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 Contents
Contents Volume 27, Number 11

MD’s Snare Drum Spectacular!

And we do mean spectacular, folks.
Paul La Raia

Twenty pages of the most special, most popu-

lar, most historic, and most identifiable snare
drums of today and yesterday.

66
Tower Of Power’s UPDATE 20
David Garibaldi 44
David Garibaldi has balanced brainy sophistication and
Mike Cosgrove
of Alien Ant Farm
street-wise funkiness better than perhaps any other drum-
Paul La Raia

mer on the planet. And now he’s back where he belongs:

In the university of funk known as Tower Of Power.
Dustin Hengst
by William F. Miller of Damone

Pete Best
of the original Beatles
Chevelle’s
Sam Loeffler 56
Overnight sensation? Well, not quite. But listeners
Blair Sinta
with Alanis Morissette
introduced to Sam Loeffler’s huge beats and dra-
matic drum commentary invariably experience the Craig “Clune”
Paul La Raia

awesome power of the new.

by Waleed Rashidi McClune
with David Gray

Robert Jospé
of Inner Rhythm
Up & Coming
Derico Watson
With Victor Wooten
146 MD’s 2003
Few drummers minister to the drums with as much
passion and style as Derico Watson. No surprise Consumers
Paul La Raia

there, since Derico developed much of his talent in

the church. Poll Results
The best new gear? This month
by Robyn Flans
it’s your call.
26

WIN! WIN! WIN! WIN! WIN! WIN! WIN!

A Custom Kit From Smith Drums, Hand Hammered Cymbals From Sabian,
A Drum Rack, Hardware, And Pedals From Gibraltar,
And Sticks And Accessories From Vater. 64
Education
90 ROCK CHARTS 100 OFF THE RECORD 118 TAKING CARE OF BUSINESS
Simon Phillips: Led Zeppelin’s John Bonham: Insurance “In The Pocket,”
“Caught In The Balance” How The West Was Won, Part 1 Part 2: Reducing Your Risk
Transcribed by Joe Bergamini by Ed Breckenfeld by Bruce Hicks

98 CLUB SCENE 102 SPOTLIGHT 122 JAZZ DRUMMERS’

Spicing Up The Club Date Gig: The University Of The Arts WORKSHOP
Supercharge Your Dance Beats School Of Music Questions And Possibilities:
by Steve DeLuca by Rick Van Horn
Getting More From The Music You Hear
by Skip Hadden
114 THROUGH THE YEARS
Monster Kits
by Adam Budofsky

Departments Page 156

8 AN EDITOR’S OVERVIEW 116 ON THE MOVE 172 SPECIALTY PRODUCTS

Snare Drum Spectacular SHOWCASE
by Rick Van Horn
156 CRITIQUE
176 DRUM MARKET
10 READERS’ PLATFORM 162 BACKBEATS Including Vintage Showcase
The 2003 Montreal Jazz Festival,
12 IT’S QUESTIONABLE Rock ’N’ Roll Fantasy Camp ’03, 184 DRUMKIT OF THE MONTH
and more
16 ASK A PRO
Antonio Sanchez, Derek Roddy,
and Brad Hargreaves

Equipment
32 PRODUCT CLOSE-UP
RMV Concept Series Drumset

Page 32 34 New Paiste Dimensions Models

36 Drum Workshop 9000 Bass Drum

Pedals And 9500 Hi-Hat
Page 134

38 Sunlite Studio Drumkit

39 Quick Looks: Sonor Sound Wires

126 SHOP TALK
40 Silver Fox Drumset Sticks Building A Creative Environment:
A Perfect Practice Space Makes
41 MRP Hardware For Perfect Practice
by Bob Gatzen

134 NEW AND NOTABLE

Including hot new gear from the
summer NAMM Show!
AN EDITOR’S OVERVIEW

Volume 27, Number 11

The World’s Most Widely Read Drum Magazine
EDITOR/PUBLISHER RONALD SPAGNARDI
CHIEF FINANCIAL OFFICER ISABEL SPAGNARDI
ASSOCIATE PUBLISHER TRACY A. KEARNS
SENIOR EDITOR RICK VAN HORN
EDITORIAL DIRECTOR WILLIAM F. MILLER
MANAGING EDITOR ADAM J. BUDOFSKY
EDITORIAL ASSISTANT SUZANNE HURRING
SENIOR ART DIRECTOR SCOTT G. BIENSTOCK

