Drums for Producers

Book 1
Curriculum

Drum Department

Written by Dave Beyer

LA College of Music (LACM)

Copyright  2013  
Dave  Beyer  
All  rights  reserved  

Exclusive  license  granted  to    

The  Los  Angeles  College  of  Music  
Reprinted  by  permission  only  

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 TABLE OF CONTENTS

1. Lesson 1………………………………………………………3

2. Drum kit photo………………………………………………..5

3. Parts of the Snare Drum diagram………………………….6

4. Lesson 2………………………………………………………7

5. Lesson 3……………………………………………………..10

6. Focus on Bass Drum……………………………………….12

7. Lesson 4……………………………………………………..13

8. Focus on Hi-Hat/Ride………………………………………14

9. Lesson 5……………………………………………………..15

10. Focus on Snare……………………………………………..18

11. Lesson 6……………………………………………………..19

12. Lesson 7……………………………………………………..21

13. Examples 2 – 2D……………………………………………23

14. Lesson 8……………………………………………………..24

15. Lesson 9……………………………………………………..26

16. Lesson 10……………………………………………………28

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 DRUMS FOR PROUCERS
LESSON 1

OVERVIEW:

In Lesson 1 you will learn the names and sounds of the main components of the
drum kit. You will also learn about tuning and various stick and brush options.

OBJECTIVE A:

To learn the proper name and “studio slang” for the components of the drum kit.

DISCUSSION A:

Turn to page 5 for a look at a drum kit in the studio. Let’s start from the bottom
and work our way up. (Instructor plays the bass drum (kick drum) and
demonstrates a few playing, tuning and dampening methods.)

Next, we’ll move to the toms. The high tom and the mid-tom (rack toms) usually
are positioned over the kick drum and are tuned about an interval of a fourth
apart. The low tom (floor tom) usually has legs and is tuned a fourth lower than
the mid-tom. A good starting place for the relationship between the top and
bottom head of each tom is to tune the bottom head a minor third higher than the
top.

Now let’s move to the snare drum. Take a look at page 6 to see all the specific
parts of a snare drum. The instructor will demonstrate several sounds and tuning
options, as well as how to adjust the tension of the snares and how to throw them
off.

Finally, let’s move to the cymbals. The ride cymbal is typically the largest (and
thickest) cymbal. It’s designed for riding (playing a repeating pattern) without
building up too many overtones. The crashes are mainly designed for quick
strikes, but can be used for a washy ride alternative. The instructor demonstrates
good cymbal technique while exploring several cymbals and sounds.

OBJECTIVE B:

To be familiar with different drumstick, brush and rod options and how they affect
the sound of drums and cymbals.

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LESSON 1

DISCUSSION B:

A stick is a stick, right? Wrong! The type of wood it’s made from, as well as the
size of the stick and tip shape make a huge difference in the final sound.

The most popular type of brushes are made from either metal or nylon. Most
session drummers have both.

Rods come in a variety of materials and sizes. Some are made up of all wood
dowels, while others are all plastic or a wood/plastic combo.

The instructor will dig deep into his stick bag and demonstrate a plethora of stick,
brush and rod options.

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LESSON 1

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Dave Beyer recording at Capitol

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LESSON 1

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LESSON 2

OVERVIEW:

Good technique is one of the most important elements of good drumming. In this
lesson you will learn how to hold the sticks and how to execute a smooth and
relaxed stroke while letting the stick bounce (rebound) off the head. This will
result in producing a pleasing sound on the drum kit.

We will also learn a few popular drum rudiments and work on playing a basic
rock beat.

OBJECTIVE A:

To establish a fulcrum---a proper grip---and how to hit the drum.

DISCUSSION A:

Hold your hand out as if you are about to shake hands with someone. Bend your
index finger only, at a 90 degree angle. Place the stick on the first knuckle
(closest to your fingertip). Now put your thumb on top of the stick, even with your
first knuckle. Your grip should be about 1/3 of the way up the stick, about 5 ¼
inches from the butt end of the stick. Practice “air drumming” while letting the
stick roll on top of your knuckle, while your thumb helps you control the stick.

