Yaa erm SE RO met PS af BURG in al DEES ere = a \ 4 me Til i Ww er HEM DVS) ~ x rs - e fee ec Cae rt . 1 RatPH MacDonaLp ean Ar JOE = DAVE KKING ‘or THe Bap Pus Ce em yo Fincer E.even’s RICH BEDDOE ye THe Drummers Or DIANA KKRALL Bee em Cr cee iy see. nfernamn cn Your Votes Are IN: ere TY fen a iyWe've Killed Your Vibe... -Your Hands Will Thank Us. Ceatop reco Pa nae SUP ucts CARL j CR ee a ae us a i | Recut cers See Patented Internal SS eens Se RCC RC le Re eR UL me Tere Eos SE ae ey ERT eee mou Cran g og ‘over 50% on a Zildjian 5B drumstick ra UY ah eee Sat MO IN ATI RN gore Rae Reha aU GU Cet) Eras Weta oe OR ay Ei a aon Monsen WLU a aL SL) Rieuen eco reaaeaesTNera/t a} Enel coolly m ol can or NORTE UL OPN aA se Me aaa aCe ISN a once We all anee ey Ciara Magnitude Unis & aPU ey Cue na i Se TEC Cera a OTE] Sie CNT ae ee TES TTC PROM NRCC OMS ie ON eC ie Sc SC CUE ea OM eT MR Urea eee CYT Ae ea Rta ECON ee Head CU cea ACY eal TSC SS i z 8 3 2 4 Zl PoSeeo Oe a Le tas See ewes nS\d ee ie 19" Signature Full Cras Peet : 9" Signature Full Crash ae org rence) Cee oa id + E Err i armies i] Pre enaary a J a (stacked on top) . fi eee) For Ire literature and stickers please contact us: call 600.472-4783 or +714 529-2222, email info@paiste.com, Rg Ca ee ee Une Ra eyContents § Volume 28, Number 7 Foo Fighters’ Dave Grohl Just when you think Dave Groht has reached the peak of critical and popular success, he lays down yet another manstrous slab of rock, called Probot by Ken Micallet 38 ee MD's 2004 Readers Poll Results 56 The best of today's drumming scene, according to the worle's most informed players—youl Percussion Master s Ralph MacDonald 66 Stacked end:-torend, the albums Ralph MacDonald has played on would reach tha moon and back. Okay, that's @ lie—but it’s darned neatly true. by Billy Amendola The Bad Plus's Dave King 1 1 8 Rhythmic theorist? Musique-concrete experimentalist? Or just a kick-ass drummer? by Ken Micallot WIN! WINI WIN! 120 OTR TACT Mie Late ERS oe re elt CUM ed Cn yu Update Velvet Revolver's Matt Sorum avant-garde leader Susie Ibarra Death Cab For Cuties Jason McGerr Tesla’s Troy Luccketta travelin’ man Dana Hammond A Different View Andy Hess Low-frequency perspectives from the new Mule. Playback 134 Steve Goulding ‘Anew wave drumming mainstay is stil fikng her Portraits 142 Andrea Centazzo by Michae! BettineEducation 86 Jazz Drummers’ WorksvoP Drummers Of Diana Krall A Style & Analysis ty Dee Mae 90 RupiMeNTAL Symposium The Triplet-Duple: ‘A Hot Lick For Your Hands by Chet Doe 92 Rock ‘N’ Jazz Cunic Beat Enhancing: Ghost Strokes And Other Departments 8 An Epitor’s Overview Staying Strong by letbel Spanarat 10 READERS’ PLATFORM 12. Ir’s QUESTIONABLE 14 Ask A Pro Walfredo Reyes Jr, Jeff Hamilton, and Terry Bozzio Equipment 26 Propuct CLose-UP Monolith Odyssey Drums 30. Sabian HHX Manhattan Jazz Cymbals 32. Potyondi 33 auick Looks: Pro-Mark Pro-Round Series Sticks 34. Stagg Cymbals 36. Carbonlite Carbon-Fi 110 Snop TALK Bill Reamer: Classic Craftsman ‘yy Mork Hetinan 156 New Ano NoTaBte jature Series Cast-Iron Snare Drum 9 Cymbal Boom Arms 94 Orr THE RECORD Finger Eloven's Rich Beddos by a Brockenfld 104 Heatth & Science Drummers Are Athletes: ‘Warming Up, Stretching, And Balancing Your Mind And Body 96 Basics by Jonnie Hoeft Reading Basics, Part: ‘Taking Your First Steps 108 Taxinc Care OF BUSINESS brit Ptete Sharing The Wealth Revenue Sources And Group Percentages 100 First PERSON by Bobby Born Street Drumming: A Firsthand Account 128 Rock PERSPECTIVES by Wyat Green Let There Be Drums! ‘Top-15 Drum Performances Of The 1960s by sim Duty 150 SHowcase 168 BAckBEATS Woodstick 2004, and more 154 On THe Move 176 Drum«it OF THe Month 162 Critique 166 Drum Market Including Vintage ComerA DRUMMER MUST HAVE COINED THE PHRASE “WIN-WIN SITUATION’, Else NO 1a gag aOalh MP Old]: EO g OO BETWEEN MAPLE OR BIRCH. INTRODUCING. THE ALL NEW SESSION STUDIO SB | eee eenAN EDITOR'S OVERVIEW. Staying Strong for our March ‘04 issue, in which we ran a tribute to my late hus- band, MD founder and publisher Ron Spagnardi. For this article | den. Working in the same space he worked in somehow makes me In my last editorial, | stated that we here at Modern Drummer actually, he’s still inspiring us. In Ron's last editorial, “Why Read?,” read music. He detailed the many benefits of doing so. Well, in this to-understand examples. | want to thank writer Kelly Paletta, along 1g introduction to the basics of reading. If you don’t know how to read, | invite you to check it out. (The article appears on page 96.) to Ron, It features an interview with him from March of 2002, as well Appice, Louie Bellson, Steve Smith, Joe Morello, and many others. | “He was a sweetheart of a man.” That he was. If you'd like to hear anyone could ask for. The people here at MD are more like family Aisle 8 | Modern Drummer | Jy 200¢ BRUMMeR Volume 28, Number 7 ‘The World's Most Widely Read Drum Magazine Fence ova Spann 196-2008 PomuseeyPaesnewt Isa, Sexo: ‘Sear ice Preset ‘Lm Sexo Vice Present Kev W. Krams Assocare Punsien Teac Kens Sev Enron ice Ve Hoan bron Dacron Bu Mes ‘Mawacnie Eoron Anas Burs Eprona. Assistant Sux Hunn Savor Amt Oacran Soo 6, Bensrox Assistant Aa Dcton Mowe M Huse, Assistant An Dinct0R ose Kine ‘ovens Dron Bos Beason ‘Aavernsns ASSSTAKT Jaw. Soe Forow/Aovemsns Assocare BAL ANENODA Orrce Assist oun Mane Orne Assistant oseuanr Buse MODERN DRUMMER ADVISORY BOARD: Hen Aa Kenny Avnet, ate aojers, Lave Belson il Soe, He Gangany, J Chapin, Denna Dstun tes Bele, (ah Siva. Caria nna, Pate Etnies za, Dany tte, Sonny leo, lim Koter, Paul Lam, Petar "e Marah fe Worelo a Morpnst, Any ior Pont Ed Shaughrasy, Stave Sih, £6 ‘igor By Wars, Dave Wek, Sou Wetcn CONTRIBUTING WAITERS: Nichol Bett, Reiyn Fins ‘unt Kaa. lek Mating. Ken Mics Mark Pasors, Mis Hod, Poin Talesn, Lauer Vope Weis. True i 12 id Bridge Rant, Cor Grove, NI 7005S MAIL POSTAGE pes et Coc Ge, NI 07009 an ot on "al ing sos. Cony 20 by MODERN DRUM: MER Publieations Ine. Fghisresares. Perosuctan ‘wthait tna panes fe plier promotes EDTTORAL/ADVERTSING/ADNINASTRATIVE OFFICES: MOD EN DRUNGIER Puen 12 Dg See had Case Ce Ni ovop. Tot (@7a) 2384140. Fox: (78) 250-9008 rat ndniceracendumme can [MODERN ORUMIMER conos mans an potegapi> Ire honsver cant tune eons fe on Sct lene meat casted ssa aateed separ ene SSUBSCRPTIONS: US, Cena, and Neco $3497 po yout S001, to sm Orato 1 pry S797 Yous. Stgcopae 98, SUBSCRIPTION CORRESPONDENCE: Nsckn Braves. PO B20 as 105". Change of adres: A= los sh woot or hang. Alesse won Soho rc ne ‘shes Cali 1 a8 or Ba 76110. ‘MUS DEALERS: Vern Dares alte oe at uc ‘ates. eorepeedere oan Surma’ Real Vien 2 Naga Stes Stee Mee, OSE, S112, REPRINTS: Fo revit conta esther Osborne at PARS [ratoral Gap, a B12) 223505 ot 30, fe 18 2-468, Fash an, wr mageprs cot INTERNATIONAL LICENSING REPRESENTATIVE: obrt Hbarece & Acco, Ley Aimee, Pra, PO Bok Hab, Bejon So FLS7N020 sberson@o009 POSTMASTER: Sot iss charges o Moda Darna, PO Beal Mt Wom k 81054 MEMBER: Navara! Asooston OF Muss Manan, Asin Misi Confrence, Ptcttie ts Sooty, se Edvstrs Nokona: Conterace,Parsussan Marien Couns Ns Maree Rite atsoeeen| [MODERN DAUNAMER ONLINE: madsen PAINTED IN THE UNITED STATESCARY nn eae ae A ri l P ; | | , \ See shi i r PS ~~ DATLOR (0 x } RECHT) wy mo ; A arin (CeO v Ome he wa) coxa Pa cma y 3 PIER nee (Cott) aT) OT ne(READERS’ PLATFORM) co pee Ch ee ae ‘on which Lee and Bob both played DRUM NATION originally, their performances are After reading your article on the Drum re-recorded by Mike Bordin (drums) Nation Volume 1 CD, I promptly went out and Robert Trujillo (bass). I felt com- and picked up the only copy I could find pelled to write because Lee's playing within a twenty-mile radius. It was well tn these two Ozzy records is a part of — worth the drive. In fac, it has stayed in my rock ‘n’ roll history that, sadly, has CD player for two weeks now. What a now been lost to a new generation of _ phenomenal collection of artists and styles! young drummers. Graig There's something for everyone on this, CD. thy I was very impressed with the Chad jam with Cromwell interview in your March ‘04 issue, However, inthe sidebar to that story, you note that one of Chad's favorite albums is So by Peter Gabriel, and that the drum- mers on that album are Jerry Marotta (who played on two tracks) and Manu Katehé (who played on four tracks). Stewart Copeland also played on that album, including on the hit track ‘Thanks for helping to put this excellent Will Hardy collection together. I'm already looking forward to Volume 2. David Curnmings Tica ;ODeRTL LY also been a great practice tool to re cera ea er tne a Py soca rennet Pens Pert allie Stanton Moore (STAGE Stamua Tie Thanks for the in-depth feature on Stanton [JRO I've been playing drums for over thirty- Moore in your April issue. Stanton’s work [oT CMMINEMEE seven years. Recently, I started having with Galactic is some of the most original [UE ESEZSITRTGNTOSSRI problems with cramps and pulled muscles. and unique drumming on today's music J.C CCCMEMIMISRSUIN Even with stretching, along with drinking scene. I's great to see a young guy exhibit [TOC D MRE RMMEMEeRIEN water and national brands of health drinks, such respect for musical history combined JC RUTCTRCR SRI I couldn’t get the cramping to stop. Then I with a totally forward-looking approach Coens eee discovered a drink called Sqwincher, ‘The result is that Stanton sounds like no one DRUMS which is being marketed for consumption else, yet his playing is totally accessible and Sonne by workers in factories and other hot, enjoyable. He's out, but not so far out that TROON physically stressful environments, It helps ‘you can’t fathom what he's doing. And it SUMMER MN prevent dehydration, and it has five times always grooves. I don't think you can ask [OSC OMEROMEEEN