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people are watching, and people are listening. It’s a good change. You know, more than ever I’m aware that when we’re doing The Grammys or SNL, there are a lot of people watching! It’s also that I’m always being reminded that I’m actually doing this. I’m here playing drums in Switzerland, or wherever, and this is really happening! This is my job! I’m living my dream. weren’t there before and I’ll get the nod or wink from Paul or the bass player. I’ll be squeezing in this Tony Williams lick that I learned from Greg Bissonette and no one seems to notice. So, that’s cool, but in fact, yesterday we were playing this shuffle, and I did this long straight 8th snare fill over the shuffle and I got the, “Um, I don’t think so” look. [Laughter]. person that you’re playing with, it can be a really comfortable feeling. If you’re glued to it, and you can’t deviate from it, it can feel really bad, but I like to play loose around it. With some songs I can feel the bass player pushing and I can play on top, and when that chorus comes I know that I’ll synch it back for the verse. I know exactly how far to go. BIG GIGS ||| ATOM WILLARD AW: Yeah, that TV soundstage might not be so big, but that camera right there, that goes EVERYWHERE! EH: Right. So I just have to not psych myself out when we’re doing those things. SJ: For me, the biggest change is that I’m playing pretty much exactly what is on the records, because the main thing that I wanted to do was to represent Paul (original drummer). He’s such a great drummer, and he comes up with really great, creative parts. Basically, I learned everything note for note, fills, parts, everything. I watched YouTube to see what he was doing live, and even checked out the (temporary) drummer and what he was doing and kind of just did all my homework. AW: It’s got to be a little intimidating, because the guy is in the band, and watching you the whole time! SJ: Yeah, totally! Especially, since I loved his parts so much, and respect him as a great musician and a really talented guy. Sitting up there and having everyone staring at me, including the guy who invented the parts, is a little bit daunting, but it’s a nice challenge. Our styles are so similar. We’re both hard hitters, and tend to play for the song. AW: Do you get to “go off” a little bit, or is it pretty straight ahead? EH: Well, most of Bruno’s success is based on four chords; he likes to keep it simple. So, he likes it to stay like that, and sometimes I’ll try to interpret the music my own way, whether it’s a fill here, or me trying to chop up some drums there. He’ll put a stop to it and say, “Hey man, just play the song.” Sometimes he just has to remind me and, you know, he’s right. SJ: Sometimes, I’ll do some things that AW: Do either one of you guys play to tracks or clicks? EH: Nope, no tracks, no clicks. In fact, we’re up to a nine piece band with a complete horn section. We used to play shows with just Bruno on guitar, then bass and keys, but we’ve been adding guys, lead guitar, then the horns, and we’ve been a complete live act the whole time. We’ve tried some tracks here or there, but it’s never really worked out. Bruno likes the freedom; he is a showman, and he might just go off on a tangent, so he doesn’t want to stick to a format. AW: So how does that work? Does he mix it up a lot? Does he call out audibles? EH: Yeah, he calls ‘em all the time, especially in a live concert situation, but not on TV. It’s not one of those things where you can just go on auto pilot, because he will call them (changes), and you’re waiting. SJ: Yeah, with MB20 there are no tracks either. This is their first full album in, like, ten years and there are some new sounds and samples, but we are triggering all of those live. We have an auxiliary player, Matt Beck, who can play anything and everything, and he’ll trigger all the loop stuff manually, either a one bar phrase or single sounds. AW: So it has more of a human feel, right? SJ: Yeah, it has a much more natural feel to it. Plus, I’m on a click for 85% of the show. It’s something they wanted to try, and I’ve spent the last few years with Mylie and that whole show is on a click, so I almost get weirder when I don’t have it now. AW: I’m the exact same way. SJ: The thing is this, if you play to the click like it’s another instrument or another AW: Yeah, I feel like it gives me a freedom, like I can push through a bridge or whatever and not get outside of the song’s comfort zone. SJ: I agree. Sometimes, your perceptions are ©2012 Drum Workshop, Inc. All Rights Reserved. 18 EDGE 10 ||| 2012-2013
