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stevie nicks’ jimmy paxson, up close with danny seraphine & studio master jr robinson<br />

m a g a z i n e<br />

The Official PublicaTiOn Of <strong>Drum</strong> WOrkshOP • 8.0<br />

in<br />

abe laboriel jr.<br />

through<br />

theoutdoor<br />

how he landed all the inside gigs<br />

plus dw artists hit europe, Q&a with the drummers of nashville, dw’s latest gear and more!


Introducing the DW Collector’s Series Super Solid, a completely new look at solid shell drums. Why is Super Solid so dramatically different? The<br />

answer is a groundbreaking Molecular Compression Process that produces the most dense solid maple shell ever created. And this is truly a one-piece shell, no glued<br />

reinforcement hoops or plies. We endured years of research and development and expense to do only one thing, bring you our best sounding solid shell drum ever.<br />

©2009 <strong>Drum</strong> <strong>Workshop</strong>, Inc. All Rights Reserved. nowHEARthis<br />

EDGE 8.0<br />

12<br />

06<br />

ARTIST FEATURES<br />

12 <strong>Drum</strong>mers of Nashville<br />

featuring billy mason, travis mcnabb and cactus moser<br />

16 Abe Laboriel Jr<br />

a legacy endured. family, schooling & the beginning of a legend.<br />

EDGE Magazine is a publication of <strong>Drum</strong> <strong>Workshop</strong>, Inc. ©2009 drum workshop, inc. all rights reserved. #prcaedge-v8.0 for promotional use only. NOT FOR SALE.<br />

24<br />

IN EVERY ISSUE<br />

06 time machine: jr robinson<br />

10 up close: danny seraphine<br />

11 road tips with drum tech - robbo<br />

22 road stories: dw artists hit europe<br />

24 Artist Feature: Jimmy Paxson<br />

26 DW drum clinic with denny seiwell<br />

28 new artists<br />

PRODUCT NEWS<br />

02 exo-x project<br />

04 pdp update<br />

08 8000 series pedals & hardware<br />

14 ssc technology<br />

20 3drumsticks<br />

16<br />

22


eco-x project<br />

<strong>Drum</strong>mer-TesTeD, <strong>Drum</strong>mer-aPPrOveD.<br />

By Billy Ward<br />

Here’s my<br />

review of the<br />

Eco-X DW<br />

drum kit. I<br />

have the first<br />

“Eco-X kit”<br />

DW ever<br />

constructed.<br />

It is the very<br />

Billy Ward<br />

first prototype<br />

that John<br />

Good made<br />

and, like most all of his experiments, it<br />

went directly into the showcase room at<br />

the factory to be played with ensuing<br />

opinions to be gathered. John Good and<br />

I discussed this kit by telephone before it<br />

was ever made. JG desperately wanted<br />

to make a kit that was more affordable,<br />

yet with absolutely no sacrifices in<br />

terms of quality and tone. When he<br />

realized it could also be “green” (better<br />

for our environment) his enthusiasm<br />

went ballistic!<br />

The Eco-X experiment began with<br />

my snare drum and its finish is also<br />

experimental - “blue jean” stain and<br />

it <strong>really</strong> looks cool - like blue jeans! So<br />

they made the bass drum and toms in<br />

the same blue jean finish. The only<br />

problem was the toms and bass drum<br />

came out in PURPLE, not blue! End<br />

of the Blue jean color experiment!<br />

Since receiving this kit, I’ve seen the<br />

two beautiful natural finishes that<br />

the production models come in. I’m<br />

partially jealous that I don’t have one of<br />

those beautiful factory finishes, but my<br />

little “ugly ducklings” sound so <strong>good</strong>, I<br />

can’t let them go!<br />

Out of the box, the bass drum is sick.<br />

Un-freaking real-super bottom. JG<br />

says they ALL have this quality and<br />

he doesn’t <strong>really</strong> know why. Well, it is<br />

the best 18x22” bass drum I have ever<br />

heard. I normally abhor the DW pillow,<br />

but as is - this drum is perfect. I have<br />

not touched the heads or the tuning<br />

since it came out of the box. Normally<br />

I immediately put my Evans heads on<br />

my new drums, and someday I will as<br />

this batter head will inevitably get tired,<br />

but why try to improve on “perfect”? I<br />

have to try to remember to bother John<br />

about making some Eco-X woofers!<br />

Next out of my box-o-new-toys were the<br />

toms. They came out of the box tuned<br />

<strong>really</strong> low. Like “Come Together” by<br />

the Beatles <strong>really</strong> low. There’s a nice<br />

“pop” on the stick sound – nice attack.<br />

I played them as is for a while and then<br />

I put the Evans heads on and the toms<br />

were very comfy way down low (my<br />

guess is it’s the X-shell causing this).<br />

The Eco-X 12x14 easily tunes lower than<br />

my Jazz Series 16x16 that I played at the<br />

MD Fest 08!<br />

After <strong>feel</strong>ing like Ringo in the 1970s for<br />

an hour or so, I did my thing and started<br />

randomly moving the pitches around.<br />

I’ve never had toms that are so easy to<br />

tune to where you get a <strong>good</strong> sound no<br />

matter what. Helen Keller could tune<br />

<strong>these</strong> things and I’m not kidding! If<br />

you see a kit in a drum shop, tune the<br />

bottom head evenly – simply “ballpark”<br />

it. There’s no need to be fussy. Then<br />

tune the top head anywhere. Get crazy!<br />

Check out what happens with raising or<br />

lowering just one or two lugs! It’s <strong>really</strong><br />

incredible! I had well-known NYC<br />

drum tech (credits include S. Gadd and<br />

JG desperately<br />

wanted to make a kit<br />

that was more<br />

affordable, yet with<br />

absolutely no<br />

sacrifices in terms of<br />

quality and tone.<br />

When he realized it<br />

could also be<br />

“green” (better for<br />

our environment)<br />

his enthusiasm went<br />

ballistic!<br />

S. Jordan) Artie Smith witnessing this<br />

at my studio (he couldn’t sit back and<br />

listen. He grabbed a drum key and went<br />

at it!). The tuning range on <strong>these</strong> toms<br />

is astounding. Also, even though they<br />

are x-shell (and therefore you would<br />

think they want to be low) <strong>these</strong> guys<br />

LIKE being tuned <strong>really</strong> high, perhaps<br />

not Peter Erskine high (go as high<br />

as possible and then go higher), but<br />

high. This is the first time I have ever<br />

fantasized about taking a drum key and<br />

lowering the floor tom four steps with<br />

the turn of one or two lugs in between<br />

SONGS on a stage!<br />

The snare drum took a while for me to<br />

enjoy and accept, not because it wasn’t<br />

<strong>good</strong>, because it was so flexible. Just<br />

like the toms, this snare drum will do<br />

anything you ask of it. Of course, it<br />

<strong>feel</strong>s as perfect in terms of edges and<br />

hardware as the other Eco-Xs, with all<br />

the hardware being the same as on the<br />

other DW kits. I spent quite some time<br />

trying to get this snare to do something<br />

radical by experimenting with different<br />

heads, die cast hoops, crazy-different<br />

Purecussion snares and what-not, but<br />

the snare drum always complied and<br />

sounded musical. Again, the tuning<br />

range is sick. Right now I have mine<br />

tuned up super high, like a side snare<br />

or reggae snare. It will do anything you<br />

ask it to do.<br />

OK, they are flexible, so what do they<br />

sound like? I think there might have<br />

been some truth to those who once said<br />

there was a “DW sound”, but now we<br />

have many very <strong>good</strong> brands of drum<br />

heads and many drummers look for<br />

more musical options in a drum than<br />

just “loud and proud.” Anyone with<br />

half an ear can distinguish the sound<br />

of DW’s Jazz Series from the various<br />

Collector’s Series, and now with the<br />

bamboo/birch combination of the<br />

Eco-X drums, there is clearly another<br />

sound available. These Eco-Xs offer<br />

great tuning flexibility. The bass drum<br />

is pure gold. Period. The snare is so<br />

flexible, I intend to take it into any<br />

unknown rooms (such as at a night club<br />

or studio that I’ve never played before)<br />

because it will adapt to anything. The<br />

toms sound unique. While, typically for<br />

DW, they get along with each other very<br />

well, they offer uniqueness in tone and<br />

sustain. They <strong>really</strong> speak quickly and<br />

sustain incredibly. In fact, the 12X14<br />

floor tom sustained so long I ended up<br />

leaving my stick bag slung over the side<br />

to cut the sustain a bit, which is nice,<br />

because I enjoy having such easy access<br />

to my stick bag. There is a bit less honk<br />

or lower midrange frequencies in <strong>these</strong><br />

toms, which along with the incredible<br />

sustain makes <strong>these</strong> drums my first<br />

choice if I ever get a gig with Elton John,<br />

Bob Seger or Tom Petty. I’ve already<br />

purchased gig bags for <strong>these</strong> drums<br />

and intend to use them on local gigs<br />

here in New York City. The fact that<br />

<strong>these</strong> drums cost less than the rest of<br />

DWs lineup should be considered John<br />

Good’s present to each of us. After you<br />

get yours and fall in love, send him a<br />

thank you note. I did.<br />

[eDGe 8.0] 3


travis smith_trivium<br />

eric moore_suicidal tendencies<br />

paul bostaph_testament<br />

jon wilkes_red jumpsuit apparatus<br />

PdP’S X7 SerieS goeS maPle<br />

nO OTher value-PriceD 7-Piece kiT cOmes clOse.<br />

Pacific <strong>Drum</strong>s and Percussion has announced a major upgrade to their best-selling<br />

7-piece kits. Shells are now made entirely of maple with absolutely no change in<br />

price. That means drummers can now get pro features such as True Pitch Tuning,<br />

STM (Suspension Tom Mounts), Remo heads and more, combined with a sonically<br />

superior all-maple shell. Offered in a variety of stage-stealing lacquer and<br />

wrapped finishes, X7 kits come in F.A.S.T. sized 7x8, 8x10, 9x12, 12x14 and 14x16”<br />

toms with a matching 5x14 snare drum and 18x22” bass drum. See the upgraded<br />

X7 series now at participating PDP dealers or online a www.pacificdrums.com.<br />

introducing the<br />

all-neW PdP m5 SerieS<br />

an all-maPle, all-lacquer, feature-Packed<br />

5-Piece kiT DesiGneD fOr every sTyle Of music.<br />

Nothing sounds quite like maple. It offers drummers attack,<br />

resonance, warmth and plenty of projection and volume. That’s<br />

why many of the most sought after professional players choose<br />

maple when it comes to touring and recording. It just sounds <strong>good</strong>.<br />

Pacific <strong>Drum</strong>s and Percussion’s David Leon explains, “Traditionally,<br />

maple kits are associated with a high-end price. <strong>Drum</strong>mers would<br />

have to shell out big bucks to get the benefits of boutique-quality<br />

all-maple shells. From the beginning, our mission with PDP was to<br />

offer drummers an exceptional value, by bringing quality drum kits<br />

to the masses. Why should drummers with smaller budgets have to<br />

suffer by playing junky kits that were designed by massive overseas<br />

factories? We <strong>feel</strong> like the new M5 kit is the perfect balance of quality<br />

and value.”<br />

M5 sets come in five stunning burst and fade lacquer<br />

finishes in F.A.S.T. sized 8x10, 9x12, 12x14 toms,<br />

matching 5x14” snare and 18x22” bass drum. 7x8<br />

and 14x16” toms are sold separately and can<br />

be added to expand the 5-piece set up.<br />

Available at PDP retailers today or<br />

check them out on the web at<br />

www.pacificdrums.com.<br />

Platinum SerieS SoundS<br />

as GOOD as iT lOOks.<br />

Launched just two short years ago, <strong>Drum</strong> <strong>Workshop</strong>’s PDP Platinum Series already has a serious list of notable<br />

players taking them PDP’s all-maple Platinum Series features a sleek new patented dual oval tube lug design<br />

with STM (Suspension Tom Mount) standard. It’s also got killer custom-inspired finishes, but what many<br />

drummers many not know is just how <strong>good</strong> they sound. The secret is a straight 8-ply maple shell with a sharp<br />

45 degree Pro Cut bearing edge. The warmth and projection of maple provides a big round tone and a lack<br />

of reinforcement hoops means Platinum drums are big and open. A perfect combination for all hard hitting<br />

players, from Gospel, Hip Hop, R&B to Hard Rock, Punk, Metal and beyond. See PDP’s high-end Platinum<br />

