MUS I C I A N ’ S H A N D B O O K
[drums] the essential guide to buying, playing and more
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Choose the right Kit n LEARN Your FIRST BEATS n ESSENTIAL GEAR MAINTENANCE n SUPERCHARGE YOUR PLAYING n RECORD LIKE A PRO & MORE! n
Musician’s Handbook : Drums
MUSICIAN’S HANDBOOK
[drums]
8 getting started
37 lessons
gear
8........ anatomy of your drums 26...... drumming essentials
58...... mot your drum kit
12...... gear buyer’s guide
31...... practice tips
64...... service your pedals
16...... essential accessories
32...... how to warm-up
66...... swap your snare wires
18...... how to tune drums
37...... 30 day drum workout
68...... cut a bass drum port
22...... set-up advice
72...... drum kit hacks 78...... vintage drum icons
16
58
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contents
112 gigging
34
recording
interviews & tips
88...... guide to gigging
104.... build your own studio
34...... travis barker
92...... how to prep for a gig
108.... prep for recording
70...... neil peart
94...... gig bag essentials
110..... drummer’s guide to mics
98...... will champion
96...... tame your nerves
112..... record your drums
120.... drumming careers 122.... tips from the pros
94
108
Don’t forget to check out the video lessons on your cover CD! Musician’s Handbook : Drums | 5
Musician’s Handbook : Drums
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GETTING STARTED | INTRO
getting started
S
o, you have decided to take the plunge and learn to play the drums, eh? Congratulations! You’re at the beginning of what will be an enjoyable and fulfilling journey. But if you’re unsure quite where to start, rest assured you have come to the right place. Throughout this Handbook, we will guide you through everything you need to know to become a fully-fledged drummer. This first section in particular is designed to help you take your first steps into the world of drumming. From learning the anatomy of your drum gear and buying your first kit, to setting up and tuning your drums, the drumming essentials over the next 15 pages will give you a great foundation upon which to build your skills behind the kit. Let’s get started!
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Musician’s Handbook : Drums
Anatomy of your drum kit
Understand the ins and outs of your drum gear Batter head A batter head is the top drum head which is struck by the drummer
Floor tom A typical set-up will feature one or two floor toms that can either be stand-mounted or on individual legs. They are larger than rack toms and produce a deeper sound
Shell Drum shells can be made of numerous materials, from wood and metal to plastic. Each material has a different effect on the drum’s sound, as do the dimensions, the shell thickness and construction method
Boom stand A cymbal stand with an extendable ‘boom’
Bass drum Also referred to as a kick drum, this drum produces the lowest note of the kit and is played using a bass drum pedal on the batter side. Bass drums tend to differ in size, depending on the style of music being played
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getting started | anatomy of your drum kit Tom holder/mount A tom mount or holder is used to position toms above the bass drum. Tom holders are either inserted in a hole drilled in the bass drum, or attached to cymbal stands (pictured). Single toms can also be mounted on a snare stand
Hi-hat clutch Hi-hat stand The stand upon which hi-hat cymbals are positioned features a foot pedal that enables the drummer to open and close the cymbals for a variety of sounds
The clutch is attached to the top hi-hat cymbal and fed over the central rod of the hi-hat stand, to which it clamps, enabling the drummer to control the cymbal with their foot
tom toms Also known as rack toms. Setups can feature anything from one tom tom (think John Bonham), to dozens (Terry Bozzio). Typically, each tom will differ in size, will produce a higher note than floor toms, and be positioned in descending pitch order from left to right
Straight stand A cymbal stand with a straight arm. Some straight stands, like this, can be used as either straight or boom stands
Snare stand The adjustable stand on which the snare drum sits
Bass drum spur Spurs are used to hold the bass drum in position
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Musician’s Handbook : Drums
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lessons | intro
lessons
N
othing beats the feeling of mastering your first drum beat. After all, it’s the first step towards playing along to your favourite songs, jamming with other musicians, and perhaps even starting to play some local gigs. Whatever your musical ambitions with the drums, it’s essential to focus on getting the basics right and developing at a gradual pace. In this section you’ll learn about key drumming terms and get to grips with your first drum beats. You will also get stuck into the rudiments (the building blocks of drumming) and learn how to warm up properly. Once you’re confident in these areas, take a look at the 30 Day Drum Workout program, designed to improve key playing skills whatever your level. What’s more, many of the lessons in this section are accompanied by video tutorials on your cover CD. Class is now in session...
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Musician’s Handbook: Drums
drumming Essentials
So, your new kit is set up and you’re ready to begin your drumming journey. But where do you start? Right here! Over the next five pages we’ll show you everything you need to get drumming today
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video
he drums are an incredibly satisfying instrument to learn, particularly during the early stages. Nothing beats the feeling of playing your first beat or fill, or jamming along to your favourite song without making any mistakes. In order to get to that stage and beyond, it’s important to know the building blocks of drumming. In this feature you’ll get
to know key terms, learn how to read drumming notation and take your first lessons. We’ll also guide you through the rudiments (think of these as the letters of the drumming alphabet). There are handy videos on your disc to accompany many of the lessons in this section, too, so look out for the ‘Video on your disc’ icon as you read. Ready? Then it’s time to play some drums!
