ISSUE 3 - MAY 2013
SIMON PHILLIPS SIMON PHILLIPS GIVES US A RUN DOWN OF HIS SETUP AND TALKS BUSINESS
NIC PETTERSEN DRUMMER FOR METALCORE BAND NORTHLANE
JOHN BLACKWELL PRINCE‘S DRUMMER TALKS ABOUT HIS INSPIRATION
THE GOODS ON WOODS
SABIAN CYMBALS
MATT BEST
WE INVESTIGATE THE TONAL AND AESTHETIC QUALITIES OF DIFFERENT WOODS!
WE SCOPE OUT WHAT’S HOT IN THE MASSIVE SABIAN RANGE!
FIND OUT WHAT LIFE ON THE ROAD IS LIKE FOR THE TONIGHT ALIVE DRUMMER
#2
HEADER
DESCRIPTION
CONTENTS: SIMON PHILIPS
2
THIS ISSUE: 2 SIMON PHILLIPS
DRUMMING ROYALTY
7 SABIAN CYMBAL GUIDE 10 KARL PERAZZO
PERCUSSIONIST FOR SANTANA
NIC PETTERSEN
14 NIC PETTERSEN
14
DRUMMER FOR NORTHLANE
18 WE GET THE GOODS ON WOODS
CHOOSE THE WOOD THAT’S RIGHT FOR YOU
22 JOHN BLACKWELL
TOURING DRUMMER FOR PRINCE
26 MATT BEST
AUSTRALIAN DRUMMER FOR TONIGHT ALIVE
JOHN BLACKWELL
22
MATT BEST
26
ISSUE THREE • MAY 2013 Follow us on facebook for regular updates, comps, and other cool stuff! WWW.FACEBOOK.COM/OFFICIALAUSTRALIANDRUMMER
For all media/advertising enquiries please contact: MARKETING@AUSTRALISMUSIC.COM.AU
1
THE DRUM 101
THE LATEST NEWS IN DRUMS FROM AROUND THE GLOBE •••
JOHN BLACKWELL JOINS BERKLEE FACULTY Legendary drummer John Blackwell has been named associate professor of percussion at the prestigious Berklee College of Music. Blackwell who is best known for his work drumming for artists such as Prince, Justin Timberlake and Patti LaBelle began teaching at the college that he himself studied at this semester.
THE WORLD OF DRUMMING MOURNS SABIAN FOUNDER
SABIAN CYMBAL VOTE WINNERS ANNOUNCED
It is with a heavy heart that we note the recent passing of the legendary Robert (Bob) Zildjian - member of the famous Zildjian family and founder of Sabian Cymbals.
Jon Theodore (ex Mars Volta drummer, and drummer for One Day as a Lion) has joined the Queens of the Stone Age line up. Theodore has featured on several tracks on the bands new album, after former drummer Joey Castillo left the band in November 2012, and is reportedly scheduled in to tour withe the band whilst they tour their new album.
Bob, who began his cymbal-making apprenticeship under his father at age 14 is credited with single-handedly reshaping the western cymbal manufacturing industry from his factory in Meductic, Canada. Bob, the descendent of ten generations of Armenian cymbal makers began his career at the Zildjian Company working under his father and uncle, who taught him the family process and trade secrets of traditional metal working and cymbal making. After the death of his father a dispute with his brother Armand, Bob left the Zildjian Company and started the Sabian cymbal brand from scratch. Continued on page 15.
JON THEODORE JOINING QUEENS OF THE STONE AGE’S NEW ALBUM
During spring 2012, drummers worldwide cast their votes to ensure cymbals of their choosing made it into the finals for the 2013 Cymbal Vote. As the 2013 NAMM show kicked off, SABIAN’s very own Mike Portnoy announced the official winners for 2013; the AAX X-Plosion Hats, AA Bash Ride, AAX Freq Crash and AAX Air Splash!
ORIGINAL IRON MAIDEN DRUMMER CLIVE BURR PASSES AWAY AT AGE 56 Clive Burr, the original drummer for legendary heavy metal band Iron Maiden passed away peacefully in his sleep on the 12th of march 2013. Burr will be remembered fondly for his amazing natural style of drumming, and the work that he did building the legendary band.
ISSUE THREE
Photo: Billy Rainbird
SIMON PHILLIPS DRUMMING ROYALTY
SIMON PHILLIPS
He has played with more big-name artists than you could throw a drum stick at, including TOTO, Jeff Beck, Whitesnake, and Mick Jagger to name a few. We caught up with the man himself to discuss his monstrous setup and life in the industry.
Words by | Australian Drummer
Can you give us a rundown of your setup? Drums, cymbals, shells, etc? SP: My kit basically hasn’t changed much since the late 70’s when I started using TAMA. Essentially it’s two bass drums, four rack toms, three floor toms, a gong drum, octobahns, and two snare drums, and it’s been like that for years. There was a period when I joined The Who in 1989, and I put a rack together because I was told by my drumtechs that it would be a great way of having the same setup every night, of course I discovered a lot of problems with having the rack but that’s okay. So I went down to using two mounted toms as floor toms, but I grew up with a floor tom, a drum on three legs, there’s just something about that thing so I went back to using three floors. My current kit is a signature series Tama kit which has a composite shell, Bubinga and Maple, and the sizes are: bass drums: - 15˝ x 24˝, toms: - 7˝x 10˝, 9˝x 12˝, 10˝ x 13˝, 11˝ x 14˝, floors: 12˝ x 15˝, 13˝ x 16˝, 14˝ x 18˝, they are quite shallow drums but they are all proportionate, so the head diameter and the shell depth is basically the same proportion, just smaller and bigger. The gong drum is a 20˝ shell by 14˝, and a low set of octobahns, the snare drums are variable, it’s a 14˝ here and a 12˝
there, sometimes I even use a 10˝, I love the little 10˝ drum Tama make. I use anything from a 5˝ to 6.5˝ (deep). Zildjian cymbals, I use Almond Special Series cymbals, some of them are prototypes, because they don’t actually retail the sizes. Basically the swish is a 24˝ - no rivets, 22˝ ride, 12˝ splash, 19˝ crash, 18˝ crash, 17˝ crash and a pair of 14˝ hi hats and that’s it. We have heard that in addition to drumming, you are also a keen audio engineer and you’ve been responsible for engineering several of the Toto albums. How did you get into engineering?