Series drums at your favorite drum shop or online at www.pacificdrums.com.<br />

[eDGe 8.0] 5


TIME MACHINE<br />

John Jr roBinSon:<br />

a career retroSPective<br />

By rich mangicaro<br />

I’ve known John JR Robinson for a while now. Four<br />

years ago, I had the distinct honor of signing him<br />

to his Paiste endorsement agreement. Ironically,<br />

this was one of the last major achievements that<br />

I enjoyed while working with the Swiss cymbal<br />

company, because shortly after that, I moved on<br />

from my career there to pursue my playing and<br />

writing full-time. Now, after all <strong>these</strong> years and<br />

most ironically, I’m once again experiencing an<br />

honor when DW asked me to interview John for<br />

his article in Edge. John and I have become <strong>good</strong><br />

friends over the years and while we’re colleagues<br />

in this business, I never loose sight of who this<br />

man is…and I’m continually humbled.<br />

Very few musicians have achieved what John has.<br />

Since he began his recording career back in the<br />

late 70’s, John Robinson has played on more hit<br />

recordings than just about anyone in the history<br />

of popular music. Just naming a few of them –<br />

“Rock With You”, “We Are The World”, “All<br />

Night Long”, “Back In The High Life”, “Change<br />

The World” – <strong>these</strong> songs are household titles…<br />

without even naming the artists. And the list<br />

goes on…and on. We sat down recently at DW to<br />

have a conversation about his big decision to leave<br />

the drum company that he was with for 28 years,<br />

why he did this and basically try to review his<br />

massive career, all within an hour! Through the<br />

magic of the Internet, you can find that interview<br />

on <strong>Drum</strong>Channel.com, by the way. You may find<br />

some little gems that don’t quite translate here in<br />

print. Don’t worry – we kept it clean!<br />

Rich <strong>Man</strong>gicaro: John, this is a major change for<br />

you and I know, one you thought very carefully<br />

about. When I found out, it seemed to make sense<br />

to me.<br />

John Robinson: I think the natural evolution<br />

of me being with DW is coming full circle<br />

because when I was a kid, I was playing<br />

maple, American drums. It’s great to be<br />

welcomed and made to <strong>feel</strong> like family, right<br />

out of the gate.<br />

RM: And they’re right around the corner from<br />

your house!<br />

JR: It is…I can roll outta the rack and in<br />

twenty minutes, I’m here!<br />

RM: Before we get into your history, I want to<br />

address this change. You had a long association<br />

with your previous drum family and I’m sure<br />

many would like to know how you came to this<br />

decision. I know you’re a very loyal guy and take<br />

your relationships very seriously.<br />

JR: You know, being with one company<br />

for almost 29 years and then leaving, is like<br />

a divorce. You get used to certain ways<br />

things are done and of course, I made a lot<br />

of great records on Yamaha drums. But, as<br />

life progresses and changes, both companies<br />

and artists grow and change and it was time<br />

for me. With DW, the question was how<br />

was my personality and soul going to come<br />

through with <strong>these</strong> drums. I just did a gig<br />

this past Saturday with David Foster for the<br />

Andre Agassi Foundation in Vegas and I had<br />

that Christmas morning anticipation. I got<br />

to sound check an hour early and hardly had<br />

to do anything to them…they just sounded<br />

amazing almost right away. On that gig, I<br />

was playing with Lionel Richie, Macy Gray,<br />

Tim McGraw, Daughtry and Cherise, so there<br />

was this huge variety of styles and everybody<br />

said that I sounded better than ever.<br />

RM: You know, I’ve known both John Good and<br />

Don Lombardi for a long time and have enjoyed<br />

watching their success. You’ve known them as<br />

well for some time, right?<br />

JR: Yes…I’ve known John for a long time<br />

and as you know, when you walk into his<br />

office, it’s filled with beautiful, raw shells<br />

and different exotic woods. I’m a wood guy<br />

so I just love that. We’re the same age, have<br />

similar concepts and we both like football!<br />

Everything translates into <strong>these</strong> drums. It’s<br />

been <strong>really</strong> nice to exchange ideas and then<br />

realize that we’re on the same page.<br />

RM: So you’re originally from Iowa. What was<br />

it like growing up in a small town? Was there<br />

any kind of a music scene?<br />

JR: I was young so the scene was my Dad<br />

would wail on me when I didn’t practice<br />

piano! He was very musical as was my Mom<br />

and both my Grandfathers as well. I also<br />

have cousins that play but I was the one who<br />

was crazy enough to try to make a living<br />

out of it. Mom taught me what Swing was,<br />

the concept of it and pointed out examples<br />

on recordings. What got me though was a<br />

45 I had of “When The Saints Go Marching<br />

In”, from a film about Red Nichols featuring<br />

Danny Kaye. I was 7 and I played that over<br />

and over and wore it out. That led me to my<br />

first drum set when I was 8. It was a 1940’s<br />

Ludwig kit, no Toms, just a snare, bass drum,<br />

hi-hat and old Zildjian cymbal. I wasn’t even<br />

holding the sticks correctly but I played a<br />

swing beat, right away.<br />

RM: Were you in school music programs?<br />

JR: Eventually. When I was 10, I met a guitar<br />

player through my parents and we had a duo<br />

photos by Rob Shanahan<br />

that played and opened for older aged bands.<br />

I studied snare drum and also sang in church,<br />

which I think helped with my drumming.<br />

Then in Jr. High, there were two drummers<br />

ahead of me, a few years older and I finally<br />

got the chance to play. I made a lot of mistakes<br />

reading the chart but the band director, Dick<br />

Bauman thought my <strong>feel</strong> was much better<br />

than the other two guys and I finally got my<br />

reading together. Then during High School,<br />

I played in bands and went to Jazz band<br />

camps during the summers. That’s when I<br />

met Ed Soph. At that time, I was trying to<br />

decide whether to pursue a career in music<br />

or basketball…I had an offer for a basketball<br />

scholarship but finally decided that I wanted<br />

to make a career of music. It was Ed who<br />

inspired me to choose the Berklee College of<br />

Music in Boston.<br />

RM: So, who was else was at Berklee when you<br />

were there?<br />

JR: Whew! In Gary Chaffee’s class was<br />

Steve Smith, Kenwood Dennard and Vinnie<br />

Colaiuta! That class was intense.<br />

RM: Would you say that Gary was your<br />

predominant influence?<br />

JR: Actually, it was Alan Dawson. I was very<br />

fortunate to get 6 months in with Alan. I<br />

think between my Ed Soph education and<br />

Alan’s, it’s all melody-based. With Ed, he<br />

changed me from a toe bass drum player to<br />

a heel-down player. That took a couple of<br />

years to do.<br />

RM: For melodic reading, was it with mallets or<br />

piano?<br />

JR: It was mallets and at that time, I wasn’t<br />

allowed to use piano as my minor instrument<br />

and I was distraught about that. I wanted to<br />

have piano under my belt, but at that time,<br />

mallets were what they viewed as the way<br />

for drummers to learn melodic reading. But I<br />

did end up studying with Dave Samuels and<br />

we became friends and did gigs together as<br />

well.<br />

RM: So you were giggin’ all the time during<br />

Berklee?<br />

JR: Always. Although there weren’t many<br />

gigs at that time, I began playing around<br />

town. Also, there was only one studio at<br />

Berklee at that time and I ended up getting<br />

asked to replace some drum parts on some<br />

music-minus-one stuff and I didn’t even<br />

know what a click was! They pulled up the<br />

track and I played to it. It must have went<br />

well, because they asked me to come back<br />

every week at that time to work with them<br />

and I became the studio drummer. There<br />

were a couple of “famous” drummers at that<br />

time, that will go un-named that I replaced,<br />

who couldn’t play to the<br />

click.<br />

RM: As you know, John<br />

– it’s not something that<br />

every drummer can do<br />

well. Not only to play with<br />

the click, to lock with it, but<br />

also to play musically with<br />

it.<br />

JR: Well that’s it. I think<br />

then, I realized that I<br />

wanted to be a studio<br />

drummer. My plan was<br />

to get through Berklee<br />

and then move to New<br />

York. I was in my 3rd<br />

year and then left to just<br />

focus on working.<br />

RM: Is this when Rufus found you?<br />

JR: I was in a band called “Shelter”, touring<br />

around the Northeast and Midwest and one<br />

time, in Cleveland, Rufus came with Chaka<br />

into the club we were playing. At the end of<br />

the set, they asked if they could sit in with<br />

me. By the end of the night, that entire band<br />

was up on stage with me and we did an<br />

entire set…and it was smokin’! Four weeks<br />

later, I was in Los Angeles and in that band.<br />

RM: So you began touring with them?<br />

JR: They were on an international tour and<br />

my first gig was in Hawaii! That’s were<br />

I met Danny Seraphine! I had always<br />

idolized Danny, with the Midwest connect,<br />

the Chicago records…now we’re golfing<br />

buddies!<br />

RM: So did you record with them right away or<br />

was there touring work first?<br />

JR: We toured for about a month…I finished<br />

out their ’78 tour, before I went in the studio<br />

with them. I ended up doing quite a few<br />

records with them.<br />

RM: Your drum part for “Ain’t Nobody” is<br />

<strong>really</strong> great…I’ve heard you talk about that in<br />

some of your clinics.<br />

JR: <strong>Man</strong>y think it was a programmed part,<br />

but it was me playing that groove. It’s a<br />

very robotic part, which is what we were<br />

going for. It was a big hit for them.<br />

RM: And that was around the time period when<br />

you met Quincy Jones?<br />

JR: I had met him before that, but he then<br />

came in to produce one of our records. Not<br />

long after that, I got the call to work with<br />

Quincy on Michael Jackson’s “Off The Wall”<br />

record.<br />

RM: Did you have any idea of what you were<br />

getting into, at that time?<br />

It seems like that record<br />

was Michael’s transition<br />

between his Jacksons<br />

era and his solo superstardom.<br />

JR: And Quincy is the<br />

great master of that. He<br />

<strong>really</strong> brought Michael<br />

“Working with John<br />

and this company<br />

is so exciting and<br />

when you hear<br />

their drums and see<br />

what goes into it all,<br />

there’s no question<br />

why they’re the<br />

leader. ”<br />

>time machine: Jr roBinSon<br />

to the enormous place. The timing of all<br />

this was amazing. All the players on that<br />

album were stellar including my old band<br />

mates from Rufus and Paulinho Da Costa on<br />

percussion. That record changed history.<br />

RM: It seems that it<br />

changed your career…<br />

you’ve been working<br />

constantly since. Since<br />

space in this article doesn’t<br />

permit to thoroughly cover<br />

your discography, although<br />

what article would, I love<br />

how you’ve organized<br />

your recording credits by<br />

year, on your website. I<br />

recommend our readers to<br />

check that out. It’s quite<br />

incredible.<br />

JR: <strong>Man</strong>, I’m trying to<br />

remember ‘em all. I’m<br />

still trying to organize<br />

and catalog it all. I still<br />

haven’t figured out Asia<br />

or Europe!<br />

RM: One has to wonder whether you ever had a<br />