Key drumming terms Get to know what these mean, you’ll be hearing them a lot!
Matched Grip
Quarter Notes
Eighth-note Triplets
Both hands hold the sticks in the same manner: thumbs on the side of the sticks; forefinger opposite the thumb; middle, ring and little fingers curled under the sticks; palms held down, facing the floor.
Also known as ‘crotchets’. If a standard bar of music is regarded as a ‘whole’, then four evenlyspaced notes within that bar are regarded as ‘quarters’, hence the term ‘quarter note’ (in other words, four beats in a standard bar).
The musical definition of a triplet is ‘three evenly spaced notes occupying the same space as two evenly spaced notes’. In the case of eighth notes, two would be replaced by three eighth-note triplets.
Traditional Grip
Eighth Notes
Ostinato
The right hand is as matched grip, but the left-hand stick is held differently (vice versa for left-handed players). The stick is lodged in the fleshy bit between the thumb and forefinger and the fore and middle fingers curl over the stick, while the ring and little fingers curl under to support the stick.
Classically referred to as ‘quavers’. If a standard bar of music is regarded as a ‘whole’ and four evenly-spaced notes within that bar are regarded as ‘quarters’, then eight evenlyspaced notes within that bar are regarded as ‘eighths’, hence the term ‘eighth note’ (in other words, eight beats in a standard bar).
An ostinato is a repeated pattern, usually not very long, often three or four notes played over and over again. The most famous drum ostinato is the vivid snare drum pattern in Ravel’s ‘Bolero’, but contemporary drummers often refer to ‘bass and hi-hat’ ostinatos.
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video
getting started | drumming essentials
Your first drum lessons Master the basics of rock, jazz, funk and more
Rock Beat
the bass drum and ‘2’ and ‘4’ on the snare. Add a bass drum to add a double note in the middle.
Here we have two bass drum beats to the bar and snare drum on the backbeat of ‘2’ and ‘4’, with the hi-hat keeping time. Then try an extra bass drum note after the second backbeat.
Funk Beat This is a really simple but hugely popular funk note with the bass drum playing an independent 16th note played just before the first backbeat.
Rock Beat Variation This is a slightly more advanced rock beat. The difference here is that we have an extra snare hit played independently of the hi-hat.
Also known as ‘semi-quavers’. If a standard bar of music is regarded as a ‘whole’, then 16 evenly spaced notes within that bar are regarded as ‘16ths’, hence ‘16th note’.
Cross-stick Played on the snare by holding the stick at the tip end, laying it across the drum and striking the rim with the ‘butt’ end, keeping the tip in contact with the head.
Rim Shot Played by striking the head and the rim of the drum at the same time. It makes a loud, sonorous sound, good for accents in a snare pattern or heavy rock backbeat.
Head Types The ‘batter’ head is the drum head that you strike. The ‘resonant’ head is the head on the underside of the drum that gives it a full and resonating sound.
Here is a really basic jazz idea to get you off to a flying start. Play four on the bass drum and the snare on ‘2’ and ‘4’, with a jazz ride pattern over the top; then play just the ride cymbal and left foot stepping the hi-hat every beat.
A really basic shuffle pattern, the same as the basic rock beat but it swings thanks to the shuffle on the hi-hat – ‘1’ and ‘3’ on on
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16th notes
Jazz Beat
Shuffle
video
Opposite are some common ideas you will need to master first. Don’t forget to watch the videos on your disc for a closer look at each exercise. Once you’ve mastered them, play along withstamina someis tunes Make sure your up, says that Travisincorporate Barker variations on these ideas, and then see if you can come up with your own unique interpretations. See? Now you’re drumming!
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How to read drum notation Reading notation is an excellent skill for any drummer to learn
very drum student should make an effort to get comfortable with the notes on the musical stave. Anyone with ambitions of becoming a busy and ‘in demand’ drummer will need to be able to read to some extent (if not to a high level) in order to get access to not only sessions and pit work, but band work of all kinds. If a band with charts needs a replacement drummer in a hurry, the drummer who can read will get the gig. But even if you only learn the basics of reading, it still means the world is a bigger place. The fact that you’re reading this means you must be interested in the lessons, but if you can’t read music, the lessons later on will be more difficult. So first, let’s start with some basic tips...
toms are close together). The hi-hat is above the top line but the ride cymbal is on it.
