCTING BOWIE
the mood of the originals, creating his strongest the tracks retain the mood of the originals and “On ‘Subterraneans’, we stayed pretty close
album to date. Drummer caught up with I definitely reached a point halfway through to the mood of the original," Dylan explains,
Dylan in the heart of London’s Soho, where he where I felt that I really needed to put all of the “keeping the seven-bar loop with the tune
explained the evolution of the project. vintage sounds on there. I went back to the offset against it. It’s a deceptively hard thing to
“I probably first heard those albums in the originals and really listened to all of the parts play as it’s so slow and because of the phrasing
early 80s, a good five years after they were first and sounds. The bulk of the basic album (six of the melody over the loop.
released. I initially heard and liked Let’s Dance tracks) was recorded in one day at Eastcote “‘Weeping Wall’ retains the form of the original,
and then went further back, discovering Ziggy Studios, with a quartet comprising Ross but we added the 6/4 groove to it, re-harmonised
Stardust, Station To Station and then Low and Stanley, Mark Hodgson and Brandon Allen, and it a little and arranged it so we solo over the form.
Heroes. I loved the mood of those two albums, I subsequently added three more tracks, which Ross Stanley helped a lot with the arrangement
especially the darker instrumental stuff on side were more built up, recording Ross on his and with harmonising it. I can hear harmony and
two of each record, and I don’t think you could upright piano at his house and getting my dad I can sing it, but I can’t easily articulate it on the
do what I’ve done with the regular or more [Steve Howe] to record the Koto at his studio. piano, so having Ross there to decipher what I
well known Bowie songs because it would just Then I would take the tracks away and re-do was saying or singing was really helpful. He had a
sound horrible. No one should do a Bowie cover, the guide drums over the new stuff. There was lot of input on the album.
let alone a jazz version of his pop stuff [laughs]. a lot of taking away the floor and then sticking “‘All Saints’ doesn’t really have much of a
“It’s the first project I’ve done where I’ve in a new floor. It was an interesting thing to tune, just that four note motif and that’s low in
actually produced it, as opposed to just develop the discipline to replace an existing the mix on Bowie’s original. There was a period
or
turning up and recording a live session. I drum track. I have my own studio now, so I when I was intensely studying the originals
tried ‘Warszawa’ first, as an experiment in a was able to do that as much as I wanted but and I would suddenly find a little fragment of a
traditional quartet setting, and that suggested you can easily drive yourself mad. I did a lot tune or some small thing, like the little siren at
that the concept might work. Over the course of overdubbing of drums and, in some cases, the beginning of ‘Neukoln’, that I hadn’t heard
044-047 Howe_Rev4AO.indd 44 08/09/2014 14:55

DYLAN HOWE
044-047 Howe_Rev4AO.indd 45 08/09/2014 14:56

INTERVIEW
before. There’s more inside the original Bowie to play it. He did a couple
tracks than you initially think. With ‘All Saints’, of takes and then I chopped
each time we played that motif, we played them up. It’s basically a
it in a different subdivision and used that to three-way improvisation
modulate to a new tempo for soloing before that was all recorded
returning back. It’s a similar idea to what the separately, but somehow
Miles Davis group were doing in the 60s – it’s it sounds good. I love
not an exact science, but it’s good. They are that piece.”
metric modulations basically. The sax solo veers
into John Coltrane Quartet territory and that’s SUBTERRANEAN ON
Brandon Allen’s bag. Julian Siegel has this more THE ROAD
European, ECM-influenced thing; I wanted both Dylan is clearly enthusiastic
of those flavours so I got Julian to overdub later about the album, and rightly
and play some of the tunes and outros. so, but he is equally excited
“I really like ‘Some Are’ and wanted it about touring to promote it.
to have the same vibe as McCoy Tyner’s “I’m really happy that I
‘Contemplation’. It’s just about the tune, the stuck with the idea, even
two solos and the mood. Basically, the whole though it’s been challenging
album is about the mood. both financially and time
“‘Neukoln’ was the first tune I did after the wise. When something takes
Eastcote session and I did it at home. Those a long time, you can begin
tracks were built up, starting with synths, synth to wonder if you are heading
bass and sound effects. I added drums, Ross along the wrong road or down a dead end 100,000 copies. That was a surprise but an even
added piano and then I edited it and redid but, ultimately, I always believed in it and I’ve bigger and better surprise was when Wilko got
the drums, adding some sound effects before worked my nuts off. With some of the tracks, I a second opinion on his health condition and
editing some more. I played some stuff on practised for a week before I actually recorded was told that he actually could have surgery to
drums that followed my synth bass track but the drums. I probably went a bit over the top remove the tumour. He’s had the operation, it’s
the engineer, Will Worsley, who was at the helm but I’m glad I did. It’s turned out as well as I been successful and he’s recuperating at home
of editing and mixing, said, ‘You can’t have could have imagined it. now and he’s clear. Consequently, it seems
synth bass.’ So I called Nick and he put down “We start an 11-date tour on 5 September, likely that we’ll be touring the US supporting
his interpretation; we chopped that up a little but Mark and Brandon weren’t available, so the Who next year.”
also because I was keen to get this very chaotic the group will include Steve Lodder on synths, www.dylanhowe.com
but involved intro on the Day version. Ross Stanley, Andy Sheppard on sax and Dave
“I ended up with two versions, as I didn’t Whitford on bass. It’s a great band and I’m really
know where to go with it. I tried one version excited to hear how it will sound live. The London
that was between the two versions on the show is at King’s Place on 19 September.”
album, then I recorded those two and intended
GEARBOX
Drums: Gretsch
to select whichever I preferred, but ended up HOWE ORIGINAL 18"x14" kick drum
using both. The Night version is faster as it’s So with ‘Subterranean’ being so successful, can 14"x5" Ludwig 400 snare (60s model)
meant to have a ‘city at night’ vibe. It also has we perhaps expect further jazz interpretations 14"x5" Ludwig hand hammered bronze
a ‘Now He Sings, Now He Sobs’ influence as I of established classics from Dylan? snare
used a flat ride. On the Day version, I’d been “I’m not intending to do another record 14"x5" John Grey snare
listening to Tony William’s ‘Spring’ and ‘Lifetime’ with other people’s music. I have some ideas 14"x14" floor tom
and I was messing around with those sorts of swirling around in my head, but they are not 12"x8" mounted tom
ideas. I played some stuff at the beginning of fully formulated yet. I’ve gone through Blue
the take and that became like a drum feature. Note, Stravinsky, Bowie and mined the fields
Cymbals: Zildjian
14" K Dark hi-hats
Adrian Utley plays the intro on ‘Warszawa’; of my influences, so my next record will be all
14" K Constantinople hi-hats
he took an electric fan and he just stuck it on original material but probably not a million 18" K Constantinople crash
his guitar! The track is arranged so that the miles away from what this record sounds like.” 20" 1960s Zyn ride/crash (one rivet)
tune is quite sombre first time through, and 20" K Constantinople flat ride
then we go into double time and a Coltrane WILKO’S REPRIEVE 21" Zildjian K Special Dry ride (one rivet)
vibe; it’s got all vintage synths on it and all of In addition to his solo projects, Dylan has 22" 1960's K ride
the delay stuff happening. The saxophone intro also been a member of Wilko Johnson’s trio
solo/rubato thing is taken from the vocal line for some time. The trio can be heard on The Heads: Remo
on the original. Bowie speaks in some foreign Best of Wilko Johnson and seen on the Live At Snare: Coated Ambassador or Fiberskyn 3
language and we just took that and went into Koko DVD. Wilko was diagnosed with terminal
Kick drum: Coated Ambassador with
Fiberskyn 3 or Smooth Ambassador (front)
Coltrane territory. I think it’s a good take. cancer in 2013 but, as Dylan explained, there is
Toms (top): Coated Ambassadors
“Again, ‘Moss Garden’ retains the mood of some excellent news. Toms (bottom): Clear Ambassadors
the original. I asked Ross to play that scale “When Wilko was diagnosed with terminal
on the piano as sparsely as he could, then cancer, his profile went through the roof Sticks: Vic Firth and Zildjian
play a bit and return to it. Ross did a couple and we started doing these sell-out farewell Zildjian Bill Stewart Signature model
of takes and I chopped those up, rearranged tours. We subsequently recorded the album Zildjian Jazz
it and then added drums, a drone and sound Going Back Home with Roger Daltrey, as we all Vic Firth American Jazz 5
effects. I wanted a Koto on it, but I didn’t want thought it would be the last chance to make Vic Firth 8D
an electronic one because it wouldn’t sound an album with Wilko, followed by some shows
authentic. My dad has a Koto, so I asked him with Roger, and the album sold more than
044-047 Howe_Rev4AO.indd 46 08/09/2014 14:56

DYLAN HOWE
“SEVERAL OF THE TRACKS RETAIN

THE MOOD OF THE ORIGINALS
AND I DEFINITELY REACHED A POINT
HALFWAY THROUGH WHERE I FELT
THAT I REALLY NEEDED TO PUT ALL
OF THE VINTAGE SOUNDS ON THERE”
044-047 Howe_Rev4AO.indd 47 08/09/2014 14:56

Introducing
The Riser
Sara Leigh Shaw

The Pearl Harts
T
he Pearl Harts are a new band from London in the house, so I had the opportunity to play on his Vultures at Brixton Academy – Josh Homme, Dave
who are making waves. One critic said of guitars and keyboards and experiment with making Grohl and John Paul Jones at the same gig. What
them: ‘All you can think to do is ask them out music. I was always drawn towards drums. Luckily, I more could you ask for? It was also at my favourite
for ice cream – and all they want to do is wreck your managed to get some group lessons at school – as venue, Brixton Academy, and I think it has to be the
house and firebomb your car’. Drummer Sara Leigh soon as I started that was it, I was hooked. I used to loudest gig I’ve ever been to.
Shaw tells us more. jam with my dad – he would get me playing along
to the Rolling Stones. That was my earliest and Which drummers, past or present, inspire
What do you sound like? biggest inspiration. you the most?
We’re a modern rock/blues two-piece, aiming There are too many to mention, but if I could
to create the biggest sound with the smallest What’s your current set-up? narrow it down it would have to be John Bonham,
line-up. We love the traditional rock sound but are I play a vintage (1970s) Ludwig Kit with Sabian AAX Cozy Powell, Stewart Copeland and Dave Grohl.
trying to update it through the use of sampling Cymbals and Roland Electronics. In the Pearl Harts
and live looping. The sound we produce has been I play a lot of samples and triggered sounds, so I’ve Ringo Starr, Charlie Watts or
compared to Queens of the Stone Age, Black got a Roland SPD-SX set up with extra pads around Keith Moon?
Sabbath, Led Zeppelin and Joan Jett. the kit and a snare trigger. Keith Moon.
From sampling this I play bass drops and bass
Have you got any albums out? sounds, some effected sounds and snare effects.
Not yet, but it is in the pipeline so watch this space. I’m blending a traditional rock sound with a more
The Pearl Harts are:
Sara Leigh Shaw – drums, samples, vocals
modern approach to drumming.
Kirsty Lowrey – vocals, guitars, loops
Any upcoming tours or gig dates?
We’re still a very new band, but we recently did What’s your favourite venue that you’ve
the Camden Crawl and worked on new material played at?
in the studio. We’ve got a release coming up in Shepherd’s Bush Empire.
September, around which time we’ll be doing a
small UK tour. Favourite album of all time?
Led Zeppelin’s III.
Who or what inspired you to take up
drumming? What’s the best gig you’ve ever seen?
The Pearl Harts on the Tube...
I grew up in a musical household. My dad was a There are hundreds. Although, one in particular
http://bit.ly/1pO3KRE
guitarist and he had different musical equipment that springs to mind has to be Them Crooked
048 The Riser_Rev3AO.indd 48 28/08/2014 10:36

049.indd 49 27/08/2014 13:35
TECH DIARY
Drum Tech Diaries
© Tina K
The ups and downs of touring
Part 30 – James Arthur: Euro Tour Diaries, days one to five
Photo: Dennis Jarvis DAY 4 – PRAGUE, CZECH
The mood in the band camp was a little off today
after a late night debrief of the gig last night.
Arriving at the venue, which was a sun-kissed
beer garden, quickly raised the mood. The stage
was small, which presented us with a few issues
spatially. All squeezed on stage, the sound check
focused on some of the problems from the
previous night. By showtime the band were ready
to banish some demons – that they did with a great
show that ended just before a storm rolled in. Truck
packed, it was off to the hotel for some rest before
the 7.30am alarm.
DAY 5 – PRAGUE TO RIGA TO TALLINN

