Pop Drumming 101

I know I've posted before about some of the misconceptions surrounding being a successful rock/pop drummer, but I had another experience this week that I thought I'd add to the canon of scripture for aspiring studio drum-smackers. 

While talking with this guy about studio drummers and why they may or may not be called for a certain project, we started talking about the difference between time-feel and "chops." If you'll allow my paraphrasing, the conversation went something like this.

RT: "Come on. When's the last time you listened to a pop tune and thought, hey, wait - that drum fill wasn't complicated enough?"

KS: "Fair point."

End of conversation.

Now, I know I don't have to draw too much of a conclusion here, but I will, anyway! 

I'm certainly not saying you shouldn't strive for as much technical facility as you can get, but there are three basic things (and two of them are almost the same thing) a drummer must do to get consistent studio work.

1. Play nice with the click.
2. Have a great, "feel." (In other words, play nice with the click.)
3. Sound like a drummer. 

Remember, as a musician, you're a servant to the music. You should always play just what the track/project/piece needs, and nothing more.

Happy drumming!

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.

Want to be a session player?

This is a blog I read pretty regularly, and it is always full of good advice and inside tips for aspiring musicians. Find it here.

Over the years I have had the opportunity to play on many projects as a session musician. I've played everything from a single suspended cymbal roll (not kidding!) to all of the drum kit and percussion parts for the entire album.

Probably my biggest piece of advice is to get comfortable with a very wide selection of styles. Know how to sound like you were born country, or rock, rap, hip hop, etc.

Oh, and remember this post?  If you're going to play in the studio, get real comfy with chart reading and playing with a click.

Happy drumming!

Utah Wind Symphony Concert

Exciting news!

The Utah Wind Symphony is beginning its second season with a concert of epic proportions. It has been a privilege for me to be a part of this group, and I look forward to playing with them for a long time.

Please join us on November 2 if you can!

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.

Buying a First Drum Set - Part 1

The Christmas season is just around the corner, so it's time to talk about getting that first drum set. Before you go on, though, read this post I wrote a while ago.

Buying a drum set is not complicated, but it's worth considering a few things before you drop a bunch of cash. Here are a handful of considerations to get started:

SIZE
Think about the size of the drums and the size of the drummer or drummer to be. "One size fits all" has been the motto of the entry-level drum world for a long time, and it simply isn't true. For example, I'm 6'1" tall, and a standard size drumset (22" bass drum, 12, 13 and 16 inch toms) is pretty hard for me to set up in a comfortable, ergonomically friendly way because it's just too big.

Check out this post for more info about drum size and player size.

Especially if the player is younger or smaller, make sure to get drums that fit. While the sound of the drums will be nominally affected by their size, today's drum makers are making great sounding drums in a variety of sizes.

Imagine a pee-wee football player wearing NFL sized pads, helmet and shoes. The equipment won't protect them, and may actually get them hurt if they go out to play in it.

Developing good technique and enjoying drumming is a lot easier when the drums are set up right and you can get to everything in a natural, easy way.

BUY USED
Consider buying used. Purchasing a new kit can be expensive, but buying used - especially from an individual - is an entirely different story. Once I was able to buy a "bulk lot" of drums and equipment from somebody who was moving and just wanted to get a little quick cash. I paid $225, and as I inventoried and researched the items, what I had purchased was worth well over $1,000. Score!

Online sites such as ksl.com and craigslist.com are great places to shop. I'm a little obsessive about it, but I skim online ads a few times per week, and there's always at least one good deal on a drum kit.

Other sites, like eBay, allow you to list items that are within a certain geographic area, so that you can actually go to pick up the kit (and examine it) after you purchase it. Guitar Center lists used gear on their website, and you can purchase it online and have it shipped to your local store or to your home.

In Part 2 we'll discuss how to get the best value for your dollars, and how to decide what's worth buying.