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mark-p87
Sep 27, 2006
Really Dystopian Rhetoric
I've recently got back into playing music and have had the chance to set my drum kit up and start playing after maybe 6 years(!) away. When I stopped playing I'd say my ability was at the lower end of intermediate.

I've still got all the material I picked up first time, like Stick Control, and Progressive Steps to Syncopation. I was wondering if anyone has any online resources they find useful?

Also, has anyone used one of these before? Unfortunately due to location I can't play un-silenced. I'm open to any ideas on how to silence the bass drum.

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CARRIERHASARRIVED
Aug 25, 2010

I mean I'm no expert on this topic but I feel like you could simulate that kick silencer with a well folded towel. Assuming this is just a practice kit and you don't plan on performing with it any time soon you could even just duct tape a couple of thick towels over where the beater would strike. Alternatively you can throw a poo poo load of pillows into the kick but I'm pretty sure that doesn't really lower how much the sound carries, just the volume. Maybe some combination of the two with a thinner towel would work.

Haggins
Jul 1, 2004

I'm starting to tool around with the idea of learning to drum. Since I'm apartment bound for the near future, if I want to do anything, it'd have to be electronic. I have a few questions as follows:

Is it bad to start on electric drums? Will it mess me up if I want to eventually get an acoustic set?

How much can I learn/practice on my own before I absolutely have to get lessons? I'm sure lessons are invaluable, even early on, however I'd like to ramp up this hobby slowly and not invest a ton of money right away. The plan would be to eventually get lessons, and if I like it, go at it full throttle.

Finally, what is a reasonable price range for lessons and at what frequency should I be taking them?

Kodo
Jul 20, 2003

THIS IS HOW YOUR CANDIDATE EATS CINNAMON ROLLS, KODO
I can't speak to a lot of what you ask as I have no experience with electric sets, but as a beginner starting off, stick control is important and can be done on a practice pad. But the transition I imagine will be difficult - going from electric pads to acoustic is a big jump.

also about sound, I've heard from others that even in an apartment situation electric drums can be loud because of the thudding produced from hitting the pads and especially the kick pedal. Take that into consideration if you have paper thin walls.

Lessons I feel are super important as bad habits early on lead to more time an frustration in the future trying to fix them. No one says you can't be successful without them, but having incredible self-motivation is a big factor. For me I took (proper) lessons once a week for three years straight - but this was for classical percussion, not drum set. Having that weekly routine was helpful to me and I could see progress. At the time I paid $15/half-hour, which was a crazy bargain and my teacher always complained he should be charging $20 (eventually he did). I still consider that a low fee, I'd imagine nowadays you're looking at $35-$50 for beginners? I'm just guessing - it's probably more expensive if you go through a music store than some joe on craigslist.

Kodo fucked around with this message at 08:05 on Nov 5, 2013

Gym Leader Barack
Oct 31, 2005

Grimey Drawer
I am almost exclusively an electric drummer, the only time I use an acoustic kit is during lessons or when I kick my drummer off his set during band rehearsal, and I don't have any troubles adapting to the larger sizes and differing tensions inherent of acoustic drums. I do a lot of work on a practice pad though, and use either a moongel pad or foam block on a regular practice pad to take away almost all the rebound for a greater wrist workout, and this has benefited me greatly when playing on the larger floor toms as I can pull off doubles and diddles without the looser skin throwing me out. I imagine if I didn't have that low-rebound practice it would be a bit more difficult to adapt, but not to the point of impossibility.

Almost every skill learnable on an electric kit will transfer across to the acoustic so don't worry about it holding you back too much. Things you will have to look out for are the aforementioned tension changes between drums, and also where you hit the pad might be an issue as on an electric the sound is not really changed that much by where you strike on the pads surface, but on a proper snare you try and hit it dead center to get the most volume and consistent tone from it, so as long as you aim for the general centre of the pads on your e-kit you should be fine.

