VOLUME 12, NUMBER 2, ISSUE 100

Cover photo by Neal Preston

DENNY CARMASSI
When Heart needed to change drummers a few years back,
they were looking for someone with the power of a heavy
metal drummer who could also be sensitive to ballads. Denny
Carmassi fit the bill perfectly, and he and the group have gone
on to their biggest success.
by Rick Mattingly 16

STUART NEVITT
While his group, Shadowfax, is often labeled "New Age," for
drummer/percussionist Stuart Nevitt that label is much too
restrictive. He discusses the background that has enabled him
to combine a variety of influences into his distinctive style.
by Robert Santelli 22

HARRY STINSON
Most visible as the drummer with Steve Earle's band, the
Dukes, and as a Nashville session player, Harry Stinson's
activities as a background singer, producer, and songwriter
give him insights that add depth to his drumming.
by Robyn Flans 26

MD SOUND SUPPLEMENT:
NEIL PEART CONTEST
Photo by Mike Jachles

WINNERS
A few months ago, drummers were invited to submit tapes to
Neil Peart, with the three best winning three of Neil's
drumsets. We are happy to present the winning solos by Jack
Hess, Wayne Killius, and Mark Feldman. 32

EDUCATION ROCK PERSPECTIVES PRODUCT CLOSE-UP

Compo And Cana-Sonic
AROUND THE WORLD 5/8 Funk
African Cross-Rhythms by Bradley Branscum 66 Drumheads
by Clive Brooks . . . . . . . . 34 JAZZ DRUMMERS' by Rick Van Horn 112
IN THE STUDIO WORKSHOP NEW AND NOTABLE 120
Ensemble Playing
Dealing With Studio Acoustics
by Craig Krampf 36 by Peter Erskine 76 PROFILES
KEYBOARD PERCUSSION DRUM SOLOIST PORTRAITS
Recording The Vibraphone Steve Gadd: "Up Close" Video Carlton "Santa" Davis
by Jerry Tachoir 38 Solo by Chris Boyle 62
TRACKING by Bobby Cleall and HEALTH & SCIENCE
Sight-Reading In The Studio Mathew Letley 90 A Conversation With
by Emil Richards 40 CONCEPTS Dr. Robert Litwak
THE JOBBING DRUMMER Practicing And Balance by Rick Van Horn 78
All In Good Time by Roy Burns 106 UP AND COMING
by Simon Goodwin 42 CLUB SCENE Joel Rosenblatt
ROCK 'N' JAZZ CLINIC Adapting by Teri Saccone 86
A Little Can Go A Long Way:
Part 2
by Rick Van Horn 108 NEWS
UPDATE 6
by Rod Morgenstein 56
ELECTRONIC INSIGHTS EQUIPMENT INDUSTRY HAPPENINGS 118
Protecting Your Gear From AC SHOP TALK DEPARTMENTS
Power Monsters Revamping Your Snare Drum EDITOR'S OVERVIEW 2
by Jim Fiore 58 by Patrick Foley 84 READERS' PLATFORM 4
THE MACHINE SHOP ELECTRONIC REVIEW ASK A PRO 10
Programming Shuffles Upbeat Rhythm Programmer IT'S QUESTIONABLE 12
by Clive Brooks 60 by Rick Mattingly 94 DRUM MARKET 104
 It's always been interesting to me how false rumors three drummers in the same issue all play the same
have a way of spreading. Without naming names, brand, or when several consecutive cover artists
there are some people in this business who, for use a similar line. The point to keep in mind is that
some reason, enjoy distorting the truth. Let me use we really don't consider that very important. MD's
this month's Overview to set the record straight on selection of artists is based on individual musical
a few stories that seem to have been circulating. achievements, talent, recognition in the drumming
One such rumor that really intrigues me is that community, and an ability to impart something of
we're going to stop publishing the magazine. Well, a musical, conceptual, or philosophical value to
let me simply state that that's utter nonsense, you—the Modern Drummer reader.
spread by individuals who obviously have nothing Featured players are also selected on the basis of
better to do. As Publisher of MD, I'd like to how well they balance one another in an issue.
emphatically assure readers that Modern Drum- We're always searching for a variety of musical

Setting
mer has never been in better shape. Our worldwide styles and directions, and this is a key consider-
circulation continues to grow, and our advertising ation—not what line of drums, cymbals, electron-
support has never been stronger. You need only ics, or whatever else a particular drummer may
browse through an issue and decide for yourself use!

The whether this is a publication that appears in any

way unstable. I believe the quality and content of
the magazine speak for themselves.
In my very first Editor's Overview, which intro-
duced the magazine to the drumming world in
1977, I wrote the following: "Our publication will

Record This next one is a real winner! It involves the

accusation that MD editors select the drummers we
interview on the basis of the brand of equipment
be free in spirit and content, and since we have no
stake in any particular line or its endorsers, we can
afford to be completely representative and unbi-

Straight
they play. Apparently, the implication is that we're ased in our presentation of artists and equip-
receiving kickbacks from certain manufacturers in ment." That statement is as true today as it was
return for favoring their endorsers in our editorial when I wrote it 11 years ago. I think it's unfortu-
pages. This again is an absolutely ludicrous insinu- nate that I'm forced to defend our editorial integ-
ation with no basis in truth whatsoever. rity again, but rest assured, that's the position
Of course, there will be times when it might we'll hold for as long as Modern Drummer con-
appear as though a particular line of equipment is tinues to be a worthwhile entity in the
being favored. This occurs primarily when two or world of drumming.

EDITOR/PUBLISHER ADMINISTRATIVE MANAGER CONTRIBUTING WRITERS

Ronald Spagnardi Tracy Kearney Susan Alexander, Chip Deffaa, Robyn
Flans, Simon Goodwin, Karen Ervin
ASSOCIATE PUBLISHER ADMINISTRATIVE ASSISTANT Pershing, Jeff Potter, Teri Saccone, Robert
Isabel Spagnardi Joan C. Stickel Santelli, Bob Saydlowski, Jr., Lauren
DEALER SERVICE MANAGER Vogel, T. Bruce Wittet.
Sharon M. Leary
SENIOR EDITOR MODERN DRUMMER Magazine (ISSN 0194-
Rick Mattingly CIRCULATION 4533) is published monthly by MODERN
Leo Spagnardi DRUMMER Publications, Inc., 870 Pompton
MANAGING EDITOR Crystal W. Van Horn Avenue, Cedar Grove, NJ 07009. Second-Class
Rick Van Horn Susan M. Dobkowski Postage paid at Cedar Grove, NJ 07009 and at
additional mailing offices. Copyright 1988 by
ASSOCIATE EDITORS SALES PROMOTION MANAGER Modern Drummer Publications, Inc. All rights
William F. Miller Evelyn Urry reserved. Reproduction without the permission of
the publisher is prohibited.
Adam Budofsky SUBSCRIPTIONS: $24.95 per year; $44.95, two
CONSULTANT TO THE PUBLISHER years. Single copies $2.95.
EDITORIAL ASSISTANT Arnold E. Abramson MANUSCRIPTS: Modern Drummer welcomes
Cynthia Huang manuscripts, however, cannot assume responsi-
MODERN DRUMMER ADVISORY bility for them. Manuscripts must be accompa-
BOARD nied by a self-addressed, stamped envelope.
Henry Adler, Kenny Aronoff, Louie CHANGE OF ADDRESS: Allow at least six
ART DIRECTOR Bellson, Bill Bruford, Roy Burns, Jim weeks for a change. Please provide both old and
David H. Creamer Chapin, Alan Dawson, Dennis DeLucia, new address.
MUSIC DEALERS: Modern Drummer is avail-
Les DeMerle, Len DiMuzio, Charlie able for resale at bulk rates. Direct correspon-
Donnelly, Peter Erskine, Vic Firth, Danny dence to Modern Drummer, Dealer Service, 870
Gottlieb, Sonny Igoe, Jim Keltner, Mel Pompton Ave., Cedar Grove, NJ 07009. Tel: 800-
ADVERTISING DIRECTOR Lewis, Larrie Londin, Peter Magadini, 522-DRUM or 201-239-4140.
Kevin W. Kearns George Marsh, Joe Morello, Andy POSTMASTER: Send address changes to Mod-
Newmark, Neil Peart, Charlie Perry, Dave ern Drummer, P.O. Box 469, Cedar Grove, NJ
Samuels, John Santos, Ed Shaughnessy, 07009.
Steve Smith, Ed Thigpen. ISSUE DATE: February 1988
KENNY ON RINGO bingo—hi-hats! tions was most informative. I look for-
I'd like to say how delighted I am to see At any rate, thank you, Kenny, for a ward to reading more of this good stuff
Kenny Aronoff's series on Ringo Starr. It's very informative perspective on one of the every month.
about time! I was 14 years old when the most creative, unique, and underrated Pete Berg
Beatles hit the U.S. in 1964, and had been drummers ever to hold a pair of sticks. Detroit MI
playing rock 'n' roll for a couple of years Ringo showed us how you could move peo-
already. I realized the unique differences in ple by playing simple and being creative.
Ringo's playing right away. Those differ- He also demonstrated that technique—al-
ences have influenced my playing to this though very important—is not the be-all YUGOSLAVIAN CORRESPONDENT
day. I'm sure they have equally influenced and end-all of making great music! I have been a Modern Drummer subscriber
thousands of other drummers—some Joe Rossi for two years now, and I'd like to tell you
more than they would care to admit. Auburn NY that I very much appreciate your fine mag-
Kenny's analysis of Ringo's style is ex- azine. I think it is a connecting point for
cellent, but I must take exception to his ref- drummers all over the world. Because I
erence to Ringo's "splashy ride cymbal" THE NATURAL DRUMMER would like to be a part of that connection,
as being part of his distinctive mark. Ringo I would like to thank Roy Burns for his please print my name and address so that
did, indeed, use a big, splashy ride cymbal article on "The Natural Drummer" in his drummers around the world may corre-
sound on certain songs, such as "Boys," November '87 Concepts column. It is true spond with me.
"Don't Bother Me," and others. But the to a fact. I myself would like to think that I Lazar Dzamic
sound that I believe was more noticeably have a natural talent with all I have accom- Goricka 3
Ringo was the hissing, partially closed hi- plished in the last three years. But I 11300 Smederevo
hat. This is the sound you hear on some of reached a hump in the road. I decided to do Yugoslavia
the Beatles' biggest songs, such as "All My something about it, however, and am now
Loving," "I Want To Hold Your Hand," a student at P.I.T. I am thrilled to death
and in the verses of "She Loves You." In- with all the knowledge I have acquired al-
deed, the image I have of Ringo is of him ready. I see improvement every day! I de- Murphy's Law
playing cross-handed, riding his hi-hats, finitely believe in Roy's adage, "Develop it No matter how closely a magazines' pro-
with his head bopping from side to side or lose it!" duction staff watches a magazine progress
and looking like he was thoroughly enjoy- Tim Perron through the production stages, something al-
ing himself. Hollywood CA most invariably happens after they have
Ringo's cross-hand style and hissing hi- made their final inspection.
hat sound did more to propagate the use of Some of you may have noticed the unusu-
hi-hats in rock 'n' roll than any other single AL JACKSON ally colored Pearl snare drums on page 125
thing I can think of. I know a lot of drum- Your October issue made a subscriber out of the January issue. Unfortunately, due to
mers—myself included—who ran right out of me. I just phoned in my order. I espe- circumstances beyond our control, our print-
to buy hi-hats as soon as we saw Ringo for cially enjoyed your article on Al Jackson. er inadvertantly switched two of the color
the first time. Up until then, many drum- Jackson continues to inspire countless negatives used for printing and produced
mers playing in the very early '60s—and drummers, including me. He is the epit- blue snare drums. For the correct color of
doing songs by the Ventures, Surfaris, ome of good R&B taste. Bruce Wittet did these brass snare drums, see page 125 of the
etc.—were using little three- or four-piece an outstanding job of researching and re- December 1987 issue. We apologize to all
sets with a 20" or 22" ride cymbal with riv- porting. for any inconvenience and confusion this
ets, because that was all that was needed at I also enjoyed the Sherman Ferguson in- may cause.
the time. Then Ringo came along and terview, and the article on snare drum op-
 Twelve years is a long time really have, and I say that with ist] and I have been with them
to work with someone, but for respect to them and very cau- the longest, and we have to
Joe Vitale, working with tiously. They have a wonderful keep the anchor happening for
Crosby, Stills & Nash seems to respect for what I do, and I them. They like to sing without
only get better. Last summer have twice that for them." having to worry about the rest
they did some extensive tour- When asked what the differ- of it."
ing, and then the trio planned ence is between playing with Last year, Joe worked on al-
to go into the studio. But the trio and the quartet, Joe bums by two new artists, Tom
everything changed when Neil laughs, "About 50,000 tickets Kimmel (Polygram) and
Young became involved once a night. I'm serious. The three- Melvin James (MCA), as well
again. some sells out everywhere they as having a couple of songs on
"The foursome did a couple go, but with the four of them, Joe Walsh's record. He also

Photo by Rick Malkin

of benefits together," Joe ex- it's like four different artists in worked on David Crosby's
plains, "and they had such a this band. There are so many solo project, and he is looking
great time that they decided to tickets sold that we go to stadi- forward to a world tour with
make a record. It's obviously ums or play multi nights at one CSNY coming up shortly.
not a money thing; it's strictly place. When he's off the road, he en-
a music thing. They loved what "Musically, there's no dif- joys writing and working in his
they did, and they remembered boards and drums on the al- ference except for the songs we 16-track studio in North Can-
how good it was. CS&N were bum, as well as having some do. I'm there to keep the beat. ton, Ohio. "I've got a ton of
getting started in the studio, tunes on it. It seems that Tempos are really important, songs," he says. "So I'm look-
but they said, 'Let's not do this Crosby, Stills, Nash & Young as is the energy. Also, these ing for a record deal right now
if we're going to do a CSNY al- have really embraced Joe in a guys really depend on the band myself."
bum in three months.' " capacity much greater than a lot, so I have to be on top at —Robyn Flans
Vitale will play some key- that of a sideman. "They all times. Joe Lala [percussion-

When one of England's ago, I was at the actual zenith came from my own playing, came home, a friend of mine
foremost session drummers— of my session career," Charlie rather than the people I was who plays in a West End The-
Charlie Morgan—decided to says. "I was working nonstop, playing with. After 162 dates atre musical called Chess of-
hit the road as a member of morning 'til night, 75 hours a out on the road, I definitely fered me the chance to replace
Elton John's tour band, it was week. I was doing any jingles had my chops together," he him for a short time. I agreed
a decision that he arrived at af- that came my way, a lot of film laughs. to go in, but it was baptism by
ter much deliberation. "I was a music, and then I did the Kate But Charlie had a brief res- fire. The first night was two
bit reluctant at first," explains Bush album Hounds Of Love. pite from getting sessions upon hours of hell in that orchestra
Morgan, "because I thought, I also worked with the Kane completion of that tour. "Peo- pit; that's the only way to de-
'Will I be cutting my throat as Gang, did Tracy Ullman's al- ple either thought I was too scribe it! The next morning, I
far as sessions are concerned?' bum, and did Gary Moore's busy, I was too expensive, or spoke to him, and he said,
And when I came back in early Run For Cover, so I was pretty that I wouldn't demean myself 'You know, that's recognized
'87, there was a two- or three- much going from one project by doing jingles or sessions be- as the hardest reading job in
month layoff period where to the next without a break. cause of what I'd been doing. town.' I said, 'Thanks a lot for
there was very little work. But After Elton convinced me to Of course, all of those assump- telling me this nowl' But after
in the long run, it was very do Live Aid, he offered me the tions were false, but I was up- doing it a couple of times, I
much to my advantage to go world-tour spot, which I ac- set by not working for a couple really got into it. Still, it was a
out on the road." cepted, of course." of months because my playing helluva way to do my first West
Charlie's track record in- According to Charlie, the was sounding real good from End show!"
cludes work with the Tom tour was just the remedy the tour, and now I was feeling These days, it looks like
Robinson Band, Kate Bush, needed for his "cabin fever," that my chops were starting to Charlie will be dividing his
Gary Moore, and Nik caused by being in the studio go again." time between touring and ses-
Kershaw, among others. Elton too long. "I was feeling a lack Of course, reading ability is sions. When Elton hits the
John selected Morgan partly of fresh input and that my integral to session gigs in Lon- road after his new release,
because of the drummer's rep- chops were suffering a bit," he don, so how did Morgan reac- you'll likely see Charlie on the
utation, and partly because of reflects. "I think there wasn't quaint himself with charts af- stage, too.
his work with guitarist enough variety in what I was ter being away from them for —Teri Saccone
Kershaw. "Three or four years doing, but the dissatisfaction more than a year? "When I

Drummer/percussionist Jim and Jim's own band, the Mon- full-band instrumentation, term, because I don't know
Brock doesn't believe in letting tuno Jazz Orchestra. when Scott tours, he uses only what it means. What's 'new'
any grass grow beneath his The greatest part of Jim's his own keyboards, a guitarist, about it? People have been do-
feet. Within the past year, he's time has been involved with and Jim on percussion. Like ing this kind of music for a
released an album as a band- Scott. He's on Scott's latest re- most Windham Hill artists, long time. It's ethereal, but
leader, recorded with several lease, She Describes Infinity, Scott Cusso's music is some- rhythmical at the same time.
artists, and has been touring sharing the drum and percus- what hard to define. As Jim It's not folk, and it's not jazz;
with two acts: Windham Hill sion chairs with Alex Acuna. puts it, "It's classified as 'New it kind of just stands on its
recording artist Scott Cusso Although the album features Age,' but I don't like that own."
 How does Jim see his role as in a samba pattern, or a conga "And we do some African Mbira label. "I've got national
a percussionist in this type of for a backbeat, that gives the things, too, because that's distribution on it now, which is
music? "I'm not really a time- tune its character. Yet, Jim is where all the Latin rhythms really exciting. It's my label,
keeper. I support the rhythms never too "busy" with his per- come from. I also do some solo but the national-level people
that are there, but I tend just to cussion "toys." As he puts it, things on berimbau and other like the record, so it could do
color the sound—to reinforce "I like to select the proper percussion instruments. I'm pretty well for me."
certain things that come about sound for any given point in playing both drumset and per- And in his spare time . . .
and give them extra identity. In the music and stick with that cussion, trading off with an- "I recently cut an album with
a lot of pieces, I also add some- each time the tune is per- other drummer by the name of Don Dixon, which is a whole
what of an ethnic identity. It's formed. I don't like to be con- Donny Marshall, who is excel- other bag for me. It was more
not that I want to define it as stantly reaching for something lent." straight-ahead, full-on rock 'n'
one certain thing—like Brazil- else to shake or tap. I call that Jim also found the time last roll than what I usually do.
ian, Cuban, or African—but the 'yard-sale' approach to year to record and release his Don produced the R.E.M. re-
rather just kind of imply it." percussion playing." own album, Pasajes, on which cords and some Marshall Cren-
Jim also uses his many per- Besides his busy touring he again played both drums shaw stuff. He's one of the top
cussion instruments to define schedule with Scott Cusso, Jim and percussion. Long-time ten producers right now, and
the emotional quality of the is also gigging on the East friend Mel Lewis also appears this is his own record. I don't
music in several cases. While Coast with his own Montuno on drums on several cuts. An know what the title is going to
the keyboards and guitar might Jazz Orchestra. "We mix instrumental album of wide be, but I'm looking forward to
be creating the chordal struc- Latin rhythms with the blow- musical styles, this record was seeing how the album does."
ture, it's Jim's use of a triangle ing aspect of jazz," says Jim. produced by Jim on his own —Rick Van Horn

"There's no introvert here," to get to this present juncture therapeutic for me," he as-
says Farrenheit's John Muzzy. of his career. serts. "If I don't play for a
"I'm a pretty energetic per- "I've been at this for 17 couple of days, I go crazy. It's
son—pretty hyper—and peo- years," he says, "and this is not like I'm a manic player
ple know that I really love the first time I've had all this who has to play 24 hours a
what I do. It's not just from good fortune all at once. Our day. But I do have to play

Photo by Jean Renard

the way I come across talking record company has been ter- every day. I have this energy
about drumming, but also by rific. We've done two videos that I've got to express, and
the way I play. I see it as a love and the tour, and we're putting thank God my mother bought
affair with the drums. Playing out a new record in the early me a drumkit when I was little,
is one of my biggest passions." part of this year. We always because I'd be an emotional
Endearingly known as say to each other that we can't wreck if I didn't have this now.
"Muzz," John has been find- believe the luck we've had, but I don't think anybody would
ing some of that often elusive it really comes down to being gether so well. But whatever want to be around me. I real-
commodity—success—in this ready when the opportunity ar- happens next depends on us ized early on that I had the
Boston-based trio, named ap- rives, which we were. I mean, and how hard we're going to drive and ability, and that I'd
propriately after its guitarist we were together only about work for it. We're going to go better channel it. One thing
(Charlie Farren) and bass five months before getting the distance for this band, be- that's great about the music
player (David Heit). The group signed—just ridiculous! You cause we know that everything business is that you don't have
opened for another Beantown work 17 years, and nothing we've worked for is the situa- to have a record deal or any re-
band—Boston—on the latter's really happens. Then you get in tion we're in now." cording experience to be able
national, sold-out tour this a band and you immediately Muzz positively requires a to go out and play for people.
summer. The exposure was ad- realize, 'This is it.' I can't daily dose behind his kit and You can always have the en- .
vantageous for Farrenheit, to imagine this chemistry happen- admits that this ritual is an im- joyment of people coming to
say the least. But Muzz con- ing between musicians very of- portant release that he can't hear you, and I love that.
tends that it's been a long road ten. Everything just fell to- easily omit. "Playing is very Teri Saccone

Tris Imboden recently did cluding the title track. J.R. reen. Eddie Bayers recently re- lent Partners played Farm Aid
tracks with Siedah Garrett. also has a self-penned song be- corded with Ben Vereen. That as well as various festivals.
Denny Fongheiser did work ing recorded by former ABBA is Billy Amendola on Debbie Danny Frankel recorded with
with Brian Setzer for the La vocalist Agnetha Falksgog. Gibson's "Only In My the Satellites 4 and Victoria
Bamba soundtrack, a few Michael Varner's commis- Dreams." Billy also plays live Williams, produced by Anton
tracks for Millions Like Us sioned work "Ancient Voices, percussion from time to time Fier. John Molo in the studio
(along with J.R. Robinson), Distant Storms" for five per- on New York's Hot 103.5 Sat- with Bruce Hornsby. John Lee
and albums for Balls of Fire, cussionists was premiered at urday Night Dance Party. Re- White on George Highfill's
Tracy Chapman, Lisa Nemzo, the Texas Music Educators cently, Billy played on "Ex- new Warner Bros. LP and do-
Bonnie Bano, and B.J. State Convention. Tony De traordinary Love" by Regina, ing live dates with him. Ken-
Thomas. J.R. Robinson re- Augustine recently recorded and he can also be heard on the wood Dennard has been busy
cently completed album proj- two tracks for a project with new Alisha album Nightwalk- with his new quartet, and has
ects with Yes' Jon Anderson, Frankie Gaye, as well as per- ing. Besides doing sessions, also been doing solo MRO
Reuben Blades, and Manhat- forming with Billy Mitchell. Billy has put together a new (Meta-Rhythmic Orchestra)
tan Transfer. He also provided He also performed on TV's band called True Blue. Mario performances in New York
live and/or programmed Truth Or Consequences with Grillo with Machito Orchestra clubs. Andy Newmark on the
drums on several cuts from Mi- singer Cheryl Barnes and most playing dates in Europe and recently released Bryan
chael Jackson's Bad LP, in- recently toured with Ben Ve- Japan. Tony Coleman and Si- Ferry album.
TERRY BOZZIO I'm trying to figure out your playing would be played on the snare drum. In
behind Mike Brecker's sax solo (about other words, when playing 16th notes,
eight bars before the head) on the any accent falling on a 1, 2, 3, 4, or
tune "Some Skunk Funk" from Heavy "and" would be played with your right
Metal Be-Bop. It sounds outrageous! hand; any accent falling on an "e" or
Could you possibly write that section "ah" would be played with the left
out for me? Lastly, I knew that you hand. If you can whip those patterns
were teaching in L.A. at one time. Are up to tempo, that's basically all I'm
you still doing so, and if so, how may I doing. Once you master what's writ-
get in touch with you? ten on those pages, you'll be able to
Glenn Cerone come up with your own patterns that
New York NY will be equally as exciting as mine, I'm
A. Thanks for all the compliments; I sure.
really appreciate them. What I would As for the part I played in "Some
suggest that you do to develop pat- Skunk Funk," I'm afraid I haven't got a
terns (such as those you mention in copy of that record in my possession,
Photo by Lissa Wales

my playing) is refer to Ted Reed's Syn- and it's been quite a while since I
copation. Page 46 of that book is the recorded it. The best thing I can sug-
beginning of an accent section. The gest is to slow it down—perhaps rere-
8th-note, triplet, and 16th-note sec- cord it at double speed and then play
tions of this book are really great for that back at normal speed—so that
working out those kinds of patterns. you can hear the part clearly at a pace
Q. I attended your clinic a while ago Ignore the bass drum pattern as writ- that you can follow more easily.
on Long Island, and found your play- ten. Every time there is an accent that I'm not doing any teaching at the
ing to be thrilling and inspiring. I was falls on the beat, use your right hand moment, since I'm really busy on a
also very touched by the warmth and on the right swish cymbal and your solo project. But if I ever do any teach-
sincerity you so naturally exude. I was right foot on the right bass drum. Play ing, I'll be sure to put an ad in Modern
wondering if you could write out a few every accent that falls off the beat Drummer to let people know. In the
of the double-bass patterns you play, with your left hand on the left swish meantime, I'm always more than
incorporating your right and left cymbal and your left foot on the left happy to respond to questions in this
hands off the swish cymbals? Also, bass drum. The unaccented notes department of MD.

LARRY MULLEN, JR.

Photo by Paul Natkin

Q. I've been very impressed by your Yamaha 5x14 9000 Series snare. I've
talent for a long time; your style is since started using a 3x14 piccolo
unique and original. Could you please drum as well. As far as triggering
tell me what snare drum you used in goes, at the moment I use Simmons
the Under A Blood Red Sky video? reinforcement on the floor tom on my
Have you thought about using trig- left-hand side and occasionally on my
gers or electronic drums on your kit? kick drum—depending on what the
And lastly, what bass drum mic' does sound is like in the hall. In terms of
your sound engineer recommend? bass drum mic's, that choice
Greg Miller depends, again, on where we're play-
St. Louis MO ing. Different halls—with their differ-
A. Thanks very much for the kind ent acoustics—demand different
words. The snare drum I used on the mic's. There's no one mic' that we use
Under A Blood Red Sky video was a all the time.
Q. I'm interested in painting the hardware on my set of Ludwig foot. Should I try to relearn my patterns so that everything I do
Vistalites. I tried it with some old lugs first. I primed them and then starts out on the same foot? If so, how should I decide which foot
painted them, but they still wouldn't hold the paint. Any sugges- to lead with?
tions? M.B.
M.C. East Setauket NY
Lebanon PA A. There is no particular reason why you shouldn't play different
A. We forwarded your question to our resident drum customizing patterns leading with different feet. After all, many sticking pat-
specialist, Pat Foley, who provided the following information: "I terns require leading with different hands. The idea is to play fluidly
have done some work involving paint on hardware. For instance, and competently, in order to achieve a musical goal. The coordina-
Gregg Bissonette's set had the lugs frosted in black and grey to tion of your feet with your hands must also be comfortable and
make them look burned. But there really isn't a way to make paint natural. Depending upon the pattern, the foot you end up on is
stick permanently to chrome. Some of the paint companies make often more critical than the foot you lead with. As long as you feel
what they call 'adhesion promoters,' but I haven't found them to comfortable and your playing sounds musical, there is no "right"
work too well. The only way to permanently coat chrome with a or "wrong" way to begin a double-bass pattern. The end result is
color is a process called 'powder painting.' That is actually a bak- what matters.
ing process, and it's not terribly expensive. A company that spe-
cializes in plating or polishing can probably put you in touch with a
good company that does powder painting; it's a pretty common
process. Q. I was wondering if you could give me some info on how to get in
"There is, of course, the process known as 'anodizing,' but that touch with the Reuther Drum Company and the Kashian Cymbal
is much more expensive. It actually involves either sandblasting or Company. If there are any U.S.-based offices, I would appreciate
acid-bathing the chrome off of the hardware before the black finish their addresses. I believe Reuther drums were manufactured in
is applied—which is why the process is so expensive. For someone Germany, and the company may now be out of business. I know
wanting to color existing chromed hardware, the powder painting that Kashian cymbals are (or were) produced in Italy.
process is the better suggestion." E.P.
Alamosa CO
A. According to our best source of information, Reuther was a
name given by a Chicago-based American musical-instrument
Q. I recently started working with a double bass drum pedal. I find wholesaler called Targ & Dinner to a line of drumkits imported
that some exercises I do are easier to start with my right foot, while from Taiwan—not from Germany. These were typical, low-cost
others feel more natural when I lead with my left. From what I import drums much like the "house brands" marketed by many
have read, it seems that it is best to start everything with the same other U.S. distributors under a wide variety of names. Targ & Din-
ner is no longer in business.
Kashian was a line of cymbals manufactured in Italy by UFIP.
Although the name appears in the company's catalogs as recently
as 1986, we have no information to indicate that the line is cur-
rently being marketed in America. To the best of our knowledge,
UFIP cymbals are distributed in the U. S. by Jim Atlas Sales, P. O.
Box 825, Levittown, New York 11756. Perhaps you could contact
that company for information on current UFIP products.