and before long she got another tape recorder then she got a Revox and then she got another Revox, so I was messing around with tape recorders when I was a kid - bouncing tracks backwards and forwards. Every time my father did a broadcast, if I was there and I was not at school, I would go to the broadcast, so I grew up in a studio. You’ve been a professional drummer for a long time, what hints and advice can you give to young drummers these days to help them achieve not only a career in drumming but also longevity in the game. The music business today is for a player,
"The music business today is very tough, but I’ve also got to say it was always tough, especially growing up in london" SP: As I grew up, my father was recording all of the time and my mother was a keen audiophile. She used to have a tape recorder (we’re going back to nineteen-sixtysomething now) and when I was a kid I was fascinated by it. She had a pherograph is what it was called and I learned how to use this pherograph when I was like 4 or 5 years old. She taught me how to spool up tape, how to thread up tape through the heads and capstan and rollers and everything,
very tough, but I’ve also got to say it was always tough, especially growing up in London. It was a little better off I think in New York and LA around the 70’s and the 80’s, but in London it was a always tricky. There were only a few people that really had consistent work. I think from a playing point of view especially as a drummer it’s really important to be open-minded and to learn to play a lot of different styles, whether you don’t like the kind of music or not I still
ISSUE THREE
3
4
SIMON PHILLIPS DRUMMING ROYALTY
Film stills from Simon Phillips interview
think its important to study it and learn how to play it, because the thing about drums is you can cross polenize so many styles into playing one song. The drum kit is a unique instrument in the fact that no two drummers play the same. You can say that about any instrument, but basically a C major chord is C major. Now on a guitar maybe there are a couple of different ways you can voice it, maybe even on a piano, but essentially it’s the same, but not everybody plays a groove on a drum kit the same (sticking etc.), you get two drummers together and you look at each other and go “Wow how did you do that?” So as a drummer you’re called on to do a song that the band leader has written and it’s up to you to use your imagination and pull from all the inspiration you have. SP: Can you run us through the brands that you’ve chosen to endorse and around what year you started with those companies? I started with Tama in 1979, I used to use Ludwig before them and before Ludwig Premier, but I wasn’t endorsed, I just paid
for everything. Of course in those days in London it was hard to get certain drums, they just didn’t have them and couldn’t afford them. So I started with Tama in 1979. My first kit was a Fibrestar, fibreglass kit, also a little later in that year I started endorsing Zildjan cymbals because I used Zildjians anyway. I had a very brief spell with Paiste which was a part endorsement but I broke too many, so went with Zildjian. A couple of years later I was already using Promark sticks so I went with them in 1982 and Remo drumheads which I’d been using since 1972 consistently in 1972/73. Shore microphones 1989/90 and XL cases around the same time. I have been with Tama for about 32 years. The reality of being with any company is that it’s cyclical. You always go through periods of where they could be doing better or were having a problem here or whatever - that’s life. I’ve seen a lot of drummers jump ship as soon as things get a bit weird. But frankly I never had the energy to do it, also I know these drums so well that I look at other
drums and stands and hardware and it’s taken me years to really figure out how it all works, even if the designs change the basic concept is the same. I think the most important thing is the people you deal with – initially it was more, “can you get a drum kit to Barbados? I’ve got a recording session there with Mick Jagger” and bang it was there. That to me was the more important thing. Over the years you become friends with all the people. I have known some of the people at Hoshino (Tama) for 32 years, There’s no reason to change. It’s kind of interesting to me where there are occasions or circumstances where I have to work on another type of drum kit – maybe just a quick session here or there – and I tune up the drums and sit there and go “interesting.” It’s just that you get so used to the sound, especially of Maple. I think that’s what it is. The Maple toms, I have never found another drum that has the power or the balls of a Tama Maple tom.
HEADER
DESCRIPTION
6
ROCK SOLID STRENGTH AND VERSATILITY
900 Series
600 Series NEW
200 Series NEW
Cobra pedals continue to evolve and innovative for all of this and future generations. 900 Series
DOWNLOAD THE FREE AR APP for iPhone & Android
1
2
Download Point your device “mue Alive!”, at the Iron Cobra from the App Store or Google Play. 20th Mark.
3
Power Glide: Rolling Glide: Flexi Glide:
HP900PSN -Single Pedal HP900PSWN -Twin Pedal HP900PSWLN -Left-Handed Twin Pedal HP900RSN -Single Pedal HP900RSWN -Twin Pedal HP900FSN -Single Pedal HP900FSWN -Twin Pedal
600 Series
HP600DB -Single Pedal (w/Carrying Case) HP600DTWB -Twin Pedal (w/Carrying Case)
200 Series
HP200P -Single Pedal HP200PTW -Twin Pedal
Watch the image come to life as video content.
This experience will work best if you are connected to a WiFi network.
tama.com
7
CYMBAL GUIDE
20”
1. AAX - STUDIO RIDE AAX STUDIO RIDE 20”
Soft feel and full response with a readily - activated wash of shimmering tone complementing overall sound. Medium thin with a brilliant finish.
3. AAX - X-PLOSION CRASH AAX X-PLOSION CRASH 14”- 20”
14”-20”
Bursting with bright, explosive attack, this model delivers penetrating definition with total presence and power.
5. AAX - X-CELERATOR HATS AAX X-CELERATOR HATS 13” & 14”
13” & 14”
Crisp and accurate with ‘Air Wave’ bottom eliminating air lock for maximum clarity.
21”
2. AAX - RAW BELL DRY RIDE AAX RAW BELL DRY RIDE 21”
A ride for every style, this cymbal delivers bright, crystal clear sticking at all volumes - low to loud - and solid bright punch when played on the raw, unlathed bell.
16” & 18”
4. AAX - O-ZONE CRASH AAX O-ZONE CRASH 16” & 18”
With a bright, shimmering sound and multi-holed design increasing the agitation in its tone, this O-Zone delivers bite with a touch of anger.
14” & 16”
6. AAX - X-PLOSION HATS AAX X-PLOSION HATS 14” & 16”
Incorporating award-winning X-Plosion Crash design, this medium top - medium heavy bottom pairing provided incredible foot. High profile bell and sustain-enhancing process make the open and loud or tight and articulate. ISSUE THREE
8
HEADER
DESCRIPTION
7
CYMBAL GUIDE
7. HHX - RAW BELL DRY RIDE HHX RAW BELL DRY RIDE 21”
21”
9. HHX - X-TREME CRASH HHX X-TREME CRASH 16”- 19”
16”-19”
With a deep, dark and complex tone, this cymbal puts out crisp, hot sticking wherever your stick lands, from bow to unlathed bell.
HHX LEGACY HEAVY RIDE 22”
Stick articulation remains semi-dry and crisp over a cushion of warm tone.
10. HHX - LEGACY CRASH
17” & 18”
HHX LEGACY CRASH 17” & 18”
A blend of dark and funky thin crash explosion with hot, simmering attack.
11. HHX - CLICK HATS HHX CLICK HATS 14”
22”
8. HHX - LEGACY HEAVY RIDE
With a dark tone, this highly responsive model can play incredibly loudly, whilst always remaining musical.
14”
A combination of AA high-profile shape, HH and HHX hammerings, fully lathed bottoms and partially lathed tops results in plenty of control and articulation - giving HHX Click Hats a distinct electronic click-track quality.