1 Play what you see, not what you think you see. Check tom note placings (high and mid
6 Finally, embrace reading music! It’s one more way we can ‘talk’ to each other.
2 Make the exercises sound good as soon as you feel you’ve got the reading right. It’s all about the music! 3 If an exercise sounds odd, you may have misread it. If it doesn’t sound right, it probably isn’t so try it again. 4 If you aren’t a confident reader just yet, check the music against the video footage and see how it ties up. 5 If you feel more confident now, try the music out first and then check yourself against the video.
Rhythm - September 02 issue standardised drumset notation key STANDARDISED DRUMSET NOTATION KEY Snare Drum
œ
Bass Drum
œ
Tom 1
œ
Tom 2
œ
Tom 3
œ
Ghost Stroke
(œ)
Closed Hi– Hat
¿
¿o
Open Hi–Hat
Hi–Hat w/foot
¿
Ride Cymbal
¿
¿
Crash Cymbal
—
Cowbell Rimshot
œ
Lœ
Cross Stick
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travis barker
The Blink-182 superstar discusses his approach to learning drums
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interview | travis barker
T
here’s more than meets the eye with Blink-182 and Transplants drummer Travis Barker. Behind his DIY punk aesthetic lives a trained musician with respect for the past and optimism for the future. Travis’ background in music, during his formative years at school, included marching, orchestral and jazz band. In between, the California native was hitting some truly classic drum books with a private teacher. Those experiences laid a foundation that would embed itself in his subconscious and eventually make up the personality of his playing. In this interview, Travis talks about his drumming education, his approach to improvising, and why the internet is a good place to learn drums.
it be sitting around playing on a practice pad, or playing bossa nova patterns with my feet and trying to solo over them. I was always challenging myself. Once you’re given the fundamentals, it’s up to you to grow. I still love practising and challenging myself.” How has that whole marching band element impacted your playing? “I love that stuff! It still comes out in my playing. When I’m on tour and I don’t have a lot to do except be around my drums, I sit on a practice pad and play for two hours before we go on.”
What were your formative years like with the drums, as far as music education and learning technique? “As a child, being five and six, I had a teacher who taught me how to [sight-] read. I played on a snare drum and would learn snare pieces. There were these sight-reading competitions and I did really well in them. All through elementary school I was learning jazz. There weren’t many teachers who taught you how to rock! It was, ‘Here’s this jazz chart, catch all the accents, set up the accents. I want a two-bar fill on the ‘&’ of ‘2’, two measures from here.’ That set me up for reading. Then, they’d make me do the same thing with my left [as with my right hand] so I could play with my left hand. “By the time I got to junior high, I was in jazz band, marching band, orchestra... Anything they could throw at me. In high school, I dove into music. My mom had passed away. I had an amazing drum-line teacher named Perry Hall. It was my first taste of what drum-line would be. Being in a real drum-line with six snares, four bass drums and three quint players was awesome! “I then started a band in high school and we played everywhere locally. That was my [form of] education. I never went to college. I never tried out or attempted to go to drum corps. I started touring two years after high school. I was content with that. All I wanted to do was tour with a band. I had great reading at the time, and chops from marching band got me in a routine of always practising.”
Do you find yourself playing but not thinking about it when you warm up? “Yeah, I’ll just mess around with the sticking. Usually a paradiddle diddle, or a tap so I can restart it with my left hand. I don’t like to think when I’m playing the drums, I like to play the drums. It’s more of a feel thing. I don’t like calculating everything out because then it takes away from the natural part of playing. I’d rather be fluent and play from my heart. That’s what I’m good at. Rather than sitting around going, ‘I’m going to do this fill right here.’ “I was getting ready for the Grammys and Aaron Spears and I were shedding, just messing around playing drums. I was like, ‘I wonder if I should come up with a solo?’ because right at the top of this Grammy performance [with LL Cool J, Chuck D and Tom Morello], I had a solo within the first eight bars. I’m like, ‘Who gets an eight-bar solo at the top of a song at the Grammys?’ Part of me thought I should have it locked down. Aaron was like, ‘Don’t you dare, Travis. You play from the heart. Don’t you dare go and have it rehearsed to play out there. Just play. Just do a ‘you’.’ So that’s what I did. “Him telling me that reminded me that I love playing from the heart. I love feeling what I’m playing, instead of having everything calculated out. Unless, of course, I’m reading a chart and have to set something up and have accents that I need to hit. I’m all for that, but how you set them up doesn’t need to be calculated. The more you practice, the more you’re fluent with your right and left hand. Everything you know with your right, also learn to do it with your left. Then you won’t have the restrictions of having to think about everything you play.”