It's not impossible to learn without lessons, there are massive amounts of tutorials and videos available online to cover every area, but it is a really good ideas to get one or two lessons pretty early on just to make sure your posture and stick grip are OK, as well as seat height and drum positioning etc, otherwise you can form some pretty bad habits that are hard to break out of. I started taking lessons before I got my kit just to make sure it was something I was passionate enough about to stick to (it totally was), so I was guided through not poking my elbows out, not bunching up to the kit, not having a death-grip on my sticks etc, as opposed to the drummer in my band who had been playing for a few years before he started taking lessons so he has kept some weird habits (from my perspective at least) like only really using his thumb and index to hold the sticks (those other fingers are great for support and speed), sitting with his knees higher than his pelvis (bad for your whole body over time) and having poor dynamic control because he had basically been banging away at full volume 100% of the time. He can still drum well and is stronger than me in some areas (volume, for one) but these habits are holding him back a little and he doesn't seem to be in any hurry to change. Whatever works for him I guess, but I can tell he gets a little shirty when I correct him as he sees me primarily as a guitarist.

I pay $25AU for a half-hour lesson once a week, which is pretty fair from a service based perspective, especially considering I can bill out $110 per hour in my job. The lessons usually run on longer than 30 mins as my teacher and I have become pretty good friends over the years and we tend to talk a lot, but I can imagine other teachers being more rigid in their timeline. There have been times when I have considered stopping taking lessons due to the amount of online material available to me, but it's good to have someone to discuss drums with in an in-depth manner, and there's always directions he can take me that I never would have thought to investigate myself (Jazz, linear, funk etc) but have tangible benefits on my rock and punk playing. I strongly recommend at least 1 or 2 lessons as soon as you can just to make sure your sticking and everything is on track, then you can go off on your own for however long you need to before starting them up regularly. Frequency of them is really up to how you treat the material provided in the lessons, a weekly one will be no good to you if you don't get a chance to work on the information he gives you before the next lesson comes up, and you will just end up with a folder of half-learned, mostly forgotten tutorials and a lighter wallet. Once per fortnight is probably a good compromise as it will let you become pretty familiar with one lesson before moving on to the next. Once per month would probably be useful for checking up on your self-taught progress instead of active teaching, as by the time the next lesson rolls around both you and the teacher will likely have forgotten what you were doing last month.

As Kodo mentioned, the thump through the floor can carry pretty far depending on the construction of your apartment, but there are risers you can build pretty cheaply with a couple of MDF panels and some tennis balls that can absorb almost all the vibrations, and most of the other sounds that emanate from an e-kit being whacked aren't loud enough to travel past a wall or closed door.

Jazz Marimba
Jan 4, 2012

Just chiming in on the price of teachers. In the Chicago area it's usually 20$ per half hour at music stores, give or take 5$, and if you get lucky/shop around you can find a teacher you can keep no matter how good you get. I'd also recommend stopping by your local community college, since they usually have a good teacher or two.

Kodo
Jul 20, 2003

THIS IS HOW YOUR CANDIDATE EATS CINNAMON ROLLS, KODO
The most I ever paid for lessons was a drummer who once played with Sonny Rollins back in the 80s and was also a teacher at the NYC drum collective for a short while. I paid $100 for two hours PLUS studio rental time, which came out to a total of $180 per lesson. He'd smoke cigarettes during the lesson, show off his 'cool licks', and constantly go between his laptop and me, usually IMing people and once he skyped in Will Calhoun who was racing cars in Brazil at the time.

Needless to say I took a total of three lessons and bailed. Higher prices don't usually equal quality lessons, and great players don't necessarily translate to great teachers.

$20/half-hour is a phenomenal price for lessons - if you can find a good one. I'm amazed that is still the going rate, I would've thought inflation would've at least brought that figure up to $25 or $30.

