Best technology for drummers

Given the rapid increases in technology in the past 100 years, I thought I'd take a stab at listing the top ten technological advances for drummers in the past century. Here are my picks.

1. Hearing protection. This is a no-brainer for me. Of all the critical tools a musician has, the ears are the most sensitive, and they're irreplaceable. And the tools available to protect your hearing while still allowing a full, satisfying musical experience are getting better all the time. You can check some of them out here.

2. Metronomes. I know, I know. You gotta have the pulse inside. Well, consider this tool a pulse-injector if you're willing to spend time with it.

3. Improved thrones. If your sit-down part is comfortable, you won't think a thing about it, but if it's not, you can't think about anything else. Long gigs absolutely require the most comfortable seating.

4. Sticks, brushes and mallets. For me, this is like the tires on cars. It doesn't matter what's under the hood if you can't control it on the street. Not only are there more choices than ever, but the quality and consistency are pretty unbelievable.

5. Pedals. Like sticks and mallets, pedals are the direct link between you and your drums. Especially in the past twenty or so years, I've gone from cursing to praising my footboards.

6. Shell truing machines (think Yamaha's YESS technology). There is nothing worse than a shell that's not round and true. Using the car metaphor, there's nothing worse than a beautiful automobile with an unreliable engine.

7. Head variety and quality. I know some players really dig calfskin, but I'm a huge fan of mylar and kevlar. In addition to sticks, shells and size variations, the heads you choose have a huge impact on how you sound and how the kit feels.

8. Cymbal variety and quality. Almost more than heads, the cymbals you choose will define your sound. I'm amazed every time I see the new releases - and new cymbal companies - that pop up each year. Unique and ever-more-expressive sounds are available to anybody with a little (okay, a lot of) cash.

9. Portable digital recording equipment. Obviously, there are lots of things that can fit into this category, but I'm thinking specifically of things like the Zoom H4N. The ability to record an idea, practice session or gig easily and with great quality is a game-changer.

10. Smart phones, tablets and laptops. Again, this category is huge, but I'm primarily thinking YouTube, educational apps and programs like metronomes, and specialized apps like SoundHound and Garage Band. Almost anywhere you go, the world is literally at your fingertips.

Honorable mention: Drum hardware in general.


What did I leave off the list or put in the wrong place? Let me know in the comments below!

Gear Up: Getting the most bang, boom and crash, part 2

Part 2 of 2. If you missed Part 1, you can check it out here. 

Buy used.

I’ve always hated to be the first person to put a scratch, mark or dent on something. I think that’s why I’ll never buy a new car off the showroom floor. Especially in the case of drums and cymbals, you’ll end up paying way too much for a cymbal that’s going to be “used” after the first day anyway, so find somebody who has a well-taken-care-of item that you need, and get a good deal.

These days almost all retail stores have a decent collection of used gear that has been traded in (which we’ll talk about in just a second), which means that it’s probably in good condition, and the store may even offer a limited warranty. 

That being said, there are a few things I won’t buy used: sticks, heads and thrones. It’s too easy to abuse those things, and - especially in the case of sticks and heads - new is cheap enough that it’s not worth the savings to get it used. 

Trade for it.

If you’re like me, you have a special pile of gear that you never use, but you just can’t bring yourself to get rid of it. Well, it’s time. If you haven’t used it in practice or a performance in over a year, find somebody who has what you want and offer them a trade. I’m constantly finding things I want online or in stores that somebody bought and then found out that they didn’t like/need/want/use it, and your item might be a perfect fit for a trade. Barter groups are springing up all over the place, so check one out.

Also, as mentioned above, many stores will take your used gear in on trade for new stuff. This is an excellent way to decrease the price of what you need at the same time you’re getting rid of stuff you don’t.

Several years ago I won second place in a solo drumming competition. The prize was a 22” Swish Knocker. I was thrilled! That is, until I took it home and played it. I tried every which way to convince myself that it was a cymbal I was going to use, but six months later it was leaning against the wall in my studio gathering the proverbial (and literal) dust. So when my hardware bag died, I took the Swish into the drum shop and traded it straight across for a new, better bag that has been serving me ever since. 

Be patient.

More times than I care to admit I have purchased something that I needed, “right now,” only to find a better deal pretty shortly thereafter. I was in such a rush that I settled for a bad deal! This goes along with having saved up and done your homework, but if you don’t get “buyer fever,” you can recognize a deal for what it is, and get a good one when the time is right.