social life back then. Tell me about a typical day,<br />

when you were recording so much. You were<br />

doing 3 sessions in one day. Was this also when<br />

cartage services began to take affect?<br />

JR: Exactly. I had Rufus’ roadie<br />

helping me. I had heard storied then<br />

about Steve Gadd doing this type of<br />

schedule too. It was typically a 10am,<br />

2pm and a 6pm. Sometimes, we’d<br />

even have an 11pm hit too. Those<br />

were the hay days of recording and<br />

LA was just flowering. That’s why<br />

I loved Jeff (Porcaro) so much…he<br />

was very kind to me when I came to<br />

LA and we found ourselves sharing<br />

the load on many records. Now,<br />

our industry’s changed so much<br />

that there are very few record dates<br />

anymore that feature a rhythm<br />

section, playing live, like back then.<br />

I still get called for that, especially for<br />

film soundtrack sessions, but it’s the<br />

reason why I and many other guys<br />

have built studios in our homes.<br />

RM: John, will<br />

all the great<br />

hit records that<br />

you’ve played on,<br />

do you have any<br />

favorites?<br />

JR: Well, Steve<br />

W i n w o o d ’ s<br />

“Higher Love”<br />

and “Back In The<br />

High Life” were both incredible and they<br />

allowed me to do what I wanted. It’s very<br />

rare that we get to do that and producer<br />

Russ Titelman <strong>really</strong> gave me the freedom to<br />

express. That whole record was great.<br />

RM: John, what would you say to young players<br />

out there, given the current state of our business,<br />

who are trying to get in and make something for<br />

themselves?<br />

JR: I just wrote a curriculum for Berklee<br />

about this. I’ve always had some kind of<br />

home studio so I <strong>feel</strong> it’s always important<br />

for drummers to control their own destiny.<br />

I say always collaborate and co-write with<br />

others. Log your ideas and learn electronics…<br />

not just electronic drums but learn a protools<br />

rig, know your Mac and know how to<br />

mic your drums and learn what mics work<br />

best for what drum. I also wanted to say<br />

something about my new association with<br />

DW. My new drum set is extraordinary.<br />

Working with John and this company is so<br />

exciting and when you hear their drums and<br />

see what goes into it all, there’s no question<br />

why they’re the leader.<br />

Selected diScograPhy:<br />

2009 Barbra Streisand: The Concerts<br />

2004 Peter Cetera: You’re the Inspiration: A Collection<br />

2002 Quincy Jones: Ultimate Collection<br />

2002 Celine Dion: Unison / Celine Dion / Colour Of My Love<br />

2001 Bonnie Raitt: Nine Lives-Remastered<br />

2000 Mariah Carey: Rainbow (Bonus Track)<br />

2000 Babyface: Collection of His Greatest Hits<br />

1999 Dave Koz: Dance<br />

1999 Clint Black: D’Lectrified<br />

1999 Chris Botti: Slowing Down the World<br />

1998 David Foster: Touch of David Foster<br />

1998 Randy Newman: Guilty: 30 Years of Randy Newman<br />

1998 Luis Miguel: Todos Los Romances<br />

1998 Joe Cocker: Greatest Hits [EMI]<br />

1998 Steve Perry: When You’re in Love (For the First Time)<br />

1998 Bette Midler: Bathouse Betty<br />

1997 Stanley Clarke: Bass-ic Collection<br />

1997 Ladysmith Black Mambazo: Heavenly<br />

1997 Joe Cocker: Across from Midnight<br />

1997 Boz Scaggs: My Time The Anthology (1969-1997)<br />

1997 Vonda Shepard: Vonda Shepard<br />

1996 Karen Carpenter: Karen Carpenter<br />

1996 Neil Diamond: In My Lifetime<br />

1996 Disney: Music from the Park<br />

1996 Rufus & Chaka Khan: Very Best of Rufus Ftg Chaka Khan<br />

1995 Peter Frampton: Frampton Comes Alive II<br />

1994 The Temptations: Emperors of the Soul<br />

1993 Elton John: Duets<br />

1992 Wilson Phillips: Shadows & Light<br />

1992 <strong>Man</strong>hattan Transfer: Anthology: Down in Birdland<br />

1992 Kenny G: Breathless<br />

1992 Mike Oldfield: Tubular Bells II<br />

1991 Rod Stewart: Vagabond Heart<br />

1991 Jeff Lorber: Worth Waiting For<br />

1991 Patti LaBelle: Burnin’<br />

1991 Robbie Robertson: Storyville<br />

1991 Tom Scott: Keep This Love Alive<br />

1989 Aretha Franklin: Through the Storm<br />

1988 Rubén Blades: Nothing But the Truth<br />

1988 Glen Fry: Soul Searchin’<br />

1987 Michael Jackson: Bad<br />

1986 Steve Winwood: Back in the High Life<br />

1986 Bob Seger: Like a Rock<br />

1985 David Lee Roth: Crazy from the Heat<br />

1984 Laura Branigan: Self Control<br />

1984 Fee Waybill: Read My Lips<br />

1984 Peabo Bryson: Straight From the Heart<br />

1981 Herb Alpert: Magic <strong>Man</strong><br />

1979 Rufus: Numbers<br />

[eDGe 8.0] 7


HARDWARE NEWS<br />

8000 series ulTra heavy-DuTy<br />

PedalS & hardWare<br />

Roy Mayorga - Stone Sour<br />

<strong>Drum</strong> <strong>Workshop</strong> is known for designing<br />

and building some of the world’s most<br />

reliable, heavy-duty, road-tested pedals<br />

and hardware. Rock’s elite swears by<br />

DW 9000 series pedals and stands,<br />

but what about the <strong>really</strong> hard hitters,<br />

the guys who play massive cymbals<br />

and even bigger drums? Until now,<br />

heavy-alloy 22” crash cymbals, highflying<br />

china cymbals, floor tom-sized<br />

rack toms and larger-than-average kick<br />

drums have been a drum tech’s worst<br />

nightmare. Those days are over.<br />

Recently, DW launched its largest scale<br />

hardware to date. The ultra heavyduty<br />

line includes two types of hybrid<br />

pedals, the chromed-out 8000 and<br />

8000B Black Diamond Power Footboard<br />

models. Both include a 5000-like fixedcam<br />

hex shaft for maximum throw, with<br />

the versatility of a 9000 adjustable cam.<br />

All-metal construction and a diamond<br />

steel base plate means <strong>these</strong> pedals<br />

were designed to survive the toughest<br />

beatings and the 8000B’s extended<br />

footboard provides optimum leverage<br />

to push lots of air. Matching hi-hat<br />

stands are available for both models in<br />

2-leg versions for double bass drum and<br />

double pedal players. “We wanted to<br />

create the ultimate chain drive pedals<br />

for Metal drummers”, comments DW’s<br />

R&D Specialist, Rich Sikra. “There are<br />

some direct-drive, boutique pedals out<br />

there that cater to a heavier style of<br />

play, but we wanted drummers to have<br />

the option of a fast, yet powerful chain<br />

drive pedal”, continues Sikra. “Then we<br />

decided to do a heavier line of stands to<br />

compliment the series.”<br />

DW 8000 stands feature Mega-Tripod<br />

bases for a wider footprint and largergauge<br />

steel tubing to avoid sway<br />

and flex. Oversized tube joints and<br />

memory locks were tooled-up to keep<br />

stands planted in place, and removable<br />

counter weights and T-Ball tom arms<br />

come standard. “DW Chairman and<br />

R&D Chief Don Lombardi explains,<br />

“We have a retro-styled 6000 Series<br />

for Vintage and Jazz players, a 7000<br />

Series single-braced line for gigging<br />

drummers and 9000 Series hardware<br />

for just about everyone else, but what<br />

we didn’t have was an over-sized stand<br />

for heavy rock guys.” The 8000 Series<br />

includes a straight/boom 8700 cymbals<br />

stand, 8300 snare stand, 8999 double<br />

tom stand with three cymbal arms, 8500<br />

& 8500B hi-ht sands and 8100 & 8120<br />

4-leg thrones with included backrest.<br />

Lombardi concludes, “This stuff is for<br />

monster drummers, guys who hit hard<br />

and play big drums and cymbals. We<br />

dare you to break this stuff.”<br />

Product (L to R) 8300 Snare Stand, 8700 Cymbal Stand, 8500TB Hi-Hat, 8500T Hi-Hat, 8120B Throne, 8002 Double Pedal,<br />

8000 Single Pedal, 8799 Triple Cymbal/Double Tom Stand, 8002B Double Pedal and 8000B Single Pedal.<br />

We Believe that a pedal<br />

should be built like a tank,<br />

but never play like one.<br />

The 8000 pedal, a hybrid design that combines key features from its 9000 and 5000 Series<br />

cousins. A road-ready workhorse that provides drummers with the unmatched versatility of an<br />

infinite adjustable cam and the power of a time-tested, chain-driven hex shaft. The best of both<br />

worlds atop a sturdy piece of steel diamond plate. Sure, the 8000 is built to last, but its<br />

smooth, responsive playability is what drummers <strong>really</strong> love.<br />

8000 Artists (L to R) Roy Mayorga (Stone Sour), Paul Bostaph (Testament) and Travis McNabb (Sugarland).<br />

Product (Clockwise) 8500T Hi-Hat, 8500TB Hi-Hat, 8002 Double Pedal, 8000B Single Pedal.<br />

The complete line of 8000 Series pedals and hi-hats, see them at<br />

www.dwdrums.com<br />

©2009 <strong>Drum</strong> <strong>Workshop</strong>, Inc. All Rights Reserved.


UP CLOSE<br />

danny SeraPhine: cta<br />

By Rich <strong>Man</strong>gicaro<br />

Photos by Rick Malkin<br />

d o n ’ t c a l l i t a c o m e B a c k<br />

leGenDary <strong>Drum</strong>mer Danny seraPhine reTurns TO The sPOTliGhT. >>><br />

Danny Seraphine was put on this earth to<br />

play drums. He’ll tell you it’s what he does best.<br />

And as many of us know, he’s been incredibly<br />

successful at it. As a founding member of the<br />

multi-platinum, Grammy-winning band Chicago,<br />

Danny has carved his place in music history as<br />

one of music’s most influential drummers. Any of<br />

us who play drums have, at one time in our lives,<br />

spent time learning the grooves for such enormous<br />

hits as “25 Or 6 To 4”, “Make Me Smile” (that<br />

drum solo at the end!), “Beginnings”, “Saturday<br />

In The Park”…the list goes on and on. How many<br />

of us have played in cover bands, playing <strong>these</strong><br />

songs…playing his parts. All of us! Being one of<br />

the few bands in history to fuse Jazz and Rock the<br />

way they did, Danny’s playing provided a new level<br />

of drumming in popular music and to this day,<br />

continues to inspire generations.<br />

In this issue’s Up Close, we wanted to know what<br />

Danny’s up to lately. We found some exciting<br />

things to check out, to listen to and to look forward<br />

to.<br />

Rich <strong>Man</strong>gicaro: Danny, your band California<br />

Transit Authority-C.T.A. is great. Tell us about<br />

this project. You formed the band in 2006, right?<br />

Danny Seraphine: Yes. Peter Fish, a friend and<br />

keyboardist/composer told me that he wanted<br />

to play in a band with me. At that time, I<br />

was jamming with Gregg Bissonette, who<br />

introduced me to guitarist Marc Bonilla. We<br />

had met with Don Lombardi, DW’s Founder<br />

and he suggested we put a band together to<br />

play for photographer Lissa Wales’ benefit<br />

concert in Arizona. So we did some rehearsing<br />

in LA, brought in Ed Roth on keyboards and<br />

Mick Mahan on bass and it sounded <strong>really</strong><br />

<strong>good</strong>. When we got to Arizona, we still<br />

needed a singer and Larry Braggs, who flew<br />

in with David Garibaldi and Tower Of Power,<br />

volunteered. Well, Larry brought it to a whole<br />

other level and, in front of my eyes, I’m seeing<br />

this band blossom. It was like Chicago on<br />

steroids…like the original C.T.A. I realized<br />

then that this was the band I’d been waiting<br />

for. After our 3 songs, the ovation was pretty<br />

overwhelming and I looked at Peter and said,<br />

“Hey, we got somethin’ here.”<br />

RM: How was the experience when you guys played<br />

Modern <strong>Drum</strong>mer’s festival? I saw the video of it,<br />

which was fantastic.<br />

DS: Thank you. <strong>Man</strong>, that was a <strong>really</strong> great<br />

thing. The reception from the crowd was so<br />

warm and enthusiastic. I was humbled by it<br />

and you know, it had been a long time since I’ve<br />

played those songs in front of a large crowd, so<br />

it was <strong>really</strong> great to <strong>feel</strong> the appreciation from<br />