Q. I would like the address of the Elvin Jones school in Nagasaki,

Japan.
L.B.
Berlin, Germany
A. You may contact Elvin Jones for information about his school
by writing: Elvin Jones, Amiba-machi 408, Nagasaki,
Japan 851-01.
 Photo by Neal Preston
"Y
EAH, I've got a great story about Denny,"
says Heart bassist Mark Andes, in reply to
my question. "I remember being in Amster-
dam with Denny and his wife and daughter. We
were walking down a street and saw this guy get his
wallet ripped off. Denny yelled, 'Let's get him,' so
we gave chase to the crook and got the guy's wallet
back. That gives you an idea about where Denny's
at. He's an honest, straightforward guy who
believes in his ideals. He's not afraid to take a risk
and correct a wrong when he sees it going down."
"Denny's Italian," adds guitarist Howard
Leese, "and he doesn't take shit from anybody.
Last night, Denny and I went out to hear a group at
a club. When we got back to our hotel, we were
walking across the parking lot to the front door
when these two guys in a hot sports car drove up
and mouthed off to us. They thought we were
funny looking or something. I was going to let it
slide, but like I said, Denny doesn't take shit. So he
grabbed one of the guys and then I grabbed the
other one, and we pretty much made them regret
what they'd said. It's not like we're violent people,
but Denny is a proud person and he's earned his
place in the world. He doesn't need to take stuff
like that from a couple of punks."
Vocalist Ann Wilson agrees. "Denny's a real
passionate little Italian guy, and his moods are
very volatile. Boy, I'd never
want to be on the wrong side of
him," she laughs. "He's this
powerful, macho guy, but then he can turn around
and be so sensitive with his daughter and wife.
That's why I like him so much. He doesn't hold
anything back. He's got a really amazing ability to
give all of himself to something. He cares passion-
ately about how things happen, and he's not going
to sit back and just let things happen around him.
He's either in or out, and when he's in, he's all the
way in."
"That's right," guitarist Nancy Wilson says.
"When we are working on something new, he'll
put himself all the way behind it, even if he isn't
sure if he likes it yet. A lot of players won't even try
 something until they're sure they are going to like it "These Dreams," "What About Love," and
in the long run. But Denny will apply himself "Nothin' At All." The group sounded fresh and
beyond his own personal taste to try to bring some- energetic, and the crowd was clearly enjoying
thing out of a song that wasn't there before. He's every moment of it. After all these years, Heart can
out for the good of the song and the good of the fill up most of a 90-minute show with hits.
band, instead of for himself. It's inspiring to be in So it's really no big surprise that Denny should
a band with someone like that." appear to be happy with life these days. When I
If it sounds like the members of Heart think very arrive at the hotel, I find Denny sitting outside in a
highly of their drummer, then it's a feeling that is patio/restaurant that overlooks a bay filled with
reciprocated by Denny Carmassi, who is very sailboats. (I had been wondering why the group
happy to be a member of Heart. He has been with chose to stay in a hotel that was so far away from
the group longer than any other band he's ever the Arts Center. This explained it.) He's at a table
Photo by Michael Jachles been with, and he has no plans to leave. Whenever with Howard, Mark, and another guy, who
appears to be interviewing them. But as
soon as Denny sees me, he excuses him-
self from the others, and we sit down
together at a nearby table. We spend a
few minutes discussing "drum gossip,"
and he asks me who is coming up in the
next issue of MD. When I mention that
we're about to run a tribute to Al Jack-
son, Denny's eyes light up.
"I learned how to play the drums from
listening to Al Jackson," he says. "I was
probably about 14 years old, and Booker
T. & The MG's had put out the record
'Green Onions.' I sat down with the
record player and learned how to play to
that record. I was fortunate enough to
see Al Jackson play with Otis Redding
when I was 17. He was one of the all-time
greats. He could play so much with so lit-
tle. Al was very expressive in such a sim-
ple way, and he always played what was
right for the song. On our song 'Straight
On,' I've got the tom hitting with the
snare. That comes from Al Jackson,
man."
There are other facets of Denny's play-
ing that evoke memories of Al Jackson.
Certainly one of them is the strong back-
beat. And another one has to be the way
that Denny can play a slow rock ballad in
such a way that it grooves. I had been
particularly struck by that the night
before at the concert. "One of the most
difficult things," Denny admits, "is to
lay that beat back and have it feel good
throughout a real slow tempo. I guess I
just developed it through experience—
playing a lot of ballads with a lot of dif-
ferent people. I was hanging out with
Dom Famularo and Jerry Ricci a few
days ago, and we were watching the new
I've spoken with him over the past few years, he Steve Smith video. He was talking about playing
has always struck me as someone who is proud of like that, and he was actually breaking it down and
what he is doing for a living. It's not an aggressive counting l-e-&-a, 2-e-&-a, 3-e-&-a, 4-e-&-a.
kind of pride, but rather a quiet self-confidence Everybody has a different method, but it seems
that gives Denny the air of a man who is at peace strange to me to be counting when you're playing.
with himself. There's no real method behind what I do, except to
That feeling is evident as we meet for this inter- have a feeling for the spaces in between the notes.''
view. The night before, I attended the first of two Denny's feel for slow tempos was one of the
Heart concerts at the Garden State Arts Center in things that originally attracted Howard Leese's
Holmdel, New Jersey. The group was only a cou- attention, and that eventually led him to invite
ple of weeks into the first leg of a tour to support Denny to join Heart. "Denny and I played
the Bad Animals album, which had been recently together on Randy Meisner's solo album [Playing
released. Already, the first single from the album, In The Deep End], and I really enjoyed his play-
"Alone," was a hit, and many were predicting that ing," Howard told me over the phone. "I knew
this album would be as big a success as the group's that something was happening within Heart, and
previous album, which had the hits "Never," that it might get to the point where we would need
to make a change. So I discussed it with Denny. I is a group. We don't just want side guys. We
said, 'This isn't going to occur right away, but if want input. We want opinions. We want you
something happens, would you be interested in try- to speak your mind.' That's the way it has
ing out for Heart?' He said yes, and a little less always been, and it's great. We have our dif-
than a year later, everything happened that I ferences of opinion and we argue, but nobody
expected. So I called Denny." holds a grudge against you for weeks or
And what was it about Carmassi that had months just because you disagree. That's
impressed Howard so much? "I was looking for hard to find. Maybe it's just a matter of get-
someone who had the real solid power of a heavy ting older and more mature. When you're
metal drummer," Howard explained, "but who young and you're in a band, it can be a very
had a little more technique than most of the bash- volatile situation. In Montrose, the honey-
ers who play metal, because our band plays a moon lasted about a month, and then we were
bunch of different styles. Denny came from a metal constantly at each other's throats. Some
background, but when we did the Meisner album, bands have made a career of that. They take
we played a variety of stuff, and I saw that he could their frustrations on stage with them, and it
be sensitive to ballads and things like that. So he can make the group somewhat unique. But I
was the only person I ever really considered for the don't think it's healthy. In the long run, it
job. Ann and Nancy left it totally up to me to get a burns itself out.
new rhythm section. I talked to a number of bass "With our group, as Ann says, the ashtrays
players before I decided on Mark, but Denny was are full now. We know each other really well
the only drummer I talked to at all. and get along well as a group. Everyone is real
"So Denny joined the group, and we immedi- mature, real professional, and real depend-
ately did a tour in Europe. He fit in with our per- able. I know that I can go out there every night
sonalities immediately. When we would get to the and depend on those people to come through.
fadeout of a song, we would get loose at the end; I'm sure they feel the same way about me.
he'd play fills and I would do these polyrhythmic Everybody knows that everybody else is out
things. Sometimes we would play the same there giving 110%. That's a great feeling. I've
rhythms out of coincidence, just because our play- always been in bands where there has been
ing styles meshed so well. I had played with a lot of internal conflict. Some of that is a very natural
drummers who would play these fills that were so thing in a band, because you've got four or five
complex that I'd have to count to myself and hope people and everyone has an ego. But in this band,
that we'd come out right at the end. Maybe drum- we always seem to work things out. I think it has a
mers would appreciate fills like that, but they were lot to do with the fact that the five of us are doing
hard to play with. But Denny had that straightfor- exactly what we want to be doing. There seems to
ward style and power that I liked. It kind of be a consciousness that we're all going in the same
cleaned up our sound and made it less cluttered." direction. I think it shows in the music."
Heart had already been around for seven years You can speak to any of the members of Heart
at that point, and by rock 'n' roll standards, that's and hear similar words about how well the mem-
a full life. The group had sold a lot of records and bers get along, and that the band is like a family.
had its share of hits, so even if the Wilson sisters Nancy Wilson actually gives Denny a lot of the
had decided to throw in the towel when things credit for that situation.' 'At the time he joined the
started getting shaky, they had already earned band," she told me, "he was the first person who
their place in rock history. There were no guaran- dared to say, 'Let's communicate with each other
tees that making a couple of personnel changes in and not have any of this behind-the-back stuff,
the group would bring new life for the band. In which never works.' He became kind of a catalyst Photo by Michael Jachles
fact, it could very well have destroyed the group
feeling. History has shown that new members of a
group are often regarded as mere sidemen for the
original members, both by the members them-
selves and by the public.
So when Denny was invited to join Heart, there
were no promises that the band would regain its
former stature. In fact, the odds were probably
against it. Denny, however, had no second
thoughts about joining the group. "For me,"
Denny explains, "it was a step up—an opportu-
nity. Ann, Nancy, and Howard didn't want to fold
it up. Sure, they very easily could have thrown in
the towel at that point. Maybe it crossed their
minds, but they decided that they didn't want to.
So Mark and I were an influx of new blood, and
that can be invigorating for a band.
"Right off the bat, we had to make some hard
decisions, because things weren't right with the
management or with the record company we were
with then. This was like the band's last shot, but
everyone really wanted to keep it going."
As for feeling like a sideman for Ann, Nancy,
and Howard, that was never a problem. "When I
was asked to join," Denny says, "I was told, 'This
 for the members of the band learning how to com- music as I can—stealing a little bit from this drum-
municate straight with each other. He really drew mer and a little bit from that one."
the band together as a family, because he wasn't In that regard, Denny's listening habits are quite
afraid to just lay it on the table. eclectic. A couple of years ago in MD, he cited
"Playing with him really renewed my inspira- albums by such diverse artists as Tony Williams,
tion to be in a band," Nancy added, "because we King Sunny Ade, Gong, Peter Gabriel, and Bill
were coming out of a hard time. When he and Bruford as being among his favorites. With that in
Mark joined, they played together like a machine. mind, I ask him what he's been listening to
Having really great players who you could also recently.
relate to as people—it was the first time that I was "You mean who have I been stealing from?" he
really proud to be in this band, because we had the laughs. "Well, the tapes that I brought on the road
best of all things: the talent as well as the family for this six weeks include Miles Davis' Tutu, Bill
atmosphere. We've also got people who will get on Bruford's Earthworks, Adrian Belew's new
each other's backs if things aren't right in the play- album, an album by an English singer named
ing department. That's what it's all about: to David Silvian, an old Elmore James blues tape, a
always be getting better. Like Denny says, playing Ladysmith Black Mambazo record. . . . I know
your instrument is a life-long project." I'm leaving something out. There's a pretty broad
Denny's own professional playing life has range of music that I'm listening to right now. I
already been longer than most. Again, rock 'n' roll just enjoy listening to music like that, and to drum-
lifespans can be relatively short. It's not uncom- mers who play like Tony Williams or Bill Bruford.
mon for rock musicians to make it big in their 20's, That type of drumming doesn't necessarily fit what
but to be forgotten by the time they reach 30. I do in Heart, and it doesn't necessarily make me
Denny started playing in clubs when he was 17, and want to play exactly like those people. But I like
joined Montrose at the age of 25. After four years stealing little things, and I try to fit those things in
with that group, he worked with Sammy Hagar, here and there in my music."
Derek St. Holmes, Michael Schenker, and He gets the chance to try things when Heart
Gamma, and then joined Heart in 1982. Now, at learns new material. For the most part, new songs
age 39, Denny's career is still going strong. He are introduced to the group through demo tapes,
attributes his longevity to his attitude. and most of those are made with drum machines.
"I'm going to play drums for the rest of my Even the Wilson sisters are using drum machines
Photo by Michael Jachles life," he asserts. "That's what I do. That's what on demos these days, although, according to
Denny, "They're not real programmers. They'll
just have a simple beat running through the whole
song."
But what's on the demo doesn't necessarily end
up in Heart's arrangement of the tune.' 'When we
get something," Denny says, "we really tear it
apart and make sure that it's right for us. Most
songs come in very rough form and are totally
open to my interpretation. But I'll admit that there
are sometimes some pretty hip things on those little
drum machine parts that I might keep in the final
product. I don't go in with the attitude, 'I'm not
going to play that.' I try to stay open to the spirit
that the song was written in."
One of Denny's more interesting beats on Bad
Animals is on the song "I Want You So Bad,'' and
he explains where that came from. "The verse feel
with the hi-hat pattern is something that I came up
with in my practice," he recalls, "and that I had
been playing for a while. It seemed to work well for
that song. On the chorus, I went from the hi-hat to
the cymbal bell, and that seemed to separate the
chorus from the verse. But it's still the same beat,
so it ties the song together."
"Denny is like an arranger," Mark Andes told
me. "He approaches a song like a songwriter and
expresses that through his drumming. He's also a
generous player in that he leaves nice big holes for
other people to express themselves. I like to think
I've always done, and it's a life-long process for of myself in the same way. I enjoy leaving a space
me. I'm always learning new things. I've never for Denny to say something really powerful with
thought, 'Okay, I've arrived.' I'm just constantly his drums. When you get people who are not afraid
trying to improve myself as a player. to let someone else have the moment, it makes for a
"Being in a band like this," he continues, "there nice feeling. You wind up sharing more by giving
are certain limitations. We play almost within a than by trying to dominate or superimpose your
specific set of rules, and it's sort of a challenge to musical will over somebody else."
try to bend those rules as much as you can. So I Denny's drumming in Heart tends to be no-non-
spend a lot of time on my own trying to come up sense, straight-ahead rock drumming that is short
with new things. I'm always listening to as much
 Transcribed by Rick Mattingly
The following beats are from Heart's Bad Animals album, and they give a good idea of what Denny can do within a
straight-ahead backbeat style. One characteristic of his playing involves changing the color to mark different sections of
a tune. In "Who Will You Run To," Denny uses the same basic beat on the verse and the chorus sections, but changes
from the hi-hat to the ride cymbal. In the example below, the first measure is the verse pattern, while the second measure
is the chorus beat.
"Who Will You Run To"

Denny often uses two-bar patterns, such as the following.

"Alone"

"There's The Girl"

The next example shows the verse pattern from'' I Want You So Bad.'' On the chorus, Denny plays the hi-hat pattern
on the bell of the ride cymbal.
"I Want You So Bad"

The following beat has a very funky feel. Denny uses a couple of simple variations on this pattern in different sections
of the song.
"Easy Target"

This final example shows Denny's use of space. The accents that are notated over the hi-hat pattern can only approxi-
mate Denny's feel. Listen to the record to hear why a machine will never replace this guy.
"Wait For An Answer"
Intro and Verses

Chorus
Photo by Robert Santelli
 by Robert Santelli

I
T's a long way from the Lone Star Cafe, a small but popular now in his mid-'30s. It's safe to say Nevitt has paid his dues, and
New York City honky-tonk, to Carnegie Hall. That's what it's also safe to say he's one drummer you're going to hear a lot
drummer Stuart Nevitt is telling drummer Danny Gottlieb as about in the years to come.
they both admire the opulence and acoustics of this landmark RS: Let's start off with a rather thorny question. Shadowfax is
venue. considered a band that produces "New Age" music. That term
The last time Nevitt and his band, Shadowfax, played New and the music it stands for have been beaten and battered by critics
York, they played the Lone Star. Nevitt couldn't even fit all the everywhere. How do you react when someone refers to you as a
pieces of his drumset on the stage there. But tonight Shadowfax is "New Age" drummer?
the headliner at Carnegie Hall. (Gottlieb will play drums for Alex SN: I absolutely hate the term. I think most artists that are catego-
di Grassi, the opening act.) It's all part of the JVC-sponsored New rized under that term also have a strong dislike for it. Actually, it's
York City Jazz Festival, so you can understand why this gig is a big merely a matter of semantics. The term "New Age" music means
deal for Shadowfax. there is something called "Old Age" music out there. Shadowfax
It's even a bigger deal for Nevitt, though, because it's sort of a has so many influences on its music that I question whether anyone
homecoming for him. The drummer/percussionist was raised can rightfully put a tag on it.
across the Hudson River, in New Jersey's Union County (as was RS: Why do you think so many reputable critics look down upon
Gottlieb). And tonight, the family—parents, grandparents, aunts, "New Age" music?
uncles, cousins—they're all coming to see Stuart, their boy, per- SN: I think, when they hear that an artist or band falls into the
form on the stage of Carnegie Hall. "New Age" music category, they automatically consider it back-
And Nevitt is nervous. But that's not surprising, because Nevitt ground music. I take offense to that, because I think what Shadow-
is always nervous before a performance. "I can't help it," he says fax does, musically, has a little more substance than that. I think
backstage. "It's part of me—the nervousness. I can't shake it. I our songs have some strong melodies and polyrhythms to listen to.
really can't." But we've had a bit of what we call the "Granola Backlash," more
Yet, when it comes time to forget all about the butterflies and so on the East Coast than on the West. But in March, we signed
sweaty palms, and get down to some serious work behind his with Capitol Records, so hopefully, we'll be able to get out from
drumset, Nevitt is right on the mark. Both he and Shadowfax under the Windham Hill umbrella, which is where the whole "New
sound superb. The music they perform is crisp, bright, rhythmi- Age" music thing originated.
cally sophisticated, and immensely interesting from where I sit in RS: That's true. What are your recollections of the time Shadow-
the audience. I seriously wonder how many of those critics who fax spent with Windham Hill?
like to lambaste Shadowfax as a band that plays "New Age" SN: The thing with Windham Hill was that most of their promot-
music, which translated means "a bit wimpish and watery—an ing and marketing was geared toward the label. It was almost as if
offshoot of jazz that is best suited for background music," have the artist was secondary.
seen this band live. RS: Does Shadowfax do anything to counteract the "New Age"
It's a pity labels like "New Age" exist. I have the feeling that the link?
"New Age" connection has prevented far too many people from SN: The only thing we've consciously done is to include more
discovering just how good Shadowfax is, especially live. For too vocals in our music. We don't like to do vocal tunes just to do
long now, Shadowfax and a slew of other "New Age" artists have them. In other words, we'll include vocals now where they might
had to battle the stigma attached to their music and record label, enhance the song. But we don't go out of our way to force them
Windham Hill. There is nothing emanating from the Carnegie Hall into our music.
stage tonight but exciting, eclectic jazz-rock-pop-blues fusion lay- RS: But now that Shadowfax is with Capitol—certainly a more
ered atop "world music" rhythms. And not once, or twice, but mainstream company than Windham Hill and one with a much
three times during the performance the house stands up in appreci- larger sales potential—might Shadowfax switch musical gears a
ation and respect. little bit in order to, say, sound more accessible and less "New
Nevitt is one of those drummers who views his instrument and Age"?
his playing of it, not as a job, not as a career, but as his life's work. SN: I guess it's possible. We've been working on new material.
"I absolutely love the idea of playing drums and percussion," Right now, it's about half vocal and half instrumental. I don't
Nevitt says with a smile. "I live and breathe them. And it's been know, though, if it will wind up on the next album that way.
that way ever since I can remember.'' RS: You mentioned before that Shadowfax's music is so varied
Stuart began playing the drums when he was four years old. He's that it's really tough to categorize. Has such eclecticism presented
Photo by Rick Malkin

problems for you as the band's drummer? SN: I grew up in the '60s, and the first things that turned me on to
SN: No. The most important thing is that I have a pretty broad "world music" forms were albums by Ravi Shankar and Yehudi
palette of colors and sounds to work with, which is why I use the E- Menuhin. I was also very much influenced by some of the things
mu SP-12—the sampling drum machine. That was an answer to that George Harrison did with Indian music. It was from this that I
my prayers. I always wanted to have a setup where I could have my really started exploring and experimenting with different rhythms
acoustic drums and a bunch of different acoustic percussion instru- and such. I remember going into record stores and heading straight
ments. But anytime I tried putting, say, an African drum or a to the Ethnic Music sections. I'd pick up all kinds of African
Moroccan drum on a stand, all the sound went into the stand. And albums and Indonesian Gamelan music.
you couldn't play it with drumsticks. But now with the SP-12 and RS: Where did this fascination come from?
the Roland Octapad, everything is right there. I don't have to SN: I don't know. There was something there that caught my ear,
change sticks to play it. Plus, the sampling quality is real good, so I especially the stuff by Alla Rakha, the tabla player with Ravi
at least get the real sound of the instrument. But to answer your Shankar. I just couldn't believe what I heard coming out of two
question, playing in this band requires the use of a lot of different little hand drums. I always liked the exotic flavors of different
colors, especially with percussion. music forms. If you can use that and put it on top of something a
RS: How do you blend acoustic sounds with electronic ones? Your little more western, then I think you can come up with something a
drum sound is incredibly cohesive—even seamless. Is there a par- little unique. And that's what I tried to do.
ticular strategy that you employ? RS: Were you playing drums when you first embarked on this
SN: Most of the electronic stuff that I use is for percussion voices. musical exploration in the '60s?
On a couple of songs that we do, I also trigger some kick and snare SN: Oh yeah. I've been playing the drums since I was four years
drum sounds from the SP-12. But most of my kick playing is old. My dad used to play in Montreal. I remember the day he came
acoustic. I think it'll always be that way. I don't think I'd ever play home with one of those little red wooden practice pads with the
a totally electronic kit. piece of rubber on it.
RS: How do you incorporate the Octapad into your repertoire? RS: Did your father play professionally?
SN: I use it more for percussion voices than actual drumkit voices. SN: You could say that. He played jazz and swing, mostly. He used
RS: Go back to what you said a moment ago about the broad to tell me about having to get on a bus with his drums tucked under
spectrum of sounds and colors that you need as the drummer in his arms to go to gigs.
Shadowfax. If I listen to a Shadowfax album, I hear all sorts of RS: I take it he was Canadian.
exotic rhythms and colorings. How did you come to bring this into SN: That's right. But I grew up in Union, New Jersey, and later
your drum playing? It's almost as if you and Shadowfax sort of moved to Cranford when I was ten or eleven years old. There was
symbolize a United Nations of sounds and rhythms. always music around the house. My mom used to sing with neigh-
borhood choral groups.
RS: Did you take drum lessons, or did you learn from your father?

"THE BOTTOM
SN: I did both. My father was the first one to teach me anything on
the drums. He started me off with what he called "The Mama-
Poppa Roll.'' Then I studied with a milkman named Gene Genova
LINE HAS TO BE at the Union Conservatory of Music. I studied with him a couple of
years, before moving on to Gene Thaler in Maplewood. He was a

BRINGING OUT great, great teacher. I stayed with him for 12 or 13 years. Max
Weinberg also studied with him. Thaler now has a studio with his

THE BEST POINTS

son down in Fort Lauderdale, Florida. Gene was great. When I
began studying with him, I had to start all over again. The milk-
man had gotten me into a lot of bad habits as far as my grip was
OF THE SONG." concerned. I wasn't keeping my fingers around the stick—that sort
of thing. And I can still hear Gene telling me that, too. I still keep in
close contact with him today.
RS: When did you join your first band?
SN: I guess I was about 12 years old, but it wasn't until I was 15 or
16 that I got interested in "world music." The earliest bands I was
in played Beatles and Monkees songs. We did a few originals with
 Photo by Robert Santelli

one band called the Rebels, but they were pretty weak, as you SN: My earliest influences were drummers like Dino Danelli of the
might imagine. We used to play CYOs and school dances. Then Rascals, Charlie Watts, and of course, Ringo—also, Keith Moon.
later on in high school, I played with a group called the Psychotic I learned to make faces by watching Keith Moon play, [laughs] But
Blues Band. We did a lot of work. We opened some shows for after that, I started getting into more jazz. The first jazz drummer I
Springsteen down the Jersey Shore when he still had Vini Lopez on ever really listened to was a fellow by the name of Louis Hayes. I
drums. This was back in 1971,1 guess, when that infamous place, heard a Horace Silver album called Blowing The Blues Away, and
the Sunshine Inn in Asbury Park, was still open. Even back then, he was on it. Also, Coltrane's My Favorite Things was important
you knew Springsteen would be something. I remember him hold- to me, too, because it had Elvin Jones on it. He completely blew
ing the audience right in the palm of his hand. my mind. And from there, I started listening to Billy Cobham. The
RS: I went to school at Monmouth College back then and actually first time I saw him play was at the Sunshine Inn in Asbury Park
remember the Psychotic Blues Band. with Dreams. He came out and opened the show by himself, and
SN: That's really amazing. It's a small world; it really and truly is. one by one, the other musicians in the band came on and started
RS: At some point in the early '70s, you left Jersey for Miami, jamming. As soon as he started playing, my jaw just hit the
right? ground. I said to myself, "Wow. So that's how you use rudiments
SN: That's right. I wasn't enrolled, but I was hanging out at Miami of music!" It was like a big light bulb went on inside my head. But
University. That was like 1973 and '74. And it was a great place to Cobham was a heavy influence on me at the time. And today, I
be. There was a great music scene down there at the time. Danny think my two favorite drummers are Jack DeJohnette and Tony
Gottlieb was down there. So was Jaco Pastorius and a bunch of Williams. As far as rock goes, I really like Stewart Copeland and
other musicians. There was always a jam going on. It was back Phil Collins, especially for his sound. The sound he got with Hugh
then that I was able to first start using some "world music" appli- Padgham in the studio set some new standards.
cations to my drumming. RS: When did you join Shadowfax?
RS: What kinds of drummers were influencing you back then?
Photo by Robert Santelli
 a flashlight on my notes, and David
Dickey, the bass player, was yelling out,
"Half time, double time," helping me
with the cues. I didn't miss a lick except on
the encore song. I turned it around and
made it twice as fast as it should have been.
by Robyn Flans They were so happy to have made it to the

I
end of the show with this new guy that it
S there anything this guy can't do? In college, he met David Malloy, who didn't matter. I must have lost ten pounds
Harry Stinson is not only a session now has produced such artists as Kenny that day going through all that stuff. After
drummer, lending his talents to such Rogers and Dolly Parton, and watched three shows, I had it down, and I finished
hits as "Baby's Got A Hold On Me" by the Malloy climb to the top of the studio the tour, which was great. From doing
Nitty Gritty Dirt Band, but also a session ranks. In the early days, they would mess lounge bands, here I was riding around in a
background vocalist singing on Barbara around in the studio together, and Stinson private plane, and I thought, "Wow, this
Mandrel! and Sweethearts of the Rodeo would "tear up Jerry Carrigan's drums is the way it is. This is great!"
sessions. He's also a producer who has and put dents in them," he grimaces. RF: So you missed the Rabbitt record.
been at the helm of projects for artists like He cut his vocal teeth singing back- HS: Yes. I had to call in and say, "I'm
Wendy Waldman and A.J. Masters. He grounds on Sammy Smith records that sorry. I've got to cancel this session." I
has a publishing deal with Silverline Pub- David's dad, Jim Malloy, produced, and called Jim Malloy because he had some-
lishing, with songs covered by such artists on the Eddie Rabbitt record David was thing to do with it, and his wife said, "You
as Patty Oveless and Steve Earle. As a producing. In fact, Malloy was just about know, I don't think Jim's going to like this
drummer, he has played with such acts as to give Harry his first major studio break very much." And I said, "I'm sorry, but I
Al Stewart, America, Jay Ferguson, and as a drummer on that album when Ameri- don't think there's anything I can do about
Peter Frampton. Currently he is a member ca's Willie Leacox broke his thumb and the that." I knew this was the right decision.
of Steve Earle's band, The Dukes. group needed a replacement to finish out RF: Why was that more right than doing
But to Harry, all the facets make up the the tour. When neither Jim Keltner nor the record?
whole. His guitar playing makes him a Jim Gordon could join the tour on such HS: It was more of what I wanted to do.
more melodic, sensitive drummer; being a short notice, friends at Carlo Sound out on Nashville at that time was pretty boring,
singer gives him knowledge, as a song- the road with America recommended and the technology wasn't nearly what it
writer; being a drummer gives him insight Harry. was in L.A. Now it's the same or even bet-
into production from the other side of the "I had to meet them the next day in ter. But at that time, I related to rock
glass. Muscle Shoals where they were playing," sounds, and America was a Top Ten
The Nashville native is a drummer first Harry recalls. "I scrambled to find their group.
and foremost, though, and has been since albums. I listened to them, but their direc- RF: Rock music was your goal?
his grammar school and high school days tion wasn't defined at that point, so it HS: Oh yes, although I understood and
of just fooling around with music. Finding didn't do me much good. I just went down loved country music. I used to listen to the
school not to be his cup of tea, Harry stud- there completely cold, although I knew the Grand Ole Opry, and when I'd go camping
ied with percussionist Farrell Morris, who sound crew, and they were real helpful. with my family, they'd always listen to
helped "get me stripped down in my drum- Luckily, they had taped the show three these little 20-watt stations up in the hills,
ming, "says Stinson. nights before. We did a soundcheck where so I have a real love for it. In fact, I played
we sort of ran through everything. I took on the Grand Ole Opry right out of high
their live tape, sat with it until showtime, school. I went to high school with Morris
and made all my own charts. Willie sat on West, Dottie West's son, and we had a
the drum riser with one bad hand, holding rock band together. At that time, there was
no place for us to play, so Dottie took pity
on us and said, "Why don't you boys come
out with me." We did a lot of fairs and
Photo by Rick Malkin
 HS: It's completely different. Everything is
under a microscope. All your little rattles
show up, and even the way you hit is differ-
ent. The microphone hears differently in
the studio. I don't hit as hard in the studio,
because it's not necessary. Unless you're
going for an ambient sound—room mic's
and that kind of thing—you're not trying
to move a lot of air around in a big place.
You're just trying to get the optimum
sound out of that drum, so whatever
sounds good is how you need to play. I do
hit hard, but not all the time. I'm more
dynamic in the studio, because it shows up.
Live, you just have to go for it, because the
mixers like to use a lot of noise gates and
things like that.
I ended up going to Buffalo, because
some friends of mine had a group up there.
We played big clubs with big P. A.s, and we
had a huge local following. When I wasn't
playing with that band, I could go down to
a club and sit in without any problem.
Everybody knew everybody, so that was
also a great woodshedding time for me. I
did that for nine months, and then I got a
telegram from L.A. from America's man-
agement saying, "Call me immediately.
John Hartmann." I called him, and he had
another project that he was trying to put
together. He said that, if I came out there,
I pretty much had the job.
It was a guy named Steve Ferguson, who
was one of the first signings on Elektra. At
that time, we were doing real country-
Photo by Rick Malkin

sounding things, although it wasn't like

Poco or the Eagles. The songs were a little
bit "Beatley" sounding, actually, which
made Steve's image even more unusual.
We rehearsed real hard for two weeks. We
things like that, and I played on the Grant! around, I'm not as precise. Kenny Malone did two shows. John tried to get Elektra
Ole Opry at the old Ryman Auditorium and Kenny Buttrey turned me onto Sonor pumped up about him, but Elektra wasn't
with her a few times. drums, which I used for about ten years. really sure about it. John ran out of
RF: Were there drummers you were listen- Now, I've got a custom set of PB drums money, and it fell apart.
ing to? with a sunburst finish that Gary Grimm I didn't have anything else lined up, but
HS: Buddy Rich's Live At Caesar's Palace built for me, which I've been using for two I wasn't particularly worried about it. I
was a big record for me, because he was years. The 14" floor tom, which actually is was planning on getting married, but I
doing pop tunes like "Mercy Mercy." I a 12x14, sounds huge. Most 14" drums couldn't afford to come home, so I had to
just remember that what he was coming have a certain characteristic, but this one put that off. I was in a severe transition at
out with sounded inhuman to me, and that has more fullness. They're Eames shells, that point. But John Hartmann came to
stretched my thinking a lot. Of course, I and I love them. I want to get something the rescue again. He'd had an act called
listened to Ringo a lot. He's one of my big else and keep these here to use just for stu- Batdorf & Rodney, who were signed to
influences. Charlie Watts was also, dio calls. Arista, but who broke up. They had a sin-
although I think more now than before RF: So what happened after the America gle cut that Clive Davis loved called
because I was more melodically conscious tour? "Wham Bam Shang-a-lang." John went
back then. Also, Jim Gordon and Jim HS: I went out to L.A. to check it out for a to Davis with the idea of putting a band
Keltner were big influences. Keltner's still a couple of weeks. Then I came back here to together around this song. Clive agreed
huge influence on me. I really respect him a Nashville, but nothing was really happen- but said, "This song has to go on there,"
lot as a player, because he approaches ing. I hung around David Malloy some and that was the one song we all hated the
drumming as an arrangement thing and more, but he was using studio players. most. The band was called Silver, and we
doesn't necessarily play what other people Those guys were better than I was at that were like Poco with the three-part har-
would think of. He's very creative. Kenny point, and although I probably felt a little mony. That song reached something like
Malone is also unbelievably creative. He hurt at the time, I totally understood it. 17 on the Billboard chart, but because it
was doing a lot when I was hanging around There's always that battle between road was such a bop single, radio programmers
Photo by Rick Malkin

studios, so I saw him back then playing players and session players, but I never would not play the rest of the record,
kick drum and conga, instead of a snare cared to be just a session player. A lot of which we wrote. Clive wanted us to submit
drum and things like that. He was great to musicians just can't do both. It's not the songs for the second album, but he never
watch. He would just get into the groove, chops, but it's the attitude and everything liked anything that we turned in. We
and his head would move a lot, which I else that goes with it. finally got out of the contract, and we
don't do that much. When I start moving RF: Technically, it's different. couldn't get interest anywhere else.
 Photo by Rick Malkin
I was fed up with the band situation, so I
decided to just be a sideman. I started
hanging out with people in Al Stewart's
band. I'm really glad that I got to play in
that band, because that was also com-
pletely different from anything else out on
the radio. It was a big band with two key-
board players. The arrangements on top of
the rhythm section were always real inter-
esting.
RF: What was the role for the drummer?
HS: Timekeeper. It wasn't extremely inter-
esting, except for a couple of things that
Porcaro played on the record, which were
more of that "Lido Shuffle" stuff. I actu-
ally learned how to do that by listening to
him play it and having to recreate it. We
went to some great places, including
Europe, and I finally got enough money
together to get married. That tour lasted
five months, and then Al shut down to do
his next record.
Jay Ferguson came along, and "Thun-
der Island" was a big hit, so I worked with
him for a year. It was straight-ahead rock
'n' roll, and I did a lot of singing in that
band, which was probably the reason I got
the job. I really didn't like the boom mic'
in front of my face. There really had to be at the time, and I could see their soundman juggling four balls instead of three balls.
something on the market I could use where saying, "What's this?" Sure enough, RF: How were you feeling about being a
I could sing and be seen, and have the mic' here's Keith Knudsen using a little headset sideman?
on my head or something. I found the mic' three months later, and then every- HS: I liked it because it was easy. I went
Shure SM-10, which was not a good qual- body started using it. I'm not really sure if back with Al, and I played on his next
ity mic', but it was the only thing available. I had anything to do with it, but it was 1978 album, which was a complete disaster and
It just didn't have a big enough diaphragm and I had never seen anyone do it before. I probably went directly to the bargain bins.
in there to get a good response, but I stopped using one after that point and It was called Indian Summer, and it was a
bought one. I started using it, and with a went back to regular mic's, because the half live, half studio, two-album set. To
little EQ, it sounded just fine. I had built a headset would never really stay in place. make sure the tempos were the same on
little on and off switch box that I put right I'm going to get a new AKG that actually both nights of the live Roxy gig, I had
next to my hi-hat, so I could turn it on and fits around your ears and holds tighter everything on a metronome with a little
off for count-offs. When I didn't want to now. I think the frequency response is a lot light. I think they did actually cut from one
be heard, I could control that. I remember better, so the soundman with Steve Earle night to another.
we opened a show for the Doobie Brothers will be happy. It will also cut down on leak- That reminds me: I did one scene in The
age. There's so much leakage on stage with Rose where Bette Midler goes home to a
drums that I always wish there were some- little country bar. That was also live, on-
thing we could do with the vocal mic'. screen playing, which was actually one of
Every time I have to turn it on, the sound the first movies done that way. Most mov-
of the drums changes. Hopefully, this will ies are dubbed and you just play along with
help that. a track. We spent two complete days
RF: When did you actually start singing shooting a scene that didn't last more than
and drumming? two minutes. That was fun to do.
HS: Back in the days when I played with RF: How did you hook up with Peter
Morris West in high school. I was the only Frampton?
guy who could sing at all, so I got the job HS: Over the years, I got to know Wendy
and learned how to put it all together. It Waldman, and I went into the studio with
was a little tricky at first, but once I got the her. We came up with "Heartbeat," which
rhythm of it down, I didn't think about it. was on her record, and Eddie Kramer engi-
RF: What's tricky? neered that. I was in heaven, because he
HS: The coordination of it—having all five was into drum sounds. He had recorded
things moving at once. Two arms, two Traffic, the Kinks' "You Really Got Me,"
legs, and a mouth are a lot to put together. John Bonham, and the Stones' Beggars
Also, phrasing is different. There's so Banquet album. Wendy's album was
much going on when you're playing drums pretty much my first one where I sounded
that it's hard to coordinate. But it really is like I wanted to sound and I was playing
a matter of coordination and feeling it in my own licks, not having to sound like
yourself. To get yourself to play a basic anybody else. The bass player in the band
rock beat in a solid manner, you have to was John Regan, who had been playing
practice so you get it all locked in and it all with Peter Frampton for a couple of years,
sounds like one thing. With a voice, it's and Mark Goldenberg, a great writer who
just an extension of that coordination. It's plays guitar and keyboards equally well,
A few months ago, Neil Peart decided that he had too many drumsets, and he wanted to give three of them away. A
contest was held in which drummers were invited to submit a tape of a two-minute drum solo. From the 1,767 tapes
that were received, Neil selected Jack Hess, Wayne Killius, and Mark Feldman to receive drumsets. We are happy
to present their winning solos on this Sound Supplement. (Neil also awarded a fourth prize, consisting of a set of
cymbals, to Mikel Masters. But Masters requested that his solo not be included on the Soundsheet.)

Age: 18
Age started playing drums: 11
Hometown: Indianapolis, Indiana
Music education: Middle school and high school instruction; pri-
vate instruction from Sam Withrow; currently attending Ball State
University
Musical experience: High school jazz band, 4 years; High school
marching band, 4 years; All-State Jazz Ensemble, 1985 and '86; 15
First-Division ratings at State solo and ensemble contests
Influences: Father, Neil Peart, Omar Hakim, Sam Withrow, Don
Lain, Sandra Butz
Primary musical styles: Rock, Fusion, Reggae
Neil's comments: "This entry is very original, in that he spiced up
his performance by triggering occasional synthesizer sounds. He
was one of a few entrants to think of this—a very imaginative
idea—but he was the one to carry it off the best. He obviously spent
a great deal of time working on this piece, and the work pays off in
the tightness and integrity of the whole performance. The playing
is first-rate, the rhythms are very modern, and the dynamics are
effectively varied both by touch and by some tasteful rim playing.
Overall, it's an excellent piece of music, which is very satisfying to
listen to."

