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some kinda jackal
Feb 25, 2003

 
 

Jazz Marimba posted:

I just joined a taiko group e: started taking taiko lessons, so look forward to a section on that, in addition to latin and hand percussion!

e: language barriers sure are a thing

Did you continue on with taiko at all? I just signed up for some intro lessons and I'm really looking forward to it, but I have zero idea of what I'm getting into.

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Jazz Marimba
Jan 4, 2012

Martytoof posted:

Did you continue on with taiko at all? I just signed up for some intro lessons and I'm really looking forward to it, but I have zero idea of what I'm getting into.

Unfortunately not. The most important thing is to primarily use your elbows and shoulders, and not your fingers and wrists like with drum set and mallet percussion. The sticks are a lot heavier than mallets or drum sticks.

Being able to sing your part is also pretty important...there are specific syllables for the different sounds you can make, but they're only a few of them. This is super easy and will quickly become a habit if you don't already sing drum parts in songs.

Musically, everything I learned was in eight bar phrases and my teacher very quickly had me playing counterpoint duets with her or another student, and then switching so we both got to play both parts. This is really fun, but don't accidentally play the other person's part :p

Good luck!

some kinda jackal
Feb 25, 2003

 
 
Thanks!

I have no percussion experience so I'm not expecting much from my first time. I just love taiko and when I saw a class locally I had to jump on it.

exquisite tea
Apr 21, 2007

Carly shook her glass, willing the ice to melt. "You still haven't told me what the mission is."

She leaned forward. "We are going to assassinate the bad men of Hollywood."


I want to surprise my spouse with a little 4pc. drum set for Christmas, have about $250-350 to spend. Any decent suggestions in that price range? This would just be as a personal hobby of hers + lessons, so it doesn't have to be anything too fancy.

Schlieren
Jan 7, 2005

LEZZZZZZZZZBIAN CRUSH

exquisite tea posted:

I want to surprise my spouse with a little 4pc. drum set for Christmas, have about $250-350 to spend. Any decent suggestions in that price range? This would just be as a personal hobby of hers + lessons, so it doesn't have to be anything too fancy.

A used kit off of CL. Read up on the sorts of things to look for -- bevel wear and the like. Even then you're going to be looking for some hardware most likely after that $ amount

some kinda jackal
Feb 25, 2003

 
 
OK so Taiko trip report:

Amazingly fun. I wasn't expecting to be any good at it and sure enough I wasn't at first, but as things progressed I feel like I did a pretty good job without making a fool of myself. The intro to stretching, positioning, striking, etc. was pretty thorough and they just threw me behind a drum pretty much immediately afterwards.

We worked on "Hiryu Sandan Gaeshi" which I guess is a thing that Taiko people know, and I felt like I held my own. After initial corrections I did a really good job keeping pace. An hour and a half in I started getting flustered and my arms were giving out, and I was making really dumb mistakes and mental errors, all kinds of going off-rhythm, but with a little time I think that's all stuff I can fix.

Signed up for two months of weekly lessons on the spot because $150 is a ridiculously good price (imho) for two months of fun poo poo.

I have no realistic expectations of being insanely great at this any time soon, but I walked out of the studio feeling like I could probably be respectable at it with enough practice. For someone who's literally never picked up a pair of drum sticks (or any kind of instrument since high school) I felt drat good about being able to keep pace and pick up the techniques.

Now I'm just being an internet sperg looking up prices on drums or making my own wine barrel taiko or something, like I usually do when I fall in love with a hobby so I'll take that as a good sign.



edit: I found that I did a LOT better when I stopped looking down at my drum and watched myself in the mirror. Helped my form tremendously.

edit2: loving hip flexor is going to hate me though. So sore.

some kinda jackal fucked around with this message at 04:17 on Dec 15, 2014

timp
Sep 19, 2007

Everything is in my control
Lipstick Apathy

Martytoof posted:

OK so Taiko trip report:

Amazingly fun. I wasn't expecting to be any good at it and sure enough I wasn't at first, but as things progressed I feel like I did a pretty good job without making a fool of myself. The intro to stretching, positioning, striking, etc. was pretty thorough and they just threw me behind a drum pretty much immediately afterwards.

