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Sylink posted:Can anyone recommend me a free music notation program that outputs PDF? Have you considered transcribing them by hand?
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Jan 2, 2014 19:40
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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.
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Jan 6, 2014 15:48
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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
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Jan 28, 2014 22:12
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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!!
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Feb 26, 2014 18:22
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Popcorn posted: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): afaik there are names for general styles, like rock, samba, bossa, whatever, and there are certain qualities that all beats of that variety will share. Once that's been established you kind of just have to get as descriptive as you want/need to be (snare on the quarters and bd after beats 3 and 4 to use your example). It seems like you're talking about variations on rock beats, though. Usually written notation or tabs are used for specific direction like that. That being said drum set is not my area of expertise...if there actually are some specific beats with names I've never heard people use them. I too wish this was a thing.
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Mar 16, 2014 01:21
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RandomCheese posted:"Pass the goddamn butter" was how my drum teacher got me to learn 3/4 stuff. "Nice cup of tea" works for 3/2.  Glad I wasn't the only one!Except I was taught ketchup instead of butter.
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Apr 9, 2014 00:31
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Martytoof posted:OK so Taiko trip report: 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?
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Dec 15, 2014 14:06
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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. 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?
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Dec 16, 2014 16:15
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Now I'm what constitues an 
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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
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Jan 21, 2015 22:14
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JesusDoesVegas posted:I joined the Navy about 2 years ago, and I was really worried that this would be the point in my life where I became one of those guys who "used to play." Being on a ship, away from civilization means a lack of room and opportunity to play. I came to the conclusion that if that happens it's my own drat fault, and I need be creative if I want to keep playing. I love it! Do you have any recordings? I have GOT to hear this kit in action.
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Feb 20, 2015 05:22
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precedence posted:I would recommend listening to a song you like and try and recreate the pattern from the song. Alternatively you can google for free midi drum patterns. Also here's an article on making more realistic programmed drums . This is great advice. When I started writing music as a kid I was daunted and intimidated by the complexity of writing parts for drum set, but like most things, the best way to get better is by just doing it over and over! Think of a basic beat that would work well with a section of your song and break it down, beat by beat, eighth note by eighth note, sixteenth by sixteenth, what sound is happening where, and so on and so forth. Is there snare on beats 2 and 4? (probably). Where are the bass drum kicks happening? Is there a quarter, eighth, or sixteenth pulse in the hi-hat? Where are the crashes happening? Where are the kicks and passages in the non-percussion parts that you want to accentuate with percussion, either leading up to it or on that beat? etc, etc, etc.
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Jun 24, 2015 18:25
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me your dad posted:Is there a name for the classic pattern where two snares are hit in quick succession? Here's an example: https://youtu.be/fTH71AAxXmM That Surf Music Beat, lol People always seem to come into this thread to ask what certain beats are called, but in all honestly very few beats have names! Even really distinctive and iconic ones like that one are usually just tagged as the name of the song they most famously appeared in. To me, that's the Wipeout beat, but even that could be confusing because people often think of the Wipeout drum solo first. As for beats not really being named, my guess would be because That's my guess, anyway.
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Aug 24, 2015 18:07
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stupid puma posted:Super stripped down kit is the way to go. Some of the best drumming I've seen has been on a 4 piece kit with a ride, crash and hi hats. Cases for everything and put permanent marker marks on all your hardware so you know exactly where to set it. Usually concert toms only have one head, and Russian Dolling them is the preferred method of transportation, although admittedly it's not great for the heads, especially if the whole thing ends up upside-down which of course it does because how else would you carry it?
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Nov 13, 2015 15:35
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JesusDoesVegas posted:So it's been a while since I've posted in this thread. Some of you may remember my suitcase kit I posted back in July... Well I've decided to take it to the next level. This may be a ridiculous question, but do you have any interest whatsoever in making more of these and selling them, or working with somebody to produce these on a larger scale? Maybe I missed it in a previous post, but all things told how much did this cost you? I mean, the appeal of something like this has to be widespread enough to make it worth your while I'd imagine. I mean hell, I want this real bad, and I'm quite positive I know at least 5 people who would buy this for 3-4 hundred...