off or you just got off a 14 hour flight and you’re sleep deprived and the adrenaline kicks in. It really helps in those situations. It’s not like a ball-and-chain to me at all. If you can do that, and be loose with it and feel natural doing it, the click can be a really great tool. AW: Amen, brother! SJ: [Laughter]. AW: Eric, how long have you been in this incarnation of the band? EH: Since 2008, but we’ve been doing this, really, since we were kids. Back in Hawaii, growing up, we had our family show, a 60’s review-type band. That’s where we got our start on stage. Then, we both kind of went our own way. When we turned 18, we did our own thing for a few years and I ended up leaving a really good gig in Hawaii to come to L.A. AW: So, you’re pretty familiar with each other musically. EH: Yeah, we’ve been playing together in so many different projects, even Top 40 acts at pubs. I really know him and what he’s going to do. I feel when he wants to transition to the B-Section. I already know, either by a riff he does or what his voice is doing. So, I feel that kid, and it’s our history that makes it easy. AW: Have there been any “getting to know you” moments with the band? Also, any weird musical things, song starts or endings? EH: Yeah, man. Even though we’re all pretty mellow, easy going dudes, there’s still a “feel-out” process when someone new comes into the band. You know, like is this person cool, is he level-headed and gonna gel with the band and the music? Are they here for the right reasons? End of CONCEPT SERIES PRESENTS THE ALL-NEW, CUSTOM SHOP-INSPIRED JAZ SAWYER | INDIE MIKA FINEO | INDIE COBUS POTGIETER | INDIE JORDAN NUANEZ | LMFAO JAMAL MOORE | CEE-LO Boutique-Inspired Drums for Every Drummer. What a Concept. Today’s young, in-demand players are choosing Concept Series drums to make their musical statement. Big tours, big artists, big dreams. Shouldn’t every drummer demand pro features and pro quality at a reasonable price? We think so. Check out a Maple or Birch Concept kit at an authorized PDP dealer near you, or online at www.dwdrums.com. EDGE 10 ||| DWDRUMS.COM 19
Page 1 and 2: S ISSUE 10 ||| 2012-2013 ||| DWDRUM
Page 3 and 4: S S Contents Editor’s Notes: The
Page 5 and 6: DW Airlift Hardware: Revolutionize
Page 7 and 8: PDP CM5 Pearl Black with DW 3000 Se
Page 9 and 10: PHOTO BY ROB SHANAHAN As much as th
Page 11 and 12: DAVE GROHL ENOUGH SAID.
Page 13 and 14: Bogota, Colombia 20 JUNE 2012 - SHO
Page 15 and 16: James Wormworth Photo Credit: Megha
Page 17 and 18: airs Monday through Thursday, with
Page 19: Big Gigs by Atom Willard Change. A
Page 23 and 24: 5000SERIES WWW.DWDRUMS.COM Chad Wac
Page 25 and 26: GEARING UP for the eil peart writes
Page 27 and 28: minutes, somewhere in the middle of
Page 29 and 30: the-job training for you. Did you e
Page 31 and 32: So, you probably get the idea. Cont
Page 33 and 34: you are creating, not the licks you
Page 35 and 36: with the band, Parmalee. Their curr
Page 37 and 38: WE HOPE YOU’D FOLLOW US ANYWHERE.
Page 39 and 40: IN THE Studio JR Robinson WITH by S
Page 41 and 42: 9 3 6 2 5 4 10 technique. Once the
Page 43 and 44: JR revolutionized his bass drum. Jo
Page 45 and 46: NEW ARTISTS ENOUGH SAID. EDGE 10 ||
Page 47 and 48: I got deeper into the material, the
Page 49 and 50: RM: This could potentially be a via
Page 51 and 52: EDGE 10 ||| DWDRUMS.COM 49
Page 53 and 54: Satnam Ramgotra may not be a name y
Page 55 and 56: Sometimes I just don’t have the t
Page 57 and 58: 9000SERIES WWW.DWDRUMS.COM Carl All
Page 59 and 60: is just right for shell making. It
Page 61 and 62: etween the runs. It’s equal; it
Page 63 and 64: Trends Deep Snare Drums by Dave Eli
Page 65 and 66: 9000 HEAVY DUTY • 7000 SINGLE-BRA

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