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 Welcome to the Musician's Lounge Drum Set and Percussion Megathread. Here we discuss drums, but also the rest of percussion, which includes mallet percussion (glockenspiel, marimba, xylophone, etc.), and at some point hand percussion (djembe, bongos, etc.).  ##010 DRUMS ##011 equipment ##012 practicing ##013 resources ##020 MALLET PERCUSSION ##021 keyboard percussion ##022 practicing ##023 tympani ##024 practicing ##025 resources ##030 RESERVED ##040 TEACHERS  ##010 So you want to play drums? Congratulations on picking one of the most fun instruments out there! Here we're going to discuss what makes up a drum set, how you should practice, good techniques to learn, and list some resources to help you along.  ##011  I want to play drums! What kit should I get? Because drumming is so expensive, it's highly recommended that you start off with a used kit from craigslist. If you need help picking one out, ask here! A basic drum set is made up of a bass drum, a snare drum, a mounted tom, a floor tom, a pair of hi hats, a crash cymbal, and a ride cymbal. This seems like a lot, but a lot of popular drummers use more (or less!). Popular manufacturers include Ddrum, DW, Gretsch, Ludwig, Mapex, Pacific, Pearl, Sonor, and Yamaha. Just like with any other instrument, you should hear the kit before you buy it, so stop by a Guitar Center and see if you like how it sounds. You can spend hours researching how different kits sound, and how the heads on them sound, but nothing beats your own ears for knowing what you'll like. Tuning Tuning is one of those things that doesn't have a shortcut, and you just have to practice over and over again to get good at it. Subparr explains how it's done: Subparr posted:You adjust the pitch or ‘tune’ the drum by tightening the tension rods stretching the heads out larger for higher pitch, and smaller for a lower pitch. It’s generally accepted to ensure the tension is uniform so that the pitch is the same no matter where you hit the drum. This video however, tells you everything you need to know about tuning, and makes you want a lazy susan. Sometimes you're in a crunch and need your drums tuned fast. Duke Chin shares a great guide to quick-and-dirty tuning: Duke Chin posted:https://www.youtube.com/watch?v=ISdMNKb-hjc <-- I seriously had to do this at a show once super quick and it worked like a champ. I was skeptical but it actually worked out. … (also, snares and kicks are a different story) Cymbals Cymbals are circular sheets of metal and are generally used to keep the beat of a song. There are dozens of adjectives used to describe them, such as "fast", "brilliant", and "dark". Subparr gives a good explanation of what it all means: Subparr posted:You hear a lot of adjectives being tossed around by drummers when they talk about cymbals. I will address the more common ones. Feel free to ask for more detail. The most common ones deal with weight, such as light, medium, heavy, etc. Generally, the heavier the cymbal, the louder it is. Other adjectives are more poetic, like dark, bright, fast, etc. Darker cymbals have more lower tones (not to be confused with pitch), and brighter cymbals have more higher tones. Typically brighter cymbals cut through mixes easier. ‘Fast’ cymbals usually decay quickly. Any other questions feel free to ask. grahm gives some good tips on buying cymbals: grahm posted:Along with the cymbal talk I would say never buy a cymbal without playing it first. Every cymbal is different, even within the same make/model. It's worth it to spend the extra money and play the exact cymbal you'll buy. Even online sound files don't give you the correct idea of how that cymbal will sound when match with your other cymbals, nor do they correctly depict the feel/dynamics of a cymbal. I live in an apartment and don't have a lot of space/can't make noise! Since we now live in the future, we can play electronic kits! I don't know very much about these, so I'll let Sups tell you about them: Sups posted:Roland makes the standard for e-drums, in my opinion. Their really high end stuff (td-20sx) is amazing and really sounds great. As we go lower, the quality obviously drops.  Sticks Sticks are primarily what you use to get sound out of your drums, and which one you pick is up to your preference. Choosing a stick is just as important as what kit you get! The most common stick is a 5A, and it's about average in size and weight. Here is an in-depth explanation of what the letters and numbers mean, but a quick and dirty summary is that lower number=bigger and heavier, higher number=lighter and thinner. Nylon vs. wood tip Nylon tips have a more defined sound on cymbals, and have a more consistent sound over time, but run the risk of falling off. Wood tips come in a wider variety of shapes, but wear down over time and have the possibility of chipping. Brushes Brushes are used to get a softer sound out of your kit, and are primarily used in a type of song called a "ballad". Ballads tend to be slower and mellower than your average tune, so they're a bit easier to play. John Riley's The Art of Bop Drumming has several different brush patterns in it. Better yet, here's some videos of Peter Erskine showing tons of brush stuff! How do I hold my sticks? There are two main grips for drumming, matched