Snare Drum Spectacular ASSISTANT ART DIRECTOR

ASSISTANT ART DIRECTOR
ADVERTISING DIRECTOR
ADVERTISING ASSISTANT
MICHELE M. HEUSEL
JOSEPH KING
BOB BERENSON
JOAN C. STICKEL
rummers generally agree that the snare drum is the most impor- EDITOR/ADVERTISING ASSOCIATE BILLY AMENDOLA
D tant and personal of all the drums on a kit. It’s “the main voice in
the choir”—the voice that’s supposed to break out of the ensemble of
WEB SITE DIRECTOR
OFFICE ASSISTANT
KEVIN W. KEARNS
ROSLYN MADIA
OFFICE ASSISTANT ROSEMARY BLAHA
the toms and kick drum to make a definite and unmistakable state-
ment. Problem is, with all the makes, models, sizes, and designs of
MODERN DRUMMER ADVISORY BOARD: Henry Adler,
snare drums on the market today, it’s hard for a drummer to decide Kenny Aronoff, Eddie Bayers, Louie Bellson, Bill Bruford, Harry
Cangany, Jim Chapin, Dennis DeLucia, Les DeMerle, Len
just what statement he or she wants to make! DiMuzio, Charlie Donnelly, Peter Erskine, Vic Firth, Bob Gatzen,
Back in the day, snare drum choices were fairly simple. Drums Danny Gottlieb, Sonny Igoe, Jim Keltner, Paul Leim, Peter
Magadini, George Marsh, Joe Morello, Rod Morgenstein, Andy
were wood or metal, shallow or deep. Wood generally meant a ply Newmark, Neil Peart, Ed Shaughnessy, Steve Smith, Ed
Thigpen, Billy Ward, Dave Weckl, Paul Wertico.
shell, usually of maple or a combination of maple and something
else. Metal generally meant a rolled steel or brass shell. Shallow CONTRIBUTING WRITERS: Michael Bettine, Robyn Flans,
Burt Korall, Rick Mattingly, Ken Micallef, Mark Parsons, Mike
meant 5" or 51⁄2", deep meant 61⁄2" or (occasionally) 8". Haid, Robin Tolleson, Lauren Vogel Weiss, T. Bruce Wittet.
Today, the choices are literally overwhelming. Sure, the standard MODERN DRUMMER magazine (ISSN 0194-4533) is pub-
lished monthly by MODERN DRUMMER Publications, Inc.,
models still exist, but they’ve been joined by literally hundreds of 12 Old Bridge Road, Cedar Grove, NJ 07009. PERIODICALS
variations. There are enough different wood types to boggle a MAIL POSTAGE paid at Cedar Grove, NJ 07009 and at addi-
tional mailing offices. Copyright 2003 by MODERN DRUM-
botanist. Solid-, stave-, and segment-shell models have augmented MER Publications, Inc. All rights reserved. Reproduction
without the permission of the publisher is prohibited.
ply shells. Metal shells might be anything from aluminum to bell
bronze to titanium—to say nothing of synthetic materials like acrylic, EDITORIAL/ADVERTISING/ADMINISTRATIVE OFFICES: MOD-
ERN DRUMMER Publications, 12 Old Bridge Road, Cedar Grove,
fiberglass, and carbon fiber. Drums are now as shallow as 2" and as NJ 07009. Tel: (973) 239-4140. Fax: (973) 239-7139.
Email: mdinfo@moderndrummer.com.
deep as 10". And let’s not forget diameters. The industry-standard
MODERN DRUMMER welcomes manuscripts and photographic
14" snare has given way to an assortment of sizes ranging from 6" to material, however, cannot assume responsibility for them. Such
16". And where those diameters at one time were topped only by items must be accompanied by a self-addressed, stamped envelope.

rolled-steel or die-cast hoops, today drummers can also choose SUBSCRIPTIONS: US, Canada, and Mexico $34.97 per year;
$56.97, two years. Other international $41.97 per year, $79.97, two
multi-ply wood hoops with recessed tension-rod holes. And don’t get years. Single copies $4.99.
me started on lugs, snare wires, and throw-offs!
SUBSCRIPTION CORRESPONDENCE: Modern Drummer, PO
With all these dizzying choices, what’s a drummer to do? Frankly, Box 480, Mt. Morris, IL 61054-0480. Change of address: Allow at
least six weeks for a change. Please provide both old and new
I’d say, “First, stand up and cheer!” (I’m not one who believes you address. Toll free tel: (800) 551-3786.
can have too much of a good thing.) Then, sit back down and peruse MUSIC DEALERS: Modern Drummer is available for resale at bulk
the pages of this month’s Snare Drum Spectacular feature. You’ll rates. Direct correspondence to Modern Drummer Retail Vision, 2
Maple Street, Suite 6, Middlebury, VT 05753, (800) 381-1288.
learn what’s on the market, what the drum companies think makes a
REPRINTS: For reprints contact Heather Osborne at PARS
good snare drum, what elements are involved in a snare drum’s International Corp., tel: (212) 221-9595, ext. 333, fax: (212) 221-1468,
sound, and how some of the great drummers of the past and present heather@parsintl.com, www.magreprints.com.

created their signature sound. It’s our hope that this information will INTERNATIONAL LICENSING REPRESENTATIVE: Robert
Abramson & Associates, Inc. Libby Abramson, President, PO Box
help you create a signature sound of your own. Enjoy! 740346, Boyton Beach, FL 33474-0346, abramson@prodigy.net.

