Gear Up: Must-have metronome features

We all know we should be practicing with a metronome - it's a no-brainer. And in today's world, there are more metronome variations available than ever before. Both in hardware form and in apps and software, the ol' timekeeper is pretty easy to get.

But how do you know if you're getting a good one? Here are three essential features to look for when getting a metronome.

1. Single digit tempo adjustment. Beyond the fact that it's just annoying to not be able to get the exact tempo that you need, single digit adjustment allows you to push your tempo thresholds in the smallest possible increment. And that means you can trick your brain into thinking that things are just a little bit easier. 
2. Tap tempo. Personally, I didn't know what I was missing until I got a 'nome with this feature. Now I can't live without it.* The ability to approximate a tempo, or scale the difficulty of the exercise to the situation gets infinitely easier if you can just tap it in and get it done.
3. Audio output jacks. For many reasons, you'll want the option of isolating who can hear the click - for practice sessions, live performance and studio work.

Obviously there are many more things a metronome can do, and you may want those features. (Let us know what features you think are critical in the comments below.) But, for the sake of basic functionality, you're not getting your money's worth without these three features. 

Happy drumming!

For a more detailed review of some specific models, check out this page.

*I'm a complete tempo geek. Using the tap tempo feature, I have catalogued almost every song in my database by its tempo, style, time signature and style. This gives me the ability to play any exercise or excerpt that I'm working on either with the click or with a track. Honestly, would you rather warm up with a robotic beep or the Foo Fighters? I thought so.

Gear Up: Buy used, but don't get burned

It's a fact of life that, if you're a musician, there's a never ending list of instruments, accessories, equipment and gear that you need to buy. While many of your purchases need to be new, you can save a significant amount of money if you can find good, well-maintained, used gear.

That being said, some of the worst purchases I've ever made were, "Too good to pass up." If it's cheap, there may be a reason, and you should know it before you plunk down the cash.

Here are five questions I wish I'd asked before I bought every piece of used gear.

1. How old is it? With a little help from Google, this can be a game changer. You may stumble across a rarity or find a certain model year or era that had serious problems. This can also help you determine where the item was originally manufactured, or if the company was bought/sold before or after the date. All good information if you're trying to get parts or compatible items.
2. How has it been stored and transported? You'll probably have a few follow up questions here, but this will give you an idea as to how the current owner cares for gear, and what the likelihood for significant wear and tear might be.
3. What modifications and repairs has it had? Some people just can't leave it alone (which can be a good thing), but you definitely want to know what's been altered, replaced or repaired. This question can also reveal an accident or weather incident.
4. Why are you selling it? Again, keep asking this question until you get a few answers. "I just need the money," may be true, but that's usually just the default response. Turn the question around and when they tell you how great it is, you can say, "It does seem like a great deal. Why aren't you keeping it?" Get to the bottom line.
5. Is that the best price you can give me? I'm not about taking advantage of people or being dishonest in any way, but that doesn't mean you can't negotiate the price. Also, as I've said before, see if you have anything the seller may want to trade for. At any rate, get the very best price you can, and don't pay it if it doesn't make sense for your needs and budget.

Again, there are more questions you could ask - feel free to suggest some in the comments - but these should give you a fair view of what you're buying.

And I know that gear is not cars (for the most part, at least!) but there are two more quick things I like to keep in mind. 

"One man's trash is another man's treasure." As I've said before, you can find many a great deal buying from someone who simply doesn't have a use for the item or needs quick cash, but...

"Don't buy someone else's problems." As is often the case with cars, there may be a very good reason that the item is such a good deal, and you may find it out the first time you have to use the thing on stage or in the studio.

Happy shopping!

How do I know I'm making progress?

I used to give my high school students a hard time when they would say somebody was a "good" musician, or a certain band was, "awesome." I'd ask how they determined if a certain musician or band was "good," and I'd get blank stares.

Honestly, most of us know when a player or group is "good," but we do we have concrete reasons to think so? Closer to home, how do we know when we are getting good ourselves?

Much has been written and discussed on this topic, but I'm going to try to boil it down to a few key indicators that you can look to when assessing your own playing and musicianship. Keep in mind that these are only a few of the ways you can tell if you're "getting better."

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Keep excellent time.

This means that everything you play - every groove, fill, chop, lick or kick - is in time with the metronome. You are able to play freely at the same time that you are a dependable time-keeper and can "groove" with the rest of the band or group.

Play within the texture.
Another way to say this is that you should almost be "invisible." Great musicians are great because they contribute to - and fit within - the sound of the band. If you ever stick out, it's either because you're the soloist, or you're playing something that doesn't fit.

Check out a recent recording (ideally a video) of yourself playing with a band. Do you do anything that detracts from the music or performance?


Develop consistent technique.
Do you have a good sound? Are your hands even? Are you comfortable playing the notes and music that you need to play to make good music? This isn't the most immediately gratifying part of being a musician, but you need to spend enough time practicing that performances are easy.