everyone. It was an emotional night for me.<br />

RM: I know Rick Van Horn is a huge fan of your<br />

playing, so I’m sure it was a dream-come-true for<br />

him to do the introductions!<br />

DS: Rick was great…everyone at the magazine<br />

was.<br />

RM: Was it sort of a launching pad show for you<br />

and the band?<br />

DS: We began playing shows around the<br />

country, yes. However, we still haven’t found<br />

representation for the band yet. You would<br />

think with <strong>these</strong> members and what they each<br />

bring to the table, we’d have some interest, but<br />

we’re still trying to find that match. I think it’s<br />

a bit political that we don’t have an agent yet.<br />

RM: That and what’s happened to our industry in<br />

the past 8 years. That’s what is so wonderful the<br />

drum community – we’re all here to support each<br />

other and I’ve experienced this love and support, no<br />

matter what level of player, no matter what region<br />

of the world. <strong>Drum</strong>mers just like to hang and share<br />

ideas. What DW and <strong>Drum</strong>Channel.com are doing<br />

is just that – extending this exchange and support,<br />

worldwide.<br />

DS: That’s right. I’ve been<br />

with them for a long time<br />

and love what they’re all<br />

about. And Don Lombardi<br />

was instrumental in the<br />

inspiration for this band.<br />

RM: So what do we have to<br />

look forward to with you and<br />

also C.T.A.?<br />

DS: I executive-produced a movie called<br />

“Lonely Street” and produced the soundtrack.<br />

The story is about an older Elvis, played by<br />

Robert Patrick, who fakes his own death<br />

because he hated what he had become…and<br />

then plans his own comeback. The film is<br />

available to rent now and the soundtrack will<br />

be available soon…I’m just finishing it up. I’ve<br />

also produced a couple of Broadway plays<br />

and I’m doing a series of clinics now, which all<br />

my companies are graciously behind. I love<br />

doing them and meeting other drummers.<br />

Regarding the band, C.T.A. we’ll be in the<br />

studio soon to do our next record, which I’m<br />

<strong>really</strong> excited about. We’re planning on doing<br />

mostly original material and a few Chicago<br />

tunes. There are a few Chicago songs I cowrote<br />

that, although not quite as well known<br />

as the bigger hits, were <strong>really</strong> cool tunes and<br />

will be fun for us to do in this band, our own<br />

way. I’ve also thought about doing some bigband<br />

arrangements of the tunes…I’d love to<br />

do that. Otherwise, we have some shows this<br />

month back east and in San Diego.<br />

RM: Thank you Danny. It’s been an honor and I’m<br />

looking forward to seeing the band soon!<br />

The main kick is tuned to be as BIG as<br />

possible – it is a 20x24” and has a loose<br />

Remo Ambassador bass clear head. We<br />

have a 6” hole cut at 4 o’clock in the<br />

front head, which is also as loose as<br />

possible without wrinkling. There is a<br />

double pedal on this kick.<br />

The second kick is tuned as high as<br />

possible on both front and back heads.<br />

There is no dampening at all in here.<br />

The idea is to use this as an FX kick.<br />

We put distortion and reverb on it and<br />

Christian uses it in a couple of songs<br />

almost like a gated snare! (Never Let<br />

Me Down).<br />

The main snare (5.5x14”) sounds so<br />

naturally <strong>good</strong> at most tensions that<br />

it is tuned almost entirely for stick<br />

response. At the required tension it<br />

has natural lows, but still has plenty of<br />

high-end crack on rim-shots.<br />

Snare 2 is deeper (7x14”) and is tuned<br />

as low as possible and with the snares<br />

looser – it too, is used with reverb as<br />

>TECH TIPS<br />

Building chriStian’S kit<br />

By iain “roBBo” roBertSon<br />

drummer: c h r i S t i a n e i g n e r<br />

Band: dePeche mode<br />

tech: roBBo<br />

a big snare sound. (Enjoy the Silence).<br />

There are 2 piccolo toms (4x8” & 4x10”)<br />

mounted on the left of the kit above<br />

Snare 2 – <strong>these</strong> are double headed<br />

piccolo toms - both tuned as high as<br />

possible on top.<br />

Tom 1 is also 10” but a slightly deeper<br />

shell (5”) – again it is tuned as high as<br />

possible - as if it was piccolo 3, but its<br />

positioned to the right of the main hat<br />

to fit with required tom fills. (In Your<br />

Room).<br />

Racks 2 and 3 (6x12” & 6x13”) and<br />

Floor 1 and 2 (14x16” and 16x18”) are<br />

more traditional toms. Tuning starts<br />

with the 18” floor, trying to get it as low<br />

as possible without too much flapping<br />

(Personal Jesus) and then tuning up<br />

roughly in 4ths, as I usually do on<br />

Simon Phillips’ kit.<br />

We have been amazed at how<br />

deep and rich a sound we<br />

can get from the 12” and 13”<br />

toms considering their shallow shells–<br />

they sound like others’ regular depth<br />

13” and 14” toms respectively.<br />

In fact, Christian started by spec’ing<br />

deeper shells on rack 2 and 3, but he<br />

likes his rack toms almost flat and with<br />

24” kicks we had to angle them to get<br />

them at the correct playing height. By<br />

knocking an inch off the depth of <strong>these</strong><br />

shells we are now able to get them as<br />

flat as he wants and still achieve the<br />

desired deep, rich tom sound.<br />

Finally, can I just say how much<br />

Christian and I enjoyed building this<br />

kit with the DW Rack system? This is<br />

a big kit with a lot fit into a confined<br />

space – often with no more than 1/8”<br />

between items. With other rack systems,<br />

you invariably find that the position<br />

you want is in between 2 cogs on an<br />

angle bracket, and it usually involves<br />

compromises. With this DW Rack, you<br />

can adjust things to exactly where you<br />

want them to go and then, lock them<br />

off!<br />

chriStian’S<br />

dePeche mode rig<br />

ColleCtor’s series<br />

ssC Maple in ClassiC Marine finishpy <br />

20x24” KiCK DruM, 20x24” KiCK DruM<br />

5.5x14” snare, 7x14” snare<br />

4x8” piCColo, 4x10” piCColo<br />

5x10” raCK toM<br />

6x12” raCK toM<br />

6x13” raCK toM<br />

14x16” floor toM, 16x18” floor toM<br />

DW 5000 & 9000 series peDals<br />

DW raCK systeM harDWare<br />

[eDGe 8.0] 11


4 QUESTIONS:<br />

1 legendary music city, 3 in-demand players<br />

The Nashville music scene is always<br />

evolving. With the demise of a<br />

traditional music industry, Music Row<br />

has been whittled down to a select few<br />

major labels and studios are going out<br />

of business faster than you can say,<br />

“Pro Tools”. Nowhere are <strong>these</strong> global<br />

music biz changes more prevalent, than<br />

in a music-centric city like Nashville.<br />

It’s a city that synonymous with<br />

American music, musicians and music<br />

fans. So what’s a drummer to do when<br />

record sales are declining, local gigs<br />

are fleeting and it’s getting harder and<br />

harder to make ends meet as a session<br />

cat? Answer: you hit the road.<br />

We posed the identical four questions<br />

to Sugarland’s Travis McNabb, Tim<br />

McGraw’s Billy Mason and Julianne<br />

Hough’s Cactus Moser to see what we’d<br />

come up with and the answers are both<br />

interesting and enlightening. It seems<br />

there are many ways to reach Nashville’s<br />

lofty heights, but only a select few will<br />

actually make the climb.<br />

Travis McNabb • cacTus Moser • billy MasoN<br />

1. There are so many talented<br />

players in Nashville, how do<br />

you manage to land big gigs on<br />

a consistent basis?<br />

Cactus: For me it’s been interesting. I<br />

had my own band, Highway 101, for<br />

many years and that of course has the<br />

upside of being your own boss. So, I<br />

only had to kiss my own butt to get the<br />

gig...no wait did I say that out loud?<br />

What I mean is you only have to worry<br />

about making hit records in order to<br />

keep yourself employed. Granted,<br />

that’s a daunting task some of the time.<br />

It’s great to know why you’re working.<br />

I <strong>feel</strong> that a big part of being successful<br />

in this business, is knowing why<br />

some players are able to get and keep<br />

themselves employed! I have worked<br />

with other artists , at the same time<br />

as being in Highway. I just am always<br />

looking for situations that will let me<br />

do what it is that I love to do, and that is<br />

play! Studio work here in<br />

Nashville is as tough to<br />

get as it is in any music<br />

city. So, I always try to<br />

make sure people are<br />

very aware that I am here<br />

and not on the road all<br />

the time so they will call<br />

and give me the chance to<br />

say yes or no to working<br />

opportunities. I <strong>feel</strong> like<br />

producing and finding<br />

ways to create music, such<br />

as writing, <strong>really</strong> are great<br />

ways to stay employed.<br />

Billy: I landed my gig because<br />

I was willing to play any gig<br />

Photos by Gregg Roth<br />

in town for 50 bucks a night, or even<br />

for tips. You’ve got to be humble and<br />

willing to do whatever it takes. Then,<br />

you’ll meet more players and get in the<br />

circle.<br />

Travis: It goes<br />

w i t h o u t<br />

saying that<br />

y o u ’ r e<br />

e x p e c t e d<br />

to ‘bring it’<br />

musically.<br />

One thing<br />

some guys<br />

o v e r l o o k<br />

is the fact<br />

that A-list<br />

artists can<br />

afford to<br />

surround<br />

t h e m s e l v e s<br />

with people that not only can play<br />

at the quality level they need, but that<br />

are people they actually WANT to be<br />

around. If you couldn’t make the music<br />

<strong>feel</strong> <strong>good</strong>, you wouldn’t even get a shot.<br />

But on TOP of that, being a positive force<br />

and being easy to deal with personally<br />

makes it <strong>feel</strong> <strong>good</strong> on other levels, and<br />

that goes a long way.<br />

2. What’s the Nashville studio<br />

scene like <strong>these</strong> days?<br />

Travis: I’m relatively new to the<br />

Nashville studio scene. The bulk of my<br />

session work has been in Los Angeles<br />

until recently. I will say that there is a<br />

lot in addition to Country happening<br />

in Nashville, and so far folks have been<br />

very kind and welcoming.<br />

Billy: The studio scene is tough here.<br />

There’s so much music downloading<br />

going on. Now, people are recording<br />

at small studios and putting it out on<br />

YouTube themselves.<br />

Cactus: It’s still healthy, yet with the<br />

recording world becoming something<br />

we all do in our homes, it’s changed a<br />

great deal. When I first came here from<br />

Los Angeles there were drummers<br />

working all day and every day, making<br />

demos for song writers. Now many of<br />

those demos are being done on Garage<br />

Band or Pro Tools rigs in writers’ homes,<br />

so there’s a lot more players trying to get<br />

the same gigs. You have the guys that<br />

were only doing master sessions, now<br />

doing demos and the demo mill guys<br />

doing live touring gigs. It’s still a “be<br />

ready and be professional when you get<br />

there world.” Maybe more personal PR<br />

is required to keep you in the mix than<br />

it use to be. Just talking to people opens<br />

many doors.<br />

3. Who are your Nashville<br />

drumming heroes?<br />

Billy: Lonnie Wilson, Paul Liem, Eddie<br />

Bayers.<br />

Cactus: Larry London is a guy that was<br />

as creative a player and as diverse, as<br />

any of those that have come from this<br />

town. I came to Nashville from Los<br />

Angeles and Larry was one of the<br />

players that I had heard on Elvis, or<br />

on Conway records, or even on a Steve<br />

Perry record. Greg Morrow is a guy that<br />

has a very similar playing style, being<br />

able to play with root <strong>feel</strong> and chops<br />

that match. Eddie Bayers basically<br />

defined the session drummer of the last<br />

20 years. He has played on so many<br />

records, it <strong>really</strong> is amazing! Doing<br />

that many master session dates in one<br />

career…priceless!<br />

Travis: More so than any particular<br />

drummers, I think so much of my<br />

musical voice was formed by my<br />

surroundings. My dad played in<br />

a Rock band in the 60s and his dad<br />

played Bluegrass music in the 40s,<br />

so I <strong>feel</strong> like so much of what I do<br />

comes straight down the line from<br />

those guys. I grew up with a healthy<br />

exposure to so much different music,<br />

which is reflected in my career, and<br />

by my work in the Rock and Country<br />

worlds.<br />

4. What advice do you have for<br />

young, up and coming players<br />

that want a career in Nashville?<br />

Cactus: Be as professional as you can<br />

in your attitude and in your playing<br />

ability. You have to look at yourself as a<br />

product. Ask yourself, how can I present<br />

my product in the best light possible?<br />

Your playing has to be solid, you have<br />

to be able to play with the click, and<br />

be creative. Finally, know when and<br />

how to interact with the people you<br />

are working for and with! It’s not brain<br />

surgery, just be polite and smart. That’ll<br />

go a long way to having a great and long<br />

career doing something that’s not a job,<br />

but something you honor doing!<br />

Travis: Character in one’s playing<br />

matters. Machine-like ‘perfection’ is<br />

BORING! Get your time together, get<br />

your chops together, get your <strong>feel</strong><br />

together, and then play with PASSION.<br />

Embrace your natural tendencies, let<br />

them become your own musical voice,<br />

and play like a human!<br />

Billy: Young players need to work hard<br />

to play every style of music out there.<br />

Take as many gigs as you can, anything<br />

that comes along. You’ll learn so much<br />

playing with different players. That’s<br />

what I did, and I guess it worked.<br />

[edge 8.0] 13


TALKING DRUMS<br />

ssc specialized shell coNfiguraTioN<br />

Neil pearT & JohN <strong>good</strong><br />

d i s c u s s T h e f i N e r p o i N T s o f d w ’ s<br />

laTesT shell TechNology<br />

Neil: Hello. Neil Peart here. I’m with<br />

Professor John Good and he is going to<br />

explain to us a very complicated subject.<br />

I’m just going to be the chief device for<br />

exposition. I’m the student, as I always<br />

like to say here at <strong>Drum</strong> <strong>Workshop</strong>. I’m<br />

the student and resident, always glad to<br />

learn from all of the great drummers that<br />

come through and John about the nuances<br />

of drum construction. He’s going to tell us<br />

today about something called “Specialized<br />

Shell Construction” and everything that<br />

covers and as we’ve applied it between the<br />

two of us in instruments and as John is<br />

going to make available to all drummers,<br />

a truly individual choice in each shell and<br />

its note and response that you can combine<br />

together as you wish, <strong>really</strong>, in the creation<br />

of your own custom DW drum set. Over to<br />

Professor Good.<br />

John: Thank you. Thank you very<br />

