GE INSIDE
PRODUCT RAN
ISSUE 1
drummer AUSTRALIAN
P5
MEET DEAN BUTTERWORTH
P12
INTERVIEW WITH AARON BARNETT (THE GETAWAY PLAN)
P22 PROTECT YOUR MOST VALUABLE ASSET
(HEARING PROTECTION)
TURN TO PAGES 28/29 TO FIND OUT WHERE TO BUY!
Contents 4 9 10 14 16 19 20 24 26 28
ACOUSTIC DRUM KITS, ELECTRONIC DRUM KITS AND DRUM AMPLIFICATION INTERVIEW WITH MASTODON DRUMMER BRANN DAILOR ROLAND ELECTRONIC DRUMS AND ACCESSORIES TAMA SILVERSTAR AND HYPERDRIVE KITS TAMA STARCLASSIC NEW FROM FRANKFURT 2011 (MUSIK MESSE) SNARES AND CYMBALS AQUARIAN DRUMHEADS PERCUSSION & ACCESSORIES WHERE TO BUY? DEALER LOCATOR!
At Australian Drummer, we love hearing from people! Send us pictures of your drum rig, stories or anything drum related to marketing@australismusic.com.au!
drummer AUSTRALIAN
Disclaimer: This catalogue must be read subject to the terms and conditions on this page. All prices are valid until 31st December, 2011 or while stocks last. It is anticipated that the products advertised will be available in most stores, however exceptions may occur. Some delays may occur due to unforseen circumstances. No responsibility is taken for omissions or errors due to graphic designers, desktop publishers or printers. All prices include GST. All pictures are used for illustration purposes only. Prices are subject to change without notice. Prices are valid only while stocks last. All prices included in this catalogue are recommended retail prices unless otherwise stated.
INTERVIEW
DEAN DEAN BUTTERWORTH BUTTERWORTH
DRUMMER OF GOOD CHARLOTTE, EX-DRUMMER OF MORRISEY, AND BEN HARPER AND SESSION DRUMMER FOR THE USED, MISSY ELLIOT, DONOVAN FRANKENREITER AND MORE OF GOOD CHARLOTTE, EX-DRUMMER OF MORRISEY,
DRUMMER AND BEN HARPER AND SESSION DRUMMER FOR THE USED, MISSY ELLIOT, DONOVAN FRANKENREITER AND MORE...
Dean Butterworth has had a highly interesting musical and personal journey. It's taken him from a small town outside Manchester in England to being the drummer for one of America's biggest bands, and has seen him playing sessions with a ridiculously broad range of artists. Virtually all traces of his English accent are now gone, and in very giving and gracious style he was only too pleased to tell his story to Mixdown, as well as chat about life, music, surfing and life on the road with Good Charlotte. “Yeah, I was born right outside Manchester in a little town called Rochdale, England,” he informs us. “It’s all gone,” he reiterates, regarding his formerly English accent, “I moved to Laguna Beach, which is a beach community in Southern California, and just became very Americanised very quickly. I was at that age where it was easy to lose the accent.