the electrolytes of Gatorade. for more than that Fred Hammond Se mec Ty I served as drum tech for Steve Clark of SREY Memento last year. He started drinking a OURS IMGMOMINN | Sqwincher Fast Pack before going on Detans, Devas Orbison, Johnny Cash, Brenda Lee. th stage, and he was good to go. The whole In Ed Breckenfeld’s April 2004 Rock [OEMS band was soon deinking it, and by the end Perspectives column, “How'd They Do DEMSEEE of Ozzfest 2003, over twelve bands That? Metal Mysteries,” Tommy Aldridge is credited with playing the opening fill on Ozzy Osbourne's “Over The Mountain” from the Diary Of A Madman album, In fact, Lee Kerslake played on that record. Lee and bassist Bob Daisley were not credited for their performances on the album, ‘Adding insult to injury, on the recent were drinking it regularly. I’m now teching and stage managing for Kittie, and they're hooked as well. Sqwincher tastes great, and has no fake sugar and no caffeine, Check it out at www.sqwincher.com. John Zwawa, rum tooh/stage manager fr Kite re-issues of the first two Ozzy albums, ‘Cedar Grove, NY 07005, an (073) 298-7190, 10 | Modern Drummer | sy 2004Rau cau ac) POV ae eC Du a neem Pe ee oO eau ce ae Re aL comes with each performance. And this band tours constantly. Which is why the Ce Rae UR Cd Visit your drum shop, check out what's new in Gibraltar Rack Systems and Rack Factory options. Make sure to pick up the new Gibraltar Hardware Catalog. You'll find many customized options and design configurations that will accommodate any size kit, any brand of drums. eC econ ee A: ee Kamon Music Corporation, P.0, Box 507, Bloomfield, CT 06002Fitting A Bass Drum Head | recently purchased a new front bass drum head (with a custom out around the ring to stretch it, then place it on the bass drum. The other is to place it on the bass drum, tighten it up really tight for a day, then go back and tune it. Your advice on this issue would be ‘greatly appreciated. Vito Rella We've never heard of anyone turning @ plastic head inside out around the ring. That procedure dates back to the days of calf heads tucked onto flesh hoops. It would probably rin @ modem plastic head. Tightening the head past the normel-use point and then re-tuning it is ‘common practice. The idea isto take any “stretch” or “give” out ofthe plastic film, Is an effective method, but it takes time. If you don’t have that amount of time to wait, a quicker way isto install the head on the drum, tighten it up Does Tap Dancing Help Drumming? F ve heard Buddy Rich and Louie Belson tak about how they learned to tap dance before they started up with the sticks, and that this helped both of them with their foot tech- nique—especially Louie, ince he plays double bass How helpful is {89 dancing in terms of develop- ing sing and double bass tech au ‘Jackson Marlete Tap dancing can improve drum-rolated footwork in two important areas. Firs, the physical exertion involved in tap danc- ing strengthens the muscles inthe legs and feet (along with improving overall cardiovascular stamina) Second, tap dancing involves the Use of the feet to create precise rhythmic pattems—a skill also necessary forthe ore alin of pattems on bass drum pedals. How much help tap dancing would be to a Grummer would vary withthe individual Butit certainly couldn't hun, 12. | Modern Drummer | Juy 2008 to about finger-tight on all the lugs, and then sit on it (with the drum siting opposite-side down on the floor), Your weight will stretch the head out at the ledges, without isk of denting it inthe middle while it's nat fully tensioned | you'te using @ Remo head, you may hear a crackling sound. Contrary to mith, tis isnot the head pulling out of the glue Its the contour ofthe head at its edge straightening out as the head is stretched. This is a normal process that's necessary forthe head to tune propel. After you've sat on the head and stretched it abit, bring it back to finger tight again and repeat the process, Do this unt siting on the head no longer slackens it at all, At that point you can fine-tune the individual lugs and rea sonably expect the head t retain that tension. ‘This process works well for reguar drumheads, However, if your front bass drum head bas imprinted artwork, you may not wish to risk any damage to ‘that artwork by sitting on the head. In that case, we suggest you use the ‘overight-tighten method Antique Ludwig Bass Drum Pedal 1 recently acquired a very old Ludwig bass drum pedal, and 1 hhaye a couple of questions for your drum historian. First is the angled beater part of the original pedal? My copy of History Of The Ludwig Drum ‘Company shows a sii lar pedal manufae- tured in 1913. But had a straight beater shaft. Second, is the number at the bottom of the pedal (on the heel plate) a date or a reference number? Any information will be greatly appreciated. Mike Bourg According to MD drum historian Harry Cangany, “The Ludwig pedal model that you have was first ‘made of wood and then made of see. ‘The beater in your pedal is certainly not original. The shaft should be straight, and the beater should be hard felt or— ‘more typical of the day—lamb's wool. The July date in 1924 was shown in order to differentiate the pedal from its predecessor, because that’s when Ludwig made an ‘improvement’—a longer FootboardJohn Grey Snare 1 recently took an old snare I bought few months Ick to my local drumshop to see about new hea Zenjian Cymbal and snares. The guy a the counter told me to email asad Modern Drummer and ask about the drum before I Backgro take off the old heads, just in case it might be worth Something, I'sa John Grey Broadway mode, with the original sare, heads and die-cast hoop, all in ith gor- | mint condition. I’ve looked everywhere for info Lhaye a 14” medium-weight cymbal with an extremely narrow lathing pattern top and bottom, geous hammering patterns on the | about this drum. Anything you can tell me will be greatly appreciated. Rick Hill bottom. The only are the words “TRADE MARK” over the word “ZENJIAN.” Also, there is a half moon and star insignia under the word “ZEN- JIAN,” and some form of a lan- guage stamped above the words TRADE MARK.” Could you please help me identify my unknown cymbal? Randy Lane whose ity ep Europe st ys EStosti snow aalble nthe USL Cabot ar manda fom 3 special carbon Ser material ht to prevent sipping Sabian chairman Robert Zildjian is nd an authority on cymbal history. He kindly provided the following Harry Cangany replies, “John Grey was a 200-year-old company when it weat out of business. The Autocrat a wa the: mest eensve dm, and feared « pro | ang temperue response. Says Bob, “Zenjians were | retary strainer design. The Broadway was the ‘stan- > humidity. Avedis Zildjian’s second line | dara” series, sold as single drums and drumsess. They Ae es baci Not only do they ileo), sold only to C.G. Conn for | show up inthe US from time to time; California seems eRe the drum divisions of Leedy and | io have gotten quite a few. Value is somewhat specu noaud Caboaee Ludwig & Ludwig. In 1946 and "47, | ve becuse De brand I ot tat wel Known ince | Conn imported Malian cymbals and | Stic. (ven Premier drums dont tring what they put the same Zenjian name on them. should, and it was a more popular company.) I would than a typical, Zildjian threatened to sue, so Conn | tag your drum at a value of $250-300. You should be ‘wood drumstick! vropred. Your cymbal could be a | alt replace the heads with no risk of dininsting | [Jar Cera ae meleT it ctameed | drum vaie ut hope eye notnce heads | [penal —— Made aye) orn Sidon nade [ey re, 14 heads wilusaly fhe '14" dems But || free Model Zico (if stamped “Made in the | "12" and"16” duns ae bigger han US ss, and | TAN = Gane call for specially made heads, oe asi Boe Dance 5 joint weights Cae) Fereac model Cre Rey en eS econ RCN or setup would be for a drumset (ride, hi- ject. Jazz.and light pop can employ thin— Se nn ee ee cao ea crash cymbals should L use for rock and heavy rock music requires heavier—and ed eee ee eee ee tT cinerea These days it's hard to suggest a “typical” and functionality (to say nothing of bud Se ee erase See eee eee a ee eRe ce RCE cr eT Sea Ce et tc eR oT Creer Sa er ee a merece ert hat most drummers start out with, and bals like a splash (usually 8" t0 12” and where they might go from there as they very thin) or a China-type. One way tc Pree ys Peete eet ana Ee een mee Ce ie moe Seen any style of playing is.a set of hi-hats, a ride facturers to learn what's available, or visit ren ccna esa et) s erie Sr ne seers cs hee acres eR you use will depend on how hard you hit Sees Or one CChesbro, Hors Teller St Louls Muse. Modern Drummer | uy 2008 | 13(ASKA PRO) Steve Winwood’s Walfredo Reyes Jr. Inspirations I saw you perform three years ago at the Cape Breton DrumFest, and I was blown away. I'd like to know who your inspirations were. I'd also like to know if the way you choose your cymbal setup has anything to do with your stylistic combina- tion of Latin and jazz ‘Thanks for your huge compliments. IIL try my best to answer your questions. My first inspirations were the rock drum- ‘mers that I heard on the radio while T was growing up in Puerto Rico. Just to name @ few: Ringo Starr, John Bonham, Ginger Baker, Danny Seraphine, Buddy Miles, Carl Palmer, Charlie Watts, Mitch Mitchell, and David Garibaldi, along with the drummers from bands like Steppenwolf, Sly & The Family Stone, Elton John, Santana, Al Green, Stevie Wonder, and Elvis, It was not the chops that attracted me; it was the beats, the vibe the music! Later on, I graduated to jazz and fusion, and was inspired by drummers like Louie Bellson, Buddy Rich, Billy Cobham, Tony Williams, Lenny White, Alphonse Mouzon, and Erie Gravatt ‘Then it was on to great, versatile studio drummers like Steve Diana Krall’s Gadd, Jeff