much. Now Neal, essentially we’ve<br />

been doing this for a number of years,<br />

you and I. And I think it started with<br />

your R30 kit.<br />

Neil: Yeah, you started to get some glimmers<br />

of inspiration back then.<br />

John: Yes, I did because you were, I<br />

remember you landed your kit, the red<br />

kit, in my showroom and you said, “Look<br />

at it. Live with it for a couple weeks and<br />

look at the way I’ve got it tuned”. And<br />

before that I was just giving stock pretty<br />

much, shells that I was making and you<br />

were tuning them in ranges that maybe<br />

they wanted to go.<br />

Neil: Or that pleased me, yeah. There are<br />

various needs that you have and from my<br />

upper to lower toms is a perfect example of<br />

that chromatic spread that the upper ones,<br />

I actually like to be very bright and tonal<br />

and tune them <strong>really</strong> tight and then a lot<br />

of times use percussive dynamics, so that<br />

when I <strong>really</strong> hit them full-out rimshot<br />

across the head, that head stretches and<br />

detunes slightly, so that becomes a part of<br />

the throaty quality that I want the high<br />

toms to add, but as I move down into the<br />

lower ones, tonality is everything. I’ve done<br />

a demonstration before with my DW drums<br />

tapping that floor tom with a finger and<br />

ooooh, it just produces a pure resonant note<br />

with incredible sustain and I love that in<br />

the lower toms for them to have that great<br />

note recognition and quality, so that became<br />

a part of the shell design. It started with<br />

the lower toms, I think, and with the bass<br />

drum, John applying his ideas in creating<br />

tonality by combining the wood grains in<br />

different directions.<br />

John: Well, having said that, I, in the<br />

earlier years of drum shell construction<br />

and making, I always thought it was<br />

the thicker the shell, the higher the<br />

pitch, thinner the shell, lower the pitch<br />

and that’s it.<br />

Neil: Huh…OK, I didn’t even know that.<br />

John: Oh yeah. Well, like cymbals. The<br />

thicker ones have a higher pitch and<br />

the thinner ones have a darker, washier<br />

pitch. So, today we’re going to mess<br />

with that theory entirely.<br />

Neil: I mean investigate that science.<br />

John: And the way we want to start<br />

doing that is I brought three pieces of<br />

veneer here and I’ve drawn some lines<br />

so you can actually see…<br />

Neil: They didn’t grow that way.<br />

John: They didn’t grow this way. It’d<br />

be pretty cool to find a tree that does<br />

that.<br />

Neil: Ha ha ha…But we’re looking.<br />

John: So, I’ve drawn an arrow on the<br />

direction of the grain…to understand<br />

<strong>really</strong> what we’re talking about here,<br />

you <strong>really</strong> need to understand veneer<br />

first and so, I will use you as my<br />

student.<br />

Neil: Hmm.<br />

John: OK, here we have<br />

a piece of 1/36”<br />

veneer and this is very, very thin<br />

obviously, but the grain is running in<br />

the direction. If you hold your hand<br />

out, you will see that it holds itself very<br />

well.<br />

Neil: It keeps its shape.<br />

John: And the grain is running this<br />

direction. Now, every piece of wood<br />

has a musical note value and you’ll<br />

be able to hear this. Tell me if you can<br />

hear it.<br />

Neil: Yeah.<br />

John: There’s a note in there. Ok now,<br />

see the way I’m tapping this, I’m gonna<br />

hold it and I want you to tap it for me.<br />

Neil: Listen...Remarkable.<br />

John: So the pitch went up, right? And<br />

the pitch went up with tension. Now,<br />

<strong>feel</strong> this tension here. That’s a fair<br />

amount of tension.<br />

Neil: It wants to straighten out.<br />

John: It absolutely does. So that’s what<br />

we’re going to call “horizontal grain”.<br />

Then we have another piece here that<br />

is a similar size. If you hold your hand<br />

out, and you notice the grain is going<br />

the opposite direction, it’s going “short<br />

grain”. Hold your hand out, you’ll see<br />

how it just falls.<br />

Neil: Like a piece of wallpaper.<br />

John: Ha ha, basically yes. And it has<br />

a note value as well, but I wouldn’t be<br />

able to change that because I can’t put<br />

any tension on this, so we’re going<br />

to call that “vertical<br />

grain”. Then I<br />

have<br />

this wacky, wild diagonal cut piece of<br />

grain here and if you hold your hand<br />

out, you’ll notice that it twists like this.<br />

Neil: It wants to spiral.<br />

John: Now, if you tap the side while<br />

I try to straighten it out, look what<br />

happens. Tap the side.<br />

Neil: Tap tap tap tap tap tap…it seems<br />

to me an even exaggerated raising of the<br />

pitch.<br />

John: It’s raising the pitch, but it’s<br />

getting its tension from a whole<br />

different place, so we’re going to call<br />

that “diagonal grain”, right? What<br />

does all this mean? Ah…<br />

Neil: Ha ha ha. How can we use it?<br />

John: How can we use it?<br />

Neil: When we hit things with a stick.<br />

John: Which we’ll get into later and is<br />

a very interesting concept. How can<br />

we us it? I have 5 drum shells here and<br />

the first shell is the typical ….the shells<br />

that I love….many years…olive grain<br />

on the outside…on the inside, crosslaminated<br />

in between. It’s a 7-ply shell<br />

with 3-ply reinforcing hoops…one goes<br />

this way, the one behind it goes that<br />

way and then this way…and you have<br />

to have….So that’s a 7+3, 3-ply hoop....<br />

and more at www.dwdrums.com/ssc<br />

[edge 8.0] 15


in through the outdoor<br />

He’s a got a personality as big as His football player<br />

pHysique and a <strong>feel</strong> and pocket tHat won’t quit. a<br />

dynamic stage performer and studio ace tHat was<br />

once was an outsider like tHe rest of us, and now<br />

Has music’s elite on His speed dial.<br />

photos by Rob Shanahan<br />

abe LaborieL Jr.<br />

It’s hard to imagine<br />

our world of<br />

contemporary music<br />

without the name<br />

Laboriel attached to<br />

it. Performing on over<br />

4,000 recordings and<br />

soundtracks, Abe’s<br />

father Abraham Sr., has<br />

inspired generations<br />

Rich <strong>Man</strong>gicaro<br />

of musicians. Abe<br />

Jr.’s destiny was<br />

inevitable…he had, of course very natural abilities on<br />

whatever he picked up. His father impressed upon<br />

him the importance of the <strong>feel</strong> and flow of music<br />

and how to be musical, regardless of style or tempo,<br />

complexity or simplicity. The key was always to play<br />

for the song.<br />

I first met Abe Jr. during his high school years, at the<br />

NAMM show in Anaheim, California. That year, I<br />

had booked Jeff Porcaro with a band he assembled<br />

to perform in our booth at Paiste and Jeff came to<br />

me and said, “Rich, meet Abe Laboriel’s son, Abe Jr.<br />

He’s gonna sit in and wait till you hear his samba!”<br />

The <strong>feel</strong> and groove coming from this 17 year old<br />

was so deep, something you could <strong>feel</strong> inside of you.<br />

Something you could tell was coming from an old<br />

soul.<br />

Rich: I remember that day so well at the NAMM show,<br />

when Jeff introduced us.<br />

Abe: Yeah, it’s amazing…we’ve known each other for<br />

22 years! You signed me to my Paiste Endorsement<br />

and you were the first one to take a chance on me…<br />

so thank you, man.<br />

RM: Well, I’m honored. It’s great to have our long<br />

friendship and to see where you’ve taken it. I admit that<br />

I have some pride attached to it. You know, I’m sure in<br />

all your interviews, you’ve been asked how it all started…<br />

especially growing up with your Dad, who’s such a legend<br />

in music. But, tell me – how do you remember it all<br />

starting for you?<br />

AL: Really, quite literally with pots and pans, 18<br />

months old, wooden spoons, with headphones<br />

on and just banging away. I got my first drum set<br />

when I was 4 years old, which was a gift from Jamey<br />

Haddad.<br />

RM: Jamey is amazing…I didn’t know you had that<br />

early history with him. Tell me about your other early<br />

influences.<br />

AL: My Dad plays a little drums and would show<br />

me some things to play. He has an amazing <strong>feel</strong> and<br />

would show me a simple beat and stress the pulse<br />

and <strong>feel</strong>. I would play it and he would jam with me. I<br />

would also listen to records and try to emulate what<br />

I heard. We moved to LA when I was 5 and by the<br />

time I turned 10, I told my Dad that I wanted to be<br />

a professional musician, seriously. I would go to<br />

sessions with him and watch him play with Gadd or<br />

Jeff and many others. So then, Dad asked Alex Acuña<br />

whom I should study with and Alex said, “I’ll teach<br />

him.” Alex <strong>really</strong> gave me the freedom to explore<br />

and learn improvisation.<br />

RM: Was there reading involved?<br />

[edge 8.0] 17


AL: A little bit. You know, we had the<br />

“Syncopation” book but that wasn’t what attracted<br />

me to the instrument. I think the freedom that I<br />

had to explore with Alex kept me interested and<br />

it wasn’t until later, when I was 16, that I began<br />

studying with Peter Donald, from the Dick Grove<br />

School and had some theory and reading lessons.<br />

RM: How early was it that you began hanging with<br />

Jeff Porcaro?<br />

AL: I was about 15 when Jeff would call my Dad<br />

and ask if he could take me to some sessions. He<br />

would come pick me up and I got to watch him<br />

record or rehearse. What was great about the<br />

hangs with Jeff was that it was not just about the<br />

drums but more about the interaction. When I<br />

would geek out and ask him how to play a fill,<br />

he would say, “Ah, you don’t wanna know that.”<br />

But, he would eventually show me. With Jeff, I<br />

learned about interacting with others and about<br />

having a well-rounded life.<br />

RM: What about Carlos Vega?<br />

AL: With Carlos and Vinnie (Colaiuta) and J.R.,<br />

it was more just hangin’ at sessions, coming with<br />

my Dad. I’d ask them what sticks they used and<br />

how they tuned the drums. Vinnie was the first<br />

guy that I saw using coated Ambassadors, top and<br />

bottom, which, at that time most guys were using<br />

clears on the bottom. That helped me understand<br />

that you can break “rules” and use different<br />

combinations. Also, I would learn from them how<br />

they would interpret a song, either from listening<br />

or from a chart.<br />

RM: Were you giggin’ around town at that time?<br />

AL: Not <strong>really</strong>. My first real gig with my Dad<br />

wasn’t until I was just about to leave LA for<br />

Berklee. It was at the Baked Potato with Larry<br />

Carlton and Greg Mathieson.<br />

RM: Remember that day at the Paiste booth, when you<br />

came and sat in? Had you ever played with them before<br />

that day?<br />

AL: No. Jeff just asked me to sit in and I was<br />

foolishly confident enough to do it.<br />

RM: Did your father ever sit with you and teach?<br />

AL: Yes…the two things he would enforce were<br />

groove and time. When we would jam together,<br />

he would make sure I kept that focus. My Dad’s<br />

understanding of syncopation is heavy. When<br />

playing Jazz, he would make sure I kept the<br />

melody in mind while playing time. He would<br />

have me play the melody on the drum kit. This<br />

was invaluable to me and when we play together<br />

now, we know exactly where we are in the song.<br />

There’s this unspoken language that we have<br />

from our history of jamming so much. My father<br />

has taught me practically everything I know.<br />

RM: Tell me about your first recording experience?<br />

AL: The first one was a Justo Almario record, with<br />

my Dad and Alex Acuña on percussion. They<br />

actually hired me to play drums on the record!<br />

I wanted to be <strong>really</strong> prepared so I brought a<br />

drum machine with all the clicks programmed<br />

with different sounds and upbeats, so I was able<br />

to control what we played to rather than try to<br />

communicate that with the engineer. I had my<br />

drums tuned just right and hired Ross Garfield to<br />

see to that. It was so much fun and Dad was just<br />

so proud. We were there 3 or 4 days.<br />

RM: Were you gaining studio experience at Berklee?<br />

AL: A little bit, but it hadn’t quite picked up there<br />

yet. I went through a couple of teachers at Berklee<br />

before landing with Ian Froman the instructor<br />

who I <strong>really</strong> connected with. He opened my head<br />

SO much and pushed me to think outside the box<br />

and beyond the downbeat…in a more free-form<br />

way. I learned from him how to trust the other<br />

players more. Ian’s approach was a continuation<br />

of what my Dad and Alex taught me, but he put it<br />

in a different context that resonated with me.<br />

“There’s this<br />

unspoken language<br />

that we have from our<br />

history of jamming so<br />

much. My father has<br />

taught me practically<br />

everything I know.”<br />

RM: Did you finish school?<br />

AL: Yes, although whilst there, I got an offer to<br />

tour with Barry <strong>Man</strong>ilow and I considered it<br />

pretty seriously. At first, I wasn’t finding my niche<br />

at Berklee. What I did get into was working with<br />

Phil Wilson, the ensemble leader. He <strong>really</strong> took<br />

me under his wing and pushed me to improve my<br />

reading. The first time I showed up outside his<br />

office, with my kit on my back…I figured out how<br />

to carry an entire kit on my back…(laughs). When<br />

he saw me, he laughed and I said, “What – am I<br />

early?” I then looked in his office and he had the<br />

smallest office! He said, “No man, all you need is<br />

your snare!” He <strong>really</strong> opened my eyes to the fact<br />

that I hadn’t <strong>really</strong> explored just one of the pieces<br />

of my instrument, let alone all of it. I left the rest<br />

of the kit out in the hall and, with Phil, I realized<br />

all of the different tones and sounds you can get<br />

out of just one instrument. Using sticks, brushes,<br />

hands, snares off, hitting the side of the drum, or<br />

any combination therein. This was another lifechanging<br />

experience for me. I think this is why<br />

I’ve never felt the need to have a bunch of toms or<br />

a large kit and to explore as much as you can with<br />

a simpler setup.<br />

RM: That’s a great compliment to Phil as you’re kind<br />

of known for that. So, what happened with that offer<br />

from Barry <strong>Man</strong>ilow?<br />

AL: It was a hard decision, but I decided to stay in<br />

school. I changed majors…I felt I had gotten all I<br />

could out of the drum department and switched<br />

to Music Synthesis. I still studied with Ian, but I<br />

wanted to work in a field that would <strong>really</strong> have<br />

merit in the future of recorded music. So I worked<br />

a lot with synthesizers, sequencing, programming<br />

and some production techniques. Sampling<br />

was <strong>really</strong> at the vanguard then and that <strong>really</strong><br />