We worked on "Hiryu Sandan Gaeshi" which I guess is a thing that Taiko people know, and I felt like I held my own. After initial corrections I did a really good job keeping pace. An hour and a half in I started getting flustered and my arms were giving out, and I was making really dumb mistakes and mental errors, all kinds of going off-rhythm, but with a little time I think that's all stuff I can fix.

Signed up for two months of weekly lessons on the spot because $150 is a ridiculously good price (imho) for two months of fun poo poo.

I have no realistic expectations of being insanely great at this any time soon, but I walked out of the studio feeling like I could probably be respectable at it with enough practice. For someone who's literally never picked up a pair of drum sticks (or any kind of instrument since high school) I felt drat good about being able to keep pace and pick up the techniques.

Now I'm just being an internet sperg looking up prices on drums or making my own wine barrel taiko or something, like I usually do when I fall in love with a hobby so I'll take that as a good sign.



edit: I found that I did a LOT better when I stopped looking down at my drum and watched myself in the mirror. Helped my form tremendously.

edit2: loving hip flexor is going to hate me though. So sore.

That's awesome! I love hearing that music, percussion specifically, can have a positive effect on a person like that. I have a few questions, and forgive me if you've already mentioned the answers in this thread:

1. Did you have any sort of musical background or experience prior to this?
2. Is this all leading up to some sort of recital or concert, or are you solely doing it for the enjoyment you get during practices? Taiko's not exactly the kind of instrument you can just bust out at a party, or while hanging out at your house on a lazy Sunday...it's kind of an ensemble thing, right?

some kinda jackal
Feb 25, 2003

 
 

timp posted:

That's awesome! I love hearing that music, percussion specifically, can have a positive effect on a person like that. I have a few questions, and forgive me if you've already mentioned the answers in this thread:

1. Did you have any sort of musical background or experience prior to this?
2. Is this all leading up to some sort of recital or concert, or are you solely doing it for the enjoyment you get during practices? Taiko's not exactly the kind of instrument you can just bust out at a party, or while hanging out at your house on a lazy Sunday...it's kind of an ensemble thing, right?

No worries.

Practically no experience with instruments. I took a guitar class in high school and failed it like a champ because I was figuratively all thumbs. My experience with drumming is literally nonexistent. I think I may have sat down at a drum set once and my eyes made this kind of O_o thing. I think I've got a good sense of rhythm and I'm always finger drumming on my desk but that's not really relevant.

No recital or concert planned. I've been fascinated with Taiko since I went to Epcot in 1997 and watched the ensemble they have performing at the Japanese pavilion. I caught Kodo on tour in Florida too, and I've been off and on "rediscovering" it every few months when I manage to remember it. I don't really know where I expect to take this hobby. If I can find a likeminded set of taiko enthusiasts in the area then I'm happy to entertain playing together, otherwise I think I'll be perfectly happy just doing it once a week in a lesson format until I get tired of it.

I'm not married to Taiko either. I love the booming sound and rhythm, but when it comes down to it I think I'd be just as happy with a djembe or other hand drum if I really wanted to carry on playing at home or not in a classroom setting. I've learned over the years that I have absolutely no interest in contemporary drumming in the sense of a modern drum kit, but the more primitive simplistic drums really do appeal to me.

Duke Chin
Jan 11, 2002

Roger That:
MILK CRATES INBOUND

:siren::siren::siren::siren:
- FUCK THE HABS -

Martytoof posted:

and I'm always finger drumming on my desk but that's not really relevant.

I mean, this is literally how I got started some 21-odd years ago. From tapping on everything (and annoying everyone within earshot) to the old drumsticks-on-pillows, to my parents finally letting me have a kit in the house that I A: had to pay for myself and B: could only practice on when they weren't home when I was a wee Duke. :3: Now I'm what constitues an :airquote: adult :airquote: with three drums sets and a billion mics in the dining room of my house. Basically what I'm trying to say is: Welcome to the slippery slope, Marty.


Martytoof posted:

I'd be just as happy with a djembe or other hand drum if I really wanted to carry on playing at home or not in a classroom setting. I've learned over the years that I have absolutely no interest in contemporary drumming in the sense of a modern drum kit, but the more primitive simplistic drums really do appeal to me.

...whoa whoa whoa there, hippie. :v:

timp
Sep 19, 2007

Everything is in my control
Lipstick Apathy

Martytoof posted:

I think I've got a good sense of rhythm and I'm always finger drumming on my desk but that's not really relevant.