12. HHX - EVOLUTION HATS EVOLUTION HATS 13” & 14”
13” & 14”
With its touch-sensitive response, this pairing delivers a glassy, shimmering response, and projects even the busiest sticking with crisp clarity.
9
CYMBAL GUIDE
13. HHX - SPLASH HHX SPLASH 10” & 21”
10” & 21”
Fast, biting and colourful with a punchy attack and rapid decay rate for increased bite.
15. B8 PRO - ROCK CRASH B8 PRO - ROCK CRASH 16”- 20”
16”-20”
Designed specially for high-volume playing, with bright, explosive, and full-bodied response.
17. B8 PRO - ROCK HATS B8 PRO ROCK HATS 14”
14”
Strong high-end power is bright, with a focussed intensity that’s direct, loud and cutting.
20”
14. B8 PRO - ROCK RIDE B8 PRO ROCK RIDE 20”
Intensely powerful, with distinct metallic stick definition and a crisp cutting bell.
16” & 18”
16. B8 PRO - O-ZONE CRASH B8 PRO O-ZONE CRASH 16” & 18”
With a double ring of response-enhancing holes, this radical model responds rapidly with a combination of bright explosion and dirty agitation.
16” & 18”
18. B8 PRO - CHINESE B8 PRO CHINESE 16” & 18”
Explosive, brash and bright attack, with deep, dark and trashy undertones.
ISSUE THREE
12
KARL PERAZZO OF THE SANTANA BAND
KARL PERAZZO
PERCUSSIONIST FOR SANTANA
AUSTRALIAN DRUMMER CHATS TO ONE OF THE WORLD’S MOST INFAMOUS PERCUSSIONISTS - KARL PERAZZO OF THE SANTANA BAND. Words by | Australian Drummer
K
arl Perazzo is undoubtedly one of the world’s best known percussionists – and for good reason. The self-taught drummer from San Francisco has been playing since the age of two. Whilst in grade 6 at school he gained notoriety for playing with Cal Tjader, and would go on to play with the likes of Jorge Santana, Dizzy Gilespie, Pete and Coke Escovedo, Dennis Chambers and Mariah Carey. He has even been honored with a signature series of Karl Perazzo Timbales produced by Latin Percussion. He is currently part of the Santana band and has recorded three albums with Santana so far. Australian Drummer got the chance to ask Karl a few questions during his recent visit to Australia. We understand that you have been playing percussion since the age of two – please tell us a little about how you started out. KP: Yes, that is true, at age two I was banging away, mostly playing for fun. As I got a little older it became more serious and turned into practicing. You are known as an amazing teacher and clinician. What drummers / percussionists have inspired you and influenced your style?
Who taught you? KP: Well, I was playing before VCR, DVD and Youtube, so I had to listen to a lot of records. I had and have many sources of inspiration. The great Tito Puente, Armando Peraza, Francisco Aguabella, Pete & Coke Escovedo. There are many, but at the end of the day you have to find the fire within you to get that fulfillment that your soul is looking for. I had no teacher but had many...
Sheila E who gave me the big break, now the list is long. I have played many styles. To survive you have to play many styles of music. I play Jazz, Rock, Funk, Latin - you name it. After playing Drums with Sheila E I decided to stick to percussion. What projects are you working on at the moment? KP: At the moment I have a very good Salsa band called AVANCE. We have four CD’s out and I am working hard with that. I am also working on an app.
“ I PLAYED WITH LOTS OF DIFFERENT PEOPLE AND THAT’S WHERE I LEARNED THE MOST JUST MADE SURE THAT EVERYONE I PLAYED WITH WAS BETTER THAN I WAS...” Tell us a little about your drumming history – musical styles, etc? When did you decide that you would like to pursue percussion as a career? KP: I started performing at a young age, when I was 11 years old I did shows with the Great Cal Tjader. After that I did the club thing for many years, meeting and playing with great musicians like Jorge Santana, Malo, Ray Obiedo, but it was
You have done a lot of great work with Santana over the years. What is it like working in such a high-profile band?: KP: It is a lot of responsibility but the root of it is passion and it was a childhood dream. Do you prefer performing live in front of a crowd or recording in the studio? : KP: I truly love both.
11
12#
Describe your setup at the moment. Does it differ for live performance / recording ? Is there anything in particular about your setup that lends itself to your unique style of playing? P: KP: My setup with Santana is, a set of KP LP Timbales, Bells, Bongos, Congas, 6 Sabian symbols, 1 hi-hat, toys. I have a REMO snare. This setup allows me to able to play many different styles of music. I use the same setup in the studio.
What is your drumming schedule like? How often are you playing? Practicing etc?
What is your favourite drum or percussion instrument that you own? Tell us why.
KP: Practice and find it in you to be all you can be.
KP: Well what a question! They are all my favorite, they are all different. But if I had to say, it would be the Timbales, I have now been with them the longest.
Anything else that you would like to mention to the drummers of Australia, Karl?
KP: I play all the time now and I am sorry to say I do not practice. What’s next? Have you got any big projects in the pipeline that you can tell us about? KP: We are trying to work on an up coming CD with Santana. Do you have any advice or tips to offer young, up and coming drummers and percussionists?
KP: I would love to thank all the fans down under for their support. Keep the music alive KP
NIC PETTERSEN
DRUMMER FOR NORTHLANE
NIC PETTERSEN DRUMMER FOR NORTHLANE
AUSTRALIAN METALCORE BAND “NORTHLANE” HAVE RECENTLY EXPLODED INTO THE PUBLIC CONSCIOUSNESS. WE CAUGHT UP WITH THE BANDS PHENOMENAL DRUMMER NIC PETTERSEN FOR A CHAT ABOUT HIS DRUMMING JOURNEY. Words by | Australian Drummer
How long have you been playing the drums? How did you start out? NP: My dad plays drums as well so I was lucky enough to muck around on a vintage Rogers 4 piece set-up. When I was 7 I started playing percussion in the school band, so it’s been around 15 years behind the tubs now. When did you start playing with Northlane? How did it come about? NP: Well, I met Northlane on their very first tour in early 2010, which happened to be my very first tour with my old band Maze. I got to know the boys really well and then they had some drummer issues prior to their upcoming Australian tour and asked if I could fill in. I gladly accepted the opportunity and by the end of that tour I was a permanent member. Have you always been a Metalcore drummer? Or have you played other styles of music over your time as a drummer? NP: Actually I learnt “Metalcore” drumming after I had spent about 8 years playing in school bands, stage bands and musicals. So I guess it was the style that sort of tied my roots together. I think learning styles like Latin, Jazz, Funk, Classical etc. are essential for a drummer’s technique and
coordination. Without that foundation I would struggle playing one Northlane song let alone a whole set (laughs). What drummers have inspired you and influenced your style? Who taught you? NP: Like I said, my dad is a drummer so I was lucky to be exposed to drumming legends like Buddy Rich, Roger Taylor (Queen) and Ringo Star (Beetles) at an early age. As I grew up I started drifting into the heavier side of music, and became absolutely obsessed with John Otto from Limp Bizkit. His grooves and beats totally
predictable “Metalcore” style of drumming. I was taught by 5 different drum tutors, and without them I’d still be playing Limp Bizkit covers. I believe tuition is a crucial stage of any growing musician, and is something that I think can not be overlooked. One of my tutors was Chris Brien, who is a human octopus. Another who tightened my whole technique and inspired me to take my drumming to the next level was Scott Davey, the old Dead Letter Circus drummer. He now teaches in Brisbane so if you’re in that area I suggest you hit him up, he’s a genius!