Make fewer mistakes. 
Not that you shouldn't push yourself and play past your boundaries from time to time, but you should be continually mastering the instrument, pulse, fills, grooves and music to the point that you can start to tell that you're playing more and more mistake-free.

Sound like a drummer.
Yes, eventually you should have your own sound, and that sound should be unique. But even then you should sound like you know what you're doing on in the instrument, within the style, and in any given moment. Again, check out a recording of yourself, and note the things you play that you like and that you don't like. You're a musician, you're familiar with drummers and you have ears.

We're all still learning to play, and as the old saying goes, "The good ones borrow, but the great ones steal." It is okay to play what your favorite drummers play, as long as you're using it as a tool to improve, and not a crutch to hide your weaknesses.

Play what you want to play.
Here's another old cliche: "Most people play whatever they can, but some play whatever they want."


I notice that as I practice and perform more - little by little - I'm able to be more expressive on the instrument. I get closer to executing what I'm hearing in my head. In other words, I can "say" what I want with the drums and music, instead of being limited by "vocabulary."

Imagine someone who is learning English as a second language. At first, they can only say a few things, and only one way. But as they gain fluency, they can not only say much more, but in different ways. Think of how many different choices you have when saying something as simple as a greeting, and you'll get the idea.

It's no different with music. This is why - without having to invent a new "language" - every person, every musician is different.



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Obviously, there are myriad ways to determine whether you're making progress as a musician. I offer these as a starting point. As you set your own goals and benchmarks, you'll begin to see which tactics produce results and which are a waste of time.

Share your best ideas below.

As always, happy drumming!

Do pro drummers have a dress code?

"How do you maintain your own personal style at the same time that you look and act professionally as a drummer?" 


This question was posed to me by one of my students, a young, up-and-coming player with a great future. So I thought I'd address it and get feedback from all you pros and fans out there.

Of course, the answer is, "It depends." What does it depend on? Among other factors, these can determine how you should dress.

• Size of the group. Are you a soloist? Dress any way you want. Are you in a 75 piece concert orchestra? Dress like everybody else, unless you're the soloist. If you're in a five-piece band, it's worth at least coordinating. And you may think your act is either too small or too unique to work with an image consultant or wardrobe stylist, but looking like a bigger deal than you are might just help you become a bigger deal than you are.
• Style of music. For some reason, I just can't see a death metal band performing in three piece suits and bow ties. Likewise, if you're performing Beethoven sonatas, the shredded jeans and studded mohawk may not add to your overall performance. Do a little research, and develop a good understanding of what some other groups in your genre typically wear, especially those that appeal to you and your natural audience. You can still be unique, but you want your image - your music and your look - to be consistent. 
• Type of event. Even if you're a high-energy act, there's a big difference between playing a huge outdoor festival stage and performing at a wedding in a relatively small, elegant setting. It goes without saying, but you should dress to fit your role in the event and to enhance the evening. Much like not wearing contrasting colors, you want your image and look to feel very natural and appropriate for the setting. 
• Setting or stage. Similar to the previous point, you should be sensitive to what your audience will perceive from the way you dress. If you're going to be on TV, your dress and coloring will be very different than if you're on a huge stage with thousands of people in the audience. And, again, get some advice and do a little research. 
• The band, or your fellow performers. I'm sure you get the point already, but a group - just like an album cover, concert poster, t-shirt or website - needs to look like their image is intentional. That goes for individual performers, too.

Some "standard" ways to dress.

• Concert black. Think symphony. For men, this is usually a basic tuxedo, and for women it's a black concert dress or pantsuit. Some good examples for ladies here. 
• "Gig" black. You have a little more flexibility here, but gig black is usually just that - black clothes. For most of the groups I play with, black slacks or jeans with a black button-down shirt or sweater will fit the bill. You can check out a very classy example of this here. 
• "Rock star." Actually, it's "insert-the-style-you're-playing" star. It's already been said, but the key here is to coordinate with your mates so that you're all sending the same type of message about who you are, what you play, and the message you want to send. 

Finally, let me leave you with another little bit of wisdom that has helped me since my high school days: "Your audience will hear you with their eyes before they hear you with their ears." 

True that.

The Gig Log: Kristen Nelson

In an earlier post, I talked about ways to get more gigs. Well, I decided to take my own medicine and try reaching out to a few drummers in my area, and I was rewarded with a gig. I was asked to fill in for an amazing player, and I was very grateful for the call.

This was the first opener.

This particular gig I was backing up a very talented singer-songwriter by the name of Kristen Nelson. We had one quick rehearsal, then a forty minute set at Muse Music as an album release show. Not gonna lie, it was a blast.

The openers were two fantastic solo singers and a local band that took me back to my high school days. They were incredibly talented, the energy was super high, and the songs were great - not to mention that they were great performers. It had been a very, very long time since I played a (roughly) forty seat venue, and it was a lot of fun.

The other singer songwriter.