interested me. So, I did that for the last 2 years of<br />

school, while still playing in bands around town.<br />

RM: You know, the first time I saw you with<br />

McCartney, you were singing background vocals and<br />

I thought, what an amazing experience to be singing<br />

those vocal parts with him! Recently, I saw a video<br />

clip of you singing lead for a French artist…what was<br />

her name?<br />

AL: Mylene Farmer. Yeah, that was in Paris and<br />

we did 13 shows in a row in an arena that held<br />

18,000 plus.<br />

RM: How did that gig come about?<br />

AL: In 1996, I had worked with Steve Vai, Seal<br />

and also Jonathan Brooke, doing theater gigs in<br />

the States. I then got a call to play with this French<br />

Pop star. That was Mylene. When I got there, we<br />

walked into this arena, 20,000 seats and I had no<br />

idea that she was that big. We rehearsed there for<br />

2 weeks and then, the first night of the tour, I was<br />

shocked by the crowd. It was like a Beatles crowd!<br />

I had never heard that before…they were so loud<br />

and intense. That was my first experience playing<br />

to a crowd like that.<br />

RM: That spawned a few other French artists, right?<br />

AL: Yeah…I toured with her for about 6 months of<br />

that year and then worked for about a year with<br />

Johnny Hallyday. My first night with him was in<br />

Paris, in front of 85,000 people and I was again<br />

blown away by the intensity of that situation. So,<br />

by the time I toured with Sting and Paul, I was<br />

comfortable playing those types of venues and all<br />

that comes with it.<br />

RM: So how did Paul McCartney find you?<br />

AL: I received a random call from a friend named<br />

David Kahne, who was a producer and A&R guy<br />

for Warner Brothers. We would run into each<br />

other from time but had never worked together.<br />

Paul hired David to assemble the musicians and<br />

produce his “Driving Rain” CD. I remember<br />

getting the call from David, asking me, “How do<br />

you <strong>feel</strong> about making the next Paul McCartney<br />

record?” I almost dropped the phone. The night<br />

before I met Paul, I didn’t sleep much. When<br />

I got to the studio, within 5 minutes of shaking<br />

Paul’s hand, we were listening to a demo and<br />

recording.<br />

RM: Is that when the big diameter thing came into play<br />

for you?<br />

AL: When I was juggling between playing softer<br />

volume gigs with artists like k.d. to playing very<br />

hard with Steve Vai and Seal and I was finding<br />

out that I was choking out drums. I found that<br />

the smaller diameter drums were maxing out<br />

from the way I played and not giving me what I<br />

wanted. So I went to a 26” bass drum and loved<br />

the range…the way I could hit it soft and the note<br />

would be a darker tone, but then I could hit hard<br />

and it would punch and follow me, dynamically.<br />

i remember getting tHe call from david, asking<br />

me, “How do you <strong>feel</strong> about making tHe next paul<br />

mccartney record?” i almost dropped tHe pHone..<br />

So I asked D.W. to make me a kit with 12”, 15” and<br />

18” toms and the 26” bass drum. Since then, I’ve<br />

never gone back to smaller sizes.<br />

RM: So for Paul, you began working immediately?<br />

AL: Yeah – we were at Henson Studios, which<br />

used to be A&M. My drums were there; Paul’s<br />

drums were there. Paul was in the tracking room<br />

with us, myself, Rusty Anderson and pianist Gabe<br />

Dickson. Paul was very open to our ideas, during<br />

the creative process.<br />

RM: How long did you record?<br />

AL: We recorded for 2 weeks, took a break for<br />

a couple of months and then came back and<br />

recorded for another 2 weeks. It was just a<br />

beautiful experience. He was so open to exploring<br />

things with us. I was into a more organic type of<br />

programming and rather than getting a computer<br />

out, I was using guitar effect pedals and loop<br />

pedals and also using the Roland Handsonic,<br />

which I love. I would create the loops on the<br />

guitar gear, which enabled me to be all about the<br />

live <strong>feel</strong>, then triggering it where I felt it should<br />

be. I would then run all <strong>these</strong>s things through<br />

flangers, delays and various effect pedals and<br />

all through guitar amps, which further gave that<br />

organic sound that Paul loved.<br />

RM: That was 2001?<br />

AL: Yeah, we finished the record in June and he<br />

was considering touring but had not finalized<br />

plans when a few months later, September 11th<br />

happened. Two weeks later, I was in New York,<br />

playing with k.d. Lang and got the call from<br />

Sting. He had some dates to finish and <strong>Man</strong>u<br />

Katche wasn’t available. Two days before Sting’s<br />

rehearsals were to start, Paul’s “Concert For<br />

New York” benefit was to be my first big show<br />

with him. During that weekend, I did that show<br />

with Paul and also began rehearsals with Sting.<br />

I finished out Sting’s dates and while I was on<br />

the road with him, I got a call from Paul’s camp,<br />

letting me know he wanted to begin doing some<br />

shows, but I had to say no, which was one of the<br />

scariest things I’ve ever had to do. Luckily, he<br />

understood my commitment to Sting and waited<br />

‘till I was done, to do his tour.<br />

RM: Wow, what a position to be in. Abe, of all the dates<br />

you’ve done with Paul, I’m particularly interested in<br />

the trip to Russia. I have the “In Red Square” DVD,<br />

which I highly recommend to everyone.<br />

AL: That was just an incredible experience. Paul<br />

had never been to Russia…even with The Beatles.<br />

Back in the day, popular music from the West<br />

was banned there, so that was his first trip and<br />

he was completely moved by the whole thing. I<br />

was so honored to have been a part of that. Not<br />

to mention playing “Back In The U.S.S.R.” in Red<br />

Square!<br />

RM: Yes – it must have been amazing. That DVD<br />

<strong>really</strong> captures the emotion of the event. You know,<br />

after all your work with such amazing artists, have you<br />

worked on your own material?<br />

AL: Yeah, I’ve been working on some songs and<br />

probably have enough for a record, at this point.<br />

It’s just been about finding the time to record them<br />

and probably, now is the time. I enjoy writing,<br />

even just for the sake of exercising that muscle.<br />

RM: Do your song ideas begin more melodically or<br />

with a groove concept?<br />

AL: It’s melodic with harmony and a lot of leading<br />

tone stuff. Eventually the melody forms and lyrics<br />

come, hopefully. There’s a bunch of songs that I<br />

want to record and I’m not sure what I’ll do with<br />

them yet…maybe I’ll set up a website. We’ll see.<br />

I’m just having fun with the creation process.<br />

RM: What is coming up for you in the near future?<br />

AL: This year, I toured with Eric Clapton and<br />

Steve Winwood. It is sort of a Blind Faith reunion.<br />

It is an incredible experience to learn about<br />

American-influenced British Rock from the very<br />

pioneers of it. I’ve been approaching this tour<br />

with more of a tribal mindset. As a tip of the hat<br />

to Ginger Baker I’ve added some more toms to my<br />

kit. My set from left to right is 14”, 12”, 13” rack<br />

toms and 15”, 16” floor toms. I also have more<br />

shows scheduled with Paul too.<br />

…At this point, Abe picked up an acoustic guitar<br />

and played a song. It was moody, in a minor key,<br />

almost Spanish in flavor…reminded me a bit of<br />

Sting. The song’s lyrics were about someone<br />

realizing a love that’s right in front of them<br />

and the struggle to get out of their own way to<br />

appreciate it.<br />

Abe is honored to have the influences he had as<br />

a young, up and coming player and is thankful<br />

every single day. Unlike most of us, he had the<br />

amazing fortune, not only to have great studio<br />

legends take him under their wing but also to<br />

have a father guide him in a way most of us can<br />

only imagine. Even with his inherited talent and<br />

natural ability, he learned very young the value<br />

of hard work, the importance of mutual respect<br />

and the invaluable tool of listening. Listening to<br />

everything…to the words spoken around him, to<br />

the subtle lessons between peers, to every style<br />

of music, to his mentors and finally to himself.<br />

Abraham Laboriel Jr. was destined to endure a<br />

legacy…a legacy that still thrives today.<br />

[edge 8.0] 19


”<br />

<strong>Man</strong><br />

<strong>these</strong> <strong>feel</strong><br />

<strong>really</strong><br />

<strong>really</strong> <strong>good</strong>. ”<br />

Sure, 3 drumsticks are made at<br />

<strong>Drum</strong> <strong>Workshop</strong>’s own factory<br />

from the finest hickory. And<br />

yes, they’re quality-matched<br />

to exacting standards, but it’s<br />

their <strong>feel</strong> that has drummers<br />

talking. Just about everyone<br />

who tries them says, “<strong>Man</strong>,<br />

<strong>these</strong> sticks <strong>feel</strong> <strong>really</strong>,<br />

<strong>really</strong> <strong>good</strong>.” But don’t<br />

take our word for it, try them<br />

for yourself. We’re certain<br />

you’ll end up saying the exact<br />

same thing.<br />

To see the full line of professional<br />

quality, all-hickory 3<strong>Drum</strong>sticks visit:<br />

www.3drumsticks.com<br />

©2009 <strong>Drum</strong> <strong>Workshop</strong>, Inc.<br />

The 3 logo is a trademark of <strong>Drum</strong> <strong>Workshop</strong>, Inc. All Rights Reserved.<br />

,<br />

>GEAR GUIDE<br />

3druMsTicks xl Models<br />

3xl...soMe of 3’s MosT popular sizes<br />

are Now offered iN exTra large.<br />

By now, everyone knows that 3 <strong>Drum</strong>sticks are made from premium hickory and are<br />

quality-checked like no other sticks on the market. Superior wood and unsurpassed<br />

consistency makes for a pretty player-friendly drumstick. No rolling to find the<br />

bananas or weeding mismatched weights to find the “right pair”. This means you<br />

don’t have to worry about quality control when you buy your sticks, or worse, when<br />

you get home. You just get to play.<br />

Now, both of 3 <strong>Drum</strong>sticks biggest sellers are available in a longer, more beefed-up<br />

version. The 5AXL and 5BXL feature the same high-quality hickory as their standard<br />

length cousins, but offer a slightly longer profile with a wider shoulder , more suited<br />

for heavy hitters. DW VP of Sales and stick expert, Jim DeStefano elaborates, “Guys<br />

seem to <strong>really</strong> like the <strong>feel</strong> and playability of our sticks and they’re always asking<br />

us for very specific sizes. That’s not <strong>really</strong> our thing. We don’t do signature sticks<br />

and we don’t make the ‘way out there’ stuff that other stick companies make. We<br />

concentrate on the most popular sizes, the ones that drummers always have in<br />

their stick bags”. DeStefano continues, “So when we decided to come out with XL<br />

versions of our 5A and 5B, it was a big deal. As always, we decided to keep things<br />

simple, both are only available in a beefier Acorn-style tip. So far, the response has<br />

been amazing. <strong>Drum</strong>mers <strong>really</strong> like the longer sizes.”<br />

®<br />

®<br />

3 <strong>Drum</strong>sticks newest XL sizes are available at authorized dealers or to learn more,<br />

visit www.3drumsticks.com<br />

5AXL ACORN<br />

5BXL ACORN<br />

®<br />

www.pacificdrums.com<br />

Platinum SerieS<br />

travis smith_trivium<br />

The answer is yes, <strong>these</strong> guys <strong>really</strong> do tour with their Platinum Series<br />

drums. They proudly rock their PDPs on some of the world’s most highprofile<br />

stages because there’s no doubt in their mind that the drums look<br />

and sound high-end. They even get to design their Platinum drums just<br />

like they would with much pricier custom kits. Guess what, it’s not just<br />

reserved for the pros, you can do it too. Besides, you have more in common<br />

with your drum heroes than you think, you both live and breathe drums.<br />

pacific drums and percussion _live and breathe drums.<br />

©2009 Pacific <strong>Drum</strong>s and Percussion. All Rights Reserved. The PDP logo is a registered trademark of <strong>Drum</strong> <strong>Workshop</strong>, Inc.


