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Diaz explains that many of his projects have been with hot producer Brian Howes. So it's really wonderful. Since Brian and I have a good working relationship, it was quick. I charted the song, went through a few passes, and that was it. Avril was there, and she is the coolest person and a great songwriter. It was an amazing experience. The drums are the foundation of the record, but they're the instrument they want to spend the least amount of time on.
Glyde initially wrote songs as basic drum tracks, then emailed the files to Yellowjackets bassist Jimmy Haslip, who added low end and enlisted his son Jason to create keyboard melodies. Similar to Dave Weckl's early solo work, but with a streamlined sense of flow, listening to Alternate Rhythm is like flying over white water rapids in a velvet glove. Some of them were simple little grooves or licks, but others were big song concepts.
I then began weaving it all together and making it flow with intros, verses, solos, and choruses. One ingredient of the music's silken groove is a deep bass drum tone, created by the use of two mics Audix D6, Shure Beta 52 aimed at the front bass drum head of his Taye kit. As for the Weckl-inspired music, Glyde is straight up. I'm an offshoot of that version of Weckl, although I haven't lis- 3 tened to that much in the years since. I've been refining my own thing.
I don't want to create videogame music. I want to get far away from that develop my own signature style. Welter keep up with whatever we're creating. We're is one of the mechanics on the popular Orange always trying to get a different sound. Mostly County Choppers TV show. He's also their band's drummer. Welter has been drumming since he was twelve, playing music with his family and taking private lessons for seven years while growing up in Oakhurst, New Jersey.
Welter says the OCC band needs him to be we're doing rock 'n' roll and blues, but we're always evolving. They need me to be consistent and to practice my butt off. It's nothing complicated or extravagant, and it was kind of put out in a hurry, so its not what I would consider representative of our full talent. But it has some good music on it. There's definitely more to come. Fie can also be hard with his own group, Italuba, on their recent release, Italuba II.
Marco Minnemann is on tour with Necrophagist in support of their new CD. Richard was the drummer for Iced Earth before pursuing a career in comedy. Torry Castellano can be heard on the new Donnas album. Matt McDonough is in the studio with Mudvayne, wrapping up their fourth album.
Go to moderndrummer. Bill Berry reunited with the original R. For more info visit www. Paul Allen is busy working with his band project Kings Allen. Last Call. Jason Sutter is doing the tour. See Christian's blog entry at moderndrummer. Steve Hass is on new releases by K. And you can catch Steve on tour this summer with The Manhattan Transfer. To hear some of the artists mentioned in this month's Update, go to MD Radio at www.
Travis Jones The only disadvantage inherent in a 19" ride strictly due to its size might be a limit to its power and projection. A Paiste 19" is likely to date back to the ' 60s or even late ' 50s, when jazz and other lower-volume styles were more prevalent. However, the line later included heavy cymbals, some of which were used by early rock players. How well your 19" ride would work in various musical applications would depend largely on its particular weight and sonority.
The shell is mahogany with maple reinforcing rings, and the hardware is nickel-plated. The top head is the original calfskin, and I think the snare wires are original as well. I installed the Remo Renaissance bottom snare head. There are some small dings on the shell, but otherwise I'd rate the drum's condition as very good to excellent, with no rust and no modifications.
The hoops are brass, and the strainer is the P83 all-metal strainer that was later replaced by the P85 that's still used today. Eight-lug snares bring more for their look and tuning range. The badge was changed in to use only the Ludwig name, but WFL-branded parts continued to be used until the supplies were exhausted in the mid-' 60s. I started on the same drum myself in Mine is a , and I still have it. Shown in Galaxy Burst sparkle lacquer. Visit your nearest Desination Mapex Dealer and play one.
What do I need to know in terms of mounting the brackets for the legs? Chris D. There isrT t really much to the process. You can study the leg brackets on any traditional floor tom to see how you could install similar brackets on your rack tom. Legs come in different lengths; you' 11 probably want the longest you can obtain. The main question will be whether your rack tom is deep enough-and you can mount the leg brackets low enough on the shell-to put the drum at a playable height when the legs are installed.
You should make this determination before you start drilling the shell to attach the leg brackets. Installing the brackets is a matter of measuring carefully to see that they' re spaced evenly around the circumference of the shell, and that they' re each placed at the same distance from the bottom edge.