What drum exercises did you practice? “It was a matter of making up my own exercises to keep my chops sharp when on tour. Whether
Do you still do a lot of traditional grip? “Yeah. I have to stop myself, ’cos I’ll warm up like that, traditional, and I’ll be like, ‘That’s not
even how you’re going to be playing.’ I don’t even think there is a correct way to warm up for the way I play!” How did teaching and giving lessons affect or influence your own playing? And do you still find time to practice? “I wanted to play more when I was home, and I wanted to work with kids. Just be interactive and keep drumming. I try to be here [in the studio] and practice because I’m recording all the time. So, if I’m here I walk around with sticks in my hand and do something with them – I’m either tossing them or I’m playing on something, just being productive.” Would you like to develop a particular area of your playing further? “I get to a place on tour where I can do it and then when I’m home I’m in a more creative environment and it’s more about making music instead of playing music or practising. So when I’m on tour I like to be in a mind frame where I can pull off anything I think of while I’m playing. I’m not like, ‘Oh s**t, I’m going to try this for the first time tonight and I don’t know how it’s going to work out.’ I change my fills every night – I like to improvise – but I’m not going to confuse people or throw anyone off. I just try to get to a place where I can pull off whatever idea I have in my head. I think that’s the win-win. That’s the ultimate goal, to be able to pull off what you want to play without really thinking about it.” What do you think about using online media, such as YouTube, to not only share your own licks, but for aspiring drummers to seek out lessons? “I think it’s great. Not everyone has enough money to get private lessons. Almost every kid has access to a computer, though. You can get lots of information there. If you want to learn a six-stroke roll, you can type in ‘six-stroke roll’ and find someone to demonstrate it for you. When I was a kid, I’d have to ask my instructor. With all the information you have provided on the internet, I think it’s a great thing. “In my son’s school, they have pieces they learn on snare. You can type in the piece of music and play along with it and it will tell you if you’re playing it right. If I’d had that when I was a kid, that would have been amazing! I think all those are great tools. Use the internet. Learn as much as you can. I’m not the only person giving free instructional, tutorial videos – there are loads of people.”
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Musician’s Handbook : Drums
mot Your
Drum kit Words: Jules Tabberer-Stewart Images: Eckie
A
Say goodbye to tired drums and get your kit back into shape with our easy to follow maintenance guide
fter a few months of solid gigging or regular practice, your drums will inevitably require a little TLC. Life easily gets in the way, and finding time to ‘sort out the gear’ can be difficult. But neglect your expensive equipment for long enough and it will
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quickly begin to underperform and let you down when it counts. Take this faithful Tama Starclassic Bubinga kit (above), for example. It’s used for rehearsals and gigs on a weekly basis. But the heads are now starting to lose some of their resonance, the drums are
full of dust, sweat and stick shavings, and the cymbals are no longer shiny (although some of us do like to leave our cymbals to dull naturally). Sound familiar? Follow our simple guide now and you can bring your kit back to looking and sounding like new.
gear | mot your drum kit
Cleaning the kit Step 1
Step 2
Making sure you have plenty of space and
Inspect the shell. Check that none of the
Step 3 Wipe the hoops clean. Use some
a clean working area (lay down a sheet or
screws that are holding the lugs (and
surgical spirit to dissolve all of the
some cardboard to look after your carpet),
snare strainer and butt) are loose or
yucky grime, dirt, sweat, blood, beer
strip the shells of batter and resonant
rattling by tapping the shell. Take a close
and any other nasties that might be
heads. Next, strip the snare drum of the
look at the bearing edge to make sure
hanging around inside. Now for the
snare wires by undoing the nuts on the
there are no splinters or damage. If you
best bit: using a good-quality car
snare strainer and butt. If you strip all
find any, we advise taking the shell to
polish (we prefer Autoglym Super Resin
drums at once, it will be difficult to tell
your local store for support. Using a soft,
Polish), sparingly apply it to the outer
which tension rods belong to which drum,
lint-free cloth, gently wipe the bearing
shell, hardware and hoops, taking
so keep it simple and work on one drum at
edge clean of dust and debris, following
care to avoid the bearing edge. Finish
a time. Plenty of dust and stick shavings
the direction of the wood grain. Next,
with a microfibre cloth for a shine
will have gathered between the rim and
clean the outer shell with furniture polish
that will protect your drums and shell
the head, and this will all fall out when
or a gentle cleaning spray, making sure
hardware. This will only work with
you remove them. You should now have a
you clean the shell, lugs and strainer too.
metal, lacquered, wrapped or acrylic
shell, two hoops and a bunch of tension
Use a cotton bud to reach those hard to
shells, however. Do not apply it to satin
rods in front of you.
get into areas.
or textured shell finishes.
Step 4 Apply a drop of tune-up oil or light machine oil to the thread on each tension lug. This will make tuning easier, prevent sticky and noisy tension bolts, and prevent cross-threading. You can also apply a small amount to the snare strainer mechanism and the nuts in the strainer and the butt.