POSTMASTER: Send address changes to Modern Drummer, PO

Box 480, Mt. Morris, IL 61054.

MEMBER: Magazine Publishers Of America, National Association

Of Music Merchants, American Music Conference, Percussive
Arts Society, Music Educators National Conference, Percussion
Marketing Council, Music Magazine Publishers Association

MODERN DRUMMER ONLINE: www.moderndrummer.com

PRINTED IN THE UNITED STATES

8 Modern Drummer November 2003

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 READERS’ PLATFORM

KEITH CARLOCK
Thanks for the article on Keith Carlock. I I feel, however, that I must submit a cor- as a featured member of “The Drummers
was impressed to learn about this talented rection. On your contents page, you ask, Of Woody Herman.” I had the privilege of
young drummer. And I always enjoy “Who’s the only drummer to play on an studying with Ed for four years. He is a
reading about one of my favorite bands, entire Steely Dan album?” The implication— truly inspirational drummer, educator, and
Steely Dan. reaffirmed as a statement on page 44—is that gentleman. Anyone who has the chance to
Carlock holds that distinction. This is not cor- study with Ed Soph should take advantage
rect. Keith is actually the second drummer to of the opportunity. Based on Keith
play on an entire Steely Dan album. Carlock’s comments, I’m sure that he
Jim Hodder, The Dan’s original would agree.
drummer, was the only skinsman on David Barsalou
their first two albums: Can’t Buy A Chicopee, MA

Thrill and Countdown To Ecstasy.

Hodder also holds the distinction of STEVE JOCZ
being the only drummer to sing lead I vowed that I’d never write one of these
vocals on a Steely Dan song: letters, but after reading your July cover
“Midnight Cruiser,” from their debut. interview with Steve Jocz, I find it very
Tomas Howie hard to sit back and smile. I’m a twenty-
via Internet three-year-old who’s been playing
metal in its many forms since my
RESPECT FOR ED musical start at age thirteen. Before
It was great to see Ed Soph’s name you claim that Mr. Jocz is the new
mentioned twice in “single stroke wizard” and “king of
your August speed,” please listen to
2003 issue: Nick Barker of Dimmu
first by Keith Borgir and Cradle Of Filth,
Carlock in his or Trym of Emperor.
Lissa Wales

cover inter- I wouldn’t be writing

view, and then this if the questions had

IN-EAR CAUTION icked, thinking, “I have got to get this thing out of my ear!”
I enjoyed Mark Parsons’ June and July articles on in-ear monitor- So I pulled it out. There was blood on it. My ear hurt like hell, and
ing. While I agree that there are tremendous benefits to such sys- I couldn’t hear out of it. I had pushed the earpiece too far into my
tems, I’d like to weigh in on one of the dangers of in-ear monitors. I ear canal. A suction was created between the earpiece and my
want to preface my story by saying that it is in no way intended to eardrum. As I pulled the earpiece out of my ear, it pulled a small
slam a Shure product. The problems I experienced were completely piece of my eardrum with it. Thus the blood...and the pain.
the result of user error. I do not fault Shure for any of this. As bad as this was, I figured it would heal itself in a short
It was my first weekend with my new Shure E1s. After time. I was wrong. The next time I went to the gig and tried
trying out the different included earpieces (the foam to sing, I had no control over my voice. I couldn’t hit any
ones and the three different sizes of flex sleeves), I set- pitch I tried for. I also had no volume anymore. I
tled on the large flex sleeves. had to see an ear, nose, & throat specialist for
Our first three sets went by without incident. As with countless dollars’ worth of antibiotics and
most bands, the last set got a lot louder. I kept feeling eardrops to combat the problem—which my
like the monitor driver in my right ear was slipping out, insurance didn’t cover. It took about eight weeks
allowing the band’s stage volume to creep in. So I to get my voice and my hearing back 100%.
started pushing the driver back into my ear in between I solved the problem by retrofitting the E1s with
songs. Later, I was sticking it back in between custom ear molds from Westone for about $100 plus
beats. By the time we finished the last set I was the cost of a visit to the audiologist. It’s been well worth the extra
pretty frazzled, but still excited about the whole IEM thing. I figured, money. I can’t push them too deep into my ear canal, because they
“These things take some getting used to.” flare out before they get too far in. And now I’m enjoying all the
When I tried to remove the earpieces, the left one came out fine. benefits of in-ear monitoring that I was seeking in the first place.
The right one hurt—a lot. I started to get nervous, so I let up on it. Tim Prescott
When I tried again, it still hurt deep inside my ear. I practically pan- Gulf Breeze, FL
 been more like,
“So what is it
like playing
punk,” or “Why
couldn’t you
guys try some-
thing that no
one has done
before, instead
of jumping on
the bandwag-
on?” I still
love your
magazine and I always will. But a spade
is a spade...label it that way.
Michael Wayne Pierson
via Internet