Can you tell me what type of wood it's made of? Stefano Ashbridge Paul Specht of Tama tells us that your drums feature shells of Philippine mahogany, with inner and outer plies of basswood. Using V-Drums triggering technology, the RT Series triggers offer the most accurate, dynamic and sensitive triggering available anywhere.
Whether you're making your acoustic drums sound larger than life, or creating interesting new sounds and effects, the RT Series Acoustic Drum Triggers are the choice of the pros. Find out more at www. See and hear Brann Dailor on his new custom-finished Starclassic Bubinga kit on tour now! For all tour dates visit mastodonrocks.
Times Two by Rick Van Horn T he subtitle of this review alludes to the fact that Paiste's Giant Beat series, which was originally introduced in , is currently enjoying a resurgence of popularity. They were intro- The unlathed bell on the 10" Twenty splash is fairly large, and it creates a good percussive effect in its own right. Later, as rock drumming got even louder, Paiste developed their series, which eclipsed the Giant Beat series in model range, power, and popularity.
As a result. The md editors each described their sound as " sweet. We also liked the bright-but never harsh-stick attack that was apparent on both sets of hi-hats and on the 24" ride. Along with its 18" sibling, it was also a dynamitelarge crash. And it has a great bell, to boot. Full Disclosure If the Giant Beats have a limitation, it's in the area of body and projection. So if you' re looking for high-powered, full-bodied cymbals that will cut through loud music all on their own, the Giant Beats might not be the best choice.
There's simply nothing else out there that combines their warmth, breathy response, and sweet, glistening tonality. Twenty Series This new series gets its name from the fact that it's made from blanks of B20 bronze alloy. Those blanks are made in Turkey by a veteran Turkish cymbalsmith in accordance with centuries-old hand-crafting techniques.
The introductory series is relatively small, although additional models are already being planned. Current models include a 10" splash, 13" and 14" hi-hats, 16" and 18" crashes, 16" and 18" Chinas, and 20" and 22" rides. All of the cymbals are of medium weight, and they' re intended for quiet to fairly loud playing. The hi- hats, crashes, and Chinas are fully lathed; the splash and the rides feature unlathed bells. Neither Fish Nor Fowl Turkish cymbals sound the way they do largely because of the way they' re made, from start to finish.
Familiar Paiste models sound The thinner and than years. To begin with, it's very limited, offering 14" and 15" hi-hats, 18" and 20" multi-purpose cymbals, and a 24" ride—period. Then there's the cymbals' appearance. Well, looks can be deceiving. But that's not necessarily a bad thing. In fact, it gives the Twentys a claim to uniqueness.
The Twentys' B20 alloy definitely gives them the full-bodied tonality that one expects from Turkish-style cymbals. In this regard, they sounded fuller and louder, cymbal-for-cym- bal, than their Giant Beat cousins. Sound Specifics Standouts in the Twenty test group included the 13" and 14" hi- hats, which had a nice crispness without sounding brittle, and a very satisfying hissy " bark" when opened and closed quickly.
The two Chinas were also impressive, with loud, pangy qualities and a quick explosion that would make for excellent punctuation. The 16" crash, though rated medium, seemed substantially thinner than the 18", and as such was more responsive and sibilant. The 18" had more pure power and sustain, and felt more like a " rock" cymbal model than any of the other Twentys.
But it would be a little clangy for low-volume work. The unlathed and fairly oversized bell gave the cymbal substantial sustain. That bell could also be struck to create a separate percussion effect of its own. Our test group included only a 20" ride. With its lathed surface and unlathed bell, it produced a clean stick attack and a very controlled wash. The bell was fairly small, but it still produced a penetrating " clang" when struck. Perhaps the strongest attribute of the ride was its full frequency range.
There was a nice, full-bodied quality to it, which would lend itself to many different styles of playing. It had good response when played delicately, and it could definitely provide powerful cut when called for. They won't be all things to all people, but they may be just the thing for you. Giant Beat Cymbals 14" Hi-Hats. But they do seem to be the only ones to take a "just enough'' approach. The coating is just slightly darker than the natural color of the wood, so it doesn't add or subtract anything from a cosmetic point of view.
And because it isn't thick or rubbery, there's nothing to rub or peel off the stick. The consensus was—not surprisingly—that it gave "just enough'' added texture. However, the editors also agreed that what wasn't enough was the length of the coated area: 6" up from the butt of the stick. Grab a pair and hang on! Over 5 Hours of Latin Instruction! Over 9 Hours of Rock Instruction! Over 7 hours of Jazz Instruction! Shock Your Friends! COM ssi a. Our review set came with a free 7x8 tom an offer that's good through the end of this year.