“neglect your equipment and it will underperform and let you down when it counts” Musician’s Handbook : Drums | 59
Musician’s Handbook : Drums
21 Budget Kit
Hacks Inject new life into your gear and playing without handing over your life’s savings Words: Tom Bradley
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t’s fair to say that being a drummer doesn’t come cheap, and even getting close to your dream setup can be an expensive, long and frustrating quest. Perhaps if we had been warned of this unquenchable thirst for expensive, shiny things, we would have thought twice
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about picking up our first pair of sticks? We’re joking, of course, but with the cost of living on the rise, holding off from replacing your kit every time you fancy a change is a prudent move. But what can you do when you grow tired of the same setup and your playing becomes stagnant
as a result? It’s possible to add a fresh spin to your gear without breaking the bank, and to supercharge your playing in the process. Here are a few simple tips, tweaks and hacks to open up extra dimensions in your sound and playing without having to sell the family silver…
gear | kit hacks 2 try new heads
1 Revitalise your hardware MOT your gear! Keeping your hardware in good condition will not only keep it looking good, it will also make it last longer. Replacing worn tension rods, lugs and washers is important for both tuning and playability. You’ll feel like you’re playing a brand new kit again. So what are you waiting for? Get yourself a bottle of hardware cleaner, a squirt of WD-40, a cloth and some good old-fashioned elbow-grease. While you’re at it, why not give rusty parts a good soak in white vinegar to bring them back to their former glory?
3 Treat your bearing edges The bearing edge is the part of the shell that comes into contact with the head and upon which the head is ‘seated’. These can be cut to different angles and thicknesses to produce a different tonality and/or resonance to the drum. It’s wise to have these re-cut professionally to avoid damage to your precious drum, although they can also be sanded back to great effect. You could also try rubbing wax (beeswax or paraffin wax is best) into the bearing edge when changing the heads. This fills pores in the wood and lubricates the contact between the shell and drum head. This will help it seat more evenly and should also make tuning easier.
Replacing your drum heads will give your kit a new lease of life. There are a wealth of varieties that give us an incredible amount of choice when it comes to tailoring our sound. The main choices being single vs double ply, and clear vs coated. As a rule, the thicker the drum head the shorter the sustain. Really thick heads, such as a Remo Pinstripe, are great for rock and metal. A thinner head, on the other hand, like a Remo Ambassador, will give you a much more open sound. As a result, this type of head is often used for jazz. The bottom (or resonant) heads are generally much thinner than the top (batter), but it can be rewarding to try out different combinations on both top and bottom. You could even lose the bottom head entirely for a ’70s-style concert-tom sound, Phil Collins style!
4 Add some percussion to your set-up Adding extra elements to your set-up can make a huge difference to your playing in terms of inspiration and orchestration of ideas. These elements could include percussion instruments such as cowbells, tambourines, woodblocks or even a side snare, mini timbale set, roto toms, octobans, bongos... You name it! Percussion brackets, such as the LP Gajate bracket, allow a bass pedal to connect to any percussion instrument of your choosing. This can open up your limb independence to a whole new level. Left-foot clave, anyone?
5 Experiment with electronics Since the popularity of Simmons electronic drums in the ’80s, trigger pads have been commonplace in the industry, through many genres. This trend of adding external triggers to your existing set-up to create a ‘hybrid kit’ has now become a necessity for almost anyone working as a pro drummer. The good news is, these triggers are cheaper than you may expect and will unlock a world of potential in both your kit and your playing. No need to go out and buy a huge e-kit just yet, as there are much smaller and cheaper modules available, all designed specifically for hybrid setups. Small triggers can be added to acoustic drums for layered sounds, while separate pads could give you extra percussion sounds, sub-drops, loops, or anything else you can think of.
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Musician’s Handbook : Drums
Vintage Drum Holy Grails Whether you’re looking to start collecting drums, or want to add to your vintage arsenal, these gems should be right at the top of your list Words: Geoff Nicholls
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gear | vintage drums
C
lassic instruments of all types are sought after and venerated for their mature tone and elegant design. Drums are no different. In fact, these days there is a big market for serious collectors of vintage drums. So, why collect? Perhaps you simply admire the look? Perhaps it’s the only way to get the exact sound you need in the studio or live? Perhaps a certain item is rare and will appreciate in value over the coming decades? Or perhaps you sense the latent worth in a sadly discarded and unfashionable bargain? The good news is that old drums and cymbals generally do not (as yet) command the sort of mortgage-like moolah of, say, guitars or classical violins. Yet the problem with drums is they take up more space than most of us can afford to give up. Seeking out vintage drums is a fairly recent pursuit. The 1980s digital drums revolution made acoustic kits look obsolete for a while and it was around then that many collectors started hoarding in earnest. Then, when the fashion for tribute bands took hold, everyone wanted a Ringo Oyster Black Ludwig. Kits that were selling for £350 back in 1985 can now go for hundreds if not thousands more. In this feature we’re highlighting classic instruments, a few of which are tantalisingly super-rare, but many of which are not so scarce – simply desirable and popular. American kits from the 1960s are still the most frequent target. They are playable and have the sound of that magical decade. British and Europeanmade kits of that era are arguably just as good, but lack the glamorous associations of the American gear. As a result you can still (just) pick up old British and European drums for ridiculously low prices. As for super-rare gear, that is for the avid, knowledgeable collector. But, hey, we can all dream…
01 Built in the UK and mainland Europe We in the UK are notorious for playing down our own heritage. Yet Britain and the rest of Europe produced some of the most interesting designs ever. Classic UK-made drums end up in skips outside school music departments, when with minimum care they can make quality instruments.