"I believe tuition is a crucial stage of any growing musician, and is something that I think can not be overlooked -there’s only so much you can teach yourself" drive the bounciness of that band and I took major influence in this power as a drummer, and even bought black John Otto Signature sticks, which I thought were super badass. Later down the track I found the best band in the world, Misery Signals, and was captivated with Branden Morgans drumming style. It’s like no other in that brand of music, using his classical background to totally change the almost
Tell us a little about your drumming history – musical styles, etc? When did you decide that you would like to pursue drumming as a career? NP: Ever since I started playing in the school band my dream was to be a touring musician. Like many others, I thought it too far-fetched to dedicate my life to my instrument, so I tried out other avenues. I went to Uni for a while then realised it
ISSUE THREE
15
16
NIC PETTERSEN
DRUMMER FOR NORTHLANE
just wasn’t me, and that I had to follow what truly made me happy. So here I am, following my heart and showing the world what I’ve got. What projects are you working on at the moment? NP: Besides Northlane I’m working with one of my best mates in a project called Glass Ocean, which is like a progressive, ambient rock band. It’s completely different to what I’ve been playing the last couple of years, and really takes me back to my roots. There’s lots of grooves and shuffles and a whole heap of technical stuff, but put into a really digestible package. I dig it because it forces me to think completely differently about my instrument, and challenges my technique in the best kind of way. You guys have been touring pretty heavily. What are your thoughts on the touring lifestyle? NP: Yeah our touring schedule is quite full on, but I wouldn’t have it any other way. It can be really hard sometimes of-course, being away from my girlfriend, friends and family a lot, but like I said this has been my dream ever since I was a little tucker and I’m very lucky to be able to travel the world playing drums, so I’m quite grateful for this lifestyle. Do you prefer performing live in front of a crowd or recording in the studio? NP: Performing live for sure. I love both but they are completely different. In the studio you have to be the tightest you’ve ever been up until that point, which can be hard when
you’re having a bad day (laughs). But if you’ve seen me play live you’ll know that I get into this weird “shadow-self” that’s almost like a staunch, vulture-like creature that takes over me. But it’s kind of like a self-expression of the music I’m playing and I use it to overcome nerves. Describe your setup at the moment. Does it differ for live performance & recording? Is there anything in particular about your setup that lends itself to your unique style of playing? NP: I have an endorsement with Tama so at the moment I’m playing a beautiful black Tama Bubinga Starclassic with a 20˝ kick, 10˝ rack, 14˝ and 16˝ floor toms. I make my own snares (NPSD) so I use a different one almost every time I play, but my favorite size is 14 ˝ x 7˝. I have way too many cymbals, but luckily I have an endorsement with Sabian (laughs). I use 14˝ HHX Fusion hats, 19˝ and 20˝ stage crashes, 10˝ HHX Splash, 12˝ AAX Splash, 7˝ Bell, 21˝ Stage ride, and my favorite part of my setup is my 19˝ Holy China – the thing is so damn loud and sounds better than any China I’ve ever heard! In terms of heads Aquarian have sorted me out. I use Focus-X heads on my snares, Response 2’s on my toms and a Super-Kick II on my kick. What is your favourite drum or percussion instrument that you own? Tell us why. NP: Well, making my own snares adds a crazy level of accomplishment when I’m playing them, I love trying out each one in a live set-up because that’s when I truly hear its personality. But just sitting behind my
whole kit is something really special to me because its literally a physical form of my achievements. What is your drumming schedule like? How often are you playing, practicing etc? NP: We are touring so much at the moment that the only time I get to play is when I’m warming up before a show and then playing that show, otherwise I’m sleeping or sitting in a van. When I’m home I try to play at least once a day for an hour or two to keep my technique up to scratch. What’s next? Have you got any big projects in the pipeline that you can tell us about? NP: I can’t let too much out of the bag but next month we’ll be back in Canada touring with Structures, then in June we are bringing them over here for our “Singularity” album launch tour which will be wild! We have some big things in the works for the rest of the year but you’re just going to have to wait and see. Do you have any advice or tips to offer young, up and coming drummers ? NP: There’s a couple of tips I stand by. Getting tuition is the fastest way to progress – there’s only so much you can teach yourself. The famous quote “Practice Makes Perfect” is so simple but often not taken seriously. Take it seriously because without practice you will not progress. Finally, if you’re into metal try to practice using a single pedal, rather than jumping straight onto a double pedal. You don’t want to be relying on your left foot for notes that your right foot can easily play
TAMA's groundbreaking achievement in acoustic drum craft.
WE GET THE GOODS
ON WOODS
WE TAKE A LOOK AT THE DIFFERENT WOODS COMMONLY USED IN DRUM MANUFACTURING AND FIND OUT WHAT MAKES THEM POPULAR. Words by | Australian Drummer
There has always been a lot of hype surrounding the different varieties of woods featured in drum kits. The wood that a drum kit is made from ultimately acts as one of it’s major selling points, but many drummers are actually unaware of the various properties that different woods pose, and how they can affect your sound. As with most variables involved with drums and drumming equipment, there really is no definitive answer as to what wood is the best or worse for making drums, and instead is subject to personal preference. It is also important to remember that whilst the woods affect the sound and aesthetic qualities of a set of drums, they are by no means the only factor involved. The specifics of every piece of wood are different, and variations in the manufacturing process and the application of finishes, as well as the natural ageing process, can all alter the sound that a particular drum makes. There are many drummers that believe the differences in the tonal qualities between different woods are minimal, and are incomparable to the sound differences that can be achieved through changes in tuning and head selection. On the other hand there are drummers that swear by the tonal qualities of a particular
wood and will play nothing else. We decided to take a look for ourselves at some the proposed qualities of some of the more commonly used woods, and even a few of the less commonly used woods. Let’s start at the beginning – why are drums made of specific woods anyway? Wood is wood right? Wrong. There are relatively few woods that are suitable for making drums, as they need to be the perfect density to allow vibrations to travel evenly through them resulting in the creation of a particular sound. In addition to this, the woods need to be readily available, affordable, workable and flexible enough to be shaped appropriately. They must also be aesthetically pleasing, unless they are to be covered in a wrap or painted finish as many cheaper woods are. Some of the most commonly used woods in drum manufacturing are Maple, Mahogany, Birch and Bubinga. All of these woods are renowned for producing a variety of beautiful tones. Extremely high-end and custom drum kits are made from many woods including rare varieties such as Cocobolo, Koa, Cherry and Walnut to name a few.