A mount and clamp is included for attaching it to a cymbal stand. Ash has been used in the manufacture of guitars for years, and as such has proven itself for its sonic qualities. The question is, can it work as well for drums? Let's see. Construction Quality When I unpacked and assembled the kit I immediately noticed that the drums displayed high construction standards.
The 6-ply toms, 7-ply bass drum, and 9-ply snare were all light and easy to move. The shell pack we were shipped included floor tom legs and the GTS double tom holder with ball-style mounts for the rack toms. The tom holder mounts onto the bass drum shell, and it has memory locks for height and tom adjustments.
These are thicker than standard " super hoops" and have characteristics that are closer to die-cast. They helped to make tuning easy and precise. The tom-mounting system and the floor tom legs did their jobs well in terms of support, as well as helping the drums to produce a pronounced tone when struck. This allows full access to the adjustment knob. I liked its clean design. The mini Gretsch chrome lugs are mounted to the shells with two screws, which I appreciate for the reduction of torque on the shell.
The badges are bolted to the shells. There are two vents on the rack toms, and one each on the other drums. The Sound Of Ash The two words that came to my mind while playing these drums were " bright" and " warm. But that's the nature of the ash shell sound.
The attack is pronounced, but at the same time the drums sound warm and round. The voice of each tom was very clear and distinct. There was lots of tonal space between them. The bass drum was full and rich, with loads of bottom end befitting its 18" depth. The snare was, quite simply, a monster: responsive, powerful, and biting. It performed at all volume levels without choking, and it produced lightning rimshots. This could easily be a first-call snare drum that you'd bring to most gigs and rely on for your sound.
This stunning effect would make the drums look amazing under stage lighting. Kits are also available in Cobalt Blue. Now there's more good news: It comes at a bargain price. This would be an absolutely outstanding kit for beginners it might be the only set they'd ever need , as well as a great backup set for professionals. No matter what category you fall into, you'd certainly never feel like you were playing " lesser" drums. No doubt about it, the Catalina Ash kit is a winner.
The Bass Pedal cajon is Meinl's latest introduction, and it's geared towards the player seeking tonal variety without having to interrupt the flow of playing. A few things before we start: The name of Meinl's new cajon refers to " bass" as in " a low-pitched, deep tone. I wanted to clear that up right at the outset so we all get off on the same A Big Box The 13 x 13V 2 x 19 1 h resonating body of the Bass Pedal cajon is made of rubberwood, with a rubber padded sitting surface on top and solid rubber feet on the bottom.
The hard ebony is a great choice of wood. It's easy on the hands, and it's very smooth and articulate when played softly with the fingertips. The top corners of the cajon are adjustable by means of a Phillips screwdriver. The looser the screws, the more space between the front plate and the resonating body. This allows for more buzz and snap when the front plate is struck. Pedal To The With Meinl's pedal device, the player accomplishes this same adjustment by manipulating the pedal.
Push the lever down towards the front, and the snares are off the surface. Push it down towards the back, and the snares are on. Everything from a light buzz to a snappy snare sound can be achieved on the fly. There's a spring on the inside of the cajon that helps to operate the snare-release system, and the mechanism can be a bit loud when you step on it to release the snares. It takes a bit of practice to get used to the exact amount of pressure required to operate the pedal. In a live situation, the pedal system is a great way to instantly change the musical vibe, say, from the verse to the chorus of a song.
Depending on the nature of your gig, there are endless possibilities. And remember, you don't have to be strictly a percussionist to use a cajon. A lot of drummers have been substituting cajons for the throne on their kits, bringing a new tonal color into their playing. And who better than a drumset player to quickly master a pedal-operated instrument? I asked Aquarian's Roy Burns what it was, exactly, that made Super-2 heads different. He told me that while most 2-ply heads including Aquarian's own Response 2 series use two plies of matching thickness, Super-2 heads have a top ply that's 5 mils thick and a bottom ply that's 7 mils thick.
Roy also explained that a high-tech molding process recently established in Aquarian's new Mexican factory produces heads that are level and even, with a consistent collar. Super-2 heads also feature Aquarian's Safe-T-Loc hoops, which are designed to prevent the heads from pulling out, as well as their Sound Curve collar design. That collar contributes to what Aquarian calls " responsive tuning. That's another ambitious claim.