A long day of travel as we head to Estonia via Latvia
on some questionable flights with no catering
to speak of. A two-hour lay over in Riga gave us
Tallinn – the last leg on this stint of the European adventure the chance for some lunch before the short flight
arriving into Tallinn at 4.30pm. Five-a-side was
T
his month I thought I’d do a more concise, our 1970s hotel, we then traveled the short hastily organized with the owner of the venue we
traditional diary format to describe what distance to the gig. The stage, access, crew, were due to play at, who, as it happens, has his own
happens on a daily basis. The tour consisted equipment and management were some of the football pitch – what are the chances! A tiring few
of 12 days, seven shows, six countries, five travel best I have experienced in a while. Sound-check hours later and it’s an early night for me.
days, three flights, two load days and an Alan was completed without issue and then we had
Partridge CD. Here I recount the first five days. the afternoon to ourselves, which included NEXT MONTH – DAYS FIVE
a speedboat ride around the lake. The show,
DAY 1 – LONDON TO ZURICH, SWITZERLAND however, wasn’t that great, with some technical
TO 12 OF THE EURO TOUR
www.drumtechsupport.com
At 4.30am my alarm goes so that I can pack the final problems arising from RF signals. A quick pack
www.facebook.com/drumtechsupport
items into my already full bag. The cab arrives at down and we went to meet the tour bus before
[email protected]
5am to whisk me off to London City Airport, where heading off on the overnight drive to Prague,
Twitter: @drumtechsupport
I meet the rest of the crew for our 7am departure falling asleep to Partridge.
to Zurich. Tonight’s show is a private show for a
radio station at a venue that isn’t really a venue and Photo: Patrick Nouhailler
as such. It’s a difficult fit for the band and our full
touring rig. We manage to squeeze everyone on
stage, compromising a little on stage-access, but
the venue was happy. Some wonderful Italian food
helps pass the time before the very hot and sweaty
gig. No problems to report – artist and band were
happy, as was I when we finished loading the truck
in the cool night air.
DAY 2 – ZURICH TO ESTAVAYER LE LAC

A much needed sleep and lie in started the day
off/travel day in the right way. The late lobby call
for 12.45pm is scheduled so we can meet the bus
and drive the three hours to ELL, passing through
some lovely scenery. Five-a-side footy, a kangaroo
steak and some time spent relaxing beside Lake
Neuchatel rounded off a great day.
DAY 3 – ESTAVAYER LE LAC

Starting with a less than average breakfast in Estavayer Le Lac – a beautiful setting, and not a bad place to set-up for a gig, either
050 DTD_rev2.indd 50 28/08/2014 10:37

051.indd 51 27/08/2014 13:11
052-053.indd 52 28/08/2014 14:51
052-053.indd 53 28/08/2014 14:51
054.indd 54 27/08/2014 13:29
REcording for 2014
It’s Not Just About

Playing Drums Photo: Audio Technica
Studio gurus Nicky Brown good drum sound, and the top session drummers
would travel with an amazing sound drum kit.
prepared and graded so that if I broke one from
a pair, I could grab another one from my bag
and Marcellus Frank reveal without feeling a difference. I’d make sure that my
Producer’s note: Nicky
what they rate highly in Brown
kick pedal was working smoothly, didn’t squeak,
and that the mechanical parts of the kit were
session drummers In every case I have encountered, even as a player seamlessly working to ensure I could reconfigure
myself, I appreciate the art of drum maintenance. my kit, depending on the client’s needs.
Words: Nicky Brown and Marcellus Frank
It’s so important to always have a kit that is clean
I
n the quest for perfection in the studio, and operative, with lugs that are prepped and Engineer’s note: Marcellus
utilising technology is a given. Likewise, using working so tuning is easy, and stands that are able Frank
pre-recorded sounds to recreate great live to hold any weight of cymbal so they perform well In this situation, it would be necessary to
performances is becoming ever more common. on any sized floor space. We’d never use heads predetermine which microphones you would use.
Playing or programming with samples can be that were blown, unless that was the sound we The de facto standard kit mics would be something
great, but creating amazing live drum parts is were going for. New heads would be seated so like: D12 on kick drum, SM57 on snare over, pencil
an art, and the speciality of great UK recording the kit wouldn’t go out of tune. I’d have my sticks condenser mic on the hi-hat, dynamic mics on
session drummers like Brett Morgan, Paul
Robinson, Frank Tonto, Ian Thomas, Ralph Salmins
– the list goes on. Talk to any of these guys and
they will tell you that from batter head to weight
of stick and the selection of what drums you
use, equipment is part of your rhythm signature
and sonic blueprint, and makes a unique beat
watermark on any soundscape being created.
Engineer’s note: Marcellus

Frank
Back in the day, the most challenging situation an
engineer could come across was recording and
mixing a 30-second jingle in three hours. As we
talked about in our last article, the engineer and
his assistant would arrive one hour before the
session and set up the studio. Normally, the first
musician to arrive would be the drummer – the
rest of the band would follow. In this scenario, the
engineer would have about 15 minutes to get a Photo: Solidariat
055-056 Recording_rev2_NR.indd 55 27/08/2014 20:30

Feature
they will keep sounding great for you. Always have

your equipment sorted out and ready to play, as
time in the studio or on a show is money. No one
likes waiting around for you to change heads or
find keys or tools. Have everything at hand or pre-
pared for any eventuality.
I spent a day with the legendary Jeff Porcaro in
Ocean Way Studios on a B52s track date and was
floored at how well he knew the vast selection
of drums and what they did. He could listen to a
playback, choose the appropriate equipment and
get it absolutely right first time. Big producers like
Don Was hire cats like that, not just for their playing,
but also for their tonal insight and range of sounds.
Engineer’s note: Marcellus

Frank
The last great thing we depended on was a good
room. Depending on the studio, each room had
the toms (SM57s or Sennheiser 421), and a pair of sound, which leads to a classic take. Mel, being an its own attributes and some equipment sounded
sparkly condenser mics on the overheads. It would awesome player, really worked with the process better or worse, depending on the room. It would
be incredibly important to make sure that your and I believe it was an award-winning record. You be a massive shame to not make a track because
microphones worked properly before you started may not have loads of gear, but the gear you have your drums didn’t sound great or couldn’t be
a session, and this was done quite easily by asking is important and should be kept in great condition beefed up because of a tonal deficiency. In my
the assistant to speak into the relevant microphone and well looked after to get the best results. experience, good drummers always knew how to
before the band would arrive. It was important sound great in any room and tune to perform well
that when the drummer arrived, your mics were Engineer’s note: Marcellus in any situation. As much as we may be able to
line checked and ready. “Give me fours on the kick” Frank re-trigger, or sound replace any decent drum take,
would often be the first thing an engineer would All of this would not be possible unless a fantastic nothing beats a great performance on a killer drum
say, the moment the drummer put the headphones sounding kit arrived in the first place. The session set-up. Nicky and I encourage you all to stretch out
on. Fours on the snare would be next, then the first musicians would often be hired because they had and move the boundaries on your visual, technical
tom, second tom, floor tom, a quick tap around and a great sound before they walked through the and tonal presentation in the studio. The world is
you got your basic completed drum sound. Next door. The mixing desk and tape machine/recording always ready for something fresh and new.
up would be a beat. With a few adjustments to the device would be the rest of the equation for the
tonality of the hi-hat level and your overheads, in 15 engineer. Regular maintenance on both would
minutes you would have a great drum sound. be necessary for the session to run correctly and
smoothly. Good technical practice in maintenance
Producer’s note: Nicky Brown and a solid knowledge of the equipment being
One day I was working at Sarm West studios and used creates a great result, which in turn initiates a
I went into studio one to greet Trevor Horn and great reputation, and so on.
hopefully see one of my heroes, Mel Gaynor.
They were working on a Simple Minds record and Producer’s note: Nicky Brown
Trevor is a perfectionist. When I went into the live There is nothing like a player who understands
room, there were drums everywhere – techs were a song and what is needed to make the rhythm
working on shells, with different types of heads on section work, however loud or soft the music is. About the Authors…
different drums and lots of snares, cymbals and The moral of the story is: when you’re not working, Nicky Brown is a composer, writer and producer
various sizes of drums for the same kit. It goes to spend time looking after your instruments. Before with vast session career experience that
show that you can’t go too far to get a killer drum you even play a not. If you look after your drums, spans from Weller to Townsend. He is a keen
technocrat and mixer who uses and works on
Photo: John Athayde records, scores, television and radio. His first
instrument was drums and he has moved on
to programme and consult for major labels.
Marcellus Franc is an engineer and mixer of

the highest order. His career began in the early
1980s and culminated with him working with
artists such as Pat Metheny and David Bowie. He
has had success mixing for Yogi and Wretch 32,
as well as on classic recordings by Richie Rich
and All Saints.
055-056 Recording_rev2_NR.indd 56 27/08/2014 20:30

057.indd 57 28/08/2014 17:40
Feature
Looking Good
Fitness tips from Drummer’s personal trainer Craig Barton
Words and images: Craig Barton
L
ast month I talked about how to optimise and eggs. Try to eat wild meats and fish where
drumming performance – this month I possible, as these are superior sources.
want to cover how to look good while
doing so. It is all well and good being able to act Train with weights
the part, but most of us want to look the part as The right training programme will increase
well. Whether you want big arms and chiselled strength, size and muscular endurance. Weight
abs, or just a bit more muscle tone and a flatter training is the most effective way to exercise for
stomach, read on for my most important tips for the optimal physique. Here’s why: weight training
getting in awesome shape. increases lean muscle, which speeds up the
metabolism and burns fat. It doesn’t need to be
Eat protein a case of adding 50lbs of muscle; a mere 2-4lbs
Increasing your protein intake will facilitate of extra muscle can make a profound difference
significant fat loss. Protein requires a lot of on metabolic rate and daily calorie expenditure.
energy to be broken down and digested. In fact, Unlike steady state cardiovascular training,
30 per cent of the calories you consume from such as walking or swimming, not only do we
protein will be burnt up just to digest it. The burn calories during weight training, but our
more you eat, the more you burn. Alongside metabolic rate is also raised for up to 48 hours
well structured exercise, eating protein will after a productive weights session, which means
facilitate lean muscle growth and speed up your you continue to burn fat while you rest. Most
metabolism – just 2.5kg more lean muscle will importantly, weight training promotes insulin a six-pack; they are most likely insulin sensitive.
mean you burn almost 1000kcals extra a week. sensitivity – this is the key to being lean. Think of Their body only needs to produce small amounts
The best protein sources are lean meats, fish a friend who eats loads of junk food but still has of the storage hormone insulin to deal with
blood sugar rises. This means the sugar is being
driven to the muscles and liver, rather than fat
cells. Weight training makes the insulin receptors
on the muscle more prepared to react to insulin,
meaning more energy and less fat storage.
Depending on your experience level, start
with a full body weights programme three or
four times a week for six weeks, like the one I
included in last month’s article. After six weeks,
progress to a two way split. For example, day one
would be upper body and day two lower body.
Do this four times a week for a further six weeks.
After that you have two choices, depending on
your goals. If you just want to maintain muscle,
stay on a two-way split but change the exercises
in your programme. If you want to build more
muscle, you could progress to a three-way split,
incorporating more volume per muscle group. An
example of a three-way split would be: day one
– legs and shoulders; day two – chest and back;
day three – arms and core. For more information
on programme planning, contact me: craig@
craigbartonpt.co.uk.
Adopt a modified
carbohydrate diet
This is my diet of choice, which I think is best for
all around physique and performance. Here is an
example of a diet plan for someone who works
out four days a week and wants to build muscle
and lose body fat at the same time:
Rest days
Sunday, Wednesday, Friday
– High protein (1.5g-2.5g per kg of body weight)
058-059 Fitness_Rev2AO.indd 58 08/09/2014 14:54

FEATURE
– Medium to high fat wild rice, gluten free oats, quinoa and berries
– Low carbohydrates (below 40g) Post workout: vitargo, maltodextrin, medium
– Low starch vegetables (avoiding root to high GI fruit – banana, mango, grapes,
vegetables), salad vegetables – tomatoes raisins and pineapple
and peppers On training days there is a higher demand
On rest days, carbohydrate intake would be for carbohydrates, the intake of which on
kept low – this allows for optimal fat loss and each training day should be highest around
ensures the person remains insulin sensitive. workout time. This should help recovery and
I believe insulin sensitivity to be the key to create an anabolic muscle building effect.
getting and staying lean. I also believe protein How much a person has will depend on
should be kept high every day; the average the individual’s tolerance of carbohydrates.
western diet is too low in protein. Fat intake The general rule is: the lower the body
can be higher on rest days. fat, the higher the individual can go with
carbohydrates on these days.
Training Days I think the modified carbohydrate diet
Monday, Tuesday, Thursday, Saturday works best for sustainable, achievable fat loss.
– High protein (1.75g-3g per kg of body weight) It is easy to live by and is quite fun to do. The
– Low to medium fat beauty is that the diet can be tailored towards
– Medium to high carbohydrates (150–400g) the individual, taking into account their goals
Throughout the day: sweet potato, brown or and lifestyle, as well as insulin sensitivity.
Craig Barton is an elite personal trainer in Lincoln,