MYMYFRIEND FRIENDJOHN JOHNFELDMANN FELDMANNISISA APRODUCER. PRODUCER.I DO I DOA A LOT LOTOFOFSTUDIO STUDIOWORK WORKWITH WITHHIM HIM– –HEHEHIRES HIRESMEMETOTO DODOA ALOT LOTOFOFHIS HISRECORDS. RECORDS. “It’s interesting,” he begins, regarding his personal story. “I always knew that I wanted to play music since I was a little kid. Initially I was in Los Angeles as a little kid, and then down in Orange County. My mother got re-married to a drummer. He was my first teacher, and I used to go see him play and record and all that. At a young age I was just putting bands together and playing, and then started playing professionally in clubs. Then finally I moved back up to Los Angeles and did a bunch of different things, which I still continue to do. Basically my first big international gig was with Ben Harper & The Innocent Criminals. So I did that for about five years, and we always had amazing shows in Australia. And I’d come over as well with an artist called Donovan Frankenreiter, who’s also a pro surfer. Then after my time with Ben I joined up with Morrissey from the Smiths, and we had great times in Australia, too. “But just fast forwarding a bit,” he continues, “I met Benji and Joel from Good Charlotte in a studio. My friend John Feldmann is a producer. I do a lot of studio work with him – he hires me to do a lot of his records. They were doing a lot of writing together. I met
them, and Joel, the singer, was a huge Smiths fan. It turned out that they’d had trouble with a drummer, so they asked me to come and play, but I was in the middle of a world tour with him [Morrissey]. Then in January of ’05, I’d just gotten done touring with Morrissey, and they called from either London or France and said, 'We’re really in a bind – are you free now?’ And I just happened to be open to doing it. That was the beginning, and now it’s been six years. It’s crazy – we’ve made a few records together and been around the world and just had a lot of fun, and we couldn’t be happier about or prouder of the success we’re having in Australia. It’s my favourite place in the world to tour, 'cause I like to surf. So I like to come and get in the water – I’d like to actually retire there!” Being a session guy, and playing on recordings and tours for artists as diverse as Morrissey, Ben Harper, Missy Higgins, The Veronicas, John Lee Hooker and so many more, Dean had to have played and ingested as many styles of music in his formative years, and it was his stepfather who truly inspired him to keep a very broad palette of styles in his listening and playing arsenal. “In school I was in a symphonic band, I was in the big band, jazz band, I was in the drum corp, marching band,” he recalls. “I was very influenced by jazz and fusion growing up. It was my step-dad who really raised me. He couldn’t stress enough about having diversity in music. My favourite drummers of all are the session guys who’ve played on tons of records and played different styles across the board. So I kind of went into that world for a long time, and then it turns out that I’ve made most of my living playing groove stuff, which I like – the less-is-more thing. But I still love to listen to crazy-ass jazz stuff, fusion stuff, old Chick Corea records and all that sort of stuff. “And in Laguna in Orange County, California there’s a huge reggae influence,” he continues, “Like, I’m really into island music, soca music, reggae music. I love Bob Marley’s drummer, Carlton Barrett, and a band called Steel Poles from England – just great reggae drumming, which is a whole different spin on playing drums. And, of course, Latin drumming, South American, Cuban, and then just throwing that all into my own thing. You don’t really hear that in Good Charlotte – we’re just sort of ‘power-rocking’ – but it’s nice to have that facility when I need it.” By Rod Whitfield
INTERVIEW
DEAN BUTTERWORTH
DAILOR
DRUMMER OF GOOD CHARLOTTE, EX-DRUMMER OF MORRISEY, AND BEN HARPER AND SESSION DRUMMER FOR THE USED, ELLIOT, TAMA DONOVAN FRANKENREITER AND MORE TAMA :Let's start from the beginning. When did youMISSY start playing : Can you walk us through your current kit setup? Are those drums? Did you take any lessons?
the drums you used on the newest album?
Brann : I started playing when I was 3 or 4 years old. No lessons. I was self taught. When I was around 3 or 4 I'd go into the attic. My grandfather was in a band with my uncle so his drum kit was up there with other instruments. It was pretty natural for a young boy to want Dean Butterworth highlyset interesting musical personal to bang on things. Ihas sawhad theadrum and I would go andand hug it and I journey. It'stotaken himthere from behind a small it. town outside in It just wanted be back I fell in loveManchester with the drums. Englandlike to being drummer for one America's seemed a goodthe time. It seemed likeofa toy and I'vebiggest always bands, and has seenthat. himAround playing 8sessions a ridiculously broadlessons range of maintained or 9 mywith father suggested drum artists. Virtually traces of hisPolice English accent gone, and in because he'd be all jamming The in the car are andnow I'd be tapping very giving gracious stylekeep he was onlyso toohepleased to tell along and heand noticed I could a beat, suggested thehis story to Mixdown, asto well chat about music, andin lifeand on the lessons. I went oneaslesson and itlife, wasn't for surfing me. I went road with to Good expected go inCharlotte. and go nuts but it was structured like school. "Sit down and play this snare, 'R L RL THIS SUCKS THIS SUCKS.'" “Yeah, were I wasnever born right outsideit Manchester a little town called Drums like school, was my toy, itinwas my fun thing I Rochdale, England,” he informs “It’show all gone,” reiterates, loved doing. So afterwards my dadus. asked I liked itheand I said I regarding formerly “I moved Laguna hated it andhis I never wentEnglish back. Ifaccent, I had taken someto lessons I'dBeach, which is ahave beach community Southern California, andlessons, just I'd probably more structure.inIt's never too late to take became veryThere Americanised verylike quickly. I was and at that agethat where it still like to. are definitely rudiments books over was easy to lose the accent. time can be extremely helpful if you use them to your advantage. But totally by the book is no fun.