and traditional. Going a bit more in-depth, matched grip can be held either in either a German or French grip. German on the left, French on the right:   ##012 What should I be practicing? Suoinoleht posted:You want to start with a pair of sticks, a pad, and a copy of Stick Control. keyframe posted:Practice your rudiments again and again and AGAIN is the only advice I can give to a beginner drummer. JewBrown posted:Practice with a metronome. Always. Use it while you're playing rudiments, or learning a new fill or something. Gradually increase the tempo to where you want to be, but try not to over-exert yourself. VISMAL posted:You can do A LOT of work away from the set. Both in playing rudiments and in THINKING about possible beats, especially in odd meter/rhythmic exercises. What's the drummer playing in this song? Transcribing is the process of hearing a song, and writing out what's being played, and is an invaluable skill for any musician. AJzer posted:For transcribing, get good at reading first, and then just give it a go. If you can read, count, and then play, you can reverse the process and write down something you hear. At some point you should get good at not needing to play it first to get it on paper. Still, when stuff is really challenging you, try and play it first, slowing it down. I've also found that after you think you've got it down, it helps to put down the paper and the recording for a while, and come back and try to play your transcription exactly as you've written it. You'll notice when it doesn't sound right, and then you can correct it. Finally, don't buy musical notation paper. Print it from the internet. Vannaroth has something important to add about protecting your hearing: Vannaroth posted:My contribution: Wear ear protection. Maybe not quite so important with something like a rhythm traveller, but to all you aspiring drummers with full-size kits - get yourself some earplugs or preferably some sound isolation headphones. Or you can cheat and save a lot of money by using ordinary earbud headphones and wearing cheap industrial earmuffs over them. But whatever you do, protect that hearing.  ##013 Books  [url=http://www.amazon.com/Stick-Control-For-Snare-Drummer/dp/1892764040]Stick Control for the Snare Drummer This is the book for drumming. It's very thin, but filled to the brim with different stickings you should practice.  New Breed This book will help your limb independence like nothing else, and is really fun too!  Syncopation I've personally never used this book, but a lot of people swear by it.   The Art of Bop Drumming and Beyond Bop Drumming John Riley's book in bop drumming is a great introduction into jazz and great for learning triplet feel. In addition to accompanying (also known as "comping"), it also includes a section on how to solo and use brushes. In Beyond Bop John Riley moves from bebop to post-bop, which incorporates your left foot on hi hat as a voice. Read Bop Drumming before you touch this!  Time Functioning Patterns Some people love this book, but honestly I think it isn't that great except for the section where it gives you exercises on broken time, which John Riley doesn't cover in his books.  Double Bass Drumming If you want to get into metal or learn how to play with double bass, this is the book for you! Online Spikeydrummer, while incessantly wearing a Tigger suit, has made dozens of the best videos you can find anywhere. The Drum Tuning Bible Transcribe! BPMinus, helpful for transcribing songs. Previous threads Drums Megathread: There's a reason drummers are poor Things you wished you knew when you first started playing drums…(archived) Questions From A New Drummer (archived) Jazz Marimba fucked around with this message at 01:29 on Nov 3, 2013 |
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May 1, 2013 01:34
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 ##020 Welcome to the wonderful world of mallet percussion!  ##021  Keyboard percussion includes several different instruments, that are similar in design: glockenspiel, marimba, vibraphone, and xylophone. While they are similar in shape, their timbre (sound) and method of playing varies drastically. First, a role model. Everyone can name a dozen good drummers off the top of their head, but a good mallet percussionist is hard to come by. So I present to you, Evelyn Glennie. She's the world's first full-time solo percussionist. And she's profoundly deaf. Here's a documentary on her approach to music, and how sound is more than just something you hear with your ears.  