Lincolnshire. Craig has an outstanding level of knowledge
in the areas of nutrition, body compositions and sports
injuries. A qualified Biosignature and FDN practitioner, he
has developed an enviable practice over eight years and
continues to invest in his own professional development.
Craig has helped many individuals achieve their weight, body
composition and performance goals, thereby improving their
health and wellbeing. Improving the quality of his clients’
lives is what drives him.
www.craigbartonpt.co.uk
[email protected]
@CraigBartonPT
Craig Barton PT (Facebook)
DISCLAIMER: Consult your GP before beginning any new health or exercise program. Drummer and CBPT accept
no liability or responsibility for any injuries or loss incurred.
058-059 Fitness_Rev2AO.indd 59 08/09/2014 14:54

Feature
Auditions
Musical directors John Jenkins and Joseph
Ross share their audition knowledge
Words: Gemma Hill & Dean Hendy Images: Thru-A-Lupe Photographic
T
his month’s audition experts are John drummer is the foundation that we all rely on scrambling around, looking at notes while
Jenkins (drums and MD for Example, Lily to drive us on that song journey. I look for how playing. Not a great look. The best are when
Allen) and Joseph Ross, MD and guitarist, they play a song – if they treat it with respect it feels natural and not forced. It really comes
who has worked with the cream of pop. Read on and don’t overcook it. I’m very big on song down to whether you click with the other
for what they look for in an audition situation… playing, so that’s what catches my ear more players musically and socially, which are equally
than chops. I like a story to be told in song by a important factors.”
Describe your role in the drummer. One of my favourites at that is Gareth
audition process when Brown (Paloma Faith), who just makes the kit How much of their own
working as MD for an artist talk and draws me in every time. Finally, I look at gear should drummers
or label their attitude and how they take instructions, or bring to auditions?
John Jenkins: “Typically, I begin by selecting how they play as part of a team. I’m very flexible JJ: “Unless stipulated, I’d say just your stick bag.
players that would best suit the position from as an MD, and will also allow the drummers I Cymbals or snare are a possibility, although it’s
my personal network of musicians. Often work with to have input – I don’t hire someone really good to see a player come in and own it on
recommendations also come from bands, crew if I don’t trust them musically. However, if I want someone else’s gear, out of their comfort zone.”
and management. Normally, five to 10 players the drummer to sound a certain way for the
are selected. The relevant material like MP3s or song’s sake, I would expect that to be carried Do you have any tips for
charts are sent out, the audition day is booked, out with a good attitude and no ego involved.” drummers who are trying
and candidates are generally given a 30-60 to get into working with
minute time slot.” What advice would you give bands or artists?
to people preparing for JJ: “Use agencies if you must, but really it’s all
What qualities make auditions? about getting out on the scene, gigging, getting
people stand out to you at JJ: “Internalise the songs as much as possible your name about and always striving to improve
auditions and are likely to so it’s more muscle memory than conscious yourself and your playing.”
make them successful? thought. You will naturally be more relaxed
JJ: “Confident playing with your own stamp this way. Be yourself and think positively. If it’s JR: “It’s important that their drum kit and
and flair, but keeping it simple is key – try not meant to be, it’s meant to be.” gear is of a certain standard, that they have a
to over play. Always take the time to say ‘hi’ to knowledge of using electronics and triggers,
band and crew. After all, these are the guys you What are the worst and and that they can play and sit with a click.
may be spending a lot of time with” best audition experiences Drummers have the most gear on stage now
you’ve witnessed? due to the nature of how arena and stadium
Joseph Ross: “Without doubt, groove, timing JJ: “I’ve never experienced anything that awful, tours are set-up with visuals, time codes and the
and feel are at the top of the list for me. The but I’ve definitely seen a few underprepared, like. It’s a must to have that knowledge now.”

061.indd 61 27/08/2014 16:50
feature
Festival
Jazz
International
De
De montrEal
A round up of this year’s Montreal Jazz experience
Words: Andy Hughes Images: Diane Moon
T
his year marked the 35th anniversary of section of the city centre is pedestrianised for
the Montreal Jazz Festival – 35 years of the duration of the festival, and almost all of the
growing in size and stature, and a total concerts are held in a series of theatres, clubs,
feast of music from all genres. Jazz provides and halls, including the newly opened Maison
the main contingent of musical output and Symphonique, which is an architectural hymn to
musicians, but there is always ample opportunity the pleasures of live music performance.
to sample sounds of a varied and interesting mix The highlight of the event for many was the
of styles. return of native son Michael Bublé, who brought Drum legend Ginger Baker’s Jazz Confusion
For any drum fan, the festival is an absolute his peerless band, underlined by the matchless played a blistering set, and although Ginger
treat – here the cream of drummers and drumming of Marion Felder. spent the evening underlining his indisputable
percussionists gather to impress and inspire the Their concerts were two of the few not to jazz credentials, there was enough of his rock
population of Montreal, who absolutely adore take place in the city centre – the sheer size of influence to be admired by anyone who wants to
their live music – but more of that shortly. the audience meant a de-camp to an ice-hockey see where modern rock drumming originated.
As a city, Montreal extends its French Canadian stadium on the outskirts. The pinnacle of pure jazz drumming was
welcome to tourists from all over the world. The In the centre of Montreal the venues are once again shown by the legendary Brian Blade,
people are warm and friendly, always switching diverse, from the intimate night club vibe who played with the Wayne Shorter Quartet.
effortlessly from their native French to perfect of Club Soda, to the larger and more formal Anyone who plays drums should make sure that
English for the benefit of monoglots. A large arenas like the Théâtre Maisonneuve. The they don’t limit their education by observing
musicians are equally as varied – blues siren only those players whose music is a similar style
Beth Hart tore up Club Soda with her raw vocal to their own. Stepping out into the rarefied
power and warm personal grace, aided by her worlds of pure jazz, as well as pop, country,
drummer Bill Ransom. One of the magnificent reggae, dancehall, and rap can only enhance
theatre venues hosted jazz star Diane Reeves, your abilities as you see how musicians from
who brought Terreon Gully (Lauryn Hill’s other musical areas ply their trade. Drummer
drummer of choice) to man the engine room of was reminded once again this year of the sheer
her superlative jazz band. volume and variety of musical and drumming
The converted cinema Metropolis, right in the styles and disciplines that are out there.
city centre, hosted reggae legends Sly Dunbar The history of the festival shows an intriguing
and Robbie Shakespeare, and Sly was every bit development, as the event has grown in size and
as powerful and charismatic a player as anyone stature, so the original jazz remit has extended
dreamed he would be. to include a vast variety of musical and cultural
062-063 Montreal_Rev2_NR.indd 62 08/09/2014 14:53

feature
as wide a mix of music as you would find at home), and jazz legend and Canadian native
festivals like Glastonbury. Diana Krall, who brought her Glad Rag Doll show
You can see and hear everything from break- home for an airing. Krall was joined on stage by
dancers with ghetto blasters to trad jazz bands her husband Declan McManus, who also played
and circus acrobats. Drummer was delighted a stupendous solo show at the festival as his alter
to note that the percussionist street performer ego, Elvis Costello.
who bashes and rattles a variety of tin cans and There is no doubt that the Montreal Jazz Festival
buckets for the delight of the passing public has arrived at the peak of international festivals, and
was still about – even though his technical skill the success and diversity of this year’s output can
has not improved one iota, his enthusiasm and only increase the prestige for musicians who arrive
volume of output remain reassuringly intact! to play during its 12-day duration.
Every night there is a jazz band playing live A varied and exciting musical experience, the
and free in the city centre on a large outdoor memory of this prestigious year in the Montreal
styles. The festival originated when the organisers stage. Some of the biggest performers provide Jazz Festival, and the pleasure of mixing with
saw the potential of the large number of potential free shows in the Scene TD arena, an open-air the Montreal people, will keep Drummer going
music venues, theatres, clubs and so on, left space that contains thousands of seats on a through the dark days (although nowhere near as
largely empty during the summer months. Since first-come, first-served basis. This being Montreal, cold as Montreal) of winter, and looking forward
other promoters had cornered the market in terms there is not a hint of trouble; no raised voices to year 36 and the potential for an even greater
of rock and pop shows, the alternative of a jazz and certainly no pushing and shoving – every range of drummers and percussionists to see and
festival turned out to be a stroke of genius – as the show is a model of co-operation and enjoyment hear – until 2015, au revoir Montreal.
following 35 years have shown. for audiences and artists alike. This year saw Drummer extends grateful thanks to M.
Now Montreal welcomes a massive influx of free shows from cutting edge video director Andre Meynard, and to Vincent Lefebvre, Ann
tourists from around the world, who come to and musical groundbreaking French performer Braithwaite and all their colleagues for their kind
enjoy the unique opportunities to see and hear Woodkid (Yoann Lemoine to the folks back assistance and hospitality at the Festival.
062-063 Montreal_Rev2_NR.indd 63 08/09/2014 14:53

The upbeats, the downbeats and everything in between
66 Evans Heavyweight heads
68 Alesis DM10X Kit Mesh
Pricing: We quote RRP prices in all our reviews, but we recommend that you shop around and visit your local drum retailer for best ‘street’ prices on all products featured
064-065 Gear Leader_Rev2_NR.indd 64 28/08/2014 16:31

72 Stagg Sensa series
76 Mapex Mars kit
064-065 Gear Leader_Rev2_NR.indd 65 28/08/2014 16:32

GEAR REVIEW
SPECIFICATIONS
Heads Up
Evans EMAD Heavyweight Heads
Price
Kick drum heads from 18”-26”: £45-£57
Snare drum heads from 12”-14”: £18.49-£20
EVANS
Contact
New super-durable, easy-to- D’Addario UK Ltd
tune heads 0191 300 3000
www.evansdrumheads.com
Words: John Griffin Images: Thru-A-Lupe Photographic
HEAVYWEIGHT HEADS
U
nleashed at this year’s Winter NAMM film, with the addition of a 3mm centered reverse I put each drum to the test with ported and
Show, these heavyweight kick and snare dot on the snare heads. That’s a whopping 20 and un-ported front heads. Overall, I was pleasantly
head batters are billed as the most 23mm ply respectively – pretty darn thick! surprised on how well they performed under
durable Evans drum heads yet. I couldn’t wait to both combinations, especially the 24”. The 18”
get started with my array of kick drums and snares IN USE gave less pleasing results, though this was
lined up and raring to go. Beginning with the snares, I fitted the 13” to a probably was to be expected on a drum that’s
6” deep wood drum and the 14” to a 5” deep more suited to jazz at higher tensions. The 22”
IN DETAIL metal drum. Firstly, I noticed how the heads sat and 20” stepped up to the mark admirably.
For review we had 13” and 14” Heavyweight snare perfectly flat against the bearing edges with Being so thick, I was concerned there would be
batters and 18”, 20” 22” and 24” Heavyweight absolute 100 per cent contact. This is a result no feel or much projection out front, but I got
Externally Mounted Adjustable Dampening of the Level 360 Technology I referred to earlier a really deep bottom end punch with plenty of
(EMAD) kick drum batters. All but the 24” featured – according to Evans this ensures a better fit, attack from all but the 18”.
the new Evans Level 360 Technology (more on this easier tuning, and a wider tonal range. The 13” I found that tuning each drum one key turn
later). All heads consisted of two 10 mm-plies of sounded really good in no time. Cranked right above the wrinkles produced the optimum
up, the drum is responsive, lively, and warm tensioning. The beater had a solid, responsive
sounding. However, I did not find that the case feel when striking the head. There was no
with the 14”, which took quite a while to get a need for any additional internal dampening for
desired sound out of the drum. Tuned up, the live playing, though in the studio this may be
drum became easily choked and tuned too different, with a little experimenting required.
low, it lost the sensitivity a snare should have.
Eventually I managed to find a happy medium I CONCLUSION
was pleased with. Evans has come up with a fantastic addition to
Moving on to the EMAD kick drum heads. their range of kick drum and snare heads here,
The EMAD technology has been around for incorporating the new Level 360 Technology,
some time, featuring an outer sleeve in which which is brilliant.
you insert one of two foam-dampening rings of Being heavyweight, they may not appeal
differing widths, depending on your preference. to everyone’s tastes but I would recommend
On first inspection, all the heads were well checking them out. One thing is for sure – they
engineered and noticeably dead to the touch, as are going to be durable, which should be a
you would expect from 20mm of ply. bonus for the hard hitters.0