Start by squeezing as hard as you can. Notice how the stick hardly moves at all.
Now relax your grip and notice how much easier it is to move the stick up and
down.

Over-squeezing is the enemy of good technique and good sound. You should
only squeeze enough to not drop the stick, and not more!

Now you can add the rest of your fingers to the mix, to help control the stick.

TIP: The “thumb up” position you are using now is called the “French Grip” and is
a good way to play the ride cymbal.

With all your fingers touching the stick (without squeezing or closing your hand),
simply turn your hand over, so the back of your hand is almost flat (or parallel to
the ground). Now we are ready to make a wrist stroke. Let’s start with a full
stroke. First, point the tip of the stick at the sky, then hit the drum and let the stick
bounce (or rebound) off the head, while helping it return to it’s starting (tip up)
position.

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LESSON 2

Remember to use your wrist and to stay relaxed, using a seamless flowing
motion.

TIP: When your hands are turned over this is called the “German Grip,” and is
good for playing the “drums” part of the drum kit.

Now let’s use both hands and learn a few drum rudiments.

OBJECTIVE B:

To use good technique while getting a handle on a few drum rudiments.

DISCUSSION B:

Let’s start with hand-to-hand (or alternating) strokes. This rudiment is known as
the Single Stroke Roll. The “roll” part will come later… Let’s play it at a
comfortable, slow tempo.
R L R L R L, etc.

Next, we’ll play some double strokes (also known as diddles). Start at a slow
tempo using your wrist for both strokes, and as we increase the tempo let the
second stroke of each diddle bounce in a relaxed fashion.
R R L L R R L L, etc.

Finally, we’ll learn a rudiment that is a combination of singles and doubles: the
paradiddle. The “para” part is two single strokes, and the diddle part is (you
guessed it) a diddle (double stroke).
RLRR LRLL

TIP: The goal for practicing your rudiments is to achieve a relaxed motion while
maintaining a steady tempo. Don’t go for speed now. If you get it right NOW,
speed will come easily LATER.

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LESSON 2

OBJECTIVE C:

To get a feel for drum beat No. 1 from the “Focus On Bass Drum” page.

DISCUSSION C:

The instructor demonstrates pattern No. 1 from the “Focus On Bass Drum” page
with 8th notes on the hi-hat. Students should practice this to prepare for Lesson 3.

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 LESSON 3

OVERVIEW:

Simple quarter- and 8th-note kick drum patterns with 8th-note hi-hat and the snare
on 2 & 4 have created the foundation for countless hit songs. Let’s work on a
handful (and footful) of patterns and talk about some playing, tuning and
dampening techniques for the bass drum.

OBJECTIVE A:

To get a handle on patterns 1, 9, 17, 23 and 29 from the “Focus on Bass Drum”
page.

DISCUSSION A:

Start by counting 8th notes “1 and 2 and.” Repeat this counting while playing the
hi-hat only and then accent your counting on the counts that correspond with the
bass drum and snare patterns you’re working on.

TIP: Start at a slow tempo.

OBJECTIVE B:

The two main sounds of the bass drum can be achieved by playing “in” and “out”
of the head. Let’s look at and listen to both sounds.

DISCUSSION B:

Playing “into” the bass drum (kick drum) means that you push the beater into the
head and leave it there until the next hit on the kick.

Playing “out of” the head means that you let the beater rebound off of the head,
leaving it in the “out” position until the next hit on the kick.

The instructor demonstrates both methods and discusses the pros and cons of
each.

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LESSON 3

OBJECTIVE C:

There are no rules when it comes to tuning the kick drum. Some drummers use
the “half a turn past wrinkle” tuning technique. Others tune higher for a more
jazzy sound, while some tune somewhere in between. The key is to fit the style
and vibe of the song.

DISCUSSION C:

Let’s start with the “half a turn past wrinkle” method and work our way higher.