Porcaro, John Guerin, Harvey Mason, and Ed Green, I also got into Latin drumming at this time, My most immediate influence in this area was (and still is) my father, Walfredo Reyes Sr. I also owe a lot to Alex Acufla, Changuito, and Airto, just to name a few, I know there are many more that I've left out As far as my Sabian cymbal setup goes, I've been working as an all- around drummer/percussionist for many years, so the style of musie dic tates which cymbals I will use. The HHX line is my favorite, because I find it the most versatile. The line includes Studio, Stage, and Power models, all of which have that genuine “Turkish” sound, For loud music, I'll use Power HHX or AA cymbals, For softer music, ’IL switch to HHXtreme or Evolution models. When I'm playing per- cussion, I use sizzle crashes, HHX Evolution splashes, and HHXtreme crashes. You can hit and roll on them with your hands co with sticks, and they sing beautifully hope this explains a bit and is helpful to you. I can talk drums all day, s0...stop me now! All the best to you. Jeff Hamilton on Timekeeping a ver since T got Diana Krall’s Live In Paris CD I've been ‘obsessed with your technique, style, swing, and impeccable time. The way you hold the beat down and keep the groove going blows my mind. I practice rudiments and paradiddles to @ ‘metronome, and for the most part, it does the trick. But can you suggest any exercises that would apply the metronome to laying down swing time? (That is, playing on the ride and/or the hats instead of just plain old snare rudiments.) Also, can you tell me what ride cymbal you used on that same ching for a ride sound like that for quite Lewis Kinsky recording? I've been sea ‘awhile. Thanks, and keep up your inspiring work. I'm very glad you like the CD. A Live In Paris DVD is also lable, s0 you can actually see some of the answers to your questions. ‘When I play time, I'm confident with how my beat feels, If it feels good to me, then it will probably feel okay to the other play- crs. I don’t actually think of “holding the tempo down.” Instead, I keep a fragment of the melody or ensemble figure in my head to remind me how that phrase “sits” in the groove. Keep reverting back to that throughout the une to check yourself. But play time ‘with the others. Everyone in the band is responsible for bringing his or her time to the tune, Don’t worry about “perfect time.” 14 | Modern Drummer | Juiy 2008 None of us has it To develop a solid time feel, I suggest playing to recordings that make you tap your foot and feel good. A dose of Mel Lewis every morning was the ticket for me. I'd play to The Thad Jones/Mel Lewis Jazz Orchestra's “Groove Merchant” and “Big Dipper,” and it would set the pace for the entire day. Make sure you lock in with the exact time on the recording, By the way, I've never been hired by a metronome. Metronomes are good for practicing rudiments, as you mentioned, But jazz gets stiff when played to a click or a metronome. None of the jazz recordings I'm on use clicks. No one even brings it up ess they're joking. ie cymbals on Live In Paris are from the Bosphorus Hammer Series that I helped design in Istanbul a few years ago. They're only made in my sizes: 20°, 22” with rivets, 22” Hammer China, and 14" hi-hats. Keep swinging, and have fun doing it.CSU a ae et Ey Srrerettaren SOY JTerry Bozzio’s Black Page Drumheads at front heads, y happy with the heads we've developed at Attack, They crimped rims and special Mylar film, which combine to are the Attack Terry more respons ature model. I have clear ds are you using on that record- “Michael Mastropierro ter tunability than T've ever and bottom, and a coated with any other head. Thanks for Would you like to ask your favorite drummer a question? Sento Ask Po, Medorn Orurns. (id Bo Ra, Cod Gro, NI 0709, (you may enainh@masertunmecam, ‘We il do curbestopuin ever nguy Kaman Music + P.0. Box 507, Bloomfield, CT 06002 + www.GretschDrums.com + that great gretsch soundee | ee oes TONE PROJECTION ve always played AA, AAX and Hand Hammered, but when HHX came slong | knew | just had to have some of thase too. t's the sound, that hot, dirty response that gets me. And the "Tone Projection’ of these cymbals really works. that warm tone really projects. The HHiMtreme Crash is what hooked me, and naw my ‘Siamese Monster’ set-up is loaded with HHO. “= MKE PORTNOY - Croom Thestar MIKE PORTNGY | Dream Theater > SETUP 148 Sion Fee Cash 1) 7 Sipe Sih 1) a0 Sta Spa 7 Ka Harmer rsh tht nme Cnese E3030 CSS OEE > svercomVe.ver REvoLver's Matt Sorum Welcome To The Rumble [rene to get back that sprit we used to have when we were doing G N’ R stuff That's drummer Matt Sorum talking about the session for his latest project, a three fifths Guns N’ Roses reunion of sorts, dubbed Velvet Revolver. The act features Serum ‘along with G N° R guitarist Slash and bassist Duff McKagan, ex Wasted Youth gui tarist Dave Kushner, and Stone Temple Plats vocalist Scott Welland. “On the records | played with G N’ R,” Matt says, “most of those sessions were cut live, no dic, just going in there and rockin’ sn nailed the Velvet Revolver session in just shy of a week's time. While most ofthe debut album sports the signature Sorum sonics and performance we've come to expect from him—large room sounds with fong decays and full-bodied snares coupled with unwavering, straightforward slammin’ rock beats—there ae a couple of detours from the otherwise massive rock production. “Loving The Align,” for example, finds Sorum reaching bac in time fr retro touch, Iran into Eddie Kramer (legendary Jimi Hendrix/Led Zeppelin enginoer| in the hall way at NRG studios, and | asked him to mike up my kt old-school style,” Sorum explains. “I used a vintage Ludwig kit and had Eddie mike it with three mic’s to gat a trippy, Ringo Starr kind of vibe. (On “Big Machine,” Sorum tracked using a click track (which otherwise was used sparingly throughout the session) and a couple of different kits. “I re-cut the intro trums and breakdown drums with a different drumkt,” Matt explains, “In the b down, | went down to more of a padded, muted, ower snare drum witha 20° kick. But ‘when the chorus kicked tack in, | busted in with the big ki Sorum’s typical “big kit" on the Velvet Revolver session consisted of an 18x24 kick teamed with 13°, 16°, and 18° toms. The snare arsenal included a Ludwig Black Beauty, a Tama Boll Grass, ad an old Noble & Cooley/Zldjian metal snare, | wanted this really aggro, almost ugly sound, so | tuned that drum up high,” Sorum notes.“ use it on a track called ‘Diy Little Thing,’ and it gave the track alot of angst and attitude. | find that snare drums give tracks such character, so | get into picking the right drum fo the tune, Of course, retention of the original 6 N’ R sprit came via his insistence that the cums were cut straight to 2° tape. “Nota lot of editing was involved,” he notes. “it 38 pretty much ike, ‘That's the track, let's use it!’ What you hear is what you gat Waleed Rashid 18 | Modern Drummer | Juy 2008Modern Drummer iy 2008 19Susie Ibarra Tone, Time, And Tenacity Tay Buia Sst oe r= EY OS e AG tt wr.N Bt nerican Hicko Sine ear highly regarded and ubiquitous figure on New York's fertile downtown improvising scene, drummer Susie Ibara has appeared in a variety of cutting-edge contexts over the past ton years at such alter native venues as Tonic, The Knitting Factory, and New York's annual celebration ofthe avant-garde, The Vision Festival Ibare's hight interactive, painterly touch, raling pulse, and melodic penchant onthe kit have graced ‘albums by such jazz and avant-garde figures as Jofn Zor, Derek Bailey, Dave Douglas, David S. Ware, Wiliam Parker, and Pauline Oliveros. She has also collaborated with fringe rockers like Senic Youths Thurston Moore and the band Yo La Tengo. But it isin the context of bandleader and composer that Ibarra reveals the ful scope of her musicality. lharra’s 2002 release on Zoms Tzaik label, the provocative and enchanting Songbird Suit, intro duced her working tra of pianist Craig Tabarn and violinist Jenifer Chol. Lest year she appeared in a highly charged duet colistoration with viruoso upright bassist Mark Dresser on Tone Time (Wobbly Rail, which briliantly showcased the wide palette of colors and extended techniques that she brings to bear on the Kt On Ibara's latest recording, Lakbay(Tzaik Composers Series, she performs a hypnotic and melodic det with Afro-Cuban percussionist Roberto Rodriguez ona piece called “Folklorico.” On this cut Susie eschews the trapset for a Philippine wooden kulntang, a tuned percussion instrument somewhat along the lines of marimba or baliphone. The remainder of the recording is the dynamic ten-part suite “Lakbay/Joumey,” bara’ tribute toa day in the life of Filipina immigrant field worker. Recently Ibarra premiered a commissioned piece for ter-piece ensemble at The Kitchen, a famous underground performance venue in New York Cty “Creatively, | foe ike I'm in a really good space,” she says of her recent flood of activity. To hear samples of Ibarra's work, check aut her Wab ste, wwwsusieibara.com, ‘4s for gear, tara plas a Yamaha Maple Custom kit with wenden rims. She uses Vic Fit 5A sticks and T1 and 13 timpeni mallets, and Regal Tip plastic and wire brushes. Her cymbals are all Paiste,“ play their Traitionalsline—18" of 20° medium rides, a thin crash, and 13" chats,” she says. “But recently Paiste came out with a line called Dark Energy, which is a cross between their Traditionals and Signature lines. These cymbals have such a great respanse. When you combine the hi-hats, ersh, and Fide, you get four notes that almost forma blues pentatonic scale, So they'e gong tobe really interest ing to work with, PCa Lhd NCL ere) Peete nes Pe ECL Eonar American Hickory, TX7 Poco Bill Milkowski 20 | Modem Drummer | sy 2008sJason B =McGerr SaaS RT IES La Tsu's Troy Luccketta Now Happening [ss unusual for bands that enjoyed sucoess during the glory days of glam to stil tour today. What is rae is finding any ofthese groups producing new albums that don't sound hopelessly dated. An ex no‘ils hardrock quintet that’s always favored solid mus writing over image Maintaining is v feel on its fist studio album in ten years, hoavy, classic hard rock, it’s @ remarkabl ption is Tesla, a bluesy, ianship and song: tage sound, Tesla nonethel a modem, heav Into The Now. Loaded with hook ack for Tesla’s career. Ct) Drummer Troy Luccketta agrees thet avoiding trend-identification has kept Tesla's music viable. ‘We woren't onthe co ast rock magatines int 80s,” he admits, "because we never really possessed ‘that look’ Now I think that's worked in aur favor. We've beer able to survive on our music al that's gre Though they broke up in 1996, Test reunited in 2000 for a small-scale tour, the success of which led to an official reunion ofall the original members. That tour was documented on 2001's Replugged Live. During hs time away from la, Troy expanded his drumming palette by studying jaz, funk, and latin with Dom Moio, whom he calls “a national treasue.” The drummer then incarporat he'd learned irto his own pri where he stress the importance of reading and master- ing drumming rudiments. And doing clinics at recent major events sich as Zildjian Day, the Montreal Drum Festival and PASIC has helped Tray keep his chops up. Like one of his primary influences, Jeff Porcaro, Tioy's 2, and focus in Tesla is on keeping the groove strong. Into The ‘Now also finds tim playing in odd time signatures, pate viarly on the ttl track, which he wrote. "I enjoy exper- menting,” he adits, “But there's a fine line with Tesla. If | approached my playing from 2 real progressive point, it jouldn’t work. But if | go atit from a hard-hitting, strong ‘groove sid, the band relates to it much bettr. Overall, Toy excited about Tesla’s future. “Into The Now is already geting played on classic rock radio, and ‘we'll be touring all year,” he says. “The best is stil yet to Gail Worley }2 Moder Drummer | July 2008Cc ee dam Sandler fim 1 has als rezety ccna Pieces Pee Peserc hearer stg ce eet men eee as PCa oer) ue icy oe cepacia ee ioc eee ee ores eereen nin Tee Eon Sen a aan bey ea cco Cor ie eee eee iri ina nce mein) ere ee ee eect Eee Ce ec ey eae 22 | Modern Drummer | Juiy 2008 Co ea ee prereset Cn eee Cl {0 cowibutor Ed Breckenfeld ison ee uence en ey eet won ctband.com) Coen ee re arie aa Ce ea ern ore] Don Blum can bo heard on The Von Cun deg Cre ce enn te ae Es Re en oreo eee Ce Sry L scree a eT cee eRe ae Uae a Cera re eer et Rae mcr eC Dea eames Circe) CeCe) eed een er aa eee Ramee tines Ree ee eee try Sey coo ‘Joe Bergamini nas jones legendany a el Sr ce ar be rleased later this year. Hoi lo stl ee ag Dies ers co Cee ne eer te need available on his Web site, maw jo: ae eee Sone aa eee oe Rens eee nae Turn Brakes, See eee Fates Wa Sr i} Ce ee) Cris Oe See occas Peace ee enn. ‘go to MD Radio at wwrw.moderndrummer.com. EN Brendan Buckley een nomen era loner meantime, you can Cun nee ana cr ane ete cents a ame eae! Deets Ca aa SST ae cn ones ew cs SaaS ee Se en 22 The sat eee eae es italy roa eae ot eee a ear en ee ers Co cme ney et tee elas fi ac eels Ce crc Re aThis month's important events in drumming history ce Pn ea en eats ay 2122 Se eer Sa Sa! ee Ces sts aisle tie ist Cea avons unease Co eRe) Olea MA Che leas Mehmet creates his experience on the cymbals... co ree Don Henley Michael Shrieve een a Roger Taylor esas) arcs Fe ‘Andy Nevemacke tere A ceeter aneDone ee Se eee Suu ee American flag graphic no longer graces the Kid Rock drum riser. in its place, sits 2 smaller birch CR ee "The music changed is what happened, explains Eulinberg. “In the beginning, Kid Rock's music was Ce Oe ne ae ey Cre Cu eu ec Rc behind this big kit, going for it, But i was ridiculous, too. 'm only about five feet tal, and sometimes Peo ee Su ae ee ean hi-hat, no matter how | angled it. With the smaller kit and single kick, I'm a lot more comfortable—and that makes it easier to groove. | love the sound of big drums, but 'm not sure all that resonance is. DeSean ene eee However, I've still got a big 18 x 22 kick. Man, that's a great %$¥@S drum!" Ce ae CO ee a RO eae was like night and day. | ot compliments from everyone. My guitarist, Jason Cross, said, Those are the Pe eS a eee Cee before | signed up with Tama, Maple may be a little too subtle for Kid Rock, where most of what | do is about time. | can see using maple in more chilled situations like playing with Melissa Etheridge where Peo en ee oe ee RC een Ls bit longer, and it's a litle more sensitive than birch. Birch isn't as giving. You have to work to get that A eS eee ee ee Se enue ee acca anes aes aOR TITS Seri) recs ao peck Bron Beate De a eee ne ad Cnn) ck Sr Serer) Bek IBRAS ELA Monolith Odyssey Drums A Return To The Organic onoithCanpostesis arsian ampany known forts manufacture of cbr HITS fiber drums and drum racks. They also offer a drum series that combines wood and carbone shel segments But unt now, eye never mde ana wand drum Thats al changed wih te itductiono Moots Oysey series innovative Accu-vent bass drum venting systom adds contol toms produce oustanding sustain Drum Construction Odyssey shells are 100% American maple. All toms and most snare drums feature 6:ply shells with 1-wide, 6-ply reinforcement rings. Bass drums are 8-ply with ply rings, Cherey . ply snares are avalible, with 10-ply shells and 10-ply ings. by ick: Vin' Hore Monolith has fited the drums with totally original lugs, in a very stylish “pinched teardrop” design. These sold brass lugs come in chrome, black chrome, satin nickel, pol- ‘shed brass, and gol finishes, or can be powder-coated to custom colors. The lugs are attached to toms and snares with two bolts to help resist head tension. Thoy'e atached to the bass drum with single bolts, which allows them to pivat slightly, if necessary, to accommodate ‘movements or regularities inthe tension rods. This one-bolt design saved the shall of one of our review bass drums when thet drum was dropped in shipping It landed on the edge of one hoop, which was pushed down and sideways by the impact. The drumhead was spit, and several tension rods were bent. But the shell itself was not damaged, becouse the lugs were able to pivot. Had they been mounted by two bots each, those boks Would have tor loose, most ely gouging the shell round them. ‘Also unique to Monolith are Nexus 62 tom sus pension mounts, which combine a very naerow pow: der-coatad aluminum bracket witha earbon-fiber panel to create the lightest suspansion mount inthe industry. Aside from lightening your deum cases, ‘hase mounts also reduce the transmission of érum vibration even more than most suspension mounts do—thus helping to promote the sustain ofthe toms Atrangulaton tothe lower rim also adds stability The mounting surface onthe Nexus 62s large enough forth custome to choose trom 8 wide variety of receptacles. Monolith provides the drum to this point; the receptacle is the customar's responsibility, although quite afton Monolith does the instalation forthe customer. The Gibraltar units that camo on our review kit are the ones most often specified. {Noxus 62 mounts are availabe as universa-t aftermarket products for use on any drum.) Snare drums and toms are equipped with triplelanged steel counter hoops. Bass ‘drums come with 12-ply wood hoops that are color-matched to the Kit’ finish on the outside and natural on the inside. Snare drums are fitted with Ayotte rack & pinion ‘throw-offs and Ayotte butt-end assemblies. Bass drums come with heavy-duty, fold- back telescoping spurs. Nexus 62tom mounts are | ‘extremly ight 26 | Modern Drummer | Juiy 2008Snare drums are fitted with Ramo PowerStroke 9 batter heads and ‘Ambassador hazy snare side heads. Toms are shipped with clear Emperor batter heads and clear Ambassador resonant heads. Bass drums are ited with Superkick batter heads and Regulator resonant heads from Aquarian. Tom Sound ‘Suspended toms are supposed to sound big and resonant. We've sort of gotten used to that, to the point where we take sustain end projection for ranted, Even with that mindset, | was impressed by the sustain of the Odyssey toms. All of the toms on our “rock” kit—Bx1O, Sx12, 11x14, and 13x16-—were suspended, using the Nexus G2 brackets. Their head combi- nations gave them plenty of depth, and their maple shells gave them plenty cof warmth and roundness of tone. Fawvess bearing edges promoted good attack (aven considering the clear 2-ply Emperor batters) f you wanta big «drum sound, these babies will dative. ‘The Bx10 and 14x14 toms on our smaller review kit had the same ‘acoustic character as those on the larger kit—allowing for pitch differences attributable to their sizes. If anything, they sounded bigger than you'd expect (when really walloped!, while still being responsive to delicate playing, Very nice. Snare Sound Both of the snare drums we roviewed were 5Y;x14 models, ‘equipped with the same heads. So their acoustic performance was virtually identical (a tribute ‘to Monolith’s manufacturing consistency) Their PowerStroke 3 heads provided a certain buit in overtone control, but the {drums dida't lack for projection. They both offered the best charactaristics ‘of maple-shell drums: warmth, roundness of tone, and melodic adaptability. They also had very good dynamic range and sensitivity. The Ayotte throw-offs make these drums particularly versatile, since they have the ability to hold snare tension at any point, from all the way off to all the way on. (I's not an either/or situation) Thus the drums could instantly go from a loose, N'awiins ftback sound to a