Brann : I'm playing a Tama Starclassic Bubinga kit and a Warlord Spartan snare. I use 10", 12", and 14" rack toms, a 18" floor tom, and a 22" kick. I have a 20" crash on my right, an 18" crash on my left, a 21" ride on my left, and 14" hi hats on my left. I used 10", them,13", and Joel, singer, was a huge Smiths turned that 12", 16",the on the last album, but went up fan. a sizeIt on someout toms they’d had troubleSkull" with aneeded drummer, they asked andto because "Crystal somesobigger toms me liveto oncome the end, play,that buttribal I wasthing in thegoing. middle of a world tour with him [Morrissey]. get Then in January of ’05, I’d just gotten done touring with Morrissey, and they called or France andofsaid, 'We’re TAMA : Why dofrom prefereither to useLondon a double-pedal instead two kick drums? really in a bind – are you free now?’ And I just happened to be open to doing That wasa the beginning, andOur nowfirst it’sshow beenIsix Brann : Itit. was really teenage gig thing. hadyears. to It’s crazy – we’ve made few to records and been around the I eliminate a bunch ofagear fit it intogether the van. It was really a necessity. world justahad a lot of fun, and weand couldn’t had to and borrow friend's double pedal endedbe uphappier putting about that or prouder of the success in Australia. mynow. favourite setup together, and it's we’re prettyhaving much the same setupIt’s I use We placea bunch in the world to tour, 'causewant I like surf. So I likeproblem. to come and had of shows and didn't it to be a constant So water – I’dto like to actually retire Iget hadintothe strip it down avoid having to makethere!” two trips for every show.
MY FRIEND JOHN FELDMANN IS A PRODUCER. I DO A TAMA : What did you work on to develop your impressive speed LOT OF STUDIO WORK WITH and dexterity on the kit? HIM – HE HIRES ME TO DO A LOT OFBrann HIS: Nothing. RECORDS. (ha-ha) I just go nuts. When I play by myself, I'm a
“It’s animal interesting,” he begins, regarding hisbeen personal story. “I total – like the Muppets. I've always too lazy to be always knewand thatdoI rudiments wanted to play music since But I wasI practice a little kid. disciplined and paradiddles. rolls Initially a little kid, and then down inthere. and fills.IIwas likein toLos playAngeles by myselfasbut I'd rather have a guitarist Orange Myto mother re-married to a drummer. Hewhole was The bestCounty. way for me play isgot along to some music. That's the my first andyou're I usedinspiring to go seesome him play andtorecord and all point to teacher, me. Unless natives go to war, or that. At a young I was justthe putting together and playing, something alongage those lines, drumsbands shouldn't be alone. A drum and then started professionally in clubs. Then finally solo is cool. I likeplaying watching Bonham doing his Moby Dick soloIbut moved back up to Los to Angeles and did bunch ofriffs different it's about songwriting me. I shine theamost with – meatthings, and which I still to do. Basically my firstsongs big international gig potatoes andcontinue experimenting flows for putting together. I'm was the withbest BenatHarper The Innocent So Iand diddo that forIf not building&complex beats. Criminals. I'd rather float fills. about fiveplayed years,drums and weexactly alwaysthe hadsame, amazing shows inboring. Australia. everyone it'd be really And I’d come over as well with an artist called Donovan Frankenreiter, who’s a pro surfer. Thenyou afterplayed my time Ben IBill TAMA : Prioralso to forming Mastodon, withwith guitarist joined upinwith from the Smiths, and we Lethargy had greatand times Kelliher two Morrissey other highly regarded rock groups, in Australia, too. Is playing with Bill pretty much second-nature at Today is the Day. this point? “But just fast forwarding a bit,” he continues, “I met Benji and Joel from Good him Charlotte in a studio. friend John Feldmann is Brann : I expect to be there. If I'm My doing something, he's there. a producer. do a lotAt ofthis studio work with him been – he hires me to He's my bestI friend. point Mastodon's together thedo a lot of hisout records. They were doing lotitof writing together. I met longest of all my bands. I'm usedato now. Mastodon has been able to quench my musical thirsts. Mastodon is a band I could grow old gracefully with. There are certain groups out there that would feel foolish in their mid 50s doing what they do, but I could get old with this and be OK.