Duke Chin posted:

I mean, this is literally how I got started some 21-odd years ago. From tapping on everything (and annoying everyone within earshot) to the old drumsticks-on-pillows, to my parents finally letting me have a kit in the house that I A: had to pay for myself and B: could only practice on when they weren't home when I was a wee Duke. :3: Now I'm what constitues an :airquote: adult :airquote: with three drums sets and a billion mics in the dining room of my house. Basically what I'm trying to say is: Welcome to the slippery slope, Marty.

I agree, that counts for more than you'd think! I like identifying which of my friends have rhythm and would actually take well to percussion by the quality of their finger drumming, improv song writing abilities, foot tapping, whatever. After nearly a decade of teaching young people, including non-musicians, to play percussion, distinguishing between those with a natural sense of rhythm and those without can be crucial when trying to place someone in an ensemble.

Changing gears...Let's talk about drumlines! We've tried to get threads going on the subject in the past but there's not quite enough interest on SA to warrant an entire thread. Most percussionists educated in public schools and universities have probably played on a drumline before, either voluntarily or otherwise, due to the way the curriculum is structured. When I was in high school there was a huge focus on marching band and indoor drumline, and when I was in college as a Music Comp major one semester of marching band was a requirement. For education majors that pre-req jumps to THREE semesters.

That's all well and good if you enjoy playing on a drumline like I do, but a lot of people in the studio looked down on drumline playing, specifically saying the technique used on marching drums lacks artistic merit and finesse. This goes double for folks who played in a marching band or indoor Front Ensemble since you play the exact same instrument in both. A marching snare is completely different than a concert snare, but an "outside vibraphone" is exactly the same as an "inside vibraphone" for all intents and purposes. What kind of experience or impression does everyone here have on drumlines?

Kodo
Jul 20, 2003

THIS IS HOW YOUR CANDIDATE EATS CINNAMON ROLLS, KODO

timp posted:

That's all well and good if you enjoy playing on a drumline like I do, but a lot of people in the studio looked down on drumline playing, specifically saying the technique used on marching drums lacks artistic merit and finesse. This goes double for folks who played in a marching band or indoor Front Ensemble since you play the exact same instrument in both. A marching snare is completely different than a concert snare, but an "outside vibraphone" is exactly the same as an "inside vibraphone" for all intents and purposes. What kind of experience or impression does everyone here have on drumlines?

I never much enjoyed drumline, the culture or the music. I was one of those ed majors that ended up doing drumline for two semesters and I couldn't stand it. I wouldn't have minded too much were it not for the fact that it eats up an enormous amount of time I could've spent doing other more useful things. But, different strokes. Not all drumlines are the same and it really depends who's writing your charts. We had an average instructor who wrote parts for the main battery, but completely short shrifted cymbals and the pit music was always awful. The rudimental practice is great but the time commitment is excessive. I mean, you also have to remember how to walk around on a dumb field and it's not like you can apply that in any meaningful way unless you get into theatrical shows.

You also see players develop a particular technique on marching snare that is often carried over to drum set. More of a personal preference thing but it can affect your sound if you approach drum set with that mindset.

Kodo fucked around with this message at 02:15 on Dec 17, 2014

Duke Chin
Jan 11, 2002

Roger That:
MILK CRATES INBOUND

:siren::siren::siren::siren:
- FUCK THE HABS -

timp posted:

I agree, that counts for more than you'd think! I like identifying which of my friends have rhythm and would actually take well to percussion by the quality of their finger drumming, improv song writing abilities, foot tapping, whatever. After nearly a decade of teaching young people, including non-musicians, to play percussion, distinguishing between those with a natural sense of rhythm and those without can be crucial when trying to place someone in an ensemble.

Yeah lately I've taken to giving my girlfriend drumming lessons as A: for me to learn how to teach people from the ground floor and B: she's actually interested and is picking up things surprisingly fast. There's a slight bit of a height difference between us (literally a foot shorter) so that's made things slightly interesting for her. :v:

timp posted:

What kind of experience or impression does everyone here have on drumlines?