Remember the old adage, “Haste makes waste.” And in this case, what you’re wasting is money. 

Here’s the bottom line.

You can get almost anything you need and want if you’re willing to save, research, wait for a bargain, barter and trade. There are many options out there for you. So, go ahead and get more bang, boom and crash for your buck!

Happy shopping!

Gear Up: Getting the most bang, boom and crash for your buck!

Part 1 of 2.

When was the last time you made a significant purchase for your rig? I mean a purchase of at least $100 dollars. I know that for some of you $100 isn’t very much, but for me that’s a major purchase!

Today we’re going to take a look at how to keep your expenses down while you keep up your kit.

Have cash in hand.

This is good advice for buying virtually anything, but it’s especially important if you want to get a good deal on a major purchase. Put simply, money talks. Whether you’re buying new or used, make sure you actually have the ability to make the purchase before you start trying to make a deal. 

Cash also has a sort of magic to it when you’re bargaining, even in a retail establishment. You may find that you can get a better deal when the seller knows that you can pay now and that you’re prepared to walk away if it isn’t a good deal for both parties. (For more about saving and managing money, visit Dave Ramsey’s web page.)

For those of us who are fortunate enough to be making a few dollars playing music, I recommend that you set aside a certain amount (at least 15%) from each gig that will only be used on instruments or related equipment and supplies. If you’re consistent and committed to this, it shouldn’t take long before you’ll have a tidy little pile of cash so that you can make careful, relevant purchases when you need to.

A nice side benefit of having a little cash on hand is that you can take care of an emergency without having to forego paying the light bill. Just last fall I had a microphone die (my Beta 52, so it’s not like I could just go without), and I had the cash on hand to replace it with no hassle. I’ll have to put off that new snare drum for a little longer, but my mic dying could have also been a financial problem. It wasn’t.

Be realistic about your needs and priorities.

Unless you’re Terry Bozzio, you probably don’t need 24 chromatically tuned toms or 44 relative-pitch cymbals - and don’t even think about the gongs, my friends. You may have a dream kit on your mind, but you need to focus on the things that will have the most positive impact on you, your playing and your career right now. 

That being said, I have a long wish list, too, and a lot of it is totally unrelated to what I actually need. But at the top of my list are the things that will improve my sound, make me more versatile (and marketable), and will help me expand where, how often and with whom I’ll be able to play. 

So, while you may really want that shiny new quadruple bass drum pedal with matching soda dispenser, it may be more important to get a solid ride cymbal, hi-hat stand or snare drum. Establish your priorities, and always get the most important things first. 

Know the numbers.

I worked in a retail music store for several years. I was amazed by people who had (or have) absolutely no clue about price. This was especially true of younger players, beginners and their parents. What is the internet for if not for finding prices and values? Can you say “eBay?” 

As with saving up money in advance, you need to know what you can expect to pay for something so that you’ll know a good deal when you see one. It also helps to know the MSRP (manufacturer’s suggested retail price - you should NEVER pay this amount for anything!), the MAP (minimum advertised price, although not all brands/items have one), and the street price (average that you’ll pay for it new). 

If you’re buying used, even if something’s in perfect condition, you should never pay more than about 80% of the new street price. The only exception to this rule is if you can be sure that the warranty is still in effect and you get the original packaging and purchase receipt so that you can get help if you have a problem. Also, some manufacturers will only warranty the product to the original purchaser, meaning that the warranty is voided as soon as you buy it from a private individual.


More next week!

Gear Up: Remote Hats

I'm writing this post mostly to convince myself that this needs to be my next gear purchase.

About a hundred years ago (maybe a little longer), bass drum and hi-hat pedals were the height of drum set technology innovation. They sort of still are - but with some very cool improvements.

In the old days of drumming, the position and playability of your drums and cymbals was limited to straight line access. Even with traditional double bass drum pedals, you have a straight metal linkage. If anything gets in the way, it simply won't work.

Luckily for us, companies like Gibraltar, DW and Yamaha have been allowing for remote location of drums and cymbals for a good long while now. This means that you can basically mount the hi-hat anywhere you want, and put the pedal wherever it's convenient for you.