067.indd 67 27/08/2014 13:17
GEAR REVIEW
Alesis DM10X
Kit Mesh
Alesis’ six-piece electronic drum kit with mesh drum heads
Words: Hannah Butler Images: Thru-A-Lupe Photographic
E
lectric kits are a brilliant example of a sturdy frame for the kit. The kit comes with
how technology is a massive part of our the DM10 sound module, which includes 12
lives. Gone are the days of frustrated trigger inputs for customising your kit, over
neighbours complaining about the noise of 1,000 samples, USB connection and a handy
acoustic kits. Some people are still a little connection for an iPad. The main feature that
dubious about e-kits as they believe the feel sets this apart from the DM10X Kit are the
of an acoustic kit is hard to recreate, however black mesh heads, which have four points
companies such as Alesis, Yamaha and Roland of sensitivity on each head and give better
have been striving to perfect this. I had the response and dynamic playability.
privilege of reviewing a new six-piece Alesis kit
with new added mesh heads, and what a kit In Use
this is! The first thing to point out would be that this
kit was not all that easy to set up. Instructions
In Detail were given on the sound module, however not
This kit boasts two 10” and two 12” toms, a 12” on the actual kit itself. For drummers already
snare and a four-piece cymbal set: 12” hi-hats, accustomed to electric kits I’m sure this isn’t a
two 14” crashes and a 16” ride, all of which are problem, but for a novice this may be a slight
connected to a heavy-duty chrome X Rack issue. Due to the big sizes, it takes a little while
that provides many angles for the drums and to find the correct angles for each drum but
068+070-071 Alesis_Rev2_NR.indd 68 28/08/2014 16:39

069.indd 69 27/08/2014 16:31
GEAR REVIEW
once set up this kit looks incredible. headphones. There are 99 kits and sounds on
When playing, this kit really comes to life with the module to choose from (more can be added
realistic sounds and amazing sensitivity. Where via USB), many of which add another dimension
ghost notes had previously become a blur of to playing by adding electronic sounds to the
accents or disappeared completely, these mesh bass and snare triggers. Dynamic articulation
heads are perfect dynamically and feel natural is a big feature – this means each sound is a
too. The snare gives a great rim shot and not a series of different samples. The sound not only
bad rim click. Acoustically, the sound is quite changes in volume from how you play the pad,
loud and seems to have a tone to each drum. it also changes its timbre as a natural drum or
The kick drum is deceptively quiet though, cymbal would.
which is a massive plus for people living in
shared accommodation. The hi-hat comes with Conclusion
a pad and a foot trigger, rather than a stand, It’s almost impossible for an electric kit to
which is a little disappointing considering the give the same feel of an acoustic kit, however
high quality of the rest of the kit, but this hardly the DM10 X Mesh Kit comes incredibly close.
outweighs the plus points of this kit. A personal For £859.99 you can have a kit that has the
highlight for me is the snare, which comes with sensitivity and feel of an acoustic kit that would
a separate stand – this is very welcome after easily give most Roland and Yamaha kits a run
years of struggling with snare positions. for their money. Overall, I think this is a great
The module itself is slick and easy to use, value professional kit, with superb sounds and
with a handy volume mixer on the left, along a definite example of how technology can be a
with a volume control for main output and blessing when used correctly. 0
“When playing, this

kit really comes to
life with realistic
sounds and
amazing
sensitivity”

Alesis DM10X Kit Mesh
specifications
Heads Up
Alesis DM10X Kit Mesh
Price
£859.99
Contact
Alesis
01252 896000
www.alesis.com

GEAR REVIEW
Stagg Sensa
Series cymbals
The latest range from Stagg, with new effect cymbals
Words: Ollie Tanner Images: Thru-A-Lupe Photographic
S
tagg’s new Sensa cymbals are described tone when pedalled with the foot. The stick
as ‘an ideal all-round series for drummers definition is quiet in comparison with the
specifications
searching for cymbals with flexibility and bright, modern sound heard nowadays. Heads Up
variation of tone’ and their new effect cymbals Stagg Sensa series cymbals
promise to bring a modern, trashy sound to 13” Sensa Medium Hi-hats
the range. Similar sounding to the 14” model, but with Price
Drummer has a range of 10 cymbals to a slightly brighter stick definition, which is to 13” Sensa Medium Hi-hats – £152
review, so we’d better get started… be expected with 13” hats. These are a dark 14” Sensa Medium Hi-hats – £192
sounding pair of hi-hats that sound great when
12” Sensa Medium Splash – £44.10
14” Sensa Medium Hi-hats played slightly open and pedalled with the foot.
14” Sensa Medium Crash – £58.30
These hi-hats look great and have a warm
16” Sensa Medium Crash – £90.30
traditional sound. They give a deep, warm 12” Sensa Medium Splash
This has a brilliant finish with a warm, trashy tone 18” Sensa Medium Crash Ride – £126
that sounds great and cuts through well. 20” Sensa Medium Sweet Ride – £182
8” and 14” Sensa Sizzle Stack – £94.10
14” Sensa Medium 10” and 16” Sense Sizzle Stack – £141
Crash 18” Sensa China Sizzle – £168
A dark sounding crash with hints
of brightness to it. This has some Also available, but not reviewed:
great sustain for a 14” crash and it 10” Sensa Medium Splash – £36.70
really cuts through. The medium
8” Sensa Medium Splash – £28.50
weight of the cymbal gives it an
almost trashy sound.
Contact
16” Sensa Medium Stagg Music
Crash www.facebook.com/StaggMusic
This crash has tonal similarities to the 14” www.staggmusic.com
072+074-075 Sensa_Rev3_NR.indd 72 27/08/2014 20:42

073.indd 73 28/08/2014 16:01
GEAR REVIEW
“With a deeper
trashy feel than
the 8” and 14”, we
love this 10”
and 16” stack!”
crash, however we felt that it had a metallic,
heavy sound, putting it more into a crash/ride
category.
18” Sensa Medium Crash Ride

Crash rides can be dubious, however, this gave
fantastic stick definition and had a very warm,
washy, jazz feel to it. It has a deep, dark crash
effect but we would use it more as a ride than
a crash, as the weight gives it a heavy sound. It
has a lovely finish and sounds more crash-like
when using the bell. Great sustain, overall.
20” Sensa Medium Sweet Ride

We loved the stick definition of this tidy ride,
which is really clear and balanced, making it
a great ride for a jazz set-up. The bell doesn’t
quite cut the mustard, but the sound of the
ride more than makes up for it.
8” and 14” Sensa Sizzle Stack

The sizzle element of this combo comes from
the china with its eight rivets, which alone sound
really good, as does the 8” Medium Splash. When
used together it produces a very bright, trashy
sound that has high definition and lots of punch.
10” and 16” SensA Sizzle Stack

With a deeper trashy feel than the 8” and
14”, we love this stack! This is a great effects
addition to the Sensa range – it really cuts
through the music, giving a modern, cool feel.
18” Sensa China sizzle

This china also has the rivets built in to give it a
sizzle sound, but has a classic, deep, dark china
feel to it. It cuts through like it should and the
sizzle gives it a trashy sustain.
Conclusion
Stagg has been known in the past to make
cymbals where the low price was the unique
selling point. However, this new Sensa range
is different. Complete with a new logo, the
brilliant finish on all the cymbals gives them
a really high-end look and feel. The sound is
also really good – maybe an 18” medium crash
would be better than just a crash ride, but
nevertheless the series is really impressive. For
us, it’s the Efx sizzle stack range that makes
this Sensa series stand out to be re-engaging
and re-shaping Stagg. The price range is still
cheaper then the other big guns out there, too.
Well done, Stagg. 0
072+074-075 Sensa_Rev3_NR.indd 74 08/09/2014 14:52

Stagg Sensa Series cymbals
072+074-075 Sensa_Rev3_NR.indd 75 08/09/2014 14:52

GEAR REVIEW
“The kit looks impressive – a

genuine rock god’s temple,
ready to be attacked by the next
Dave Grohl. As a consequence, I
couldn’t wait to hit it!”
076-078 Mapex_Rev3_NR.indd 76 08/09/2014 14:52

Mapex Mars kit
Press here
for extra
digital content
Mapex specifications
Heads Up
Mapex Mars kit
Mars kit
Price
Mars Mapex kit SRP £539
Hardware pack SRP £269
Contact
Korg UK
100 per cent birch, shallow-depth shells 01908 304600
with new SONIClear bearing edges www.mapex.co.uk
Words: Jamie Dawson Images: Thru-A-Lupe Photographic
F
or drummers looking to stretch their the SONIClear is that by shaping the edge of the
budgets, several drum companies provide shell more inline with the skin, the bearing edge
a professional sounding option in the form allows the drumhead to sit flatter and make better
of birch shelled kits. The birch provides a slightly contact with the shell.
drier sound compared to other woods, which
means drummers operating on any budget have In Detail
been sonically attracted to birch. When it comes to Drummer has been sent the Mars Series Retro-
committing our grooves to tape, copious amounts fusion shell pack, which features a one up and
of recording engineers also swear by birch drums two down configuration. In my view, this is a huge
in the studio. Drumming household name Mapex plus for Mapex, as the option allows for younger
is no exception. Mapex’s latest birch addition, the drummers, and drummers looking to upgrade
Mars Series – released at winter NAMM to replace their kit, to do this without blowing the bank. This
the Horizon HZB birch – offers 100 per cent birch has the added bonus of being able to replicate
shallow depth shells with the new SONIClear the look of many A-list names playing on the
bearing edge, which boasts better tuning for big stages. With this kit you can have a full set,
higher highs and lower lows. The thinking behind including snare drum and hardware. We have the
076-078 Mapex_Rev3_NR.indd 77 08/09/2014 14:52

GEAR REVIEW
textured bloodwood wrap finish, which looks and

feels pretty nifty.
Assembling and tuning the kit, I did find a
good tone quite quickly, which I imagine
is (in part, at least) due to the bearing
edge. This five-piece shell pack includes
a 12”x8” mounted rack tom, 14”x12” and
16”x14” floor toms, a 14”x6.5” snare drum
and a 22”x18” kick. All five drums are
constructed with six-ply shells. The kit
looks impressive – a genuine rock god’s
temple, ready to be attacked by the next
Dave Grohl. As a consequence, I really
want to hit this thing!
In Use
Thumping the un-drilled kick drum (which I must
admit I’ve put a Sonitus Kicker dampening pillow
in) I almost fell off my stool. It sounds weighty
with a full, rounded tone and an obliging fast
attack – not what I’d expect from this price range Stepping down a few turns, it’s more than useable
of kit. Moving up to the rack tom, we find a mount and by far, head and shoulders above other snares
in the spirit of the top end Saturn series. Again priced at this kind of level. It’s quite lively – lay into
we have a fast, precise response, and the tell tale it with a rimshot and you’ll be happy you did. A
signs we’re playing birch: a high/mid tone with word of warning though: go down a step too far
a fast decay. With the slightly more dampened and it sounds like a plastic bag filled with a few
overtone it definitely wouldn’t be out of place on angry wasps.
a Queens of the Stone Age opus. The two floor
toms are well matched and tunefully balanced, Conclusion
too. All the drums seem to be holding their tuning, Overall, the snare is a winner too, as part of the
which is no small feat after a good couple of hours bags of gear you get for your bucks with this
hard playing. It’s good to see a full complement of kit. These 100 per cent birch drums have both
Remo branded, single ply clear heads just to shove a professional sound and look, with a double-
you in the right direction. take price tag. The toms give a pleasurable ‘here
Next to the snare drum, the all important comes the bride’ tone and the kick drum gives
backbeat provider. To hold and look the drum enough low end thwack to cause an old-school
over, it doesn’t appear to be all that: a budget headmaster to smile. With top notch drum
throw, no weight to speak of and only eight lugs. engineering and the full armoury of Mapex’s 600
Playing it provides a satisfactory return, however. I series hardware, including kick pedal, hi-hat pedal,
found it easy to tune: crank it way up and you get two boom stands and a snare stand, this has got
those sometimes overbearing, ringy overtones. to be an amazing deal in anyone’s book. 0
076-078 Mapex_Rev3_NR.indd 78 08/09/2014 14:52

