Gear Up: Custom Kick Head Art

Growing up watching drummers, I've developed a subconscious urge to always know which brand of drums a certain player is using. Where's the first place you look? Of course, it's the front head on the kick drum. My first kit said "CB 700" in bold letters across the front, and I absolutely couldn't wait until it said, "DW" or "Yamaha."

By and large, most drummers are using simple, single-logo heads, or going with no logos at all. But these days, that front head - the biggest visible flat space on most kits - has become a pretty valuable piece of real estate,  and there is a growing trend to use that big ol' circle to advertise.

What do drummers advertise, you ask? Well, mostly it's still the brands they play and/or endorse, or the band they're in, or themselves. And, increasingly, they don't just tell you their name. You'll also see their web address, or even a QR code. Crazy, right?

Maybe not. Given the prevalence of smart phones, a picture of the band or drummer becomes a serious serving of free advertising. We've all seen the pics that get posted on Facebook or Twitter that read, "At the show. R U jealous?" Suddenly, all 2,364 "Friends" and 5,741 "Followers" just got an ad that you, your band, and/or your sponsors didn't pay for. AWESOME.

What do you think? Is it worth all the hype and money? For most of us, it's probably not a good investment, given design and manufacturing cost. That being said, I'm working on a few designs right now for a head that will go on my new kit.

Why do it? For me, there are a few reasons. First, I want my kit to look unique. Aside from set up, factory finish and cymbals, what sets a kit apart? The front of your kick drum can give you an immediately recognizable logo, just like Coca-Cola or Apple.

Second, I'm just like every other business, and I want to grow my client list. This includes gigs, students, etc., and if my web address, QR or other contact info are sitting in front of my potential clients for a two hour set, chances are good that somebody will pull up my site on their phone while they're listening to me play. 


I'll only say this one more time (for now, at least): AWESOME.

Alright, so you've decided to look into it. Where do you get one? There are many good places to start, but before I highlight a few of them, try a Google search on, "custom bass drum heads." You'll get a ton of good info.

Here's the company I'm using, Woodshed Percussion. Check out their client gallery, and you'll know why I made them my choice. There's also Evans' "Inked By Evans," tool, which is pretty cool and unique among retailers.

And, lastly, what can you expect to pay? On the Evans site, where you do your own design work, heads start at around $80, and at a custom place like Woodshed, my project will be around $150. Honestly, that price range is ridiculously cheap given the potential benefits.

The bottom line - do it or don't do it - is ultimately up to you. For me, I look forward to having my kits be truly mine, in look and feel. And I hope to continue to build a quality brand around all of my music and drumming activities. Hope that's not too mercenary for you.

Happy branding!

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!

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!