Premier kit Era: 1950s through 1980s Value: £££ £350 to £500+ (with snare) In its heyday, Premier made some of the most distinctive drums ever and led the way with inventive designs. British pros, and a surprising number of great American jazzers, played Premier during the 1960s. There are still many kits like this one of Steve Vye’s to be found and, because of the quality of the metal castings and chrome plating, they often scrub up a treat. The glitter finishes (Aquamarine, Red, Silver) have often deteriorated, but the pearls are generally like new. A good four-piece kit can still be found for a few hundred pounds – silly money for a world-class instrument – and any damaged parts can be found online. Look out for Premier oddities, too. Before 1967 Premier toms had so-called pre-international sizes, and Premier historian Mike Ellis (www.blenheimdrums.co.uk) reveals the factory never wasted anything, so drums made between 1968 and 1970 may have a mix of old and new components.
Hayman Vibrasonic kit Era: 1968 to mid-1970s Value: £££ £350 (for three drums) upwards While Premier was the UK’s market-leading international brand, there were others like Ajax, Autocrat and Carlton that should not be overlooked. In the 1960s, top music industry entrepreneur Ivor Arbiter, the man who brought American drums to the UK, decided it was time we made a cutting edge British alternative to expensive US imports. He took over the outdated Carlton factory and emerged with Hayman drums. Hayman had triple-flanged hoops (European hoops up until then were die-cast), Ludwig-style fold-out spurs and a thick white ‘VibraSonic’ inner shell coating like that applied to American drums, particularly Ludwig and Way/Camco. The drums took off like wildfire, but were sadly short-lived. This kit (pictured above right), belonging to super drum tech Yard Gavrilovic, is desirable for several other reasons, including the rare 18" bass drum and metal MetaSonic snare (most Hayman snares have wood shells). And it has original George Hayman badges, shortened simply to Hayman within months of launch.
Sonor kit Era: Circa early/mid-1960s
value guide
Where possible we have attempted to put a value on an item. If pricing isn’t available or is too broad, we have also categorised each item as follows:
£££ A budget-friendly item, and the perfect way to start your vintage collection. £££ A piece that will require considerable investment. £££ One for serious collectors and those with deep pockets only.
Value: £££
Sonor is today the leading European drum company and, in fact, dates back to 1875. In the 1960s Sonor didn’t make quite the splash that Trixon did, but a few kits made it over here and even then they exhibited elements of the strong, individualistic design and post-war West German engineering qualities that continues to distinguish Sonor today. This striking mid-60s Chicago Star K170 kit comes courtesy of Mark Jeffs of Rusty Drums (www.rustydrums.co.uk). Toms and bass drum shells are three-ply beech with reinforcing rings and rounded bearing edges, already with Sonor-trademark vertical inner plies. The snare has a beautiful sophisticated parallel strainer mechanism. Hoops are one-piece, die-moulded steel, with the top flanges turned in, not out, like Slingerland’s. Sonor’s hardware is also extremely clever, all in all making these heavy kits desirable and underrated.
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Musician’s Handbook : Drums
GUIDE to gigging
Looking to hit the gigging circuit but don’t know where to begin? Our handy guide will arm you with everything you need to take your drumming from the bedroom to the stage
W
hether it’s on social media or in the pages of magazines like Rhythm, it’s common to hear top-level drummers reveal all about their latest stadium show, how and where they recorded their latest album, or how they toured the world with hardly enough time to eat or sleep, let alone play to 80,000 people. How does that relate to what most of us grassroots level drummers do on a regular basis, though? Here, we take a close look at the different types of gigs available to modern drummers and how, with hard work and dedication, you can ensure you get them. Plus we look at the different gear choices, talk about image, the importance of transport, networking and so much more. But enough with the chit-chat, it’s time for us to hit the road!
Appropriate Choices So, you’ve completed hours of rigorous practise, maybe just left university or college, or perhaps you’ve dusted off the old kit stored for years in the loft, and have decided to get yourself out there playing. Maybe you just want to do it occasionally for fun, or perhaps more seriously to earn a living. But where do you begin? Firstly, you need to think about the kind of gigs that would be appropriate for your playing. With so many variables when it comes to gigs – pubs, clubs, functions, cruise ships, theatre shows, holiday camps or festivals – where do you want to play? It’s not a great idea if you’re an out-and-out metal drummer to start promoting yourself on the function band circuit, where you would have to play everything reasonably quietly and conservatively. Similarly, if you’re intent on becoming a jazz drummer, auditioning for your home town’s newest up-and-coming thrash metal band with a confirmed booking for Download Festival might be a waste of
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time. Ultimately you should be focusing on working to your strengths as a player, so keep in mind who you are as a drummer, what music you play and where you want to play it.