You want to play open handed without switching hands? No problem. You want hi-hats on both sides of the kit, but pedals right next to each other? You got it.

For me, these are the reasons to get excited about remote hats and other innovations. You can put the instrument(s) where they make sense for you, your playing and your music. And, of course, when you change the kit, you'll undoubtedly change your approach and open up more possibilities for being expressive and creative on the kit.


Awesome. Remotely awesome, in fact.

Happy drumming!

Beyond the Kit: Indoor Winter Drumline

Guest Blogger: John Mapes via Eric Nix. Thanks, gentlemen!


Why should music programs include winter drumline?


We wouldn't ask football players to train for four months playing soccer to then introduce them to the game of football for the remainder of the year... Would you expect your color guard program to be very good every year if they took eight months off in-between marching seasons? The indoor percussion activity was started on this philosophy with these principles in mind.


To run a successful, effective marching percussion program, you need/desire at least 20-30 percussionists in the fall. What do those 20-30 students do from December through June? You only need so many percussionist for wind ensemble, and percussion ensemble is great, but it is still hard to build the excitement that marching percussion inherently has to the masses. 


The two seasons fall hand in hand for the percussion side of things. It is very difficult to have a great fall marching percussion program without some sort of year round training. For wind players, the skill sets from the field to the chair are very similar and work together to give those students what they need  year round. For marching percussion it simply is different. Obviously there still needs to be some wind ensemble percussion training and experience happening in the class room, but what about after school?

Ignore the hard-hat-wearing construction shows and the "Zombies from outer-space" shows you may have seen. There are some incredible displays of musicianship that are possible in this activity, and it is our job as educators to make sure that is the goal. It is our responsibility to produce an experience that is founded in legitimate musical concepts to demonstrate to the rest of the community that this activity is valid. 


Every time I do a percussion circuit clinic someone always asks how they can promote growth in their circuit. The answer is simple - put out better products that entice other groups and band directors to want to participate! Maybe the electronic techno remix show with the volume level of "as loud as possible" or the artsy show where the deep meaning is so deep that even you don't know what the show is about aren't the best choices to promote local growth. (Was the the tribute to Britney Spears really the right choice?)

The argument I often hear is, "What about preparing students for college?" For myself, I never played much concert percussion in high school, but simply took what I learned from the marching activity and applied it when I went through the college percussion process. The importance of consistency, tempo control, simultaneous responsibility, team work, time management and - of course - the love for drumming are enough to prepare our students to achieve whatever they want. 


Most of my students will not continue in music for many reasons and I have no problem with that. Real life is scary and music is not the easiest path to pursue. I just want my students to get the best opportunity and experience they can have while they are involved in music.

Gear Up: Hardware Maintenance 101 (Repost)

Originally posted on December 6, 2011.

I have always been proud of how I take care of my gear. I have some hardware that is more than a decade old and is still in good working order. In fact, I have a handful of Yamaha cymbal boom stands that I purchased in 1999, and I'm always looking to see if anybody else has stands that old that are still working. Mine are a little dinged up and have some scratches from living in my hardware bag, but all the moving parts, screws, etc. are all just fine.

Last week I mentioned that I played in the percussion section for AFCO's Christmas Concerts. There was also a drum set player, an amazing player by the name of Bobby James.  As I usually do, I took a look at his drums, hardware and cymbals. I was amazed (shocked, actually) to see him pull out Yamaha cymbal stands that were the model before the ones that I'm so proud of. These stands are easily 15+ years old, and they look and function like new.

It's my view that somewhere along the way, one learns to appreciate the equipment almost as much as the music. It's like a racer with cars or a jockey with horses, or a million other examples. If you want to do it well, your equipment must function at its best.

So, let's get down to it. There's probably one issue above all the rest when it comes to taking care of percussion gear: stripped out bolts, nuts, screws and ball joints (as in tom mounts). To fix this one issue is so easy!! Just follow these two simple rules:

1. ALWAYS loosen it before you move it. The place I see this abused the most is with tom-toms and cymbals. Students, if they don't like the angle or position of something, will just force it to go where they want it. This weakens the bolts, nuts, etc. that hold it in place, so they have to be screwed even tighter next time to hold the instrument in place. Over time, this forcing and over-tightening will ruin the equipment so that it has to be repaired or replaced. Not fun, and usually not cheap. 
2. NEVER over-tighten it. For most things - cymbal stands, tom mounts, etc. - the difference between loose and tight is somewhere around a quarter of a turn. Try this one at home: Take a cymbal stand, snare stand or another piece of hardware (make sure it doesn't have anything on it like a cymbal or a drum), and loosen one of the joints just barely enough to move it freely. Then, slowly tighten it just barely to the point that it won't move easily. You want it just tight enough to do the job and no tighter. Especially if your gear is fairly new, you'll notice that there's not much room to turn the screw from "loose enough to move" to "tight enough to hold."