oad StorieS:<br />

dw artists Hit europe<br />

photos by Dave Phillips<br />

Brooks Wackerman Tenacious D,<br />

Reading August 2008<br />

Scott Travis Judas Priest,<br />

Birmingham NEC, Feb 09<br />

Joey Castillo Queens of the Stone Age, Reading August 2008<br />

Daniel Adair Nickelback,<br />

Birmingham NIA, May 09<br />

Cora Coleman <strong>Drum</strong>mer Live, London June 2009<br />

Jack Bruno Tina Turner, Birmingham NIA, April 09<br />

De’Mar Hamilton<br />

Plain White T’s, Reading August 2008<br />

Ian Matthews Kasabian,<br />

Leicester De Monfort Hall, May 09<br />

Steve Morrison The View,<br />

Wulfrun Hall,<br />

Wolverhampton, Feb 09<br />

Johnny Quinn Snow Patrol,<br />

Birmingham NEC, March 09<br />

Neil Peart Rush,<br />

Birmingham NEC, October 2007<br />

Roger Taylor Queen, Birmingham NEC, October 2008<br />

Paul Bostaph Testament,<br />

Birmingham NEC, Feb 09<br />

[edge 8.0] 23


Jimmy paxSon<br />

under the radar<br />

no more<br />

stevie nicks’ stickman isn’t a newcomer and He’s<br />

not an overnigHt success. He’s an l.a. drummer<br />

wHo got tHe gig because He’s just tHat <strong>good</strong>.<br />

By Rich <strong>Man</strong>gicaro. Photo by Rob Shanahan.<br />

The underdog. We love rooting for them.<br />

But when we look further into their<br />

history, we find <strong>these</strong> ‘overnight success<br />

stories’ have already accumulated<br />

credits, have spent years schlepping on<br />

the road and have paid their dues – ten<br />

times over. Thus is the case with Jimmy<br />

Paxson. When I first met him, I had<br />

heard of his mother, Jazz keyboardist<br />

Sunnie Paxson. When I dug further, I<br />

found an astounding lineage of talent.<br />

Rich <strong>Man</strong>gicaro: Jimmy, I was intrigued<br />

when I learned about your musical family.<br />

What was it like to grow up in such a<br />

creative environment?<br />

Jimmy Paxson: My dad was always<br />

blazing on the drums and I watched him<br />

play all the time. He never sat me down<br />

and said “Well son, this is how you…”<br />

It was more through observation. He<br />

would have me play along to all <strong>these</strong><br />

great Jazz records while my Mom<br />

would have me listening and playing<br />

to Stevie Wonder, Herbie Hancock and<br />

whatnot. She is <strong>really</strong> artsy and helped<br />

me get in touch with the emotional side<br />

of drumming.<br />

RM: What was it like when you first got to LA?<br />

JP: Well, first thing I did was called a<br />

few drummers that I hoped to study<br />

with, finding their numbers through the<br />

Musicians’ Union. I left messages for<br />

Vinnie, Jeff Porcaro, Gregg Bissonette<br />

and some other cats. Gregg was teaching<br />

at the time, so I studied a bit with him,<br />

which was great. Later, I met Joey<br />

Heredia and he hipped me to Murray<br />

Spivack, who ended up reworking my<br />

entire approach.<br />

RM: Let’s talk about Murray. I think there<br />

are many drummers who don’t even know<br />

about him. Seems to be more of a West coast<br />

thing…<br />

JP: Studying with Murray was the greatest<br />

thing I ever did for my drumming. In<br />

the beginning, he said to me “Play like<br />

you play and practice like I show you.<br />

What I teach you will creep into your<br />

playing and the change will take care of<br />

itself.” It was a whole different way of<br />

holding and controlling a stick. Lot’s of<br />

emphasis on up-strokes, down-strokes<br />

and things like the mechanics of a flam.<br />

Learning the up-stroke itself was the<br />

biggest breakthrough and it is the one<br />

thing I see missing from players that are<br />

struggling with technique.<br />

RM: Jimmy, explain a bit more about the<br />

‘up-stroke’?<br />

JP: The up-stroke is a delicate release<br />

where the hand naturally drops,<br />

putting the wrist into motion and a<br />

stroke happens on the way up. For<br />

example, the leading hand of a 5-stroke<br />

roll would play the first 2 strokes on an<br />

up-stroke and the 5th would be a down-<br />

stroke…three strokes from one up &<br />

down motion. It’s just a more efficient<br />

way of playing.<br />

RM: Makes complete sense. While you were<br />

studying with Murray, what was going<br />

with you professionally?<br />

JP: There was a jam session at a LA club<br />

and I met Chris Chaney there. Chris<br />

later introduced me Gary Novak and<br />

honestly, a lot of what I’ve accomplished<br />

as a drummer stems from their early<br />

support. Later I ended up subbing for<br />

Gary with Robben Ford. It was my<br />

first actual tour… and a serious crashcourse.<br />

From there, I went on to work<br />

Ronnie Montrose, which turned into a<br />

gig that lasted, on and off for years.<br />

RM: What was the gig like with Ronnie?<br />

JP: It was great…all instrumental<br />

music. The hard part was that I knew<br />

I needed to establish myself in more of<br />

the mainstream music world. Strangely<br />

enough, it was around that time in ‘99<br />

when I got an unexpected call from<br />

Alanis Morissette’s tour manager<br />

asking me if I could leave for Venezuela-<br />

immediately. At first, I thought it was<br />

someone playing a joke on me but<br />

actually Gary was leaving the tour with<br />

short notice and Chaney recommended<br />

me to take over. It was an interesting<br />

position to suddenly be in, to say the<br />

least. Alanis was one of the warmest<br />

individuals I’d ever met and I’m happy<br />

to have been there.<br />

RM: Jim, being thrown into such a situation,<br />

how do you learn to nail it, on-the-fly like<br />

that?<br />

JP: I follow <strong>these</strong> five steps: 1) Listen to<br />

the tune. 2) Make a chart. 3) Play to the<br />

tune, with the chart. 4) Play to the chart,<br />

without the tune. 5) Play the tune,<br />

without the chart or the recording. My<br />

goal is that when it comes time to play, I<br />

don’t need to reference anything.<br />

RM: So, how did Stevie Nicks find you?<br />

JP: On a break from touring, I came home<br />

and my cartage guy, Ross Garfieldowner<br />

of <strong>Drum</strong> Doctors, had heard that<br />

Waddy Wachtel, Stevie’s bandleader,<br />

was looking for a drummer for her.<br />

Ross recommended me, for which I’m<br />

eternally thankful.<br />

RM: Along with learning all the songs, I<br />

know that you’re great at focusing on the<br />

right drum sound for the gig. How did you<br />

apply that to the Stevie audition?<br />

JP: I am a firm believer that bringing the<br />

right sound for any situation is key. I<br />

knew from learning Stevie’s music that<br />

I wanted the snare tuned way down into<br />

that Mick Fleetwood/Russ Kunkel/Stan<br />

Lynch zone. Ross has an old 7x14 Tama<br />

bell brass snare that I rented a few times<br />

and we both agreed it would deliver. At<br />

the audition, I hit it once and everyone<br />

noticed. That IS the sound for Stevie’s<br />

music and she heard it right away. To<br />

achieve this now, I use a DW 8”x14”<br />

Edge snare that just sounds unreal.<br />

RM: When did you find out you had the gig?<br />

JP: I was on the road with Edgar Winter<br />

and I didn’t hear anything from them<br />

for 3 or 4 days. In an airport, I noticed<br />

a missed call from Waddy. His message<br />

said: “Ah, Jim, it’s Waddy Wachtel.<br />

Listen, I don’t know what to tell ya…<br />

but, you got the gig. Welcome to the<br />

family. Hope you’re not doing anything<br />

for the next year or so!” That was about<br />

5 years ago.<br />

RM: Wow! How did it <strong>feel</strong>, getting that call?<br />

JP: Incredible. I’ve had other big gigs<br />

but that call was life changing. I had<br />

about 3 weeks of back-to-back work in<br />

Europe with both Sophie B. Hawkins<br />

and Edgar so I had no choice but to<br />

learn all the songs in hotel rooms and<br />

actually got home only the night before<br />

the first rehearsal.<br />

RM: So, without the kit to learn the tunes,<br />

how did you prepare so you felt ready?<br />

JP: I transcribed pretty much note for<br />

note what Mick, Russ Kunkel and<br />

Stan Lynch played and pretty much<br />

slept with headphones on. I had some<br />

pads in my room…that, with a lot of<br />

determination, I got through it. When<br />

I got home, I entered what I call “Camp<br />

Waddy!”<br />

RM: How is it playing with Lenny Castro?<br />

“My goal is that when<br />

it comes time to<br />

play, I don’t need to<br />

reference anything.”<br />

JP: Playing with Lenny is effortless…<br />

he’s simply the deadliest percussionist<br />

there is - period. His <strong>feel</strong> and choices are<br />

second to none and we quickly became<br />

real close, both on stage and off. I thank<br />

God for every moment with him and<br />

on top of playing all those great songs,<br />

Stevie gives us a big solo every night.<br />

With Lenny, you never know which<br />

direction it’s gonna go. For example,<br />

one night he may play his entire solo<br />

on his gong bass drum and a cowbell…<br />

other nights, he may use his entire rig.<br />

We both look at our solos as a place to<br />

be spontaneous. We have a set ending<br />

worked out, but other than that, it’s<br />

wide open.<br />

RM: Who were your influences that helped<br />

you learn to construct a <strong>good</strong> solo?<br />

JP: Tony Williams’ Lifetime “Believe It”<br />

record is THE drum bible. Also, there’s<br />

a live solo with Steve Gadd and Ralph<br />

McDonald on a Grover Washington<br />

Jr. video, which blows my mind. Any<br />

Dennis Chambers or Simon Phillips<br />

open solo and finally, John Bonham on<br />

Led Zeppelin’s “How The West Was<br />

Won”. These are all huge for me.<br />

RM: Jimmy, working for such diverse female<br />

singers, how do you adjust your playing to<br />

fit their varied styles?<br />

JP: I try to get acclimated to where<br />

they lay the cadence of their vocals, in<br />

relation to the beat - their way of <strong>feel</strong>ing<br />

the groove. Then, I connect with what<br />

they’re saying, lyrically and emotionally<br />

and convey dynamically what’s needed<br />

from there. It’s all about the subtleties.<br />

RM: That’s so true. So, what’s happening<br />

currently for you?<br />

JP: For a while, I was working with<br />

Giorgia Todrani, who is one of Italy’s<br />

most iconic singers. Recently, I’ve<br />

been doing some one-offs with Johnny<br />

Rivers, who hits include “Memphis”<br />

and “Secret Agent <strong>Man</strong>”. Other recent<br />

projects include CDs with A Fine<br />

Frenzy, Sharon Little, The Casualties<br />

Of Jazz, Julian Coryell and I recently<br />

did an eclectic tour opening for Louden<br />

Wainwright III, with my girlfriend,<br />

singer/songwriter Jenni Alpert.<br />

RM: Jimmie, your drum collection is <strong>really</strong><br />

a drummer’s playground!<br />

JP: I’m a bit of a collector. DW has <strong>really</strong><br />

raised the bar over the years on drum<br />

quality. I have quite a few of their kits,<br />

including Stevie’s favorite, a VLT Gold<br />

Glass finish set. I am also a junkie for<br />

old classic American drums, as well as<br />

import mahogany drums from Taiwan<br />

and Japan.<br />

Regarding cymbals, everyone at Paiste is<br />

like family to me and I use a combination<br />

of their lines. For drumheads, I use<br />

Evans and my sticks are Vic Firth.<br />

RM: Talk about your studio a bit?<br />

JP: My room is a recording/rehearsal<br />

space…I operate both Pro Tools and<br />

Logic. The room is about 20’ x 40’ with<br />

a 16’ ceiling and I do a lot of sessions<br />

there. I have an extensive drum<br />

collection, including some cool, vintage<br />

kits and tons of percussion stuff, so it’s<br />

a one-stop shop.<br />

RM: Jimmy, what would you say to players<br />

who are trying to make something happen<br />

for themselves, especially given our tough<br />

economic situation?<br />

JP: WORK ON YOUR TIME AND BE<br />

PREPARED!! With the Internet and all<br />

the available resources, the knowledge<br />

is out there to be absorbed 24/7. Like<br />

they say, ‘practice at home’. Once you<br />

get on a gig, if you’re lucky enough to<br />

have people to lean on, know that they’ll<br />

only carry you so far before you’re<br />

expected to stand on your own. Always<br />

support the music first and know the<br />

boundaries…then know when and how<br />

to step out without being musically<br />

distracting. The pressure is immense,<br />

but if you love music and you play<br />

for the song, that’s what it’s all about.<br />

You never know when the call is going<br />

to come in so just keep growing…and<br />

keep going.<br />

[edge 8.0] 25


DRUM CLINIC<br />

9 fuNdaMeNTal rudiMeNTs<br />

by deNNy seiwell<br />

photo by Alex Solca<br />

Denny Seiwell<br />

I n<br />

My years of playing and teaching drums, I<br />