GENE KRUPA
After enjoying the Gene Krupa article in
your July issue, I thought your readers might
enjoy my own GK story. As an eleven-year-
old aspiring drummer in the early 1960s, I
idolized Gene. One night, my dad took me to
see Gene at a theater in The Bronx. At the
end of his show, I went to the stage door to
request a visit with Mr. Krupa. The doorman
told me that Gene was not feeling well and
would not be seeing anyone. I went back to
my seat and told my dad the disappointing
news.
A few minutes later, a flashlight-bearing
usher came down the aisle looking for me.
He said, “Mr. Krupa instructed me to find
you and bring you to his dressing room.”
Gene and I talked for half an hour about
drums, and about my favorite album—
Benny Goodman’s 1938 Carnegie Hall
Concert. I just about melted away when
Gene told me that he was good friends with
my drum teacher, Sam Ulano. All I could
think of was that Gene Krupa and I had a
mutual friend!
Today, at the age of fifty-one, I can still
feel the excitement of that meeting. I hold a
special place in my heart for this innovative
drummer, who was also a kind soul who
took the time to make a kid feel so good.
Peter Greco
Syosset, NY

HOW TO REACH US
Correspondence to
MD’s Readers’ Platform may be sent by mail:
12 Old Bridge Road, Cedar Grove, NJ 07009,
fax: (973) 239-7139,
or email: rvh@moderndrummer.com.
 IT’S QUESTIONABLE

Cleaning Those “The green spots you describe sound Unmuffling Drums
Stubborn Stains like oxidation (rust) that might have been I have a 1972 Morning Star Japanese

Q I have a 22" A Zildjian Ping ride with

a brilliant finish. Unfortunately, at one
caused by the oil spill trapping existing
moisture underneath. Once that oxidation
Q import drumset. The shells are made of
a 5-ply, light-colored wood with loose
time some kind of oil had dripped on to the process becomes visible, no amount of grain. The bearing edges originally just
cymbal, leaving green dots all over it. I cleaner will remove the effect. If the oxi- had a round-over on them, so I put 1⁄2'' x
tried using Zildjian Cymbal Crème to dation has not gone too deep, you could 3⁄ " foam tape on the top and bottom heads
4
remove them, without success. Should I attempt to “re-buff” those areas with jew- to get a better sound. I’ve since had new
use an even more heavy-duty metal clean- eler’s rouge, which is a type of abrasive 45° bearing edges installed.
er, like Twinkle Copper Cleaner, Noxon, grease. But you must take great care to I want to maintain the 1970s sound that
or Brasso? make sure that the friction caused by this the drums have now, but I need more pro-
Phil Cormier process doesn’t heat up the cymbal. If it jection. I’m wondering if I can open up the
Fitchburg, MA
becomes too hot, that area of the sound more by 1) retuning, 2) removing
instrument will become brittle and will the foam from the heads (the backing tape
Zildjian director of education John eventually crack. would have to stay), 3) removing the foam
A King replies, “Brilliant cymbals will
usually clean up very easily due to their
“I wish I could be more helpful on
this, but Mother Nature does have her
from one side or another of each drum, or
4) buying new heads and starting all over.
smooth, buffed surfaces. So they don’t way at times with organic instruments Tracy Turner
via Internet
require a heavy-duty cleaner. Traditional such as cymbals. Cleaning cymbals regu-
lathed cymbals have more pronounced larly will usually avoid any issues with
grooves, so we recommend Zildjian’s discoloration and rust. But it must be Using foam-muffled heads on shells
Professional Cymbal Crème to help pull
out grease and grime on such cymbals.
done before the effects of oxidation
take hold.”
A with sharply cut bearing edges
involves a conflict of effects. The sharp

Muffling Drums When you see

Q Over the past thirty-six years I’ve used duct tape

and/or pieces of cloth on my top and bottom drum-
heads in an effort to take some ring out of my drums. But
drums without
muffling on live
playing shots, it’s
in virtually all the photos I see in your magazine (and else- probably because
where), there’s no taping or muffling on anyone’s heads. I the heads were,
certainly agree that taping looks bad, but it’s the only muf- in fact, not muf-
fling method I know of. Have I been doing something fled. A lot of
wrong? Is there a way to adjust the top and bottom heads today’s drum-
that can give me a nice tone, yet not ring so much? mers are going for a more natural,
Mike Daley lively sound from their drums,
via Internet
with little or no muffling involved.
They rely on the sound engineer’s

A There are several possible reasons why you aren’t

seeing tape on drumheads in the photos you’re view-
ing. First, there are several different types of drumheads
skill at EQ-ing out any problematic
ring.
If you’re using muffling to
available today that feature built-in muffling characteris- achieve the sound you need, you
tics. These characteristics include muffling rings, dots, and shouldn’t feel like you’re doing
“vent” holes. It may be that such heads are being used in anything wrong. It’s all a matter of
the photos you mention. the right means to gain the
It may also be that tape, Zero Rings, Moongel, and other end that you seek. However,
external muffling devices were being used on the drums, if you feel that taping looks
but were simply removed for the benefit of a “cleaner” bad, we suggest that you
look when the photos were taken. This would most likely experiment with the many
be the case if the shots were taken in a studio or at the muffling devices and materi-
drummer’s home. als on the market, in order to

12 Modern Drummer November 2003

 #(/)#% /& $2)6%3
$%,4! 3934%-
!,5-).5- (%8 3(!&43
,).+!'% !.$ 0,!4%3
%,%6!4/2 (%%, /04)/.