Zero. I've just woodshedded with drumline buddies in the past and traded ideas and rudiments and whatnot. He was a fantastic snare player, and I was always the better kit player, but we always managed to trade ideas and fun beats around. :shrug:

Kodo posted:

You also see players develop a particular technique on marching snare that is often carried over to drum set. More of a personal preference thing but it can affect your sound if you approach drum set with that mindset.

Yeah I've noticed that, with all of the drumline folk I've ever sat down at a kit, they're insanely rigid and stiff when it comes to "dude just relax and groove" time. :D Oh they sure as poo poo have the technique down but everything always felt so stiff.

Kodo
Jul 20, 2003

THIS IS HOW YOUR CANDIDATE EATS CINNAMON ROLLS, KODO

timp posted:

That's all well and good if you enjoy playing on a drumline like I do, but a lot of people in the studio looked down on drumline playing, specifically saying the technique used on marching drums lacks artistic merit and finesse. This goes double for folks who played in a marching band or indoor Front Ensemble since you play the exact same instrument in both. A marching snare is completely different than a concert snare, but an "outside vibraphone" is exactly the same as an "inside vibraphone" for all intents and purposes. What kind of experience or impression does everyone here have on drumlines?

Oh, also wanted to address the auxiliary argument as well. I find a dramatic difference when it comes to four mallet playing. In DCI the name of the game is often simply volume, and these guys have insanely high stick heights and an incredibly tight grip. It also matters that most outdoor marimbas have fiberglass bars rather than wood. This poses a host of problems when moving indoors, namely tendonitis and breaking bars.

Usually playing those kinds of volumes you'd want to utilize the Burton grip, but the crazy DCi people use Stevens. Anyone who practiced Stevens grip will be familiar with trying to hold the stick in the third and fourth finger being a somewhat painful experience. That is not to be trifled with. A good friend of mine lost almost a year's worth of playing overworking those fingers. DCi culture as far as I know encourages extreme practice situations (correct me if I'm wrong) and I wouldn't recommend rushing four mallet technique. Those guys also sounded really stiff and way too loud when playing marimba lit. Usually very fast playing and accurate, but lacking in any kind of subtlety or touch.

Edit: I don't mean to bash drum line/marching, I made friends and enjoyed the benefits, but for it didn't suit my personality or the kind of music I wanted to do. Drum line earns the distinction of being the hardest working section and that's nothing to sneeze at. I've met fantastic players who credit their drum line experience for their abilities and motivation. Drum line just finds itself in w unique position among percussion careers in that "aging out" is a real thing and the only thing left to do is educate/write (unless you're poo poo hot and have endorsements). I would never tell anyone not to do drum corps/drum line, but a varied percussion diet should be considered.

Kodo fucked around with this message at 11:49 on Dec 19, 2014

stupid puma
Apr 25, 2005

I've decided it's time to change my drum heads (batter and resonator) for the first time in forever since I'm playing shows again and they sound pretty sketchy right now. I play in a country punk band (a la Drive By Truckers/Dwight Yoakam) so I'd like a warm tone but not much sustain. I'd like to go thicker because I hit them pretty hard and because obviously I'm lazy in changing them I'd like them to last for a while. My drums are a 90s Mapex Pro Series, multiple ply maple. Since its been so long since I've changed them I have no idea what I'm looking for - brand, type, anything. What heads should I be looking at? What's the best quality for the price?

I Might Be Adam
Jun 12, 2007

Skip the Waves, Syncopate
Forwards Backwards

I've used Evans G2 coated forever but always put a clear reso head on the bottom. For me, the reso head doesn't matter much. I think i'm using the stock ludwig reso heads that came with the kit. I haven't found a better combination of warmth and just enough sustain to hear the tone of the drum. Whenever I hear that combination, I can't imagine them not working in any live band situation.

Jazz Marimba
Jan 4, 2012

I replaced the stock reso heads on my kit this summer, and I was really surprised that even though it was the same head it was a lot thicker. When I took them off the resos sounded like crinkling paper when tapped. Any idea why?

praxis
Aug 1, 2003

I Might Be Adam posted:

I've used Evans G2 coated forever but always put a clear reso head on the bottom. For me, the reso head doesn't matter much. I think i'm using the stock ludwig reso heads that came with the kit. I haven't found a better combination of warmth and just enough sustain to hear the tone of the drum. Whenever I hear that combination, I can't imagine them not working in any live band situation.