crisp, cutting punk character, and anywhere in between. The accommadating nature of maple shells makes this a particularly appealing feature. ‘Accu-vent Bass Drums Both of our raview kits came with bass drums that fea tured Monolith’s Accu-vents (available as a no-charge option). These are slotted vents that are strategically, sized and placad in the bass drum shell. The number of vents varies depending on the size ofthe shell as well as, fon the intended application. Three or five vents are avai able in 20° drums; 2° and 24° drums are offered with five oraine ‘Our 18x22 review drum came with nine vents From an acoustic standpoint, it had a lot of attack, but nota lot of low end. (According to Monolith, five vents in a 22° drum leaves more traditional “boominess.”) But the nine-vent option is specifically intended for @ drum that is to be miked up. More importantly, it's intondad fora drum that is, te be miked internal. The idea is to ratain the tonal bene- fits of @ ful front head and no added internal muting, without losing the punchiness and control of @ ported head. To this end, ‘our test drum came fitted with Monolth’s Nexus 81 mic’ mount (which is available as an aftermarket item for any drum) It ataches to several lug bolts inside the shell and holds a microphone in a shock-mourt in the cen ter ofthe drum, We evaluated the drum using two different microphones: an Audix D-6 ‘and an Augia Technica AE2500, Each mic’ provided its own nuances tothe drums sound through our PA system. But with either mic’ we were able to ‘gota tremendously clear, deep, and powerful sound. And that sound was completely controllable, without the need for additonal internal muffing, ‘Modern Drummer | July2o0y | 27The Aquarian heads contralied over-ring, and the Accu-vents allowed the right amount of arto escape to provide punchiness and attack. Additionally, since the microphone was inside the drum, and the mic’ cable came out through a special grommeted hole in the bottom of the shell there was nothing visible to reveal how the drum’s sound was creat- 4, That's @nice aesthetic feature if not a eritical one. | like a clean-look: ing drumkit without a fot of mic’ stands and cables obscuring the audi- ‘once's view of it, The bass drum on our small review kit wasnt fitted with @ mie” mount, so we evaluated it more on the basis of its acoustic sound, That sound was ‘actually bigger and boomier than that fits 22'sibling, owing tothe smaller ‘number of vents—threo, in this case. Stil it was a controlled boominess, even with an unported front head and no internal muffing. This drum would hold its own in any situation where a full-bodied, unmiked sound was desired. ‘When we put an Audix D-6 a foot in front ofthe drum—just for fun—that 20" kick sounded huge through our sound systam, without losing its punchi ness, It was the sort of sound that engineers love, and that makes drum ‘mers happy because they can get it from a smal, portable drum. Finishes Monolith offers many different color options. Most standard laquer fin- ishos contain a pearlescent eloment that allows the drum to maintain its colar but picks up on ambient or projected colors to give the shell a deep- er, richer radiance, Our large review kit came in an Antique White Peart finish that fell somewhere between off-white and café-au-lat. Ths finish, in combination with black-chrome hardware, gave the kita classy, sub- dued appearence. ‘The smaller kit featured a Natural Pear! finish with a high-gloss clear + Cam-adjustable double sprocket chain drive * Double springs driving each pedal for Incrossed respons, sensitivity and balance + Hard-sort mallet heads * Heavy -duty u-joints and dust covers + More energy efficient shorter drive shafts * Spring loaded anti-skid screws on both pedal housing and beater housing + Heavy-duty pede! plates + Rubber anti-skid pads en both the toe and heel of the base plates + Extremoly ergonomie pedal assembly <=> 28 | Modern Drummer | Jy 206 {0Nsn Set -PO Box 42 Cospet P1827 15145725700 -FAKE72S571-mpiotenolncem coat, along with chrome hardware. Call it “tradition- al” if you like, but it was beautifully done, and it gave the kit @ warm, attractive look that would be appropri- ate on any gig SpaceRACK Athough itisnt the focus of this review, I'é be re- miss if | didn’t mention [This jazesized kit features a Netural Monolith’s carbon-fiber Pear! finish. spaceRACK, which supported our large review kit. | reviewed this rack system when it was first introduced several years ago, and | feel the same ‘way about it now. At $23.50 per foot, carbon-fiber rack pipas are more ‘expensive than steel pipes. But they're about 80% lighter, while being every bit as strong. Take it from someone who had to undergo back surgery after years of iting heavy equipment: If you're @ rack user, or are considering becoming one, you should definitely investigato carbon-fiber, Conclusions Ive reviewed Monolth’s carbon-fiber drums, and I'm familiar with the company’s penchant for innovation and construction quality. They've appliad that penchant to their new Odyssey maple series, and the results are impressive ur big review kit would serve well in any lve or recording situation, aiven its easily controlled-yet-powertul bass drum, and its rich, resonant toms. And our small review kit was the kind of versatile set that surprises You with unexpected power and “bigness,” yet stil retains the warmth and ‘dynamic range that you expect from maple shells For their first time out of the wood-drum gate, d say that Monolith has a winner! mm THE NUMBERS Bx10t0m.. $ 4000 sxt2tom.. -$ 480.00 Htatdtom $550.0 14x16 tom $5000 13416 t0m $ 60000 18x20 bass dum $ 70.00 {avo with Accuvonts tn charge) ‘x22 bass drum 3 soc (avolibie with Accuvents aa eherge) 5x04 snare drum 4 $2000 Fourpiece shell peck... ..-.+. ooo $2399.00 (opions: 2 bas, trac om, and 14 maunted orlegged to tn, 0r2 bass, 12 recktom, and 1° mounte olagged for tan, with or wthaut Accu-vents} Five-piace shell pack $2799.00 (option: 20 ness and 16 mounted or lggedfoor em, 02 bass an 18 mounted arleqged ter tm wither withost Aeu- vets Soc piece shell pack $3399.00 {ooton: aor 2 bas crum, ourted a lagged fear toms, vith or wthout Aceves) ‘Novus 62 suspension tom mount. 3 435 ‘Nexus Bt interna mie mount. 3 185 shaped spaceRACK $5800 Cinelses five mounting clamps) (905) 689-6173, www.nonolithdrums.com.ee ea cr rz, withouk having tn ge vee ae ela tacte Ree) ane aI heavy shoulder. A bit more weight up top for ER Rom eee eRe EULA Bear RL LOM Ne OR UAC U Et ae Oe LU Ue. Cs a an oe aL ad PTT D res 7) TER aaron oa ea ad Pn nf 02343 USA 781.767. 1877 VA na eeSabian HHX Manhattan Jazz Cymbals Towering Darkness by Will Romano nfm he bones of he iy. Wh ts HX Marten Jz sees, Sten ton sutcaney el cope eee say ut join ey et IsIn (ur review batch included 13° and 14° hi-hats, 16" and 18" crashes, and 20" and 22" rides Upon first glancing at these cymbals, | noticed that they were not as heavily hammered as their HX cousins are. was also struck by how ultra-thin they were, as if Sabian was fol lowing the Atkins diet for cymbalmaking Sabian’s pinpoint lathing process creates deep, circular lines on the surface of these cymbals. They reminded me ofthe ridges on an LP record, or the rings around Saturn It's ‘an outward indication of how beautifully complex these cymbals are. Stil, looks can only et you so far inthis world, How would they perform?Smooth, Comfortable Ride In order to test the ride cymbals, removed my second rack tom and placed the ride to my front right side. Through an economy of motion and ‘the cutting-through-butter-with-a-hot-knife foe! | experienced when play- ing the 20° and 22° cymbals, enjoyed @ comforting and comfortable “ride.” | also switched to longer, thinner, and lghtor sticks (hickory, with ball tip) which I believe helped to bring out the true essence of the ride eymbels, Though | generally prefer rides of brighter texture, the Manhattan series’ dark sound was very seductive, The cymbals were also very sensitive, responding well to even the lightest touch Playing these rides simply felt good. | was not busting my gut to get « rhythm out Instead, the sticks just seamed to ral off these delightful metal dishes. | was blissfully maintaining a swingin’ groove, swept away by the sonic storm of billowing, shimmering sound waves. From AWhisper To A Scream ‘Tho 16" and 18" crashes were vastl different from the rides. The thin 16 crash produced a short spitz of sound. (Imagine a quick squeeze of a gar- don hose nozzle.) | set the cymbal tomy right and smacked it at wil, result ing in quick explosions and hissing decays. Sabian states that the design of the Manhattan Jazz crashes, including the pinpoint lathing process, achieves “a controlled spread.” This was verfid by the performance of the 16° crash The 18" crash possessed more sonic heft. When | gave it a good whack, layers of rich overtones blended to become what sounded like—fitingly ‘enough—a taxicab horn reverberating through crowded city streets. The 18° reached sonic heights that the 16° simply could not. This might be counted as a plus or @ minus, depending on the setting. Tho cymbals tonal richness was undeniable | also tried using both crashes as crashyrides (as Sabian suggested ‘could be done). The 18" was more than sufficient for quick runs, but the 16° was too flat and unexciting for my taste. Conversoly, Sabian also belioves that the crashes can double as splashes. I found this to be half true. The 16 offers a viable akarnative by approximating the decay of a splash. The 1 is another story. One might describe its crash sound as “splashy,” but it’s simply too big and powerful to actually serve as a splash cymbal. Inthe heat of battle, I don't want to have to pull backto get a splash cymbal's tre ional tiny splatter. The 13" Manhattan