We were sent a selection of Clear and Studio-X tom heads, as well as 13" and 14" Texture Coated models. We were also sent Classic Clear single-ply heads and snare-side heads to use on the bottoms of our test drums. Now let's see if Aquarian's claims bear out. Easy Tuning To begin with, the heads did, in fact, tune up quickly. It was easy to get them " in tune with themselves," after which only slight adjustments with a drumkey were required to fine-tune the pitch of each drum.
Further, once the heads were tuned, they held that tuning well under some serious impact. Roy pegged it right. But they also had a clear, penetrating attack and lots of sustain. The floor tom rang for days. The Studio-X rings definitely do not take the life out of the heads. In fact, I found myself adding muffling when it came time to mike the drums for a local show. Clear Models When we switched to the Clear batter models, the heads dropped the mellowness that had been provided by the Studio-X rings, and instead opened up with an even clearer, more powerful attack.
The sensitivity of the thinner top ply may have something to do with this. But this didn't come at the expense of low-end response. There was plenty of that, along with even more sustain—and more overtones—than with the Studio-X versions. The tom sound was big and deep.
Texture Coated Models Texture Coated heads are available in all sizes. But our selection of heads included only 13" and 14" models, which we tested as snare batters. Two-ply snare batters are generally used in situations that call for durability. In exchange for that durability, they' 11 often sacrifice some sensitivity.
But the Super-2 heads seemed to strike a nice compromise between the two. The textured surface also worked well for brush playing. Once we laid into the drums, the heads answered with a powerful attack sound, and with good snare response.
Their tuning range let them work well from a medium-tension " fatback" tonality right up into bleeding-ear territory. They' re made well, they tune up in an instant, and they blend the fullness and depth of two-ply heads with the clarity and attack of single-ply models.
It's a great combination. Now they've come up with an intriguing answer to a problem that some of us have fought with for years. That problem occurs when we want to use a second bass drum or a double pedal, but we' re not comfortable with where the hi-hat cymbals wind up when we do. Gibraltar's Ultra Adjust hi-hat stand features a unique design that allows the upper section of the stand to move up, down, and from side to side in relation to the lower section.
This makes it possible to put the footboard where it needs to be alongside a slave or second bass drum pedal, while keeping the hi-hat cymbals in their original playing position. The top and bottom sections of the stand are connected by a 5" tube. The pull rod is connected to the footboard by a flexible cable, much like that of a remote hi-hat setup.
The stand is offered with a conventional double- braced tripod that swivels to accommodate multi-pedal setups. There's also a legless version that's easy to attach to bass drum hoops or drum racks. Standard features include a non-slip footboard, a bottom hat tilter, a functional clutch, and large non-slip rubber feet on the legged model. Both versions of the stand felt solid and stable when played.
Three separate pivot points are involved in opening and closing the hats in order to achieve a vertical-pull action. How It Plays The spring tension of the pull rod can be adjusted over a five-step range by means of a large knurled knob on the bottom section of the stand.
Though the tension isn't infinitely variable, the five increments are more than adequate to achieve a comfortable feel with cymbals of different weights. As I mentioned earlier, the ability to move the cymbals off center and still play the hi-hat is facilitated by a flexible cable. Because of that cable, you might sense a slight drag in the action versus that of a direct-pull linkage , especially if you' re not accustomed to using remote hi-hat devices.
The complex footboard-to-pull-rod mechanism may also be a factor here. This effect will vary depending on how heavy your hi- hats are. In most cases, it would be a minor factor that you could easily get used to. In fact, it can solve problems that have nothing to do with double bass setups. With the Ultra-Adjust stand you can do that, while keeping your hi-hat foot where it would normally be. Or suppose you' re not perfectly proportioned in terms of your arms- to-legs length ratio. Not anymore!
I don't know if Gibraltar had this aggravating problem in mind when designing the Ultra-Adjust stand, but the stand is certainly a cure for it. Ultra-Cool No doubt about it, the Ultra-Adjust hi-hat can make those " I just can't get it right" set-up problems disappear. The legless version would be even easier, assuming you had something to secure it to.
Overall, I think Gibraltar has a winner on its hands. All Rights Reserved. Both cymbals have holes to eliminate airlock. Thomas Lang's original Filter China design is now available with three tambourine-style jingles attached, adding a jingling sound to the quick, trashy character of the Filter China.
Four single- and tour double-pedal models feature a variety of drive types. Additional features include felt beaters, a spring lock system, new footboard and heel designs, and the ability to adjust footboard and beater angles. The new models also offer reinforced footboard hoop clamps and horizontal frame stabilizers, and a reinforced hinge for a smoother feel. Available finishes range from stained wood to glass glitter to iridescent ripple.