Age: 22
Age started playing drums: 12
Hometown: Nashville, Tennessee
Music education: Private instruction with Herb Flower while in
high school; college study with John Beck; graduate of Eastman
School of Music
Musical experience: Eastman Jazz Ensemble; Gap Mangione Trio;
recordings for HBO, Lifestyles Of The Rich And Famous, Play-
boy Channel, and others; Opryland; currently free-lancing in
Nashville and performing with Jerry Tachoir Group
Influences: Steve Gadd, Steve Jordan, Dave Weckl, Jack DeJohn-
ette, Tony Williams, Neil Peart, Vinnie Colaiuta, Elvin Jones
Primary musical styles: All
Neil's comments: "I like this one because it has such a nice
approach to a traditional, but abstract, form. His playing demon-
strates a lovely touch. It is also one of the very few to use a bit of
brush work—and is very musical and unusual. The groove is very
sophisticated, based around a funky, walking kind of rhythm, and
there are some great sections of what I call 'stiff-armed' syncopa-
tion—a difficult style to control so smoothly. This is a superbly
restrained and deceptively simple piece of work."

Age: 24
Age started playing drums: 16
Hometown: New York City
Music education: Private instruction at Drummers Collective with
Rick Considine and Hank Jaramillo; attended master classes by
Steve Gadd, Dave Weckl, Vinnie Colaiuta, Gary Chaffee, and
Louie Bellson
Musical experience: Free-lance sessions and gigs in New York City
area with various artists and bands
Influences: Steve Gadd, Tony Williams, Elvin Jones, Philly Joe
Jones, John Bonham
Primary musical styles: All
Neil's comments: "I like the dark mood, the interesting construc-
tion, his smooth technique and combinations of nice tonalities. I
thought it was technically and rhythmically quite sophisticated and
very smoothly performed. Again, this is not an easy style to pull off
as well as Mark has done. The refrain of the intro is a tasteful idea
and frames the whole piece nicely, making it, like the others, truly
a piece of music."
 by Clive Brooks

African
Cross-Rhythms
Just like rock music, African music is constantly evolving. Per- However, Africans only use two of these (options "B" and "C" in
formers add or subtract elements of the music at will, while the following figure).
remaining within the boundaries of their accepted framework. Main Drum
Every community within the whole continent has its own music.
However, broadly speaking, there are two main types of African
music: polyrhythmic, consisting of simultaneous, distinct rhyth-
mic patterns, and polyphonic, consisting of simultaneous sounds
or musical lines. The African rhythms, played almost spontane-
ously by the performers, are among some of the most complex in
the world. The aim of this article is to provide a greater under-
standing of this often overlooked rhythmic heritage.
Rhythm in African music is subdivided into two very different
forms: divisive, where the time is divided into equal pieces, result-
ing in a regular rhythmic pulse, and additive, which adds together
little "pieces of time" of unequal length, with a stress (or accent) at
the beginning of each piece. This type of rhythm creates a series of
irregular (and for us difficult to follow) beats. Technique falls into
two distinct classes: the technique used in drumming, and that used
for songs, hand clapping, bells, rattles, and so on. This latter tech-
nique is often known as "background rhythm," and it is against
this that the drums play.
The weird thing about the marriage between the background
rhythm and the drums is that the stresses of the two must not be in
step. This can be achieved by using a divisive (equally pulsed) In example "A," the drum figure coincides exactly with the
rhythm for the claps and an additive (unequal) rhythm for the main beat. This should not be permitted to occur. In the other two
"song." Each divisive background rhythm would have either two examples, the pattern is permanently crossed and creating rhyth-
or three basic time units per figure. Frequently, the Africans use mic tension, especially when accents are placed at the start of each
multiple background rhythms consisting of many completely dif- beat.
ferent patterns played simultaneously. Here's an example of just In Africa, drumming isn't simply beating out a rhythm. Each
two different background rhythms against a "song": drum produces different pitches and tonal qualities depending on
how it's struck, making every drum pattern a unique rhythmic
Additive Rhythm tune. The examples given are very basic. In practice, each drum
204 would be playing a different pattern. However, whatever the pat-
terns used, they must all be made out of the same time units (i.e.,
triplets).
How can such a rhythmic ensemble end? Well, quite often it's a
case of one drummer getting too tired to carry on, causing the
Background 1 whole pattern to collapse. But normally, the master drummer gives
a prearranged signal on the drum, at which point everyone goes
into an "ending pattern," which uncrosses all of the drums and
brings them back into phase for a final simultaneous beat by them
Background 2 all.
The most complex African rhythms exist in the forest areas
around the Gulf of Guinea and in the Congo Basin. The further
out of these areas you venture, the weaker the cross-rhythmic
These different rhythms all start together on the same beat, then setup—which is the main character of African Rhythm—will be.
weave in and out, and finally come back together again for the next Dance is the overriding element in all African music and rhythm.
repeat. The additive song melody is not fixed either. It varies All forms of patterns take their principles from those exhibited in
according to the flow of the tune and, to a larger extent, the normal dance. Perhaps our music isn't so different after all!
speech accents within the lyrics. The background patterns each Try splitting your drumkit up into its different component parts,
normally add up to a total that is a multiple of two or three. and experiment with a few rhythmic friends. With one person on
The rhythmic technique in African drumming revolves around each drum, attempt some of the African patterns along the lines
the setting up of permanent cross-rhythms between each drum. If presented in this column. Such a study is, I feel, very valuable, and
two drums were playing in triple time (3/8 or "three-beat pat- releases the player from the normally inescapable, mindless,
terns"), there would be three ways of combining the rhythms. "four-beat rut that we all find ourselves in from time to time,
 DealingWith
by Craig Krampf

Studio Acoustics
The first time you walk into a new studio, influence the way he or she plays. It appears to me that the more ambient
you immediately notice where the engineer I think drummers learn this very early in and live a room is, the more ambient and
has instructed the cartage company to set their careers. I can remember having live you can leave your drums. You might
up your drums. If you haven't recorded favorite C.Y.O. church halls when our think the opposite would be true—that in a
there before, you sometimes wonder why band played rock dances in the '50s and dead room you'd need to open your drums
they're set up where they are. The second early '60s. Certain halls made my drums up more to compensate for the deadness.
engineer, who's usually busy getting mic's sound like what I was hearing on records— But that doesn't hold true. A very dead
ready, patching cords, and generally get- just the right amount and length of decay, room seems to exaggerate unwanted ring,
ting everything ready for the engineer, nor- and a true, natural echo. I hated playing harmonic overtones, sympathetic buzzes,
mally says that, from experience, they've outdoor dances. No matter how hard I hit etc. A great, ringing snare drum (a la John
found this to be the best spot for a great the drums, I still heard comments that you Bonham and Alan White) becomes thin
drum sound. So before the mic's are even couldn't hear them or that they sounded and quite obnoxious in a dead studio. Nor-
in place, you hit your drums to hear what wimpy. Remember, this was when you car- mally, I have to slightly tape, pad down,
they're going to sound like in this particu- ried one or two mic's at the most, and they and tighten up my whole drum sound in a
lar spot in this particular room. were plugged into a guitar amp. dead studio.
I've always maintained that a drummer, All studio drummers today have rooms Years ago, drum booths were in vogue.
more so than any other musician, is they love and rooms they dislike very These were little isolation rooms usually
affected by the acoustics of the performing much. When I posed the question of how only big enough to accommodate a four-
environment. Guitar players have amps acoustics affects a studio drummer, Jim or five-piece kit. The engineers didn't want
and can get a fairly consistent sound wher- Keltner responded, "Every room is differ- any leakage of drum sounds into the other
ever they go. But for a drummer, every ele- ent, and every room puts a burden on you mic's in the room. It was usually an
ment that has gone into the construction of as to how you tune or tension your drums. upfront, dead kind of sound. If a larger
a room has an effect on what the instru- You'll get an incredible sound in one stu- studio put the drums out in the open, they
ment will sound like and, in turn, may even dio and you'll say, 'Fabulous. I won't would be heavily baffled, again, to prevent
change a thing. My drums sound great.' any leakage.
The next day, in a different studio, every- I always seemed to think that ambient,
thing sounds awful! That's where experi- live drum sounds started with the English
ence comes in. You've got to be able to records of the late '60s and early '70s. It
make changes quickly, and not waste peo- took quite a while for drummers on the
ple's time and money." West Coast to be recorded like that. We
Mike Baird said, "Sometimes the things were still in the "wallet on the snare" and
you play just don't translate as well in a "drum booth" mode. Nowadays, the rem-
dead room as they would in a live one, like nants of drum booths have been turned
one that has brick walls, cement floors, into guitar or bass booths. I haven't been
and a high ceiling. The natural acoustics of in a drum booth for more than five years.
a room most definitely affects the way you Engineers and producers have learned how
approach and play a song." to deal with live, wide-open drum sounds.
Rick Marotta responded in a similar Now, please don't draw the inference
fashion. "It has a real big effect on the way that only live rooms can capture a great,
I play. Dead rooms make you play a cer- big drum sound. Mike Baird related, "You
tain way, and live rooms make you play a can always be surprised. I was recently
certain way. If the room is dead, you lose flown into a little studio in Texas. The
the little nuances of your playing. You drums they had set up for me were a totally
don't hear them. More importantly, you mismatched set. The studio was extremely
can't feel them. I have to trust the feel of dead, and everything appeared to be quite
the way I touch the instrument to know mediocre. I thought, 'Great, two days of
that it's speaking, and I have to listen to a overdubs, stuck here in the middle of
playback in the control room as soon as I nowhere.' Well, when I put on the
can to make sure the subtleties are coming 'phones, I heard one of the best drum
through. If a room is too live, every little sounds I ever heard in my life. And it
nuance becomes exaggerated. Once again, sounded exactly the same in the control
you have to learn to trust your touch." room. I became so inspired, I played the
All of the drummers agreed that, today, shit out of everything!''
things have gotten better with acoustics. Good studios come in all shapes and
It's not as bad as it used to be. Keltner said, sizes. I guess you just have to hope the pro-
"There are more engineers and studio ducer books the right-sounding room for
designers with an awareness of sound, in the job: the one that fits the artist, the
particular, what's necessary acoustically song, and the music. That's still the
for a great natural drum sound." bottom line.
 by Jerry Tachoir

Recording The
Vibraphone
Recording a vibraphone in a studio can tain frequencies. A quick and permanent and record very true, and in certain situa-
be an "ear-awakening" experience. Un- remedy for this is to wrap electrical (or any tions, Neumann U-87s also produce a
wanted noise, buzzes, and rattles can go on available) tape around the bracket and warm sound on the vibes.
tape if your instrument is not studio ready. cover the rivet push button. This problem Once you've decided on the mic', your
With the price of studio time being what it has been solved by Musser on newer mod- next challenge is placement. There are
is, it can be very expensive to wait until you els, which now have a leg brace that is many factors to consider when placing the
are in the studio to make adjustments to longer, connecting the frame with the leg mic's; however, your ability to play your
your equipment. at the place where the pedal connects with instrument without interference should get
All musical instruments, especially the leg. A wing nut is used to attach it. prime consideration—regardless of what
mechanical ones like vibes, marimba, or 2. There is a metal hinged cover that the engineer thinks. If your recording
drums, need to be made studio ready and goes over the belt assembly, which vibrates sounds bad because the microphones got
constantly maintained—even new instru- where the plate touches the wooden frame. in your way, nobody will ever say that it
ments. Music is difficult enough; having to Placing felt, or something soft, under the was the engineer's fault.
deal with annoyances in the studio can kill plate solves the problem. I try to keep my mic's about two feet
the creative mood of everyone involved. I 3. There are certain sympathetic vibra- above my vibes, and set between the B and
b

use a Musser M-55 Pro vibraphone, and tions that occur on all instruments and C* on the bottom end, and the G and B
b b

I've found a few standard adjustments change from room to room. The only way on the upper end. This placement has been
necessary on all Musser vibes, which I will to deal with this is to allow enough time to ideal for the rooms that I've recorded in.
share with you. set up your instrument and give it a thor- Other factors to consider are (1) leakage
1. On older M-55 vibes, there are leg ough going over. Vibrations from the reso- from other instruments, (2) size of the
braces on both sides that allow the instru- nators or the frame can generally be elimi- room, and (3) type of mic' (uni-direc-
ment to fold. These are attached with a nated with duct or electrical tape. tional, cardiod, etc.). Tell the engineer
metal rivet button, which will buzz at cer- Sometimes, certain frequencies set off where you want the mic's and that you
vibrations in mic' stands, control room want a flat sound, and let him help decide
windows, lighting, etc. It is preferred to on the correct mic'. (That's one of the rea-
have a fairly dead room to eliminate room sons he's there.)
noises. C. If all else fails, limiters and compres-
Transients, on the other hand, can be a sors can be used to squash transients
real problem and difficult to deal with. before they go to tape. But be careful in
Transients are the high overtones that are using these machines; they can create an
generated from the vibrating bar. They unnatural sound. Some engineers only
may or may not be heard by the ear; how- want to use compressors and limiters as
ever, they can cause the VU meters to outboard gear in the mix, but if you have
peak, and generally distort and saturate an over-saturated vibe sound on tape,
the magnetic tape. I have found the notes caused by the transients, they cannot be
D, E, and A of the upper octave to be real removed later. When listening to your vibe
transient senders. The problem can be sound, don't be too concerned with the VU
dealt with in several ways. meters. Listen to the sound to be sure that
A. Make a mental note of which notes it is not distorting and that the transients
cause these transients, and play them are not too hot. Some engineers will be
softer. However, this approach tends to quick to say that you can't possibly be
take away your creative freedom, and it is hearing distortion because the VU meters
a lot to think about when recording. show that there is plenty of head room. Let
B. Experiment with different mic's and your ears be the judge. Remember, it's
mic' placement. All mic's have certain your sound and recording, not the engi-
characteristics, and their specs will show neer's.
their frequency curve. Where the curve In summary, I find that vibes are one of
goes up or peaks, the corresponding fre- the toughest instruments to get on tape.
quency will be emphasized when played, Both the mechanical problems and the
and the reverse is true for any dips or sags nature of the sound make it a real chal-
in the curve. I prefer to start with a fairly lenge, but with today's quality micro-
flat sounding mic', meaning that the curve phones, tape, and recorders, it is possible
will be represented by a straight line across to get a good recording of the vibes. Once
the frequency spectrum. My object is to get you have a good sound going on tape, you
the true sound of my instrument without can concentrate on getting your most artis-
any coloration from the mic'. Certain tic performance recorded. Good luck, and
PZM microphones have a flat response may we all receive Grammys.
 by Emil Richards

Sight-Reading
In The Studio
I don't know that sight-reading music any- Too many sight-singing courses teach only new piece of music seem difficult? It's usu-
where, under any conditions, is any differ- singing "up" from one interval to the ally its unfamiliarity. What makes it unfa-
ent than reading music for film, TV, jin- next, when it should be remembered that miliar? Not knowing certain things about
gles, or records. There are many things I music does not only go in one direction. it. What key is it in? What is the time signa-
unconsciously think about and take into A good practice I have found is to find ture involved? Are there any key changes,
consideration. First of all, one of my three songs that you know with every inter- tempo changes, or time signature changes?
strongest influences as a teacher, Asher val up and down from unison to the octave What is the tempo of the piece? What are
Zlotnik, once told me, "You cannot make in both directions and that begin with that the loudest and softest passages in the
a musician out of an untrained ear," and interval. For instance, the first interval of piece? What are some of the rhythms
this has become evident throughout my 28 "My Country Tis Of Thee" is a major 2nd found in the piece? What is the smallest
years in the L.A. studios. While the rest of going up. Now find three songs that you denomination of rhythm in the piece? Are
the orchestra is rehearsing the next cue (on know whose first two notes are a major 2nd there any scale passages? Are there famil-
a movie call, let's say), the percussionists apart. Similarly, the first interval of "The iar scale passages? Are there any familiar
are usually moving the instruments they Star Spangled Banner" is a minor 3rd chord structures? Can you sing any of the
just played on the last cue out from under down. Now, find three songs that you music? Are there any familiar melodic,
the microphones and rolling in the new know in which the first two notes are a harmonic, or rhythmic passages? What
instruments needed for the present cue. minor 3rd apart. This system will help in sticking can you use? Are there repeat
For this reason, having a good ear is reading any music from one interval to the signs? What passages need looking at?
imperative, as you are moving instruments next up and down. It is also a marvelous What is the total road map? Are there any
while everyone else is rehearsing. I usually device for helping you tune timpani. sharps or flats added? What could the
keep my music handy and follow it to be Another good practice I do often is to composer have had in mind by writing this
sure the copyist hasn't made any mistakes, keep a tuning fork next to my bed, hit it, piece of music? What would you have
or that my music corresponds to what the and listen to it just before going to sleep. done differently?
other sections of the orchestra are playing. When I get up in the morning, I try singing It's amazing, but try this experiment.
Being able to "hear" what you see is hav- an A and testing it against the tuning fork. Take a piece of music you have never seen
ing "good ears" and will ensure that you This tends to help your relative pitch. I find before, and while looking at it before try-
will be able to correct your music as you that I can look at a note on a vibraphone ing to play it, answer all of the above ques-
are setting up, while the rest of the orches- and sing the note I am looking at. Try sing- tions. You will find that, by the time you
tra gets to rehearse. Usually, by the time ing middle C. You will find that it is quite actually go to play the new piece of music,
you are all set up, the rest of the orchestra high for a male voice but quite comfort- it will no longer seem new or unfamiliar to
has rehearsed, and you are sight-reading able for a female voice. Another good you. The more you use this method, the
when the red light goes on, which is when practice is to find the lowest note you can faster you will become, and the easier it
you are literally recording! sing. You can use this as a gauge to help will be to pick up a new piece of music and
There are so many things you can do to with your relative pitch, as this lowest note play it with ease.
develop your ear. I hope that, if you will you can sing will remain fairly consistent. We read music "by the pound" in the
try them all, you will find that your reading There are some excellent courses on studios and because, in many cases, the
is improved. First, you should take a good reading rhythms, and I suggest you get into music has been written to correspond to
course in sight singing! There are many studying one of them to help you with your and fit with film, the musical content is not
solfege classes that teach singing. Be sure rhythmic reading. In a future article, I will systematic or metered. The timings very
to find one that utilizes singing down, as elaborate on this particular subject. Steve often cause the music to be very erratic.
well as up, from one interval to the next. Houghton and I started World Institute Of Listen to some cartoon music as an
Percussion (W.I.P.), a branch of P.I.T., extreme example of what I'm talking
in Hollywood, and these are some of the about. Also, listen to some TV music or
areas we are covering for the percussionist theatrical film scores to hear some of the
in a one-year, extensive-study schedule. content of the music and rhythmic nota-
If some of the following concepts are tion.
utilized, I'm sure they also will help with You should make it a point to play, or at
sight-reading. Ask yourself: What makes a least look at, one new piece of music every
day of your life. So many wonderful musi-
cians have cut their musical careers short
because they said they couldn't read
music. If you can read the words in this
article, understand them, and "picture"
their meaning, you should strive to do the
same with reading music. If you can
"hear" what you read, you are well on
your way to becoming a fine musician.
 by Simon Goodwin

All In Good Time

When we talk about time (in a musical con- technical execution on one's instrument. you don't have total recall for, you can
text), we can be referring to two different Some tunes sound right at particular tem- think, "This is the one that goes like so-
things or a combination of both: There is pos and not at others. One of the very best and-so." This trick is particularly useful if
the tempo, speed, or pace of a piece of ways to develop an awareness of "time" is you're responsible for counting the num-
music, and there is playing time, which in to know the tempos of favorite pieces of ber off, which drummers often are. In this
its most basic sense means the natural music on record. When you're listening to instance, it's essential to have an accurate
drum pattern for the piece. When we talk a familiar album and one track finishes, sound picture of the piece in your head or,
about having good time, we're talking it's easy to imagine the beginning of the failing that, another one just like it in feel,
about the ability to hold a steady, constant next track. When you do this, it's natural unless, that is, you're using a metronome
rhythm. This doesn't only apply when to think of the melody line, the rhythmic or drum machine to give you the tempo, or
we're playing basic "time," but also when feel, and the tempo. When you know a you're one of the lucky few who can pick
we're playing fills, soloing, or even count- track so well that you can pick up the exact up certain metronome settings in the same
ing or feeling measures while we're not tempo automatically, try to imagine it a bit way that some people have perfect pitch.
playing but waiting for our entrance. faster and then a bit slower. Does it feel Practicing with a metronome can have
A lot of attention has been focused on right at alternative tempos, or is the speed its drawbacks as well as advantages. Obvi-
the need to play good time because of the of the record the obvious one to use? Hav- ously, if you can get used to playing along
move, in recent years, towards working in ing imagined a number sped up or slowed to something with a mechanical, set
conjunction with machines. However, down, try to lock your mind back into the tempo, it means that you're capable of
even before the machine age came upon us, original tempo. When you've done this, playing a steady beat that doesn't fluctu-
it was always the drummers with good time check your perception of the tempo ate, just as long as you don't have to rely
who got the work. Sadly, there have been against the actual record. on it as a prop. Once you're able to play
many otherwise great players who've had Another interesting experiment, which steadily with a metronome, try without it.
all the other bases covered—technique, can actually be played as a game with other Set your tempo, listen to it, and then
reading, presentation—but who have people, is to take a record that you're switch it off and play. The second you fin-
never been successful because their time- familiar with and that you know has a ish, switch it on again to check how close
keeping wasn't up to standard. steady tempo, and play it while singing you are.
It might be stating the obvious to discuss along to it. When you feel comfortable It's common to find musicians who are
the need for good time, but I'd like to do so with it, turn the volume down and carry on quite capable of playing along to a
in order to get the whole picture. I can state singing. The longer you leave the volume mechanical beat when they're on their
from experience that the virtue of good down, the less likely you are to still be sing- own, but find it difficult to stick to the set
time isn't necessarily obvious to nonmusi- ing in time with the record. If it works for tempo when playing with other people.
cians. When I was about 12, before I four bars, try eight, and so on. It's very This is because it's natural to react to other
started playing, I had a record by a success- satisfying if, after a chorus or so, you turn players. If everybody is listening to the
ful English skiffle group. This song acceler- up the volume and find that you're still same beat, it's easier than if one person is
ated throughout and finished up twice as spot on. An obvious variation on this game hearing it and setting the tempo for the
fast as it started. To be fair to the group, is to drum along with the record. Ideally, others to follow. The fact is that the beat
this might have been intentional, but my you should have another person work the has a top, bottom, and middle. You can
friends and I used to love the way the controls for you, so you can use both play slightly ahead, slightly behind, or
excitement was achieved by acceleration. hands, and concentrate on your playing right on. In the first two cases, you won't
We'd play a bit of the beginning and then and on your time. be speeding up or slowing down, as long as
move the stylus forward to the end, just to Before we leave the subject of relating in your feel is consistent and the pulse is regu-
demonstrate how good it was. Some music our mind's ear to recorded pieces of music, lar. It isn't necessary for every note you
does change tempo, such as certain classi- it's worth mentioning that certain songs play to lie exactly on top of a metronomic
cal pieces for instance. And there are some work well at particular tempos in particu- click, either actual or imagined. Nor is it
common devices in other forms of music, lar keys. You often find that different ver- necessary for each member of the band to
such as slowing down at the end, but these sions of the same number, which are at dif- play on the same part of the beat. In some
shifts are all prearranged, written, and/or ferent tempos, are also in different keys. It types of music, it can be acceptable for dif-
rehearsed. We can assume that, as a gen- doesn't have to follow that a lower key will ferent sections to have different points of
eral rule, anyone playing, singing, or danc- be slower, but if the number is being emphasis. In rock, the rhythm is often in
ing to a piece of music needs to have a played faster, it will also sound better the middle of the beat, while the melody is
steady tempo as a point of reference. higher. For this reason, it helps if your on top. In Latin, the rhythm is on top, and
Things that work at one tempo often don't aural image of the music includes the pitch the melody is in the middle or on top. In
at another. There are certain things we can as well as the tempo, because if you get one country, the rhythm is behind, while the
execute on the frums at a particular wrong, it can affect the other. melody is in the middle. It comes down to
tempo, but which can be uncomfortable or Being able to remember the exact tem- the chemistry between the players con-
impossible it we take them very much pos of particular songs is a standard device cerned.
faster or slower. with most musicians. So if your band is Everybody in the band must feel the
It goes way beyond the simple matter of about to launch into a new number that time, not only the drummer. However, the
drummer is often the only person whose having the technical ability to play the
part involves the repetitive statement of notes, and the mental control to feel not
certain beats, and for this reason, it's natu- only the notes you're playing, but the
ral that other musicians depend on the spaces between them. For instance, you
drummer as a point of reference. A stand- can play straight 8ths on the closed hi-hat
ard method for an instrumentalist to keep at widely varying tempos. The slower you
in time is to tap a foot. A drumkit player, play, the more space there's going to be
with both feet operating pedals, is unable between the notes, but being a fairly dry
to do this. The drummer is often playing staccato sound, there isn't going to be
something like a four or an eight on the hi- much in the way of sustain to fill the gaps
hat or ride cymbal, but not always. There between them. We can practice playing
are occasions when none of your four ride patterns of quarter, 8th, and 16th
limbs are playing something regular, and notes at exactly the same tempo, switching
then the time must come from inside. from one to the other, so that sometimes
What are some of the pitfalls that pre- we're playing certain gaps and sometimes
vent us from keeping good time? Letting we're feeling them. Doing the same thing
technique get in the way of musical sensi- on the ride cymbal, the sustain is there but
tivity is a common one. You can feel more it's of indeterminate length. In other
comfortable playing at one tempo than words, the amount of actual sound that
another, not because the music feels bet- comes from a cymbal depends on how
ter, but because you feel better. This is hard you hit it. If you play at a relatively
because you're used to practicing and play- slow tempo, the force of the sustain is
ing certain things at certain speeds. This is going to increase the louder you play, so
natural. Some things work at certain the feel of the gap between the notes will be
speeds and others don't, but you must different. But you must make sure that the
allow yourself some perimeters within length of the gap remains the same.
which to operate efficiently. It's very little One of the most successful ways to
use being able to play a groove at a certain "nail" a tempo is to control the length of
tempo, if that's the only tempo you can the sustain as you can with a brush or a
play it at, and you always want to speed up guiro. With these instruments, the sustain
or slow down to get back to that level. isn't a ring that dies away, as with a ride
Another problem is losing time during cymbal. It's a sound that continues for as
fills. Similar things can happen to other long as you make it. When you feel, as well
instrumentalists. A guitarist or keyboard as hear, the sweep of the brush against the
player might slow down during a tricky run drumhead or the stick against the guiro, it
or speed up in an exciting passage, but it can make you extremely aware of any fluc-
doesn't happen so often. The reason is that tuations in tempo. I discovered this one
something being played on a melodic day in the studio when I tried to overdub a
instrument is part of the melodic structure guiro on a rhythm track that I thought was
of the piece and must therefore be played quite steady. I'm not suggesting you start
in time. Inexperienced drummers have using brushes or guiros on gigs when you
been known to look on drum fills as dra- wouldn't otherwise do so, but for personal
matic explosions within the framework of practice, or even at rehearsals, they can be
the music. Okay, so you must start and useful as additional aids to timekeeping.
come off in the right place, but even that As a final word, I must say don't get so
isn't always achieved unless you look at the paranoid about time that you forget to
whole fill as being part of the rhythmic enjoy your playing. Good time also comes
structure of the piece. Fills must be a con- from mental and physical relaxation. If
trolled extension of your "groove." you start to tense up because you're wor-
You're likely to use some technical tricks ried about your time, you're likely to make
in fills that you wouldn't use when laying the problem worse. Be aware of your role
down a straight rhythm, but these tricks within the band. The drummer is an
must be practiced in tempo as musical important member of the ensemble. If
exercises. you're feeling good, chances are you'll be
We need to control our feelings while making other people feel that way, too,
we're playing, because these can affect our
ability to keep good time. The adrenaline
that comes with the excitement of live per-
formance can cause things to get faster.
Tiredness can slow you down; anger might
speed you up. Fluctuations in volume can
cause fluctuations in tempo. I remember
my teacher once saying, "Play that again,
only louder," and after I'd played for a
few seconds saying, "I said louder, not
faster!" We must be careful not to speed
up when we get to a loud passage, or to
slow down when there's a quiet one.
There's a point at which technique and
feel meet to gel as good timekeeping. It's
 Photo by Mike Jachles
parts that the band uses live, there are
on flash but heavy on groove. It's a less other aspects of modern recording meth-
cluttered style than he used with Montrose, ods that do not sit so well with him. "I
but he didn't change his playing as the know that technology is part of the record-
result of a conscious decision. "It just making scene now," Denny says, shaking
seems like the natural way to play with his head, "but I find it kind of dishearten-
Heart's music," Denny says. "Heart is a ing to go in and just do cymbal overdubs
real song-oriented band, and we have a on people's records. I did a session a few
great singer. I try to be sensitive, and be in months ago where I played into a com-
support of the song and the vocals. A lot of puter, and the computer 'corrected' my lit-
times, that means not playing a whole tle time inconsistencies. It broke the time
lot." down into these incredibly small incre-
Once Heart has the tunes picked out for ments, and then it corrected everything. It
a new record, the band spends a couple of was wild. I went in, and they wanted me
weeks working on them before going into just to play. I didn't have to know the
the studio. "But we don't overdo it," arrangement. They told me just to keep
Denny is quick to point out. "We just get playing, even if I made a mistake. If there
the tunes to the point where it's right to go was a section in one of the verses that I
in. Then we book a little 8-track studio and played well and they liked, then they would
lay things down in very rough form. After use that section for all of the verses. If I
that, we're ready to go into the studio. Stu- blew it on the turnaround, they would take
dio time is very expensive, so we like to be that out, I would go back and play it again,
prepared before we go in." and they would just drop the new part in.
Once they go in, the rhythm tracks are The whole song was constructed like
cut live. "It's me, Mark, and Howard, that."
with Ann doing a guide vocal. The drums Most of the sessions Denny does outside
are done all at once. We might go back and of Heart, however, are more straight
overdub some percussion stuff, but the ahead than that. "Most of the stuff is
drums are live. That's the beauty of work- rock," he says. "It's the kind of stuff I'm
ing with someone like Ron Nevison, who noted for. I played on that 'Over The Top'
comes from that whole school of Led Zep- song that Sammy Hagar did for the Stal-
pelin and The Who." lone movie. Sam played guitar and Eddie
Like most groups, Heart works with a Van Halen played bass. Mark [Andes] and
click track in the studio. "It centers the I played a Whitesnake thing with Dave
time," Denny says. "If you can play well Coverdale a while back, called 'Here I Go
with a click, you can make the time sort of Again.' I know the album cut was done
ebb and flow around the click track to over with a different band, with Aynsley
where you don't feel that it's so metro- Dunbar on drums, but I'm on the single
nomic. Not every beat is exactly on the version. I also played on a Russell Hitch-
click. When the chorus comes, you get on cock track recently. I do a lot of work
top of it a little to give it that little bit of for [producer] Keith Olson. When I'm not
excitement. When it goes back to the verse, on the road and he's doing a project for
you lay back on it a little. So you sort of someone who doesn't have a regular band,
move around it." he usually calls me.
But while Denny is perfectly comfort- "I did an album a few years ago with a
able playing with a click track, or playing buddy of mine named Mitchell Froom. It
along with a couple of sequenced keyboard was called The Key Of Cool, and it was
sort of avant-garde jazz. That might be the that the whole drum machine period that were made in England. Gamma was get-
most obscure thing I've ever done, and the we went through is sort of leveling off, and ting ready to go over there for a tour, so I
thing that maybe shows off a side of my that there are bands like Heart who can wrote Simmons' name down. I tried to get
playing that most people don't know have a hit record with a real drummer on a hold of them, but I couldn't find them.
about. But Heart takes up most of my there." "I was really intrigued by the electronic
time, so I don't really have a lot of time to Howard Leese: "Denny likes to say, thing, though, so I kept looking until I
do things with other people." 'We make music the old-fashioned way. found them. I got into the whole scene. I
And even if he did, he wouldn't be look- We play it.' " started with the SDS5 and went through
ing to spend very much of that time in the One should not, however, get the the SDS7s. I got into the MIDI stuff with
studio. "I like playing live," he says. "It's impression that Denny is opposed to new the MTM, and I got an E-mu SP-12 that I
nice to mix both, but boy, a steady diet of ideas. He was one of the very first to use could trigger from my pads.
the studio would not sit well with me. I Simmons toms in his setup, and he went to "Then I got tired of it. I found myself
don't think I could do it every day. It's a considerable trouble to find them. "Back spending a lot of time reading manuals
lot of pressure, and you get called to do when I was in Gamma," Denny recalls, "I instead of playing drums. It seemed like
silly stuff—cymbal overdubs and tom-tom saw something—probably in Modern there was something new every six months,
overdubs. I like to play. I'm glad to see Drummer—about these electronic kits that and the technology was very hard to keep
up with. I decided that I wanted to get back
to what I originally started out to do—play
a really good drumkit. Electronic drums
are great in the studio for people whose
philosophy is 'time is money.' You can get
a sound just like that [snaps fingers]. But
there's nothing like a real drumkit. I think
the use of electronic drums may have
reached its peak. We might see it sort of
leveling off."
Even while he was using Simmons toms,
Denny always had an acoustic snare and an
acoustic bass drum. Back in May of '86,1
saw Denny backstage after a concert, and
he told me that he was looking forward to
getting a Noble & Cooley snare drum,
which he was supposed to pick up in a few
days. He must have liked the snare drum a
lot, because when Heart embarked on the
Bad Animals tour this past summer,
Denny had an entire Noble & Cooley
drumset.
"I think this is the first drumkit they've
made," Denny boasts. "I don't know of
anybody else who has one. It's the first one
out on the road, for sure. It's not some-
thing you can just buy off the shelf. If you
want one, you have to wait. The Noble &
Cooley people are trying to make the best
not-mass-produced drumkit they can. I'm
really in love with this drumkit, and I'm
having the time of my life with it. To me,
buying that drumkit was like buying a
Stradivarius violin. I plan on having this
kit for the rest of my life; it sounds that
good. It's a very musical instrument, and I
hope I'm playing it musically.
"I got it last October, the day before we
went into the studio. Every drum sounded
good, right out of the box. With a lot of
drumkits, you have a clunker in there
somewhere. Who knows why it doesn't
sound good? But the Noble & Cooley
drums sounded great right out of the box.
We pulled out the little 5" snare drum and
used it on half the record. Even Paul
Jamieson, who's a dear friend of mine,
said that for something that was not hand-
picked those were the best drums he had
ever seen, and he's very critical. If it was
made after 1920, Paul probably won't like
it," Denny laughs.
On the Bad Animals album, some elec-
tronic drum sounds from a Wendel, Jr.
were mixed in with the acoustic drums on a from the norm. An often-noted paradox is magazine ads, send him on clinic tours, or
few tracks, but on the road, Denny doesn't that drummers have to pay a lot of money supply him with a new kit wherever he goes
use any electronic enhancement. "People for equipment during the years that they in the world so that he doesn't have to
keep asking me what I'm triggering," can least afford it. But once they become worry about carrying his own kit around,
Denny smiles, "but it's just straight successful and famous, they can get most then you have to figure that he must be
drums." On the video for the song of their equipment free through an pretty happy with the sound of those
"Alone," Denny is seated behind a Sim- endorsement deal. Sometimes, one has to drums. And you have to give him credit for
mons kit, but that was because his Noble & wonder if certain drummers are really having the integrity not to pretend that
Cooleys were in Fort Wayne, where Neil playing the brand(s) of equipment they feel he's using something else, just for the sake
Graham was getting them ready for the is the best, or if they went with the com- of having an endorsement deal.
road. "He did the black powder coating on pany that offered them the best "deal." "I like to play what I like to play when I
the hardware," Denny explains. "But it (That's especially suspect with those drum- want to play it," Denny says. "I like to
was just cosmetic work. The drums mers who tend to change their endorse- change things around sometimes, and I
already sounded great," he reiterates. ments frequently.) But when a guy buys a don't like to be locked into playing some-
Denny's choice of a Noble & Cooley set of drums from a small company who thing that someone expects me to play
drumset represents a definite departure can't afford to feature him in full-page because it was given to me. Those deals can
be real traps. In the past, it was an uncom-
fortable situation to have somebody
always turning up and saying, 'Gee, you're
not playing our snare drum. You're not
playing our tom-toms.' Fortunately, I'm
in a position now where I can buy whatever
I want, and that's what I want to do. I feel
better this way. I have a great relationship
with the companies I do endorse: Vic
Firth, Paiste, and Remo. And I have a
great relationship with Noble & Cooley."
Denny's Noble & Cooley kit consists of
a 51/2 x 14 snare drum, 8 x 8, 8 x 10, 9 x 12,
10 x 13, and 12x14 toms, and an 18 x 24
bass drum. The toms are mounted on a
Pearl rack system, with RIMS mounts.
The bass drum pedal is a Tama chain drive,
and the beater is a Rogers Black Jack. The
hi-hat pedal is also a Tama.
Denny uses Remo Emperor white coated
heads on both sides of the bass drum, and
the tops of the toms. The bottoms of the
toms have Ebony heads, and the snare bat-
ter is a white coated Emperor with a dot in
the center. The heads are struck with Vic
Firth 3A hickory sticks.
"That dot in the center of the snare head
gives me a little extra thickness where I
tend to wear the head out," Denny
explains. "The snare heads are changed
every day, and the tom heads are changed
every two shows. In the studio, I use
Ambassadors all the way around. They are
changed after about four to six takes."
On the last Heart tour, Denny was using
Paiste black Colorsound cymbals. But for
the Bad Animals tour, he made a change.
"I went out to Paiste just before we went
on the road," he explains, "and went
through all of their cymbals. I fell in love
with the 5000s. They're just amazing. I
don't know what they did to those cym-
bals, but they sound great. The ride, in
particular, is fantastic. It doesn't load up
with a lot of overtones, so you can really
hear the time on it. The crashes also work
well for me. Paiste claims that every drum-
mer sounds different on the 3000s. I don't
know if that's true or not, but they work
well for me in a live situation."
Denny's tour setup consists of 14"
Sound Edge hi-hats, a 20" power ride, two
18" thin crashes, a 16" thin crash, and a
20" China cymbal. All of the cymbals are
from the 3000 series. At various times in the pages of Modern I'm the one playing the instrument, and I
For recording, Denny has a different set Drummer, some drummers have explained have to be comfortable. I'll work with the
of cymbals. "I use a Sound Creation 20" that certain things about their setups were crew to make that instrument sound as
dark ride, a Sound Creation dark China, the result of a request from the sound good as possible, but I have to feel com-
and the other cymbals are 2002s: 14" crew. That has been true especially in the fortable.
Sound Edge hi-hats, and 17" and 19" area of electronics, where sound crews "I guess there are situations where
crashes." Why does he favor those cym- often favor the ease of getting a consistent drummers can't use what they want to use,
bals in the studio? "Well," he answers, sound from electronic drums. So, with but I would not allow myself to be in a situ-
"the Sound Creations have a darker that in mind, I ask Denny if Heart's crew ation like that. I'll try to meet people half-
sound. Studios tend to be very bright. If had complained at all when he abandoned way. I've had engineers tell me that a drum
you use a bright cymbal in a bright studio, the Simmons drums in favor of an acoustic is ringing too much, and maybe they'll sug-
you get this awfully bright sound. So the kit. "That's not their job," Denny replies. gest that we try a different type of head or
Sound Creations tend to record well for "My job is to play what I want to play, and put one of those rings on top of the drum.
me. I haven't tried the 3000s in the studio their job is to do their best to make that I'll try it; I'm open to anything. But if it
yet, but the next time I record, I plan to A/ instrument sound good. I would refuse to doesn't feel good to me when I'm playing,
B them against my current studio setup." deal with someone who took that attitude. then they will have to find another way to
deal with it.
"I have to mention that I've got a great
roadie," Denny adds. "His name is Gary
Clark, and he's been with me since I joined
Heart. He's my right-hand guy, and I'd be
lost without him. He knows what I want,
and he tunes the drums on the road. I
might come in and do a little fine tuning,
but we have such a great crew that we
hardly ever soundcheck anymore. We can
go out on stage without doing that and
know that everything is going to be right—
every night. That's a great luxury to have.
We've also got a great monitor mixer
named Tommy Holmes. No matter where
we play—outside, inside, live hall, dead
hall—it sounds the same. It's like a Holi-
day Inn—no surprises," Denny laughs. "I
know what it's going to sound like every
night."
And there are a lot of nights. Unlike a lot
of top bands who do a record, tour for a
few months, and then take a year or two
off, Heart works on a pretty consistent
basis. "Ever since I joined the band in
'82," Denny says, "we've been on and off
the road the whole time. After the last
record, we toured for ten months. We
came back from Japan in July of '86, and
started working on the Bad Animals
record in September, so that was only a
two-month break. We finished the record,
and then we did a video. Then we took a
few days off before going to Europe for
two weeks. We came home, went to Seattle
and rehearsed for ten days, took a couple
of days off, then went to L.A. to rehearse
for another ten days, took a couple of days
off, and then started a six-week tour. We'll
probably tour for about a year. We'll do
six to eight weeks at a time, with two- or
three-week breaks in between. We could
do the tour in a shorter amount of time if
we just banged it out, but we like to take
breaks. That makes it more civilized. We
all have families, and it's sort of a nice
pace."
But even with all of the breaks, that's a
lot of time away from home—especially
for someone who has a four-year-old
daughter. Does Denny ever feel that he's
missing something in terms of watching his
daughter grow up? "Yeah," he says, "but
there's another side to that. Even though
I'm gone for long periods of time, I'm also
home for long periods of time. We do
things as a family that are sort of unique,
because when Dad's home, he's home for a
long time. I think some guys who do regu-
lar jobs maybe don't see much of their kids
for days at a time. They come home from
the office and they're tired, so the kids
don't get any attention.
"This works out okay. Sometimes the
band will stay someplace nice for several
days, and we use that as a hub. My family
comes out and stays with me in those cases.
We just spent five days together at Lake
George. So it works out.
"The family unit is real important,"
Denny stresses. "It takes a lot of support
to do something like I do. Every family is
different, and we accept that this is the way
it is—that this is what Dad does for a liv-
ing. We make it work the best we know
how."
One thing that probably helps is the atti-
tude of the whole band. I remember Andy
Newmark once explaining to me that there
are basically two philosophies about going
on the road. Some people try to make the
road as civilized as possible, which often
means having families along. The other
philosophy is that going on the road has
nothing whatsoever to do with leading a
normal life, so why even try. The main
conflicts come when some people in the
band are trying to follow the first philoso-
phy while the rest of the band is following
the other one. But in Heart, everyone
seems to have similar ideas.
"Everyone is real family oriented in the
group," Denny admits. "The girls are real
close to their parents. Nancy's married.
Mark's married, and he has an 11-year-old
son who spent a few weeks on the road
with his dad this summer. So it works out.
It's not always easy, but we've adjusted to
it after all these years."
But for whatever negative aspects there
are about being on tour that much, Denny
feels that all of that time on the road has
definitely benefited the group. "I think the
five of us are really hitting our stride as a
band," he says. "We've become a good
live band. The shows are very good every
night—very consistent. Everybody's play-
ing great. We try to keep it fresh, and it
shows. We're still excited about what we
are doing. I think if we ever stop feeling
that way, we'll just stop."
But stopping does not seem imminent at
this point in Heart's career, and even if the
group does eventually call it quits, you can
bet that Denny will continue to play the
drums. "I've been very fortunate to have
such a long career," he says. "I know that
it's not always going to be what it is now,
with MTV and multi-platinum records.
But for me, just being able to support
myself and my family by playing drums is
the best. Anything else—like success or
acclaim—is just icing on the cake."
 A Little Can Go
A Long Way:Part 2
Last month, we talked about different ways of Here's another bass drum and snare combination with the snare
applying rhythms to the drumset. Using one syncopated only:
rhythmic pattern, we explored several possibili-
ties. Let's pick another rhythm and see how we
can continue to "make a little go a long way."
The beats and fills that follow will be based on
this rhythm:
Add a 16th-note hi-hat pattern, and the beat will have a Latin/
funk feel. Strive to play the accents as written for independence
and control.