Really and truly, that's about it. Follow those two rules, and your gear will last a long time and serve you well.

Happy drumming!

Gear Up: Cymbals - Drum Set

Last week I had the opportunity to set up a brand new Yamaha Stage Custom Birch kit, fresh out of the box, equipped with a Zildjian A Custom box set of cymbals - 20" ride, 16" and 18" crashes, and 14" hats. The kit was AWESOME (but that's for another post), and the cymbals were a nice change of scenery for me. Most of my cymbals are Zildjian Ks and K Customs, which are very different from A Customs. I almost hated touching everything for fear of leaving fingerprints.

So, that brings us to the questions of the day.

______________________________

How many cymbals should you have in a basic drum kit?
At very least, you should have hi-hats, a ride and a crash. Beyond that, use your imagination and watch other drummers for ideas. For me, I use hats, ride and two crashes - one left and one right - and a splash right over my first rack tom. I'm also a big fan of stacking a splash upside down on top of a ride or crash. There are other cool ideas all over the place, just experiment and see what you like and works for your playing and style of music..

What sizes should you use?
This is open to debate. I'm a weirdo, cymbal-wise, so I use 13" hats, a 22" ride, and my crashes are 15" and 17". The splash is 7". I'm not a really high volume player, so these particular cymbals get me what I need in terms of control and response.

Standard sizes (if there are standards anymore) are 14" hats, 20" ride and 16" or 18" crash. Again, try a lot of cymbal sizes, and find what works for you.

Which brand is best? Uh......yeah.....about that. This is like the Coke/Pepsi debate or the Chevy/Ford debate, but much, much worse. Given that I've played cymbals I've liked from more than a dozen different companies, I'd sooner tell you which presidential candidate I'm voting for this year. I'd probably take less heat for that than for declaring cymbal supremacy for one or the other.

In my personal cymbal bag I have a pile of Zildjian Ks, K Customs, A Customs and As. I also have some Sabian and Meinl pieces. In addition, I have a serious hankering for some Bosphorus, Hammerax, Paiste and Soultone. There are many more cymbal makers, too many to mention here.

Again, listen for what you like, and play what makes you happy.

______________________________

A few years ago I had the opportunity to play one of the practice kits at Brigham Young University (BYU), and it was equipped with a set of Paiste Signatures. Like I said above, I'm mostly a Zildjian guy, but I was blown away. They were the smoothest, silkiest, easiest playing plates I'd ever met. The experience taught me never to walk away from something just because of the brand name. Put stick to metal, and let your ears make the call. 

One more resource you may want to check out is MyCymbal.com. They allow you to hear the exact cymbal you're purchasing before you buy, usually played by somebody awesome, like Peter Erskine or Jeff Hamilton.

Good luck choosing some great cymbals. And don't be afraid to try something new.

Happy drumming!

Gear Up: Microphones Part 2

Last week, I mentioned a few suggestions on some microphones to get started with for drums.

This week, where in the world do you place them? What will get the best and most consistent sound?

First, don't reinvent the wheel. Whenever you work with a good sound tech, watch what they do, and ask them questions (nicely, at appropriate times, and respectfully, of course) about why they do it the way they do. Listen and learn. There are also myriad websites that have very clear, complete information.

I'm definitely not a sound engineer, but there are a few really simple concepts that I have used for years that have produced good, consistent results. Again, there are a lot of factors at play here, including your drums/heads, tuning, the size and shape of the room, how loud you play, other sound sources on the stage, etc*.

One semi-funny story: Back in the day, I played with a band called Hillside Nine. We got a gig playing at a high school for a huge senior party. Lots of fun. After sound check the engineer asked if there was anything else we needed, and I jokingly said, "Just make us sound amazing, okay?" He replied without missing a beat, "Ah, okay. I'll turn the 'Talent' knob all the way up, and the 'Suck' switch completely off. Will that work?"