Our set was last - Kristen's CD release was the headline show - and the audience was very friendly and enthusiastic. I wish there were a less geeky way to describe it, but it was a great audience, great music, talented bandmates, all in a small, intimate setting. What could be better?

Kit-wise, I took the ol' DWs, but only ended up using kick and snare, with hats and a ride with a sizzler (the metal kind, not the steakhouse kind). I also played brushes and rods, with only one tune using actual sticks. In that small venue, it was nice to be able to hit as hard as I wanted without worrying about overblowing the band or the house.

My thanks to Kristen and the rest of the band. It was a great gig, and I look forward to playing with them again should the opportunity arise.

My apologies for the fuzzy pictures. iPhone in a dark place!

Gear Up: Go green with an iPad

Not too long ago, I was on a gig with a band when the sound board burned out (no flames, but some awesome smoke). After doing some research, they decided to replace the board with a new-tech board completely controlled by an iPad. There are several versions of this board, but this is the one they were looking at.

One of the most attractive features (for me, at least) is that I can control my own monitor mix from my own iPad wirelessly. Also, up until this point, the band was using (actual paper-and-ink) music notebooks, especially for longer shows that required switching up the set list on the fly.

So, announcing the upgrade of the soundboard and the end of the notebooks*, the band sent out an email requesting that all of the sidemen (yup, that's me) get an iPad by a certain date. I went shopping, and ultimately settled on a second hand, "unused," still-in-the-wrapper iPad 2 with 32GB of storage. It was expensive (yikes!), but I felt like it was a good deal.

But....I'm not gonna lie. I was pretty skeptical about the usefulness of the iPad beyond the obvious ones I've already mentioned. That being said, here's my short list of uses for the iPad that have sort of changed my world.

1. Truth be told, I haven't used the iPad with the new mixer yet, but if it's half as cool as the marketing videos, "'Nuff said."
2. I downloaded an app that allows me to store, edit and display the charts (usually spreadsheet format like Excel or Numbers) we use to play songs, so I have literally hundreds of songs at my fingertips at every gig, even without internet access.
3. When I do have internet access, I can pull up a chart for any song that is requested at a gig. In fact, at a recent gig we were able to respectably recreate at least a half dozen songs we'd never rehearsed. That goes a long way with making an audience or client very happy.
4. Continuing the "green" theme, an iPad is much easier to use than a smart phone or laptop to take quick notes, check a calendar, or send a message - with no paper, pen, pencil, chisel or stone slate.
5. Smart phones can do this, but iPads are a little better - taking photos or quick videos, recording sound or voice notes or sending emails, texts, HeyTell messages, etc.
6. Apps are awesome. They're even awesomer (I know it's not a word, but I can't resist using it) on a bigger screen with more capabilities. Most apps for iPhone have more features and usability on iPad.

I'm not saying you can't live without an iPad, but I am saying that they are far more useful than I had anticipated. I've even found myself taking it to meetings instead of my laptop. It's easier to carry, the battery lasts longer, and it's got all the features (for me, at least) needed to carry about my daily tasks.

Phew! It feels good to get that off my chest. 

*Honestly, this was a no-brainer. Every time we added a song to the setlist (over 200 at this point), it required a bunch of printing, collating, updating the notebook - blah, blah, blah. The iPad allows for quick, easy and "green" updating of basically everything we need for a gig.

The Gig Log: UWS and Maslanka's "Symphony No. 9"

Half of the rehearsal set up.

As a member of the Utah Wind Symphony percussion section, I am privileged to not only play with a bunch of fabulous musicians and a great conductor, but also to play music that is accessible to a very few groups. In our finale concert of the 2011-12 season, we performed David Maslanka's "Symphony No. 9."

We were joined in rehearsals by Stephen Steele, who commissioned the work, and David Maslanka himself. It was a demanding, challenging and rewarding experience. Among the rewards was a glimpse into the mind of one of the greatest composers of our time, and the beginnings of an understanding of this masterful work of art.

Truth be told, I wasn't sure I was going to enjoy the piece after our sight-reading rehearsal. I just didn't "get it." Even after listening to the recording, studying the score and practicing my part, it took some time to gain even a basic appreciation for the music.

But things started to change pretty drastically when Maslanka joined our rehearsals. He was able to provide a lot of background information and insight into the construction of the piece. And even though our conductor, Scott Hagen, is a a master in his own right, nothing compares to the vision and direction of the composer. His direction and corrections turned the piece into something completely new - more powerful, incisive and direct - experience for the entire ensemble.

The other half.

If you'll allow a brief comparison, I like to think music is a lot like people. Sometimes you like people immediately. Others require more time and investment of ourselves. Sometimes, this type of friendship provides more depth and value than those that are "easy." So it was with "Symphony No. 9." By the time we finished the performance and left the stage, I was exhausted, but I knew I had a new "friend" for life.

To the UWS, David Maslanka, Scott Hagen, Stephen Steele, my section mates and many others, I thank you.


Can't wait for the next one!