The Quad-Snare pad features a "snare throw-off" lever that routes the head and rim triggers to two additional outputs— thus providing the player with four sounds from which to choose. Pads come with Aquarian drumheads as standard, but they can be ordered with any brand, as well as with silent mesh heads.
A rubber pad version is also available. The drums feature lightweight synthetic shells, easy-tune goatskin heads, a protective rubber bottom, and rubber- tipped low-mass tuning lugs. Many of the big-name brands introduce their new products at NAMM, so the Frankfurt show is a chance for some of the smaller brands from around the world to shine. Here's a look at some drum and percussion items of special interest from this year's Messe. The maple drumkit at their booth featured custom artwork by Danish graphic design artist Lars Viberg.
AGEAN also now offers a line of cast aluminum drums, with shells in different colors and with or without reinforcement rings. Hardware is still under development. The Frankfurt prototypes sold in a heartbeat, so expect to see these cymbals in production soon.
They've also expanded their line with two series of wooden drums in birch and bubinga. The 5V 2 xl4 seamless steel snare features a cast and milled steel shell finished off with black hardware. The 5V 2 xl 4 Deep Forest Walnut drum features an 8. It has ten built-in drumkits, and it features an integrated beaterless bass drum pedal. The snare drum pad is equipped with a mesh head to provide greater playing comfort.
A DVD featuring Johnny Rabb guides the user through the set-up process and the first steps toward playing drums. Also new from Stagg is a more affordable line of drum cases. The Premier Series Elite features shell sizes that are undersized by 3 mm, allowing drumheads to seat more easily for increased tuning range. Wild Chinas are available in 15", 17", 19", and 21" sizes.
Power Crashes are now available in 17" and 19" sizes. A 10" Wild Splash is also available. Eight solos suitable for concerts, auditions, and ensemble work are also included. Darin Workman has degrees as a doctor of chiropractic and a bachelor of human biology, and is also a certified chiropractic sports practitioner who has Red Hot Chili Peppers Stadium Arcadium: Drum Recorded Versions by Scott Schroedl Hal Leonard This book features complete transcriptions of the songs from The Chili Peppers 7 hit album.
The transcriptions contain chord indications, the melody line and lyrics, and the drum part to each song. Included are examinations of shuffles, swing, and the Oakland ghost-note style. Bonus live performances with Clark's trio are included. In addition, when the CD is used on a PC or Mac computer, the tracks can be adjusted to any tempo without changing pitch. The exercises are designed to develop each rudiment, which is then treated professional and amateur performers worldwide for over sixteen years.
As a drummer. Workman has been a performer and teacher for over thirty years. Neil Peart invited eighteen of the world's most respected drummers to record that album along with The Buddy Rich Big Band. This video series was shot during those sessions. The twenty-minute video produced by Mel Bay Publications features Ludwig artist Steve Fidyk and his son Tony, as they open boxes and assemble a new Ludwig outfit. The longer version may be purchased for online viewing or as the DVD.
It provides different ways to practice one set of studies, as opposed to the "old-school" method of playing one pattern fifty times. The goal is to keep students motivated to pursue their studies by keeping them interested in the possible practice variations provided by the exercises.
The nylon tips are molded on and will not come off. Included are factory kits and user kits, with additional inputs for bass drum and hi-hat. Set-up and tear-down times are reduced, since the mic can stay with the drum during transport. The Kelly SHU can be installed within the drum shell, or can be suspended on the front of the drum with the same system.
The unit requires no drilling for installation, and it accepts all standard microphones and clips. A separate hardware case is recommended for the kifs stands or rack. Three sizes are available to accommodate virtually all Roland and Yamaha electronic kit models. Uniquely shaped ends dampen one or both heads for optimum sound.
The Kik Brik's core is formed from high-density multi-layered cotton, which has linear sound absorption and is said to be more effective than acoustic foam. This material "treats" the inside of the drum like an acoustician would treat a recording studio to eliminate unwanted reflections and resonances. Nor of these elegant but bubinga-shelled drum sets were crafted in Japan, Only so are destined for the United States.
Collectors item. The ultimate drum set for the discriminating drummer. Sky Blue Sky, and composing "Anomaly," a seven-movement commission for world-renowned string ensemble The Kronos Quartet. In fact, much of Glenn's career has revolved around this cross-pollination between the mainstream and the avant-garde. That really helped open my mind. This was also around the time that I decided to make my first solo record. Jim produced her first record, so he came down to the show.