0%$!, 30%#)!,)343 6)..)% #/,!)54! $25- 7/2+3(/0 !.$ 9/52 ,/#!, $7 $%!,%2 6)..)% #/,!)54! 0,!93 4(%
$7 !$ $/5",% "!33 $25- 0%$!,
 bearing edges promote attack and sustain. Or, if you know that you’re going to be
The muffling reduces those very character- switching within a certain tune, set the
istics. So, if you want to keep the muffled, sticks or brushes on a floor tom ahead of
’70s sound but increase projection, you time, and simply avoid using that drum until
need to achieve a compromise between the you’ve made the switch.
two factors.
We suggest removing the foam a little at
a time, in sections. In essence, you need to Expanding A 1980s
“back off” on the muffling—just to the Ludwig Classic Kit
point where you get the projection you My set is an early 1980s Ludwig
need without going to a totally unmuffled
sound. As far as tuning goes, you can get a
Q Classic with power toms and a black
wrapped finish. I’d like to add a 9x6 rack
little more life and projection out of muf- tom and an 18x20 floor tom. Is it possible
fled heads by tightening them up a bit. This to find out how many—if any—of these
will, of course, raise their pitch somewhat. sizes were made? In surfing eBay over the
So again, it’s a compromise between char- past few years, I’ve seen about three 18x20
acteristics. floor toms, but I’ve never seen a 9x6 tom
Remember, too, that you can gain a good that would match my set. Any info would
deal of projection and resonance by work- be much appreciated.
ing with the bottom heads on your toms Andy Kelly
via Internet
and the front head on your bass drum.
Bringing them up in tension (and making
sure they’re in tune with themselves to
begin with) will contribute a great deal to
the overall life of the drum before you even
A Ludwig product manager Jim
Catalano replies, “There were many
Ludwig Classic drumsets sold in the
touch the top heads. early 1980s, but few 18x20 floor toms.
That means that the likelihood of finding
one from a private owner is mathemati-
The Ol’ Stick Swap cally slim. A 9x6 rack tom was not avail-
How does one make a smooth transi- able at all, so that eliminates the possibil-
Q tion from brushes to sticks (or sticks
to brushes) in the middle of a song?
ity of a private source.
“Fortunately, the finish of your kit is
Whenever I make the switch there’s Black Cortex, which is still available
always an uncomfortable gap in the today. We can make a 9x6 tom in that
music. finish as a special order. It could be
Matt Oxley shipped to the Ludwig dealer of your
Portland, OR
choice within about a month.
“Unfortunately, the 18x20 floor tom is
Most drummers make a smooth transi- no longer available, even as a special
A tion from brushes to sticks (or vice
versa) by “covering” with their left foot.
order, because we no longer make tom
hoops in a 20" diameter. However, as an
(hi-hat splashes work great for this.) alternative, there is a way you could cre-
Drummers also make transitions by switch- ate a 16x20 floor tom. If you can find
ing only one hand at a time, while continu- 20" stamped hoops from a drumshop,
ing to play with the other hand. When the you can order a 16x20 bass drum from
new tool is in the first hand, they play with Ludwig. Specify that it be made with no
that, while switching the one in the other mounts or spurs. Replace the wooden
hand. With a little practice, this can be done bass drum hoops with the steel stamped
very smoothly. A key to that smooth transi- hoops. You’ll also need to replace the
tion is to pick the right musical spot in bass drum-specific heads with tom-spe-
which to do it, so that you have a little time cific models in order to provide the
in which to accomplish the switch. appropriate collar. Your dealer will also
It’s also helpful to have your sticks and need to install three P1216D tom-leg
brushes placed within easy reach. Reaching mounts on the bass drum shell, and add
into a stick bag during a song can be awk- three 9.5-mm tom legs (model
ward. There are several stick holders on the #LC1023TL). Thanks for playing
market that can clamp onto a stand and put Ludwig drums.”
sticks within convenient grabbing distance.