There are so many mallets out there, which should I use? Unlike with stick choice in drumming, mallet choice tends to be chosen for you by the music. Unfortunately, this means you'll probably need a pair or two of each hardness. However, medium is a good hardness to choose when first starting. One thing you need to make sure of is that you are getting the right mallets for the instrument you'll be playing. You don't want to use xylophone mallets on a marimba because it will damage the instrument, and you don't want to use marimba marimba mallets on a xylophone because they'll wear down a lot quicker. How should I hold my mallets? For two mallets, you hold them in a matched grip, either French or German like a drummer would. Four mallets are a different story, however. There are currently two popular grips: Burton and Stevens. Burton:  Stevens:  ##022 What should I be practicing? Theory, theory, theory. Sight reading and ear training. You can't get away with playing by feel here, so buckle down and have some fun with it at least! Theory will help you understand what why what you're playing works, and let you come up with your own stuff, and ear training is important for being able to listen to a song without the sheet music and doing the same. Modern School for Xylophone, Marimba, Vibraphone, or "The Goldenberg book" is one of the best resources for getting into keyboard percussion. It starts off with scales, rolls, arpeggios, and all of those mixed into melodies, which is everything that's great to practice. While written from a pianist's perspective, CowOnCrack explains why scales are so important, and what to practice: CowOnCrack posted:The Purpose of Scales, and How to Practice Them: CowOnCrack also has great advice for learning to read music: CowOnCrack posted:The best way to get started is to learn where the pitches are - lines and spaces, then go from there. For some people like myself, sight reading can be painful. I just suck at focusing on space. A good approach is that instead of torturing yourself with sight reading all the time, also work on lots of broad areas of music (like theory, singing music, etc.) and your reading will improve on its own. But Jazz Marimba, I don't own a marimba/vibraphone/xylophone! A great way to practice at home if your parents aren't investment bankers is to take a sheet you don't use, and put strips of masking tape on it for the bars. While you won't get any rebound or sound feedback, it's an amazing way to practice if you can't get access to a marimba. Classical is great and all, but I really like jazz… Wonderful! Vibraphone is the keyboard of choice for jazz percussionists due to its portability and foot pedal that allows for sustaining notes. What's fun about jazz is the improvisational aspect, but that's not all jazz is about. Just like classical, jazz needs a good foundation in theory and knowledge of chords, so keep practicing all of that. Comping One of the major things you'll be doing as a vibes player is accompanying, also known as "comping". On charts for songs, there are chord progressions above the melody, which is what you'll need to play. Since in jazz the bassist plays the root of every chord, it's a good idea to play the other notes of the chord. This guide to chord voicings gives a great overview of how to do that. Soloing If you're coming from drumming, soloing on a melodic instrument is a lot different than on a kit. To start, you're going to want to memorize the chord changes and melody of the tune you want to solo over. Then practice the scale and every mode of it, chords, arpeggios, all with both straight and swing feel, etc. until you can play them in your sleep. Then play the tune three times through. The first time through, play the chords or melody. On the second…have fun! Play whatever you want, but keep it in the home key to start. Finally, bring it all together by going through the form of the song again, playing chords or the melody. Or you can just play it by ear, whatevs.  Gary Burton is teaching a FREE online course on improvisation that just started! ##023  With tympani you only ever need two mallets. What graciousness! Instead you get to retune your instrument mid-song without getting a chance to hear it before striking it  Which mallets should I use? As with keyboard percussion, you'll probably end up with a pair of each hardness, but starting with medium is a good idea. How should I hold my mallets? As you only use two mallets for tympani, you hold them in either a French or German grip. Many tympanists prefer French for its finesse. ##024 What should I be practicing? Something unique to tympani that you need to practice is foot tuning; a great way to practice this is using a reference pitch from another instrument. Being primarily an orchestral instrument, sight reading is essential for you to practice. But Jazz Marimba, I don't own tympani! This one's a bit more expensive than a makeshift marimba, but still doable without dropping ten grand. If you have a drum set, simply stand at it and use the toms as tympani. While it isn't perfect, it lets you practice the motions. ##025 Books  The Goldenberg book as it's commonly called not only gives you many great things to practice, but also includes the sticking in parts that aren't immediately obvious. A must-have for every percussionist.  Marimba Duets Got a friend that also plays mallet percussion? Pick up a copy of this and challenge each other! Comes with two copies in a folder, so you can each practice on your own.  Modern Method for Tympani This book has everything you need to get started playing tympani. Online Music Theory.net is a very in-depth resource for, of course, music theory. Here's an ear training exercise for identifying intervals. Here's the same but for scales. This is a general ear training game that also covers chords, note values, and rhythms. Jazz Marimba fucked around with this message at 03:38 on May 4, 2013 |
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May 1, 2013 01:34
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##030 <reserved> Jazz Marimba fucked around with this message at 17:37 on May 1, 2013 |