Many cheaper drums are manufactured using more commonly available woods that still possess tonal qualities such as Poplar, Basswood, Eucalyptus, Luan (often referred to as Phillipines Mahogany), many will feature better quality woods for the outer plies for aesthetic purposes. Below is a breakdown of some of the commonly used woods and their purported properties.
MAPLE:
Maple is perfect for making drums. It is one of the most commonly used woods in making quality drum kits. Maple is renowned for producing a very even tone, that is full and warm. Maple is a naturally beautiful wood that takes stains and lacquers well, making it a popular choice. Slow growth, old forest Maple is the most revered as it features tight, narrow growth rings and a straight grain which resonates and takes finishes exceptionally.
BIRCH:
Birch is another very commonly used wood in the manufacture of drum kits. Birch is a blonde hardwood, that is very attractive and responds well to most finishes. Generally the sound produced by a Birch drum is brighter than that of a Maple drum as it
THE GOODS ON WOODS
AN IN DEPTH LOOK AT WHAT MAKES A KIT
usually produces more high-end as a result of the woods high density.
MAHOGANY:
Whilst there are several types of Mahogany, the most commonly used wood in the making of drums that is referred to as Mahogany is actually a wood called Luan (or Phillipines Mahogany). It is a much softer and therefor cheaper wood than the others mentioned so far, despite still having tonal properties. The softness of Mahogany gives it a fairly low tone with rich bottom end. Mahogany shells are generally coated as the wood itself is not as appealing visually as many other woods.
BUBINGA:
Bubinga is by no means as common as Maple or Birch in the world of drum manufacturing. It has only recently started appearing more frequently due to advancements in manufacturing techniques, as is considered to be a very difficult wood to work with. Bubinga is gaining popularity rapidly as a result of its incredible tonal diversity and amazing attack. Many drummers feel that Bubinga is capable of creating even warmer tones that Maple.
BASSWOOD:
Basswood is extremely common in low-end drum kits due to it’s ease of workability and natural abundance. It has been described as being like a cheaper version of Mahogany or Bubinga in that it produces exceptional mid - to low frequencies. Basswood is often combined with Birch to create affordable drums that still sound good and have a diverse range of tones. Basswood shells are usually wrapped or coated as the wood itself is not particularly attractive.
POPLAR:
Poplar is another wood that is common amongst cheaper drum kits. Poplar is affordable because like basswood it’s fairly plentiful. Poplar is often described as a cheaper version of Maple as it generates a lot of nice mid and high frequencies. Poplar is often used with other woods as many drummers feel that it lacks projection and doesn’t resonate as well as many of the other woods that are commonly used.
WALNUT:
Walnut is by no means as commonly used as many of the other woods discussed, but is definitely worth considering. Walnut is considered a specialty wood and generally has a price tag to match. Walnut is often
described as having a warm, dry tone, somewhat similar to that produced by Cherry. Drums made from walnut are renowned for being excellent for recording. Walnut is most commonly featured in snare drum construction as it is said to produce a fast sound with a huge amount of attack - as such it is recommended for seasoned players rather than amateurs. Walnut drum kits look absolutely amazing, and their aesthetic charm is one of the reasons that they are sought after. Walnut is often used in conjunction with Maple to ensure a diverse range of sounds can be produced. As mentioned at the beginning of this article, the wood that your drum kit is comprised of is not the only contributing factor to the quality of sound that it produces. There are a myriad of factors that affect the sound of an individual drum. Knowing the qualities of the different woods that are commonly used can however help you in finding the kit that is perfectly suited for your needs and the sound that you desire. Next time that you are in your local drum store, be sure to experiment with some of the different woods to help you make up your own mind!
19
20
These four cymbals are the 2013 winners as selected by you. We thank everyone around the world who listened, voted and decided!
AA BASH RIDE
A Crash-Ride edition of our Raw Bell Dry Ride – but bigger and lighter! Smaller bell design helps control the sound when you need a ride, or just bash away on it for huge, stage-eating sound. Available in 21” and 24” sizes.
AAX FREQ CRASH
Exclusive dual lathing process results in this unique, intensely-cutting cymbal that fills the stage with huge, open sound. Time to get your Freq on. Available in 18” size.
AAX X-PLOSION HATS
Incorporating award-winning X-Plosion Crash design, this medium top - medium - heavy bottom pairing provides incredible foot. High profile bell and sustain – enhancing process make them open and loud - or tight and articulate. Available in 14” and 16” sizes.
AAX AIR SPLASH
A punchy, cutting splash that really opens up and breathes. A raw bell design with AAX hammering and lathing results in a biting splash with plenty of substance and depth. Available in 8” and 10” sizes.
the results are in
CYMBAL VOTE
the fight for glory, the winners of the sabian cymbal vote, and The four new models for 2013 Words by | Xim doluptate
AAX Freq Crash
AAX X-Plosion Hats AA Bash Ride
AAX Air Splash
During spring 2012, drummers worldwide cast their votes to ensure cymbals of their choosing made it into the finals for the 2013 Cymbal Vote. As the 2013 NAMM show kicked off, SABIAN’s very own Mike Portnoy announced the official winners for 2013; the AAX X-Plosion Hats, AA Bash Ride, AAX Freq Crash and AAX Air Splash! When asked about their four winning cymbals, Sabian responded:
“Available in 14˝ and 16˝ models, the AAX X-Plosion Hats incorporate award-winning Sabian X-Plosion Crash design into an incredibly versatile set of Hats. The stage-eating AA Bash Ride will launch as both a 21˝ and a HUGE 24˝ model, in both natural and brilliant finish. Also available in a pair of sizes, the AAX Air Splash will be on sale as 8˝ and 10˝ sizes in natural and brilliant finish. And last, the innovative and popular 18˝ AAX Freq Crash is a fast, explosive model available in natural finish only.”
It is incredibly rare that a major music manufacturer allows its customers to select their leading product offering, however, with the Cymbal Vote, Sabian has been able to refine their products and stay well ahead of the ever changing and advancing game. For full descriptions and video of the four winning cymbal models, visit: www.CymbalVote.com.