OBJECTIVE D:

To hear how different dampening methods affect the sound of the kick.

DISCUSSION D:

Usually, the higher you tune a kick drum, the less you dampen it, but then again
there are no rules. Let’s use our ears and experiment.

OBJECTIVE E:

To hear the result of different miking techniques for the kick drum.

DISCUSSION E:

We’ll try a one- and two-mic method, and also move the mics around to find the
best sound.

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LESSON 4

OVERVIEW:

How a drummer plays the hi-hat and ride cymbal has a direct connection to their
feel on the kit. Let’s look at and listen to several different options for hi-hat/ride
patterns, as well as playing and miking techniques.

OBJECTIVE A:

To play the first three examples from “Focus On Hi-Hat/Ride” (page 14), along
with the previous “Focus On Bass Drum” assignment.

DISCUSSION A:

Play the accents on the edge of the hat with the shoulder of the stick. Play the
un-accented notes on top of the hat with the tip of the stick.

TIP: Try experimenting with different degrees of tension on the hi-hat pedal, to let
the hats sizzle.

OBJECTIVE B:

To get another sound, let’s move to the ride cymbal.

DISCUSSION B:

Play the accents on the bell and the un-accented notes on the ride. Use the
shoulder of the stick on the bell and the tip of the stick on the ride.

OBJECTIVE C:

To try out and hear the result of a few different cymbal (overhead) and hi-hat
miking techniques.

DISCUSSION C:

We will place the overhead mics in both a “wide stereo” and “XY” position and
hear the results. We will also try a few different placements for the hi-hat mic.

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LESSON 5

OVERVIEW:

Weaving multiple-note snare drum patterns into your beats can have a dramatic
impact on the feel and personality of your groove. You can play these snare
patterns with a few different techniques that will help support your dynamic
choices. Using the right snare, tuning and miking method to fit the style and song
you are producing is vital. Also, let’s look at a few more rudiments that you can
use as beats.

OBJECTIVE A:

To work a few snare patterns into the beats we started in Lesson 3.

DISCUSSION A:

Start by playing Pattern #1 from the “Focus On Bass Drum” page from Lesson 3
(with 8th notes on the hat), and then flip to the “Focus On Snare” page in this
lesson and add in Snare Pattern #3. The snare note on the “e” of beat 1 can be
played as a ghost note (soft), using a “prep” motion or as an accent using a
“whip” motion.

Try playing a rim shot for the note on count 2. To play a rim shot, simply hit the
rim and the head at the same time, to add extra snap. Use the same method for
Snare Pattern #8.

Now let’s apply a cross stick (or rim knock or side stick) snare sound to Pattern
#2. Instructor demonstrates.

TIP: Use the “butt” end of the stick to hit the rim for a “fatter” sound.

OBJECTIVE B:

To hear the result of different tunings and muffling methods on a few snare
drums.

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LESSON 5

DISCUSSION B:

Typically studio drummers use piccolo snare drums tuned high for an extra
snappy sound, a deeper shell size (6” +) with a lower tuning for a more “thuddy”
sound, and an average size (5”) for everything in between. Diameter sizes range
from 10” to 16”, with 14” being the most common. The shells are made from a
wide variety of materials---maple and birch are the most popular woods, while
brass, aluminum and steel are common metal choices. The brass Ludwig “Black
Beauty” is a very popular snare used in the studio, for example.

Let’s tune three different snares to three distinct tunings (and dampening
methods) and mic ‘em up to hear the results.

OBJECTIVE C:

To be familiar with the most common snare miking techniques, as well as a few
that might be new to you.

DISCUSSION C:

Let’s start with the old standby: a Shure 57 on top and bottom of the snare.
There’s a reason that this is the most common way to mic a snare---it works!
However, it’s not the only way that works. Let’s try some variations: 1) Swapping
out one (or both) mics with other choices; 2) Playing with mic placements, for
example, moving the top mic further away for a more ambient sound; 3) Moving
the bottom mic to the “air hole” of the drum. There are no rules, well actually just
one: If it sounds good, it is good!