079.indd 79 27/08/2014 17:37
Feature
Stolen Instruments
Tips for keeping your gear safe
I
nstrument theft is an issue for all for Do not assume that everyone backstage is pawn and music shops. Give them a copy of
musicians. Iggy Pop and Noah and the Whale supposed to be there. Lock your gear in a room your photographs, description and contact
have had gear stolen, as has violinist Min-Jin or take turns watching over it. Do not be blasé details. Keep an eye on eBay, Gumtree and
Kym who had her £1.2 million Stradivarius about your instrument – your livelihood – in Craigslist for suspiciously similar instruments.
swiped at a railway station. So how can you familiar surroundings. Harness the strong community of musicians.
protect your gear? Tell your friends, colleagues and post details on
Act fast the MU pinboard.
Be prepared Becoming a victim of theft can leave you Spread the word on social networks: the
Keep a short description of your instrument and dumbfounded but you need to act quickly as more musicians on the lookout the better, and
equipment – include the make, model and serial instruments often reappear for sale within 48 the moral support you’ll receive will help keep
number. Store it separately. hours. Report the theft to the police and your you going through this difficult time.
Make it easier for police to identify your gear insurer. MU members are entitled to £2,000 of Simple steps can make all the difference
by taking detailed photos of it from every angle. free insurance (hencilla.co.uk). finding stolen instruments. For more ideas,
Focus on unusual details that make it stand out. Instrument thieves often have no idea what £2000 instrument/equipment insurance
Use a plain backdrop and rulers to show the size. their treasure is worth and will head straight to details, or any other questions regarding your
You may not like the idea of tagging your second-hand dealers to sell them for a fraction career as a musician, get in touch with us at
prized possessions with an UV pen, but it could of their value. Check in with local thrift stores, theMU.org
prove worthwhile and is recommended by the
police. One musician famously customised
The Musicians’ Union has been protecting the rights and interests of
three of his violins in the colours of Aston Villa.
working musicians for over a hundred years, and 30,000 professional and
When the £26,000 violins were stolen, they were
student musicians currently benefit from the MU’s comprehensive range
quickly spotted on an auction site, where they
of services. These include career and business advice, rights protection,
sold for £20 each.
free instrument insurance, free contract and partnership advice, £10
million public liability cover, legal advice and assistance plus access to a
Check it, cover it, lock it network of musicians of all ages across the UK. For anyone serious about
Over the years, the Union has received reports
being a working musician, whether in the live arena, in the recording
of instruments being stolen from every possible
world, as a teacher or writer/composer, the MU gives musicians a voice – individually and collectively
location. Double check you have locked your
– to help nurture and improve the industry and to ensure that every member has the support and
car or van, that your equipment is hidden from
protection they need.
view, and that there is suitable security at the
More info: www.theMU.org. Follow the MU on Twitter: @WeAreTheMU.
venue when on the road.
052 MU_Rev3AO.indd 80 28/08/2014 10:20

081.indd 81 28/08/2014 14:55
level level level
Beginner Intermediate Advanced
Contents
83 Ralph Salmins
In The Studio
84 Jamie Smale
Let’s Meditate, Man
83 Ralph 84 Jamie 85 Dean
85 Dean Hendy Salmins Smale Hendy
Kick Drum 101 – Part VII Ralph is a London-based drummer Jamie is a percussion and general Dean is an in-demand professional
and percussionist, currently a music and diploma examiner for Trinity session player and clinician, performing
86 Steve Timms member of the Waterboys.

He toured the world and recorded
College London. He also freelances
at the Graz Opera and with Ensemble
with artists such as Jason Donovan and
for West End shows. Dean also teaches
Beginners’ Latin – Part III in Van Morrison’s band from 1995-1999 Zeitfluss, and is the director of Music in his native Lincoln, as well as providing
and has played on the soundtracks to Academy Smale. Jamie received a workshops and demonstrations.
87 Philippe over 150 movies, including films in the distinction for his postgraduate diploma Dean is very proud to endorse Gatton
Castermane Harry Potter franchise.

He teaches at The Royal College
from Trinity College of Music and has
taught at Dartington College of Arts and
Drum Company, Zildjian Cymbals, Evans
Heads, Vater Sticks, Protection Racket,
Jazz Vocabulary of Music and The Guildhall School of Channings Wood Prison. Hardcase and Stageworks Gear.
Music and Drama. www.musicacademysmale.com www.deanhendy.com
88 James Hester
The Rhythm Section – Part II
89 Ethan Lewis
Maltby
Boddicker – Part III
86 Steve 87 Philippe 88 James
90 Hannes Timms Castermane Hester
Steve’s passion is to provide and Since moving to London in 2001, James has been working with artists as
Grossman promote top quality education for Philippe has been involved in many diverse as Malachai and Geoff Barrow
Tech Metal Drumming – drummers, working with students at sessions for TV (including BBC and (Portishead) through to Pitchshifter’s
Part I the Back 2 the Beat Drum Academies Channel 4), albums and videos. He Mark Clayden. Current projects: Cars on
that run throughout Essex. One of has worked with Dave Meegan (U2), Fire and a studio project with Damon
91 Pete Lockett Steve’s students won Young Drummer

Of The Year 2007 and in all the years
Phil Vinall (Placebo) and Jay Stapley
(Roger Waters, Mike Oldfield) to
Minchella (Ocean Colour Scene/Paul
Weller) and Kieron Pepper (Prodigy). He
Rhythmic Contours – Part II he has been putting students through name a few. He is the deputy head is also head of drums at BIMM Bristol. He
the Trinity/Guildhall exams he’s never of Drums at Tech Music School. endorses Mapex, Paiste, Vic Firth, Remo
92 Steve Rooney had a fail. Philippe proudly endorses Murat and Protection Racket.
Sticking To Time – Part IX www.back2thebeat.co.uk Diril cymbals. www.jameshester.co.uk
89 Ethan Lewis 90 Hannes 91 Pete 92 Steve

Maltby Grossman Lockett Rooney
Ethan Lewis Maltby is a British Hannes Grossmann is a drummer, Pete is a versatile multi-percussionist Steve has been playing drums for 26
composer who specialises in writing for producer and clinician from immersing himself in percussion styles years, in which time he has recorded
theatre. His first percussion show, Noise Germany. He has played for a from around the globe. Diverse artists at top studios, toured internationally
Ensemble, toured the world between number of metal bands in his career, have called upon his skills; Björk, Peter and taught extensively.
2006 and 2010. He has written pieces released his own solo album, and has Gabriel, Robert Plant, Bill Bruford, Jeff He became a well-known hard
for large events, including the opening published an instructional book and Beck, Zakir Hussain, Steve Smith, Jarvis rock/metal player through the 2000s
ceremonies of four FA Cup Finals, UEFA DVD on metal drumming techniques. Cocker, and more. Pete has released touring with such bands as Kill II This,
Europa League Final, UEFA Women’s He is endorsed by Meinl cymbals, seven albums and his new book Indian Profane and Happylife.
Champions League Final and the Tama drums, Evans drum heads and Rhythms For The Drum Set is available He now spends his days as a
Heineken Cup Final. Pro-Mark sticks. from Hudson Music. versatile pop/rock drummer, tutor
www.ethanlewismaltby.com. www.hannesgrossmann.com www.petelockett.com and session player.
082 Tuition leader_Rev2.indd 82 28/08/2014 16:37

Guest tuition PaGe
level
“Think about what music you are playing and make
sure everything you play is appropriate to the style” Beginner
Ralph Salmins
In The Studio
UK session great Ralph Salmins kicks off our new guest tuition page with tips to get you fit for the studio
Images: Ralph Salmins and Richard Ecclestone
S
tudio playing is often considered a ‘black
art’ and is shrouded in mystery – how to
tune, how to play, what to do. Nowadays,
recording is something we all get to do sooner
or later and, if you’re prepared for it, it’s possible
to really enjoy the experience. I thought it
would be great to share some of my experiences
in the studio so when you get in there yourself,
you will be relaxed, ready to play the music and
your gear will be match fit.
clIcKs
98 per cent of all recording that I have done is
recorded to a click track or sequencer, so the
first thing you’ll need to do is practise with a
click. I recommend doing all practice with a
click, which will be good for you too. I play all
styles with a metronome, including jazz, so try
to do the same and yes, it is possible to swing
with a click.
PlaY-alonGs
I love play-alongs and they are a very realistic Ralph uses tape on his drums to help muffle the sound in the studio

Guest Tuition Page
Gear
When a set of high quality microphones go on
your drums, you have to make sure the drums
are sounding just how you like them to sound. If
necessary, set up your drums at home and prep
them for the session so you’re not under any
pressure to get it right on the day.
Heads are critical. I use new, or almost new,
heads for all recording and this is probably the
most important factor in the process of getting a
sound. Remo Ambassadors on your snare and toms
and a Remo Powerstroke 3 on the kick drum is a
very good starting point. I often choose a Coated
Emperor on the floor tom for a bit more bottom
end and less flapping around.
Hardware must be free of squeaks and rattles
(which often happen on cymbals when playing
a suspended cymbal roll with mallets). Kick drum
pedals need to be smooth. Think about what kick
drum beater you like and what sound it will achieve.
I usually like a felt beater for maximum ‘thud’
without being too soft or too hard – I don’t use the
adhesive pads on the kick drum head. Cymbals can
generally be darker if you like, as we’re not going for
volume but tonal quality. I like darker cymbals all-
round anyhow, but a rule of thumb is: think sound,
High-quality mics are needed to record high-quality sounding drums not volume.
Styles People
Think about what music you are playing and And finally, don’t forget that it’s all about the guys
make sure everything you play is appropriate and gals on the session. Have a great, positive
to the style. Always start with a simple but attitude and try to help the band get the result they
really good groove. Try to play things you need on the day. Have a good rapport with the
are used to; don’t use a recording to try new engineer – he is going to try to make you sound
things. Stick to what you’re comfortable with, good. If he asks for stuff to be changed, such as
as that will sound the best. When recording, tuning or muffling, try to oblige. Remember, he is
there is only so much space available in the your ears in the control room. Last but not least,
sonic spectrum and if you play stuff that gets once you’ve got this together and are ready to rock:
in the way of the music, the mix engineer will have fun!
have to turn it down or edit it out. Choose
way of getting an authentic studio experience your moment for fills and listen to the vocals
without the pressure. My favourite is Tommy so you’re not clashing with what the singer is
Igoe’s Groove Essentials, but I also love the jazz doing. Try to mesh with the music: bass drum
tracks that come with The Art Of Playing With goes with the bass, hi-hats go with the guitar
Brushes DVD, and Peter Erskine’s apps are really and the snare is right down the middle holding
good. I would also recommend the Session the groove together.
Band series of apps, as these have loads of
tracks in different styles that make ideal play- Sound
alongs with changeable tempos. Sound is our identity and it’s important. Think
about what sound you need for the track and
Record Yourself get it. Snare pitch is always something that
A lot of my teaching involves recording the I think about on sessions. I’m a medium-low
student and listening back – it’s a bit like snare pitch kind of guy and a fat-sounding
going into the bathroom and looking in the snare drum is very satisfying on a recording – it
mirror. This gets great results, so if you’re able packs a punch, giving the track a great feel.
to record yourself to the play-alongs and/or Try it. Muffling is also important and is used
click, this will be the very best preparation you frequently in the studio – you will often see me
can do for getting into the studio. A couple of using several Moongels on a snare drum, as
microphones and an interface with preamps will well as small pieces of gaffer tape.
do, and these can be picked up fairly cheaply Try putting your ear right next to the drum
nowadays. Take your time and try to get a take and playing it lightly – this is what the drum
that feels and sounds convincing. That means will sound like when a microphone is close to
playing very tightly to the click and choosing it. It will pick up rings and tones that you may
the correct feel and fills to play. Remember to not hear from a distance. Use muffling in the
keep it simple. kick drum and toms too, if necessary.