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May 1, 2013 01:35
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 ##040 Help add to this list! United States Illinois David Jennings-Chicago-everything from drums to theory Richard Nash-Chicago (north suburbs)-drum set only Jazz Marimba fucked around with this message at 01:38 on May 1, 2013 |
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May 1, 2013 01:35
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Barn Door posted:I'm scared of ever cleaning cymbals since it can drastically change their sound. This is me exactly, but also I kinda like the way a cymbal looks when it's not brand new. But apparently every major cymbal maker sells bottles of cymbal cleaner for like 5-10$ In non-drum set news, I went to a local orchestra's rehearsal tonight, and now I have to play a show with them next Friday because they only have one other percussionist. Apparently I'm going to audition the rehearsal after that? x_x
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May 3, 2013 04:39
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killerllamaman posted:Glad this thread got made and it includes the non-kit parts of percussion, really solid job OP. Hope there's some activity all around. ATwoSlotToaster posted:Great stuff OP, possibly the best drum thread yet! Kodo posted:Man this thread makes me nostalgic for the days learning those goldberg exercises. The absolute bane of mallet players everywhere. I'll add the Joe Morello book in a bit!
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May 8, 2013 05:26
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killerllamaman posted:I'd be happy to put some info together about hand drums if you like, Yeah! Could you send me a PM?
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May 11, 2013 23:02
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I have a question for jazz vibraphone players. When you're using the Burton grip, what advantages does using the outside right mallet as the primary have over using the inside right? My teacher said that's how it's done, but couldn't really explain :\
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May 18, 2013 16:02
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killerllamaman posted:Jazz Marimba, I've got a little bit more time now, I'll send you more things soon. Do you actually play jazz marimba? 
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May 19, 2013 16:50
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I just e: language barriers sure are a thing Jazz Marimba fucked around with this message at 05:51 on May 29, 2013 |
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May 28, 2013 22:04
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Kodo posted:Woah, are you playing with the real deal or the wine barrel taiko? Pro tip - start a workout routine cause taiko will fast track you to tendinitis and all manner of muscular problems Kodo posted:now that I think about it, a section on body health would be super helpful, but I don't know much
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May 31, 2013 16:44
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Rotten Cookies posted:A question for y'all. Do you guys practice rudiments and then just go along and go back to your normal playing, going along with songs? Or is there some sort of intermediate step where you specifically try and put the rudiments into a beat? I don't know if I'm being clear, but I find myself practicing some rudiments, then going, "Well.... okay." And then just playing with my ipod. What do you guys and/or gals actively do to get better at hitting things? I think it depends on what you're listening to; if you just play along to most of what's on the radio, you don't even need rudiments because it's all variations on the basic rock beat. But if you listen to drum solos by Art Blakey et al., then they become a lot more important. There are some bands that have more rudiment-using stuff which tends to be a bit more melodic on the drums, but the only one I can think of off the top of my head is this band. It is a good idea to take your rudiments and apply them on the kit, though. Take the paradiddle and play it around kit, with a bass drum pattern underneath, switch all the right strokes with your left foot, keep the left strokes on snare and play eighths on your ride cymbal, etc.., which makes it more fun than learning just another rudiment.
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Jun 1, 2013 01:36
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ATwoSlotToaster posted:I thought I'd add a post to my marching tenor drum book if anyone is interested in a very specific type of drumming. It is aimed at more advanced drummers but some of you might find it interesting. I'm interested in this, but do you have a preview that isn't just the first bunch of pages on the physics of playing tenors?
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Jun 28, 2013 20:58
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I 100% agree with Biaxident, that black five piece is a great kit for a beginner, and probably even an intermediate player too. My first kit was a hodgepodge of pieces from cl that lasted me six months of on and off practice.