always wanted to simplify the 26 rudiments into<br />

the strokes necessary to actually play the drums.<br />

By trial and error, I have been using this concept on<br />

beginning students to professional drummers. If either<br />

the pros or the students spend 10 minutes working on<br />

<strong>these</strong> exercises, it will greatly improve their drumming<br />

overall. It employs all of the necessary strokes that<br />

must be mastered in a fun and easy way.<br />

Lesson#1<br />

First we should learn how to hold the sticks. There<br />

are two types of grips used for playing drums. The<br />

traditional grip, which was developed due to the<br />

fact that originally the drum was hung around the<br />

neck with a strap, and therefore sat at an angle.<br />

This is not how drums set players today need to<br />

adjust to hit their drums. The traditional grip is<br />

wonderful and will be explained and taught at a<br />

later lesson. However, the other grip… the match<br />

grip is more in use today and simpler to get<br />

started. So we will start with this grip.<br />

Think of the grip, with holding hands palm<br />

down and waving <strong>good</strong>bye. In this way, the wrist<br />

hinges most easily, and goes up and down very<br />

effortlessly. Next, we place the stick between the<br />

tip of the thumb and the first joint of the index<br />

finger lightly closing the hand around the stick.<br />

Do not squeeze! It should be held as if holding a<br />

bird in the hand. The only pressure will come from<br />

fulcrum, which is the thumb and index finger. This<br />

is also light but firm for control’s sake. Next, we<br />

start by “waving <strong>good</strong>bye” with the stick in each<br />

hand which produces the first stroke; the single<br />

stroke roll. Slowly, we make the same stick path<br />

raising the sticks approximately 8 inches above<br />

the drum and down as we “wave <strong>good</strong>bye” with<br />

both sticks. If you are right-handed, your left stick<br />

might not cooperate. Don’t worry about this, it<br />

will improve with <strong>these</strong> exercises. Start to increase<br />

speed of the single strokes RLRLRL accelerating<br />

slowly but trying not to tense up the arms or<br />

hands. Best results come when you play as fast<br />

as you can until tension appears, and then stop<br />

and start over again. Try to make the same sound<br />

with each stick. Again, if you are right-handed<br />

the left stick might sound different than the right.<br />

This exercise is the very first thing we must learn<br />

in order to start getting control over the bouncing<br />

of the stick.<br />

Lesson #2<br />

Now that we have a grip and a stick path, the<br />

ability to stroke from the wrist, not the whole<br />

arm, we must learn how to bounce the sticks and<br />

stop and control the bounce. We now learn the<br />

“two stroke roll”. This was taught as “mamma<br />

dada”. We start by dropping the right stick and<br />

making a second sound with the bouncing stroke,<br />

but only one stroke. The right stick strokes and<br />

bounces one time and then must be stopped after<br />

the second note is heard, “mamma”. RR. Next, we<br />

do the same stroke with the left hand. Stroke and<br />

bounce stopped after the second note, “dada”.<br />

This is the hardest part of playing drums and<br />

when this is mastered all drumming becomes so<br />

much easier. It is the bounce stroke that will allow<br />

speed and ease of play. In this exercise we shall<br />

learn how to bounce and control the sticks. We<br />

start the same as the single stroke roll, by making<br />

the same stick path 8 to 12 inches from the head<br />

or playing surface if you are using a practice pad.<br />

Starting with the right-hand, we make the initial<br />

stroke with the right-hand, and follow it by a<br />

bounce stroke. Do not make two strokes of the<br />

wrist. It is a matter of dropping the stick lightly<br />

and allowing it to bounce one time only. RR.<br />

Next, we do the same with the left stick, which<br />

may be a little harder to do . Don’t worry, this will<br />

improve in time. Then we start hand-to-hand by<br />

making the stroke and the bounce from RR to LL<br />

and accelerate slowly, trying to make both notes<br />

(RR) (LL) the same volume and sound. As we get<br />

aster the bounce becomes easier, but try to keep<br />

the same space between the two notes and the<br />

same stick path up and down. You are now on<br />

your way.<br />

Lesson #3<br />

We now learn how to incorporate the fingers<br />

into the stroke, since we have the wrist and the<br />

hands working properly. When we practiced the<br />

bounce stroke, we automatically used he fingers<br />

to help stop our stroke. Now we will take that<br />

a step further by making a “3 stroke roll”. We<br />

start with the right hand making the stroke, the<br />

bounce and another bounce... ONE STROKE only<br />

with the wrist, and the bounce comes from the<br />

weight of the stick being dropped and allowed<br />

to bounce. ONLY two bounces though. Here<br />

comes the control part. (RRR) (LLL) etc. Again,<br />

we start slowly and pick up speed as it becomes<br />

more comfortable. Without having to think...we<br />

are using the middle fingers to stop the bounce<br />

stroke. This will also help us with our “2 Stroke<br />

Roll”. RRR, LLL RRR LLL. Trying to maintain the<br />

same stick path and sound of each stroke. This<br />

exercise will make your hands work with the<br />

proper pressure of the stick grip.<br />

Lesson #4<br />

We now move on to the “4 Stroke Roll”. This<br />

allows us to use more fingers in our stroke, which<br />

provides more control and power. We start by<br />

making a stroke, followed by “three” bounces<br />

of equal volume and space if possible. This<br />

exercise will not have to be played as quickly<br />

due to the degree of difficulty. (RRRR) (LLLL) etc.<br />

starting slowly and gradually picking up speed.<br />

Remember, DO NOT stroke from the arm, but<br />

from the wrist and fingers. One down stroke from<br />

the wrist and the bounces from the fingers. Again,<br />

we will use the middle fingers to help produce the<br />

bounce strokes, as well as to stop it. This exercise<br />

will enable the student to <strong>really</strong> learn to control<br />

the bounce stroke.<br />

Lesson #5<br />

We have now learned several of the 26 Rudiments,<br />

which I have boiled down to 5 basic rudiments<br />

that must be learned to enjoy playing the drums.<br />

.Next we learn the first of the hand-to-hand rolls<br />

beginning with the 5 Stroke Roll. We start this by<br />

a stroke and a bounce stroke with the right hand.<br />

Repeat this with the left hand, and add a single<br />

stroke at the end... producing the 5 stroke roll.<br />

RRLLR---LLRRL etc. again speeding up gradually<br />

and using the same stick path and sound of each<br />

note. This short roll will be followed by many<br />

measured rolls of various lengths. When this roll<br />

is played correctly, the last note of the 5 strokes<br />

will be accented slightly. Sometimes this roll is<br />

counted easily by the strokes 2- 4- 5, since they<br />

are played fairly quick. A bounce stroke with each<br />

hand, and a stroke with an accent at the end. The<br />

5 Stroke Roll. When playing <strong>these</strong> hand-to-hand<br />

ie. RRLLR LLRRL RRLLR LLRRL becomes easy,<br />

you are more than on your way to being able to<br />

execute just about anything on the drums.<br />

There... If you can remember to count to five, you can<br />

play the drums. As we now count backwards from<br />

five... we are going to learn a few more disciplines and<br />

rudiments of drumming... yes It Is That Simple !!!<br />

On the way back down from 5 to 4 to 3 to 2 to 1 again,<br />

we will cover all the main ingredients that are found in<br />

the original 26 rudiments of drumming.<br />

Lesson 6<br />

Upon reaching the completion of the first five<br />

exercise, we now count backwards with an<br />

exercise for the number 4,3,2 and finally 1. Here<br />

we go!!!!<br />

Having been at #5 we move on to #4 which is<br />

called the “4 Stroke Ruff”. A ruff is a series of<br />

notes played in rapid succession and in musical<br />

terms is made up of grace notes (softer notes<br />

than the original stroke).... so... we are going to<br />

play 4 notes rapidly starting with the right hand.<br />

RLRL. The last note (L in this case) is louder<br />

than the first 3 notes. It should sound like “dig<br />

ida bop” if you said the phrase quickly. With the<br />

accent or louder note being the “bop”. Once you<br />

have played this evenly, try to start the ruff using<br />

the other hand. LRLR, it is played faster than you<br />

can say 1234, hence the dig ida bop phrase....this<br />

is a way cool rudiment!!!<br />

Lesson 7<br />

Coming back down the count of exercises<br />

1,2,3,4,5,4 we are now at 3 again. This is an<br />

exercise very similar to the last one using the<br />

ruff. However this is only 3 strokes long...hence<br />

#3. We start this rudiment by playing two soft<br />

grace notes with the left hand, and a regular<br />

stroke with the right....llR....rrL....llR....rrL.<br />

The grace notes are played softer and spaced<br />

evenly like the 4 stroke ruff, but shorter. In<br />

the demonstration of sticking you will notice<br />

small letters for the grace note, and caps for the<br />

finishing stroke. llR....rrL....etc. going hand-tohand<br />

or starting each time with your other hand<br />

makes this rudiment very fluid to play when the<br />

motion is felt. The grace notes are played very<br />

close to the drum head, and the stroke uses the<br />

stick path used in all other rudiments so far.<br />

Lesson 8<br />

This brings us to the Flam, a rudiment which is<br />

basically 2 notes. A soft one, and a louder note<br />

played almost together. However, the grace note<br />

or 1st note is soft and the second note is louder.<br />

Again, the grace note is played much closer to<br />

the head or playing surface, and the main note<br />

is the same stroke used in all the other exercises.<br />

When you can play this rudiment going from<br />

hand to hand, you will notice a definite pattern<br />

and motion of the hands. This challenges the<br />

student into playing a loud and soft note almost<br />

together, and at the same time.<br />

Lesson 9<br />

This brings us back down from exercises<br />

1,2,3,4,5,--4,3,2 and 1 again. This time we perform<br />

the same single stroke roll that we performed<br />

in exercise #1. This time though, after having<br />

done the prior exercises, we can now hopefully<br />

perform this roll with more agility and speed.<br />

So there you have it, in a nutshell, if you can<br />

remember the exercise connected tot the number<br />

1 through 5 and back down to 1 again you have<br />

an entry level understanding of the 26 rudiments<br />

of drumming. At least enough to move forward<br />

with a few illustrations and exercises designed<br />

to get you behind the drum set and play a few<br />

simple patterns. The next section will give you a<br />

very basic tutoring in drum music as it is written,<br />

so we can help you find your way around the<br />

drum set enough to play a few simple beats.<br />

Congratulations! Who said drummers have no<br />

attention span?<br />

[edge 8.0] 27


NEW ARTISTS<br />

[22]<br />

[25]<br />

[13]<br />

[7]<br />

[17]<br />

[24]<br />

d = drums, pedals and Hardware<br />

p= pedals<br />

pH= pedals & Hardware<br />

[3]<br />

[14]<br />

[1]<br />

[12]<br />

[4]<br />

[5]<br />

[19]<br />

[21]<br />

[9]<br />

[2]<br />

[10]<br />

[23]<br />

[11]<br />

[20]<br />

[6]<br />

[1] scoTT phillips – creed d<br />

[2] daNiel adair – Nickelback d<br />

[3] scoTT Travis – Judas priesT d<br />

[4] Travis sMiTh – TriviuM d<br />

[5] eric gardNer - sTreeT sweeper social<br />

club/gnarls barkley d<br />

[6] roger Taylor – QueeN d<br />

[7] fioNa daNiel – The whip d<br />

*[8] Joe beck – The spill caNvas d<br />

[9] Joe pluMMer – ModesT Mouse ph<br />

[10] JereMiah greeN – ModesT Mouse ph<br />

[11] JeNNifer ledger – skilleT d<br />

[12] rylaNd sTeeN – reel big fish d<br />

[13] Taku hiraNo – beTTe Midler ph<br />

[14] Michael alaN berkowiTz – liza MiNNelli d<br />

*[15] JoNaThoN Mover – iNdepeNdeNT ph<br />

*[16] daN greco – sTudio d<br />

*[17] daNiel heTherToN – ellioTT MiNor d<br />

*[18] warreN oakes – agaiNsT Me! d<br />

[19] JaMal Moore – backsTreeT boys<br />

pdp druMs & dw hardware<br />

[20] adaM aaroNsoN – we are scieNTisTs ph<br />

[21] JasoN biTTNer – shadows fall p<br />

[22] MaTT leTley - sTaTus Quo ph<br />

[23] adaM Marcello – kaTy perry ph<br />

[24] dave grohl - sTudio d<br />

[25] doMiNic howard - The Muse d<br />

*arTisTs NoT showN<br />

[edge 8.0] 29


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