TUITION
“A fantastic way to practise when you’re on a level

train, in a car (when someone else is driving), or
anywhere else when you don’t have access to a kit. Beginner
Jamie Smale
Let’s Meditate, Man PRESS HERE

FOR EXTRA
Getting to the heart of a groove with focus DIGITAL CONTENT
H
ello and greetings from Goa, India. Turn off
your smart phone now, please. Meditation just
means focusing on one thing, and forgetting
everything else in the world. What I am going to show
you is a fantastic way to practise when you’re on a train,
in a car (when someone else is driving), or anywhere
else when you don’t have access to a kit.
I want you to get comfortable, close your eyes
and breathe in to the count of three with your
nose, then out to the count of three with your open
mouth so that you can hear your breath. Repeat
this 10 times, focusing all your thoughts and energy
just on the number you are counting. Try and feel
the weight of your feet on the floor and listen to
the sound of your breath.
Continuing the same breathing rhythm without
counting now, look at the following groove and take
your time memorising it.
EXAMPLE 1
Imagine the deep, dull thud of the kick as you continue
breathing. Now, imagine the short, sharp and metallic Meditation could allow you to practise the drums when you don’t have access to a kit
sound of the snare. And finally, the crisp, neat click of
the hi-hat.
Try and feel the quarter note pulse and nod your
head gently on those beats. Now imagine playing the
groove, breathing in on the first kick beat and breathing
out on the hi-hat beat. Repeat many times. Try and
focus on exactly how it would sound if you were sitting
at your kit. Now go to a kit and play it. Congratulations,
you have got right to the heart of this groove.
This is not only really productive practice, but will
give you a much deeper understanding of the grooves
you play. As you get used to it, you can increase the
number of bars you are memorising and you can
decide on the exact sound you want before you even
get to a kit.
If you are feeling nervous before a gig, or have
loads of thoughts going through your head before
a practice session, use the breathing pattern and
repeat 36 times. Focus on clearing your mind of all the
clutter. Focus on just one thing, whether it be a stick,
or a lug, or anything.
This method will work best in a peaceful
environment where there are lots of trees and birds
singing. This way you also get to fill your lungs with
lovely fresh air. Peace, man! To see Jamie Smale’s accompanying video, download the digital version of this magazine
Trinity College London is a leading external examinations board offering qualifications for a range of instruments including
Drum Kit. Our Drum Kit exams (Grades 1-8) are designed to develop accomplished drum kit players, both musically and
stylistically. The syllabus explores a wealth of different styles through a range of specially commissioned repertoire by leading
drum kit performers and educators, available in a series of Drum Kit repertoire books with playalong CDs.
A brand new range of qualifications and song books for Rock & Pop Drums are also available now, with songs by a range of artists including Elbow, Green Day
and the Rolling Stones. www.trinitycollege.co.uk
085 Tuition Smale_Rev3_NR.indd 85 08/09/2014 14:50

TUITION
“When you play with your heel up, you can achieve level
a lot more force with each stroke, which allows you
to get the most volume out of your kick drum” Beginner
Dean Hendy
Kick Drum 101 – Part VII

Heel-up technique explained
T
his month we are looking at the heel up technique of playing.
Heel-up is a more common way to play these days and preferred
by many players, but why?
When you play with your heel up, you can achieve a lot more force
with each stroke, which allows you to get the most volume out of your
kick drum and make it sound punchy. This technique is used in many
genres and is ideal for making sure your kick drum is right at the front of
the mix.
Positioning of the foot is key to getting good action from the pedal
with heel-up. You are connecting the ball of your foot to the plate, which
is where the connection point comes from.
To get the most out of your pedal positioning is key, as you are looking for
a balance point on the footboard of the pedal. This is like balancing a stick
on your finger; too much either way and it will fall off your finger. You are
looking for that point of contact on your pedal board.
Most heel-up players will force the leg, almost stomping down on the
pedal, but the main thing is to have control of the pedal
at all times, even when the beater is off the skin.
After playing a stroke, you are likely to find
that your beater is pressed into the skin of
your bass drum. Whereas with the heel down
techniques you lift your beater off the surface of
the skin to let it resonate and open up, with heel
down the beater will bury into the head and stop
any sort of vibration, which chokes the sound.
There are a few different techniques for heel-up, which we will talk Here are a few exercises to work on that heel-
through, as well as positioning, but let’s take it back to basics first. up technique:
EX 1 EX 2
EX 3 EX 4
Next month we are going to be looking at more pedal techniques
Dean is an in-demand professional session player and clinician with countless musicals, theatre shows, orchestral concerts and
thousands of gigs to his name. Regularly performing with artists as diverse as Jason Donovan and for West End shows, Dean
also teaches in his native Lincoln as well as providing workshops and demonstrations at drum events up and down the country.
Dean proudly endorses Gatton Drum Company, Zildjian Cymbals, Evans Heads, Vater Sticks, Protection Racket, Hardcase, Stageworks Gear, Mapex Hardware,
Drumtuna and Direct Isolation Headphones. www.deanhendy.com
086 Hendy_rev4AO.indd 86 28/08/2014 16:35

TUITION
“The mambo, like most Latin rhythms, is level

traditionally played by a group of percussionists,
but can also be adapted for the drum kit” Beginner
Steve Timms
Beginners’ Latin – Part III

It’s mambo time
In part three of this study we are going to put together a pattern based on venture into the world of Latin drumming you will find several ways in which
a mambo. The mambo, like most Latin rhythms, is traditionally played by you might play a mambo on the kit, but this is a good start for those of you
a group of percussionists, but can also be adapted for the drum kit. As you that have not yet gone down this road.
Example 1
We begin with the sticking and how the rhythm fits across the bars. It is important to count all of the eighth notes evenly as you play to make sure that the
quarter note at the beginning and the eighth-note rest are given their correct time value.
Example 2
The kick drum and hi-hat are now playing alternately on the quarter notes throughout both bars. This fills the gaps left by the hands on the eighth-note rest.
Example 3
Having put the pattern together, it is time to start moving the left hand around the kit. The first snare of each bar is now played as a rim click and the second
snare of each bar is alternated between the high tom and floor tom.
Example 4
To finish off, we have an example of how we can use the same sticking and rhythm to create a fill.
If you have any questions or comments you can contact me at [email protected].
Our aim at the Back 2 the Beat Drum Academies is to provide people of all ages and abilities the opportunity to develop their musical
skills and explore their own playing potential. During the course each student will participate in practical classes where they will cover
drum techniques, rudiments, co-ordination, drum notation and reading. They will also participate in a selection of rhythm section
workshops where they will have the opportunity to play alongside other musicians. Each student will be offered the chance to study for
the Trinity Guildhall drum kit exams up to a Grade 8. These classes are run by an experienced team of drum tutors, dedicated to providing
a top class education for drummers and percussionists. For more info, please visit: www.back2thebeat.co.uk

TUITION
level
“The frame of any given jazz standard is clearly
defined, but it is almost impossible to predict the Beginner /
improvisation’s content” Intermediate
Philippe Castermane
Jazz Vocabulary
Ways to build your jazz skills
P
hrasing in a jazz context requires improvisational skills. Unlike organise the vocabulary into musical phrases is a combination of many
other genres, it is extremely unlikely one would perform the factors: developing a good awareness of the style by listening to jazz
same piece twice in the same way. The frame of any given jazz extensively and practising and playing as much as possible, be it to
standard is clearly defined, but it is almost impossible to predict the records, with other musicians, or both.
improvisation’s content. It is like a conversation, each person (musician) In the next few issues my aim is to focus on a number of routines, which
involved will influence and take it one way or another, yet the ability to should allow you to develop the vocabulary necessary to express yourself
improvise is not the result of chance or guess work. in a jazz context. How you decide to apply it is entirely your choice.
Each drummer should develop enough vocabulary and access it As always, I would recommend checking out drummers like Max
when relevant, however it is obvious that vocabulary alone is not Roach, Art Blakey, Elvin Jones, Philly Joe Jones, Frankie Dunlop and
sufficient to create music. A dictionary features all the vocabulary many others. Listening to the greats will not only help you develop
you might dream of, but it doesn’t necessarily mean one will be able more vocabulary, but it’s also an opportunity to hear how they apply it
to write poetry with it – the same applies to music. The ability to in terms of sound and feel and, ultimately, how musical it sounds.
Example 1
This first line is the foot ostinato you should keep going under all other
exercises. I chose not to write it every time for the purpose of readability.
Examples 2 to 6
The first bar of every line is the rhythmic phrase (written
straight, as it would feature on most charts or lead sheets)
and is included for information only. The second bar is the
way it should be interpreted on the snare. Practice each
exercise individually before combining them. Pay attention
to the overall sound, unisons and the contrast between
accented and non-accented notes. Aim to memorise them
by heart and practise at varying tempos.
Example 7
Here is an example of a possible application. You could choose to extend the loop to eight bars instead of four (therefore performing four bars of time and four bars
of phrasing). In this example I am combining examples three and six.
As with any new style you should familiarise yourself with the music at first. Although practice plays an important role, listening to jazz is probably the
most important step to understanding the genre. Immerse yourself in the music of your favorite artists and you’ll probably notice new ideas emerging
after some time. Hopefully, practising these exercises will equip you with the relevant tools to apply these new musical ideas. I’ll cover more phrasing
options in next month’s issue…
Tech Music School (TMS) London is an established market leader in popular music education, delivering professional, real-world
training for performers, producers, songwriters and business entrepreneurs. With 30 years’ experience in popular music education, TMS
prides itself on its high-quality teaching, which supports the development of technically accomplished and versatile graduates who
are equipped for a sustainable career in the UK’s most dynamic industry. Recent TMS graduates are working with: Adele, One Direction,
Jessie J, Basement Jaxx and more.

TUITION
“The answer lies in maturity and the fact that level

the syncopated bass notes needed the quarter Beginner /
note to be played to make it funky” Intermediate
James Hester
The Rhythm Section – Part II

Musical approaches to songs for drums and bass
L
ast month we had an overview bedrock to work on. With regards to
of what a rhythm section fills, most of the time, Dorge opts for
could do to work together. the next option…
There are four main approaches that
a bass player and a drummer (what LEAVING THE BASS
we will call a ‘rhythm section’ for the PLAYER SPACE
purpose of these articles) can take, In some circumstances, you may
and this month we will look at these want to mirror a couple of notes
in more detail and also listen to with the bass player but then leave
some examples. the rest as space. Listen to ‘Weather
With You ‘ by Crowded House – Paul
MIRRORING – Hester (no relation) mirrors the first
MATCHING THE RHYTHM two eighth notes of the bar, but
OF ANOTHER PLAYER then leaves Nick Seymour loads of
This is often the approach that is room in the back end of the bar.
referred to by people when they Another prime example of this is
think of a ‘tight rhythm section’ – the ‘Cornflake Girl’ by Tori Amos, in which
rhythms of the bass players notes the Meter’s legendary bass player
are mirrored by the kick drum. The George Porter, Jr. (you can really hear Abe Laboriel, Jr benefited from Leland Sklar leaving him space on the
classic pairing for this are Chad Smith his influence on Flea on this track) is Vanessa Carlton track ‘A Thousand Miles’
and Flea from the Red Hot Chili left acres of room by drummer Carlo
Peppers around the Blood Sugar Sex Nuccio, which he increasingly takes tight mirroring before reverting back and any of the tracks Nile Rodgers
Magik era, but to introduce you to advantage of as the track progresses. to the original approach. produced with that rhythm section
something new, listen to ‘Afternoons will bear witness to this. Tracks such
and Coffee Spoons’ and ‘God Shuffled BASS PLAYER LEAVES COUNTERPOINT OR as ‘We Are Family’ (Sister Sledge) or
His Feet’ by the Crash Test Dummies. THE DRUMMER SPACE FRAMING – SETTING Diana Ross’ ‘I’m Coming Out’ (after
The rhythm section of Michel Dorge This approach has its grounds in jazz A FOUNDATION FOR Thompson’s awesome drum intro)
(drums) and Dan Roberts (bass) gives and blues, where the bass player ANOTHER RHYTHM are testament to great rhythmic
the legato vocals and guitars a real is often the solid rhythm around When I first heard Tony Thompson’s framing or counterpoint – coming
a more improvisational playing with Chic, I couldn’t really up with a part that highlights and
drummer. You can hear this work out why he wasn’t playing makes the other one work.
to great effect between more notes. I knew he was a great It’s important to be aware that
Abe Laboriel, Jr. in full ghost player, so why not play more? Well, these are all used to various extents
note and hi-hat free fall, the answer lies in maturity and the within a song – for example, in a
and Leland Sklar (who Neal fact that he was aware that for bass verse the drummer may match the
Wilkinson brilliantly describes player Bernard Edwards’ bass lines bass player’s first two notes and
as ‘invisible’ on track) just to makes sense, the syncopated then leave space for them in the
playing the notes he needs bass notes needed the quarter note rest of the bar, but in the last bar
to on Vanessa Carlton’s ‘A to be played to make it funky. Had of the verse the bass player may
Thousand Miles’. Check out Thompson followed the syncopated leave space for the drummer to fill,
the awesome moment giving notes, the frame for the funkiness before going to a chorus where the
the bass player space at 3:09, would have gone. Chic classics drummer is playing a counterpoint
immediately followed by some such as ‘Freak Out’, ‘Good Times’ or framing pattern.
Next month we will start looking at how these approaches can change the feel of a song idea and how we can develop
our ability and skills to master using them. The key though, as always, is to listen…Good luck and have (a) good time!
Check out www.jameshester.co.uk for a video lesson of this, along with plenty of other lessons!
BIMM Group students attended an exclusive touring the US with Charli XCX; and Chris Boot on the
masterclass by Swiss drummer Jojo Mayer as he road with Xenomania artist Florrie.
visited the new drum facilities at Tech Music School Call 08442 646666 or check out their website
London. BIMM Summer School students spoke with www.bimm.co.uk for Manchester, Bristol, Dublin and
drummers including Ben Thompson (Two Door Brighton open days. Follow them on Twitter and
Cinema Club) and Steve White (The Style Council, Facebook.
Paul Weller). And BIMM drum alumni achieve To order a copy of James’ s book ‘Mind over Meter’
international success, with Debbie Knox Hewson visit www.james hestor.co.uk
089 Tuition Hester_Rev3AO_NR.indd 89 28/08/2014 10:52