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Aug 17, 2013 03:37
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Personally, I wouldn't go through the hassle of rearranging my kit since then I couldn't just sit down and do fun stuff as easily. The book "New Breed" has some pretty groovy exercises to help with exactly that situation, though. I'll post a couple when I get out of class.
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Oct 16, 2013 16:40
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So instead of rearranging your kit, you can play a simple pattern like this with your off hand (or primary!): and then have your other hand play a "melody" like this:  eventually working up to this silliness:  I scanned a page of patterns and a few more of melodies if anyone's interested in it (sorry for the bad cutoffs on a few) https://dl.dropboxusercontent.com/u/2284/SA/New%20Breed%20stuff.pdf edit: To add a question of my own, I recently realized that I accidentally messed up my sight reading somewhere along the way. What I do right now is learn whatever I'm reading well enough that I can glance at it and play it from memory. How do I fix it so I can actually sight read stuff? Jazz Marimba fucked around with this message at 20:41 on Oct 16, 2013 |
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Oct 16, 2013 19:37
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you ate my cat posted:The way I did it was to get/borrow a ton of music and never read anything more than once or twice. I came out of a season of drum corps being able to memorize anything in seconds, and that's how my teacher at the time ended up forcing me to improve my reading. ...do you have a ton of sheet music I could borrow? And is there any sort of progression you recommend, or just "the order in which you pick them up?"
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Oct 18, 2013 03:27
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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.
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Nov 5, 2013 17:00
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So I have an audition (on kit) for a school on Thursday and oh god help me not freak out D:
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Feb 26, 2014 00:04
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Could you post a picture of your kit? I'm super curious now, with all the discussion about it.
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May 8, 2014 06:35
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This is an odd request, but if you know any female drummers in Chicago could you get me in touch with them? A thing I volunteer for needs some helping hands. PM me or cortelus@gmail.com Thanks 
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Jun 3, 2014 07:28
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I posted this in the home recording thread, but figured y'all might be able to answer my question too. I'm looking to record myself practicing on drums, in multiple locations, for as cheap as possible and with as little setup as possible, and hopefully without having to futz with anything afterward. Last night I tried using a recording app on my phone in a tiny room, and the ride and crash were fantastic, the hi hat could be a bit louder (probably just the fact that my body was blocking it), and the drums themselves were awful and distorted. Is it possible to do what I want with just a phone? What are some alternatives? Thanks in advance!
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Jul 6, 2014 15:37
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I was wondering what all of your practice routines look like, and if you could give me tips on how to organize mine? Right now mine is pretty unstructured and I don't write anything down. Most of the time I'll start with Stick Control over the bossa foot ostinato, and then start working on the latest thing I've been having difficulty with. The main books I'm working out of at the moment are Art of Bop Drumming, New Breed, and Odd Feelings. I'm also trying to spend some time with a book on chart reading, and one on developing soloing ideas. I usually have at least two hours a day to practice, and at least once a week I'll have the whole day (8+ hours). Thanks!
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Jul 22, 2014 18:21
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Grump posted:I haven't put tape on the heads yet, but I'd like to know if anyone else has had serious problems getting rid of overtones while playing in a really echo-y part of their house. Studio rings, moon gel, or as a last resort tape can work too. Next step would be new heads, since they might be in bad shape. I'd say practice tuning too, but heavily used heads make it almost impossible.
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Jul 30, 2014 02:55
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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!
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Nov 18, 2014 04:15
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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?
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Dec 22, 2014 17:40
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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?
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Jan 9, 2015 04:54
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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 >:|
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Jan 20, 2015 03:35
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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.
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Jan 21, 2015 15:44
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I recently paired up with a guitarist who plays a double neck with a loop setup in a mathrock/post-rock style (I'm still not clear on the differences between them). I've been listening to a Toe station on Pandora on and off for the last few years, but was wondering if I could get any advice from y'all on coming up with busier drum parts that are both melodic and not overly repetitive? Currently he has material in 3/4 and 4/4, and we're hashing something out in 15/8.
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Feb 8, 2015 05:56
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JesusDoesVegas posted:suitcase set Duke Chin posted:edit: Rabbit hole indeed: I don't want to even think about how much money is sitting in my "dining room"... If I ever get a house, this is probably gonna happen to every room except the kitchen, and maaaybe a bedroom. That's frickin' gorgeous. Did you soundproof the walls, or do your neighbors hate/love you?