If the previous pattern is divided between the bass drum and

snare, there are many interesting and funky-sounding beats to be
found. For example:

The following example has the snare playing on beat 3, giving it

a half-time feel. Also, note that the original rhythmic pattern is
divided between the bass drum, snare, and open hi-hat.
Add an 8th-note hi-hat pattern to complete the beat. Notice that
part of this beat's flavor comes from the fact that the snare drum
part is highly syncopated and not playing the normal 2 and 4 back-
beat:

Give this beat momentum with the addition of 16ths on the hi-hat:

We can also combine the syncopated snare pattern with part of

the backbeat (that is, play the snare on 2 or 4, while syncopating it
somewhere else) as in the following example:

I often find that incorporating tom-toms into beats can effec-

tively enhance the overall sound. The following pattern uses small,
medium, and large toms, in addition to bass and snare.
Add the hi-hat to round out the beat:

Quarter notes on the cymbal or open hi-hat make this beat groove
along:
Try adding the offbeat cymbal pattern for variation and indepen-
dence:
 by Rod Morgenstein

Photo by Rick Malkin

A rhythm can also be used in many different ways for drum fills.
First, play the original pattern with the right hand and fill in the
16th-note spaces with the left hand. This completes a continuous
16th-note pattern:

Now, accent the original pattern with the right hand, while the left
hand plays relatively softly:

Next, bring in the toms by applying them with the right-hand pat-
tern, while leaving the left hand on the snare:

Add the bass drum by displacing some of the accented right-hand

notes. This will strengthen hand/foot coordination, while also
encouraging the bass drum to play a larger role in your fills:

This final pattern is what I call a beat/fill, as it works great either

way. The sticking pattern is the same, and the right hand plays the
toms. However, the left hand accentuates the 2 and 4 backbeat,
and the bass drum plays quarter notes to further establish the
pulse.

The past two articles have dealt with taking a rhythmic pattern
and applying it to the drumset in different ways. Basically, we've
just scratched the surface in terms of the numerous possibilities
there are for exploiting a rhythm. The only limit is your imagina-
tion. So grab your sticks, find a rhythm, and see what amazing
beats and fills you can come up with!
 Protecting Your
You've invested a lot of money into your
brand-new Smackworth Model JO, 24-
From AC Power
may be more common than you think. To make matters worse, lightning is not
What happens when lightning strikes a the only spike-producing monster.
channel, 18-bit, digital drumset. It's sitting power system? First off, AC power directly Another common source of spikes is
there, interfaced to the Micro-melon PC out of the socket is supposed to be a nice, inductive load switching in equipment with
with dual, turbo-charged, integral MIDI smooth sine wave with an effective value of sizable motors. A good example is your
ports. The FM voice units are stacked 120 volts. (This means that the waveform refrigerator. Every time the unit cycles,
chest-high in the corners of the room. will peak at about 170 volts.) Inside your spikes get thrown onto the circuit. These
MIDI processing gear and outboard effects equipment, connected to the AC line cord, are, of course, less dangerous than light-
are crammed into any available space. The is a step-down isolation transformer (or a ning. Spikes can also be generated by elec-
disk drives are humming with your latest step-up version, in the case of higher volt- trostatic discharges (like when you zap
creation. Your finger is poised over the age gear like a power amp). This device your friends by sliding your feet across the
large green START button. Suddenly, the does two things. First, it isolates the equip- carpet on a dry day).
lights flicker and dim. Over your shoulder, ment from the power line (for safety), and How do we control these spike mon-
you hear a thunderclap. The disk drives second, it reduces the voltage to a more sters? First off, you have probably seen a
stop. The Smackworth Model 10 starts to manageable level, which is then turned number of "spike-protecting" power
emit an odor that reminds you of burned into DC. The final DC output to the cir- strips around. These are okay as a first line
toast. Meanwhile, the Micro-melon PC is cuitry may be as little as 5 volts in the case of defense, but I will caution you that
busy trying to reboot itself after having of standard digital logic circuits. When many of these units offer marginal protec-
dumped your latest timpani sample, in lightning strikes, a large voltage spike will tion at best. Many units are designed for
spite of the fact that 400K of memory is be superimposed on the normal sine wave. RFI/EMI noise reduction and offer little
now a fried array of useless silicon. This spike may be several thousand volts in protection against damaging spikes. (RFI
Sound like a bad dream? Hopefully, amplitude. Sizable spikes can be produced and EMI are high-frequency interferences
that's as close as any of us will get to the by strikes even miles from your humble that can play havoc with your gear, like
AC power monsters. But like all monsters, abode. Assuming that this spike passes when your tape deck picks up a local radio
the power monsters are hungry beasties through your transformer (which may very station). Many times, these little filters are
and enjoy nothing more than chomping on well be the case), it will then pass on to the included right inside your gear. (If you're a
your electronic gear. In an effort to starve a remainder of the circuitry. Electronic car- hobbyist, you can buy these as part of the
few of these gremlins out of existence, nage is the result, which your gear's fuses modular AC input socket for a couple of
we're going to take a closer look at them will be helpless to prevent. bucks.) A typical filter is shown in Figure
and see what kind of precautions we can
take. In other words, "Know Thine
Enemy."
Our little scenario introduced perhaps
the most widely recognized of the power
monsters, namely, the lightning strike. I'm
not going to go into all that business about
earth and cloud discharges and 10,000
ampere spikes. The bottom line is that, if
you're running your gear and your house
suffers a direct strike, you are, in a word,
screwed. I say this now so that there is no
ambiguity. You might as well tie the gear
to a mine and free-float the mess in a major
shipping lane. Now I realize that there's
going to be somebody out there who can
relate a similar story where his or her
equipment survived, thanks to (a) luck; (b)
spiritual intervention; (c) pyramid power;
(d) that person's horoscope; (e) other bozo
stuff. Don't bank on it. If there's an electri-
cal storm brewing in your area, shut down
your gear and unplug it. Fortunately, most
homes are not frequently struck by light-
ning. However, a hit on your power grid
(i.e., the distribution system in your area)
Gear
by Jim Fiore

Monsters
1. A more extensive filter with multi-mode all, there is the problem of non-standard
varistor clampers is shown in Figure 2. If power. This power monster is better
you've never worked with AC power gear, known as "The Brownout." Believe it or
I do not recommend trying to build this. not, your power company can only pro-
Leave the construction to someone who's duce so much power at any given time.
trained, because AC power direct from the What happens when the demand for power
socket can be very dangerous. Some com- outstrips the power company's ability to
panies, in an effort to make their spike pro- produce it? Usually, the utility will get
tectors more effective, will cascade a num- power from another utility or network. If
ber of filter elements or will filter each everyone is experiencing a shortage (like
output separately. This last technique on real hot days when the air conditioners
offers a certain amount of circuit-to-circuit are going full blast), the power company
isolation, which is nice. will start to drop the line voltage as com-
Did you ever notice that the power has a pensation. Normally, you should receive
way of going off during an electrical about 120 volts RMS at your house, but
storm? Power outages are another AC during a brownout, you may receive less
power monster, and can also be caused by than 100 volts RMS. Many household
equipment failure on the grid, downed items—like light bulbs—are hardly
power lines, overloaded circuits tripping affected by this drop, but electronic gear—
breakers, and the like. As a rule, electronic like your computer or sampler—can suffer
equipment is not too fond of having its dearly. For example, data saves and recalls
power suddenly cut off. If you happen to may not be executed correctly. It is also
be saving data at the time, it's almost a sure possible to have a "localized" brownout.
bet that it will be lost. Of course, the ever This happens if you're working near large,
popular "Oooops, I tripped over the power-hungry machines or if the wiring is
power cord and unplugged it" trick will inadequate for modern use (as is the case in
produce the same results. To overcome the some older houses). To tromp on the
problem of now-you-see-it-now-you-don't brownout monster, we have the AC Line
power, you can turn to the Uninterrupt- Conditioner. Do not confuse line condi-
able Power Supply, or UPS. In order to tioners with the much simpler surge sup-
use the UPS, simply plug your gear into the pressors mentioned earlier. (Read those
UPS, and then plug the UPS into a wall ads carefully.) A line conditioner monitors
socket. During operation, the UPS con- the AC line signal and boosts it if the signal
stantly monitors the AC power line. If drops. Better devices will also turn down
everything is okay, the system draws off a the signal if there's an over-voltage, and
little current in order to keep a fairly large will also provide noise reduction and surge
battery at full charge. If the power line suppression. A typical unit may output a
drops below a certain voltage, the UPS 120V AC signal +/- 5%, as the input var-
kicks in, converting the DC from the bat- ies from 95 to 135V AC. Line conditioners
tery into a normal 120V AC signal. This are a bit more costly than the simple surge
switchover is usually done in less than 10 suppressor, but less than the UPS. You
milliseconds (1/100 sec). The standby power should be able to purchase a typical 10 amp
duration depends upon the available bat- line conditioner for less than $200. (I have
tery system and the load (i.e., the current seen some very nice units available through
draw from your gear). Reasonable systems mail order for only $150.) If you've got the
will usually give between 15 minutes to one money, a good line conditioner is an excel-
hour of operation. The basic idea is to give lent addition to your electronic music
you enough time to save whatever it is that setup.
you're working on and allow a normal Well, that about covers our tour of the
powerdown. UPS systems are not cheap. power monster zoo. I hope that this pre-
A typical arrangement will probably run vents some potential accidents and night-
from $500 to $1,000. Also note that UPS mares. Remember, people get cranky if
systems may not include surge and noise they're served lousy food, and electronic
suppression under normal conditions. gear is no different if it's served lousy AC.
Besides spikes, noise, and no power at
 Programming
This month, it's blues that comes under the We can complete the rhythmical picture now by including the
scrutiny of the push-button drummer. This snare and bass drum components. The bass drum notes are
style revolves around a feel commonly known sounded on beats 1 and 3, while the snare drum comes in on beats 2
as the "shuffle." The key to this new approach and 4.
is in the hi-hat pulse. Instead of it being made Pattern 3
up of eight evenly spaced 8th notes, it is based
on something known as triplets. The triplets
that we're concerned with are known as 8th-
note triplets, and are groups of three notes played in the time it
would usually take to play two normal 8th notes. This forces the
programmer to think in threes, with a complete bar of 4/4 time
comprised of 12 steps (four times three).
Pattern 1

Essentially, this is identical to a great many simple 8th-note pro-

grams, the only difference being that the hi-hat is maintaining a
shuffle throughout. In fact, any 8th-note pattern can easily be con-
verted to a shuffle by using the triplet 1/12 quantize approach, as
discussed. Patterns 4 and 5 are adapted from 8th-note rhythms.
Try them out.
Pattern 4
Make sure that you quantize your machine to 1/12 before enter-
ing this pattern. On playback, you'll hear a series of evenly spaced
hi-hat pulses. There are some blues recordings that rely on this
pulse. However, the majority use a variation of it. Normally, the
middle note of each triplet is removed and replaced with a rest,
providing the more popular shuffle feel:
Pattern 2

Pattern 5
Shuffles
by Clive Brooks

this to be duplicated electronically, too. Here we take a brief look

at some fills that integrate well with shuffle patterns. Using song
mode, you can chain several patterns and fills together.
The fills that work best are based around triplets. I've supplied
two suitable candidates; one is a complete single-bar fill using four
triplets, and the other is a half-bar fill, with a standard triplet
rhythm being maintained through the first half of it. Arrange your
drum machine so that it will replay a 12-bar phrase in song mode.
Use any shuffle rhythm for bars 1,2,3,5,6,7,8,9, 10 and 11, and
insert pattern 9 into the fourth bar, and pattern 8 into the twelfth
bar.
These rhythms sound great with slow blues, but are equally at Patterns
home when replayed at a faster tempo along with a strong, heavy
boogie backing. Perhaps now's the time to get those old ZZ Top
albums out again and scrutinize the drum parts. I've included a few
more choice shuffle rhythms for you to program into your
machine. Check these out in Patterns 6 and 7.
Pattern6

Pattern 9

Pattern 7

Incidentally, although this series is designed with the contempo-

rary programmer in mind, all of the techniques apply equally well
to the kit drummer. If you are one of these, don't just skip over
these pages; stay with us, and try to master the simple concepts
presented. I've supplied each pattern in standard notation to make
it easier for you to follow. Remember, there's not really much
Every kit drummer augments his or her playing with fills, and difference between tapping a button with your finger and tapping a
modern drum-machine technology provides the opportunity for drum with your stick, is there?
 Carlton
"Santa" Davis Santa. We postponed our conversation
until after he finished rehearsal the next
on my own. Nobody never ever taught me
how to play the drums. I mean, I listened
day, at which point Santa began talking to other people. You have to listen to hear
Photo by John Skomdahl

about his career and drumming. various drummers. I listened to jazz drum-
Santa: I started playing drums in the St. mers like Art Blakey and Elvin Jones. I got
Peter Clavers Drum Corps. It was a church my ideas from those guys by listening. I
and they had these different activities, like didn't get any formal training from any
drum corps and so on. Actually, I was drummer in Jamaica. Some people like to
passing by one day, I heard the music play- take credit for other people's successes by
ing, and I had that inclination to play saying, "I taught Santa how to do this,"
As I pulled into the parking lot at S.I.R. drums. My first ambition had been to join but no guy did that.
rehearsal studio in Los Angeles recently, I the army or the police force. But growing CB: Is the snare and bass dropping
noticed a tall, dark, handsome dread with up, I realized what I really wanted to do. together the thing that distinguishes reggae
a hand-knit crown covering his locks lean- So I said, "I'm gonna take this opportu- drumming from other styles of drum-
ing against a traffic sign with his arms nity and join the church." I enrolled in the ming?
folded across his chest. I was there to inter- drum corps and began learning the rudi- Santa: It's one of the things. Reggae music
view Big Youth—one of Jamaica's biggest ments of drumming—the basics. is really coming from way back—coming
DJ stars—and I was unaware that the man CB: I heard that Leroy "Horsemouth" from a variety of different rhythms. But in
I was looking at was Carlton "Santa" Wallace taught you drums. those days when I first came into music,
Davis, drummer for the Soul Syndicate Santa: No. I didn't really learn anything [the style was] rock steady. So you had to
Band, as well as for Jimmy Cliff and Peter from those guys. I just picked it up. Some- play that way to get that beat—the same
Tosh. He followed me into the studio and times people go around telling other peo- kind of beat Bob Marley had when he was
sat down behind the drums. He looked tall ple what they teach people and what they around. In those days, it was rock steady
even behind the trap set, and it was then do to people. I wouldn't be ashamed to say and ska. So you had to play that, too—the
that I realized who he was. I was going to somebody taught me something. The uh uh, uh uh. You had to play four or a six
interview him, too, that day, and that church corps had this big drum room, and or twelve. In those days, you played mostly
would complete all my interviews with the I was the quartermaster. I used to take care fours on the hi-hat. In between, you might
Soul Syndicate. of all the instruments. I used to go into the put a little offbeat with the bass drum, like
I had heard Santa play once before when instrument room and set up this big bass intermittent licks or something like that.
he backed the Reggae Sunsplash 1986 at drum. They had this little pedal, and I As time went on, everybody started impro-
the Universal Ampitheatre. I had been would put it under the bass drum and just vising, but in those days, it was mainly the
extremely impressed by his drumming and make up a trap set—but it wasn't really bass and the snare dropping together with
by the stamina it took to be able to play for one. I just made it up out of the drums that that swing feel to it.
so many different groups all night long. I were there. CB: What do you do to practice?
was more impressed by the way he handled I used to play to music, but I never really Santa: I work. Music is my life. Before I
himself during this rehearsal with the tem- had the rhythm required to play in a regu- leave my home each day, I try to put in a
peramental Big Youth, who kept jumping lar band. There was this guitar player few hours. I might not practice as hard as I
all over the replacement keyboard player named Bobby Akins, who had a band did when I was first starting, but you still
every time they began to play. "Big called Bobby Akins & the Caribeats. He have to keep those vibes going, not because
Youth," he said, "you're a singer, and used to come by the church and give a cou- you're a professional and playing, but
you've heard this tune many times. But in ple of the guys guitar lessons. One day, I because you have to practice in order to get
order for the new keyboard man to get the was in the drum room playing, and he new ideas. You cannot improve or pro-
feel of this, you're gonna have to let us came inside and said,' 'No, mon. You have gress without practice, because you can't
explore it and get into it to feel what we're this thing all wrong. You're not playing the be playing the same thing every day. You
doing. We can't start the tune and stop real rock-steady stuff." In those days, we need to improvise. Any musician who does
every two bars. We've got to play it." had rock steady. He was the person who not practice is not really a musician. That
Big Youth finally agreed, and they began told me, "Look, let the snare drum and the person is like a hustler. I see myself as a
the song again—this time playing it all the bass drum drop together." That made this professional musician, so I have to prac-
way through as Santa had requested. I one-drop thing we have, like a Bob Marley tice. It is more important than going on the
interviewed Big Youth several hours later, kind of beat. From that day on, I really got stage.
but had to leave before I could interview the idea of things, and I started practicing CB: Because you're not going to play any
 by Chris Boyle

better on stage than you do in practice.

Santa: Right! Even when I'm out on the
Photo by John Skomdahl

road, I might go to the beach where I can

meditate, take out my sticks and practice
pad, and do a few licks. It's like a constant
involvement. Wherever I go, I go with the
music. That is my only life, so I have to live
it that way. Drums, to me, are just like
breathing fresh air. It's important to keep
that vibe going—to keep really strong and tant to know if it's a 1-2-3-4 count. There CB: In 1986, you backed the artists at Sun-
flexible. You must know what you're prac- are a lot of drummers who only know a 4/4 splash. You were popping from start to fin-
ticing for. You have to know what you're beat. It's important to know all the differ- ish all the way through a three-hour show.
reaching out for. Music is a thing you can ent times—5/8, 2/4, 6/8, 12/8—so that Does that stamina come from practice,
never stop learning, because there's always when you play, you can swing into these too?
something new coming on. Each time you little beats and times and come back out. Santa:: Yeah, mon. You have to be physi-
play, you get so excited that you just keep Sometimes a good drummer might come cally prepared. You have to be strong and
reaching—keep reaching out. It's like an up to me and say, "Hey man, how did you flexible, and have that will power within
endless tradition. That's why I think it's do that?" It's just knowing how to inno- yourself. I used to smoke, but I stopped
important to practice. Especially if you vate these different times. because I used too much energy, and after
find you're weak in a certain area, then you CB: If you know the framework you're I'd finish playing, I didn't feel natural.
have to work to strengthen that area. working in, then you know how much you Many people might think—when they see
When I practice, I don't just practice my can get away with. me play a certain way—that I'm high on
licks or a particular beat or thing. I prac- Santa: Right! You can flirt. something. I'm not. It's just that will
tice to create more feel. That means I CB: A jazz drummer once told me,' 'Great power within me. When I sit on those
might be playing reggae, but I try to inno- drummers can play outside the music. The drums, I go off in a trance. That spiritual
vate different things. I practice coordina- secret is being able to come back in on feel comes to me. They used to use drums
tion to keep the left hand in tune. My left time. If a drummer can do that, everybody as the first instrument, and they used the
hand is the weak hand. I'm a left-hander, will say, 'That guy's great.' " drum to communicate like a telephone.
but I play right-handed. Sometimes, I Santa: That's right. Somebody just went "boom boom," and
might practice speed on the bass drum. I CB: Is it a combination of talent, knowl- somebody answered "boom boom." Then
don't restrict myself in what I'm gonna do. edge, and hard work? somebody else would pick it up, and it
Sometimes an idea might come to me, and Santa: Right. You have some people who would just keep going. I think the drum-
I get up on the drums and work out that are born drummers—people who can cre- mer has to be a very powerful person. A
idea. ate without even practicing. I know lots of drummer has to be very spiritual and have
To drummers who are just starting, I people who play drums, but they're not a lot of inner strength, because it takes a lot
would say it is important to learn the rudi- really drummers. They just like to play to do it. When I don't smoke, I play better.
ments. You can play. You know what to drums. I know I was born to play with feel- I use energy; I don't waste it. When you
do. You learn the value of each note. A ing. I didn't really have to go through smoke, you burn up too much of your
drummer is supposed to know these much schooling to play what I'm playing. I inner fluids. It's important, because the
things. I don't have much skill in reading try my best to put myself inside the music, Father didn't make man's lungs to strain
music, but there are a few things you have so I can really bring out the beat. smoke. He made them to breathe oxygen.
to know. You have to know a little about I think a drummer has a very great It's just us, as human beings, who say,
quarter notes, 8ths, and 16ths. You have to responsibility. The drummer is really the "Let's do this," and "Let's do that"—
know these things, so you can know the backbone of the whole structure of the and it's generally not right. I realized these
value of each note you're playing. You can music. Without the drummer, there's no things, and I decided I had to do this. I
create. You can do lots of things around feel. That's why it's good for the drummer know what's good for me. I'm not against
the drums. You can fuse the music when to practice. You have some drummers who anyone who smokes. I have a lot of breth-
you play. You might not be as fluent a speed up the time or drop it, and that's not ren who smoke. It's not for me. I think I
reader as some people, but at least it is good. It's important to keep that struc- function better and do my best without it,
important to know these things. It's part ture—to groove with the music and keep because I get a spiritual high. When I'm on
of the music. It's a rudiment. It's impor- that time. my work and I sit down behind those
drums, I'm ready immediately. I start Santa: I used to ride roller skates in didn't really like people calling me Santa
communicating with the earth and heaven, Jamaica—not the kind you're thinking of, for the first couple of months, but after a
because the Father is my source of but homemade ones with a stick and ball while, I got used to it. So now, all over the
strength. Jah is my source of strength, so bearings. Our skates looked more like world, people know me as Santa.
I'm ready. He's my inspiration. bicycles. Anyway, it was near Christmas Editor's note: As we went to press for
CB: You can go all day now. time, and we used to ride through this tar this issue, we learned that Santa Davis had
Santa: Right. I was doing this tour with patch in the road. It was very hot one day, been at Peter Tosh's home last September
Jimmy Cliff in Canada, and we were sup- and the tar started melting down—and 11, when purported robbers invaded the
posed to play about an hour and a half or there was a little pebble in it. I was speed- house, shooting and killing Tosh and two
so. There was this drummer watching me, ing down the street, and when I rode over others. In the same attack, four other
although I didn't know it. We started on a the tar patch, the front wheel hit the stone individuals—including Santa—were
certain energy level, and at the end of an and I went over. I cut my face up and got wounded. Santa is expected to recover.
hour, he thought, "He can't go another all these bruises. At the time of the attack, Tosh was mak-
half hour." I went past another half hour, I went to the clinic, and they put dress- ing plans to tour the U.S. in support of his
and this guy thought, "He can't go ings on the cuts. When I came back, a guy No Nuclear War LP, which was released in
another 15 minutes." We did 45 minutes who had just come from Canada saw me July of 1987. Santa Davis is the drummer
more. This guy watched me play for two and said, "Now you look like Santa on that album.
hours and 45 minutes. I just kept rising, Claus." From that day on, it just stuck. I
rising, rising, and he couldn't believe it. He
came into the dressing room looking like
this [mouth and eyes wide open in disbe-
lief] and expecting to see me lying there
passed out. But I was up. He said, "I can't
believe it. I watched you play for two hours
and 45 minutes, and I didn't think you
could do it." Well, I've just got that love
for what I'm doing. I feel good about what
I do.
CB: I noticed you didn't waste any energy.
On breaks, you were quiet and kept to
yourself.
Santa: You have to do that. You love what
you're doing, but you don't overwork
yourself. When it's time for duty, you
know it's time. It's not time for messing
around. When it's duty time, you just have
to go. I'm ready to play anytime—any
amount of work. Whole day? No problem.
You have to have space in between to relax
and cool down, just like a motor. You cool
the motor down, and then you're ready to
go again.
CB: What type of drums do you play?
Santa: Simmons SDS9 electronic drums.
That's more direct than a regular trapset.
Even though you get more feel out of a reg-
ular set, I prefer the Simmons set overall.
CB: How did you get the name "Santa"?
 by Bradley Branscum

5/8 Funk
In this article, we'll explore some funk patterns
as applied to 5/8 time. These patterns alternate
rhythms between the hands and feet, and with
the use of syncopation and accents, evolve into
the funk style. When practicing these exercises,
the emphasis should be on feel and dynamics,
not on speed. Once you have a good feel for 5/8
funk, then you can slowly increase your speed.
This study will help develop four-way independence and acquaint
you with playing intricate patterns in an odd meter. Note: The
accented notes should be played loud (/), while the unaccented
notes should be played soft (p). This is important, because the
dynamics play a significant role in determining the "funky" feel.