BIRDCON 2017
May 31, 2011

mark-p87 posted:

I've recently got back into playing music and have had the chance to set my drum kit up and start playing after maybe 6 years(!) away. When I stopped playing I'd say my ability was at the lower end of intermediate.

I've still got all the material I picked up first time, like Stick Control, and Progressive Steps to Syncopation. I was wondering if anyone has any online resources they find useful?

Also, has anyone used one of these before? Unfortunately due to location I can't play un-silenced. I'm open to any ideas on how to silence the bass drum.

My old drum instructor used to use a product very similar to that on his practice set. It definitely reduced the resonance and volume, but not by a whole lot. Putting any extra effort into a kick would still produce a hearty bass sound. Transitioning between playing with it on and off felt pretty awkward to me too, almost like going straight to a snare drum after practicing on a pillow for a few hours.

This looks quite a bit nicer than whatever he had though, so maybe I'm unjustly putting it down.

Schlieren
Jan 7, 2005

LEZZZZZZZZZBIAN CRUSH
I have that thing. It's still really loud.

lowcrabdiet
Jun 28, 2004
I'm not Steve Nash.
College Slice
Regarding the bass drum silencing, I have a Gibraltar Practice Kick Drum Pad that works really well. Honestly, I think just setting up some Real Feel practice pads around to simulate a kit plus a practice kick drum pad will work for most practice sessions. Obviously you lose a lot of the feel and rebound, but for general practice it's sufficient for me, especially since I live in an apartment. I gave up on drumming a while ago, though, and my kick pad is for sale if anyone is interested. It's in storage but I can dig it up and take pictures. The feel is pretty accurate and I had no trouble transitioning from practicing with that to playing a real bass drum. I used the same pedal for both so the muscle memory from practice transferred over.



Speaking of which, I also have Iron Cobra double pedals for sale:
http://forums.somethingawful.com/showthread.php?threadid=3593429

lowcrabdiet fucked around with this message at 16:47 on Dec 10, 2013

Anathematic
Jan 1, 2011

RandomCheese posted:

It's not impossible to learn without lessons, there are massive amounts of tutorials and videos available online to cover every area, but it is a really good ideas to get one or two lessons pretty early on just to make sure your posture and stick grip are OK, as well as seat height and drum positioning etc, otherwise you can form some pretty bad habits that are hard to break out of. I started taking lessons before I got my kit just to make sure it was something I was passionate enough about to stick to (it totally was), so I was guided through not poking my elbows out, not bunching up to the kit, not having a death-grip on my sticks etc, as opposed to the drummer in my band who had been playing for a few years before he started taking lessons so he has kept some weird habits (from my perspective at least) like only really using his thumb and index to hold the sticks (those other fingers are great for support and speed), sitting with his knees higher than his pelvis (bad for your whole body over time) and having poor dynamic control because he had basically been banging away at full volume 100% of the time. He can still drum well and is stronger than me in some areas (volume, for one) but these habits are holding him back a little and he doesn't seem to be in any hurry to change. Whatever works for him I guess, but I can tell he gets a little shirty when I correct him as he sees me primarily as a guitarist.

This really can't be overstated. When I started, I had a really poor grip, had my snare/toms at awkward angles... posture was okay but everything else was just wrong.

Then I started having wrist and hand pain, and like a dumbass I just figured "well, it's the drums... these things happen." NO. In fact, my first bout of lessons began shortly after seeing a doctor for a repetitive strain injury in my right hand. She pretty much said "if you're gonna play drums, you're going to need to go find someone who can teach you to play them correctly."

Honestly, once you have that stuff figured out, yeah you can learn a lot online--but I'm still a big proponent of lessons, even if you don't go regularly. It's way too easy to convince yourself you sound alright, that you're in time, etc without a second set of ears to call you out.

Sylink
Apr 17, 2004

Can anyone recommend me a free music notation program that outputs PDF?

I want to transcribe some drum parts and print them out , I don't like tab for drums.

hunter x az
Oct 28, 2003
Anyone know what DLL's are required for BPMinus?