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LESSON 5

OBJECTIVE D:

To learn a few more drum rudiments and apply them to the kit.

DISCUSSION D:

In Lesson 2 we learned the paradiddle. Now let’s add the double paradiddle and
the paradiddle-diddle to the mix.

The double paradiddle goes like this: R L R L RR / L R L R LL. Because it is 12

notes long it can be felt in 12/8, 6/8 or triplets in 4/4. Try splitting your hands
between the snare and ride. Also, try adding a kick to the first (right hand) note
and an accent on the 7th note of the phrase (left hand).

The paradiddle-diddle is a 6-note pattern that goes like this: R L R R L L. You use
the same counting (6, 12, triplet) as we used for the double paradiddle. You can
use this rudiment as a fill or a beat, and can (and should) try starting with the left
hand, as well. Instructor demonstrates.

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LESSON 6

OVERVIEW:

Toms can be used in many ways to enhance a drum track. You can incorporate
them into a beat, use them as part (or all) of a fill, or to punctuate a figure or
ending. Toms can be tuned high for a jazz track or lower for a rock track, or
somewhere in between.

Toms are usually mic’d from the top, with a wide variety of microphones.

OBJECTIVE A:

To incorporate toms into your beats.

DISCUSSION A:

Incorporating toms into your beats is easy. Try playing a tom (or two) instead of
some (or all) or the “Focus on Snare” page patterns that we played in Lesson 5.

OBJECTIVE B:

To use the toms as all or part of a fill.

DISCUSSION B:

You can briefly move the hi-hat or ride cymbal part of your beat to the toms to
create a fill, or you can play one of the rudiments you’ve learned on the toms (or
a snare and tom combo) as a fill.

OBJECTIVE C:

To understand the fundamentals of tom tuning.

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LESSON 6

DISCUSSION C:

A great way to start is to tune the bottom head of each tom a minor third interval
higher than the top head. Start with tuning the final pitch of the 10” tom to a “D”
above “middle C” and working your way down in fourths. The 12” tom would be
an “A” and the floor tom would be an “E”. Start with this method and then you can
“tweak” from there.

OBJECTIVE D:

To learn how to successfully mic the toms.

DISCUSSION D:

Let’s start with “57s” and work from there. We’ll experiment with a few different
mics and mic placements.

TIP: Consider the “Proximity Effect”: The closer the mic is to a sound source the
more the low end is accentuated.

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LESSON 7

OVERVIEW:

If the drum kit is the cake, then percussion is the icing. In this lesson, you will
learn to play several popular percussion instruments and patterns.

OBJECTIVE A:

To learn the conga pattern known as the marcha (march).

DISCUSSION A:

Turn to page 23 and check out the conga part (Example 2). Start at a slow tempo
and strive for a relaxed, even 8th-note flow and good tone.

OBJECTIVE B:

To play the bongo pattern known as martillo (the hammer).

DISCUSSION B:

The martillo bongo part has a hand-to-hand sticking pattern. The “hammer”
sound is accents on the high drum, while the low drum is played on the “ands” of
beats 2 & 4. (See Example 2D).

OBJECTIVE C:

To learn a traditional guiro part and play it with the proper feel and motion.

DISCUSSION C:

The trick (see Example 2A) to achieving the right feel for this classic guiro part is
to: a) hold the guiro in the correct position (vertical), and b) start both the long
sounds (on counts 1 & 3) with a flick of the wrist.

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LESSON 7

OBJECTIVE D:

To learn two cowbell parts that fit in nicely with the other percussion parts from
this lesson.

DISCUSSION D:

The first cowbell part (Example 2B) is an easy one: quarter notes. However, you
still need to pay attention and lock into the groove.

The second pattern is much more challenging. It’s known as the “cascara,” and
comes from the pattern that timbale players typically play on the shell of the
timbale.

The instructor demonstrates all of the percussion parts.