The following patterns utilize the hi-hat with the left foot. The
right hand moves from the hi-hat to the ride cymbal. When the
accents fall on the ride cymbal, use the cymbal bell to punctuate the
note.
 the music anywhere we wanted to.
RS: Looking back to those early days, how do you view your pro-
gression as a drummer?
SN: There have definitely been a lot of peaks and valleys. One thing
I've noticed is that the older I get, the less notes I play and the more
I leave out. One of my favorite musicians is Wayne Shorter, who is
like the king of "less is more." We opened six shows in Chicago for
Jack DeJohnette's Directions back in 1976. I had a chance to sit
down with Jack and talk with him for a long time. He was great. I
remember that he thought Shadowfax should be doing a few more
things in four. At the time, I don't think we did anything in four. It
took us a few years, but gradually we took his advice. That's when
we got with Windham Hill.
RS: What kind of equipment were you using back then?
SN: Back then I had a Sonor kit, which I still have in my garage. I
don't use it anymore, because I'm really fond of my Tama set.
RS: When did the connection between Windham Hill and Shadow-
fax first occur?
SN: Our first album with Windham Hill came out in 1982. It was
called, simply, Shadowfax. On it, we made a real effort to show-
case more of the acoustic side of the band, because at the time,
Windham Hill only had George Winston's solo piano stuff, and
artists like Alex di Grassi and Will Ackerman. They were doing
solo acoustic guitar records. Shadowfax was Windham Hill's first
band project. We didn't want to scare them away with the real
heavy Mahavishnu-type material we had been doing at the time. I
remember I used one of those old, real fluffy wool bass drum beat-
ers for that whole record. I listen to it now, and I can't stand it,
because it's a real wimpy bass drum sound. But it was something
we had to do so we wouldn't alienate the label. I think that, if they
had heard our first album that we did for Passport Records, they
would never have signed us.
Photo by Rick Malkin

RS: How could Windham Hill have signed Shadowfax without

coming out to hear the band or listening to any previous recording
projects?
SN: We had a friend, Robit Hairman, who was a songwriter and
screenwriter from South Africa. He met Alex di Grassi in one of
the subway tubes in London. Alex was, at the time, simply playing
acoustic guitar with a hat that he hoped people would fill with their
SN: After about six or seven months of being down in Miami. The spare change. Robit made the connection with Alex, and they
original keyboard player was also from New Jersey, and I did some stayed in touch when Robit moved to Los Angeles. They started
playing with him. He recommended me for the job. He was com- exchanging tapes, and one of di Grassi's found its way to Chuck
muting between New York and Chicago to do rehearsals with Sha- Greenberg. Chuck put it on his tape machine and added Lyricon
dowfax. You have to remember that Shadowfax started off as a parts to it. Robit sent the tape back to Alex, and he loved it. So
Chicago-based band. Anyway, I went up to Chicago and spent a Chuck wound up playing on Alex's Clockwork album. From his
weekend there, just jamming a lot. Three weeks later, I moved all part of that record, Chuck was offered a solo deal by Will Acker-
my worldly possessions up to Chicago and joined the band. man, the founder of Windham Hill. At the time, Shadowfax had
RS: Was Shadowfax a working band at the time? broken up. So that gave us the opportunity to get the band back
SN: Actually, at the time it was Chuck Greenberg, who plays Lyri- together again. G.E. and I were living in Chicago at the time, so we
con in the band, and G.E. Stinson, our guitar player, along with moved out to L.A. and the band put together the first Shadowfax
Phil Maggini, our bass player, and Danny Maluchnick on key- album on Windham Hill.
boards. I eventually completed the group. RS: Why had the band broken up?
RS: So you've been Shadowfax's one and only drummer. SN: Well, it was 1978, and we were doing kind of a cross between
SN: That's true. Mahavishnu, Led Zeppelin, and Miles Davis. You have to remem-
RS: What was being discussed when the band spoke about the ber that this was the height of the disco era. We couldn't get any
musical concept of Shadowfax? Wasn't the band originally a blues label interest. We even had a hard time finding gigs in and around
band? Chicago. The truth is that we spent most of our time gigging in the
SN: The group definitely had blues roots. But the reason why basement of the farmhouse we all shared. At the time, I had an
Chuck and G.E. got together was to expand their boundaries and offer to join a country-rock band called Heartsfield, which was real
get into a little more experimentation. Back then, the music was big in the Midwest. I went on the road with them, and Chuck and
wide open. I think we might have worked on one or two tunes that Phil moved to Los Angeles. I played with Heartsfield for about a
they [Greenberg and Stinson] had written. They involved a lot of year and a half, and then worked in some other country and rock
really strange time signatures. Nothing was written out, either. bands in Chicago. Then the thing with Windham Hill came, and I,
G.E. was writing new material, too. He didn't know anything too, moved to L.A.
about theory or harmony, so the only way for me to learn the stuff RS: Was the reason you joined Heartsfield essentially a matter of
was to sit down and learn it by rote. At first, it was real difficult for financial survival?
me. But gradually, like everything else, it became second nature. SN: Basically yes. At the time, I was working in a record store
RS: What attracted you to the band in the first place? about 20 hours a week and making something like $40. I didn't
SN: The musicians were so good—so high caliber—and the direc- work more than that, because I needed time to rehearse. The gig
tion of the band was so wide open. We really had a chance to take with Heartsfield was a salary situation, plus I got a place to live and
all that. It was primarily an economic decision on my part to join country. Emil is an old friend of Marty's dad, and Marty is a good
the band. friend of Shadowfax. When we moved out to the West Coast, he
RS: Was it difficult getting back into a Shadowfax frame of mind kind of made the hookup for us.
after spending a couple of years playing mostly country music? RS: You mentioned "Street Noise" as one of the songs you're
SN: It was a real good break, because we all had a chance to stand most fond of. It's one of my favorite Shadowfax songs. What is it
back from what we were doing with Shadowfax, and after a year about your performance on that song that you like?
and a half or so of not doing it, when we came back to the situa- SN: I like the sound of my drums, as well as the sound of the song. I
tion, we all had open minds. The biggest adjustment for me was think it's the first song that we got a real contemporary sound on.
sound-oriented. I was used to playing loud. But like I said before, I I'll tell you a secret. You'll get a kick out of this. One of the Sound
had to use a fluffy beater on the first album, and I had to hold back Supplements in Modern Drummer had a lot to do with the sound
quite a bit. But as we went on with Windham Hill, I was able to we got on that song. I played around with that sound sheet; I think
open up more, and I kept adding more and more electronics to my it was the very first one the magazine ran. The sheet had something
basic acoustic drum setup. to do with non-linear reverb. I had never heard of that before, but I
RS: From a drummer's perspective, what do you consider your knew that was the sound I wanted to use on "Street Noise." I
best work with Shadowfax? What things are you most proud of? asked our engineer as well as Chuck, who was producing us at the
SN: There are a few tunes that I like in particular, as far as my time, if they had ever heard of non-linear reverb. They said no, so I
contribution goes. Off the last album, Too Far To Whisper, I really played what I knew from the sound sheet. They both agreed that it
like "Street Noise." I also like "New Electric India" off the Sha- would be great for "Street Noise.'' So when we got into the studio,
dowdance LP. It has kind of a tabla rhythm that I transferred over we located an AMS Reverb Unit, and lo and behold, there was a
to drumset. Also, from the first Windham Hill album—the Sha- setting for non-linear reverb. We dialed it up, and it was exactly the
dowfax album—there's a tune called "Ariki." That was my first sound I was looking for. I thanked Modern Drummer for that.
experience working with Emil Richards in the studio, which was— RS: When you're in the studio with Shadowfax, how much off-the-
and always will be—one of my favorite experiences. Working with cuff recording goes on? And how much freedom do you have as the
him is like going back to school because he's so knowledgeable, drummer when it comes to contribution to songs?
especially concerning world percussion. I had a tune that I wrote SN: Well, actually, most of the material is worked out in pre-pro-
called "Slim Limbs Akimbo," which appeared on the Too Far To duction before we get into the studio. The rhythm tracks are pretty
Whisper album. It was in two sections: One was primarily African, much set. We get into experimentation when we bring in Emil
while the second section was Gamelan-oriented. I got together with Richards, percussionist Adam Rudolph, and people like them. The
Emil on the song, and he just nailed it. I knew what kind of flavor I music almost always seeks out its own direction when they're
wanted the piece to have, but I didn't know exactly what instru- around. And that makes recording pretty exciting.
ments would make it happen. Emil knew right off the bat. I'll tell RS: How much of a say do you have in structuring the rhythm
you, it's just such a joy working with him. tracks?
RS: How did you meet Richards? SN: It's pretty open. A lot of times, we'll try one feel, and then I'll
SN: Through Marty Lishon, whose family used to own Frank's get an idea and we'll try something else. But it's basically up to the
Drum Shop in Chicago. It's one of the best drum shops in the composer of the tune and what he feels comfortable with. Still,
there is a lot of input from everyone in the band, including me. still want to explore studio work outside of Shadowfax in the
RS: How important is songwriting to you? Is this something you future. I want to do sessions wherever I can. I think it's just a
want to pursue seriously in the future? matter of meeting the right people. I think Shadowfax's associa-
SN: I've become pretty serious about songwriting with this last tion with Capitol Records could open up things for me. At least,
album [Too Far To Whisper], since it marks the first time that I that's what I'm hoping.
placed a song of mine on a Shadowfax album. I've written songs in RS: Touring has a positive side, too, as I'm sure you'll agree.
the past. Most of the songs were country and rock pieces for bands You've been to many places, and I bet you've been able to expand
that I was working with at the time. But I'm enjoying the whole art upon your interests in world music and world music rhythms.
of songwriting more and more. I have a couple of pieces that I hope SN: Definitely. We went to Japan a couple of years ago, to give you
will wind up on the next album. I've been watching Phil Collins an example. While we were there, I had the chance to listen to some
very closely, [laughs] I only wish I could sing like him. of the Daiko drum troupes, which are traditional Japanese
RS: What instrument do you use to compose a song or work out troupes. They use one drum that's called Odaiko. It's amazing. It's
song ideas? a 700-pound drum made from the trunk of one tree. There are two
SN: I do most of my composing on the SP-12. That has really guys who play it, and when they do, it sounds like thunder. In fact,
helped open up the composing part of me. It sort of acts as a multi- I bought a CD of some Japanese drum-troupe music. It's incredi-
track recorder, too. ble stuff. The dynamics are just a killer. It's really like rudimental
RS: Do you play any other instruments—perhaps the guitar or drumming, but on traditional Japanese instruments. One place
keyboard? Shadowfax hasn't gone is Bali. I'd love to go to Bali, because I
SN: Not really. I can play mallet parts, but I'm not really a mallet have a real soft spot in my heart for Gamelan music.
player. I can't improvise on mallets. I do play a tiny bit of guitar, RS: You've mentioned that a couple of times in this interview.
but not enough to consider myself a guitar player. Where and how were you introduced to Gamelan music?
RS: Are you comfortable in the recording studio? Do you enjoy SN: A lot of it came through Emil Richards. He did some work on
recording? "Shadowdance" off the Shadowdance album. He brought in all
SN: I love it. I absolutely love it. these Gamelan gongs and angklung, which are bamboo rattles. He
RS: Better than performing live? also brought to the session these metal angklung that Deagan made
SN: I love both. I couldn't see myself just being in the studio, in the late '20s. It took four of us to play these instruments. That's
because I do like getting out and playing in front of people. And I one thing that I love about working with Emil. He's really into
do like to travel very much. But I would also like to get involved getting little percussion groups together, assigning parts, and get-
with more studio work. Basically, the only recording and studio ting everybody involved. Nowadays, sounds and processing are so
experience I have is with Shadowfax. I'm not really hooked into important. Emil makes sure that the "human element" is still part
any kind of scene in Los Angeles, although I would like to be. But a of it. And when you add the tones and sounds that our engineer,
lot of times, if artists who are recording know that you go on the Harry Andronis, is responsible for, well, we have a pretty good
road with a band, they won't call you for sessions. team. Harry does our live sound, as well as performing the tasks of
RS: And Shadowfax does seem to tour quite a bit. the engineer in the studio. That's a real rarity. Most studio people
SN: We do. We're on the road a good seven months a year. But I don't like to go on the road. Harry has been with us for five or six
years now. We see him as another member of the band. He even and outside with a rosewood veneer, which I thought had a nice,
gets points on our records. warm sound. But it was a little dark sounding. I'd always been a
RS: And you work with him when it comes to establishing your big fan of the Gretsch sound, which basically came from a thin-
drum sound? shelled drum. So, when I saw the Tama Artstar, like I said, it really
SN: Oh yeah. I trust him a lot, especially live. I have to. I have no struck me as a combination of the best features of both. I got in
idea how my drums sound out front. Harry knows our music as touch with the Tama folks, and it took me about a year of pound-
well as anybody in the band. I like his sounds, and basically, I trust ing on their door and calling them up and staying in touch. We
him a lot. The thing I've been concerned most with lately is learn- finally got the endorsement details worked out after I had gone to
ing the technology behind the sounds, especially drum sounds. I've Japan and had a chance to meet the folks at Hoshino Gakki, which
had my SP-12 drum machine almost two years now, and a few is the head company for Tama.
weeks ago, just before we left on this tour, I bought a Mac Plus RS: Let's get into the details of the Tama set.
computer to help with the loading of sounds. I've been spending SN: Well, I have a 16 x 22 bass drum, and 16 x 18 and 14 x 15 floor
more time reading keyboard magazines and manuals than playing toms. My rack toms are 8x12 and 9x13. All my toms are
my drums when I'm off the road. mounted on the RIMS system, which really opens up the sound of
RS: That's interesting. I think more and more drummers are doing a drum. The main snare that I'm using is a 6 1 / 2 x 14 rosewood
the same thing. How much do you play your drums when you're Tama, and for my spare snare, I have a 61/2 x 14 Bell Brass, which
not touring or in the recording studio? is a beautiful, very loud, and very attack-oriented drum. And then
SN: Well, I work out on the practice pad a little bit, but I've really to my left, I have a mahogany timbale—a 6 1 / 2 x l3—and just
been spending most of my free time working on my songwriting above that is my Roland Octapad, which triggers my SP-12. I've
and understanding the concept of new drum sounds and new got pickups on the bass and snare drum. I'm using the Barcus-
equipment. Berry 2050 pickups. Those are plugged into the Roland, which, in
RS: Contemporary drummers are more assertive; they're hungry turn, triggers the SP-12. I'm also using Drum Workshop's EP-1
and want a bigger part of the pie. electronic bass drum pedal trigger for some stuff. I can now play a
SN: That's really true. You hit it right on the head. And I don't lot of patterns that I wasn't able to play before, because I can
think that's bad. I think you have to be aggressive and ambitious. assign any voice I want to the EP-1.
RS: Let's talk a little bit about your equipment. RS: What about cymbals?
SN: Great. I'm a gear-head from way back. SN: I'm using Paiste. I've played Paiste cymbals for five or six
RS: Why don't you begin by telling me what your present drum years now, and just love them. I've got the 3000 line. I have a 20"
setup is. power ride, 17", 18", and 20" crashes, a 20" Novo China-type, an
SN: Well, it's a Tama Artstar—an original Artstar set, which con- 11" Rude splash, and 15" Rude Sound Edge hi-hats.
sists of a birch shell with South American cordia wood covering on RS: Is this also the setup you take into the recording studio?
the inside and out. And the reason that I was attracted to those SN: Yes. We do some blues gigs every now and then with a friend
drums when I was looking for an endorsement was that the Tama of ours, Morris Dolleson, who is also known as Cash McCall. He
Artstar set struck me as a cross between Sonor and Gretsch. I had used to be a staff producer at Chess Records in Chicago. He's
been playing a rosewood Sonor kit that was covered on the inside known Phil, G.E., and Chuck for about 20 years now. When I play
with him, I use just a kick, snare, hi-hat, and one cymbal. It's a I have some Gamelan gongs and things called boobams, which, in
nice change form the big setup with all the percussion stuff with their mature form, are made out of bamboo. They have bamboo
Shadowfax. I'm also using windchimes and triangles, now that I resonators and are set up chromatically. They're tuned like a
think of it, as well as a gong as part of my acoustic percussion piano. Each resonator is cut like an organ pipe. I also have some
setup. different bushman dance rattles, which are sort of like wooden
RS: You have a fair bit of equipment, yet you said before that pods that all band together. I've got a lot of different African bells,
you're going after the "less is more" philosophy as far as your too. Emil Richards taught me how to play them. It's a technique
drumming goes. How do you ensure that you use the equipment where you hit the bell and then mute it against your thigh, so it has
you possess properly—without overplaying? Certainly, there must a synthesizer envelope to it. I'm a big fan of a guy named Pete
be temptations every now and then to want to use a lot of what Engelhart, who lives in Berkeley. If you've ever seen Airto, you
surrounds you. probably remember his playable metal sculpture called Josephine.
SN: Sure, but I think the most important thing is that you have to Josephine kind of looks like a scarecrow. You can play different
play something that's good for the song. The bottom line has to be parts of her body. Anyway, Pete made Josephine for Airto. I have
bringing out the best points of the song. With the material Sha- some of the bells and metal sculpture things that he's made. He's a
dowfax does, there are so many layers of sound between the key- real artist.
boards, guitar, horns, violin, and everything else. Plus, there are RS: And, I take it, you use your collection, or parts of it, whenever
always a lot of polyrhythms happening. So I just try to leave you can, be it on the road or in the studio?
enough space for everything to be heard. Regarding my snare and SN: Definitely. I use them a lot. In fact, I have a set of Pete's Rack
bass drum hits, I like to find an open space in the music, so that I Six Bells that I'm using tonight in a couple of tunes.
can just drop that snare drum beat and bass in it. But in the end, RS: Do you consider yourself a student of percussion?
you've got to consider the song. That's one of the reasons why I SN: I try to be just that. Working with Emil Richards has really
love Max Weinberg. He's the best at that—the absolute best. gotten me more involved, too. I've been to his warehouse a couple
RS: Max is a pretty hard hitter. Are you? of times where he keeps his collection of percussion instruments.
SN: Yeah, I've always played hard, no matter what I play, be it It's unbelievable. He has all of John Cage's instruments, which are
Shadowfax music or country or rock N roll. I think that I've mostly one-of-a-kind instruments.
played for a lot of people in the past who appreciate when they hear RS: How do you balance your interest in drums with your interest
a 2 and a 4. in percussion? Both are demanding in their own way.
RS: How do you control your dynamics? Most of what Shadowfax SN: They are. To stay on top of my drumming and to improve any
performs doesn't require heavy hitting. way I can, I study with a teacher. Recently, I've been studying with
SN: I pretty much approach most gigs the same way. I try to listen Roy Burns. He was advertising in some of the local California
to the song and give what the song needs, no matter what the gig is. papers. So I took a couple of lessons with him. It's the type of thing
RS: Let's talk a little about percussion. I understand you're a col- where he gives me a concept to follow. I was having a little bit of a
lector of percussion instruments. problem relaxing when I played. I was just tensing up too much.
SN: Oh yeah. I have a couple of different African balafons, which And the more I tensed up, the more tired I got. One thing was
are kind of primitive marimba instruments with gourd resonators. feeding the other. So I got together with Roy, and he gave me a
book to read called The Inner Game Of Tennis. The book taught RS: And on the opposite side of the coin, what aspects of your
me a way to stay relaxed throughout my playing. I wasn't really drumming do you see as strengths? Forget about being modest for
studying rudiments with Roy. It was, as I said, more conceptual. a moment.
But through all this, I got involved with the Aquarian Company, SN: [laughs] I think my time is real good. That's gotten better
and I'm now endorsing their sticks and cymbal springs. I've also because I've worked a lot with sequencers and drum machines. I
been working with them as far as their new drumheads go, which remember the first time that I had to go in the studio in Chicago
are real nice. But Roy gave me a real good program to follow in and play with a click track. I was scared to death. But that's behind
order to prepare mentally for playing. Roy has always been a hero me now.
of mine. When I was studying with Gene Thaler, we went through RS: I think every drummer of note has had an experience similar to
a lot of Roy's method books. So working with him has been a real that.
thrill for me. SN: I hope so. I mean, I really didn't know up to that point if my
RS: Before the tape was rolling, you mentioned a few things about time was good or bad. With a click track, you find out pretty quick.
tuning. I was wondering if you could elaborate on what you said. Also, my knowledge of various music forms and my ability to com-
SN: Well, I was talking about Jack DeJohnette. He tunes very, bine drums with percussion is a plus for me. I'm able to take a
very high. He's got his toms real tight. I asked him what the reason percussion attitude as easily as I'm able to take a drum attitude and
was for that, and he said to get the drums up and out of the range of make it work.
the bass and guitar. After I talked with Jack about this, I tuned my RS: Personally, do you consider yourself a drummer who plays
toms up high. But I've brought them down a bit since then. I don't percussion or a percussionist who also plays drums?
really try to tune to any notes. What I do when I'm setting up my SN: I'm a drummer. I'm definitely a drummer in my eyes.
drums for studio work is go with a coated Emperor on top and a RS: Looking ahead to the future, what are your ambitions? What
clear Diplomat on the bottom. I usually put the bottom heads on do you want to be doing, say, five years from now?
first and just tune them up where I can hear them resonate. If it's a SN: Well, there are definitely certain artists who I would really like
little too loose, the sound will be flabby and dead. As you tune it to work with outside of Shadowfax. I'd really like to do something
up, you get to a point where the tone starts to open up. You get a with Peter Gabriel. He's a big hero of mine. And if Max Weinberg
fullness to your sound. But when you tune past that—when it's too would like to go on vacation for a while [laughs], I wouldn't mind
tight—I find you choke off the sound and tonal qualities. I really taking his place in the E Street Band for a bit. I'm a real big Spring-
just try to get my drums to the point where they're as live sounding steen fan.
as possible. And after I get the bottom head in tune, then I'll put RS: No mention of jazz bands or jazz artists. How come?
the top head on. Then I'll repeat the process I just mentioned. SN: I really don't consider myself a jazz drummer. I hear myself as
RS: Are there areas in your drumming that you specifically work to a pop or rock drummer. I don't happen to work in either of those
improve? veins, but I think that's where I'm coming from. You know, the
SN: Oh yeah. I'd like to get a little more precise as a player. One general public sees Shadowfax as a jazz band. And here we are
criticism that I have of myself is that I'll tend to get a little bit tonight playing a jazz festival in Carnegie Hall. But Shadowfax
sloppy, especially when I'm playing for volume. I'd like to be able sees itself more as a rock band. But we don't want to get into cate-
to control my dynamics a little bit better than I presently do. gories or classification and all that now, do we?
 Ensemble Playing
"You can take the drummer out of the big That's pretty common in jazz music arrangements. Now, in
band, but you can't take the big band out of the drumset notation, the standard practice is: For any rhythm written
drummer." I'm not sure if the above sentiment within the staff, the drummer is expected (or encouraged) to play it,
is true, or even if it is, if that's such a bad thing. while rhythms written above the staff are for the benefit of the
Now, small group playing has become my drummer's knowledge (i.e., all or part of the band will be playing
favorite medium for making music with more that figure), and it is left to the drummer's discretion whether to
than one person. But professionally, I did start "cut" it or not.
out as a big band drummer. And I think that, if Here are some examples of fills and setups for that rhythm.
you listen enough to any kind of music, you can capture its spirit
and feeling (or its essence). No matter what your preference may
be, some experience in large ensemble playing can be beneficial.
I'd like to address an important stylistic consideration: the "cut-
ting" of figures. Consider the following rhythmic figure:
 ATLAS/TIGER CYMBALS
by Peter Erskine

And so on. You can go from simple to complex and from not too Photo by Rick Malkin
many notes to a whole lot of rhythmic activity. But here are some
things to consider:
1. If, in a big band context, there are five, ten, or fifteen horns
playing a figure, that may be enough punctuation by itself, without
the drummer having to play the figure as well. If there is too much
catching of all the horn figures, the jazz band can start to sound
like a circus or show band.
2. Orchestration on the drumkit becomes really important here.
Consider the different sound possibilities: playing the bass drum/
crash cymbal together; the snare drum/crash cymbal together; a
rack or floor tom/crash cymbal together; the bass drum by itself;
the snare drum by itself; a tom-tom or the crash cymbal by itself (or
whatever sound you may have lurking behind that electronic
drumpad/trigger). One thing that I can tell you is that a rhythm on
the "&" of 4 tends to lead somewhere, and your playing should
have the effect of stepping off of the curb with one foot, and contin-
uing your trek with the other. It shouldn't sound as if you were
jumping off of the curb and landing with both feet . . . in the mud!
3. Jazz music's essence is improvisation. The music is like a dia-
logue. Sometimes it sounds good to play a rhythm before or after
the figure, and not actually catch the figure that the rest of the
group is playing. It's kind of like you're making a suggestion (or an
afterthought) to the band.
4. If you're playing a chart that has been recorded, listen to the
recording and notice how that drummer interpreted the part.
There are no rules when it comes to drumset reading. In fact, I
think that the most important element for a drummer to have in
reading a drum chart is a good pair of ears. Listen to what the rest
of the band is doing. And if you've got the opportunity to study
someone else's interpretation, then take advantage of it. Interpre-
tation is what drumset reading is all about.
5. Don't always use the same fill-ins or setups for a particular
figure. Be creative. (Just don't play "Stump The Band!" too
often. Remember that a fill should take the music from where it
was to where it's going and should not be too big of a mystery—for
yourself or anyone else in the group.)
6. Don't approach the same rhythms in a small group the way
you might in a big band. And watch the tendency to catch too
many of the figures, whether written or not, that the band may be
playing.
Of course, the same rules for musicality apply here as anywhere
else: Keep good time, use discretion, and play with dynamics.
(Drummer: "Dynamics? Whadd'ya mean, dynamics? I'm playing
as loud as I can!'')
Keep swinging. See you next time.
 A Conver
Dr. Robert
Robert Litwak started drumming at the RL: One of the joys of my life is to serve because the hi-hat technique simply
age of four—with table knives on a Stein- musicians in general—and drummers in demands frequent elevation of the heel.
way piano! He began more formal—and particular—in a professional capacity. When you consider it, all you have to do is
parentally acceptable—drum training at Therefore, anytime I can point a musician grab hold of that very big muscle in the
nine. His high school years, just prior to in the right direction, medically speaking, I back of the heel to realize how much ten-
World War II, were spent drumming in will. sion is being transmitted to the Achilles
local big bands in the Long Island, New RVH: Are there any points that you would tendon.
York area. But then the war called. Robert like to bring to the attention of the drum- Another typical drummer lesion in-
joined the navy, went to college, entered ming profession—medical things they volves areas of the shoulder where drum-
medical school, and ultimately took grad- should be aware of? mers can suffer major spasm, hemorrhage,
uate training in cardiac surgery. He RL: Yes, there are. There are certain and calcification involving some of the
became Doctor Litwak and, in 1956, began lesions that clearly involve drummer muscles of the shoulder girdle—particu-
a distinguished career that eventually led pathology. I'm happy to say that virtually larly the trapezius muscle or the rhomboid
him to a position as Chief of the Division none of them involve my own specialty— muscle. These muscle conditions can be
of Cardiothoracic Surgery at New York cardiac surgery. But let's talk about them. agonizing, and yet, heaven knows, a drum-
City's renowned Mt. Sinai Medical Cen- Number one is something called a gan- mer has to work—pain or no pain.
ter. glion, which is a lump that is quite firm and These three typical drumming lesions
Unfortunately, the demands of a medi- looks for all the world like a small tumor. come from hard work. The more you prac-
cal career all but prevented Dr. Litwak It generally appears more on the right hand tice, the worse they get. But every drum-
from pursuing his musical one. As he puts than on the left, and is the result of moving mer that I've ever known who's worth a
it, "Up to a point just a few years ago, I the wrist and traumatizing various tendon darn simply says one thing: "Damn the
hadn't played for the better part of 25 sheathes for many, many years. It can be pain. I'm going to practice." So it's really
years—other than to set up my old frightening, of course. Drummers should a self-fulfilling prophesy, because the great
Slingerland Radio Kings, pull out a record, be aware that it is not a malignant tumor, ones who simply refuse not to practice are
and play with a couple of old Goodman but on the contrary, a very benign lesion just contributing to the pathology. But
tracks." Even this occurred infrequently. caused mainly by overwork of that partic- that's the name of the game.
Then a personal family tragedy led Dr. ular tendon area. RVH: The question then becomes—speak-
Litwak's wife to suggest that he return to Another condition involves a drum- ing both medically and musically—what
drumming more actively—as a diversion. mer's hi-hat technique. At the base of the can be done? Is there some hope that a
A fortuitous string of circumstances foot, there is a major muscle that attaches slight change of technique—or perhaps
allowed him to start taking lessons, from the calf down into the heel. Because study with a teacher who could alter some
become involved in jam sessions, and of the amount of pressure involved in get- element of a drummer's playing—could,
finally to begin gigging regularly with a ting a good hi-hat sound—that solid, non- in fact, result in a positive medical benefit?
small jazz group in New York City. To fur- sloppy "chick"—obviously, considerable RL: Yes, there is. One thing that is very
ther facilitate this rediscovered pursuit, force is applied. There can periodically be important—and I emphasize it because I
Dr. Litwak stepped down from his post as hemorrhage in that area, which produces have really not accomplished it myself—is
a division chief in 1985. He now holds the what we call a small hematoma. That, in to try to play in a completely relaxed man-
position of Senior Cardiothoracic Surgeon turn, can calcify, and when it does, it can ner. Let's face it, all of the truly great
at Mt. Sinai. MD called on Dr. Litwak's be extremely painful. As an example, Joe drummers do it with such simple aplomb. I
combined talents as physician and musi- DiMaggio had a calcified Achilles tendon, can't think of one who doesn't just move
cian to gain some insight into the relation- which is loosely known as a bone spur. It's around the set as if he or she owns it. On
ship between drumming and health. an extremely difficult thing to treat. Ortho- the other hand, of course, is the fact that
RVH: You represent a rare breed within pedists—in whose area this condition they don't get that fluidity without prac-
any field of medicine. You can offer not falls—will obviously try to treat it conserv- tice, [laughs] So what to do? It's difficult to
only expertise in your medical field, but atively. But sometimes, with continued prescribe a program that would really
also a background in, and understanding pain, operative removal may be indicated. improve things.
of, the profession of drumming from your Now, not being an orthopedist, I can't sug- One thing I can mention is the slouch
own personal experience. gest how this condition can be avoided, some drummers have. We all should try to
 by Rick Van Horn