He liked that I was open to new things, so he got my number and called me to work on his album Eureka. That became the band Loose Fur. We wrote a set's worth of music, played one show, and then went into the studio to make the first record. Then they wanted to hear me play drums on a tune, which was 1 Am Trying To Break Your Heart,' and it just went from there. Sky Blue Sky.
Mobile which included a stop at the Modern Drummer Festival. And he appeared on Loose Fur's second album. We caught up with Glenn during a rare week off to discuss the concepts behind his latest projects.
Was that a conscious decision going into it? We basically went to our loft in Chicago, set up in a tight circle with everyone facing each other, and came up with ideas. MD: Did the additional bandmembers in Wilco also influence you to play more groove-based? Glenn: Yeah. When Wilco was a four-piece, there was a lot more room for overdubs and different layers of percussion. But now that we' re a six-piece, there are enough hands on deck to cover whatever parts were needed to make the songs come across.
So I don't have to fill in ideas on vibes or crotales. MD: A lot of the grooves have an old-school swagger to them. Glenn: That's something that I love listening to in other drummers. Guys like Levon Helm and John Bonham are perfect examples.
And a lot of the old Motown and Stax guys had that swing. Those guys were jazz drummers. So when they straightened their grooves out, there was still this inherent swing in their playing. I wanted to explore that type of vibe on Sky Blue Sky. MD: What did you listen to for inspiration?
That wasn't an option here, top of for every ta e. MD: When you recorded the songs, did you keep the setup the same, with everyone facing each other in a circle? Glenn: Yes. Everything was recorded at once, so you get the sound of a band playing together. For most of the tracks, I didn't even use headphones. And only half of one song, " Impossible Germany," used a click track. We [avoided the click] so we wouldn't feel locked into one specific tempo.
MD: Since you tracked the record with everyone in a tight circle, did you have to play softer than you normally would? There are some more aggressive moments. But when the drums are bleeding into everybody's mics, balance is really important.
So we were very careful about how our parts blended within the whole. MD: How did you build your drum patterns? Glenn: I build drum parts a lot of different ways, depending on what kind of song it is and how I feel the drums should fit into it. Sometimes the drum parts have to help in the evolution of the song, sometimes they provide contrast, and sometimes they' re there to illustrate the lyrics.
Lyrically, this is a very direct, honest, and raw record. So I felt that providing a great groove would be the best way to help the songs come across. That way, when the middle section comes in there's a big contrast. MD: What made you decide to play all of the fills in the middle part of that song? Glenn: That was actually the band's idea, to use the drums as a transition to get back into the more meditative part. The fills are there to keep it rolling and flowing. It wasn't a place to just throw in licks.
It was more about trying to play musical fills that would set up the next section. MD: In "Impossible Germany," there are almost no fills until the end. Did you decide during the writing process that this was going to be a slowly evolving song? To me, those are the fills. So the best way for the drums to serve that song was to supply a bouncy feel and keep it moving forward. What made you decide to do that?
On that record, there are parts where he's not hitting the hi-hat. Then when he does play it, the groove kicks up a notch. I wanted the same thing to happen in " Shake It Off. Glenn: I pulsed my hand on my thigh. And I also always bounce on the ball of my left foot to keep time, whether I'm actually opening the hi-hat or not.
There's quite a contrast between the two sections. Glenn: I played those fills because that's when the character in the story lets out his angst. He's complaining the whole time, and then he erupts at the chorus. The fills are the frustration coming out. Glenn: Sometimes it can help to think that way to get a certain point across. But if you do it too much it can be disruptive and a little cheesy.
MD: "Walken" has a greasy roots-rock feel with a lot of swing to it. Glenn: Yeah, I was actually surprised to hear that so much in the mix. We'd been playing it live for so long that it was becoming too polished. When we originally demoed it we were still learning the parts, so it sounded exciting. The later takes didn't have that. So we had to forget about playing our parts perfectly to make it feel fresh again. MD: How many takes do you guys normally do for each song?
Glenn: There were a lot of takes on this record because it wasn't a matter of just getting a good drum take. I might have my best take early on, but maybe the guitar was a little out of tune or something. MD: Did you feel pressured to be going for a " keeper" take on every pass? It's easy to get lazy when you' re using clicks and when you' re just going for a basic take, because you can go back and fix individual notes in Pro Tools.