Oh, if only it were that simple! Anyway, on to the good stuff.

Snare and Toms
Line up the end of the microphone (the end where it captures the sound - it usually has a screen) with the hoop/rim of the drum, at least an inch above the hoop - mine are about 2-3" up - and angle the mic at the dead center of the drum. The microphone will end up at about a 30ish degree angle up from the plane of the drum head. Try it out. You'll like it!

Kick Drum
My drum's resonant (front) head is ported. That means it has a five inch hole cut in the head, at about the 4 o'clock position. I have had good results putting the mic through the port, with the end of the mic (again, the screen/capture side) about three inches inside the drum, pointed at the dead center of the batter head. If your kick drum doesn't have a front head (or if you've removed it for recording), move the mic to about the halfway point of the shell, right in the middle, and point it at the center of the resonant head.

Overhead/Cymbals
I like to use two identical mics to capture the cymbals and full kit sound. One mic sits over my left hand area, pointed at the place where my left side crash overlaps my hi-hat. The right side hangs over my ride cymbal where it hangs over my floor tom. Both are just above head level, out of range of an errant stick stroke.

Especially if you're using mics a lot, and even more especially in a recording setting, it's worth experimenting with different placements - angles, heights, alignments and how far over the drum it sits.

Happy drumming!


*Okay, one MAJOR tip: the best mics, sound engineer and placement won't make your drums sound good if they don't already. Before you go to the gig, make sure that your instrument is in good working order - heads in good shape, and well tuned. This will have the BIGGEST impact on how good you sound. That, and the P word: PRACTICE!!

The Gig Log: LKG @ HCT 4 NYE

Couldn't resist the title of this one. Too many acronyms came immediately to mind to be dismissed. Translated into English, the title should read, "Lokalgrown at Hale Centre Theatre for New Year's Eve."

Such a fun gig. We've played the HCT New Year's party - as the pre-show for the opening of the new season's comedy - for most of the last eight years or so. The HCT crowd is always energetic, loud and kind. Truly it's one of the gigs we look forward to every year. It never gets old.

Here's the kit almost fully set. The remaining crash is on my seat. Notice the Pro-Mark cymbal rattler. I don't use it very often, but it seemed like a good idea. Turned out to be a great sound for the room.

I'm also a HUGE fan of the rug! Didn't think it would make things look so classy, but it totally did. The only problem is that the pedals and kick drum "walked" all night long. On a regular drum rug things don't move around that much. I had to keep pulling the kick back toward me.

The Hale has a very unique set up. It's theatre-in-the-round, so the audience is seated all the way around the main stage. There are three sort of mini-stages situated at the top of the seating around the theatre, and we set up on one of these. Here's the view from where I sat.

Quinn's keyboard is right in front of me, then the stage. Pretty cool place to play from.






(Right) Here's the view from a part of the audience.

(Below) The other shot may seem random, but let me 'splain.

At the end of this gig we had exactly seven minutes to get all of our equipment - instruments, sound system, etc. - out of the performance area and into the hallway. Then we had to pack everything up and move it out in almost total silence. Not so easy, friends. Not so easy. So, I took a picture of my entire rig after we had packed up.

My whole load in/out is two bags of drums (kick/snare in one, toms in the other), cymbal bag, hardware bag, bag of tricks (shakers, tambourines, etc.) and my rug, which I didn't use on this gig.





This is the number one reason I use the Yamaha Manu Katche (Junior Kit): it packs up and loads out with not a lot of effort. I drive a relatively small station wagon, and the bass player (Matt Redd) and I were able to carpool to this gig with both of our equipment in the back with room to spare.

Nice.

Anyway, it was another very fun, successful Lokalgrown gig. Thanks for taking a look!

Happy drumming in the new year!

One funny story from the gig that night. 


We usually do a little audience interaction in the form of a "Name That Tune" game. We use TV theme shows (The Office, Andy Griffith Show, Friends, Glee, Cheers, etc.) 


For this gig we decided to use all songs from musicals. It was hysterical! For the first time we actually stumped all three competitors with one song.


It was, "Do You Hear the People Sing?" from Les Miserables.


What makes it funny is that we had expected the audience to "get it" quickly and sing along. Instead, we got crickets. 