OBJECTIVE E:

Getting a feel for how these percussion parts are used in Latin and Latin-rock
music.

DISCUSSION E:

We will listen to a song or two from Santana and The Buena Vista Social Club.
Listen closely for these parts and how they fit together to make a saucy groove.

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LESSON 8

OVERVIEW:

Today’s lesson will focus on small percussion instruments that can make a big
difference on a recording. For the balance of things, we’ll also throw in some
djembe and cahon; and cover percussion miking techniques.

OBJECTIVE A:

To get comfortable playing 8th- and 16th-note patterns (and a mix of the two) on
tambourine, shaker, triangle and caxixi.

DISCUSSION A:

There seems to be a false perception in the world that it’s easy to play
tambourine and shaker and the like. It is easy to make a sound, however to play
a track that stays locked in 100% of the time is a whole other story.

OBJECTIVE B:

To learn how to use the djembe and cahon to play drum kit-like patterns that will
provide a nice foundation for our “high end” percussion parts.

DISCUSSION B:

Although they are completely different instruments from different countries, the
djembe and cahon both have distinctive low and high end sounds that make
them great substitutes for the drum kit.

OBJECTIVE C:

To get a feel for miking all the percussion instruments that we’ve learned so far.

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LESSON 8

DISCUSSION C:

Some of the instruments we have learned in the last two lessons require only
mono condenser mic set-up, while others benefit greatly from a matched stereo
mic set-up. Finally, using an unmatched pair: A dynamic mic for the low end and
a condenser mic for the top end would be perfect for recording certain percussion
instruments with multiple timbres.

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LESSON 9

OVERVIEW:

There are myriad ways to create dynamic music. A great starting place is a
dynamic drum track that supports the song form. Wise sound choices and the
use of space are also key when it comes to creating effective arrangements.

OBJECTIVE A:

To be aware of various sound and pattern options that will help you create a
dynamic drum track.

DISCUSSION A:

To keep things dynamically down you can play with the tip of the stick on the ride
while playing a cross stick sound on the snare. Add a kick drum pattern that is
sparse and you’re good to go. From there, you could give the song a dynamic lift
by adding accents on the bell of the ride cymbal or create a bigger shift by
switching to rim shot back beats, filling in more bass drum parts, and riding on a
crash.

TIP: Try all of the above with brush, rod and stick combinations mentioned in
Lesson 1.

OBJECTIVE B:

To learn how to also create dynamic music by having other instruments in the
band (such as guitar and bass) stop playing for a section of the song. This can
also help create an interesting track, along with the aforementioned drum sound
and pattern options.

DISCUSSION B:

Just because you have five players in your band doesn’t mean that five players
should play all the time. Try dropping out the bass for the first verse, or try
dropping out the guitar for the third verse. You can also stop the drums or switch
to percussion only for a section or two.

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LESSON 9

OBJECTIVE C:

To listen to a few examples of dynamic drum tracks and song arrangements that
have instruments drop out to create dynamics.

DISCUSSION C:

Let’s listen to a few songs that have wide dynamic range. “Lithium” by Nirvana,
“Driven to Tears” by The Police, and “In My Life” by the Beatles are all good
examples.

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LESSON 10

OVERVIEW:

The goal of this lesson is for you to compose and play a great drum track. You
should combine all (or most) of what you’ve learned to create an effective drum
part. We will mic the entire kit and record your drum track.

OBJECTIVE A:

To look back through all 10 lessons and mix ideas to come up with a drum track
that is musical in every way.

DISCUSSION A:

Try mixing percussion into your track to create dynamics. How about starting with
a cahon part and then working into a full drum kit part? Or, start with brushes and
work into sticks. Be creative.

OBJECTIVE B:

To use all the individual drum miking methods we’ve covered so far, as well as
adding in a pair of room mics.

DISCUSSION B:

Let’s look back to previous lessons to refresh your memory about the details of
drum miking. Also, we’ll experiment with the placement of a pair of room mics to
capture the ambient sound of the kit.

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