TUITION
level
“Don’t forget to use dynamics and accents to
add tension, and also think about the flow of Beginner /
the improvisation” Intermediate
Ethan Lewis Maltby
Boddicker – Part III

in this section should be played with alternating sticking. The defending
player needs to know where the swipe is coming from to be able to
block comfortably. Be careful when practising this section.
The improvisational ‘battle’ scene from
percussion stage show DrumChasers
THE SWIPES AND BLOCKS – PART 2. BAR 71
This is a more simple moment: just two hits on the first two quarter
OVERVIEW ON THE SECTION notes. Again, how you go about this is up to you. It is a moment for
This month we look at the improvisational section of Boddicker. It characterisation if you choose it to be. The more aggressive player
features two principal performers, each playing on a set-up of one snare could use both sticks at the same time and be blocked by two sticks,
and one floor tom, accompanied by two players on rototoms, one on for example.
drum kit, and an orchestral backing track. As this track is a battle, you
need to make sure you play in an aggressive fashion. Show off as much
as possible. EXAMPLE 5 – KIT PLAYER. BARS 58-74
The kit takes a supporting role here – just some loud, forceful stabs at
key moments (also supported by both the backing track and the two live
rototoms players). Use kick drum and a cymbal of your choice, though
they should be dampened quickly, as specified by the various rests.
DYNAMICS & FLOW

Don’t forget to use dynamics and accents to add tension, and also think
about the flow of the improvisation.
You may want your four bars to build up, starting with some quieter
menace before unleashing towards the end, or perhaps you want to
come in strongly, before dropping back for a bar, and ending big. It’s up
to you, but think about the overall shape.
ORCHESTRATION
You have sticks, rims, rimshots, two snares and two floor toms at your
disposal: you can use any of these for the solo. Make it as extravagant as
you want, as long as it has the aggression behind it.
Ex 5
CHARACTER
In the case of this piece, you may also want to think about character.
In the show, one of the characters is extremely vicious and always
on the offensive, whereas the second character is more timid and
DrumChasers, a musical without words but with drums, was written in 2010
a peacekeeper. These basic characterisations colour the way the
and toured the UK throughout 2011. It features 11 performers and is centered
performers approach the music, especially through the improvisation
on an ancient battle between warring factions in a fantasy world.
and their body language. If you look to perform this, you may want to
www.drumchasers.com
think about this as well.
Ethan Lewis Maltby is a British composer who specialises in writing for theatre.
THE SWIPES AND BLOCKS – PART 1. BARS 62
His first percussion show Noise Ensemble toured all over the world between
AND 66
2006 and 2010. He has written percussion-based pieces for large events,
There are two bars in this section where one player swipes at the other
including the opening ceremonies of four FA Cup Finals, UEFA Europa League
to try and injure them (pictured above), but it is blocked by the other
Final, UEFA Women’s Champions League Final and the Heineken Cup Final.
player. How you choose to do this is up to you – in both cases, the first
www.ethanlewismaltby.com
swipe is in the right hand and the second on the left. The triplet that falls
090 Tuition Maltby_Rev3AO_NR.indd 90 28/08/2014 10:51

TUITION
level
“If you are stuck with certain tempos, you can
always go back to these basic exercises and work
on your foundations” Intermediate
Hannes Grossmann
Tech Metal Drumming – Part I

Basic five-stroke roll double kick patterns from our new metal expert
I
’d like to kick off this new tuition page with Lamb Of God or any underground band you BASIC HAND-FOOT PRACTICE
some basic patterns, which will improve your have never heard of, so these patterns are very PATTERNS
overall double kick technique. It might sound practical. Moreover, they are ‘gateway’ exercises to The best way to practise double kick patterns is by
like a cliché, but being good at double kicks is mastering fast and long double kick runs. If you playing them over various different hand patterns.
mandatory for becoming a great contemporary are stuck with certain tempos, you can always go Here are three basic hand patterns, which you
metal drummer. Patterns like the ones below back to these basic exercises and work on your should combine with any foot pattern. With any of
occur in any modern metal song by Slipknot, ‘foundations’. these patterns, mind the accents!
EXAMPLE 1 EX 2
Here’s a pattern of straight sixteenth notes,
interspersed by one group of four 32nd notes on
beat three.
Combining those with the three basic hand

EX 3
patterns you get the following results:
EX 4
EX 5
So you get one pattern, but three different
exercises. For any of these exercises, start at a
low and comfortable tempo and make sure your
hands and feet are in sync. From there, you can
gradually increase the speed. There are endless
options for hand patterns and you can place the
snare wherever you like after mastering these EX 6
basic placements.
Here are some more foot patterns:
Hannes Grossmann is a drummer, producer and clinician from Germany. In 2011 he released a DVD, Progressive Concepts for the Modern Metal
Drummer (Hudson Music), and his first instructional book Extreme Metal Drums was released in 2013 (Hal Leonard). Hannes writes and plays for
Alkaloid, American band Blotted Science, has released his first solo album The Radial Covenant (playing drums and guitars) and has played for
extreme metal bands Obscura and Necrophagist. He is endorsed by Meinl cymbals, Tama drums, Evans drum heads and Pro-Mark sticks.
www.hannesgrossmann.com

TUITION
level
“This linear playing can be really effective and is
cornerstone to the mastery of Trilok Gurtu” Intermediate
/Advanced
Pete Lockett
Rhythmic Contours – Part II

Developing groups of seven and five in 12/8 time
T
his time we will continue our development of the groupings of seven, but we will change up the snare again. In the first unit of seven we
seven and five in 12/8. We ended last time by having the snare hits will have the snare hit after the double but in the five beat unit we will
before and after the doubles in each unit. This time we will keep the have the snare hit before the double. We will round it off with a little push
same shape, with the kick drum on the first beat of each unit of five and open on the hi-hat.
Example 1
Example 2
For example two, we add an extra kick drum hit in the first unit and change
the end of the second unit slightly.
Example 3
One of the most valuable things I learned from percussion, and try to adopt on the drumset, is how the rhythms are usually stretched out over a longer
period of time before a repeat. Even if this is just over two bars it can be very effective. In example three, the basic contours of the rhythm stay the same,
but with a few simple changes. We omit the downbeat on the kick drum and instead have the pushed kick drum on the ‘&’ of one. We also substitute a
snare towards the end of the second bar and voice that on the floor tom instead. You will hear the space and dimension this approach has for opening
up a groove.
Example 4
For example four, a majority of the hits and accents fall in the gaps of the
hi-hat playing. This linear playing can be really effective and is a cornerstone
of the mastery of Trilok Gurtu.
Example 5
Next up, the addition of a couple of doubles on the snare adds a bit of spice.
Example 6
You can see in example six how this is thought of. I think of it as a ‘canon’
where one voice follows the other.
Example 7
Finally, this approach is with a couple of snare backbeats. We have already
come a long way from our simple seven plus five concept and next time we
will take it even further.

level
“In addition to the time signature informing
the rudiment, we will be using a couple of little Advanced
tricks to bend the time further”
Steve Rooney
Sticking to Time – Part IX PRESS HERE

FOR EXTRA
DIGITAL CONTENT
Tackling 15/8 time
In this last instalment of Sticking to Time we will be dealing with 15/8, but there’s a twist... in addition to the time signature informing the rudiment, we
will be using a couple of little tricks to bend the time further. Be prepared, you will need a metronome.
Examples 1a and 1b
To play the following examples, we will need to be
familiar with the Lesson 25 rudiment and also the
same sticking, laid back by one sixteenth-note.
Examples 2a, b, and c

Now we take the sticking from the last example, split
between snare and hi-hats, and phrase it in three
different ways: 2a, straight sixteenth notes with
two and four backbeat; 2b, split over sixteenth note
triplets, creating a six over four accent; and 2c, again
split as sixteenth notes with the accents forming a 3/4
feel. It’s vital to understand the triple/duple nature of
2b and c, so set a quarter note click and get used to
the sticking split between the different subdivisions.
Example 3
Right, on to the time signature. We can take a quick
route to playing in 15/8 by thinking in combined
phrases of 4/4 and 7/8. Although these are still two
distinct time signatures at this point, it’s a good place
to start.
Example 4
Now we do away with the safety net. The top line shifts
between quavers and eighth-note triplets in this 15/8
phrase. By placing the kick and snare as shown, we
achieve several meter modulations all in one bar. Get
used to the time shifts before trying example five.
Example 5
By combining the Lesson 25 split stickings and
subdivisions from the second example with the time
shifts in 15/8, we arrive at this odd metered bar.
The composite ingredients above can be re-combined in many different orders. Try moving a few pieces of the puzzle around to see what you can find. Even if you
never use 15/8 or metric modulation in your playing, these exercises will improve your perception of time, subdivisions and shifting accents.
Steve has been playing drums for 26 years, during which time he has recorded at top studios, toured internationally
and taught extensively. He became a well-known hard rock/metal player through the 2000s touring with such
bands as Kill II This, Profane and Happylife. Now a versatile pop/rock drummer, tutor and session player, Steve
has worked with artists such as Suggs, Lee Thompson, Sharon D Clarke, Bishi and Meredith Brooks, and on
projects featuring top producers like Nile Rodgers, Andrew McPherson, Mike Fraser, Mike Pelanconi and
Cameron Craig. He is proud to use and endorse Yamaha drums and Remo drumheads.
093 Tuition Rooney_Rev3AO_NR.indd 93 10/09/2014 09:23

FEATURE
A Problem Shared…
Our new resident problem solver, Dave Major, answers your questions!
Bellson bars version and the piano version. That’s why that last band where the commitment issue raised
I’m having trouble with this passage from passage is written like that. It sounds different its head and think how it could have been
Louie Bellson’s Solos & Duets for Snare Drum. and that’s the musical idea the composer handled better.
How do I play these bars (above)? And why wanted. Finding the right people with the same
are they written that way? For more info on the long and short note level of commitment as you will help stop
Jeff, Suffolk idea, I highly recommend you check out The this happening again and help you keep a
Complete Drummer’s Vocabulary by John harmonious and fun band.
Just like reading the written word, we often Ramsay and Alan Dawson.
read music on auto-pilot and play what we Share your problems
expect to see, not what is actually there. This is Band trouble with us!
most likely why this passage is tripping you up. My cover band recently broke up and the
Do you get nervous before you play? Are
When I am working on a tricky passage, either whole situation has left me with a bad taste
you struggling to move around your kit?
by myself or with a student, I try and deal with in my mouth. We split mainly because of
Do you stumble at the same part in a song
it in a very matter of fact way. Here’s how to commitment issues, but it got messy at
play the first bar. Notes in brackets are counted the end. What is the best way to find other every time? Send your questions through
but not played: committed musicians? And how can I stop to [email protected]
1 + (2) + 3 4 this happening again? marked ‘A problem share…’ and we’ll get
Charlie Dave to give you some expert advice.
But why?
The first note in the bar is always one. What Sorry about the band, Charlie. Keep your head
note is on that beat? An eighth note. Because up. I always think that music is easy, it’s the
of the way we always count eighth notes (1 + 2 people aspect that makes it hard. In terms
+ 3 etc), the next note, regardless of what it is, of finding other musicians to play with, I’ve
has to happen on the ‘+’ of one. always had great success on Gumtree. Maybe
On the ‘+’ of one we have a quarter note. consider posting an advert saying you are
The quarter note sustains for the same as two available for bands and what you are looking
eighth notes, so count two eighth notes from for. Commitment is always a quality in high
the ‘+’ of one. This gets us to the ‘+’ of two. On demand so you should find like-minded
the ‘+’ of two we have another eighth note. musicians quickly.
An eighth note on from the ‘+’ of two takes Also check Facebook for local groups like
us to three. On beat three there is a quarter ‘musicians wanted/available in Edinburgh’,
note, which takes us to four. Beat four is for example. You could post an advert in your
another quarter note and that finishes the bar. local drum shop, or ask if they know of anyone
The second bar is even easier as you have looking for a drummer.
already played it – you just didn’t know. That Before all that I would definitely say hit some
bar is just the first part of bar one, repeated local jam sessions. Making new connections
twice. So that bar is counted like this: ‘1 + (2) with other musicians (not just drummers) is
+ 3 + (4) +’. key to meeting the right people to get you the
Why is it written like this? Because this is a projects you want.
snare study book and it is probably primarily In order to stop the last situation happening
to test you. In a real world situation however, it again, try to have a meeting, nothing formal –it Dave Major is a professional drummer and
will define how long notes sustain for. can just be over coffee or lunch – at the start teacher based in Edinburgh. He performs
As drummers we play a note and that’s it. of the band (particularly a cover band) and extensively throughout the UK with various
We strike the drum and effectively wait until outline everyone’s expectations on rehearsals, artists and his own originals bands. He also
the right amount of time has passed until we rehearsal times, set list, amount of gigs, fees records for a wide variety of international
strike it again. We don’t really think about how and other admin tasks. artists through the internet.
long we should sustain it for, but on a melodic Getting all this stuff out in the open at the Widely sought after by students of all
instrument note lengths are hugely important. start should stop any resentment building ages and abilities, Dave specialises in
Find a piano or guitar and play the same two up. Make sure everyone understands your teaching you to teach yourself and develop
bars but make sure you keep the note held for aspirations. your own style and philosophy.
the right amount of time. Hindsight is a wonderful thing as well, so www.dave-major.com
Notice the difference between the drum look back and learn from any situation in your
094 Problem shared_Rev4AO_NR.indd 94 28/08/2014 16:35