14 Modern Drummer November 2003

 &,/!4).' 2/4/2
).&).)4% 4/215% !$*534-%.4
&,/!4).' 302).' !33%-",9
$%,4! 0,53
-5,4) "%!2).' 3934%-

0%$!, 30%#)!,)343 34%6% 3-)4( $25- 7/2+3(/0 !.$ 9/52 ,/#!, $7 $%!,%2
34%6% 3-)4( 0,!93 4(%
&2%% $7 4( !..)6%23!29 $6$ 7)4( 052#(!3% /&  3%2)%3 0%$!,3 $7  $/5",% "!33 $25- 0%$!,
 ASK A PRO

P a t M e t h e n y ’s Antonio Sanchez A n d T h e C l a v e
Your drumming has inspired me as much as
Q Dave Weckl’s, Steve Gadd’s, or Vinnie

Alex Solca
Colaiuta’s drumming have. The way you
approach traditional rhythms such as son and
cumbia is really amazing. You are rescuing our
roots and incorporating them into contemporary
music.
In the song “Etude” by Avishai Cohen & The
International Band, you guys play the solos over a
vamp that’s repeated over and over. Would you
explain in what time and rhythm this piece was
written?
Thank you for bringing drums and music to a
higher level.
Andres Jimenez
Orlando, FL

Wow! It’s an honor that you would put me

A next to those drumming legends. Thank you
so much.
“Etude” has a bunch of different parts. After
the rubato intro, we go into a 3/4 rhythm called
“chacarera,” which is originally from Argentina.
For the solos, we go into a section that is a three-
bar phrase with a regular rumba clave under it.
When you have a two-bar pattern like the clave
and try to play it in three-bar phrases, you end up
with one full clave pattern and the first half of the
next clave on the third bar, and then it repeats.
(See example 1.)
Also, notice the last 8th note in the third bar. I
use that as a preparation for the pattern to start
again. That’s the only thing you would actually
add to the clave for it to make a little more sense
musically.
For the drum solo, we launch into a section that
was pretty hard to play over when we first started
rehearsing it. It’s also a three-bar phrase, but it
has weird accents under it. I wanted to be able to
play freely over it but also to catch the accents
being played under me, so that I could resolve my
phrases at the right spots. That took me a little
time to get comfortable with. (Example 2 indi-
cates the band accent pattern.)
Example 3 illustrates how the accents that are
being played in the vamp fall underneath the
clave. The clave is present and felt throughout the
whole piece, even though it might not be played
all the time. I was playing a little bit of both dur-
ing the bass solo. I hope this explanation is clear.

16 Modern Drummer November 2003

 Brad B l a s t B e a t s F r o m H a t e E t e r n a l ’s
Hargreaves’ Derek Roddy
Third-Eye Setup Q I’m drumming in an extreme metal band. I’m constantly searching for tips on “blast
beats,” but that’s not a topic covered in magazines or books that I’ve found. What can
Your work on Third Eye Blind’s Out I do to clean up my beats and pick up the speed that you have?
Q Of The Vein is nothing short of amaz-
ing. You are without a doubt my biggest
Mike Brown
Hobbs, NM

influence today. I’d like to know the make

and the dimensions of your kit. Thank Ah, the ever-popular blast beat! A blast beat
you, and keep up the fabulous work!
Evan Kaufman
A breaks down as straight 8th notes played on
the ride (or hat), kick drum on the downbeats
via Internet
(the 1, 2, 3, and 4), and straight 8th notes played
on the snare on the upbeats (the &s). I like to
Thanks for checking out our record. count blast tempos as 16th notes at higher
A I’m glad you like and appreciate my
playing. It’s quite flattering just to be
speeds. This way you hear more “clicks,” and
there’s not so much “open space” between the
asked a question for MD’s Ask A Pro. beats.
My kit was made by D’Amico Drums, a The best exercise I can suggest for strength-
small company based in the San Francisco ening your blast beats is alternating 16th-note
Bay Area. It consists of a 19x22 bass single strokes between a hand and a foot. There are four combinations I like to practice, each
drum, a 9x12 rack tom, and 12x14 and of which is invaluable in gaining speed and endurance while playing fast tempos for long
14x16 floor toms. I use a 6x14 D’Amico periods. Doing these will strengthen your weaker limbs, which is really important in keeping
snare, along with many others (mainly your body balanced. You’ll need a metronome to monitor the suggested tempos of from 180
vintage), and I have a 6x10 D’Amico to 250 bpm. But start at a tempo at which you feel comfortable.
mini-snare to my left. You can look on The combinations are: left foot/right hand, right foot/left hand, right foot/right hand, and
www.damicodrums.com for more info on left foot/left hand. Play each combination for two minutes, with a four-count rest in between.
the drums. Thanks for your interest. This makes a total of an eight-minute exercise. You should start each combination with the
Cheers! kick drum. If you want to go another eight minutes, you can do the same exercises starting
with the snare drum. This creates a totally different feeling within the body, which is impor-
tant to develop.
When these exercises are done consistently, you’ll be able to feel the difference between
the downbeat and the upbeat. Feeling that difference is the hardest part of controlling blast
beats and playing them cleanly. What good is playing at 250 bpm if it’s a bunch of slop? So
take your time. You won’t notice a difference overnight, but if you practice the exercises
once a day, you should see a big difference within a couple of months. I did.
I wish I could tell you that there’s a secret technique, but there isn’t. You just have to push
yourself as much as possible—within safe physical limits, of course. I’m currently working
on an instructional video on extreme drumming. It will cover double bass speed, blast beats,
set-up and tuning, and creating your own drum parts. It will also feature some solos and some
live Hate Eternal footage. Stay tuned to derekroddy.com or hateeternal.com for more infor-
mation. Thanks a lot for your interest.