That wasn't an option here. I had to be at the top of my game for every take. But at the same time, I couldn't get too attached to the idea of having a flawless drum record. We wanted this to be a great band record with great music. MD: This album has a very consistent drum sound throughout.
Were you using the same kit on everything? It was mix-matched from pieces that I had at the loft, because my road gear was- n't accessible. The 13" and 14" drums had calf heads on them. The snare was a Sonor acrylic with an Evans Reverse Dot head on it. MD: The snare sound is very dry and fat. And it sounds like it's tuned pretty loose. Glenn: I tune it loose because I want it to have a blending sound. Because Sky Blue Sky is more of a soulful low-key record, there was no need for a high-pitched, cutting sound.
And I tape my wedding hanky on it for muffling. MD: Have you always gone for a really dry sound? I've opened them up a little more as time has gone on. Heads: Evans coated EC2 on rack tom and floor tom batters, coated G1 on bottom of rack tom. Percussion: Latin Percussion Cyclops tambourine. One Shot shakers. Rods, brushes, crotale mallets, and Brooms ed EC2s on top to keep them sounding warm.
MD: What's your general tuning approach? Glenn: For this record, I just got the drums to a point where they were ringing and had a nice, warm tone. But live I go for a major triad from the second floor tom up to the snare. Glenn: The hi-hats are the same on all the tracks; they' re a pair of old 14" Zildjian As.
But I switched the rides out on every track. I used a lot of K Constantinoples, including a couple of flat rides. Since we were so close together in the studio, if T d used a cymbal with a lot of sustain, it would've wiped out many of the frequencies that were being filled by the other guys in the band. So I started recording ideas for my own purposes.
Those recordings eventually became Introducing. MD: What ideas were you exploring? Glenn: The idea was coincidental rhythm, which is a fancy way of saying unintentional polyrhythms. I came across the term after reading the John Cage book Silence. But before I knew what it was called, I would always notice how rhythms in everyday life interacted in unusual ways, like how my turn signal interacts with the turn signal of the car in front of me, or how the rhythm of the wipers compares to what's playing on the radio.
They' re not typical polyrhythms, like seven-against-four or five-against-three. It's a much longer cycle. I wanted to explore that idea, so I started recording ideas and then col- laged them together so that they would flow in and out of each other at different rates. Glenn: I wanted that one to be completely improvised, using what I call accidental rhythm.
I wanted to explore the idea of truly improvising. I wanted to take all of my training out of the equation. With the Wilco setup, the tom is towards the center of the kick because I have a tambourine on the left. And I want to have an even flow between the toms. The setup for the solo kit is determined by whether I need to play something with the right or left hand. If I need to loop something.
With On Fillmore, I like open, trashy drum sounds. So I'll tape a snare strand to the top head or put a chain on the drum to create funky, bizarre, rattle-y sounds. For Wilco, I like a deep, warm sound without a lot of overtones. But the heads are tight enough so that they react to the sticks nicely. That dry approach translates to the solo kit, too. But if I want to open them up, I throw on the effects and they turn into these huge beasts. I also put a lot of preparations on the drums.
I had chains lying across the drumheads, the cymbals were resting on the drums and each other, and I put beads and rice on the heads so that everything was interacting from the sympathetic vibrations. MD: How did you divide the improvisations into tracks? Glenn: It was all done live to two-track. I just improvised snippets using a different installation for each one. So F d play for a while with one set of mallets, then Y d play with branches or F d blow randomly into the tubes in my floor tom.
MD: Your latest solo record. Mobile, covers a variety of rhythmic concepts. What were you exploring in the opening track, " Clapping Music Variations"? Glenn: That track is about negative rhythm. I wanted to learn it as a duet, but I didn't have the score. So I just wrote it out with the second part shifting back an 8th note each time.
After I wrote it out, I noticed that there were a lot more notes than rests. So I thought. Let me play the right-hand part as is and then play the other part's rests with the left hand. Then I tried things like playing one of the rhythms in reverse or in half time. MD: Some of the sounds in this track are very unusual. What were you using to play the variations?
Glenn: I used drums, vibes, crotales, and Pro-Mark Webs. At the beginning, I played the piece with the Webs on my legs. There's also a variation where I'm only hitting the shaft of the Webs on my legs. MD: Your writing process reminds me of some of the compositional approaches in serial music.