Ericadia
Oct 31, 2007

Not A Unicorn

Sylink posted:

Can anyone recommend me a free music notation program that outputs PDF?

I want to transcribe some drum parts and print them out , I don't like tab for drums.

Finale Notepad is the only notation program I can think of that is free. It has been a very (very) long time since I've used it, so I'm not sure if it has built in PDF capability, but I know it can print, so you should be able to just print to a PDF file via something like CutePDF

Kodo
Jul 20, 2003

THIS IS HOW YOUR CANDIDATE EATS CINNAMON ROLLS, KODO

Sylink posted:

Can anyone recommend me a free music notation program that outputs PDF?

I want to transcribe some drum parts and print them out , I don't like tab for drums.

There's MuseScore, if you're willing to deal with the wonkiness of open-source software. When I do transcriptions, I like using 2-bar, 4-bar repeat symbols, but I've only found Sibelius handles those the best, musescore just can't handle more unusual requests.

timp
Sep 19, 2007

Everything is in my control
Lipstick Apathy

Sylink posted:

Can anyone recommend me a free music notation program that outputs PDF?

I want to transcribe some drum parts and print them out , I don't like tab for drums.

Have you considered transcribing them by hand?

Sylink
Apr 17, 2004

I am probably going to end doing it by hand, its just my handwriting is really lovely. The time it took to get a proper half of a sextuplet to display wore me out in Musescore.

AircraftNoise
May 9, 2008
I havent seen anybody ask this yet and I am dying to know. When I practice rudiments at very slow to slow tempos, I find that I hit the pad using actual downward force from my stroke, but this becomes difficult/impossible at faster (read: standard) tempos. Are you supposed to let the bounce-back and/or gravity take over at some point when increasing speed? For instance, when doing RLRRLRLL at a slow tempo, I physically strike the pad to make the notes. As I increase speed, I find it easier to simply let the bounce-back force of the stick re-strike the pad for portions such as RR and LL.

I guess what I am asking is, is this what is supposed to be happening, or am I supposed to actually physically use my own force to strike the pad at LL and RR?

Gym Leader Barack
Oct 31, 2005

Grimey Drawer
Yeah use the bounce to your advantage, you'll get much faster overall speeds and it will be less stressful on the wrists. If you make a nice pivot with your thumb and forefinger then you can use the remaining fingers on the hand to add a little pressure to the stick sending it into the next bounce, you can repeat this indefinitely and get solid, long rolls with very little of your own energy expended. After a while it feels like not so much striking the stick but merely guiding it through it's natural parabolic path into the heads of the drums. Doublestrokes are basically a quick doubletap using bounce, a cool thing to do once you have them down is to then stagger the starting point of each double so instead of getting a normal RR LL you start the second double straight after the first and have them overlap, so it becomes RLRL like a normal single stroke roll but using the bounce and speed of the doubles, lets you get fiercely fast ruffs and single stroke technique. Works for feet as well.

Don't exclusively rely on bounce though especially if you do a lot of practice pad work, you can train yourself to become used to a specific rebound and this will cause issues when you move to other surfaces because the stick will be responding differently to what your hands expect. I have bits of foam and moongel on my practice pad to vary up the bounce of the playing surface, these areas absorb almost all the bounce so they are great for working on your wrists specifically, but if you practice your bouncing technique on these heavily reduced bouncing surfaces you will find your overall control goes up significantly as you are able to manage the bounce in pretty much the worst-case rebound scenario. This is great for getting solid doublestroke technique on larger drums like the floor tom. I use an electric kit at home so the surfaces are all basically identical but I have no problem handling the looser skins on an acoustic drum kit do to my bounceless practicing.