“If you’re auditioning and thinking about the drummer who did the gig before,
trying to measure up to the way that person plays, it doesn’t work. Just do
Alex Solca

what you do. I’ve found that you’re much more appreciated that way.”
Hilary Jones, February 2001

Would you like to ask your favorite drummer a question?

Send it to Ask A Pro, Modern Drummer, 12 Old Bridge Rd., Cedar Grove, NJ 07009.
Or you may email rvh@moderndrummer.com. We will do our best to pursue every inquiry.

18 Modern Drummer November 2003

 UPDATE

ALIEN ANT FARM’S

Mike Cosgrove
lien Ant Farm drummer Mike Cosgrove is thinking back on the band’s recording
Truant Time
tune,” Mike says, “and dare I say it’s close to authentic. Well, it’s as close as we
A sessions for their latest release, truANT, with producers Dean and Robert DeLeo.
“My tracks on our last record [ANThology] were a little more gated and controlled,”
get. It was fun to get our feet wet on that one and see what we could do as a
band.” Like on “Attitude” from their debut, Lenny Castro contributed percussion
Cosgrove says. “And even though it was heavy and rockin’, this time the producers let tracks to “Tia Lupe.”
me do my own thing and stretch a bit. They had their suggestions, but it was cool. Those two songs, along with the reggae-flavored “Never Meant” and “Rubber
They were encouraging. In fact, they would say, ‘That’s it, I think we got it.’ And I was Mallet,” inspired Cosgrove to add a timbale to the right of his green DW maple kit.
like, ‘No, it’s not.’” In the studio, Cosgrove played a bevy of Zildjian cymbals including the new ZXTs.
With that, Cosgrove laughs, because the band did have fun recording the twelve “I was switching cymbals on pretty much every song,” he admits. “That was fun.
songs that appear on their sophomore release. As for the drum parts, Cosgrove took a I’ll take a basic set on the road and not alter it too much. But I had a million cym-
similar approach to the sessions he did for ANThology. “I still have the same goals as bals in the studio.”
far as being musical,” he explains. “Hopefully I play a little bit better than on the last Of course, that led the band to give him a hard time. “Everybody was like, ‘More
record. I didn’t intentionally do anything differently. I just practiced.” cymbals? What the heck?’ I said, ‘Screw you guys. You have a million frickin’ amps
That doesn’t mean that recording truANT was a snap. Cosgrove says he faced and guitars all over the place. Let me have my fun.’”
challenges throughout the recording—the song “Tia Lupe” for instance. “It’s a Latin David John Farinella