Jazz hats knocked me out. According to Sabian, the oval hammering dents that cover their surface add to their lightness of sound. And the 13° hats were very light. They sounded a lot softer than t'm used to, and I flt virtually no resistance when stepping on the padal and closing the hats on 2 and 4, But | was caught off guard by the strong, clear “chick” that these babies produced. twas very well defined, and it provid- ed @ great counterpoint to the sprawiing sonic winds produced by the ride cymbals The 13" hats also helped me address my fear ofthe technically demand- ing aspects of jaz. found that | was playing quick triplet swing feels with a litle more ease and authority than usual, Was it the cymbals themselves, or something that they contributed to my mindset? I'm not sure, but I'm willing to give the cymbals the benefitof the doubt. ‘The 14" hats wore slightly darker and a bit louder than their smaller sib- lings were. They produced an almost muffled, rustlingteaves sound when | played them slightly open. Though they didn't have as much presence as | ‘thought they would, I nonetheless liked the way they responded to a quick snap ofthe wrist. Their “chick” was also clear, and was complementary to ide cymbals. Mystery Ending ‘Sabian insists thatthe B20 alloy formula used in casting the Manhattan Jazz cymbals (80% copper and 20% tin, with traces of silver) is nothing new. So why and how this series has the capacity to deliver silky yet soni- cally explosive performances remains @ mystery. Luckily, we drummers are not tasked with figuring out the secrets ofthe universe. All we do is bang on stuf If you play herd bop, fusion, or eny form of jazz, these player-riendly ceymbals offer @ great range of sonic options. ! may not have been around twexperence the golden age of (ae jazz in New York City, but | believe THE NUMBERS tat ese embels woud deg. | those who were. They're not the | 49° Wi-Hate cheapest eymelsin town They | te eae tre hand fammere, eter all) | ts But they st might be ha ones | 2 Re for you (606) 272-2018, wwvw.sai (31 ‘Modern Drummer | Juy 2008Potyondi Signature Series Cast-Iron Snare Drum Talk About Your Heavy Metal! EHITS excellent sensitvty and response Fare cases es, bse in rar, Onan Canes, seine in custom ‘snare drums made of aluminum, bell brass, stainless steel, capper, castivon, and other metals. While other manufacturers also make metal snare drums, what makes Potyondi ‘snares unique is the fact that each drumshellis individually machined, not rolled or spun. This results in @ seamless, one-piece shall that is uniformly thick and perfectly round. It also results in superior strength, along with even tone across the drum. Available design options include diameter, depth, hardware, venting, and finish very expressive distnet harmonies seamless, machined design MISSES From The Iron Age wdimidicwiente ee The model we were sen for review was a 5x14 Signature Series Cast-Iron drum with an me avit-wash finish | noticed the drum’s considerable weight before | even unpacked it. When I 2 actually put ona scale, it weighed approximately 25s. For comparison, | weighad my late iy: Manele Patmos, ‘as Ludwig 6Y;x14 Black Beauty tipped the scale at dainty 10s. So the Potyandi drum is fr heavier than the average metal snare of ts size. wasn't sure ‘het ta make of his at fist, but after further exemination ofthe drum’s design end construc- tion, it made sense, The manufacturer states that their drums wil not crack or break, and I Given the drum’s unusual weight, | would definitely recommend a sturdy, double-braced stand. As for bringing it on the road, you or your roadie will have the added bonus of working on an extra litle arm definition each night. Fit And Finish ‘The Cast-ron snare is an original design by Pater Potyond, and it's quite impressive. The 10 mm (%’)-thick shel is a flawless, smooth cylinder with @ sharp 45° bearing edge. In my search for any sign of irregularity | found nothing but the production number inside The acid-wash finish on this drum is especially distinctive, According to Peter, the finishing process takes about a week and 2 half. ttinvolves applying twelve cups of acid, whichis then neutral- ized, after which the shell is wet-sanded before receiving a clear coat, This gives the drum @ rich, walnut-brown color, with subtle shading variations and some faint sanding scratches that play across the surface. Besides the acid- wash finish, cast iron drums are also available with a natural machine finish, as wall as other custom options. The drum is fitted with eight ube lugs, riple-fianged hoops, and @ Nickel Drumworks strainer. These combine to help the drum tune up easily and quickly. A taste- ful badge finishes everything of 32 | Modern Drummer | Jsiy2008Sensitive, Crisp, And Singing ‘The castiron shell, Aquarian heads, and a 42-strand sot of snare wires ‘gave the Potyondi drum an extremely sensitive and musical responsive: ress. Tho overall sound was focused, with a distinet attack and a cxisp snare sound, supported by a pleasant ring. The tone and harmonic blend that the drum emitted were especially musical and singing. Moving from the center of the head towards the rim added harmonics and ring, while the sound remained consistently crisp. ‘As an experiment, I tried damping the ring of the drum somewhet. While it stil sounded great, | preferred the controlable yet lively natural sound of the wide-open drum. The drum also had an impressive dynamic range, from the faintest taps ‘to the loudest whacks. This sensitivity and responsiveness made for a wanderfully expressive instrument. | found it excellent for playing jazz chatter with mixed dynamics, as well as laying into it on 2and 4 {As you might expect, the cast-iron snare delivered a superior ringing rimshot, with an even, smooth decay. Cross-stick playing was equally effective, sounding a sharp, solid knock amidst the drum’s distinct har- ‘monios. With these sounds at my disposel, it wasn't log before | found rnself forgetting about “jazz” or “rock” distinctions, and instead just play- ing the drum alone and enjoying its performance. Conclusion With its distinct sound and excellant sonsitity, the Potyondi Signature Cast-Iron snare would do well in most musical scenarios. It would obvi ously be useful in a studio, and could easily handle five situations from rock to jazz, and even symphonic work. While its weight could be an issue {or some, this would really only depend on how often you set up and tear down, Ukimately, I found the Cast-Iron snare to be an engaging and responsive instrumant with a nice harmonic series and a crisp, singing sound, IH castiron isn’t your choice of metal for a drum, Potyondi has lots of ther options for their hand-made snares. A straightforward page on their Web site allows you to email them for a price quote on @ custom drum. ‘While Potyondi drums are currently only available through the company’s sito, they should be availabe in some music stores soon. ll THE NUMBERS Sxl Signature Cas-lron snere with acidash finish... $1950 (Canadian) (US price wil fluctuate with exchange rat. Price at press time approximately $775) (519) 756-7706, wwww.potyondi.com. Quick Looks Pro-Mark Pro-Round Series Sticks F212 estes oes Basa me papas in oss years, and customers haven't been shy about making their preferences known to the manufacturers. In response, Pro-Mark now offers three of their most popular stick sizes—7A, 6A, and 5B—in roundstip versions. But the manufacturer didn't just take existing sticks and slap rounded tips on them. They did their homework, experimenting with different lengths so that the new sticks would emulate the response and balance of the original models. As a result, the 7A ‘and 88 Pro-Raunds are slighty longer than their standardtip coun: terparts, while the As are the same lenath. | used a pair of the Pro-Rounds during the run of a local show. They had fine belence and response, and were uniform in the cym- bal tones they produced, which were pingy and very articulate. | ‘also prefer round tins for prectice-pad or concert-snare work, ‘where that same articulation isa plus. The sticks also felt great in my hands. They're made using Pro- Mark's proprietary Millennium Il process, which applies an env ronmentally friendly, non-toxic finish that's said to make them more consistent and less sensitive to moisture. It certainty makes ‘them easy to hold on to, All three models carry a retail price of ‘$11.95 per pair (877) 76-6275, wwww.promarkdrumsticks.com. Chap Ostrander Modern Drummer | Julyzouy | 33Stagg Cymbals Chinese Contender affordable student models: cymbals have been made in China for literally thousands of years, “old-world” takes on a whole new By Norman Arnold ‘meaning inthis case. We were sent representative models from several of Stagg's current lines. Myra Series Of all Stagg's cymbals, the Myra series are the loudest and mast aggrassive-sounding They're designed for the demanding rack player. The 12" Myra medium briliant splash is very strong, and sounds as loud as an actual trash cymbal, I's @ perfect rock splash, in that it’s thin enough to create @ “splash” sound, yet has enough power to cut through, Stagg also offers 8°, $', 10", and 11° splashes. The 17° Myra briiant crash should be plenty loud for the hardast-rocking band. It generates a big, bright sound with plonty of cut. The bel is also particularly bright, ‘and could easily be used as a different ride sound. ‘The 22° Myra briliant ride is very precise and focused, lke a good rock ride should be. The combination of hammering and lathing on this cymbal gives it a nice blend of warmth and “ping.” The bell should satisfy the heaviest rocker; its sound is really piercing—especially ‘whan played with the butt ofa stick. ‘The 14° Myra hi-hats are perfectly matched to the other