Kodo
Jul 20, 2003

THIS IS HOW YOUR CANDIDATE EATS CINNAMON ROLLS, KODO
Ideally every stroke involves rebound as each stroke should prepare you for the next one. An exercise that's helpful for double strokes is to alternate between single and double strokes without a noticeable transition between the two, making sure they sound identical (4 bars, 2 bars, 1 bar, or whatever sequence you come up with).

For paradiddles try eliminating the opposite hand and get a feel for the single-double-single feel, making sure it feels relaxed and unforced. Then try adding paradiddles to the exercise above and see how it matches up.

You cannot play faster if you cannot control rebound.

Addendum: double strokes (indeed, any multi-stroke) after a certain tempo is executed with a single down wrist motion that only returns to its original position after the strokes have been completed. Multiple bounces are controlled by the fingers and pressure (NOT squeezing, pressing too hard introduces tension and tension = death). Crush rolls operate on this principle. Double strokes are technically the easiest to produce.

Bodhran players manage to produce three strokes using this motion (one on the down, one on the wrist 'pop', one on the up stroke from the opposite beater) and Steve Smith does the same thing with his kick pedal technique. Granted these sound better as triplets, but the principle of utilizing rebounds for multiple strokes still applies.

Kodo fucked around with this message at 18:47 on Jan 5, 2014

Kodo
Jul 20, 2003

THIS IS HOW YOUR CANDIDATE EATS CINNAMON ROLLS, KODO

RandomCheese posted:

Don't exclusively rely on bounce though especially if you do a lot of practice pad work, you can train yourself to become used to a specific rebound and this will cause issues when you move to other surfaces because the stick will be responding differently to what your hands expect. I have bits of foam and moongel on my practice pad to vary up the bounce of the playing surface, these areas absorb almost all the bounce so they are great for working on your wrists specifically, but if you practice your bouncing technique on these heavily reduced bouncing surfaces you will find your overall control goes up significantly as you are able to manage the bounce in pretty much the worst-case rebound scenario. This is great for getting solid doublestroke technique on larger drums like the floor tom. I use an electric kit at home so the surfaces are all basically identical but I have no problem handling the looser skins on an acoustic drum kit do to my bounceless practicing.

if you do go this route I highly recommend paying attention to your wrists and more importantly pain. I'd first recommend using heavier sticks with a practice pad to help with endurance than utilizing a pillow.

For me, depending on how loose the floor tom is, I'll sometimes go for a more open single stroke ruff instead of double strokes. I like the definition I get from that, since it doesn't use as much energy as double stroking on a very loose surface. This a preference, of course - at the end of the day, use your ears.

timp
Sep 19, 2007

Everything is in my control
Lipstick Apathy
It should also be noted that, generally, the amount of rebound you use can also be tied to the type of instrument you're playing. I'm assuming your question is in regard to drumset, so a quick, firm squeeze of the stick immediately after contact to keep the stick from rebounding is common (until the tempo gets too fast to feasibly do so, in which case you should follow the advice above.)

But if you're ever playing, for instance, timpani, concert bass drum, suspended cymbal, and most importantly any keyboard instrument, you'll almost never downstroke the way you would playing snare drum. And sometimes even the same instrument can require different techniques depending on your setting. Toms on a drumset are generally downstroked, but a set of concert toms will probably sound better and look more natural if you're using a fluid rebound on every stroke. There are exceptions to every rule of course (an sfz figure where you go from loud immediately to soft would require a downstroke no matter what, for example) but generally for almost any concert instrument, your rebound should be equal in speed to your downward motion.

Again, it may not even apply to you...but I teach a lot of keyboard percussion and I'm constantly trying to engrain the concept of "lift" in all of my student's heads and hands from the very beginning.

AZCollins
Feb 4, 2004

Meanderthal

Sylink posted:

Can anyone recommend me a free music notation program that outputs PDF?

I want to transcribe some drum parts and print them out , I don't like tab for drums.

Lilypond is free and has a drum template that makes it easier. http://www.lilypond.org/

moctopus
Nov 28, 2005

This might sound like a dumb question, but I wanted to ask it anyway.