24#
JOHN BLACKWELL
JOHN BLACKWELL THE PRINCE OF DRUMMING
TOURING DRUMMER FOR PRINCE
AUSTRALIAN DRUMMER TAKES FIVE WITH JOHN BLACKWELL, DRUMMER FOR THE POP LEGEND PRINCE. Words by | Australian Drummer
J
ohn Blackwell got his first drum kit when he was only three years old and hasn’t looked back ever since. Born in South Carolina in 1973, the son of professional drummer John Blackwell Sr, he has rhythm flowing through his veins. He began performing professionally at the age of 17 with Billy Eckstein, before enrolling with the prestigious Berklee College of Music in Boston (where he has recently had the honour of being named an associate professor of percussion). After completing his studies, John played with a number of influential artists and groups such as Utada Hikaru and Patti Labelle, before joining Prince and his band the New Power Generation of he which he has been a part of for over twelve years. He has also worked with other high-profile artists such as Justin Timberlake, P-Diddy and Charlie Singleton, as well as releasing his debut album “The John Blackwell Project” in 2009. In addition to being a prolific performer, John is also known as an avid clinician who has shared his knowledge all around the world. He has released two instructional drumming DVD’s to date.
We took the opportunity to have a quick chat with John during his last visit to Australia. What kind of kit do you have at home? JB: I’ve got a Tama 6 piece Bubinga, Birch in the house, a nice burgundy, cherry red colour. I just actually got it and used it in my first recording for my second album.
“THAT’S HOW YOU GET WORK, PLAY THE SONG, PLAY THE GROOVE, PLAY THE 2 & 4..” Out of all the drummers out there, who are your favourite older / traditional drummers, and is there anyone new out there that has sparked your interest at the moment? JB: Old drummers. I usually listen to all
of the old cats, mainly Tony Williams. I like history, so I go back to the beginning. Baby Dodds, Gene Krupa, Buddy Rich, Roy Gaines, Kenny Clark – I listen to all of those guys. They took from each other, now it’s up to this generation and the next generation to take from previous generations and take from all of those guys. I always tell anyone that takes lessons from me to go all the way back to Baby Dodds, who played with Louis
Armstrong, and move forward all the way up to the present. Present drummers, I’m a big fan of course of my big brother Dennis, and Vinnie and of course Chris Day Aronoff, Teddy, and we’re all friends – there are so many more names. What’s your favourite groove? JB: Now that’s a hard one. I couldn’t name one, I’d have to name a few. Most importantly, number one would just be playing at 2 & 4 as a groove. That’s how you get work, play the song, play the groove, play the 2 & 4. That’s the most popular, famous sound in the world. It doesn’t get better than that.
What do you enjoy doing when your not playing drums on tour or in the studio? JB: Fish. I’ve been fishing since I was a little kid. My grandfather was a fisherman. That’s how we ate, at least that’s how we ate when I spent the summers with him. He taught me how to fish when I was 5 years old and my team has won a couple of fishing tournaments, so that’s all I do as a pastime, because its peaceful and I’m at peace and it’s relaxing. I just enjoy it, the fight between me and the fish
ISSUE THREE
23
24
AN ARTISAN’S INSIGHT INTO
SABIAN CYMBALS
sabian take us through their factory, and reveal the intricate formulas behind the brightness and cut of their prestigious cymbals Words by | Australian Drummer
Raw metal ingots before casting
Tin and copper melting at approx. 1150ËšC
80:20 Bronze alloy formula
B20 Metal castings
The Sabian factory is located in Meductic, New Brunswick, Canada - the smallest incorporated village in the eastern Canadian province of New Brunswick with only 250 residents.
separated by weight. This process ensures that the casting will yield the intended final cymbal with minimal waste. The cymbals are then checked for impurities before moving on to the next step.
Blanks are cut to the approximate size of the intended cymbal and a hole is made in the centre point, at which point the blanks are sent in various directions depending on their size and shape.
The production process for cymbals crafted from B20 bronze begins in the Sabian melting room. Metallurgists, at the Sabian on-site foundry, combine measured amounts of copper, silver and tin to create a special 80:20 bronze alloy.
To evolve thick castings into large flat blanks required to make cymbals,the castings are heated and fed through a large rolling mill six to twelve times. Each time the space between the rollers is decreased slightly, ultimately squeezing the symbols to 1000th of an inch of the specified thickness tolerated. After this the cymbals are heated and cooled a number of times to ensure the metal remains extremely stiff and brittle.
Some cymbals are hand hammered, such as the HH series and some Vault models. These are given a preliminary shaping to create a convex shape, and are hand hammered by Sabian artisans using the methods handed down from ancient craftsman from the Zildjian factory in Turkey.
This century old process enhances flexibility and musicality - it is the most musical and durable of all cymbal metals. This formula is the foundation of Sabian cymbals, and is reflective of their abilities to design an abundance of the most innovative cymbal models and sounds in the market. Once cooled and hardened, the metal castings are moved into the oven room and
A bell or cup shape is then pressed into the centre. The blanks are heated again and plunged into cold water, tempering the metal and giving the alloy tough flexibility making them strong and musical.
Each perfected stroke influences the shape and tone of the cymbal. As each cymbal is hand hammered by a specific artisan, the depth and amount of hammering will vary from cymbal to cymbal. Making each cymbal unique in its own way. A metal template is used to ensure the correct shape and to gauge the cymbals profile
SABIAN CYMBALS
AN ARTISANS INSIGHT
Cymbals can be machine or hand hammered. High profile cymbals such as the AA, AAX, HHX, and some HH and Vault models are shaped under 75 tonnes of hydraulic pressure. This raises the pitch of the cymbal and increases the brightness and cut of the sound. This takes us to the lathing process which achieves two things: the first is the cymbal being thinned to its desired thickness, critical to getting the right model and sound at the end of the process. Lathing also makes tonal grooves in the surface, allowing the cymbal to flex and breathe, cutting away the oxidised surface by moving vibrations around the metal. The cymbal reaches a tapered thickness, the centre being thicker and the middle to edges thinner. Every model is uniquely tapered
Large blackened blanks
Hand hammer and template for measuring cymbals
Hand lathing
Shaping under 75 tonnes of hydraulic pressure
Tonal grooves in surface of cymbal
Hand guided machine hammering
Cymbals cut to size and edges smoothed
conditionally to the desired model, and individually treated depending on it’s thickness and weight.