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Dec 17, 2015 15:24
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Quoting myself from a few pages agotimp posted:People always seem to come into this thread to ask what certain beats are called, but in all honestly very few beats have names! Even really distinctive and iconic ones like [the beat originally in question] are usually just tagged as the name of the song they most famously appeared in. To me, that's the Wipeout beat, but even that could be confusing because people often think of the Wipeout drum solo first. If it were up to me I'd probably describe the beat in your link as a fast punk thrash or something. The snare is on 2 and 4, and the bass is actually on beat 1 and the + of 3. So if it were slowed down it'd sound like 'boom clap...boomclap. boom clap...boomclap' quick edit: just listened again, there's actually double bass thrown in there for flavor so it's 'boom clap boomboomclap boom clap boomboomclap'. https://www.youtube.com/watch?v=QaT6EKzKb4k timp fucked around with this message at 17:36 on Apr 13, 2016 |
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Apr 13, 2016 16:52
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Spanish Manlove posted:Ah ok, I didn't see that. It's just hard to explain things and talk with my drummer friend when I don't know the vernacular. I always called that beat exactly what you called it but when I ask my drummer friend to play a fast punk beat he'll do something like this, which I guess is sorta like that beat but not as aggressive. No worries! It's just easier to quote that than to explain each time.  I actually did misspeak in my first post, the bass is on 1, 3, and the + of 3 (edited now, I accidentally said the + of 2 the first time). I think this beat gets its identity from the '1 2..+4' I sounded out earlier, and the bass that falls on beat 3 is added for flavor. (you're right that a double bass is not required, it's kind of just like a diddle on a bass pedal, two quick taps of the foot in succession) Kinda like this track: https://www.youtube.com/watch?v=wF4uH6qY_pQ Lars starts out with 1 2 3+4, but after that he switches to 1 2..+4 but it sounds pretty much the same. ANOTHER EDIT: Sometimes he actually does play 1 2+ +4 making this whole conversation even more confusing. But I guess it just goes back to my original point about the drums set being such an improvisational instrument y'know? timp fucked around with this message at 17:59 on Apr 13, 2016 |
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Apr 13, 2016 17:56
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Duke Chin posted:http://columbus.craigslist.org/msg/5549846200.html And it looks so easy to break down and set back up! Just a quick 50 minute weld and you're all set.
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May 27, 2016 16:15
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Hashtag Banterzone posted:I've decided to get a drumset again after donating my 15 year old starter kit when I graduated college. I kept my zildjian cymbals, my pacific pedal, hi-hat and cymbal stands. I just want a basic entry level practice kit to start. What's your budget like, and what do you plan to do with it? Are you looking for a beater kit just to mess around in your own house, or will you be gigging? Keep in mind that you don't necessarily have to shop local, as there are lots of sellers who won't mind shipping cross country. If you just need something that sounds like a drum set, I'd say the $200 Pearl set you linked will work just fine. At least, the shells look alright; I'd recommend investing in some new heads, though. If you're unfamiliar with the head changing and tuning process someone at the store should be able to help, and there's also tons of videos on vicfirth.com and youtube and other places like that. It's good that you hung onto your cymbals, that was smart!
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May 27, 2016 16:21
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Hashtag Banterzone posted:Budget is probably $500 max for everything, including kit, throne and new heads. And yeah I'm just looking for a beater kit. I guess I could buy online, but it seems like being able to inspect the kit before buying would be nice. In theory, yes, but I'd be lying if I said I didn't sometimes keep a head exactly as I got it on a drum because I liked the way it sounded with no changes. But yeah, be prepared to change them if you don't do it immediately, especially if the originals look like they could go soon.
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May 27, 2016 17:02
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Kilometers Davis posted:I decided a few days back to dust off my Yamaha DTXpress III and try to get back into drumming. I had to borrow my girlfriend's knitting needles for a few days but now that I've got a pair of new Vater sugar maple 5As I'm feeling pretty good. I completely forgot how fun playing drums is. It was never anything more than a fun side hobby but now I'm really interested in taking it more seriously and getting better. As a musician my "natural" talents lead me more towards rhythm than melody so it was pretty shameful to have this set shoved in the corner never being played. Plus hitting things is ace. I learned how to play drum set using Syncopation. There was one page in particular my teacher had all of his students play over and over, but with different styles and variations. Play the rhythm on bass drum, play it on snare, swing it, play it straight, add fills every 4 bars, etc. I wish I could remember which page but honestly it doesn't matter, they're all good. Especially helpful for developing limb independence if that's something you need help with. I've also heard really good things about The Art of Bop Drumming but to be fair I've never actually used it myself.
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Jun 6, 2016 15:13
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Bonzo posted:this guy's YouTube channel includes him paying a few popular songs as if Lars Ulrich had recorded them. He's got the face down pat, that's for sure!