sation With
Litwak
sit up straighter. In this regard, it's proba- problem, and secondly, the avoidance lots of red meat and drink whole milk—all
bly better not to sit on the entire drum thereof. To begin with, the problems of the things that allegedly were body build-
throne but, rather, more towards the front cigarette smoking are very serious. Even a ers. But they simply piled cholesterol into
edge. Keep only those big bones that attach non-smoking drummer is at risk. It's been the coronary and other major arteries of
to the upper leg bone—called the femur— conservatively estimated that a non-smok- the body. Interestingly—and sadly—
on the drum throne. That will—almost of ing individual working in a smoke-filled enough, during the Korean conflict, most
necessity—demand that you sit a little room will—over the course of one week— of the soldiers who died were autopsied.
straighter. If you sit on the entire circular inhale the amount of cigarette smoke These poor fellows—young men in their
area of the drum throne, you'll tend to equivalent to a full pack of cigarettes. early 20's at most—already had major
slouch. But please remember, the lesions Unfortunately, for all intents and pur- signs of diffuse constitutional atheroscler-
we've discussed so far fall outside my spe- poses, that's something drummers can't otic involvement—widespread artery dis-
cialty, so my expertise is rather limited avoid. But they certainly can avoid ciga- ease—because of the dietary indiscretions
when it come to prescribing for these con- rette smoking on top of it. that our parents were taught were healthy
ditions. A drummer's health has a great deal to for us.
I will say this about my own area of car- do with the body he or she is given to begin RVH: Is it likely then that older drummers
diac surgery. I think it's permissible now to with. None of us can select our parents, so who are experiencing heart trouble today
speak of our late, truly unique colleague from the standpoint of genetics, there isn't are doing so because of the sociological
Buddy Rich. It's general knowledge that a hell of a lot we can do. But if we could dietary norm of their era?
Buddy had serious coronary artery disease select our parents, we'd want long-lived, RL: There is no doubt in my mind that that
for years, which necessitated several coro- slim individuals. That's terribly impor- is true. And that's in addition to whatever
nary bypasses. My dear friend Sonny Igoe tant, because we know that obesity in any other aggravations they may have experi-
told me that he saw Buddy—at the end of shape or form is a major contributor to enced. When I was a child, I can assure you
one of his West Side Story solos—not only coronary artery disease. Obesity in indi- that parents who gave their children any-
exhausted, but with his head hanging on viduals, of course, relates in large measure thing other than whole milk were thought
his chest and in obvious pain from angina. to dietary indiscretion. It also relates to of—if only in whispers—as being parents
He was clearly a man who had driven him- lack of exercise, but more than anything, of the non-caring variety. The sociological
self literally to the wall. Well, that was to dietary indiscretion. It's been pointed impact on the day-to-day intake of various
Rich. All I can say is that I've had the out that, if you are going to depend on foodstuffs complicated the problem years
pleasure of knowing a number of other exercise to keep you slim, you really have a down the pike. But we are now a genera-
drummers who have, unfortunately, long row to hoe. It takes a hell of a lot of tion beyond that. The average drummer
ended up on the operating table. I have exercise to get rid of approximately 3,500 working today—and I say the average,
advised all of them that, if the tempo is calories, which, in turn, reflects about a with a range of 20 years on either side—is
enormously high and they can't quit, they pound of weight loss. perhaps in his or her middle to late 30's.
should just play quarter notes with the It's important to mention that dietary Drummers today have the benefit of 30
right hand instead of the conventional ride indiscretion includes drinking too much years' more dietary research. They've been
beat, do very little with the left, and try to booze. In fact, it includes many of the brought up on a slightly better diet: more
limit the pressure on the hi-hat. good things in life that we all seem to lean meats, chicken, fish, skim milk, etc.
RVH: Let's talk more about your specialty like—the ice creams and junk foods. In That should improve the general health
and how it relates to drumming. What can other words, it's not only the weight per se, condition for drummers—at least as far as
today's drummers do to avoid getting on but the nature of the contributions to the the influence of diet is concerned.
your operating table? What are the factors weight. There are individuals who think RVH: On the other hand, the world has
involved with playing—physical, environ- they're eating a healthy diet by eating red become a 30 years' more stressful place.
mental, and toxicological—that can con- meat five or six times a week. Well, they're We are now being told by the medical
tribute to cardiothoracic problems, either not. A heavy diet of that kind of protein establishment that stress is a major causal
on a short-term basis or over the long contains a great deal of fat and, unfortu- factor for heart-related conditions. Are we
career haul? nately, also includes a number of chemical reducing one problem at the expense of
RL: Well, there are two ways to look at it: additives that this country permits. increasing another?
first, those things that do contribute to the When I was a kid, we were told to eat RL: Absolutely. In the last issue of Circu-
lation—one of the major cardiovascular a point of serious physical deterioration. choice. A drummer can say ,"Yes,I will,"
journals—there were articles on the psy- Today's drummers play harder physically or "No, I won't." But a drummer has no
chobiological events that contribute to and live in a more stressful world. And if choice when it comes to living in today's
coronary artery disease. The bottom line is they're really involved in the music busi- society. What's the alternative? You've
that there are careful experimental data ness as a full-time career, they might be in said that a drummer should play relaxed in
now to indicate that the various psychoso- an even more stressful situation profes- order to avoid physical problems like gan-
cial traumata of today—which are far sionally. Are they likely to reach that point glions. It would follow that he or she
worse than in years gone by, let's face it— of deterioration much sooner? should live relaxed in order to avoid stress.
do contribute to the development of arteri- RL: Absolutely, and I think the data in this But that isn't always possible. Stress can be
osclerosis. That, in turn, is a primary cause latest Circulation verifies that hypothesis. diagnosed, but can it be treated?
of hypertension and other problems. So RVH: You spoke earlier about things that RL: Unfortunately, I'm not really compe-
you can see that the emotional traumata of a drummer can do to avoid physical prob- tent to deal in this particular area as a pro-
the day are a major factor in coronary lems with diet, substance abuse, etc. Obvi- fessional. I wish I had a psychiatrist next to
artery disease or even strokes due to hyper- ously, it's very easy to say, "Don't eat bad me at this moment. The answer is—in a
tension. foods. Don't drink bad liquids. Don't broad generic sense—yes, stress can be
RVH: In years past, it might have taken a smoke. Don't stick yourself with needles. treated. There is, I am told, a great deal of
drummer 30 or 40 years of a career to reach Stay away from those things." That's a conditioning that can be done. We are
smart enough, I am told, to modify our
behavior. I repeat, I am told. I am uncer-
tain that I really believe that. I believe—
and this is hypothesis and I beg you to
accept it as such—that our external per-
formance can be modified. The psychia-
trists tell me that it is possible to work with
someone who is like Buddy Rich was, for
example, and have that individual modify
his or her behavior so that he or she would
become much less incendiary. That's
external performance. But I am uncon-
vinced yet that we can measure what's
going on inside.
There are certain chemical compounds
in the body called catecholamines, and
their half-life—the scientific term for a
chemical's average life span in the body—
is measured in seconds. Only recently have
valid measurements of catecholamines
been able to be made. I am uncertain that
anybody has yet been able to measure, in a
valid sense, the catecholamine level of a
Buddy Rich at the moment he becomes
furious with a sideman. I am equally
unwilling to accept that valid data are
available on the Buddy Rich type after
external behavior has been "modified" so
that that person is the essence of control.
Maybe somewhere along the line, the indi-
vidual is silently gritting his or her teeth.
As the person grits his or her teeth, I can
assure you that the thing that is associated
with that internal control, and seeming
external control may yet be an elevated cat-
echolamine level. Every general practi-
tioner can tell you that your blood pressure
goes up when you're angry. Why? Because
the catecholamine levels rise. Those eleva-
tions of the catecholamines are frequently
associated with subsequent onset of heart
attacks. I'm still asking myself whether or
not it is really true that external control,
which can be taught, is paralleled by true
internal control. I don't think there's a
clear answer yet as to whether you're truly
changing behavior or merely sublimating
it, while adding even more pressure on top
of it by trying to change the external
behavior. I am way out of my field, but I
recall being taught that there are those who
do much better by venting than by keeping
their anger internal. And yet there are no
measurements to define whether or not it is at the moment—be detrimental over a acceptable bounds if the drummer is in
true. period of time? Are today's high-energy good health.
RVH: Let's talk about the physics of drummers at risk just from doing what RVH: You made the point that the body
drumming and its relationship to medical they're doing? has a built-in fatigue factor as a sort of
problems. The great jazz and big band RL: In general, I can say this with confi- safety valve. If you're working and you
drummers were noted for the fluidity of dence. Given an individual without overt become tired, you stop. But what if a
their movements. But the vast majority of organic disease involving heart, lungs, or drummer does not stop? What if a drum-
today's players are in the rock and contem- kidneys, virtually any level of exercise per- mer decides to push it beyond the thresh-
porary pop fields. Drumsets are bigger, formed consistently is acceptable. The old—either through sheer force of will or
and the amount of movement most drum- safety component is that, when we've exer- with chemical help? Isn't the risk of illness
mers do is incredible. Is the orthopedic cised to a point where metabolic perform- or injury dramatically increased?
strain increased proportionately? ance demands we stop, we fatigue first. RL: Absolutely. And of course, realisti-
RL: It's really a hard question to answer. Fatigue is a complicated biochemical and cally speaking, many drummers do depend
When I think of drummers my age—drum- biophysical set of events, and it would take upon chemical help, one way or the other.
mers who have spent their lives in the busi- us three hours to discuss it. But I would say It might just be in the sense of smoking a
ness, like Sonny Igoe, Mel Lewis, or Louie that the usual physical demands that are cigarette or two to get a "kick" to drive
Bellson—they really don't have a particu- made on any drummer are quite within some more. I will admit that I used to drink
lar physical impediment related to their
drumming that I'm aware of. On the other
hand, I've watched a number of rock
drummers, and while I marvel at their
stamina and the amount of trauma that
they're visiting upon various parts of their
bodies, I must say to you that, without any
data—and I stress that point very heav-
ily—I do worry about the long-term result
of that type of pounding and twisting as
they get older. Orthopedists tell us that
baseball players often develop disk prob-
lems because of the repeated trauma of
impact, the way they twist their bodies,
and the type of excessive follow-through
that is required. Whether a person is at the
plate batting against a pitcher in the big
leagues or moving around one of those
large drumkits that you referred to, any
type of sudden, inordinate twist applies
pressure to sensitive areas of the body. A
continuum of that will result in the body
building up fibrous tissue trying to do what
it can to react to the trauma. The body
reacts to trauma only in certain limited
ways. For example, if you were to have a
particular area of a shoe that constantly
rubbed a toe, you would develop a callous,
which is just a type of fibrous tissue with a
cutaneous covering. Why? Merely that the
body is saying, "We are going to do some-
thing about that irritation." It does the
same thing in the spine and other areas. So
yes, I think that that type of inordinate
trauma will produce a response by the
body that is sadly deteriorated in terms of
overall performance. At the same time, I
have never yet met any musicians who were
willing to accept the hypothesis that they
should modify their performance now in
order to avoid a problem later if the per-
formance—as modified—would wind up
being what they conceive of as suboptimal.
RVH: Let's talk about the benefits of exer-
cise on muscles—including the heart,
which is the most important muscle.
Drumming is the most exercise-oriented of
all musical pursuits. We've interviewed a
number of rock drummers who have said,
"My gig is all the exercise I need."
RL: It's probably true.
RVH: But might such strenuous exercise as
arena-style drumming—even if beneficial
cokes—which contain caffeine and lots of RVH: But from a medical standpoint . . . the single most critical thing I can possibly
sugar—because carbohydrates provide a RL: It's proscribed. It's not good. But you insist upon. An electrocardiogram is done.
fast means of energy. That's a means of find me some really accomplished musi- A chest X-ray is done. A urinalysis is done.
providing something that is biologically cians who are willing to function within Generally, some blood tests are done, to
acceptable and not hurtful to the body. that dimension of safety. I ain't seen any check blood sugar and other chemical data
But simply driving oneself beyond that yet. to discern how the kidneys are performing
point can be dangerous. I talked earlier RVH: It's true that drummers are often apart from the urinalysis. These very sim-
about the way Buddy was so exhausted and unable—or unwilling—to modify their ple tests can pinpoint the possibility of a
presumably in pain from his coronary dis- life-styles or playing techniques. Does it serious problem. I don't know how many
ease at the end of "West Side Story." then become all the more important for times over the years musicians I've known
That's going the extra mile. He had pushed them to pay attention to the signals they have—through sheer good fortune-
himself beyond the point of safety and, receive from their bodies, and to have reg- ended up with a physician who has found
for all we know, may well have inflicted ular medical monitoring so as to become something that was treatable but that, if it
serious damage. But it was a price he was aware of potential problems? had not been treated and delay of a consid-
willing to pay. That's what makes great RL: There is no doubt that the single most erable period of time had been allowed,
musicians—the fact that they're uncom- important thing any drummer—any indi- might have become inoperable—com-
promising with everything, including their vidual, for that matter—can do is to have pletely beyond the pale as far as recovery is
own health. periodic checkups once a year at least. It's concerned.
RVH: I'd like to get your comments on the
importance of a patient/physician rela-
tionship. Drummers have no medical
training, so we rely on the physician to
interpret the data that we supply. It's
incumbent upon us, as patients, to supply
as much data as possible. As a drumming
physician, you are in a unique position. I
could come to you and say, "My wrist
hurts when I play a rimshot," or "If I
reach up for a crash cymbal to my right, I
get a pain in my shoulder." You know
what is involved with reaching up and hit-
ting a crash cymbal. But it's difficult for
drummers to make the average physician
understand what it is that we do—what the
stresses are. It's one thing to have a
checkup and take a battery of tests. But if a
doctor doesn't understand what they relate
to. ...
RL: Your point is extremely important.
Sadly, it pinpoints a major deficiency that
does exist in the average physician, and
even in the specialist physicians dealing
with musicians. Music demands certain
stresses on the body. I can think of a pian-
ist with various types of digital small mus-
cle problems. There are close to 20 muscles
involved in just the four fingers of the hand
apart from the thumb. Unless the physi-
cian has played piano, he or she really
doesn't have an appreciation for the vari-
ous stresses that a pianist is involved in.
Obviously, the same situation applies to
drumming. I only wish it was possible for
me to say that there has been really broad
appreciation of the importance of medi-
cine for the arts—just as there has grown
up the specialty of sports medicine. The
only place in the City of New York that I'm
familiar with is the unit now being run at
the Miller Institute. The people over there
are simply magnificent. But they are trying
to do the best they can with limited insight,
because, unfortunately, most of them have
not been involved with consistent playing
of a variety of musical instruments. It rep-
resents a deficiency that must be
addressed, if musicians—particularly
drummers—are to have optimally insight-
ful medical care.
 by Patrick Foley

Revamping Your Snare Drum

This month, we're going to change a snare is. If your drum has either a colored lac- with the up-and-down movement of the
drum over from a complex snare system quer finish or is covered with a colored throw-off before you drill through the
(such as the Slingerland TDR system) to a material, a bit of auto touch-up paint in a spots you've marked. I've been doing
simpler throw-off and butt-end system. matching color will help to disguise the drum repairs for a long time, and I still
The system we're removing has snares that plug. always double-check before drilling any
extend past the edge of the shell and that This is the only proper way to plug a hole holes in a shell. I suggest you get into the
are supported by stationary braces that in a wood shell. Putty or wood filler will same habit.
bolt to the shell on either side. These braces eventually chip out, and is not a very good
substitute. Cutting A Snare Bed
act as guides to keep the snare wires per-
fectly flat. This type of system needs prac- Drilling New Holes Now we come to the trickiest and most
tically no snare beds, so one of the steps in important part of this operation: cutting a
our project will be to cut a good snare bed Once the old holes are plugged, you are good, functional snare bed. I've spent a lot
in the shell. The other steps will be: (1) to ready to mark the drilling spots for your of time and have done a lot of experiment-
remove all hardware from the old system; new throw-off. In the case of the Ludwig ing to come up with a good snare bed that
(2) to fill the extra holes with wooden dow- setup, only two holes are required for the will really allow the snares to lie flat against
els; (3) to drill new holes for the new throw-off and two more for the butt end. If the head. This type of bed increases the
throw-off and butt end; and (4) to install you measure the distance between the two sensitivity of your drum and helps alleviate
the new snare system. The tools you'll need holes in the throw-off itself, you should be sympathetic snare buzz. The operation
to perform these steps will be a single-edge able to easily and accurately mark the must be performed carefully and accu-
razor blade, a measuring tape, a hammer, spots to drill the shell. rately.
a small jeweler's saw, a good flat mill file, Make sure you center the throw-off First, find the exact center point between
an electric drill fitted with a 3/16" drill bit, between the two lugs on either side of the the two lugs on either side of the existing
and some sandpaper of various grits. snare bed. If you have a small T-square, snare bed Gust like you did for your throw-
In this example, I'm using a Ludwig P- you can draw a perfectly vertical line mid- off). Put a mark 1" on either side of that
85 throw-off and butt end, but there are way between the lugs. Otherwise, find the point. Now, draw a horizontal line 3/32"
many types of throw-offs that are equally center point between the lugs at the top and from the bearing edge. (Once again, use a
dependable and simple. The key word, for bottom edges of the shell, and use a piece of masking tape to draw your mark-
me, is "simple." I like a throw-off that will straightedge to draw a vertical line as accu- ings on.) With a coarse flat mill file, cut
just hold the snares in place, adjust easily, rately as possible to use as a guide for your straight down to your marks on the tape so
and not cause any problems. drilling. (You should put a piece of mask- that you end up with a notch cut out of the
ing tape on the shell first and draw your shell.
Plugging Old Holes
line on it so as not to mark up your shell
First, remove the existing throw-off and unnecessarily.)
all the hardware that goes with it. You will
be left with lots of holes in your shell that
must be plugged. To plug these holes we
use wood dowels, which are available at
any hardware store or hobby shop. Get
dowels that are as close as possible to the
diameter of the holes you need to plug, but
slightly oversized. Most dowels are a light- (Remember that, in the illustration above,
colored wood, like maple, and come in any the drum is upside-down, and we are work-
diameter you need. ing on the bottom edge.) From each edge
Take the dowel, and sharpen one end Repeat the process directly across the shell of the notch, make another mark 2" along
slightly with a razor blade. You want a for the butt end. Again, make sure you're the edge of the shell. Draw straight lines
tight fit, so sharpen only the tip of the centered between the lug casings. from the bottom corners of the notch up to
dowel just enough so that you can twist the the new marks, creating the angles shown
dowel into the hole in the shell. Next, put a below.
dab of woodworking glue on the sharp-
ened end of the dowel and a drop in the
hole. Twist the dowel into the hole until it
is snug. Using a jeweler's saw or a fine-
toothed hack saw blade, cut the dowel off
about 1/4" from the shell wall. Then, care-
fully tap the dowel into the hole with a
hammer. Voila! The hole is plugged per- The throw-off and the butt end should
manently. be at least 1 1/2" from the bottom edge of
Using your razor blade, carefully shave the shell, so that the counterhoop will not
the tip of the dowel so it is perfectly flush block the movement of the throw-off. Just Once the angle is marked, you can care-
with the shell. If your shell is maple, you to be safe, put the bottom hoop back on fully cut the shell down to the mark with
should hardly be able to see where the plug the drum, and make sure it won't interfere
 Joel
Rosenblatt
work is any indication of what's to come,
you'II probably be reading about Joel in
Dave and I played double drums with that
band once in a while, which was unbeliev-
Photo by Laura Friedman

future issues of MD, and checking out his able fun. I also did a few sessions here and
dynamic drumming. there, but strictly low-level stuff.
TS: To what do you accredit your success During that time I was going to see Dave
thus far? play with Michel Camilo. When Dave
JR: No matter what anybody says, there's decided to leave, he recommended me. I
a lot of luck involved. In was born in Cali- had ten days to prepare for that audition,
fornia, but I grew up in New Jersey, so I and I practiced harder in those ten days
There are few experiences that can come was always near New York. When I than I ever had in my life—seriously.
close to the exhilaration of an awe-inspir- applied to colleges, I considered the Uni- TS: Before we talk about your playing with
ing live musical performance. That special versity of Miami and Berklee in Boston, Michel, could you trace some of your expe-
feeling is even more enhanced when the but I decided on the University of Bridge- riences with the other bands you were in?
featured musician is a relative newcomer port because I didn't want to be too far JR: One of the fondest memories I have is
to the scene, because one suspects that from New York. That proved to be the first going out on the road for eight months
future prospects for that player will likely wise decision that I made, because New with Matt "Guitar" Murphy from the
prove to be even more sublime. Drummer York is one of the best places to get started. Blues Brothers. That was authentic Chi-
Joel Rosenblatt irrefutably evokes those And as luck would have it, Bridgeport cago blues with the Hammond organ. It
kinds of sentiments. turned out to be the place where I met a lot was a serious road gig, driving all over the
About a year ago, Joel stepped into the of people who were great influences on me. country in a car. Oh man, that was incredi-
spot vacated by his friend and ex-room- Before I got this gig with Michel Camilo, ble—driving 14 hours a day, playing the
mate Dave Weckl in Michel Camilo's I was just working as much as possible, gig, then packing up the equipment our-
Latin-fusion trio. With all the attention doing club dates and whatever came along. selves, and driving to the next town. But
afforded to Weckl recently, the thought of I had always kept the attitude, "I don't we did get to drive in a Cadillac, [laughs]
having to replace him might seem rather care what kind of musical situation I'm And of course, we'd usually get booked
intimidating to most drummers. But with involved in as long as I'm working and get- someplace that was an all-night drive
all due respect to Dave, Joel's compelling ting the chance to play," as opposed to, away, so we couldn't really sleep. But
presence in the group nearly eclipses all "If it's not X amount of dollars, I'm not when you're young, the road is all-glori-
traces of his renowned predecessor. doing it." I used to do gigs for no money, ous. Everything is an invaluable experi-
Although most listeners would think of just to get the chance to play with musi- ence. I learned a lot from Matt. He's a 50-
"keyboards" when The Michel Camilo cians I hadn't played with before. If I year-old black blues guitarist from
Trio is mentioned, it's obvious that heard of something that was happening in Memphis, and I'm a white Jewish guy
Rosenblatt is the conspicuous centerpiece town, I'd check it out. from New York, so just talking with him
of the unit. Layering intricately complex I've got to mention that Dave Weckl— about his life taught me a lot. Besides,
polyrhythms, delivering both brash and who was my roommate at school—was being out on the road—you get robbed a
subtle phrasings, and climaxing with instrumental in my career. He got me the few times, you deal with the rigors of that
incendiary solos, it's no mystery why audition with Michel when he left to play life—you get hip to the road; you get road-
Joel's flawless playing will send you reel- with Chick Corea. But up to that point, I wise. The best part of that tour was meet-
ing! just practiced real hard, and played when- ing Toni, who I married a year ago.
The 27-year-old maintains that he's still ever and whatever possible. The real I also worked with the country & west-
probing the perimeters of his instrument. important thing to do is to keep a real good ern band Pure Prairie League. A friend did
His modest response to the observation attitude. I cannot stress that enough. some guitar tracks on one of their demos
that his role in his present band is an TS: You mentioned that you had been and recommended me when the band
extremely focal one is simply, "The band playing in a variety of situations. Could needed a drummer to cover seven gigs. I
is based on a lot of rhythms, so there's alot you elaborate? did the seven gigs, and either their drum-
to keep me busy. It's a very exposed play- JR: I played in a wedding band during the mer got tied up permanently or he didn't
ing situation." day, and in an R&B/Motown band in Con- want to go on the road, so I started work-
In addition to his playing with the trio, necticut at night. I was doing this every ing with them. They didn't work that
Joel has been working on Paquito weekend, and it was really a lot of fun often, but in the summer, we'd do the Budr
D'Rivera's upcoming album, while his because the Motown band was a great weiser festivals with Marshall Tucker and
reputation in jazz circles continues to release. After the club dates, that gig was the Atlanta Rhythm Section. It was my
grow. Only time will tell, but if his current the only time I could really play. In fact, first experience playing in front of 10,000
 by Teri Saccone

people, and it came at a good time in my

life. I really needed to get out and change
my surroundings.
TS: And the stuff you were playing with
them must have been worlds away from
the Latin-fusion in the Michel Camilo

Photo by Michael Uhll/Ebet Roberts

Trio.
JR: It was very simplistic, but I enjoyed
doing that. That was a busy period where
I'd play the C&W gig, fly back that night to
play with Michel, and also do the Motown
band gig that I mentioned before. I got to
juggle all three styles, and it was one of the
most enjoyable periods in my career. I
didn't stagnate at all.
TS: It's difficult to get bored when you're
working so much. how you pulled it off as long as it felt good JR: I'm not really a practice fanatic. When
JR: I was working a lot, and I looked for- and sounded good. That was the bottom I was playing with local club and wedding
ward to every gig because it was always line. bands, I was usually the best player in the
going to be different. That's what's so I originally went to college to be a better band—which is not inspiring whatsoever
great about living in New York. It's so sty- player, but when I was there, I had paren- because you can't go beyond a certain
listically diversified that you can play just tal pressure to get a college education. point. Then I got involved with the "big
about every kind of gig imaginable. Ulti- After two years of taking out loans that guys," and I suddenly found myself being
mately that can only have a positive effect I'm still paying back—for what I consider the worst player. That's a great situation,
on your playing. wasn't worth the money—I decided to because you get to improve—if the other
TS: You had a formal musical education. leave. What school really did for me was players will bear with you.
Do you consider that a contributing factor put me in touch with a lot of people. When I started working with Michel
to your ability to adapt your skills to any School lumps all kinds of musicians Camilo, I would tape myself and then
musical format? together so that they can interact—and really work hard on trying to improve.
JR: I went to college for two years, but I interaction is the whole idea behind music. Improvement does come with time. But it
didn't finish. I went as a Musical Perform- You're hanging out with musicians all the was difficult putting the time in before I
ance major, because I wanted to play time. You're talking about music and stay- had the gig with Michel, because I never
drums, not teach. I went to school to ing up all night listening to records—as had a definite goal to work towards. I
become a better player, but I ended up well as playing in the ensembles. But you wouldn't have practiced nearly as hard if I
leaving school for the same reason. If you can't graduate from school and then had thought, "Out of 3,000 drummers,
want to be a teacher or to be involved in the expect someone to hire you because you've maybe Michel will call me!" Those odds
music business, then teaching music got a degree. There will always be some- weren't good enough for me to put in the
becomes a vocation and you should get an body who can't read a note of music, but hours that were required to get that kind of
education. If you want to be a player, then will get the gig because he or she can play. gig—which was not a good attitude to
you learn by watching, listening, and TS: What kind of music was the impetus have. I always had a hard time practicing
maybe by getting some help from a private for your playing? intricate rhythms if I had nowhere to use
teacher. JR: When I was in high school, I played in them—even though I know that's undisci-
I don't want to imply that I'm self- big bands, and my dream was to play with plined.
taught, because I did study with Ed Soph, Woody Herman or Stan Kenton. I still I have a lot of outside interests, so nine-
Gary Chester, and Randy Jones. Randy enjoy that kind of music, and there are a hour practicing does not exist for me.
was really the one who made me aware that couple of big bands in New York City who Some people believe that you should
sounding good was more important than call me to sit in with them. They're immerse yourself in playing all the time.
how you hold the sticks. Other teachers rehearsal bands and they don't pay any- That might be true for some, but it's not
had said, "You've got to hold the sticks thing, but if I'm not busy that night, I'll go for me. I need those other activities to
this way," and "You have to sit with your and sit in just to keep my reading up. make me a happier person.
back this way. Otherwise, it's wrong." That's real important. TS: Do you still tape yourself now that
Randy emphasized that it didn't matter TS: Do you practice diligently? you've gotten settled in?
JR: I still do, because tapes don't lie. As JR: I never approached anybody. I was Camilo Trio, your live playing sounds
I'm playing, I really don't know when I'm lucky in that I had a few connections, so I utterly impromptu. But because of the
happening and when I'm not. I know the didn't really feel the pressure to get out intricacy of the rhythms and the time sig-
things I can do and the things I can't. You there and hustle. It's not really my nature natures involved, it would seem to require
can't fool yourself; there's no way to do to send a tape around, call people up, and substantial forethought.
that. badger them. I'm not trying to put down JR: There's a little bit of forethought and a
TS: Are there any practicing tips you could people who take that approach, but that's lot of concentration, because Michel is
share? not me. Maybe if I had done that, I could playing different things every time we do a
JR: First of all, what you practice is have gotten on the scene sooner, but I song. It's never the same. I mean, I could
directly related to what you're going to really wasn't in a hurry. give myself a guideline, like maybe plan-
play on the gig. I know this has been said Although Dave told Michel, "Check ning to throw a fill in at a certain spot or
before, but you've got to play with a met- this guy out," I played, and I delivered the planning to play a particular groove
ronome and make the inevitable mistakes. product. But I'm not ashamed to admit behind one of Michel's solos. But that's as
You should also realize that real good that I had the advantage of knowing Dave. far as the forethought goes. It all hinges on
rhythms and grooves can come out of I think most people get help from someone what he plays. He may play something that
those mistakes. But you have to know how along the line who really makes a differ- would change my plan because it wouldn't
they relate to where you are. ence. Dave got help from Peter Erskine in fit in with what he's playing at that
A good technique to open your ears is to the beginning. So the moral is: Be a nice moment. So besides maintaining serious
tape someone or yourself playing a one- person, be on time, and have your act concentration while I'm doing the gig, I've
bar keyboard vamp for 16 bars or so, with together. It's so competitive today that got to keep myself as mentally flexible as I
a click track. Then you play over the vamp. you have to have more than just your play- can, because I never know what might be
Then you take the click track and move it ing together; you have to be able to have around the corner.
one or two beats, without touching any- the whole package together. TS: "Tombo," one of the songs you
thing else. You just change where you're Learning aids today are amazing. Peo- played live, is in 7/8. Did you have a prob-
putting 1 on the track. Now when you lis- ple can go out and buy videocassettes lem adjusting to time signatures such as
ten back to the track, you're going to be where they can see what a drummer is play- that?
hearing 1 in a different spot, so all your ing while it's being demonstrated. You can JR: When I first got into the band, I could
licks will sound different. This gives you a play audiocassettes over and over again on barely play in 7/8. If there's one thing that
whole new perspective. special decks that allow you to slow down particular song taught me, it's that I could
TS: Earlier, we were discussing your expe- the speed. And there are CD players with succeed at playing anything. I initially
riences over the last few years in terms of the A/B shuttle function, so that you can thought I couldn't even play the tune itself,
getting jobs. You admitted that luck keep on listening to a fill until you get it never mind solo in it, but now I feel fairly
played a key role in it all. Had you ever down. Overall, it's a lot easier for kids to comfortable. And that came from just get-
gone the route of submitting demo tapes to learn. ting in there and doing it.
any prospective artists or producers? TS: Turning to the subject of the Michel You know, if most pop songs, dance
tunes, etc., were in 7 rather than 4, then 7
would be comfortable to play in, and 4
would feel weird. It's just a matter of get-
ting used to it and putting in the practice
time until it feels right. I knew I had a place
to play the 7/8—this gig—so it was easier
for me to learn it. I just played until I felt
the groove—and there's definitely a groove
to 7. There's a groove to any time signa-
ture; you just have to find it and subdivide
it in the right spots. There's just no substi-
tute for putting time and effort into it;
you've just got to work with it until it
flows. Sometimes I'm in the practice room
playing in 7/4, and I don't even realize it's
7 until I actually count it out. That's
because 7 is so comfortable that it's lost its
mystique and is now natural.
TS: You alluded to me in another conver-
sation that you sense a vast improvement
in your playing over the last year. Aside
from mastering challenging meters and
dealing with the demanding pace in this
band, to what else do you attribute this
upgrade in your playing?
JR: I've learned to be able to hear some-
thing the bass player or Michel is playing,
and translate it to my hands and feet a lot
quicker than I could before. When I first
came into the band, I would hear them
play a rhythm over the bar and off the beat,
and I'd think that either they or I had made
a mistake. So I'd adjust and shift time—
which was wrong—because I just couldn't
understand what they were doing. To over-
come that problem, I'd tape myself with use as my ride, and then a closed hi-hat towards?
the band. If somebody played a rhythm that has the 14" Sound Creation or 602 hi- JR: I know a lot of people say this, but I
that I couldn't identify, instead of taking hats. A 14" paper-thin 602 crash is above have an interest in production. But that's
the chance of losing the time and going that, and then I have a 17" 602 crash all the real hard to get into, because if you don't
with that musician, I'd go back and listen way to the right. I use 13" 602 heavy hi- have a name and a track record, it's hard to
to the tape, and analyze what that person hats on my pedal stand as well. make it happen. Although I still don't have
was doing with it in relationship to 1. I'd TS: When you're working with Michel, enough experience at getting the sounds in
learn that rhythm, so that the next time it don't you also include some Latin percus- the studio from that side of the board, I
came up, I'd recognize it. Now, I can hear sion? think I know good sound when I hear it.
where most of the rhythms are in relation JR: Right. I've got three cowbells and a But that's a long way off. I'm really just
to 1, and that's the important thing. My sound effect from Pete Engelhart Metal working hard at getting my playing in con-
ears have really opened up a lot. Percussion called a Ribbon Crasher. trol.
TS: You really push yourself in a live situa- TS: It's such an incredible feeling to hear
tion. and see you playing live, because you have
JR: Yeah. I want to keep playing more and so many elements—power, emotion, flash, your file. If all goes well, you should now
different things each time. The last thing I control, and fluidity—literally at your fin- have a channel with a total overall length
want to do is sound stale. Michel is always gertips. Do you ever get the same rush of 6" and a depth of 3/32" at its deepest
innovating on the piano and there are from playing some amazing fill that the point. Use your file to sharpen up this new
always great rhythms happening, so I draw audience does from hearing you? edge, so it conforms to the profile of the
on all of that. It's a great playing situation, JR: I'm just trying so hard to play that I'm rest of the bearing edge. Next, take some
and it's really made a difference for me. not really aware of the effect that I'm hav- rough sandpaper (about 150 grit), and
This situation has allowed me to exercise ing on other people. I'm never thinking, clean up any rough spots left by your file.
and refine the vocabulary that I've been "Wow, that was great." More often than Then use finer paper (220 grit or so) to
working on. I've been able to take it out of not, I'm more aware of what I need to smooth it all out. Repeat this entire proce-
the practice room. improve. While I'm playing, it's really all dure on the other side of the shell where the
TS: I understand that you've recently concentration. And because of the caliber butt end will go, and the job is done. You
acquired a new kit. of these musicians, I can trust that, if I do can now attach the throw-off and the butt
JR: I'm using a Tama Artstar II kit with some crazy things, they'll always be there end, and reassemble your drum.
maple shells. I'm using Tama's new snare with me. On the other hand, I'd also like to As you can see, this is a pretty advanced
drum, which is sort of a Radio King rep- play in a very disciplined situation, repair job and should only be undertaken
lica. That's a 5". I also have a 6 1/2" bell because it's hard to play the same thing for by persons with a good degree of confi-
brass snare. I alternate between a 20" and a 32 bars in a row. I'd enjoy the challenge of dence in their skills as craftsmen. If you
22" bass drum, depending on the gig. I mastering that. have any specific questions, please feel free
choose my toms from 8", 10", 11", 12", TS: Besides the album with Paquito to send them to me in care of Modern
13", 14", and 15" sizes with dear Emperor D'Rivera that you're about to work on, Drummer. I'll do my best to respond,
heads on top, and clear Ambassadors on what other projects are you looking either in this column or by mail.
the bottom. I use a coated Ambassador on
the snare. I use a left-hand floor tom, a la
Dave Weckl. I try to utilize it as a second
bass drum under certain circumstances, so
I get a double bass drum feel without using
a double pedal. However, I received a dou-
ble pedal from Tama, and I'm starting to
practice with it.
I also mike all my drums. I take a small
PA with reverb and EQ to every gig, and I
check every drum to make sure they all
sound good so that I enjoy playing them.
As far as cymbals go, I use Paiste.
They're making me a prototype ride
because I wasn't happy with the rides they
had, and they're also making me some
dark crashes. But starting from the left of
the kit is an 18" 2000 mellow China. Then
directly to the right is a 16" paper-thin 602
crash. A 10" 2002 splash is at the center of
the kit. Next comes a 20" 2000 crash that I
 Transcribed by Bobby Cleall and Mathew Letley

SteveGadd:
"Up Close"
Photo by Ebet Roberts
Video Solo
This month's Drum Soloist is a bit different from our usual transcriptions. This performance by Steve Gadd is from a
video, not a record. The solo is from Steve's first video, Up Close (available from D.C.I. Music Video, 541 Avenue Of
The Americas, New York, NY 10011), and it appears about ten minutes into the tape. It's the first solo that Steve plays.
For the sake of clarity, there is a time signature change at bar #23. The basic pulse stays the same as the 4/4 meter
shifts to 2/2. (Notice the quarter note equals half note sign.) This change in the notation makes the solo easier to read,
and since the feel changes at that point from a 4/4 funk to a double-time jazz, it correctly notates the change. Steve's
wish was for the transcription not to look too imposing or intimidating.
 by Rick Mattingly