Awesome. Well played, gentlemen!

Beyond the Kit: Suspended Cymbal

I once got offered a college scholarship based solely on how I played a suspended cymbal roll. True story. I was a senior in high school and it was the only part I played at one of those senior invitational bands.

The only thing I can remember is that I was annoyed that all the other percussionists were playing back and timid, so when I got my chance I let it rip. The Graduate Assistant that was working with us pulled me aside at that rehearsal and asked if I might like to attend there on scholarship.

It was sort of odd at the time, but at this point I've coached enough percussionists to know that I probably would have offered me a scholarship, too. Not that I'm all that amazing, but suspended cymbal rolls are a big deal. They're a make or break moment in many pieces of music.

So, what is a suspended cymbal? (Just for fun, type, "suspended cymbal technique" into a search engine.) It is one cymbal hung by a strap or mounted on a cymbal stand. It is generally played in an orchestral or concert band setting, and is usually played with soft mallets.

A suspended cymbal roll is produced by playing fast single strokes on the cymbal to create as smooth a sound as possible. It might be the easiest percussion instrument with which to create a perfectly smooth crescendo, diminuendo or sustain.

Soft yarn mallets are usually used, but I've seen good percussionists get amazing rolls with cord wraps and snare drum sticks, too.

For some very detailed information on technique and maintenance of suspended cymbal, click here.

Happy rolling, pinging, swishing, scraping and crashing!

Lokalgrown's New Promo Video

The new Lokalgrown promo video is finally done. Please check it out!

Visit http://www.lokalgrown.com for more.

The Gig Log - Lokalgrown: Brigham City Fine Arts Center

On Friday, October 21, Lokalgrown played at the Brigham City Fine Arts Center as part of the "Music in the City" Concert Series. Special thanks to Austin Weyand for inviting us out. We had a great time - and talk about a friendly audience!

I apologize for the bad photos. This was another time that I felt like I just had to shoot a few quick photos. So...here they are!


From about 1/3 back in the audience.

It's a really small stage, and it's apparent that this building was used for something else before it was converted into a performance venue.

Right: A little closer up.













Below: Views from the right and left of the kit. The first kit shows my monitor, a Mackie SRM 350. Love those little dudes. Extremely hard working and great sounding.

Music is a language: learn it like one

I've always found it interesting that when we are trying to learn the language of music, we often limit ourselves to one particular dialect. When I moved to the midwest (USA) for a few years, it took me forever to figure out what a 'bubbler' was, and people looked at me funny when I asked for a drinking fountain. But I'm from the mountain west. It's not a bubbler (or is it?), it's a drinking fountain.

So it is with learning a style of music. Many of my students are learning jazz, and most of them play jazz at school, but they don't actually know how to speak the language. And the biggest reason we don't speak jazz is that we rarely hear it being spoken.

What do you hear on the radio at the mall, doctor's office, or grocery store? Usually it is a pop station or what we lovingly refer to as "elevator music." Not a good example of jazz. Again, in mainstream culture, you won't hear jazz.

You have to seek it out.

In the Salt Lake City area (and most of Utah, southern Idaho and western Wyoming) you can catch jazz here, on KUER 90.1 FM from 8 PM to 12 AM. There are also great online resources, such as Pandora, Jango and Grooveshark.

When I was in college, a roommate of mine attempted to teach me Spanish. He had some great books and CDs, but also told me that I had to watch daytime television.....in Spanish. Every day. I know it sounds odd, but it didn't take too long before I started to hear the words and phrases I was studying in the TV shows, and my accent improved tremendously.

The same is true with jazz - or any other style or genre you want to master. And just like a small child learning to talk, you start by imitating, then you speak with your own voice.

Good luck, and happy drumming!

Buying a First Drum Set - Part 3

Know your price range. Know what drums cost. My most expensive kit would cost somewhere in the range of $8,000 to replace, and there are plenty of kits out there that would be even more. That being said,  the kit I have played the most (for just the drums and hardware, no cymbals) was right around $500 new. This will offend 99% of drum makers out there, but if you pay less than about $500 for a "complete" drum set new, you're getting ripped off.

Cymbals are their own world, and we'll get to that in another post, but as a baseline, check this out.

If you're buying new, plan to spend around $1,000 for a set of drums, hardware and cymbals at the entry level. Again, you don't have to buy new. In fact, I strongly recommend that you buy used, if you can, but only if you...