Being a:session guy,a relatively and playing on recordings and tours for TAMA You have simple setup as compared to aartists lot of as diverseand as Morrissey, Harper, Missy The Veronicas, John metal progressiveBen drummers. Why isHiggins, that, and have you always Lee Hooker andstraight so manyforward more, Dean favored a more kit? had to have played and ingested as many styles of music in his formative years, and it was his stepfather who truly inspired himI to veryI broad paletteabout of styles in his my Brann : It's just what gotkeep useda to. don't think changing listening and playing “Init,school a symphonic band, I setup. When it comesarsenal. down to I don'tI was wantinanything to get in the was in big band, jazzI would band, Iadd wasainchina the drum band,” way of the writing. Maybe againcorp, to mymarching setup, and a he recalls. “I was influenced bywith jazz and up. Itagain. was bell because I canvery build cool beats that.fusion Maybegrowing I'll try that my step-dad who really raised me. He couldn’t stress enough about having diversity music. favouriteAre drummers of all are the other session TAMA : What isinnext for My Mastodon? you involved in any guys who’ve played projects these days?on tons of records and played different styles across the board. So I kind of went into that world for a long time, and then it turns out that made my living playing groove which I Brann : On theI’ve side I'vemost beenofplaying in Brent's band – stuff, "Fiend like – theAless-is-more But I stillcountry love to rockabilly listen to crazy-ass jazz Without Face". It'sthing. a straight-up surf guitar stuff, fusion stuff,it's old cool, Chickit's Corea records and alltothat stuff. band. It's weird, different. It's fun do.sort It'sofnot too intense. It's way more straightforward and an opportunity to prove “AndI can in Laguna in Orange California there’sgood. a huge that play a straight beatCounty, with no fills. The music's reggae influence,” continues, “Like, I’mpractice really into island music, Mastodon is mainly he writing every day in our space. Every soca music, reggae I lovenew Bobwith Marley’s Carlton opportunity to createmusic. something themdrummer, is great – we're Barrett, and a bandagainst called Steel Poles fromsure England – just banging our heads the wall to make it's the bestgreat it can be. reggae drumming, which is a whole different spin on playing drums. And, of:course, drumming, South American, Cuban, and then TAMA What isLatin your advice for other drummers? just throwing that all into my own thing. You don’t really hear that in Good Charlotte we’re just sortby ofdrummers ‘power-rocking’ but it’s Brann : Be inspired,–not frustrated, that are–better than nice to have facility when need it.” you. That wasthat a problem for meI when I was younger. I'd get so frustrated when I saw a phenomenal drummer; I'd get depressed that I'd never be that good. realized it needed to be an inspiration. That ByIRod Whitfield guy wants to be better too. Also, try to be as creative as possible. If you take lessons, use them to your advantage. Strive to be different in some aspects. Never let your ego get in the way of the song. You'll never be as good of a drummer that's in your headâ€� and try to keep it that way.
SSP
1,699
$
SSP
1,199
$
TD-4KX2
The all mesh TD4. Instantly great sounds out of the box and equally at home in a studio tracking audio or MIDI drum parts or in the bedroom due to its tiny footprint and superb playability. Comes with the new super responsive 13” CY-13R ride and 12” CY-12C crash V-Cymbals.
“I’ve been using a HD-1 electric drumkit in my home studio right now, it’s super compact and great when I want to knock down a drum part for song demos.” – Rai Thistlewayte (Thirsty Merc)
TD-4K2
The most affordable V-Compact® series from the V-Drums® family featuring the new cloth feel head KD9 kick trigger with the feel of a dampened acoustic kick drum optimised for trigger response even with double pedals. Quick Rec/Play and coaching functions built-in.
SSP
899
$
HD-1
It’s forged from the same technology as its predecessors, and simple to use. All of the HD-1’s components are mounted on one stand for easy setup and transporting for which its actually won prestigious design awards. Stop dreaming! Just take it out of the box and start playing!