Upbeat Rhythm Programmer

Upbeat is a software package that lets you program a MIDI drum across the screen, showing you which beat you are on, as well as an
machine with an Apple Macintosh computer. It is put out by a audible "beep" on the downbeat. There is also a metronome that
company called Intelligent Music and is described as "the smart can be turned on, which will click on each beat. From there, you
rhythm programmer." What that means, essentially, is that can go to your drum machine and enter the rhythms you want by
Upbeat has the ability to play random accents and fills, based on pushing the buttons. Each time you push an instrument button, it
what you program into it. But first things first. will be recorded visually on the screen.
Like anything that is MIDI, a lot depends on what you are If you have MIDI drumpads that you can connect to your drum
MIDIed into. Upbeat will work with any MIDI drum machine, but machine, then you can play the pattern into Upbeat that way.
some of its functions will not work on some machines. For exam- Also, you can load any pattern that you already have stored in your
ple, you can specify different dynamic levels with the Upbeat pro- drum machine into Upbeat by setting the program's Clock to
gram, but if your drum machine doesn't respond to velocity data, External. By the same token, once you are happy with the pattern
then all of the notes will come out at the same volume, no matter you have recorded into Upbeat, you can then load that pattern into
what you program into the Macintosh. your drum machine. That could be handy if you wanted to use the
But that's not to say that this program does not add anything to patterns on a gig, but you didn't want to carry a Macintosh
what your machine already does. The primary advantage is that it around.
gives you a visual image of the rhythm you are programming, The other way to record a pattern is to "paint" it in. This is the
which is especially useful in step-time programming. It also allows equivalent of step-time programming, except that it's a lot easier—
for easier editing of patterns after they have been entered. especially if you have a drum machine that doesn't have any type
The easiest way to explain Upbeat's features is to go through the of visual readout for the rhythms. There are five symbols used,
whole process. But first, a warning: You should not try to use this which represent five dynamic levels. This, again, is where you have
program unless you are very familiar with both the Macintosh and to know your own machine. If your machine does not respond to
your own drum machine. Because of the fact that Upbeat can be velocity data, then you'll get the same volume no matter which
used with a number of different machines, the manual is written in symbols you use. Even if your machine does respond to velocity
a somewhat "generic" manner. You will need to have a good data, you might have to adjust something. On the RX5,1 was only
understanding of how your own machine works—in terms of getting three dynamics, although I was using all five symbols. By
MIDI implementation, for example—so that you can apply the experimenting a little, I discovered that I had to adjust the Voice
information in the manual to your own machine. Level on the RX5. By changing the Voice Level on the snare drum
That becomes obvious with the very first thing that you have to from 28 (the factory preset) to between 11 and 19, I was able to get
do, which is "teach" Upbeat about your drum machine. The basic all five levels. Once again, I had to figure that out from my knowl-
concept is simple. You first call up a Device List on the Mac's edge of the RX5; the Upbeat owner's manual doesn't tell you these
screen. (You can enter up to 16 separate devices, one for each of things.
the 16 MIDI channels.) You name the list with the name of your Anyway, you can use these symbols to construct your pattern.
drum machine, and then, by simply pushing the buttons on your Perhaps the easiest way to explain this is to show what a typical
drum machine, you can enter (and name) each sound. This is where rhythm would look like on the screen. This rhythm:
you might need to know certain things about your own drum
machine. With a simple machine such as the Roland TR-505, each
button only has one sound, so entering the sounds is a fairly simple
process. But with something like a Yamaha RX5, there are more
sounds than there are buttons, so you have to spend some time
reassigning sounds in order to put all of them into the Upbeat pro-
gram. However, since each of the RX5's sounds has its own MIDI would look like this:
note number, you can then access any of the sounds from the
Upbeat program, even if the buttons on the machine are set for
different sounds. With something like the Korg DDD-1, on the
other hand, the MIDI note numbers are assigned to the buttons,
not the voices. Therefore, if you change the voice assignments on
the machine, it will affect whatever you have in the Upbeat pro-
gram. Again, none of this is explained in the Upbeat owner's man-
ual, so you have to be aware of any peculiarities that your own
machine might have.
Anyway, once you have "taught" Upbeat about your
machine(s), you are ready to record a pattern. You can do this in
real time, by hitting the buttons on your machine, or you can
"paint" the pattern by using the "tools" in Upbeat'?, cursor pal-
ette. Recording in real time is very similar to the way you would
record a pattern into your drum machine. First, on the Upbeat
program (rather than on your machine) you set such things as
tempo, time signature, number of measures (up to 75 in 4/4 time),
and sub-beats (8th notes, 16th notes, 8th-note triplets, etc.). Then,
you set the program to Record. There is a visual marker that moves
I've only used three of the symbols here; their sizes correspond to hitting only on 2 and 4. I then set the program so that there would
their relative volumes. be fill beats on the snare drum 25% of the time. I always had my 2
Even if you originally put your pattern in by pushing buttons on and 4 backbeat, but I also got extra notes here and there that added
the drum machine, you can still edit the patterns by use of the an element of unpredictability to what would otherwise have been
symbols. That can be handy for editing such things as dynamics. a repetitive pattern.
For example, let's say that you entered your patterns with a Another option is to have one voice be the fill sound for another
machine that does not have dynamic-sensitive buttons (but that voice. For example, let's go back to those four 8th notes on the
will respond to velocity data from another device). All of the small tom voice. I set the fills to occur on a mid tom voice, and that
strikes will be recorded at the same volume level. If you want to way I always heard my original four 8th notes on the small tom,
accent a few of them, just select the symbol with a louder level than but I got random mid-tom notes in addition to that.
the one that is recorded, and use it to replace the notes that you There is another feature that is sort of the opposite of Fills, and
want accented. I found Upbeat's visual editing to be quicker and that is the ability to set Note Densities. In other words, after you
easier than most of the editing functions on the RX5 I was using. have programmed notes, you can select the percentage of those
Upbeat also has a pattern-editing feature that is not available notes that will actually sound. At 100%, which is the normal set-
with most drum machines. This is the ability to "shift" a pattern. ting, the machine will play exactly what you programmed. But at
Let's say that you enter a two-bar pattern, but then decide that you 50%, only half of the notes will sound. Again, this is at random, so
want the second bar to be first and the first bar to be second. You each bar will be a little different. You set this control for each voice
can "push" the first bar sideways into the second bar's position, individually.
and the second bar will "wrap around" to become the first bar. I found an interesting way to apply that function. I first pro-
You can do the same thing with individual bars to displace the grammed the following:
beats by as much or as little as you want.
Once you have several patterns entered, you can link them
together into songs. Most drum machines also have this ability, so
you're not gaining a whole lot, except that a drum machine's mem-
ory is limited. By storing your patterns and songs on Macintosh
disks, you can keep more songs on file.
But now we get to the features that really make Upbeat unique—
the "intelligent" features. The first one is called Fill, and it adds
notes at random. For example, let's say that you have four 8th
notes on the small tom voice programmed into your pattern. If you Next, I set the note densities for the snare drum and bass drum at
select the Fill option for that voice, you will get additional, random 15% each. When I played the pattern back, it sounded like a jazz
tom notes sounding along with the four notes that you pro- drummer "comping" with the snare and bass. Each bar was differ-
grammed. You do, however, have a certain amount of control over ent, but a typical two bars sounded like this:
where and when these notes occur. First, you can set the division.
If the division is set at 2, then quarter notes will be divided into
8ths, 8th notes will be divided into 16ths, etc. The next setting lets
you determine the probability with which fill notes will sound. At
100%, every note that you programmed will be broken into fills. At
50%, half of the original notes will randomly trigger fills, and so
on. Next is a Limit control that limits the speed of fills, so that you
don't end up with something that sounds like a roll (unless that's
what you want, of course). Next is a filter, that works as a quanti-
zation for the fills. You can set this for 8th notes, 16th notes, etc.,
so that you don't end up with fill notes in "unusual" places. You
can also set random velocities for fill notes, so that the notes will
not all be at the same volume.
The Fill function can be useful for creating a background that You can also use the Fill function in conjunction with the Note
has consistent elements, but that also has some variety. For exam- Density function. By setting the snare drum voice for Fill, I got a
ple, I programmed in a fairly simple rock beat with the snare drum few random 16ths mixed in.
 I also used the Note Density function to create a funk pattern. of the symbols was 50, you could set the velocity range for, say,
First I programmed this: plus/minus 10, which would mean that your velocity would ran-
domly vary from 40 to 60. Apply that to something like straight
16ths on a closed hi-hat, and you will approximate the imperfec-
tion of a real drummer, giving your machine a less machine-like
sound.
I haven't described absolutely everything that Upbeat will do,
but you should have a pretty good idea of its most important func-
tions. Basically, I found it to be quite helpful in programming a
drum machine because of the visual readout. I also enjoyed being
I then set the hi-hat's note density to 75% and the bass drum's to able to get a readout of patterns that I played into the drum
50%. A couple of typical bars looked like this: machine. If you are looking for an easy way to transcribe your own
playing, this is it. The "intelligent" features were fun to play with,
but I suspect that non-drummers might have more actual use for
them than drummers. (In other words, I'd like to think that drum-
mers are not just throwing a lot of stuff in at random.) As with
most computer programs, you have to spend some time with
Upbeat to really understand what it will do. The owner's manual
was reasonably helpful, although I did ultimately have to call the
Intelligent Music company with a couple of problems that I
couldn't seem to solve by reading the manual. I must say that the
people at the company were very friendly and cooperative. I realize
that there are a lot of different drum machines out there, and so the
Upbeat manual has to be written in such a way that it will apply to
any of them. But even so, if the manufacturer could find a way to
include a few specific tips about using some of the more popular
models, it might add a little "user friendliness" to the program.
The list price of the current version (1.1) of the Upbeat program
The "intelligent" features described above will work with any is $150. If you don't already have a Macintosh computer, then I
drum machine, as it's the Upbeat program that controls them. would not recommend that you spend a couple of thousand dollars
There is one additional feature, however, which will only work to get one simply to use Upbeat. But if you already have a Mac,
with machines that can respond to velocity data. That feature has then another $150 might be a reasonable amount to spend for the
to do with setting a range for each velocity value, so that you get added control Upbeat will give you over your drum machine.
slight variations in volume, at random. If the velocity value for one
had also been out on the road with Peter. much clothes did you bring?" playing live, and we could turn up as loud
Peter was in town, talking to A&M about We did The Art Of Control at a big man- as we wanted and get the sound going
his next project. He came by and ended up sion in Sharon, Connecticut, Zeppelin down on tape, without having to mess
playing on "Heartbeat." He was looking style, with the mobile unit out front. You around with it later. Each one of those
for a drummer for his next album, and walked in, and there was a long entry rooms was closed off, so we didn't get any
John was trying to get me into the project. hall—about 40 feet. On the right was the leakage in the drum mic's. The rooms were
Eddie was also trying to get the gig as engi- dining room, and on the left was a library. huge enough that they could ambient mike
neer. Back towards the landing was the study, the amps as well, so it was an optimum sit-
After we finished Wendy's album, Peter and then you went off to another area uation. It was Peter's last record for A&M,
called me up and flew me to New York where the kitchen was. Here was this big and it's a good album. Had he been pro-
where he was writing with Mark. John was staircase, and there was a landing there moted correctly, and had he been accepted
there as well. Peter had a studio in his base- with one of those old Georgian windows. by the press like he was nine years before
ment and we jammed for a little bit. He Then you went to the upstairs where all the that, it would have been fine. Peter's still a
probably had the two-track running. I bedrooms were. I set up on the landing, good friend of mine, and I like the way he
thought he liked me, but he was very care- and Eddie miked me from all the way plays. He plays from the heart. He doesn't
ful about letting me know. He was real down the hall. He miked me up close, he work things out. He plays different every
friendly, but as soon as the audition was miked me from halfway back—all kinds of night. In certain areas of the songs, he'll
over, it was like, "Okay, it's time for you options. Peter set up in the library, Mark stretch out and play what he feels.
to leave. Rodney's going to take you to the set up in the dining room, and John was set RF: How was it to play live with someone
airport." up in another huge room. Everyone had who stretched differently every night?
I went back home, did some work with long cords, so they stood out in the hallway HS: There was always something to look
Al Stewart, and I didn't hear from Peter and played. It was what everybody talks forward to. It was more fun than playing
for about a month. Then I was called to about, but usually doesn't do: ambient in a structured situation, definitely. We did
come back out. He had tried out a lot of mike everything and get the room sound. a month-long tour of the States, came
drummers—guys who were a lot more well At that time, digital reverbs weren't home for a little while, and then we went to
known than I was. I was told that I was to around like they are today. The idea was to Brazil for two and a half weeks, where he
come back, and if it worked out, I would find an acoustical environment that would was enormous. Going down to Brazil, I got
stay and do the album. I didn't know if I give you that effect. A lot of times, people a taste of what Frampton Comes Alive
was going to pack for a couple of days or think that recording in a large studio is must have been like. It was amazing.
weeks. I went out there and played some of going to give you a lot of ambience, but Besides being an experience playing with
the new songs he was working on. It was usually studios are dead, even if they're Peter, Brazil also became a very influential
obvious that he was really happy with it. big. Peter likes to make records in castles, time, musically, for me. I heard the music
He and Eddie went into the back room for so he was used to that way of recording and firsthand and felt that culture of music,
literally three minutes, and Peter said, in enjoyed it very much. which is different than here. In America,
his English accent, "Well, Harry, how It was also great because it was four guys people listen to music like fashion. They
wear the new Talking Heads album, HS: I was doing some TV work, and Mark before they came back. I was always so
whereas in Brazil, it's like Africa where would always get these incredible Japanese amazed at how nonchalant the other play-
people speak through music and commu- jingles and we'd all play. I worked a little ers were—so confident in their reading. I
nicate that way. I just felt an undercurrent bit with Peter Bernstein, who does movie was quaking in my boots.
of rhythm the whole time, which was really scores out there, and I also did the source I also played with Etta James during this
incredible. I bought a whole lot of tradi- cues for Cheers the first four years it was period. It was fun to be with her, but after
tional percussion instruments that you on. playing with her for about six months, I
can't find up here. They're not made by RF: Explain what a source cue is. had sort of had my fill of it. Also around
manufacturers; they're made by people in HS: Source cues are the little interludes then, I started working on my songwriting
their houses. I got turned on to Brazilian they play in between scenes. From the a little bit. Josh Leo and Wendy Waldman
music, and Milton Nascimento became a commercial to the shot, they have these had moved to Nashville. They were sitting
big influence. ten-second things. I didn't really enjoy around writing a song one night and called
After that, Mark and I put together a that too much. I remember one situation me up. Josh said, "Hey Harry, you've got
band called Our Town. We got a deal on where I was in the studio with 30 other to come down here. Nashville is not any-
RDM, Roger Davies' label, and he had a musicians. I was an okay reader, but I thing like what you remember, I'm sure."
subsidiary deal with MCA. We ended up wasn't great. I was scared to death. I didn't So I booked one of those cheap fares and
doing a record for him that never came want to put everybody into overtime, so I flew in. I was only in for four days, and I
out. That was a real sad time. didn't take my breaks. I sat and looked at met Wendy's publisher. I was handing out
RF: How were you making a living? the next chart to make sure I could play it tapes left and right. Then Josh took me
down to Warner Bros., and I met all those
people. Jimmy Buffett was in town record-
ing. I went out for dinner that night with
Wendy and Josh and ran into Timothy
Schmidt. I had worked on his album,
which Josh had produced in L.A., and he
was surprised to see me. We really sing a
lot alike, so he said, "You want to sing on
Buffett's album?" He went and talked to
Buffett. Later that night, he came walking
in with Jimmy, who said, "Welcome
aboard Harry m'boy." For two days after
that, I sang on Last Mango In Paris. I was
in heaven with Timothy. Barry Beckett
was producing Pam Tillis down the hall, so
we got to sing on her album as well. Tony
Brown was one of the producers on Buf-
fett's album, so he got turned onto me, and
I played him my songs. I went back to
L.A., wrote more songs, and made
another trip out with the idea that I was
going to move here. I wanted to test it out a
little more, so I got a job with Nicolette
Larsen, which was perfect. I stayed with
my parents and went out with Nicolette on
weekends. The rest of the time I was meet-
ing people and writing songs.
RF: What was different in Nashville the
second time around that made you want to
move back?
HS: My state of mind, for one thing. I had
done a lot of things, and I was more com-
fortable with myself, as a person and as a
player. I was tired of L.A., because there
was nothing happening out there that I
really wanted to do and I was ending
another cycle of bands that went nowhere.
All along, I had been shown that I had the
potential to do it because I was doing it,
but in very sporadic points. Then I came to
Nashville and everything was wide open.
When you call somebody, that person
talks to you. When you go to see a pub-
lisher, the publisher remembers you and
sees you right away. Because of Wendy
and Josh's help, right off the bat I knew
everybody important in town, and people
started calling me right away. I was enjoy-
ing the stuff I did, which was the main
thing. I wanted to pursue my songwriting
career, and Nashville is much more a
songwriting town than either New York or HS: I didn't. I'm self-taught in that, but I
L.A. I knew I could support myself play- watch people a lot. When we were at the
ing drums and singing on sessions, and I Grammys and Tony Williams was playing,
was already locked into Steve Earle's situa- I was checking it all out right there. I have
tion. I was producing Wendy, without a prepared as much as I could. I practiced on
record deal, and Josh and Wendy were the road before I did Lyle's album. Also,
pretty established here, so it wasn't like I when I was in L.A., I played a gig at a small
was a new kid on the block without any club called Chadneys in Burbank with
help at all. I was a hometown guy, so I Harry Middlebrooks, and we did every-
knew a lot of people from before, like thing. It was just a three piece, and it was a
[producers] Marshall Morgan and Paul blast. We did a lot of stuff like what is on
Worley, who would turn me on to things. I Lyle's album—real jazzy "stirring the
also was in a band called the Roosters, soup" stuff—or Bobby Darin music. He
which played every now and then. covered a wide spectrum.
Then I met Steve Earle around that time, RF: The other day, I watched you do coun-
and it was decided that I'd play on the try brushes on a country demo. That's a
record and be a Duke. So I scheduled the whole different feel.
move with my family around Guitar HS: That's a lot easier. Two-beat brush-
Town. I knew Steve had the potential to be work is very easy. You just have to get a
a major artist, although I wasn't sure brush that makes a large splat. There's one
MCA had the wherewithal to make it hap- beat I do that's become one of my trade-
pen, because he fits into a rock format. I marks. It's on "Baby's Got A Hold On
figured it was really worth a shot, though, Me" [Nitty Gritty Dirt Band]—that kind
because I really like his music a lot. We got of shuffley kind of snare drum that sort of
bumped by Bowen from the big studio into comes from New Orleans. I used it on
the little studio, and we really had to earn Wendy's album on "Heartbeat" in the
our keep because Steve was not a priority verses. I don't like to use ride cymbals or
artist, by any means. Then the record came hi-hats a whole lot. I like to play the drums
out, and the press was great. like Keltner would, so the beat just fills up
RF: What appeals to you about the Steve the groove like mad, and it pushes the band
Earle gig? without really splattering using cymbals.
HS: It's a roots gig. It's not flash or hype. And there are a lot of different ways I can
It's great songs and just enough playing to use that beat to make it shuffle just a little
get the song across in the best possible way. bit more, bring it back a little bit more, or
I think my tendencies lie towards roots make it sound more slinky. It's a real use-
music, anyway, because I feel that's where ful beat for me. Country brushes are the
most of my inspiration comes from. That's
why I like Steve so much. He didn't just
make up that stuff. It's not that he lives all
of it either, but he is a "Fearless Heart,"
which is a song off of Guitar Town, and I
relate to that a lot—just being honest.
That's the way I like to play: with honesty.
To get the feel is the most important thing
to me, and that's why I play as minimally
as possible to achieve that. Playing is not
an ego thing; it's getting the whole song to
work.
RF: You've done a lot of different kinds of
stuff, like Lyle Lovett's stuff. I can tell by
your smile that you really enjoyed that.
HS: I loved it. Once again, it was some-
thing completely different.
RF: Jazz brushes are a whole different ball
game from country brushes. What did you
learn about that?
same thing. I just get into a groove, and I singer who has a completely different voice dull. It might have some kind of character-
can't be pushed from that groove, once I and be able to blend with him where he istic to it, but they have to work at it to get
get into it. maybe couldn't do a two-part harmony it to come out.
RF: With the variety of music you play, with himself. I did a Tammy Wynette RF: Are you not interested in getting into
what do you enjoy playing the most? record and sang two-part with her, trying sampling?
HS: That's a hard one to answer. It's more to match her phrasing. That's a real hard HS: I'm really interested in it. I was one of
of a feeling that comes from the songs, thing to do and get it exactly the way she the first to buy a set of Simmons. What
who I'm working with, and that kind of sang it. It's the same thing with Steve. To burned me out on it was that the technol-
thing. If I were asked to do a Barbara Man- match Steve's phrasing is real tough, and a ogy changed so fast and the value of all
drell session, that might be a great feather lot of times, people don't realize that's me that changed so quickly that I was dump-
in my cap, but I wouldn't really be into it. I singing with him. That kind of thing is a ing all this money into something and not
think the people Josh produces and the real challenge, but with playing the drums, getting enough back. I'm not that good at
people I work with just do what I like to it's the song that moves me and the kind of buying and selling; I'd rather play, so I'd
do, and I've been real, real lucky to be able person I'm working with that matters—the let the thing devaluate until it wasn't worth
to be selective and play with people I want environment. anything. What I've been doing for the
to play with. RF: How do you come up with an past year is collecting snare drums,
Singing is different. I can be a session approach to a song that is new to your because those are the most flexible part of
singer and do velvety oohs and ahs, and I ears? the kit and they can change the whole
can fit in with a lot of different singers. I HS: I like to listen to the artist sing the sound. Hopefully, very soon I'll get a sam-
enjoy that challenge. It's a real specific song. For instance, with Kevin Welch, who pler and start getting into it. I don't need a
challenge for me to sing with another is a songwriter, the way he sings and plays whole rack with three or four reverbs. I
it is what should be amplified with all the need something very basic.
other instruments. I listen to him sing the RF: Drummers have a stigma attached to
song, and I get the feel from that. Then them that they are "only" drummers.
when I sit down at the drums, I just try to How did you know you could go beyond
accent what's important to what I heard. being just the drummer?
By the time we get to that point, I'm so HS: I think that's just me. I'm not really
happy anyway because we've gone trying to be a studio player, so I don't try
through all the drum sound mania. I'm to play all the right licks. Just as a person, I
never comfortable until the engineer and I don't necessarily try to fit in. I'm going to
have gotten the drum sound. Every studio do what I want to do, no matter what. If
is different, and every engineer is different. it's something I want to do, I know I have
A lot of engineers now are so spoiled with the power to go for it. A lot of people are
the sampled sounds that are perfectly sam- afraid to branch out, or maybe they're
pled and perfectly EQed. When you bring content doing what they do. I've learned so
in a drum and put a mic' to it, it sounds much, and it helps me as a drummer and in
everything else that I do to go from all all connected, and as for my doing it, it's I'm out there, and it takes a lot of energy to
sides. just something I've done. Drums are my get something going. Steve is barely break-
RF: What has being a producer taught you favorite thing, though. I'm a drummer ing even, and look at all the great press he's
about drumming? before I'm a singer, songwriter, or pro- gotten. It's a hard road. On the other
HS: It's helped me assess what is really ducer. It's real close to my heart, but it's hand, I write some good songs and I know
important, as well as what a producer never been all there was for me. I am just that I can do them as well as anybody, so
would want from a drummer. It's also more faceted than that, and it all fits why don't I put them out myself? I do have
helped me to have an open mind and to try together for me that way. to go somewhere. When I get older, I will
something as a player that might be unnat- RF: Do you want to be a solo artist? be pissed off if I look back and think, "I
ural to me. I find that, if I do keep an open HS: Yes, I think so. I have a real desire to could have done that, and I didn't try." I
mind about it, I usually learn something. sing and play and be part of a record in that definitely will have to give it a shot at some
RF: Can you recall a situation where a pro- respect. I know I have some talent to put point. I think the love that I have for what I
ducer asked you to do something that you there, although I really don't know where do will find its own way into whatever it
felt was unnatural? it's going to go. At this point, I want to turns out to be.
HS: I can't think of anything specifically, continue with Steve, but I also want to do
but there have been countless times when I my own thing. I want to co-produce it with
was asked to do something that I might Josh and write all the songs. That's what's
have thought sounded ridiculous. But holding me up at this point. I'm still gath-
then, I'd try it and it would work. Maybe it ering material. I think it will be very com-
wasn't obvious in the tracking situation, mercial, though. I want to do music that
but once the overdubs and everything were makes people feel good and that is posi-
piled on top of it, it really showed through. tive. I am a little apprehensive about it,
It's really important to keep an open mind because the road at this point in my life is
and try whatever is asked of you. tough to deal with. I can deal with it with
I've learned how to relate to musicians Steve because I know it's not forever, but
by being on this side of the glass and hav- as an artist, it becomes your own commit-
ing someone who is not as communicative ment, and isn't something you can walk
trying to tell me how to do something. It's away from. I really miss my family when
 Practicing
by Roy Burns

And Balance
I have several students who are talented, those as well. Include travel time and re- son it became apparent that he was practic-
dedicated, and hard-working. Most are in hearsal hours (if you are in a band), and ing out of the same books over and over.
their teens. One of them said to me re- the time needed for homework. If you are As a result, he had become rather stale and
cently, "I must discipline myself to prac- not in school, simply chart your working frustrated, and was bordering on a real
tice more." I asked, "How much do you hours, travel time, and the time spent re- "burn out." I advised him to put his old
practice?" He replied, "An hour to an hearsing or working in a band. Include any books away. I suggested to him, "Don't
hour and a half each day, except week- other activities that you do on a weekly ba- practice this week! Just go home and have
ends, when I play in a band." This young sis. some fun playing the drums. Put on the
person goes to high school, gets good Once you have charted all of your activi- headphones and play some music. Have a
grades, takes a lesson once a week, and ties, you will usually notice that a lot of good time, and be creative." I also made a
works in a professional band on weekends. free time is readily apparent. Now, set few suggestions about some new things to
To me, this sounds like a pretty full sched- about organizing that free time into a real experiment with on the set. He's now
ule. I advised him to remain consistent in practice schedule. Whenever possible, try working out of some new books, and his
his practicing but not to worry about it. to practice at the same time each day. If practicing is more varied, productive, cre-
When another student suggested to me necessary, break up your practicing into ative, and rewarding.
that he also should "discipline" himself to two sessions. Dedicate one half hour to Self-discipline is a great quality—but
practice more, again I asked, "How much strengthening your reading and tech- you must apply it with some sensitivity. If
do you practice?" He replied, "About 30 nique—if you are taking lessons. If you are you have had a really hard day or if you
minutes a day, but sometimes only 15 to 20 not taking lessons, work on developing don't feel well, there is no need to force
minutes." In all fairness, this young per- some new skill, rhythm, or style. The sec- yourself to practice. If you have to force it,
son goes to high school and works a part- ond half hour can be devoted to creative you probably won't get that much out of it
time job to pay for his lessons. My advice drumset practice, such as practicing with anyway. If you continue to force it, you
to him was that he organize his time and try records. Practice more than one hour if may burn out or end up hating the drum-
to practice at least one hour each day. I you have the time. Include some time for set. It is okay to give yourself a day off on
also reminded him that 30 minutes is far serious listening in your schedule. Listen to occasion. One good rule is: "Do not prac-
better than nothing. something new whenever possible. Listen tice on Sunday." Your family and your
The dictionary defines "self-discipline" to some of the great drummers of the past neighbors will appreciate it, and it will also
as, "Training and control of oneself and who can now be heard only on records. give you the time to recharge your battery.
one's conduct, usually for personal im- Listen to music from different styles or "Inspiration" is sometimes a far better
provement." "Burn out" is defined as, from other countries such as India, Africa, source of motivation than self-discipline.
"Becoming exhausted, especially as a and South America. There is a large number of really great
result of overwork." Somewhere between Schedule some time for fun as well. Sit drummers performing today. If you don't
these two extremes is a balance that is down at the drums and reward yourself by have the money to go to a concert, go to a
workable for each person. In order to saying to yourself, "I'm just going to play. drum clinic. Most of them are free, and
achieve this balance, it is best to begin by Nothing will be preconceived or from a you will get to see a top drummer play up
analyzing your situation. Put your weekly book. I'm just going to see what happens close. You will also have the opportunity
schedule on paper, charting each day from and have some fun." to ask questions. Today, more than ever
morning 'til night. Write down the hours I have one student who has been playing before, drummers of all styles are present-
you spend in school. If you have a part- for some time, is a hard worker, and prac- ing clinics. No matter what style of drum-
time job or a job in a band, write down tices consistently. However, at the first les- ming you like, you can most likely see
someone proficient at that style at a clinic.
Sometimes, after a good concert or
clinic, you may feel a little overwhelmed.
You may feel like "giving up." However,
my experience is that this feeling usually
gives way to inspiration, and you find
yourself in a hurry to get to the drumset to
try some of the things you have heard and
seen.
So when self-discipline isn't working
and you feel as though you may burn out,
seek some inspiration. Inspiration usually
carries with it a new influx of ideas and en-
ergy. And inspired drummers not only
play better, but they inspire others as well.
 by Rick Van Horn

One of the beauties of playing long-term,

Adapting
Today's pop music is pretty powerful, and sticks are essential. But I strongly suggest
steady club gigs is that you get to know the bands are faced with having to play that that you also carry a pair or two that are
room and its needs. And when you play the popular music in lounges, restaurant one size larger (and perhaps one size
same clubs regularly on a "circuit," each clubs, and other locations that simply smaller, for those softer situations), just in
time you come into a club, you're already can't tolerate the volume levels of dance case. Ditto for bass drum beaters: If you
familiar with its stage, technical facilities, clubs or rock venues. Simon Goodwin did use felt, carry a wood or other hard beater.
acoustics, etc. You can easily come pre- an excellent column entitled, "Adjusting If your regular beater is of moderate
pared. This was the type of situation I For Softer Drumming" in the May '83 weight, carry one that is a bit heavier, so
enjoyed for many years when I played full- MD, and I heartily recommend it for you don't have to risk muscle cramps
time in California and Hawaii. drummers who face this particular prob- stomping your pedal to death.
However, not all club work involves lem. I've recently made a couple of other
long-term gigs. Since coming east to New However, my problem was quite the adaptations to my kit in response to acous-
Jersey, I've discovered that many of the opposite. My band plays in fairly small tic problems. On the first night of a gig in a
clubs here offer entertainment on week- rooms these days, and my drums are often small, very "live" room, I found my regu-
ends only and most do not book their tucked into a corner of a stage and/or are lar crash cymbals to be a bit too loud and
bands for more than one weekend at a generally set up in a low-ceilinged area. We ringy. The next night, I cut down on the
time. In other words, you're in on a Friday don't play particularly softly, but neither number of crashes, used smaller sizes, and
and out on a Saturday. do we play at arena levels. I'm generally swapped one of my regular Sabian AAs for
Obviously, this type of schedule doesn't quite adequately heard with my 5A sticks a Sabian Sound Control. I could never use
give you the luxury of "learning" the on my unmiked kit. that cymbal under normal circumstances,
room on the first night or two, and then But recently we played a room with a but in this particular room, it was perfect.
settling in comfortably for a long, prob- large, open entertainment area in front of The opposite situation occurred in that
lem-free run. In order to maximize the the equally large stage. The walls were cov- louder room I mentioned earlier. I found
quality of your performance in a minimal ered with plush wallpaper; the floor was that swapping my regular 20" medium ride
amount of time, you need to be prepared thickly carpeted, and the ceilings were for a 21" Rock ride with an oversized bell
to make changes to your physical setup, quite high. As a result, we found that we made a terrific difference in the projection
your acoustic output, and perhaps even the needed to increase our regular volume sub- of my ride patterns.
structure of your performance. The bot- stantially to adequately fill the room and Adapting For Space
tom line is that, when you play "quickie" give the music the intensity it required. For
gigs, you have to be adaptable. my part, I found that I was hitting much In my March '87 column, "The Instru-
This was all brought home to me during harder than usual, and that I still wasn't ment," I mentioned that under normal cir-
a one-month booking period recently, particularly happy with the projection of cumstances I like to use a fairly sizable kit.
when my band played three clubs we had the drums, hi-hat, and ride cymbal. I've been pretty fortunate in that I've been
never worked before. I was fortunate in I don't like having to overwork simply in able to use my regular kit in 99% of the
that two of the clubs were near my home, order to meet the needs of the gig. It takes clubs we play. But there was recently one
and I was able to check them out in away from my concentration, drains my club that had a stage so small that it was
advance of our going in. This is something energy, and generally makes the gig a lot simply impossible to use my large kit.
I highly recommend to any band that plays less fun to play. In this case, I realized that Luckily, this was one of the clubs I had
many different clubs. Whenever possible, I had to do some adapting in order to be been able to visit in advance of the gig, so I
go to the club a day or so in advance, and able to play in my normal manner, but still was aware of the size limitations and could
"check out the territory." Find out how achieve the extra volume I needed at this take steps to deal with them. I created a
large the stage is, what type of lighting and location. Employing a philosophy I "small-stage" kit from spare drums and
electrical power is provided, and what type learned in the army—"If it doesn't work, hardware, so that I didn't have to "canni-
of acoustics the room has (or doesn't get a bigger hammer''—I dug into my stick balize" my regular kit. I did have to select
have). Also, discuss the crowd's taste in bag and trap case, and came up with a pair my cymbals from among my regular set,
material with the manager, bar staff, regu- of Regal Tip regular 5Bs, a pair of Quan- but I made it a point to carry them in a
lar patrons, etc. I've always believed in the tum 5Bs, and a Slobeat Satellite acrylic separate cymbal bag, so that I didn't have
old adage that "forewarned is fore- bass drum beater. Just by employing the to take my heavy cymbal cases to the gig.
armed." It's a great deal easier to make larger sticks and heavier beater to do part (Why carry the extra weight, and risk los-
any necessary changes in your equipment, of the work, I was able to get that volume ing the cymbals that must be left in the
setup, wardrobe, or material ahead of time boost I needed. On my own part, I had to cases and "stashed" on stage?)
than it is after you arrive on the night of the adapt to the slightly different feel of the Besides providing the solution to the
gig. All of that said, let's take a look at sticks and beater, but since I had only gone stage space problem, I discovered that
some of the situations I faced and use them up a small amount in size and weight, that there was something refreshing in the chal-
as examples of how a bit of adaptation can didn't take long. The point is that I was lenge of playing on the smaller kit. Due to
save you a lot of grief—and very likely prepared for this adaptation by having the some of the musical limitations it posed, I
improve your performance as well. sticks and beater available. I've known wouldn't want to do it all the time, but just
Adapting For Volume drummers who take dozens of sticks to a for the novelty of it, I must say I enjoyed
gig because they "want to come pre- the weekend.
It's not unusual at all for bands to be pared"—but all their sticks are the same I realize that not everyone has enough
told they are too loud for a given room. size! I agree that spares of your regular spare equipment to create a second com-
plete kit. In that case, it becomes necessary cymbals I needed, I had completely forgot- repertoire was basically in conformance
to take the necessary drums and hardware ten to bring a snare stand. If you must pick with those requirements, which is why we
from your regular kit, and create a smaller, out individual items from a larger amount were booked into the club in the first place.
"core" kit to use on smaller gigs. I have of drums, cymbals, and hardware, it's a But we filled out our set list with a variety
done this in the past myself, and found good idea to make up a checklist, so that of other songs, including some contempo-
that the only real problem this posed was you can be certain that you have every- rary hits. Those songs were what the club
that I had to be careful to take everything I thing you need. Don't rely on memory. didn't want. So we were required to rear-
needed for the smaller gig. When one is range our song list and add some material
used to just "grabbing the cases and Adapting For Taste
in order to meet the special needs of this
going," it's easy to forget individual com- The third type of adapting that I was one gig.
ponent items that must come out of those faced with in that month-long period I Let me be quick to say that I don't see
cases and be taken separately. On one mentioned involved our material. We were anything wrong or unreasonable in club
occasion long ago, I "cannibalized" my booked into a club where the management managers making such requests of bands.
large kit to create a smaller one for a studio had very specific requirements as to the After all, they should know what their cli-
call. I got to the studio and discovered types of music to be played. Management entele likes, and it is certainly to your
that, although I had all the drums and wanted '50s and '60s oldies—period. Our advantage to stick to that. Besides, the bot-
tom line is that the club managers are pay-
ing you, and that certainly gives them the
right to request that you play the material
that they want. Obviously, this should all
be clarified before you actually come into
the club, so that you can be prepared in
advance.
Preparing in advance need not involve a
lot of rehearsal. Simply start with your reg-
ular song list, remove the unacceptable
tunes, and see what that leaves you with.
Fill in where you can with the "irregular"
or "auxiliary" tunes that most bands have
in their repertoire but don't normally
play—older songs, specialty numbers,
etc.—as long as they conform to the club's
desired format. If you still don't have
enough tunes to fill out the evening, you
can repeat and/or stretch some of the more
popular ones. An old—and very effec-
tive—trick is to note a few songs that go
over especially well early in the evening,
and then play them again later after
announcing that you've had a "request"
to do so. There's nothing wrong with
doing this. Your crowd will probably love
hearing the songs again (if they even
remember that you played them before),
and you will have fulfilled your primary
mission: to entertain your audience.
Being able to adapt to changes in your
usual method of performance is a measure
of your professionalism. The key to being
adaptable is being prepared—mentally,
physically, materially—for whatever situ-
ation confronts you. That's not to say that
you won't ever be surprised by something
totally unexpected; our business is full of
surprises. But the better prepared and
more adaptable you are, the more com-
fortable you can be under difficult circum-
stances. And when you're comfortable,
you have a much better chance of enjoying
even an unusual gig.
 (Mr. Mister) (Starship) (Little Feat, Warren Zevon)