Bell or cup shape pressed into the centre of the cymbal
Blank being heated before being plunged into cold water
Cymbals are now cut to their exact size and their edges are smoothed. They are then moved to the Sabian vault, weighed and tested by hand and ear to ensure formality. To aid in the maturing process cymbals are shelved to age their intended sound, while molecules settle from the heating and cooling of the production process, the metal becomes stronger and the sound develops, this can take anywhere from days to months or even longer. A final round of inspection and testing is now conducted, at which point the cymbal is finally labelled with the Sabian logo and model name. From Sabian’s revolutionary alloy formula in its initial process, to their own on-site foundry, these musical artisans and their endless quest for innovation really make Sabian a name to remember
Cymbals maturing
For more information on Sabian or any of their affiliated products visit their website at www.sabian.com. View the full Sabian factory tour here: http://sabian.com/ en/videos/featured/28992972
ISSUE THREE
25
28
HEADER
DESCRIPTION
Photography by: Ashlee Kellehear
MATT BEST
DRUMMER FOR TONIGHT ALIVE
Matt Best DRUMMER FOR TONIGHT ALIVE OFF THE BACK OF THE Warped Tour, SYDNEY’S five-piece band “TONIGHT ALIVE” HAVE JUST RETURNED TO THE COUNTRY. DRUMMER MATT BEST GAVE US SOME INSIGHT INTO THEIR RECENT TRAVELS. Words by | Australian Drummer
How long have you been playing the drums? How did you start out? MB: I’ve been playing for about 12 years now. I bugged my parents for a while until they bought me an old beaten up kit. It was a piano black Powerbeat that was almost falling apart. When did you start playing with Tonight Alive? How did it come about?
Schultz who passed on the best knowledge I could have hoped for. He was / is an incredible person and drummer. He taught me sensitivity and feel. That was the most valuable thing I came away with. My teacher in primary school introduced me to a lot of African/Latin drumming. I think one of the first videos he showed me was from “STOMP” and it blew my mind.
drop of a hat. I think I decided I wanted to pursue drumming as a career when I started touring in the ensemble and being in the pit for the spectaculars. The atmosphere was incredible and the musicians I played with were of a high standard. I wanted to tour, see the world and play music in a band with professionals that could have creative control of what music
MB: I’ve been with Tonight Alive for about 5 years now. Whakaio (guitarist) and I grew up and jammed together in the same town before he moved to Western Sydney halfway through high school.
"I wanted to tour, see the world & play music...with professionals that could have creative control of what music they were making & what message they were sending"
Whakaio met the other guys who had been playing in the same scene together for a while and decided to form the band. After sifting through drummers up there we got in contact, jammed, and TA kicked off.
Bands I’ve listened to since I was young are New Found Glory, Yellowcard and Karnivool, [however] I pretty much listen to anything.
they were making and what message they were sending. I can do that in Tonight Alive and it just so happens that they’re all my best friends.
Tell us a little about your drumming history? Musical styles, etc? When did you decide that you would like to pursue drumming as a career?
What projects are you working on at the moment?
Have you always played the same style of music? Or have you played other styles of music over your time as a drummer? MB: I’ve always tried to play as many styles as possible. I was always in bands playing anything from punk, country, hip-hop, jazz big bands and session style gigs. I was a pit drummer in eisteddfods and spectaculars and I also toured in an ensemble big band playing big jazz charts and Motown hits. What drummers have inspired you and influenced your style? Who taught you? MB: I had a great teacher called Peter
MB: I started out as my local churches drummer and did that for about nine years. Throughout that time I played in lots of different bands including (punk, country and hip-hop). I got to play a massive amount of music in almost every genre you can think of. This was also where my sight reading developed – from reading charts at the
MB: We are currently recording our next album. I’m really excited about what we have and can’t wait for it to be released. You guys have done quite a bit of touring. What are your thoughts on the touring lifestyle? MB: I love it. I get to play every single night of the year and travel with my best friends. Of course there are the hardships of being away from loved ones, but the experiences and musicianship that will come out of it all
ISSUE THREE
27
28
MATT BEST
DRUMMER FOR TONIGHT ALIVE
will be priceless. I’ll be able to bring that to whatever I decide to do after Tonight Alive is done. Do you prefer performing live in front of a crowd or recording in the studio? MB: I love both. I love playing shows and performing to people and I also love relaxing and creating music in the studio. I do feel a little bit of pressure live in that things could go wrong or I might not be feeling as well as the night before, but that’s where I make sure I’m warmed up and prepared for a worst case scenario. Both are equally rewarding at the end of it. Describe your setup at the moment (kit, cymbals, heads, percussion instruments etc.) Does it differ for live performance/ recording etc? Is there anything in particular about your setup that lends itself to your unique style of playing? MB: I play the Bubinga/Birch Tama Starclassic: 22˝ x 18˝ kick, 12˝ x 9˝ rack tom, 16˝ x 14˝ floor tom, 18˝ x 16˝ floor tom. The Bubinga allows the nice big open sound I want, whilst the Birch lends the attack. I use the Tama Bell Brass snare from the Warlord series. In the studio I use REMO’s coated Emperors on all toms to get a warmer tone. [When I play] live I use the clear Emperors to get more attack, with Ambassador’s as the resonant. For my snare I use REMO’s
coated Emperor X as it suits my heavy hitting and my Bell Brass. In the studio I usually use snare heads with less ply to get a touch more sensitivity and a richer tone. For my kick I use REMO’s Powerstroke Pro. I like my cymbals to be big, washy and on the darker side, so I use Sabian’s HHX range. I use 14˝ HHX X-celerator hats, 19” HHX X-plosion crash as my primary crash, 22˝ HHX heavy Legacy ride, 20˝ AAX X-plosion Crash as my second crash, 8˝ AA splash just for features and I also use a 18˝ HHX Evolution Ozone for accents. What is your favourite drum or percussion instrument that you own? Tell us why. MB: My Tama Bell brass snare. It’s a really versatile drum with a large tuning range, and has been durable enough to withstand my heavy touring schedule. I always use an Emperor X and tune it fairly high to get a nice crack, as it is quite a full bodied sounding drum. What is your drumming schedule like? How often are you playing? Practicing etc? MB: I tour about 9 months of the year with shows almost every night, about 200 shows a year. Depending on how long I’m home from tour I usually have a few days off to chill out and then I get back into warming up for the next tour every day increasing
practice time as the tour gets closer. I warm up for about 45 minutes every show/rehearsal day with rudiments too. We’ve been really busy recording the album, between tours, the last few months so I haven’t really had many days without sticks in my hands. I can’t complain really! What’s next? Have you got any big projects in the pipeline that you can tell us about? MB: We’re actually just finishing recording our next full length so there should be a few singles in the next couple of months before the album drops in September. Other than that, we have tours booked from May to December, hopefully we’ll get Christmas at home! Do you have any advice / tips to offer young / up and coming drummers / percussionists? MB: I think listening to a lot of different styles of music and drumming is really important. Practice as much as you can and try to set short term goals of what you want to achieve. Most of all have fun and enjoy playing!
LP CAJON The LP Cajon allows you to vary the tension of internal strings easily with a standard drum key and has front, height adjustable feet that allow the Cajon to accommodate individual playing positions. LP1432 - $299
Viva Le Cajon.
LP ASPIRE CAJON LP's popular and great sounding Aspire Cajon comes in four striking satin finishes: Blue Burst Streak, Dark Wood Streak, Sunburst Streak and White Streak.