Gearing up It’s important to think about your choice of equipment, too. While playing a monster double-bass drum kit with 18 cymbals may look cool in your practice room, trying to set the kit up on a small stage at the local Dog & Duck won’t win you many friends with the rest of your band. Especially if you don’t leave enough room for the guitarist to have his monitor within leg-raising distance. If you’re going to be playing smaller gigs, functions or shows, then generally the less equipment you need to undertake the job properly the better and easier it is for everyone involved. Conversely, if you’re playing larger venues, arenas or festivals, then a larger kit can often be used to great effect to enhance the image of the band.
Image Conscious Speaking of image, it’s important to think about your own image and whether it’s appropriate for the type of gig you’re looking to perform. Unfortunately, many promoters, agents and bookers still judge drummers and bands by the way they look. If, for example, you’re thinking of auditioning for a job on a cruise ship, you’d be judged unfavourably if you were to turn up in ripped jeans and a t-shirt, with a pink Mohican! You may be the best player they’ve ever heard, and the nicest person, too, but you would still probably be advised to tone down your image. That, or they will politely say, “No thanks, you’re not the right person for us.” We’re not saying for one second that you can’t be individual in your image. Rather, just think about your target market and audience.
Many of the most successful drummers have a strong image, but have built it around the style of gigs and music they play. Whether that’s rock, jazz, folk or metal, it’s still possible to be yourself without harming your chance of landing regular gigs.
Getting Gigs Once you’ve decided on the kind of gigs you want to play, where do you find them? This can depend on a couple of factors. For example, are you looking to be part of a band (or perhaps you already are), or do you want to work on a freelance basis with several bands? Whichever applies to you, there are some common ways to land gigs. The first is networking. Get out and meet as many musicians, promoters, bookers, venue managers and owners as you can. One way of doing this is by attending jam sessions, where you not only get the opportunity to play with local musicians, and show them what you’ve got, but also to meet other drummers who may well need ‘deps’ for gigs they can’t cover. Make sure you always carry business cards, too. These can be obtained cheaply online and are a good marketing tool. However you approach people, make sure you give your full contact details without being pushy. People are more likely to book players they get along with, rather than the ones who hassle them for work at every meeting. Promotion is another way to land gigs, with the simplest things often being the most productive. It sounds obvious, but use the internet as much as you can. Use your own Facebook and Twitter pages. Upload examples of your playing to Soundcloud or YouTube so that potential bandmates, venues or producers can check out your playing. The easiest way to capture video of your playing is by using the camera on your smartphone, or buying or borrowing a camera and recording
gigging | guide to gigging
Sites like Facebook, Twitter, YouTube and SoundCloud are great places to promote your music to potential bandmates
your rehearsals and gigs. As long as the audio is decent, you should have plenty of clips to choose from. Also consider setting up your own website. With a little bit of research, it’s possible to find easy to use and affordable web-hosting companies. When naming your own website, pick a professional sounding domain name, especially if you’re trying to secure function, cruise or jazz gigs. Next up is auditioning. Keep an eye out for adverts on social media, in music shops, or local or free-ads-type papers for any bands looking for drummers in your area. If you find any that seem appealing, give them a call to arrange an audition, setting aside enough time to learn some of the band’s material. Research the band online and, if possible, aim to see them live before you audition. You could also ask them for any recent recordings or videos they may have. Be on time for the audition, as nothing creates a worse impression than having the band sitting around waiting because you weren’t organised. Make sure you have directions to where the audition is being held, pack your gear the night before and leave at least an hour before you need to.
Be prepared to go above and beyond should the band ask you to perform a number of tracks; learn at least a couple of extra tunes from their setlist so that, if things go well, you have a couple more tunes up your sleeve. Think about the music and not yourself; don’t get sucked into pulling out your best Thomas Lang licks and showing off if the gig doesn’t call for it. The band is more likely to be impressed by musicianship, taste and groove, unless it’s a prog rock band who want all of the above, plus some inverted triple paradiddles at 200bpm.
rev your motor As a drummer, reliable transport is essential. You’ve gone out, networked, promoted your band/yourself and have some auditions or gigs lined up. This is great! Unless, that is, you can’t drive or don’t have any feasible means of getting around. The number of musicians that fall foul of this rule is amazing, so think of transport as just another part of your kit. What is the use of thousands of pounds worth of gear if you can’t use it anywhere but home? Similarly, hiring vans is a great way of spending most of the gig fee before even
playing a note. When auditioning for a gig, one of the main questions you will be asked is, ‘Do you drive?’ Unless you’re uber talented, or extremely lucky, not having transport will affect your gigging prowess.