Don't shop alone. Take somebody with you who's got some experience with drums and has your best interests in mind. (If you're my private student, CALL ME. Seriously! I enjoy drum shopping and making a great deal.)

All the other great advice about taking somebody with you comes into play, too. Don't buy the first kit you look at, wait 24 hours, etc.

Feel free to add any words of wisdom in the comments below, and questions are always welcome.

Happy drumming!

Getting drums that fit

As I mentioned in another post, I have a hard time with "standard" size drum kits.* In my world you choose drum sizes based on functionality and sound, not for style or image, and certainly not because a drum maker said they'd be "perfect for any player."

So-called standard sizes (diameters) for a five piece kit are as follows:

• Bass Drum: 22"
• Snare Drum: 14"
• Rack Toms: 12" and 13"
• Floor Tom: 16"

For more information on a what a complete drum kit is, check this great post at www.start-drumming.com.

Here's my big issue: not every player is the same size, but there are some physical and ergonomic rules that need to be followed - not only to ensure proper technique and comfort, but also to prevent injury. 

Consider this - When sitting at the kit with both feet on pedals, the thigh should slope slightly toward the floor from the hip to the knee. The knee should be slightly behind the ankle, but directly over the heel (not to one side or the other). This sitting position puts the shoulders (and thus the elbows, wrists and hands) at a certain height. 

When you put standard sized toms in a correct playing position on top of a standard sized kick (bass drum), the average person simply isn't tall enough to play them without seriously altering their technique, sitting position or playing motion.

To deal with this issue, most young players will either play with incorrect technique or form, or put the drums into an incorrect awkward position, or both. 

Imagine a kid on a bike that's obviously way too big or too small. This is an oversimplification of the problem, but you get the idea.



Bottom line - When considering a set of drums, first set them up so that they're ergonomically correct, then sit at the drums at the height you'd have to be at to play them with good technique. If your thighs are more than a little sloped, they're probably too big.

*As a disclaimer, I actually own and use all of the above sizes, but never in this configuration. I have no problem with 14" snare drums, although I use 13" hats (standard is 14") about 99% of the time.

Lessons now or lessons later?

When I worked in a music store, one of the many questions asked was, "Should I take lessons right away, or should I try to figure it out on my own and take some lessons later?"

It's a legitimate question.

Simply put - is it a waste of time getting lessons when you don't know very much? Shouldn't you just play for a while, figure some things out and then make the most of lessons when you know a few things?

Well, let's put it in a different light, shall we?

Imagine you want to climb a mountain, a big one, and you point to the top and say, "Hey, why don't I just head that way? I can see the top, it'll be easy."

What are the chances you'll get all the way to the top? You might not. You might run into cliffs, rivers or forests that you can't navigate. Or maybe you'll get there, but it will take a long time and you'll have to back track and change routes many times.

Now imagine you take someone with you, somebody who knows the trails and has the map. How much easier and faster will it be to get to the top?

Just as in climbing a mountain, having a "guide" to learn to play music can help you get to where you want to go much faster and with fewer problems along the way.

Now, I'm not saying that nobody has been successful on their own. Many people have, but almost all of them will tell you they wish they'd had help when they first started.

On your journey up the mountain, it's better to have a guide to show you the map and get you on the correct trail right from the beginning.

My advice is this: Learn right from the start.


Happy drumming!

Drums, drums, drums!!

With so many companies making drums these days, it's sort of hard to figure out what you like and don't like, and - more importantly - why you do or don't like a particular brand of drums.

Take me, for example. I really love the construction and sound of DW. LOVE IT. My main rig is a Collector's Series kit that was played at one of the medals concerts during the 2002 Olympics in Salt Lake City. It feels and sounds amazing, and I honestly believe I became a better player the day I brought it home (it actually went straight to a recording session from the store, but that's another story).

My other fave brand is Yamaha, especially their stuff from about 2000-2005. Their hardware is bullet-proof, and the YESS shell manufacturing series is as reliable on their entry level kits as their most expensive lines.

Other brands I've played and loved (and owned most of them) include Mapex, Tama, Pearl, Remo, Ludwig, Sonor and Premier.

So, go ahead and chime in. Feel free to leave a comment about which drums you play and why you like them.

Happy drumming!