I just swapped out my Coated Emperors for Clear G2s (with clear Emperor reso heads) and have been really happy with the tone.

Jazz Marimba
Jan 4, 2012

I'm looking for a video on drum set samba stuff I found a while ago on youtube, but can can't seem to find anymore...I remember the guy saying that you're trying to emulate a thousand people drumming. It was a lot of snare with crashes and other stuff here and there, and it felt like the drum set embodiment of "a raucous party". Does anyone know what I'm talking about?

tnimark
Dec 22, 2009
I have a pretty beat up old kit that I've been using for a long time (on and off for about 10 years), but it's still in reasonably good condition overall. I've been looking into methods of making old kits sound decent and I think the most important thing right now is replacing the heads.

I have no idea what I'm doing when it comes to heads. Do I need to replace both the batter and resonant heads? The resonant heads seem like they are in fine condition, but is it preferable for the batter and resonant heads to be the same brand or does that not matter at all? If not, should I replace them anyway despite being in decent condition just because of how old they are? I've been using the same heads since I bought the kit and I have no idea how long the previous owner was using them.

Any advice I can get regarding heads would be awesome.

Kodo
Jul 20, 2003

THIS IS HOW YOUR CANDIDATE EATS CINNAMON ROLLS, KODO

tnimark posted:

I have a pretty beat up old kit that I've been using for a long time (on and off for about 10 years), but it's still in reasonably good condition overall. I've been looking into methods of making old kits sound decent and I think the most important thing right now is replacing the heads.

I have no idea what I'm doing when it comes to heads. Do I need to replace both the batter and resonant heads? The resonant heads seem like they are in fine condition, but is it preferable for the batter and resonant heads to be the same brand or does that not matter at all? If not, should I replace them anyway despite being in decent condition just because of how old they are? I've been using the same heads since I bought the kit and I have no idea how long the previous owner was using them.

Any advice I can get regarding heads would be awesome.

Batter and resonant heads don't really need to be the same brand to be effective. The condition matters more than anything, so if the resonant heads look fine you could probably keep them, but after 10 years you should probably check the resonant heads if they're warped. Batter heads should definitely be changed. Get a nice head for your snare (i.e. Remo coated Emperor) and similar line/model for the toms (i.e. coated Ambassador). Watch any youtube video on tuning and you should arrive at something sounding decent.

Duke Chin
Jan 11, 2002

Roger That:
MILK CRATES INBOUND

:siren::siren::siren::siren:
- FUCK THE HABS -
Yeah mixing brands is no big deal since all the big manufactures have equivalent lines, really. And if you've been using the same heads since you bought the kit, yeah, it's probably time to swap em out. It's no hard-and-fast rule with me, but usually I swap out my resonants every 3rd time I do a bulk batter changing. Unless, of course, there's damage, gouges (from show set up and break down, moving etc) or dishing out. This applies to toms and kick drum, for the most part. Snares, however, I'll rock a head on those things for as long as it wants to stay sounding good. I've run across old 5.5x14 acrolite snares (seriously why are these things so in vogue right now?) that has the oldest, scungiest heads on it but sound so good that I couldn't even fathom swapping them out.


My one and only hard and fast rule: If you buy a new kit - burn the stock heads. Swap those turds off immediately.

Jazz Marimba
Jan 4, 2012

Kodo posted:

Get a nice head for your snare (i.e. Remo coated Emperor) and similar line/model for the toms (i.e. coated Ambassador).

Contrary to this, try a coated for your snare and then something else for your toms. My preference is fiberskyn on snare and coated ambassadors on the toms, or coated ambassador on snare, and pinstripes on the toms.

Unrelatedly, drum parts written by non-percussionists are the most frustrating thing ever. I can't believe we have to learn how to read and write their music, but they can get away with not knowing the difference between a cymbal notehead and a drum notehead, which drum goes on which line, or how to write parts that are even playable >:|

I Might Be Adam
Jun 12, 2007

Skip the Waves, Syncopate
Forwards Backwards

Duke Chin posted:

My one and only hard and fast rule: If you buy a new kit - burn the stock heads. Swap those turds off immediately.

This always. I remember how bad my Yamaha stage custom sounded until I got new heads instead of the stock. World of difference. When I got my Ludwig kit, I didn't even bother putting them on. New Evans heads immediately. I think I kept the stock reso heads though. They sound fine.