Taking Care Of Business Whilst earning money from gigs shouldn’t be your primary concern, if money has been discussed then managing finances properly is critical. The easiest way to do this is to agree in advance (preferably in writing by way of a contract) a fee for performing. While each venue will offer you a set fee, if the first gig is successful and you get rebooked, don’t be afraid to haggle for a higher fee somewhere down the line. This isnt a good thing to do after your first booking, but if you prove to the promoter that you can get paying customers through their doors, you’ll have a much better chance of earning more for subsequent gigs. One very common occurrence is the door split: either you or the venue charges a fee for entry to the gig, with the money then being split between the venue and the band. This can be a risky venture for two reasons. Firstly, if not many people attend the gig, you may
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Musician’s handbook : drums
HOW TO BUILD YOUR OWN
drum studio So, you want to record your drums. But where do you plan on recording them? Whilst dedicated studios are a great option, they can be prohibitively expensive. Here we show you how, with a little outlay and the right space, you can build your own recording studio Words: Pete Riley
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A
s record and production companies continue to look for new ways to cut costs, sadly they become less and less willing to budget for musicians and recording time. However, constant advancements in digital technology are making access to better equipment more financially viable for the artist or musician, in turn making setting up your own studio a realistic possibility. This will still require a sizeable investment of both time and money, however, and if done with a commercial incentive in mind it’s a good idea to assess how much paid work it will generate, otherwise you may find yourself with merely a useful yet expensive practice space. But, if you’re undeterred by the prospect of financial ruin and the taste of plasterboard dust, read on, as we’re about to explain what you should consider when building your own studio.
1 Location The first consideration when contemplating building a recording studio is where to build it. Most drummers’ studios are at home in an outbuilding or part of the house itself, but some rent space for their studio. If you are using a rental space, it’s important to consider how long it will be yours for – after going to the effort of soundproofing somewhere once, you probably won’t want to relive the experience for some time. At this stage it’s also important to consider just how loud a drum kit is and how viable soundproofing is for your particular situation. For example, if you want to convert a garage in your garden, you’ll probably be left with a reasonable space inside after soundproofing, with minimal noise escaping. However, if you’re looking to convert a room in a house or flat you may have your work cut out if you want to play without anyone hearing anything and, if the space is small to begin with, you may find it unreasonably cramped after soundproofing. With a suitable room chosen, let’s consider some other important points…
2 Let there be light Daylight is such an important ingredient when it comes to creating a nice place to work in, and a lack of it can make your workplace feel like a prison cell after just a few hours. It’s easy to assume that blocking up windows is the only option when soundproofing a room, yet a combination of a single double glazed unit with
recording | build your own studio Being able to record in your own home studio is every drummer’s dream
no opening windows and a sheet of acoustic glass (comprising of two sheets of glass with a thinner sheet glued inbetween) will work incredibly well if installed and sealed correctly.
3 The doors Your studio will have at least one doorway to contend with and, like the window, this is another potential area for sound leakage. Simply using a heavy door can help, though adding weight by building a regular door up or applying a layer of Sheetblok (a special vinyl material designed to act as an effective sound isolation barrier) can have the same effect. You may also find it necessary to add a second door on the inside if results aren’t satisfactory. Either way, each door must seal completely when it shuts. While regular sealing strips are available from DIY stores, there are sets commercially available specifically for this purpose.
4 Something in the air With all of the windows and doors sealed and walls caulked and airtight, there is the small issue of how you’re actually going to breathe. Surprisingly overlooked by some, the supply of air into the studio is important, not only to avoid lapsing into unconsciousness mid-paradiddle, but also for the preservation of the recording equipment, upon which moisture can collect. Adam Bushell, a tutor at ACM and a longterm contributor to Rhythm magazine, has experience in acoustic engineering from a life prior to his current stature in the drum world.
He explains that a room needs to have both an inlet and an outlet (if only one is used, the effect will be similar to breathing against a plastic bag, because the room needs to replace the air it’s pushing out). Only one of these needs a fan connected to it, though. Another important consideration is to avoid putting these vents too close to each other as they will only exchange the air from the same point in the room and not from the room as a whole. Finally, in creating air vents you’ll now have a reasonable sized hole in your soundproofing that will need an acoustic box built over it, one of which will house the fan. These can be made from MDF and contain an ‘S’ shape duct within it and lined with acoustic foam. These are then placed over the vent holes in the building, along with some mesh to keep out unwanted crawly things, and sealed. One final consideration is to avoid putting the inlet vent where the sun shines, as it will pull in unwanted hot air during the summer months.
5 A room within a room Most soundproofing is done with the ‘room within a room’ principle in mind. In other words, a separate room is constructed within the original building, preferably having minimal contact with it. To begin with, if space allows, running a new wall of high-density concrete blocks, mounted on thin neoprene (a type of synthetic rubber compound) so that the blocks are not directly on the floor, internally is a great start. These can be tied to the outer walls using
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