Everything you've ever heard is a lie

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Get more gigs!

This post is inspired by an email from a friend asking what he can do to get more gigs. We're all in the same boat, for sure. Thanks, JC!

Last year I lost two very important (to me, at least) recording gigs to another local drummer. It wasn't underhanded or dirty, just an ease-of-use type decision in each case. He's a great player, and it wasn't the end of the world for me, but it really got me thinking.

How do I become 'the guy?' What can I do to get those calls and more of them?


Coincidentally, I had the opportunity to meet and hang with Tim Fagan at a Soundcheck Series event a couple of months later, and I asked him what he thought. Honestly, I was expecting, "Sorry, man. That's really too bad." I couldn't have been more wrong.

I'm paraphrasing here, but it went roughly like this:

Tim: "How many guys are there that are trying to get studio drummer work around here?"

Me: "I dunno, twenty, maybe?"

Tim: "And how many studio engineers and producers are there that hire drummers?"

Me: "At least twenty."

Tim: "And how many of those guys do you know personally?"

Me: *Gulp* "Three or four."

Tim: "Okay, so what are you doing to let the other guys know that you exist and that you're qualified to play in their studios?"

Me: *Double gulp* "I'm not really doing anything. I guess I'm just sitting around waiting for my reputation to generate phone calls."

He had made his point, and went on to tell me that in LA (where he lives and works) there are literally hundreds of studios and drummers, and that the guys who get calls are involved in the music ecosystem, are around a lot, and have reputations for being professional and reliable.

The best thing this discussion with Mr. Fagan did for me was get me to stop feeling sorry for myself. Beyond that, it's gotten me working on ways I can expand my reach and "visibility" in the music ecosystem in my area.

Here's my short list of ideas:

• First and foremost: BE A SOLID PLAYER. Anytime you do have a gig, absolutely nail it. Consider that every time you play, you're "auditioning" for somebody who is hearing you. I've played literally hundreds of gigs for a band that saw me play with another band when I was having a particularly good night. 
• BE A PRO. Develop a reputation for being on time, easygoing, professional and having decent gear. Let your behavior speak for itself, and let it tell people that you know what you're doing, and they're going to be happy they worked with you. I've heard it said that it's 20% how you play, and 80% how you act.
• BE AVAILABLE. I'm not saying you should just sit by the phone every night, but when the right opportunity comes up, make sure you can take it. That being said....
• KNOW THE LANDSCAPE. You should have a pretty good idea of the major players, bands, producers, engineers, etc. so that when you do get a call, you'll know if it's a good opportunity or not. 
• KNOW WHAT YOU WANT. Even if it's a great (or well-paying) gig, it may not be the next step for you. For example, if you want to be a studio player and a touring band calls, you may need to decline. Being on the road for the next nine months won't exactly leave you available for sessions.
• REACH OUT. Be extremely careful and thoughtful in this area, because nothing is worse than the 'music stalker.' But there are appropriate ways to make connections in person and online that can lead to playing and development opportunities. If you're doing all of the stuff above, it won't take long before the right people start to hear your name and your work. Get out and listen to other players and bands, go to workshops or clinics, volunteer (you heard me!) and be willing to make a sacrifice here and there to make a legitimate connection turn into a friendship. More than once I've gained opportunities by "saving" a project for cheap or free. 
• BE PERSISTENT. In a lot of ways, too. Keep development your craft and refining your gear. Keep being involved. Keep playing. Keep up on music and technology trends. Keep yourself in good shape by eating right, sleeping enough and exercising. (Sounds weird, I know, but it's a critical piece.)

At the end of the day, we all want to make music. And we want to do it a lot, with great people and have it be profitable. Most importantly, we want music to be an honest expression of ourselves.

So, what did I leave off my list? Help us all out by leaving a comment below.

As always, happy drumming!

Beyond the Kit: It's more than the music

The following story is true. The names have been changed to protect the innocent.....and the not-so-innocent, for that matter.

Several years ago I was hired to finish a studio album that was already in progress. The original drummer had, uh....moved on, and I was happy to take his place. Actually, I was more than happy. This guy was easily the best drummer that had ever lived in that particular area, and was absolutely the standard for being a true pro player.

In short, I was feeling pretty darn good about myself. You might even say I was feeling cocky. I thought, "If I'm replacing that guy, I must be as good as he is." This was a great feeling.