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Jul 14, 2016 17:30
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Bonzo posted:You can also tap them on a surface and hear the difference. I've always done this too, seconding this advice. Get on the ground with a bundle of them and start dropping them onto the carpet from about a foot up, repeat until you have two that seem to make the same pitched sound. Then make sure they both feel the same by playing around with them a bit
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Jul 22, 2016 17:07
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AARO posted:Listening to the new radiohead album I realized that even their worst songs ever are better than the best songs I've released and that bummed me out a bit. I'm probably never going to "make it" in music. Here's a link to my most recent song. The first song I've recorded since AMSP. Somebody in GBS said "Nice Radiohead cover OP." As if they are the only band on earth who is allowed to make that style of music. Think of all the bands that exist that influence eachother and sound like eachother. Especially older stuff like 60s music there used to be tons of bands that sounded almost identical on certain tracks. AARO posted:You praise the status quo at every opportunity. Any original thought is called fake posting. It's weak minded reactionary bullshit to psychopaths on the Internet. Because My Little Pony and vor freaks exist on the internet anything original said is to be ridiculed and taunted. You found a little box to put your brain in. Reactionary book-burning anti-intellectualism. Totally boring we all agree with each other parrots. heh
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Aug 9, 2016 05:29
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AlphaDog posted:I still haven't found a set of e-drums (or acoustic drums), but I remembered that somewhere in the back of a cupboard I have a practice pad I bought years ago and never used, so I dug that out. Bought some sticks and a copy of stick control and I'm going through it with a metronome app. Years of playing bass has apparently taught me to stay in time fairly well (who'd have thought...) but the motions are so different that it's hard in ways that I didn't imagine. Fun though. I reckon I'm going to get into this when I find something in my price range to play on. I think your head's definitely in the right place. Tapping your foot along with where you want the bass drum to be is a good start. Once you get on a real set you'll start to figure out the technique of playing with your foot consistently, but I think it's a great idea to continue to tap along with your foot while playing on a pad. Limb independence is kind of what determines whether you're able to successfully play this instrument called The Drum Set; while developing technique and consistency is what will make you a better drum set player. Also, as Tatumje mentioned, a teacher would help a lot too. They'll keep you honest and give you goals to work towards.
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Jan 26, 2017 15:08
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Jazz Marimba posted:Play it out of time: play the first complete body motion (e.g. right hand hi hat and right foot bass drum). Stop. Think about the second complete body motion. Which limbs are perform what motions? Make sure you'll play it correctly. Play it. Stop. Think about the next complete body motion, etc. Once you've gone through the whole groove like this 3-5 times, pair up body motions e.g. play the first and second, stop, third and fourth, stop. etc. The whole process might take 15-30 minutes, less if you go slower. Jazz Marimba is right. Think of it this way: There's mainly two ways to break down a beat. The first way is the way you've been doing it: get one limb going, and add your other limbs in as you get more comfortable. That's kind of like a vertical breakdown, as you're layering in new notes on top of or in between each other. The other way is the way JM is talking about. Play the first note. Right hand and left foot? Great. Now play the next one. Just right hand. Good. Now the next note. Right hand and left hand. etc etc. This is a more horizontal approach to piecing things together. Both are good and totally legitimate, and imo the best thing you can do at this stage is switch from horizontal to vertical or vice versa if you get stuck during your practice.
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Feb 10, 2017 16:22
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praxis posted:Managed to slice my pinky finger the morning before a gig. Spent a few hours at the ER getting stitches then superglued it, wrapped it in gauze and wore a latex glove just in case. I didn't have any problems at the gig but I did play it up for "hardcore" points with the band and sympathy from the ladies. That's a great look! That janky glove setup can be your new "thing"!
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Mar 19, 2017 23:27
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Anime Reference posted:If drummers had Floyd Roses drum solos would end up being Carl Palmer's timpani solo from "Toccata", except on every drum all of the time. Any timpani solo longer than ~5 seconds is inherently bad I say this as a motherfucker whose username is timp
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Aug 7, 2017 23:42
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AndrewP posted:The kit arrived today. I expected the hi-hats to be finicky I guess, but they're completely broken and aren't usable at all. I have to really press down hard for it to register the hats closed, and even then it's inconsistent. It's kind of astounding that they're still selling the product like this. Think I'm going to try to just use my old hat from the TD-4 for now and contact Alesis. drat, that sucks to hear! Nothing more frustrating to try to play on than a non-responsive trigger. Good luck getting it sorted out.
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Nov 3, 2017 01:38
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It's like, jesus, it's hard enough to get my hands consistent, and now you're going to just randomly give me a FAIL every once in a few 16ths for seemingly no reason?? It's untenable!