Glenn: It's a process-driven record. Having a specific process helped to give me direction since there are so many concepts behind each piece. MD: How did you put together " Mobile Parts 1, 2, and 3"? I ended up writing a melody with a couple of accompanying parts. As I was experimenting with the three parts, I discovered a correlation between how they interacted with one another and the mobile sculptures of Alexander Calder.
Coast usic Canada P. So it's constantly becoming a new sculpture. So that's how I wanted to approach these three basic thumb piano parts. In the first part, I incorporated negative rhythm by gradually replacing the rests in the melodies with a drone of the same note. Then in "Part 2," I played the original three rhythms on drums, using different variations of stick dampening by pressing one stick into the head.
For the third part, I transferred the rhythms to cymbals, two hi-hats, two snare drums, and different distorted sounds. Then I played the " Monkey Chant" melody over the top on cro- tales, which introduced the idea of having a mobile theme that reoccurs throughout the record.
I wrote down some patterns that they played and then expanded them. Tony does a lot of doubles between the snare and bass. I made it my own by moving the doubles around the kit. Then I took some of the rhythms of the guitar parts from his records and put them on a set of Swiss cowbells called almglocken. I ended up with a bunch of variations, so I decided to make a tune out of them. MD: What process did you use to put the tune together? So whenever the snare drum was hit in the master groove, I might play groove number one four times.
Then whenever the bass drum played a note, I'd play groove number two. And whenever two voices played at the same time, I stacked the two grooves on top of each other. I did that by combining or replacing the drums with sounds from an Access Virus keyboard. Then at the end of the track, I slowly mixed in the acoustic drums. Glenn: Around the time I started to develop the " Monkey Chant," I was listening to a lot of improvised percussion records, specifically ones by Paul Lytton and Paul Lovens.
Those records helped me get away from thinking of the drums as only a timekeeper, but also as a source of color and texture. Try these revolutionary new products on for size and you'll discover they're conveniently compact, while being passionately powerful. It's another first from the world leader in hand percussion, LP. And that's when I came up with the idea for the prepared snare. I wanted to replicate some of the lion' s-roar sounds on those Lytton and Lovens records, so I strung fishing line and some electrical wire through the vent holes in an Evans SD Dry drumhead.
After I discovered how great that sounded, I attached friction sticks, different sized springs, and all these sounds that utilize the drum as a resonator. As I was experimenting with the prepared snare, I heard the monkey chant for the first time and was knocked out by the power of all these men chanting in rhythm. So it progressed from there. So I went back and read the portion of the Ramayana that the monkey chant is based on.
From that, I realized that there are basically five or six principle characters in the story. So I assigned the sounds on the prepared snare to the characters and mapped out a way to approximate the essential events and interactions in the story. MD: In addition to the prepared snare, aren't you also incorporating electronics into the piece? That way, I can interact with it using other sounds. I also use the delay to create a drone when I hit the metal fruit basket. MD: How did you discover that the fruit basket would work in your percussion setup?
Glenn: I incessantly tap on everything to try to find some useful sounds. The fruit basket was a wedding gift, but it didn't sound good when I first tapped it. But when I added a contact mic, it had a deep tone. So I cranked the bass on my mixer to make it sound like a gong. MD: How are you adapting these pieces to be performed live? And I turned " Projections" into a trio, so r m playing a live part over the two parts that appear on the record.
Glenn: David Harrington, the leader of Kronos, liked Mobile, so he asked me to write a piece for them, r d never done something like this before. But I was a fan of theirs, and thought it would be a great challenge. So I decided to go for it. MD: How did you approach writing the piece? Glenn: After I saw them perform in New York, I began thinking about how the four players in a string quartet relate to a drummer's four limbs, and how cool it would it be if your left foot could play a cello part or if your left hand could be the violinist.
So that became the basic concept behind the piece. The first movement is textural; it introduces different sounds and establishes some of the themes. MD: How did you do that? Glenn: I came up with some rhythmic ideas as I was sitting behind the kit. Then I broke those down into the rhythms that are played on each drum and assigned them to pitches. MD: What are some of those rhythmic ideas? MD: Did you write "Anomaly" entirely from the kit?
Glenn: I originally started at the vibes. But I got stumped with only one main theme and some other basic ideas. So I moved over to the drums, and the first three movements came to me within a day. From there, I went back to the vibes to put the rest of it together. Line brownish brown brownish. Line brucellosis brucellos brucellosi. Line bruckner bruckn bruckner. Line brumidi brumid brumidi. Line brunette brunet brunett.
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