It lasted about five minutes. Typical, right?

When I showed up on the gig, the producer/engineer and the songwriter sat me down in the control room to listen to the rough mixes of the tracks I'd be playing. I was in the middle of being blown away by the playing of my predecessor when the producer started talking to me.

Producer: "You know you're not nearly as good as him, right?"

Me: "Yeah, I was....wait? What?"

Songwriter: "Yeah, he's amazing. Best drummer I've ever worked with."

Me: (Shocked, trying to keep my composure.) "So....why'd I get hired, then?"

Producer: (Laughing) "Because, man! You're always on time and you never show up drunk!"

Ok, then. There you have it from a career-long pro. Be on time and don't show up drunk. They did go on to reassure me that I'm a good player and they were excited to have me on the project, but it was shocking to know that (apparently) my most marketable features were punctuality and sobriety.

It actually ended up being a great project, a huge learning experience for me, and a whole lot of fun with some great new friends. But it sure was humbling.

Stay sober, my friends.

Gear Up: Drumheads - Snare

There are many factors that contribute to each drummer's sound. A few weeks ago we talked about cymbals, which are a huge piece. Last week we talked about the ol' kick drum.

This week we'll talk about your choice of heads for the snare drum. Let's start with the batter head, or the head that you actually play - the top head.

What thickness options are there?
In terms of the actual construction of the head, there are basically two options - one ply or two. A ply refers to a sheet of plastic, usually mylar or kevlar, that the head is made out of. In general, a single ply head is a thin or medium thickness ply, while two plies are usually two thin. There are also some heads that are a single ply with a collar, or another ply around the edge, sort of splitting the difference between a single and double ply head.

So what's the difference in sound? Single plies tend to be more resonant (they ring longer) and have more overtones. Double ply heads tend to have less resonance (they ring shorter) and have a more focused tone.  Players who prefer one or the other usually swear by them for whatever reason.

But many players will prefer to use heads of different thicknesses in different situations. For me, I adjust the sound more by tuning than by choosing a different head. And if it needs a little bit of dampening, I use Moon Gel by R Tom. Love the stuff.

Why do heads look so different, and does it affect the sound?
Usually the appearance of a head is a function of it being either coated or clear. A coated head has literally been coated with a very thin layer of either textured or smooth white coating. The most common is the textured white, which allows for brush definition and "warms up" the sound. A clear head tends to sound "brighter."

Evans Drumheads has a head that has a similar feel to a coated head, but is called "etched." These heads have literally been blasted to create their texture. They don't have the extra weight and thickness of a coated head, and the texture tends to last longer. These heads are very popular in jazz settings.

You can also get heads with a "control dot" - basically a sticker that adds a ply in the center of the head, about six inches in diameter - on the top or, if it's on the underside of the head, called "reverse dot." Or you can get a head that's "vented," which means it has a row of very tiny holes around the edge of the head. The vents are an attempt to remove some of the highest overtones, or "dry out" the sound.

What about the snare side?
Keeping in mind that the snare side head can have just as much effect on the snare drum's sound, we're only talking about your drum kit snare. We'll have to save all those scintillating conversations about concert, rudimental, field and side drums for another time.

The snare side is usually the thinnest head on your kit, and also the most delicate. Since this head is the activator for your snares, the thicker the head, the tighter it has to be tuned. A lot of your snare sound, in terms of tone, snare sensitivity and "crack" will depend on the whole package - heads, shells, hoops, reinforcement rings, tuning, relative tension between the heads and the alignment of the stars.

Ya Gotta Try!
So what will you use, and why? The end goal should be your sound. What are you trying to achieve? Depending on the style you play, the setting (live or recording) and the volume at which you play, the tone you want, etc, your head choices may differ very widely from other drummers. So don't worry quite so much about what's popular or what they look like. Let the music guide your choices, and play what you like.

Here's my last bit of advice when deciding which heads to use:

Listen, listen, listen.

Remember that what you hear on recordings - and even through live sound systems - doesn't perfectly resemble what you hear with just your ears when you're sitting at the kit. The more you experiment, tune, record and listen, the more you'll get an ear for what you're hearing - and how it sounds to the audience, through the PA, or on playback.

Happy drumming!