Kodo
Jul 20, 2003

THIS IS HOW YOUR CANDIDATE EATS CINNAMON ROLLS, KODO
Key word being 'stock'. Bought a Tama Soul Toul that came with a remo ambassador head, which is decent enough for out of the box. But yeah, burn all stock heads. Do drum manufacturers enjoy making these great drums and putting poo poo heads on them? Someone explain that business logic.

Jazz Marimba posted:

Unrelatedly, drum parts written by non-percussionists are the most frustrating thing ever. I can't believe we have to learn how to read and write their music, but they can get away with not knowing the difference between a cymbal notehead and a drum notehead, which drum goes on which line, or how to write parts that are even playable >:|

I find it frustrating especially when Google searching "percussion notation" brings up PAS' perfectly reasonable notation system. I don't know about Finale, but Sibelius defaults to that notation system as well. My favorite are the ones who just say "oh! Just play anything you want, make something up." *throws sticks at wall*

I Might Be Adam
Jun 12, 2007

Skip the Waves, Syncopate
Forwards Backwards

You'd think drum manufacturers would team up with a head manufacturer and do a partnership but then that would probably screw up endorsement deals and some other dumb poo poo. Why hasn't Ludwig/DW/Tama invested money into a drum head line that is worth a poo poo? Then those people that have matching drum and hardware manufacturers could complete the holy trinity.

Which brings me to a stupid question. Do people really care about matching drums and hardware brands? I had a guy ask me at an audition why I had pearl hardware mixed with my Yamaha kit and hardware.

Mixing cymbal brands on the other hand :argh:

some kinda jackal
Feb 25, 2003

 
 
Was talking with my taiko teacher today about making a wine barrel drum. I think I found my summer project. I'm going to try to document it for when I have to explain to people why I only have four fingers .. total.

Froodulous
Feb 29, 2008

Hey, head pigeon, is this a bad post?

I Might Be Adam posted:

Mixing cymbal brands on the other hand :argh:

:ohdear: I'm waiting until I can afford to replace those ZBTs , I swear.

praxis
Aug 1, 2003

I Might Be Adam posted:

Mixing cymbal brands on the other hand :argh:
I feel the same but that Sabian HHX Omni (OMG IT'S JOJO MAYER) ride is really tempting me.

Jazz Marimba
Jan 4, 2012

praxis posted:

I feel the same but that Sabian HHX Omni (OMG IT'S JOJO MAYER) ride is really tempting me.

I just got his Perfect Balance pedal and omg it's so wonderful. It's exactly as he describes it! I brought it to jazz band last night and both of the other drummers really liked it (then again, our other option is an ancient, squeaky Iron Cobra...). I kinda wanna try out his idea of leather soles on Converse now that I have the pedal.

Declan MacManus
Sep 1, 2011

damn i'm really in this bitch

What would be the most cost efficient way of incorporating electronic drum sounds into a live scenario? I'm mostly looking to add some taiko drum sounds and ideally I'd like a pressure sensitive pad. Basically something like Roland's Octapad but not 700 dollars

Bonzo
Mar 11, 2004

Just like Mama used to make it!

I Might Be Adam posted:

You'd think drum manufacturers would team up with a head manufacturer and do a partnership but then that would probably screw up endorsement deals and some other dumb poo poo. Why hasn't Ludwig/DW/Tama invested money into a drum head line that is worth a poo poo? Then those people that have matching drum and hardware manufacturers could complete the holy trinity.

Which brings me to a stupid question. Do people really care about matching drums and hardware brands? I had a guy ask me at an audition why I had pearl hardware mixed with my Yamaha kit and hardware.

Mixing cymbal brands on the other hand :argh:

how old was the guy? I remember it being a big thing in the 80s and early 90s but then people stopped caring. For me, the LP stuff was just as durable and way cheaper than the brad name offering.

I Might Be Adam
Jun 12, 2007

Skip the Waves, Syncopate
Forwards Backwards

Bonzo posted:

how old was the guy? I remember it being a big thing in the 80s and early 90s but then people stopped caring. For me, the LP stuff was just as durable and way cheaper than the brad name offering.