I've been playing guitar for almost two years now and I want to start spending some of my time playing along to drum loops/tracks and maybe even making some of my own music.

Do have any tips for a guitar player playing along with drums? Is there anything annoying guitar players do when playing alongside drums? Things we do that take away from the song as a whole? Common mistakes...

I don't know... I'm having trouble coming up with the exact words I want to use and I hope this makes sense. I just wanted to get some input/perspective from the percussion side.

Ericadia
Oct 31, 2007

Not A Unicorn

moctopus posted:

This might sound like a dumb question, but I wanted to ask it anyway.

I've been playing guitar for almost two years now and I want to start spending some of my time playing along to drum loops/tracks and maybe even making some of my own music.

Do have any tips for a guitar player playing along with drums? Is there anything annoying guitar players do when playing alongside drums? Things we do that take away from the song as a whole? Common mistakes...

I don't know... I'm having trouble coming up with the exact words I want to use and I hope this makes sense. I just wanted to get some input/perspective from the percussion side.

Don't blast your amp louder than the drums and don't randomly change rhythm

Kodo
Jul 20, 2003

THIS IS HOW YOUR CANDIDATE EATS CINNAMON ROLLS, KODO

Ericadia posted:

Don't blast your amp louder than the drums and don't randomly change rhythm

This. Since you will be playing with a loop that's good since it's basically a metronome. If you drag behind my tempo I will kill you.

Declan MacManus
Sep 1, 2011

damn i'm really in this bitch

Kodo posted:

This. Since you will be playing with a loop that's good since it's basically a metronome. If you drag behind my tempo I will kill you.

"I just like to float over the time and kinda funk things up" -cool dudes who definitely know what they're doing with regards to beat subdivision

timp
Sep 19, 2007

Everything is in my control
Lipstick Apathy

Kodo posted:

This. Since you will be playing with a loop that's good since it's basically a metronome. If you drag behind my tempo I will kill you.

I encounter a lot more guitarists/non percussionist who rush everything and can't slow the gently caress down than ones who drag the tempo. It takes maturity and patience to play in time when the tempo is slow to moderate. That's not to say that amateur drummers won't rush everything, too, but since drummers are usually playing more syncopated notes there's less space in between each one for them to close down. Moving your head or body to the beat and waiting just a teensy bit longer to play each note than you think you should tends to train you not to rush

I Might Be Adam
Jun 12, 2007

Skip the Waves, Syncopate
Forwards Backwards

I usually encounter musicians that immediately slow down the tempo once the drumbeat stops. I'm sitting there bobbing my head keeping the time and I always notice the significant drop in tempo from everyone else.

Kodo
Jul 20, 2003

THIS IS HOW YOUR CANDIDATE EATS CINNAMON ROLLS, KODO

timp posted:

I encounter a lot more guitarists/non percussionist who rush everything and can't slow the gently caress down than ones who drag the tempo. It takes maturity and patience to play in time when the tempo is slow to moderate. That's not to say that amateur drummers won't rush everything, too, but since drummers are usually playing more syncopated notes there's less space in between each one for them to close down. Moving your head or body to the beat and waiting just a teensy bit longer to play each note than you think you should tends to train you not to rush

Clarification/Addendum: If you try to move outside of my pocket you're dead to me.

Also, the bassist and I can be your lifelong friends or your mortal enemies. Don't let tempo ruin a good thing.

Jazz Marimba
Jan 4, 2012

So I have an audition (on kit) for a school on Thursday and oh god help me not freak out D:

Kodo
Jul 20, 2003

THIS IS HOW YOUR CANDIDATE EATS CINNAMON ROLLS, KODO

Jazz Marimba posted:

So I have an audition (on kit) for a school on Thursday and oh god help me not freak out D:

Sorry man, you're just gonna have to deal with it (or eat a bunch of bananas). Auditioning is hard and the only thing that will get you through it is preparation. Take comfort in that fact - it's supposed to be hard, so the feelings you're going through aren't unique or surprising. It might provide some solace.