“From an artistic perspective, the creative possibilities that are opened up by having so many drum kits and sounds brings a huge array of options for The Wiggles” – Wiggles Audio Engineer
SSP
1,999
$
SSP
2,999
$
TD-9K2
TD-9KX2
Roland’s popular V-Tour® series goes all mesh and gets upgraded with the newly designed KD9 Kick Pad and V-Cymbals® TD9 V2 module features new sounds and 50 new kits to greatly improve total playability.
V2 features plus the deeper rimmed PD-85 mesh tom triggers, beefier PD-105 snare pad and full-sized VH-11 hi-hat from the TD-12 kit which mounts on a conventional stand for the next level of playability. The hugely desirable and award winning V-Drum kit for the masses.
Full range compact V-Drums monitoring system featuring stereo satellite speakers which can be attached directly to the V-Drums. Built-in mixer with EQ.
The compact V-Drums monitoring solution for punchy sound in low to mid level situations and ideal for personal monitoring on stage or during practice.
SSP
399
$
PM-10
SSP
999
$
PM-30 Disclaimer: This catalogue must be read subject to the terms and conditions on this page. All prices are valid until 31st December, 2011 or while stocks last. It is anticipated that the products advertised will be available in most stores, however exceptions may occur. Some delays may occur due to unforseen circumstances. All savings and discounts indicate a reduction from the original recommended retail price (RRP) or the current Suggested Selling Price (SSP) - as set by the Australian distributor(s). No responsibility is taken for omissions or errors due to graphic designers, desktop publishers or printers. All prices include GST. All pictures are used for illustration purposes only. Prices are subject to change without notice. Prices are valid only while stocks last.
“When the TD-20 came out I thought, yes, at last a V-Drums kit that sounds very classy and feels great to play. And, with the new VH-12 Hi-Hats, I could play the kit with the mindset I would have playing an acoustic kit.” – Mal Green (Split Enz)
“Whatever sounds I dialled up on the TD12 would affect the way I played, eg tempos, feel, and the drum fills.” – Rob Grosser
SSP
7,999
$
3,999
TD-20KX
TD-12KX
Eye-catching and customisable looks, incredible sounds and reinforced hardware make the TD-20KX a star on any stage. The C.O.S.M sound engine of the TD20X features 10 outputs and allows every nuance of your style to shine through thanks to incredible dynamics and expressiveness. Top of the line VH-12 SV hi-hat, 15” CY-15RSV ride and 14” CY-14CSV crash cymbals feature in silver for maximum stage impact.
SSP
299
$
A trimmer version of the flagship TD-20KX with many of the same features including Roland’s unique C.O.S.M sound engine and multiple outputs.
SSP
1,799
$
RMP-5A
SSP
999 RMP-12
HPD-10
The hand percussion instrument of choice for anyone needing quick access to a huge library of beautifully recorded classic and obscure rhythm sounds. Features the unique D-Beam trigger. “As far as the HandSonic is concerned, the immediate access to such a huge range of sounds is fantastic.” – Vinnie Colaiuta (Frank Zappa, Sting, Faith Hill)
The only electronic marching style practice pad of its type ever designed! Featuring a 12” V-Drums mesh head with adjustable tension, there are also 128 sounds built-in which can be quickly assigned to head and rim for a more involving practice and even live performance via headphones or line output into a wireless sound system.
SSP
1,099
$
HPD-15
The ultimate great feeling practice pad featuring the same tunable mesh head technology from the V-Drums range, over 40 built-in sounds and comprehensive coaching mode for interactively mastering your playing technique quickly and silently. Easily mounts on the separately available PDS-2 stand.
$
SSP
$
The legend that started nearly three decades ago with the Octapad continues with the new SPD-30. and places the drummer once again firmly centre stage! Over 700 all new sounds spanning the gamut from world, orchestral, rock and dance all crammed into an instrument the size of a briefcase with trigger inputs for expansion.
This 10 pad hand percussion instrument shares many similarities with the HPD-15 including amazing sound quality, finger responsive pads, D-Beam and even an intelligent metronome coaching function to help with learning rhythm playing for example.