The guy had to have been in his late 20s. Not sure why he cared. I still have some Yamaha hardware that I'm using in a mix of DW/Pearl hardware. Hardware isn't a fun thing to purchase as a drummer so as long as it works, nobody should care. People with broken gear that refuse to replace it have no excuses for ridicule.

timp
Sep 19, 2007

Everything is in my control
Lipstick Apathy

I Might Be Adam posted:

The guy had to have been in his late 20s. Not sure why he cared.

Autism/OCD

quote:

People with broken gear that refuse to replace it have no excuses for ridicule.

No money

I Might Be Adam
Jun 12, 2007

Skip the Waves, Syncopate
Forwards Backwards

timp posted:

No money

Ok, fair enough but it always seemed weird when people would play in bands and have to borrow gear because they refused to fix/replace their broken stuff. I had a friend borrow a backup snare for a show and it turned into a year or something... because he broke the head on his snare.

Duke Chin
Jan 11, 2002

Roger That:
MILK CRATES INBOUND

:siren::siren::siren::siren:
- FUCK THE HABS -

I Might Be Adam posted:

You'd think drum manufacturers would team up with a head manufacturer and do a partnership but then that would probably screw up endorsement deals and some other dumb poo poo. Why hasn't Ludwig/DW/Tama invested money into a drum head line that is worth a poo poo? Then those people that have matching drum and hardware manufacturers could complete the holy trinity.

Which brings me to a stupid question. Do people really care about matching drums and hardware brands? I had a guy ask me at an audition why I had pearl hardware mixed with my Yamaha kit and hardware.

Mixing cymbal brands on the other hand :argh:

To part A: It all comes down to :homebrew: - those stock heads are just one-ply bullshit stamp-outs with their logo badly silkscreened on them primarily just to have something to hold the rims and rods in place and protect the bearing edges during shipping.

As to part B about drum/hardware brands my answer is simple: Gear Queens always be Gear Queening. :v:

And part C...? Brand loyalty is bullshit. Get whatever sounds good to you and more importantly: to the music you're playing. Now mixing lines inside those brands is a different thing. If you have a $300 Meinl ride mixed in with B8 crashes or a ZBT hi-hat... :frogout:


I Might Be Adam posted:

Ok, fair enough but it always seemed weird when people would play in bands and have to borrow gear because they refused to fix/replace their broken stuff. I had a friend borrow a backup snare for a show and it turned into a year or something... because he broke the head on his snare.

I've lost track of how many times I'll be out on tour and a local band (emphasis on the LOCAL to the city we're traveling to) wants to use my kit because something something excuses excuses lazy/cheap/drunko/shithead drummer dude couldn't be pissed to bring his trash CB set down to the venue.

Duke Chin
Jan 11, 2002

Roger That:
MILK CRATES INBOUND

:siren::siren::siren::siren:
- FUCK THE HABS -
This thread has stalled / gotten boring so let's play a game...






Related to the above: Count how many different brands I'm using. :v:

https://www.youtube.com/watch?v=xOocMJ9nRRM

praxis
Aug 1, 2003

I guess I kinda turned into a gear queen because I slowly replaced all my various stands and pedals with DW gear. I think I just want everything to match for some pointless reason.

Duke Chin
Jan 11, 2002

Roger That:
MILK CRATES INBOUND

:siren::siren::siren::siren:
- FUCK THE HABS -

praxis posted:

I guess I kinda turned into a gear queen because I slowly replaced all my various stands and pedals with DW gear. I think I just want everything to match for some pointless reason.

I mean, mostly I kid. Having your stuff all one brand isn't really being a gear queen. It's the dudes that have 1 billion pieces that all must be some weird niche company or focus more and buying junk instead of, y'know actually practicing rudiments and whatnot that are the GQ's. :v:

some kinda jackal
Feb 25, 2003

 
 

Completely shattered my illusion that you were some slobby, fat Bruins fan. Thanks a lot :mad:

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Duke Chin
Jan 11, 2002

Roger That:
MILK CRATES INBOUND

:siren::siren::siren::siren:
- FUCK THE HABS -

Martytoof posted:

Completely shattered my illusion that you were some slobby, fat Bruins fan. Thanks a lot :mad:

Will you accept mildly-out-of-shape, semi-old Bruins fan? :v:

literally the worst skater getting ready for never-ever-babby's-first-drop-in-hockey soon

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