That said, best of luck. The more auditions you do, the more you get used to it. But do the best drat job you can every time - you never know who's listening.

timp
Sep 19, 2007

Everything is in my control
Lipstick Apathy
My best auditions (and dates, and interviews, etc) tend to happen when I just say "gently caress it" and walk in like, what up, I got a big cock. If I don't do that then I psyche myself out or beat myself up that I'm not good enough to even be there in the first place, or some similarly crazy thought like that. I assume you've already practiced your rear end off and are super prepared, so at this point all you can do is be confident. Good luck!!

scuz
Aug 29, 2003

You can't be angry ALL the time!




Fun Shoe

timp posted:

My best auditions (and dates, and interviews, etc) tend to happen when I just say "gently caress it" and walk in like, what up, I got a big cock. If I don't do that then I psyche myself out or beat myself up that I'm not good enough to even be there in the first place, or some similarly crazy thought like that. I assume you've already practiced your rear end off and are super prepared, so at this point all you can do is be confident. Good luck!!
This is true for most aspects of drumming, I've found. I'll be playing along, nailing everything, and then, for no reason, I'll think about my kick pedal foot technique and whether I'm doing it right. At that exact point, it all comes off the rails. Trust yourself, turn your brain down (not off) and rock some poo poo.

scuz
Aug 29, 2003

You can't be angry ALL the time!




Fun Shoe
A question:

Picked up babby's first crash cymbal (Pastie 2000 series 17") and now I'm looking for a ride to go with it. Something dark with a good crash that doesn't wash out at louder volumes. There's a Pastie Twenty Prototype ride for $200 at a Music go Round which seems okay, but I don't wanna hop on the first thing I come across. Any idears?

I Might Be Adam
Jun 12, 2007

Skip the Waves, Syncopate
Forwards Backwards

I got this recently but it's probably more ($400) than you're willing to spend. For me, it has a good amount of wash without being too much and you can always put gels on it to dampen the wash. I'm one of those drummers that doesn't like the bright ping sound thought.

http://zildjian.com/Products/Drumset-Cymbals/Cast-Bronze-Cymbals/K-Zildjian-Series/22-K-Ride

scuz
Aug 29, 2003

You can't be angry ALL the time!




Fun Shoe
I found a Zildjian Sweet Ride for $180 on craigslist today and pounced. The set's all done, just waiting on my drum throne. The cymbals I have really don't blend well at all with each other, and I really like that. Different sound profiles all around!!11!!

Kodo
Jul 20, 2003

THIS IS HOW YOUR CANDIDATE EATS CINNAMON ROLLS, KODO

scuz posted:

A question:

Picked up babby's first crash cymbal (Pastie 2000 series 17") and now I'm looking for a ride to go with it. Something dark with a good crash that doesn't wash out at louder volumes. There's a Pastie Twenty Prototype ride for $200 at a Music go Round which seems okay, but I don't wanna hop on the first thing I come across. Any idears?

What kind of music do you play or intend to play?

Popcorn
May 25, 2004

You're both fuckin' banned!
I'm not a drummer. Do common rock patterns have names? For example, I've heard the pattern at 2:05 in this video in lots of songs (snare on every quarter-beat, kicks after the third and fourth):

https://www.youtube.com/watch?v=Iekm107fgqs&t=124s

I know there's a four-to-the-floor. Are there any more famous patterns with names I could go and look up? Like, ah, the old Bronson Backbeat, or the Herbert Special, or the Doubletime Reverse Clutch-Kick?

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sebzilla
Mar 17, 2009

Kid's blasting everything in sight with that new-fangled musket.


Not really, but now I totally wish there were.

"OK Dave, for this track we want Petersen's Augmented Shuffle in the verse, a Bonetti Transition and then some Whirling Xerxes through the chorus."

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