SSP
799
$
SPD-30
Ultimate Percussive Sampling Instrument
l
Fire off one-shot samples, looped phrases, or complete audio playback tracks
l
Nine velocity-sensitive rubber pads, two external dual-trigger inputs
SSP $899
2 GB internal memory for 360 minutes of sampling (mono) l Built-in USB port for importing audio files from USB flash memory l
l
Bundled SPD-SX Wave Manager software for drag-and-drop organising of samples via USB
Three multi-effects onboard, with two real-time control knobs and four dedicated effect buttons l Easy capturing and assignment of audio data through Multi-Pad Sampling l
AUDIO DATA
Hit Pad!
Hit Pad!
Capture samples by hitting pads
Hit Pad! Ă—4
Hit Pad!
MULTI PAD SAMPLING
Hit Pad!
Hit Pad!
Hit Pad!
Samples are automatically assigned to pads afterward
Visit us online:
www.rolandcorp.com.au
NEWFROM
DRUMMING NEWS
FRANKFURT WE REVEAL SOME OF THE COOLEST INNOVATIONS TO HIT THE DRUMMING WORLD, FRESH FROM THIS YEAR’S MUSIKMESSE CONVENTION IN FRANKFURT...
A HYBRID DRUMMING REVOLUTION! AQUARIAN INHEAD™ ACOUSTIC / ELECTRONIC HYBRID DRUMHEAD
VINTAGE LOOKS WITH A MODERN SOUND: INTRODUCING THE LIMITED EDITION TAMA STARCLASSIC PERFORMER
This amazing and innovative technology is being hailed as the biggest development in the world of accoustic / electric drumming for some time, and is set to revolutionise modern drumming.
TAMA unveiled the new limited edition Starclassic performer B/B at this years Musikmesse in frankfurt.
The Aquarian inHEAD™ acoustic/electronic hybrid drumhead gives you the ability to have the best of all worlds – great sounding acoustic drums and the power and control that comes with triggering electronic drum sound modules. You play your drums your way; no sacrificing your technique or adjusting your playing style to accommodate the unnatural feel of an electronic pad. The inHEAD lets you play YOUR acoustic drums and access your electronic drum module with no unwanted crosstalk, double triggering or loss of sensitivity. Reinforce your sound without using microphones. Create NEW hybrid acoustic/electronic drum and percussion sounds that are all YOUR own… move air and feel what you play without extensive monitoring. You are the drummer; take control of your performance! And when you want to practice quietly, or when it's time to record with only electronic sounds, throw on a special set of inHEAD MUTES and use as a traditional electronic pad set.
This absolutely stunning drumkit delivers on all fronts. It looks and sounds amazing. Some of Starclassic performer’s many features include: Bubinga and Birch Shells: By using bubinga wood for the inner layers of the birch shell, TAMA has created a new chapter in the Starclassic series. The hybrid tone produced by this combination exhibits the focused attack of birch paired with the enhanced lows of bubinga.
TAMA LIMITED EDITION STARPHONIC SNARE DRUMS:
TAMA released these limited edition Starphonic snare drums, featuring a thin 1mm steel shell. These beautifully crafted snares look as amazing as they sound, and would make a beautiful addition to any kit. Though steel is one of the most common snare drum materials, Starphonic’s innovative hardware enhances the steel shell’s sharp crisp sound, as well as providing easy and reliable tuning.
TT/FT: 4ply Birch + inner 3ply Bubinga, 6mm BD/SD:5ply Birch + inner 3ply Bubinga, 8mm Special Finish: This limited edition finish is called Lacquered Black Oyster and offers a vintage look with modern design. This finish is specially painted, not wrapped, by our skilled craftsman. Slidable Tom Holder: This tom holder expands setting flexibility by employing a sliding connector unit that moves back and forth without restriction up to 50mm (2"). Now a player simply loosens a bolt in order to easily adjust the proximity of the tom-toms. The MTH909 can be set up without any holes in the bass drum being necessary.
TAMA STARCLASSIC BUBINGA SELECT – MARBLED PURPLE METALLIC
TAMA showcased this Starclassic Bubinga Select kit which features this limited edition amazing marbled purple metallic finish. These kits are handpainted in Japan by skilled craftsmen using a specialist painting technique.