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Nov 3, 2017 14:47
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MrSargent posted:Not sure if this is the right place, but I have been frequenting pawn shops lately looking for random music gear and recently got the idea that I would like to add hand drums of some sort to my studio. Sometimes I get percussion patterns in my head and would like to hand drum them out to use in a track or just as a starting point. I obviously don't need anything special, but also don't really know what I am looking for. I have always loved the sound of hand drums whether it be bongos or a tabla and definitely want to keep expanding my collection of instruments so would appreciate any thoughts or advice when browsing. The most common hand drum I see used for beginners is the djembe. You can get bass notes, tone notes (mid-range drum sound) or slaps (high pitched slapping sound) depending on how and where you hit the drum, so it's good for working out (crunchy, earthy sounding) drum beats. To that point, you can also do the same sort of thing with congas. These are usually performed using a group of two or even three differently pitched congas, but you could also play one and get those same three tones out of it. Bongos would probably be sort of tough to use as a beginner; the People's Court and Jump On It parts people recognize actually require a bit more know-how and technique to sound good as opposed to a djembe or conga. Same goes for tabla - I've never had a chance to mess around with it but I hear it's kind of tough to get good with. You may also want to look into a doumbek (like a tiny djembe) or even a cajon. If you're not familiar, it's a box that you sit on rigged up with snares, so you can palm the front center of it for a bass sound or tap the top front for a snare sound. Then you can start to get crazy by adding in heel knocks with your feet on the sides and poo poo like that. Hope that helps!
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Feb 13, 2018 20:01
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Takes No Damage posted:Just saw this video today I'm just now getting around to watching this and it loving owns, thanks for sharing. Honestly I assumed it would just be some guy who's good at the cajon so I put it off, but this is actually right up my alley and is very much my poo poo.
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Feb 26, 2018 23:50
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Takes No Damage posted:I'm definitely not going to be 'gigging' anytime soon, so mobility wouldn't be an issue. I thought one of the main benefits of a rack is that you can suspend toms out in front of the bass drum or right over a pedal or other hardware legs. As it is I have to Tetris my stands around every time I adjust something to get all the tripod legs to play nice with one another without hitting something else. Although I guess if I got something like this and was able to replace a cymbal stand with it that could work. Any particular brands or things to look for in tom stands? Probably something heavier than what I linked above... Yamaha and Pearl both make great hardware, and nowadays they have crazy flexibility without sacrificing holding power. If you're currently having trouble getting your stands to stay where you need them, you may be working with older products with less flexibility. Newer hardware usually has a point or two more of articulation so you can usually find some way to snake 'em around to fit into your setup as needed. For instance, here's an older snare stand (Ludwig): https://www.steveweissmusic.com/product/30192/snare-drum-stands And here's a newer one (Yamaha): https://www.steveweissmusic.com/product/1108345/snare-drum-stands Notice the extra 90 degree angle under the snare basket; it allows you to tilt the drum without forcing you to put the bottom of the stand exactly under the drum which gets it out of your way a bit.
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May 31, 2018 18:35
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Here's some crazy poo poo: When I played timpani for Carolina Crown Drum & Bugle Corps back in 2005, I had a drum rack with a couple toms, 2-3 cymbals, and a sound plate. So in additional to having to lug around 5 big rear end drums all summer, I was also responsible for this goddamned drum rack that could only be setup AFTER the drums were perfectly positioned. No roadies or pit crew, just me and the rest of the front ensemble members, who also had all their own big heavy poo poo to lug around (4.6 octave marimbas, vibraphones, a loving set of chimes, a sound system, the list goes on and on) And we moved locations anywhere from 1-4 times a day. It gets worse: we had TWO timpanists, and the other timpanist also had 5 drums and a drum rack. That summer was a logistical nightmare and, if I'm being honest, I hardly got to play the drum rack during the show at all ;_;
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Jun 1, 2018 15:33
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I used to be on staff for a group called Paradigm Percussion so all those comparisons are long lost on me 
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Jan 7, 2019 21:36
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Learn this at all tempos, with and without the eighth note check on beats 2 & 4. Get that down and you should be able to play like 80% of music ever written (the other 20% accounts for triplet rhythms) (apologies for this weird .png, just search "thom hannum check patterns" if you're legit interested. I'm half joking and mostly serious about these rhythms being like 80% of all western music)
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Jan 21, 2019 21:33
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MrSargent posted:I probably should have mentioned that I wasn't really considering an electric kit, specifically because the feel and response isn't going to be right. If it's just MIDI, I might as well stick with the Push2. Are there any brands of acoustic drums / hats that I should look out for on the used market? It'll all vary depending on the condition of the set you find, but anything with a name you've heard of before should be generally safe—something like Pearl, Yamaha, DW, Mapex, or Tama for drums and Zildjian, Sabian, or Paiste for cymbals (those aren't meant to be exhaustive lists but it definitely covers the top companies). Stay away from toys/cheap stuff like First Act or Atom Sound.