Photo: Pat Rodgers Photo: Pat Johnson Photo: Pat Rodgers

Mr. Mister's albums 'Welcome to the Real Donny spent several successful years on The percolating funk and blistering
[World' and 'Go On' have not only tour and recording with the likes of Elvin grooves of Richie Hayward have delightedj
introduced the music world to a great new Bishop (that's him on the soulful classic, musicians for years. As a member of
band, they have also highlighted the 'Fooled Around And Fell In Love'), Pablo Feat, one of L.A.'s finest bands,
tasteful, inventive programming and Cruise ('A Place In The Sun') and former drumming propelled such great records asj
playing of L.A. drummer, Pat Mastelotto. Doobie Brother, Tom Johnson, before 'Feats Don't Fail Me Now','Time Loves A
Raised on such disparate influences as taking up his present spot as drummer and Hero' and 'The Last Record Album' into the
The Dave Clark Five and Jimi Hendrix, backing vocalist in the ever-popular hearts of listeners the world over.
Pat's powerful technique and great pop Starship. Along the way he added his indelible
sensibility have added a degree of real Since joining, Donny's solid R'n'B leanings to Robert Palmer's debut LP, 'Sneakin'
excitement and credibility to the concept and no-nonsense rock grooves have Sally Through the Alley', and later
of drummers combining both acoustic and integrated with the band's ever-evolving 'Steppin' Out', with the eclectic Joari
electronic percussion in their performance. sound, adding, up to some of the best Armatrading. Recording and touring Robert
Such foresight has not only made him one contemporary music of the decade. Songs Plant's album,'Shakin' and Stirred' not
of a unique new breed, but has also kept like 'We Built This City', 'Nothing's Gonna only put Richie back into the spot-light
Shim busy on the session front with the Stop Us Now', and the pulsating punch of with an excellent band, but led to
likes of Kenny Loggins, Pointer Sisters, 'It's Not Over' have not only re-established sessions and, most recently, the
The Truth, Scandal and Cock Robin. the band Stateside, but have topped the drummer's seat on Warren Zevon's
charts around the world. 'Sentimental Hygiene" tour.
 by Rick Man Horn

Compo and
Cana-Sonic Drumheads
Compo There are five series within the Compo tom heads only; the N3, N4, and N5 are
line—each designed to fulfill a certain designed as batter heads. (I have been
function or appeal to a certain group of informed that the Nl Resounder head is
drummers. (No one type of head is being discontinued.) I tested the N3 model
intended to "suit everyone.") Those series in 12", 14", and 16" sizes. The 22" bass
include the N (Natural), S (Studio), A drum head was simply designated N22
(Attack), K(Kinetic), andM(Marching). I with no particular thickness indication.
was able to test all but the M series; that I found the N series heads extremely
was introduced after we went to press. I nice. They produced a warm, round, mel-
have been informed that it is a thicker ver- low—yet very live—tone. I've been play-
sion of the A with a stronger hoop. ing plastic heads all my life, so I can't
Compo describes the composition of its really say how closely they resemble calf
heads as follows: "Each head is actually a heads. But I can say that for any low- to
custom woven fabric, made from a variety moderate-volume application, these heads
of sizes of polyester and Kevlar materials, would produce a most pleasant, full-bod-
with a variety of ratios of polyester to ied sound. I did find the bass drum sound a
Kevlar." Although the head material may bit thinner than I prefer, but it might work
differ, all of the heads are mounted on the well in a non-rock application. On the
same type of aluminum hoop. Generally other hand, a friend of mine who plays in a
speaking, the heads look "flatter" than harder-hitting rock situation than I do was
Compo drumheads are a new line manu- any other brand of drumhead; they have kind enough to test out these heads for me,
factured by the Asahi Chemical Cloth no raised collar or other adaptation to con- and he reported that he very much liked the
Company of Japan, and distributed in the form to a drumshell. The manner in which sound they produced—especially on the
U.S. by Kaman/CB (who also distribute the heads are formed into the aluminum snare and toms—when hit hard. He was
CB-700 percussion products). The heads hoops sometimes creates small folds or also impressed with their durability. Asahi
are unlike any others on the market today, tucks in spots around the edge of the head does maintain that any model of Compo
in that they are created from a variety of but these don't seem to affect even tension- heads will outlast comparable-application
woven chemical fibers, rather than from ing or tuning to any noticeable degree. I plastic heads by several times. My friend
any form of plastic film or fiberglass. tried a pull-out test on a 14" K series batter found that even the N series held up as well
According to its promotional literature, and was able to get the head as hard as a or better than any plastic head he had ever
Asahi Chemical Cloth Company is the sole rock without pulling out of the hoop. I was used.
manufacturer of "synthetic leather" per- quite impressed. In terms of payability, there is a certain
cussion heads in the world. The company It's hard to make comparisons between quality to all of the Compo heads—but
states that it has gone to great lengths in its the Compo heads and any well-known that is perhaps most noticeable in the TV
research to "find and analyze causal rela- brand, since the fabric nature of the heads series. There is a kind of "give" to the
tionships between every possible material creates an overall tonality that is very dif- heads that makes them very comfortable
currently available and its sound, and ferent. Generally speaking, however, I can to play—if a bit strange to get used to at
between compound materials and [the] say that Compo heads produce a warmer, first. There is actually a "cushioned" feel-
tones they produce." The result, accord- thicker sound than plastic heads. That's ing upon stick impact. This may also have
ing to Asahi, was the "discovery of specific not to say that they won't cut or project, a lot to do with why some drummers feel
compositions of materials which can cre- but the "ringy" quality associated with that these heads resemble calf heads.
ate the various sounds in demand." plastic heads is dramatically reduced in In the interest of objectivity, I must
That's a pretty tall order, and sounds a even the liveliest of the Compo heads. point out that I didn't care much for the
bit on the science-fiction side. For those of Some may think this a disadvantage; oth- Compo Resounder bottom heads. They
us who remember the last major woven- ers may find it desirable, depending on per- tended to accentuate that "warmer,
fabric drumhead attempt—the Duraline sonal taste. thicker" sound, at the expense of cut and
Superhead made of woven Kevlar—the Natural Series. The N series is the thin- projection. For a jazz gig at low volume,
concept of a "fabric" head of any kind nest of the Compo models, and is manu- they might be great, but for any kind of
may not sound too appealing. But after factured with high levels of polyester and situation where volume was required from
thoroughly checking out the Compo line, I low levels of Kevlar. This is the head that unmiked drums, I'd probably stick with a
must admit that the company seems to Compo claims sounds the most like natu- thin plastic head for additional resonance.
have done its homework very well. These ral leather (calf) heads, and is the series But overall, I give high marks to the N
heads are not only quite playable, they are that Tony Williams is endorsing in Com- series as a general-purpose, medium-duty
also quite unique in their sound qualities. po's recent ads. Within the series, there are head with a uniquely appealing sound. The
Furthermore, each model does precisely several thicknesses (or gauges) of heads: N series batter heads come coated (except
what the manufacturer says it should do! The N1 and N2 models are designed as bot- for the bass drum head), and a center dot is
optional.
S Series. The S series heads are manufac-
tured with approximately equal quantities
of polyester and Kevlar. They come
coated, with what Asahi calls a "reso-
nance-controlling outer ring," which is
"actually sandwiched between the multi-
laminate layers of cloth." Again, several
thicknesses are available. I tested an
S3 YC, which is the thinnest of the series
and the "standard" model.
In terms of sound, I found these heads
to have a bit more attack sound than the N
series—due most likely to the increased
Kevlar content—and a slightly duller reso-
nance. In other words, they sound best
when smacked fairly hard, but they don't
project very far or ring for very long-
making them great for a miked-up applica-
tion like studio recording. They aren't rec-
ommended for concert work because they
don't have the durability factors of other
models, but I'm sure that many drummers
could use them quite successfully in that
application. On a purely acoustic basis, I
found that they sounded a bit flat and
unpleasant on toms and bass drums, but
were dynamite on snare drums (taking into
account that non-projecting factor). I
wouldn't use these heads live, but I would
very definitely consider them if I were
going to be doing any recording or miked-
up playing whatsoever.
A Series. The A is for "attack," and
that's what these heads have: lots of
attack. This model has the highest percent-
age of Kevlar among all the Compo heads.
Yet Kevlar by itself—though very dur-
able—doesn't produce a particularly
pleasant tone in a drumhead. Asahi has
added "just the right amount of polyester
fibers to produce a bright, clean, crisp
attack sound." I found that another adjec-
tive needs to be added to that list: high-
pitched. These heads are for cut, not for a
deep tone. Even my 16" floor tom sounded
crisp and cutting; it had very little bottom
to my ears. The A series is designed for
high impact, and only sounds good under
that condition. The heads need that impact
in order to draw depth and tone out of the
drum. When used at low volume, they are
flat, boxy, and unresponsive. Conse-
quently, I wouldn't feel good about using
these heads on toms or bass drums in any-
thing other than a high-volume situation
where the drums had to cut through with-
out the aid of mic's. Given that situation,
however, they would probably work very
well, and be incredibly durable to boot.
The heads I tested were the A4XC models,
which is the medium of three thicknesses
available.
Now that I've knocked the heads for
their high tom or bass drum sound, let me
turn around and say that they are capable
of producing an absolutely devastating
snare drum sound! If you're looking for a
snare drum that will crack all the way to
the back of a big hall, this may be the head most similar to that produced by an Evans account the added durability factor of
for you. There is a center dot, which in Hydraulic. Personally, I like that sound on most of these heads when compared to
other heads tends to muffle impact sound. toms and bass drums—it's deep and plastic, and considering the variety of
On the Compo head, however, the center boomy—and I might use K heads on those sounds, I can recommend the Compo line
dot seems to actually add tone quality that drums for recording. But there's not to drummers who are looking for some-
would not otherwise be there on a high- enough cut or natural projection for my thing new in drumheads.
Kevlar-content head. Another positive taste in any other application. This is par- Cana-Sonic
feature of these heads—especially on snare ticularly evident on a snare drum. There's
drums—is that "cushiony" feel I men- absolutely no crispness from this head. If
tioned earlier. Anyone who played on a all you're looking for is a head that will
Duraline all-Kevlar head will probably produce a fat backbeat when you hit it with
remember that it had little or no "give," a Louisville Slugger-sized drumstick—and
and could actually be painful to play on at last more than one gig—this might be the
high impact over a long period of time. one. But if you play at anything less than
Compo's blend of Kevlar and polyester arena volume, you're not going to get
seems to reduce that hardness just enough, much response out of this particular series.
while retaining the crisp attack sound. The models I tested were of medium thick-
K Series. The K (for "Kinetic") series ness.
heads are similar in design to the A series, All in all, the new Compo heads are both
but utilize a different polyester material impressive and interesting. They definitely
and a different laminating process. They provide alternative sounds to any other
are also black in color, and incorporate an head on the market, and they seem to offer
outer sound-control ring. They are durability and performance quality equal
designed, according to the manufacturer, to any. One important area in which they
"for aggressive rock 'n' roll play, with a differ, however, is price. These heads are
bright, clear, high-energy sound." I must the result of high technology, and—pre-
take issue with Asahi on this one. These dictably—carry a high-tech price tag.
heads are obviously for rock playing; they Using a 14" snare batter as a representative
are very thick and very durable. But they example, the N and S series heads list for
do not produce anything near what I $30.00, the A series lists for $39.00, the K The Cana-Sonic brand has been around
would call a "bright" or "clear" sound. series lists for $42.00, and the M series will for a while, and may be familiar to many
They actually sound quite warm and deep, list for around $50.00. Projecting these drummers for its multi-colored heads. But
but also quite thick and muffled—with lit- prices up into the larger sizes, it's easy to recently, Cana-Sonic introduced a series
tle or no impact sound or "cut." I would see that some drummers will be intimi- called Power Play, designed to offer a
say that these heads produce a drum sound dated by Compo's prices. But taking into totally new sound and projection. I tested
heads from that series, along with Cana-
Sonic's No Overtone snare and bass drum
batters.
As with the Compo heads, the construc-
tion of Cana-Sonic heads is what makes
them different from any other on the mar-
ket. The basic, original-style Cana-Sonic
head is made entirely of fiberglass, in what
is called "unit construction." That means
that the head and hoop are molded
together at the same time, creating a drum-
head that is totally one piece. The
fiberglass can be made in any color, hence
the availability of colored heads. I must
say that this method of construction pro-
duces a deceptively strong head; my pull-
out test failed to create a weakness in a 14"
batter. And yet the hoop is quite flexible
and can conform to imperfections in
drumshells readily. That's beneficial in the
tuning department.
Power Play. The Power Play series adds
a sheet of Mylar on top of a layer of
fiberglass that is different from that used in
the original-style heads. This, in turn, pro-
duces a livelier sound, greater attack, and
even more durability than the original
series heads could offer. The Mylar sheet is
fitted onto the head during the same mold-
ing operation that creates the rest of the
head—so the "unit construction" concept
remains valid. The final head has a shiny,
coated appearance, but since the color is in
the fiberglass and the shine is from the
 Mylar, there's nothing to wear off. (The was no sense of "looseness" in the heads; on deep-shelled snares. In other words, if
heads I tried were all finished in black, they remained crisp and tight at all times. you're trying to achieve crispness from an
which was the only color in which the series Cana-Sonic's literature states that the 8" or deeper snare, you might have a bit of
was offered at its release. As we went to heads will not dent, and I certainly found trouble with this head. But it would cer-
press, Cana-Sonic was considering adding that to be true. Since this is often a prob- tainly give enough crispness on any shal-
multiple colors to the line.) lem with thin plastic heads, I feel it worthy lower drum, and would also give a tremen-
In terms of performance, I must admit of special mention here. Actually, durabil- dously fat and powerful backbeat sound
to being pleasantly surprised by the Power ity seems to be very high with these heads; I on the deeper ones.
Play heads—in most applications. The bashed them for several band gigs and then I cannot say that I liked the No Overtone
sound might best be compared to that of a only had to wipe the stick marks off with a model on my bass drum, because I like a
clear Remo Ambassador: bright, cutting, damp cloth to have them looking abso- lot of boominess and ring in a bass drum
and responsive. Yet there is a certain lutely new again. head, and this head is designed to reduce
"thinness" to the sound of an Ambassa- No Overtone models. Although the No that. But if you're into a flatter, muffled
dor that was not present in the Cana-Sonic Overtone series is not new for Cana-Sonic, kind of "studio" sound, this head can pro-
heads—owing, I believe, to the mellowing I was eager to try it for this review, since it duce that sound very well—along with giv-
effect of the fiberglass under the single is being promoted along with the Power ing you a lot of "punch." Achieving depth
sheet of Mylar. There is no question that Play series as particularly good for snare may be a problem for some drummers, but
these heads are loud—I would heartily rec- and bass drums. It is created of a different a great deal will depend on the size of the
ommend them to anyone who needs to cut fiberglass composition than that used in drum and the personal taste of the drum-
through a medium-to high-volume band in the Power Play heads, and has no Mylar mer. Again, durability was excellent.
an unmiked situation. I especially liked the layer. Consequently, it is a bit drier and Cana-Sonic heads have never been big
definition the heads produced from my warmer, and produces noticeably fewer sellers in the overall drumhead market,
floor toms. overtones—hence the name. I wish to.go and are probably unknown in several
On the other hand, there is one charac- on record as saying that this is a dynamite areas. This is a shame, since the company
teristic of these heads that drummers snare drum head! It's the only one I've offers an excellent series of heads that rep-
should be aware of: They need to stretch a found that can be used in almost any appli- resent yet another alternative to the norm
bit more than a plastic head before reach- cation without any additional treatment for drummers who like to experiment. In
ing that "broken in" point. What this whatsoever. It's controlled, loud (yet sen- terms of price, a 14" batter head in either
meant, on my kit, was that I had to bring sitive at lower volumes), lively enough for the Power Play or No Overtone series lists
the pitch of any given drum up a bit higher live work (yet easily muffled for studio for $28.00, making the heads more expen-
than I had been used to in order to get the work if desired), and very durable under sive than some but less than others. Given
best sound out of the Power Play heads. heavy impact. If this head has any failing all their performance factors, I'd say that a
They did not perform well at low tensions. whatsoever, it's that it may not produce set of Cana-Sonics would be a worthwhile
That may not be a problem for some drum- the amount of high end desirable for use investment.
mers; I found it an annoyance in terms of
not being able to achieve certain pitches on
certain drums. The problem was especially
apparent on bass drums. I tried both
medium and thin Power Play heads on my
bass drum, and was not happy with the
sound in either case. Even the medium-
weight head did not produce the low end I
prefer in a bass drum. Instead, the sound
was high, flat, and boxy. It projected very
well, but didn't have enough "boom" for
my taste. Again, if you're used to using an
Ambassador head on a bass drum, you
may not find any problem with a Power
Play—and may gain a bit of volume. If
you're used to using twin-ply heads, you'll
probably not find the Power Play heads to
your liking on your bass drum.
The characteristics that make a drum-
head a poor performer on bass drums
often make it excellent on snare drums,
and that is the case with the Power Play
head. I tested a thin head on my snare, and
found it to be very crisp, responsive, and
loud. I wouldn't use this head for anything
but a live, unmiked situation where vol-
ume was called for, due to the resonance
that the head produced even when I added
a Zero Ring. But in that situation—which
is generally the one in which I perform
these days—the head proved most useful.
Playing on the Power Play heads was
quite comfortable; there was a certain
amount of "give'' to them that I liked. The
interesting thing about that was that there
 NATIONAL DRUM & BUGLE CORPS DAY ZILDJIAN ANNOUNCES PROMOTIONS
This summer, a bill was intro- tives can be found in local tele- The Avedis Zildjian Company est-serving members of the
duced in the U.S. House of phone directories under "U.S. has announced three important Zildjian staff, having originally
Representatives designating Government." You may also promotions within its U.S. joined the company as a cymbal
August 20th, 1988, as National contact the offices of Drum marketing group: Lennie Di- tester in 1961. His reputation
Drum & Bugle Corps Recogni- Corps International, P.O. Box Muzio to the position of Direc- within the industry as an au-
tion Day. Drum corps partici- 548, Lombard, IL 60148, (312) tor of Artist Relations, Jerry thority on cymbals is preemi-
pants, fans, parents, and any- 495-9866, for further informa- Donegan to the position of nent. Donegan joined the com-
one else interested in the tion or assistance. Sales Operations Manager, and pany in 1966, and has since
activity are encouraged to write Congressmen Robert Kas- Colin Schofield to the position been responsible for such
their local representatives and tenmeier and Charles Pashayan, of Marketing Manager. Ar- achievements as the marketing
ask them to co-sponsor the bill. Jr., are the original co-sponsors mand Zildjian, President, com- of Zildjian's line of activewear
Simply address a postcard to of the bill. However, for the bill mented, "With these promo- and the launch of the compa-
the appropriate representative to become a reality, there need tions, we have recognized the ny's range of drumsticks. Scho-
that says: "Please co-sponsor to be 218 co-sponsors from the broad range of skills possessed field joined Zildjian in 1983
House Joint Resolution 342 for House of Representatives. Af- by each of these committed as International Promotions
National Drum & Bugle Corps ter the bill passes the House, it players and also the years of Manager, operating out of the
Recognition Day." Contact in- will then be presented to the hard work they have given the company's office in Windsor,
formation for local representa- U.S. Senate for their approval. company. This year will be one England. He will be responsible
of the Zildjian Company's for the company's product
DRUMS LTD. RELOCATES most successful ever, so it was marketing programs including
time to reward their success and all advertising and promotional
Bill Crowden's Drums Ltd., The well-known drum specialty spur them on to even greater activity, press relations, and
which had been located on the shop has been a fixture in the heights." new-product planning.
eighth floor at 218 S. Wabash in Chicago area for many years, DiMuzio is one of the long-
Chicago since 1963, has re- catering to drummers and per-
cently relocated. The business cussionists from around the
will now be located in a 3,238- world with sales, rentals, les- WANAMAKER ASSUMES NEW YAMAHA POST
square-foot ground-floor show- sons, clinics, and repair serv- Mike Bennett, General Man- 800-member 1984 Olympic Ail-
room at 222 S. Jefferson Street. ices. ager of Yamaha's Musical In- American Marching Band, the
struments Division, recently 500-member Statue Of Liberty
announced the promotion of Ail-American Marching Band,
Jay Wanamaker to the newly and the 1000-member Pan
created position of Marketing American Games Marching
Manager for Concert and Band. He currently instructs
Marching Percussion. Mr. the McDonald's All-American
Wanamaker will be responsible High School Band. Mr. Wana-
for directing all marketing ac- maker is also active in the Per-
tivities relating to Yamaha con- cussive Arts Society, where he
cert and marching percussion, is a member of the Board of Di-
as well as all Deagan products. rectors and chairman of both
Jay Wanamaker is a highly the International Drum Rudi-
regarded clinician, educator, ments and Marching Percus-
author, and arranger in the field sion committees. He has au-
of percussion education. He thored over 50 percussion
has directed the percussion sec- publications, including a text-
tions of many outstanding book on marching band tech-
marching bands, including the niques.

NEW MANAGEMENT AT PEARL

Pearl International recently an- Former Artist Relations
nounced a new management Manager Ken Austin has been
roster—the result of multiple promoted to the position of
promotions within the com- Corporate Marketing Man-
pany. New President of Pearl ager, while Ken Mills—for-
International is Tak Isomi, for-
merly manager of Pearl's East
merly Vice President of Mar- Coast sales and distribution fa-
keting. After several years in cility near New York City—will
the L.A. and New York offices, assume the position of General
Mr. Isomi will now direct the Operations Manager. Both
company from its corporate gentlemen will also be operat-
headquarters in Nashville. ing from the Nashville office.
 BRODIE'S BRIGHT WERKS SOUND DESIGNER UNIVERSAL SOFTWARE
Digidesign's Sound Designer flexible crossfade looping func-
sample-editing software for the tion. Sounds can be digitally
Apple Macintosh computer mixed, merged, equalized, and
now features a new Universal compressed, allowing the user
edition that works with many to create unique, specialized
samplers not previously cov- sounds. Complex frequency
ered. Samplers supported by analysis can be performed us-
Sound Designer Universal in- ing Sound Designer's three-di-
clude the Roland S-50, S-10, mensional FFT (Fast Fourier
MKS-100, and S-220, the Akai Transom) display.
X7000 and S700, the Casio FZ- Unlike previous versions of
1, the Oberheim DPX-1, the Sound Designer, the Universal
Dynacord ADD-one, and any edition has the ability to trans-
sampler supporting the MIDI fer sounds between the many
sample dump standard. samplers it supports. However,
Like all previous versions of front panel editing and Kar-
Sound Designer, the Universal plus-Strong digital synthesis ca-
Brodie's Bright Werks recently dealers. Any cymbal—new or edition displays up to three pabilities have been removed.
announced the only known used, clean or tarnished, mass- waveforms on the high-resolu- The program requires a mini-
cymbal-care service in the U.S. produced or handmade in tion Macintosh screen, allow- mum memory of 512K and is
and Canada. Jim Brodie, a spe- China—can be custom finished ing the user to edit each sound Mac II compatible. For further
cialist in the polishing of cym- to the owner's specifications. with up to 1/50th of a second ac- information, contact Digide-
bals, states that he can "do it all According to Jim Brodie, curacy. High-quality looping is sign, Inc., 1360 Willow Road,
for your cymbals—whether it "Brodie's Bright Werks does made possible through the use Suite 101, Menlo Park, Califor-
be restoring that new look to high-quality, not high-volume of a special loop window and a nia 94025, (415)327-8811.
old or tarnished cymbals, add- work. Each and every cymbal is
ing a special high-reflection very carefully cleaned or pol-
mirror finish to old or new cym- ished to the owner's specifica-
TUKI COVERS
bals, or anything in between." tions by myself on a machine I
There is absolutely no plating designed and built exclusively
of any kind involved, which for the purpose of polishing
might result in "choked" or cymbals."
"muted" cymbal sounds. In The company also offers
fact, Brodie guarantees that his Bright Werks Cleaner and Pol-
process produces no audible ish. This new product is 100%
tone loss or sound distortion. abrasive-free and is highly rec-
Some of the advantages of ommended for use on Brodie's
Brodie-custom-finished cym- mirror-finished cymbals. It can
bals are: ease of cleaning, re- also be used on all non-coated,
duced cracking tendencies (in non-ferrous and precious
certain types of cymbals), metals (i.e., brass, copper, alu-
and—in the case of "mirror- minum, gold, and silver), and
finished" cymbals—an abso- even on chrome and brass plat-
lutely brilliant light-scattering ing. For further information on
effect. prices or services from Brodie's
Brodie's Bright Werks offers Bright Werks, contact Jim Bro-
this service to individuals, die, 818 Cook Avenue, Billings, Tuki Covers has recently intro- able, long-lasting cordura ny-
schools, drum & bugle corps, Montana 59101, (406) 259- duced a new line of musical lon. All seams are double-
marching bands, or cymbal 7669. equipment covers. As an inex- stitched and the strapping is
pensive alternative to hard full-length for maximum
DRUM BOOK FROM PETER ERSKINE cases, Tuki offers a complete weight support. As an indica-
variety of soft covers ranging tion of confidence in their prod-
Hal Leonard Publishing is cur- experience and philosophies, from studio equipment and am- uct, Tuki guarantees the bags to
rently distributing a new drum along with the rhythmic influ- plifier covers to a full series of be tear-free for a period of five
technique book from 21st Cen- ences that make up his success- percussion bags. The percus- years. All bags are available ei-
tury Music Productions written ful technique. The book also sion series features bags for ther padded or unpadded. (It is
by Peter Erskine. Peter Erskine includes a discography of every size of drum, along with recommended that bags used
—Drum Concepts And Tech- Erskine's performance on re- conga, timbale, and tambou- for electronic drums be pad-
niques is a book for the begin- cord. For more information on rine bags, stick and hardware ded.) For additional informa-
ning to intermediate drummer, this publication, see your local bags, and three different sizes tion, write Tuki Covers, 306
and covers such topics as drum music retailer or contact Hal of cymbal bags. Also included Garibaldi Avenue, Suite 3A,
setups, beats, brushes, phras- Leonard Publishing Corp., in the percussion series are bags Lodi, New Jersey 07644, or call
ing, tuning, and reading. P.O. Box 13819, Milwaukee, for electronic drums. (201) 777-4786.
Erskine shares his drumming Wisconsin 53213. The bags are made from dur-
 DAUZ DRUM TRIGGER PADS NEW PAISTE MODELS
Paiste recently announced the feature the same sensitivity and
addition of several new prod- dynamic range that is charac-
ucts to its cymbal lines. Those teristic of that series. The cym-
include thin crash cymbals in bals are available in 14"
the 3000 line, a 20" Mellow through 19" sizes. The other
China in the 2000 series, a 20" new models are being added to
Power Ride in the 1000 Rude the existing lines due to the pop-
Series, and 14" Sound-Edge hi- ular demand and heavy con-
hats in both the 400 and 200 sumer interest in all the new
lines. Paiste products, and to
According to Greg Perry, broaden the sound choices at all
National Sales Manager for performance levels.''
Paiste, "The new 3000 Series For more information, con-
thin crashes were developed for tact your local Paiste dealer or
drummers who wanted more write to Paiste America, Inc.,
sensitive, delicate crash sounds 460 Atlas Street, Brea, Califor-
in the 3000 line. Naturally, they nia 92621.
Dauz Designs, Ltd. recently in- clamp adjustability and grip
troduced the finished version of lock gaskets make the mount- PLAY-ALONG TAPES FOR
the Dauz Drum Pad. The new ing system extremely versatile.
design features a 6" free-float- The detachable backplate sim- CONTEMPORARY TUNES
ing rubber playing surface, a plifies modifications, and the
shock-mounted spring system, "new-age" look is designed to
a removable backplate, an fit into any type of setup. The A 20-song, two-cassette pack- ance, the drums can be heard
adjustable dome top clamp, pads are available at various re- age of contemporary tunes- alone, heard with the band, or
crosstalk eliminator gaskets, tail music outlets throughout recorded so that the drums can not heard at all, allowing the
tension-rod fastening, and a the U.S. or direct from Dauz be either isolated or eliminated listener to play along with the
1/4" input jack. Designs. For further informa- from the track—is available tracks. (Versions for the isola-
Dauz Drum Pads offer the tion, contact the manufacturer from Play With The Pros. Fea- tions of guitar, bass, and key-
feel of rubber snare pads with at 4715 W. El Segundo Boule- turing top Nashville session boards are also available.) For
extra resiliency due to the shock vard #B, Hawthorne, Califor- players (including drummer further information on price
mounting. The new added nia 90250, (213) 219-0033. Eddie Bayers), the recordings and ordering procedures, con-
are made in stereo with the tact Play With The Pros, P.O.
drums in one channel and the Box 156, Dickson, Tennessee
rest of the music and vocals in 37055.
the other. By adjusting the bal-

NEW YAMAHA DRUM CATALOG

Yamaha Music Corporation, log is available from all autho-

USA, Drums, Guitars and Am- rized Yamaha drum dealers, or
plifier Division (DGA) is proud can be ordered (at a postage
to announce the release of its and handling charge of $3.00)
newest drum catalog. The 50- from Yamaha Music Corpora-
page, four-color catalog fea- tion, Drums, Guitars, Amplifi-
tures the complete line of ers Division, 6600 Orange-
Yamaha acoustic drums, elec- thorpe Avenue, Buena Park,
tronic percussion systems, and California 90620.
drum hardware. The new cata-
 next month in Advertiser's Index
MARCH'S
AKG Accoustics 83
Amberstar International 12
Ascend Hardware 48

MD... Atlanta Pro Percussion

Sam Barnard
BEATO Musical Products
100
106
57
Beyer Microphones 93
Camber Cymbals 71
CB-700 7,102/103
Collarlock 72
Connections 38
Corder Drum Co. 117
DC1000 Percussion 97
DCI Music Video 80,81
ddrum 40,99,103,110
D.O.G. Percussion 40
The Drum/Keyboard Shop 57,73
The Drum Shoppe 102
Drum Workshop 41,97,99,101
Drum World 44
Drummers Collective 82
Dynacord 98
Electro-Voice 53
Evans Products 50
Explorers Percussion 89
Fibes Drum Sticks 89

RICK
Gallien-Krueger 10
Oon Bops Of California 88
Heartwood Drum Sticks 105
Hot Licks Productions 52
Imperial 103

ALLEN
Latin Percussion 46/47
L. T. Lug Lock 95
Ludwig Industries Inside Front Cover,39
May Ea 43

also
MD Back Issues 74
MD Equipment Annual 96
Meinl 109,114/115
Musicians Institute 67

Richie
Noble & Cooley 66
Paiste Cymbals 30/31,65
Pearl International 14/15,37,85,121

Hayward
Percussion Paradise 99
Power Drumming 99
Precision Drum Co. 99
Premier Drums 3
Pro Design 44
Promark 36

The
Paul Real Sales 77
Regal Tip/Calato 116
Remo 51,101
Resurrection Drums 106

Graceland
RIMS 69
R.O.C 70
Roland Corp 33

Drummers
Rolls Music Center 67
Sabian, Ltd. 49,111
Sam Ash Music Store 75
"Set-The-Pace" Pedal Practice Pads 65
Shellkey 101
Shure Brothers 110
plus: Silver Fox 75
Charles Silverman 44
Simmons Electronic Drums 9,123

STRYPER'S
Slingerland Inside Back Cover
Sonor 119
Tama 5,35,107

Robert
Tempus Instruments 45
Thoroughbred Music 54
Tiger/Atlas/UFIP 77

Sweet
Universal Percussion 118
Valje Percussion 59
Valley Drum Shop 95
Veri-Sonic 122
Vic Firth, Inc
and much more...
55,76
Glenn Weber Drum Shop 95
The Woodwind & The Brasswind 103

don't miss it Yamaha

Zildjian
4,11,113
13,124,Outside Back Cover