cymbals inthis set. They have @ bigger and brighter sound than most regular hi-hats, and would certainly be an asset to the hardest rockers DH Series ‘The DH Series offers cymbals with earthy sounds and complex overtones. Extra hand hammering ‘and the availability of six different woights and models should assure plenty of choices for everyone. ‘The sounds of the DH cymbals are generally much darker than those of the Myra series, and would likely be favored by jazz drummers, world-music players, and rack drummers looking for varity. (| really iked this collection myself) ‘The DH series also includes special EXO (for exctic) models. These cymbals are made visually dis- tinctive by the unfinished look of their bells. The 14° EXO hammered medium-thin crash has a dark, cool sound end a very fast response. The 11° DH briliant splash is brighter but still warmer than the Myra splashes. It makes for @ good combo with the 14° EXO crash. These eymbals would sound great, as partof« studi kit. ‘AIT EXO orash and an 18° Rack crash round out the DH crashes we tried. The 17" EXO is a very ‘warm crash—perfect for studio work or with an acoustic sat. Tho unfinished bell provides & great look, ‘and itisn’t as bright-sounding asthe bells on the other series. The 18" Rack crash would easily work for 8 variety of musical styles Is brighter than the 17° EXO, so the two complement ezch other nicely. [BH 12° medium splash and 74° heavy hihats ‘BH 78" EXD crash and 20" EXO heavy ride‘The 21° DH EXO ride isa tick, heavy eymbal, ts overtones are abit sub ued, creating an “earthy” sound. its a vary dynamic cymbal as well. t ‘can be played gently, with good articulation, but it can also be played real ly hard without developing too much ring. Andits unfinished bellis great The hi-hats inthe DH series also come in a variety of sizes and styles. (ur review sets were the 13° Fat hi-hats and the 14° briiant model. Both sets sound sold, crisp, clean, and bright. I wished that we'd been sent a set of EXO hihats as well. like hi-hats to be crisp, and we certainly had crisp hichats to choose from. But | think it would be great to have a darker set to match the overall tone of the other EXO cymbals. Of course this is just personal preference. Furia Series Stagg describes the Furia series as being “inspired by the sounds of the ‘ocean and the forces of nature.” The design of the cymbals incorporates @ special combination of hand hammering and detailed lathing. The lathing creates a “rim” around the outer portion of the cymbal. I's visually interesting, and it works well with the briliant finish to ganerate the dis tinetive sound of this series. ‘The 16° and 18" brillant Furia crashes are really great together. was able ‘to get an interesting range of sounds from both, They both have @ bright, hard-edged sound when crashed, while the thickness and weight of the 18° ‘more expensive “traditional” models from other brands. (cymbal Sets (Cymbal Sets from Stagg offer several value-priced options to beginning players, as well as to working drummers not yat ready to invest in top-of- the-line choices. DH and SH sets each contain 14°hi-hats, a 16" crash, a 20" ride, and a cymbal bag. The DH set also includes a great-sound- ing 10" splash, making it an especially attractive package. And for students, there's @ budget-priced YR set (not reviewed here), which also lm THE NUMBERS. includes 14° hats, a 16° crash, @ 20" | Myra Series fide, and a cymbal bag HE eee orergrecered S 17 Myra Crash _s10 We Myra Rock HiHats .... $325 Conclusion Mpa Rock Ride «3458 When I started drumming, there were only two real choices | DH Series for cymbals. Today, there are | 11°Splash .. $35 many more. Whether you're a stu- | 14°EXO Crash ............8118 dent drummer just starting out, or @ | 17° EXO Grash oe 1 Rock Crash $210 pro looking for acoustic variety, ‘modal would allow ito serve well as an alter nate ride, The lightly lathed bells on both eym= bals also offer unique sonie opportunities. The 20° Furia brillant ride has a very large boll with a piercing ping, which helps it to generate unique overtones. Hishats in a 13° sizo round out the range. They blended well, with the other models in this series, creating cohesive sound. SH Series The 10" SH splash and 16" and 19" SH crash 9s that wo tried wore very “mature*-sounding. Thats, they had a familiar, almosttradition- al sound, They were darker than some may like, and they didn't have a penetrating edge—even though they were designated as “Rock” madels. But | think that’s what makes them worth comparing to ane vole Songs cew chase woth a. | SEM on amcor wens Senet a8 sata neon! ions Beate es sa sie vont +a weetbes ates Grants toe Cymbal Sets: sea ie ra = Titec piace preemie sini cnueoers towed (615) 783.8787, woww.emdmusic.com Modern Drummer | ulyzamw | 35,Carbonlite Carbon-Fiber Cymbal Boom Arms A Quick Way To Lighten Up HiHITS significantly lighter than al-stel versions functional and durable by Rick Van Horn THE NUMBERS: 11° Boom eae 17" Boom & base tube (721) 742-2283, www.carboniite.com. 36 | Modern Drummer uy 208 \ve said many times how important | think it isto lighten one’s laad when it comes to drum hardware ne way to do that isto use a drum rack instead of several cymbal stands, with their heavy, double braced tripods. A further step isto use a carbon-iber drum rack that features ultra-light legs and hori- zontal tubes. Now Carbonite (who makes such drum racks) has gone yet another step, by introducing carbon-fiber cymbal boom arms. ‘The arms themselves are solid, ¥y-diamator, gloss-black carbon-fiber rods, tipped with die-cast ‘metal ratchet-style cymbal titers. Tho arms can be used as part of a complete boom assembly, or can replace existing “diameter steel! boom arms from other manufacturers. According to Carbonlte, besides being lighter, the vibration-damging effect of the carbor-fiber arms serves to isolate cymbals for reduced vibration transfer and improved cymbal sustain. Carboniite boom arms are available in 11"- and 17'-ong versions, with or without a 9°-diameter steel base tube (to complete the boom arm assembly). The base tube has a “hideaway” design, meaning that the boom arm can side into the base for transport or for use asa straight stand, The base features sep- arate adjustments for titng and axtending the boom, | had two major questions about these new boom arms. First, were thay enough lighter then their steel counterparts to justify their use and cost)? Second, were they as strong and durable as steel arms? ‘The Weight Factor ‘To answer my first question, I compared a Carboniite boom arm assembly {including base tube and 17" arm) to similar assemblies from three other major manufacturers. The base tubes were essentially allthe same weight, so any differences were due exclusively to the boom arms, The complete Carbonlte assembly weighed 34 o2. The carbor-fiber arm alone weighed 124 o2. The lightest steel boom assembly weighed 45 oz; the heaviest weighed 51 or. The lightest steel erm alone weighed 22 oz; the heaviest weighed 28 oz. So the weight savings with a complete Carbonlte assembly ranged from 11 to 17 oz Using 8 carbor-fiber boom arm alone saved from 934 to 15%, oz. Ifyou only have a couple of cymbals on your ki, these differences may be negligible, Butif you have 2 large kit—especially one on a rack, with lots of eymbel boom arms—the weight savings can add up Pretty quickly For example, | currently use six complete boom assemblies and six individual boom arms ‘on my rack setup, And they happon tobe ofthe heaviest brand from my comparison, If| were to replace all of them with Cerbonite assemblies and individual arms, I'd reduce the weight of my hardware case by over twelve pounds! ‘The Strength Factor | was a litle concerned about the strength of the carbon-fiber arms, because the material can ba brittle, But | was assured by Tim Greene of Carboniite that the inherent strength oftheir solid-rod design would measure up to that of a steel rod. As a torture test, | put @ 17" medium erash cymbal on the 17 ‘arm, and extended that arm out as far as it would go, puting as much weight as possible on the oppo- site end. Then | proceeded to repeatedly wallop that cymbal aver several practice sessions. The arm held the cymbal firmly, with no appreciable “wobble,” and gave absolutely no indication of any risk of breakage. I was impressed. Final Thoughts ‘The Carbonlite boom arms don't come with memory locks, because the manufacturers felt that such locks would negate the pack-up convenience of the “hidaaway" design, But standard 14" memory locks can be ardered for an additional $4.25 each by anyone who wants to use them in order to simplify 2 complex setup, Also, remember that the boom arms are available separately, and thus could be retro-it- ted into regula tripod-style boom stands as well as boom-aem assemblies. Technology can sometimes be overrated. But in the case of Carbonlte's carbon-fiter boom arms, 1 think real progress has been made, I's tantalizing to think that complete lightweight stands might not be farbohing €BLAGK PANTHER SNARES HANDGRAFTED FOR GREAT HANDS roEsroni Returning To His Roots With Probot Story by Ken Micallef Photos by Paul LaRaia any drummers have hit it big since the post-metal resurgence of the early '0s. But no one has had the impact and influence of Dave Grohl. With the full-body flam and bass drum contortions of Nirvana's “Smells Like Teen Spirit,” Grohl forever changed drumming, turning Muppet-like heavy metal carica- tures into what Grohl himself calls “a drummer's sport.” There had been pummeling protagonists of the drums before, but none exacted his level of pop craftsmanship, instinctive technique, and innovative song interpretation.RR Rc aa a a the drums with a vengeance. The molar-flashing Virginia UO Ore ee ee Sei