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Jan 22, 2019 23:04
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ricecult posted:Thanks, yeah I've watched those and they're a general help, but I don't think I'm misunderstanding it, I'm still just not feeling it. Like doing that 7/11 poly, I would have an easier time doing that together with different hands than playing one count against a metronome doing the other. I'm like you in that the relationship between two hands serves as a convenient anchor for me, helping me to figure out where to place each note in relation to the other one. But when it's just you, a sevenlet, and one beat of music, there's no other way to tackle it except to kind of already know how that feels. Here are some tips: - Approximation to other subdivisions. 7 is one less than 8, so a sevenlet in two beats should feel just a smidge slower than playing sixteenth notes. - Even vs. Odd. Remember that you're going to alternate hands so if you start with RH, you should end on LH. Aim for that, maybe even accent them to help anchor things - Practice it a ton and really focus on the feel. I remember back in college playing fivelets on a loop with a metronome for like 30 minutes straight, and to this day if I ever need to play a fivelet, my latent muscle memory kicks in and I'm pretty decent at knowing what speed my hands need to move to squeak out 5 evenly spaced notes. - Remember that this should only be an issue when dealing with prime numbers: 5-lets, 7-lets, 11-lets, 13-lets, etc. Anything divisible by another number should of course be subdivided to the best of your ability - Try filling notes in until they ARE divisible by another number. You probably already know that a 9let is just three sets of triplets inside a bigger triplet. But if you're playing an eighth note based fivelet and you add just one evenly spaced 16th note inbetween the 2nd and 3rd notes, you now have a note which falls neatly on the '+' of the beat which can also be used to help space timing. You could diddle it or single it, but just keep in mind that if you single stroke it your hands will no longer alternate (which may actually be helpful for practice) Hopefully that helps! I feel like I could probably keep talking about this (love poo poo like this) so let me know if you need clarification or want some more incoherent ramblings from my brain
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Mar 12, 2019 17:41
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Jazz Marimba posted:Grab a doorknob (not the flat handles that are somewhat common). Turn it. That's radioulnar rotation. The radioulnar joint is ~1" past your elbow (towards your hand) on the thumb side. Traditional grip primarily uses radioulnar rotation, a moderate amount of fingers, and a little bit of wrist. I use that same doorhandle analogy to help teach students working on 4 mallet Stevens grip to twist with their inside mallets! Though to be fair it's probably something I picked up from Giff Howarth or his book. https://www.tapspace.com/books-education/simply-four I highly doubt that's a rabbit hole you'd want to go down Wind, but learning to manipulate 2 mallets in each hand is immensely helpful in isolating and working all the different muscle groups from your elbows down: forearm, wrist, fingers, etc. Although if there ever was a metal drummer who went out and bought 4 identical yarn mallets to work on his or her blast beats, well, that'd be a drummer I'd like to listen to. 
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Apr 10, 2019 18:25
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I mean, yeah. It's sort of a tough question! In order to find something suitably sized for a kid younger than middle school age, you're probably only going to be able to find what essentially amounts to a toy kit. I don't even know if any of the major brands (Pearl, Tama, DW, etc.) make drum kits for kids, but even if they do I would advise against ponying up for one. My advice is to go ahead and go cheap for something like this. Worst case scenario your kid is actually pretty drat good and quickly outgrows whatever you buy them, and THEN you can maybe look into something nicer. But IMO the joy of playing a drum set for the first time consists of having a pedal that goes BOOM, a hi-hat that goes CHIK, and a snare that is nice and loud. Toms and cymbals may all sound like poo poo as well and it won't matter, because it's the limb independence, chops, and coordination that your kid is going to be working on as a beginner to drum set, and tbh that can be done on some pots and pans. And if the toms and snare are just way too loud or obnoxiously tuned, there's always moon gel or, the poor man's version, taping some paper towels to the heads. I hope this makes sense! And if anyone disagrees, please feel free to speak up—this is just my point of view.
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May 16, 2019 16:42
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shortspecialbus posted:Thank you, that's really helpful. It's neat that it's really customizable and everything but it's sort of way too many options if I don't really have any experience on anything that isn't, like, rock band pro drums or whatever. Two upper and one floor is the standard, traditional set up One upper and one floor is for jazz One upper and two floor is for...??? Probably heavy metal and anything ending with a -core would be my guess. TBH I've never really encountered one regular tom and multiple floor toms! Definitely curious about that setup.
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May 20, 2019 14:06
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