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Feb 20, 2015 15:47
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Four piece with hats, ride, and a crash. I'm heavily considering replacing the crash with a riveted ride, and converting my unused 16" floor tom into a bass drum because 22" is frickin' gigantic!
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May 12, 2015 13:36
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If you're concerned about it, maybe you could collaborate with someone who plays drums/percussion?
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Jun 23, 2015 21:51
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Immolat1on posted:I don't know if this has been discussed earlier in the thread but how do the drummers of SA manage the disgusting callouses on their hands? I've been practicing a lot recently and I seem to repeat a cycle of getting painful blisters all over, they pop and eventually develop into disgustingly thick callouses, those eventually peel off which allow for new blisters then the cycle repeats itself. If it gets really bad or painful and I still want to play I'll put medical tape over the problem areas but I feel like it affects my playing. I practice 2-3 hours a day, and used to do 4-5, and have literally never had this happen. That sounds terrifying and gross...maybe get a quick half hour lesson to see what's causing it?
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Jul 29, 2015 13:35
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A while back I was browsing youtube or at a local drum store and I saw a video on some brushes that I think we're a signature artist pair, and the thing about them was that they had a second set of wires underneath the usual ones to get a fuller sound. Does anyone know what I'm talking about?
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Dec 12, 2015 22:46
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field balm posted:Wierd question, but just how tuneable are snare drums? Im building a tiny kit for tracking some bits for electronic music (kick hihat and snare to start). Im planning to add a set of rototoms eventually but was wondering if i can tune the snare to a root note with the springs off? This is totally possible; I usually tune an ascending in my low tom, high tom, snare. DW inscribes their shells with the note they resonate at, so you can tune the heads to it.
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Feb 29, 2016 18:15
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stupid puma posted:Does anyone have that Sonor foldable Jojo Mayer kick pedal? Looks interesting but reviews are kinda mixed. I'm also a toe player and I think he's a heel to toe player so not sure if it's okay for my kick style. I really like the look and the fact that it folds though. Yup! Did you have any questions about it?
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Apr 19, 2016 14:13
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stupid puma posted:How long have you had it? Any issues with parts breaking? How does it compare to other pedals you've used in terms of feel and responsiveness? I have a DW5000 that I've used forever so if you've used any DWs in particular that would be a helpful comparison. I've played a stock Mapex pedal, a couple Iron Cobras, and this Perfect Balance. The Perfect Balance is very lightweight and has a quick, even response. Very little springiness, but it's designed that way. I have an earlier model, which is apparently a little springier than the newer ones. I've had it a little over a year, and the only noticeable thing is that one of the washers(?) on the cam where the spring attaches came loose and fiddles around when the spring isn't on it. I asked someone at my local drum store about it and they said they'd never seen it happen before. I like it a lot, and so do several of my drummer friends. I bought it after watching Jojo's foot technique DVD since I liked a lot of his reasoning behind how he designed it, but honestly my favorite feature is its collapsibility. oh god I sound like an amazon review shill v  v
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Apr 20, 2016 06:18
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My teacher started me on The Art of Bop Drumming and later recommended Syncopation, and I prefer The Art of Bop. When I was going through Syncopation everything outside of the 48 bar reading exercises/tests felt like filler. Art of Bop also includes solo ideas, brushwork, Latin grooves, ideas on how to phrase your comping, etc., all with explanations. Kilometers Davis posted:Has anyone read the Anatomy of Drumming book by John Lamb? The health/science/physiology behind playing music is something I'm always intrigued by and it looks to be well received and not full of poo poo. Any other recommendations would be cool. Me too! I was actually studying biomechanics and kinesiology for a minute so I could learn more about drumming! I ended up writing a 15-17 page movement analysis of drumming (lots of pictures; it's probably only 8-10 pages of actual writing) and becoming interested in Alexander Technique. Thanks for the recommendation on Anatomy of Drumming, I'm definitely gonna pick it up!
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Jun 6, 2016 15:44
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| # ¿ Apr 27, 2024 17:11 |
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What are some of your favorite patient drum fills like in Second Chance by Shinedown here at 2:50, or here at 1:20 in Holding On To You by Twenty One Pilots?
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Jun 24, 2016 17:26
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