intuitive, musical, and creative drummers of this generation, He's also proving to be a quick-witted musician unafraid to follow his ees Popularizing the now ubiquitous quiet/loud formula with Nirvana, Grohl supported the moody and often manic songs of Kurt Cobain with a style that crossed the classicism of a Ringo SOURS ure eee a eae ney heroes, Kent Stax, Bill Stevenson, Dave Lombardo, and Earl eo Sa cae en een one of the goofiest grins in rock, and you have Dave Grohl's recipe for success. Vt ul 4 But drumming was never enough for Grohl. With Nirvana's pre- CoC ee ee eMac handing drum duties over to the very capable Taylor Hawkins. AOU Coen eteae ete as Foo Fighters’ third album, There fs Nothing Left To Lose, let Grohl searching for meaning beyond pop hooks and ear-shred- CR a nee ea mera ra cet lease on his rock ‘n’ roll soul, Grohl and The Foos recorded One a er ee ae tee roots. Searching for sustenance, Grohl did sessions with Reeves Gabrels, Killing Joke, Tony lommi, and Tenacious D. With hard- ore roots still calling, Grohl put all his energy and considerable Eee art -Grohl's two-fisted tribute to the '80s hardcore canon, Probot was conceived, performed, and produced entirely in his Virginia basement studio. What began as casual tracks laid down to Pro Tools over a couple of beers soon became a full- blown metal mission Recruiting his vocal heroes from such currently lost-in- the-wilderness bands as Motdrhead, Mercyful Fate, Venom, Sepultura, and Voivod, Grohl created a skull-crushing blowout that is irony free and seriously song-structured. As always, his unerring musicality turned what could have been @ collection of novelty one-offs into a grip- ping gala of pounding stoner rock Ata recent Headbanger's Ball perform ance, Grohl and the assembled Probot “band” stomped through “My Tortured Soul,” one of a handful of tracks where the drummer's implied double bass drum trickery and all-or-nothing energy electri- fied the SRO audience. Probot reveals Dave Grohl in all his drumming glory, from the introductory double bass stampede of “Red War” to the closing Gothic fog and ice bell ambience of “Sweet Dreams.” Other hardcore highlights include the toxic tom executions heard in ‘Shake Your Blood,” the speedball rhythms of “Access Babylon,” the flying dinosaur dynamics of “The Emerald Law,” and the agitated, neck-snapping suspense of “Dictatosaurus.” Throughout the album, Grohl lays down the kind of signature parts that will make air drummers the world over shout, “Beat itwith your fist, Davel” Similar, but more metal-pop funky, Grohl also drummed on Queens Of The Stone Age's breakout 2002 album, Songs For The Deaf. Using unorthodox recording techniques and his full arsenal of tom- truncheoned grooves, full-set triplet rollovers, and roaring flam punctuations, Grohl again created a template for rock drumming that will be scoured, studied, and followed for years to come. Obviously, Dave Grohl is back at the drums in a big way. Drums: Tama Starclassic ‘A.B)/x14 Ludwig Black Boauty snaro B. 13x18 mourted tom ©. 16318 foor tam D. 16,24 bass drum Cymbals: Paisto 1.142002 heawy hi-hats 2. 19°2002 Power crash 3. 22-2002 ride 4 292002 Power crash 5. 29° Sound Formula crash Sticks: Zildjian 88 (hickory with wood ti, ‘Ahead stick wrap, Zidjian drum gloves Foo Fighters quitar?arum tech BE on funing, setup, and what Groh meaty wants “Dave uses coated Remo Emporors on all hatter heads, and he prefers a small kit He wanted to go cymbals this time, mostly from their 2002 s ie. His goal was to mimie John Bonh ‘solup. tried to tune all the drums as low as possible without thom being flubby or mushy sounding. | ‘ranked up the bottom heads but kept ths top haads really slack, And it doesn't matter whet do on tho ‘snare—Dave eranks that up. With the hig bass drum ifs the slightest bit ight the monitor will start vibrating the heads, so you want to keep the bass drum heads loose. And Dave always uses drum idic sweat on the planet.” utyzo08 | 41 Modern Drummera ay | ee, : + tes Ne hl "5 : a Oy MD: When you returned to the drums for robot, was there a moment when you real- ized your dream was becoming a reality? Dave: The whole thing started in January of 2000, after The Foo Fighters made There Is Nothing Left That was our first record where we really started “Playing From the heart and soul is more important focusing on low-level dynamics, acoustic sounds, and songs that moved from verse to chorus without surrenderin; to that quiet-loud dynamic. In "99, rack music was becoming a victim of dy Thad a lot of ideas and I wanted to amis. see where the melody took the songs rather than where the distor tion pedal could take them, than playing For trophies and speed. We started writing as a group in my studio in Virginia, and the songs stemmed from jams, But it was pret meltow. Then on tour I would pop in a Sepultura record or Slayer’s Reign In Blood before hitting the stage. I would listen to that music to get pumped up to play “Leen ‘To Fly.” So tion I was tak rted questioning the direc 1g with my music. I love that 42 | Modern Drummer | July 2004 era of Foo Fighters music, but having grown up listening to hardeore punk ‘ground metal, and really fas, sinister music, it seemed strange that it was absent from anything else I was doi MD: Had you lived out your singer/son writer role? Dave: It was all about challenging myself. I hated the sound of my voice and I ques tioned ever playing, n igwriting, pecially my drumming. ‘To strip itall bare was a real test MD: So what does Probot represent? + Probot is just me going back to my roots because I needed to prove to myself that T still had that music in me. MD: When did you first start listening to hard Dav American hardcore in 1982. I had a relati that turned me on to punk rock, and by °84 1 re and metal I started list was completely immersed in it, That scene ‘was totally independent and underground. 1 hhad my own fanzine, and I started a band. It really instilled that “DIY” [do it yourself]aroggre Grohl's Best Recordings ethic. I started discovering bands like Venom, Motérhead, Slayer, and Mercyful Fate, bands that were similar to hardcore in that the aggression, rebellion, and energy of the music was still there, but they were even nastier. MD: Did you study the drummers in those bands? Dave: Oh yeah. That’s how I leamed to play drums. I learned from listening to my favorite albums. I would put on Rush's 21/2 and try to play with Neil Peart. But then, as Tlistened to hardcore and metal, I realized it was a drummer's sport. I was really into Earl Hudson [Bad Brains], John Wright [No Means No}, Jeff Nelson [Minor Threat), and Dave Lombardo [Slayer]. I would learn all of their licks verbatim. And I didn’t even have a drumset! This may sound dumb, but I had a chair that was next to my bed, and I would kneel down on the floor and put a pillow between my Iegs to use as my snare. I would use the chair to my left as the hi-hat and use the bed as toms and cymbals. And I would play to these records until there was condensation ripping from the windows Thorrowed some marching sticks from a friend of mine. I don’t even know the size, but they were huge. I would use those to play along with Bad Brains’ Rock For Light and D.R.L's 22 Songs. I listened to Reign In Blood and tried to get my right hand to match Dave Lombardo’s ride cymbal. Eventually, when J got on the drums with normal sticks, I broke everything. I was so used to playing on pillows that had no rebound to them. MD: How long did you play along with + A couple of years during high school in Springfield, Virginia. My mom was a vocalist in the "50s and my father was a classically trained flautist. My mom was in ‘a band called The Three Belles. They toured around and did vocal contests, performing a cappella "50s stuff, Not only was all the hardcore music inspirational to me, I was listening to bands like Trouble and checking out how amazing ‘Arist Album Nirvana Navermind Nirvane Incesticide Nirvana In Utero Foo Fighters Foo Fightors Foo Fightors The Colour And The Shape Foo Fghtors Thora Ie Nothing Left To Lose FooFighters One By One ‘Queens Of The Stone Age Songs For The Deaf ‘Scream FumbleBanging The Drum ‘Scream Live AtThe Black Cat: 12/26/1896 Tenacious Tenacious 0 Kiling Joke Kiling Joke Probot Probot Antst Album Drummer Scream Banging The Drum Kent Stox Scream ‘til Screaming Kont Stax Scream This Side Up Kent Stax Slayer Dave Lombardo No Means No John Weight No Means No SoxMad John Wright No Means No SmallParts Isolated And Destroyed John Wright, Bad Brains ck Fr Light Earl Hudson Descondonts| Milo Goes To College Bill Stovonson The Power Station The Power Station Tony Thompson Chic all ‘Tory Thompson Minor Threat ut at Step Jeff Nelson DRL 22Songs Eric Brecht their arrangements were. In order to play along with these songs, I would memorize all the arrangements and compositions, and eventually the idea of those patterns started making sense to me. I started seeing arrangements as Lego blocks, something not musical, but more of a visual thing. When 1 imagine an arrangement, I don't know any= thing about time signatures. I couldn't tell you if something is in 5/4 or V5. MD: How do you approach a song like Queens OF The Stone Age’s “Hangin’ Tree,” which is in 5/4? Dave: [ do it by ear and hear it in my head as something that I “see.” I picture arrange ‘ments as blocks, basically, But I never count in my head. I just kind of find these markers ‘and fit the blocks within that, I don’t count when I play, and it’s hard for me to under sand the mathematics of time signatures. MD: How did you come up with the hi-hat swoop on the end of the bar and the other parts of the beat on that tune? Dave: The drum riff basically mirrors the bass riff. A lot of the time T will base a drum Modern Drummer | Juy2aee | 43