LPA1332 - $299
LP ADJUSTABLE SNARE CAJON This adjustable snare Cajon allows you to increase or decrease snare tension with the single turn of a knob. LP Adjustable Cajon features a wooden shell, Birch front plate, a textured seating surface and non-slip rubber feet. LP1426 - $349
LP AMERICANA CAJONS Made in the USA, these Cajons are constructed using selected, 11-ply , plantation grown Baltic Birch. Each Cajon is carefully hand-made using a uniquely engineered design. The Americana Series are undoubtedly the most well-made, best sounding cajons in the world. LP1437 - $549
LP CAJON CASTANETS LP Cajon Castanets add a solid crack to a cajon’s sound, and easily attach to the side of any cajon with velcro. Available in small (LP433) or large ( LP434). Cajon not included. FROM $19.99
DISTRIBUTED BY: AUSTRALIS MUSIC GROUP CALL: (02) 9698 4444 OR VISIT AUSTRALISMUSIC.COM.AU TO FIND YOUR NEAREST RETAILER.
Tony Escapa
Drummer & Percussionist Ricky Martin, Franco DeVita
30
THE LOSS OF SABIAN FOUNDER
ROBERT ZILDJIAN THE STORY OF THE MAN BEHIND ONE OF THE WORLDS MOST PROMINENT CYMBAL BRANDS Words by | Australian Drummer
combining the first two letters of the names of his own children: Sally, Bill and Andy. On business in Meductic, Bob had this to say: “I chose Meductic for two reasons. One was that the view up and down the river was simply beautiful. The other was that I wanted a rural place where the people who came to work for us would be self-sufficient, could be trained to our standards and would have no preconceptions about factory work.”
by creating the Sabian Lifetime Achievement Award, awarded each year at the Percussive Arts Society International Convention (PASIC). Bob also received many awards during his legendary life. The ones that he remembered most fondly however, were those received in the place he made his home and built his expansive company. In 2009 Bob was honoured as one of the brightest business minds in the province when he received the New Brunswick Junior Achievement Business Hall of Fame Award.
“I’m not that worried about being the biggest… Being the best is primary…that’s my motivation.” Robert Zildjan was running a majority part of Zildjian Cymbals until 1979 when his father passed away. In keeping with family tradition, his older brother Armand, inherited the controlling share. The loss of power hit him incredibly hard. As a result Bob fled to Meductic, New Brunswick in Canada which became somewhat of a refuge from the trouble in Robert’s life.
At the ripe age of 57, Bob was developing cymbals that were automatically pit against his families age old business maturing at 350 years as a successful major cymbal manufacturer.
In 1981 Robert established his own venture, a new cymbal company he called Sabian. Bob invented the title by
As his connection with musicians became stronger he intensified the relationship
Although the initial startup was challenging, Bob had many friends in the business, not to mention, countless years of dedication to the industry.
“I’d like to be the best cymbal company in the world,” said Bob Zildjian in an early Sabian interview. “I’m not that worried about being the biggest. But if we are the biggest, that’s good too. But being the best is primary – that’s my motivation.” Sabian prospered with Bob’s leadership, his invaluable relationships with his family of employees, dealers and musicians alike are what make his influence on the music industry so profound, he is definitely a man to be remembered and revered
It’s hard to image Blake Richardson Obsessed with dolls, but he’s got every single LOST® action figure ever made! He’s also Obsessed with cooking up a mean, sizzling stir fry – although not as mean and sizzling as his 21" AA Holy China. Whether it’s for blasts, accents or wash, he loves the sharply-focused, high-end cut that blares over anything his band can throw at it. Blake says it best: “It’s brutal, totally brutal!” Learn more about what makes Blake Obsessed.
See the video at Sabian.com/blakerichardson
NEXT ISSUE
IN CLOSING
COLLECTORS DREAM Gretsch Drums announce that beginning January, 2013, all Gretsch USA Custom drums will feature the traditional Gretsch Round Badge. First appearing on USAmade drums between 1930 and 1970, drum sets made with the brass round badge have become highly respected and collectible in the vintage drum community.
COMING SOON! Dave Weckl DRUM clinics Often hailed as one of the greatest living drummers, Dave Weckl, is heading to our fair shores in June. Having played along side Diana Ross, George Benson, Chick Corea (just to name a few), Weckl is an absolutely amazing drummer. Dave has helped shape the look & sound of a lot of gear, including the Sabian Evolution and Legacy series, Yamaha’s PHX series of drums, as well as their dual-strainer system snares. This search for audio perfection is a testament to Dave’s passion for drumming.
The newly designed Gretsch Round Badge shares many of the characteristics of the original version. Each is made from brass and features an embossed “Gretsch” logo, versus fully-embossed badges found on original Round Badge drum sets. A simulated patina will be applied to give the badge a vintage brass look. The new Round Badge will be attached in the traditional method to the drums’ vent holes using a pneumatically pressed brass grommet. Original Round Badge bass drums and snare drums have the pneumatically pressed brass grommet, with the toms using decorative tacks to affix the badge.
The tour begins in June, starting the clinic tour in Adelaide, moving across to Melbourne for the Melbourne Jazz Festival, then off to Brisbane, Sydney and Canberra. Specific details of the Dave Weckl clinic are not definite yet, unfortunately, so expect some shuffling of dates/locations. Stay up to date with the Australian Drummer facebook page more information!
WHY REPLACE? REFACE! Why risk upgrading your tried and true setup because you’re tired of the look you present on stage. Australian Drum refinishing company - Hammertime Custom Drums, have been revamping kits for drummers across Australia, since September 2010. Hammertime wraps are a high quality, lightweight but very durable vinyl. The print is of the best possible photographic quality and comes with an estimated 70 year colour fast rating. The wraps create a magnificent new ‘skin’ for each shell of your kit; they leave your original shells unmarked and are held firmly in place by your existing lugs and hardware. The best part is, the design is completely up to you! hammertimecustomdrums.com.au
SHOW US YOUR KIT! We love to see unique or interesting set ups – follow OfficialAustralianDrummer on Facebook & post your drum kit to our page. Each issue we will be showcasing some of the best kits that are sent through. If you have any drumming tips that have helped you out over the years, or something new you’re working on, let us know. We’d love to hear from you!
ISSUE THREE • MAY 2012 Follow us on facebook for regular updates, comps, and other cool stuff! WWW.FACEBOOK.COM/OFFICIALAUSTRALIANDRUMMER
For all media/advertising enquiries please contact: MARKETING@AUSTRALISMUSIC.COM.AU
DISCLAIMER: All prices, discounts are from the recommended retail price set by the importer/wholesalers. Due to current economic situation, price changes may occur during promotional period. Some local selling prices may vary. All information, specifications and prices mentioned in this publication are subject to aritst’s error.