Custom Corner
Tuition
CLASSIFIEDS
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Active Music....................................................................................................... 21 Headstock – Tama ............................................................................................ 41
Alesis................................................................................................................. 69 Korg Mapex.......................................................................................................... 3
Allianz................................................................................................................ 21 Korg Paiste....................................................................................................... 100
Barnes and Mullins............................................................................................ 51 London Drum Show................................................................................... 42 & 43
Craig Barton PT.................................................................................................. 79
Mike Dolbear...................................................................................................... 61
Custom Skins...................................................................................................... 19
Music Guard....................................................................................................... 79
D’addario........................................................................................................... 67
Musician’s Union................................................................................................ 81
DW Drums.......................................................................................................... 17
EMD Remo......................................................................................................... 49 Pearl........................................................................................................... 59 & 99
EMD Stagg......................................................................................................... 54 Soar Valley Music............................................................................................... 15
Gewa / Drumcraft............................................................................................... 73 Vic Firth.............................................................................................................. 11
Guru Drums........................................................................................................ 19 Westside Distribution........................................................................................... 2
Marshall / Natal................................................................................................. 57 Yamaha..................................................................................................... 52 & 53
095 Classifieds.indd 95 28/08/2014 16:35

FEATURE
Putting reverbs to use

Words: Tom Derryman
L
ast month we introduced the idea of discussed in last month’s lesson, natural reverbs make a sound stand out in the mix, making it feel
artificial reverbs: learning what they are can be recorded as the instruments are tracked closer to the listener, and more reverb will make
and how they work, as well as looking in real-time. A classic example of this approach a sound blend into the mix, making it feel further
at some of the common types we may come would be the drum break from Led Zeppelin’s away from the listener.
across. This month we’re going a step further ‘When The Levee Breaks’, which was recorded
and looking at how we can put reverbs to use with an abundance of natural reverb and room CREATIVE USES
both technically and creatively, touching on sound. However, unless you’re working with Alongside the more technical applications, there
how they can be used for resampling and real- an extremely competent engineer and you are are also some creative applications for artificial
time applications, as well as exploring the most certain that this what you want, recording to reverbs too. By adding reverb to a snare, we can
common ways that we can manipulate them to sound like this can be a risky business because lengthen the sound and give a much bigger
achieve our desired results. the natural reverb cannot be adjusted/removed sound than before – this is typical of modern
from the source recording when working on the dubstep drum production, which is often
COMMON USES FOR ARTIFICIAL final mix. That is why many engineers prefer to characterised by big, thick, often long snare
REVERBS record relatively dry signals and add the reverb sounds. Looking back further, you can find the
In studio and production environments, artificial artificially later, giving them much more control root of this type of application stems back to
reverbs are often used to add a sense of acoustic when working on the final mix down of the old dub productions where they used outboard
space to individual sounds within a mix. As we track. As a general rule of thumb, less reverb will analogue artificial reverb units (often spring
Why let guitarists have all the fun with effects pedals – learn to incorporate them into your kit set-up
96 DRUMMER October
December2014
2013
Reverb has a multitude of uses, whether in the studio or in a live performance
reverbs) to achieve a similar effect. There are ears after the initial source sound, usually just Photo: Dan Prettejohn
obviously countless more creative applications milliseconds later. The adjustment of the ER
than I’ve mentioned here, so go get listening and parameter allows us to control the strength Tom Derryman is a professional drummer
experimenting for yourself. of these initial reverberations. Strong early and producer having recently graduated
reflections make the sound feel very close to from BIMM Bristol as one of the most
RESAMPLING VS REAL-TIME the listener, as the sound bounces straight back successful students in his year. Throughout
APPLICATIONS giving a ‘slap-back’ type effect. his time studying, he has developed his
Although we have covered this in previous The pre-delay time allows us to add pause own unique approach to playing drums,
months (specifically ‘EQ – Part II’) here’s a brief after the initial sound before the reverb is then using electronic add-ons with an acoustic
recap; if we want to put live expression into our heard; this can be useful when emulating larger drum kit, thus allowing him to recreate
reverb, and we are physically able to do so – i.e. spaces. For example, imagine hearing a gun shot digitally produced beats live. He has since
we have a hand free at that particular point in bounce back off of a cliff face a few seconds after gone on to sign to Ragga Jungle/ DnB
the performance – then we can explore using the initial sound. This type of large reverberation, label ‘Run Tingz Recordings’ under the
reverbs in real-time. However, if you’re playing a or even echo effect, can be created by using the alias ‘Breakah’, as a collaborative writer/
full kit part and you want to trigger a sound with pre-delay settings. producer and live artist. Tom proudly
reverb, but obviously cannot use an FX unit at The size of the reverb allows us to control the endorses Roland UK and if you find any of
the same time, then we should look to resample length of the reverb that is heard. A small size the information in this column of particular
our sounds with the effect applied ready for our value will generate a short reverb tail, whilst a interest and you would like to communicate
performance. higher value will create a much longer reverb tail. directly with Tom, feel free to send him an
The colour or tone setting essentially runs a email, check out his website or follow him
COMMON EDITABLE filter EQ across the reverberated sound. Higher on Twitter.
PARAMETERS values cut off the lower frequencies of the reverb, Website: tomderrymandrums.com
When using reverb units, there are often editable while lower values do the opposite and cut off Email: [email protected]
parameters that allow us to manipulate the the higher frequencies of the reverb. Twitter: @tderryman
output of the effect, meaning we can more Have fun experimenting with reverbs and try www.runtingzrecordings.co.uk/artists.aspx
accurately achieve our desired result. Here’s a to explore the options for yourself. Work with the
brief explanation of some of the most common editable parameters and try to create the specific
ones you are likely to encounter. reverb sound that you desire. While you’re doing
The wet to dry scale allows us to blend this, also try resampling some sounds, as well as
the effect with the original source signal. A experimenting with some real-time applications
completely dry signal has no effect on the signal that you may be able to incorporate into a live
at all and a completely wet signal gives us an performance. Next month we’re moving on to
entirely affected signal. Anywhere in between the topic of delays, where we’ll be starting off
allows us to get a blend that we desire between by understanding what they are and what they
the clean signal and the effected signal. allow us to do to our sound. So until next time,
The early reflections are the first get playing and put what you’ve learned in the
reverberated sound waves to reach the listener’s lesson to some use.
December 2013 DRUMMER 97

October 2014
Feature
Mad, Bad and Dangerous

A Nice Gesture
Bob Henrit recalls a classic Keith Moon prank…
Words: Spike Webb Image: Kevin Burke, Snapiart
M
ost people would agree that a book of flight. But as soon as I shut my eyes, an air hostess
drummers’ stories would not be complete arrives at my side with a large brandy: ‘Excuse me,
without an inclusion or two from Keith sir, compliments of Mr Moon.’
Moon. Moon was the drummer with the Who until “I accept and ask the hostess to convey my
his tragic death in 1978, and the most notorious thanks to Mr Moon, who is seated at the front of
rock ‘n’ roll prankster of all-time. As I can’t actually the plane, near the portable mini-bar. I look around
talk to Keith Moon, I spoke to one of his peers to see that all the other passengers are similarly
who knew him personally, Bob Henrit. Bob was enjoying Keith’s generosity. This occurs with
the drummer on Unit 4 + 2’s famous hit ‘Concrete increasing frequency during the flight but no one is
and Clay’ and played with a host of legends complaining. After all, it’s a great way to kill time at
including the Roulettes, Argent, Cliff Richard, the my fellow drummer’s expense.
Kinks, the Zombies and Roger Daltry. He was also “Time passes a lot more quickly than anticipated
famous for owning the popular Soho drum store and in what seems like no time at all, we have
and drummer’s haunt Henrit’s over 30 years ago. landed at Heathrow. I get up, somewhat unsteadily,
Recently, Bob has become the published author of and stretch my legs as everyone begins to
his hugely entertaining memoir Banging On (Bank disembark. I am right at the back and last off.
House Books). Bob recalls an incident involving the “As I reach the door to the steps at the front of
About Spike Webb...
much celebrated Keith Moon... the plane, the air hostess greets me: ‘Goodbye, Drummer and author Spike Webb spent
“I’m sitting in the back of a plane from sir, I hope you enjoyed your flight. Thank you for three years tracking down over 40 drummers
Rotterdam to Heathrow. My co-travellers, among travelling with British Airways.’ including legends like Nick Mason (Pink
the general public, include the rest of the Kinks Then a stifled giggle: ‘Oh, I nearly forgot, Mr Floyd) and Topper Headon (The Clash). He
and the Who. We’ve all been on tour together Moon asked me to give you these.’ I am now left met them in cafes and bars to collect a mass
across the Netherlands. with no choice but to step down from the plane in of stories and create the ultimate drummers’
“Tired, and relieved to be going home, I recline full view of everyone, holding a lady’s basque, red anthology. Since the publication of Mad,
my seat and look forward to chilling out during the and black corset, and suspenders.” Bad and Dangerous, Spike has continued on
his adventures and interviewed some of the
drummers live on film, meeting even more
legends like Kenney Jones, Mel Gaynor and
Derrick McKenzie. With so many world class
drummers coming on board, Mad, Bad and
Dangerous is fast becoming the official voice of
the boys at the back. Well, someone had to do
it and about time, too…
Mad, Bad and Dangerous is available on
order from Drummer Magazine, in bookstores
and online at Amazon both as a paperback and
Kindle e-book.
MBD is in association with Gridlock media
and Jerome Marcus Consultancy.
www.mbd-online.co.uk

099.indd 99 27/08/2014 13:38
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133

INTERVIEWED: MIKE PORTNOY, JAMIE PERKINS, BEN KENNEDY, DYLAN HOWE

GUEST TUITION PAGE

GOING SOLO: HIS NEW ALBUM & LEAVING TOTO

DRUMMER magazine is proud to support the Music Industries Association

4 DRUMMER October 2014

004-005 Contents_Rev4_NR.indd 4 28/08/2014 16:31

62 Montreal Jazz Festival

October 2014 DRUMMER 5

004-005 Contents_Rev4_NR.indd 5 28/08/2014 16:32

BOWIE BANDMATES REUNITE

FOR DRUMBEAT UK’S WORLD

6 DRUMMER October 2014

006-007 Newsbeats_Rev2_NR.indd 6 28/08/2014 09:04

MANCHESTER DRUM SHOW

DOUG MEOLA TO HEAD

October 2014 DRUMMER 7

006-007 Newsbeats_Rev2_NR.indd 7 28/08/2014 09:04

The company also offers a range of in-ear

This year sees the first outing for Read Audio

Amplified becoming the popular choice for

8 DRUMMER October 2014

Brian Coulombe @bcoulcustoms

12 DRUMMER September 2014

12 DRUMMER October 2014

012 Caught Live_Rev2AO.indd 12 27/08/2014 21:02

Drummer’s guide to who’s coming to a venue near you!

Art Garfunkel Funeral For A Friend

For more details and tickets, visit: http://bit.ly/1mFNcrp

The Magic Numbers

October 2014 DRUMMER 13

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DeeP PuRPle Tavaglione’s saxophone contributes to ‘Renewing

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Pat Mastelotto & Tobias Ralph – Manu Katché – Live In Concert

David Sancious and Tone – John Coltrane – Offering:Live At

Christopher Cross – Secret Ladder Mike Ellis – Me/LP v.1

Antonio Sanchez – Three Times Mark Guiliana – My Life Starts

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Jay Joseph Drums specialises in desirable,

wrap, from Ludwig’s pre-serial era. This outfit

Words: Jay Joseph Images: Pete Norton

This month, our new

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with a beautiful natural tone, and it was used by

that it included a snare drum that could do it all.

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drums with straight centre-mounts, a Rogers Swiv-O-Matic mount (as used

Prices, Condition & Availability

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*Required details to enter the competition

20 DRUMMER June 2014

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