20 Modern Drummer November 2003

DAMONE’S ver the years there
Pete Best
Dustin Hengst O have been many
people who claimed the
Beatle Beginnings
Driving A Song title of “Fifth Beatle.”
But when you think
amed after the wise-cracking ticket want from drummers in the studio and about it, Pete Best
N scalper from Fast Times At
Ridgemont High , Boston-based rock
what works best for recording,” Dustin
states. “I have an expanded vocabulary
deserves the tag as
much as anyone. The
band Damone combine Joan in that area now, and I get ideas all the Beatles: The True
Jett–inspired rock ’n’ roll brattiness with time. However, with Damone I feel I Beginnings is Pete’s new
Cheap Trick–worthy power-pop sensibil- need to focus on playing a basic four- book (written with his
ities. Setting itself apart from the pack on-the-floor rock vibe. If it sounds good, brothers Roag and Rory)
with the tomboyish verve of eighteen- it’s good, and I’m not going to think too about his early days with
year-old vocalist Noelle, the quartet’s much about the technical aspects of it.” the group that changed
major label debut, From The Attic, infus- The young drummer’s energetic play- the world.
es tales of teenage misadventure with ing style seems perfectly suited to “The book turned out
hyper-kinetic energy. Drummer Dustin Damone. “When we play live,” Dustin exactly the way we
Hengst says players like Phil Rudd, says, “I try to focus on having a sense of wanted it to,” Best says
Tommy Lee, and Queen’s Roger Taylor reckless abandon. When it comes to my proudly. “It really tells
most influenced his playing style. style, I don’t feel like I’m reinventing the the true story of the beginning of The Beatles. As Paul McCartney wrote in the
Drumming since his early teens, wheel. I’m just trying to keep the wheel opening to the book, ‘Everyone knows about the Cavern. Now it’s about time the
Hengst eventually studied music engi- rolling, carrying on a tradition of rock ’n’ world got to know about the Casbah.’” (McCartney is referring to Pete’s mother’s
neering at Berklee College before roll drums.” coffee club, where the band got its start.)
switching to the school’s performance Building a sense of urgency on songs Speaking of the early days of the Beatles, the world finally got to hear the
program. “I learned a lot at Berklee like “On My Mind” and “You & I” is original demos that Pete recorded with the band when they released Anthology
about what producers and engineers something Dustin learned from listening 1. “That came as a total surprise, to be quite honest.” Pete explains. “I was
to early Police records. “It’s about play- aware, like the rest of the world, that Anthology was coming out. But I had no
ing in front of the beat and driving a inkling that I was going to be included on it—and on ten tracks. It was like,
song rather than just being along for the ‘Well, thank you for remembering my contribution.’”
ride,” he says. “With certain songs that Besides the Anthology CD and his new book, Pete is ready to record and tour
have fast tempos, I’m driving the other with a new, six-piece band. “My brother Roag and I will be touring together,” he
players and pushing them. Other times, I says. “It’s a double-drum outfit, and we’ll both be playing drums on stage at the
set up portions of the song with aggres- same time. It’s a very big-sounding group, with top musicians from Liverpool. We
sive, over-the-top drum fills, where I’m plan to have a new record out by March of 2004.”
breaking up 16th notes around the kit. I To read more about Best, go to MD ’s Web-exclusive archive at
guess that sounds pretty basic, but it’s www.moderndrummer.com. You can also check out Pete’s Web site,
what works best for the gig.” www.petebest.com.
Gail Worley Billy Amendola

Blair Sinta Tracking With Alanis

lair Sinta has been drumming for Alanis
B Morissette for the past year and a half, since
Gary Novak left the band. It can be a little intimidat-
that on there too.”
According to Sinta, the biggest challenge of the
gig is playing consistently every night. “It takes a lot
ing following such a master into a gig, but Sinta says of energy and consistency,” he says, “but it’s so
that the most important element to Alanis is energy, important. In the studio, the challenge of the gig is
which he is more than capable of providing. “She that we never know what’s going to be needed.
needs drive, volume, and dynamics,” Blair says. Alanis works very fast. She’ll write a song in the
“And she wants someone back there who will kick morning and want it recorded by the end of the day.
her in the ass.” So general musical skills are required. You have to
Currently Sinta is in the studio with Morissette be able to listen, come up with a good part, and play
for the first time. “I got together with the engineer, it in a few takes.”
Scott Gordon, and we recorded drum loops for her to Blair says that he’s learned how to play a sort of my fills into the spaces or along with her phrasing. I
pick out and write to,” the drummer explains. “We Ringo Starr–inspired role on this gig. He does this by don’t want to step on the melody or lyrics. You have
did everything from having me play to a click to play- playing fills that leave plenty of room but also make to pick those spaces appropriately.”
ing free. Scott then cut those tracks up into loops. a good musical statement. “I listen closely to the Robyn Flans
Alanis also likes a lot of brushes, so I put some of phrasing of Alanis’s vocals,” he says, “and I try to fit

Modern Drummer November 2003 21

DAVID GRAY’S
Craig “Clune” McClune
W ell-known to David Gray fans as the singing drummer who wears loud Hawaiian shirts, Craig “Clune”
McClune is the longest-standing member of the popular singer-songwriter’s band. He’s also a key col-
Shades Of Gray
laborator in crafting the melodic folk-rock of A New Day At Midnight, Gray’s fifth album and the follow-up to
the platinum smash White Ladder.
“Clune is the musician I’m closest to,” Gray says. “In general I listen more for the melody, the general
atmosphere, or the words and vocals. Clune helps me figure out what I want to feel from the rhythm and
drums. But he’s more than a drummer—he played most of the bass lines on the record as well.”
Clune chuckles when he hears the boss’s praise. “Well, I love what he does with his melody lines,” he says.
“I get off on all of the different chordal angles that he comes up with. He always has that ‘extra’ note that
makes something sound a bit more special.”
An imaginative mixture of programmed loops and sensitive live drumming with his favored Flix Stix (fiber
rods), Clune’s playing on A New Day At Midnight brings to mind the great Dave Mattacks. Witness the drum-
mer’s proudest accomplishment, “The Other Side.” “I love how we dealt with the drums on that one,” Clune
says. “It sounds like I’m pounding the hell out of the kit, but I’m not. I’m actually playing very quietly. What we
did was compress the hell out of the sound. Even though I was playing lightly, the effect is just so big.”
This approach dates back to when Clune first toured Ireland with Gray in the early ’90s. He had broken his
left wrist and was forced to hold back a bit and play with one hand. “That actually made me realize the beauty
of the songs and the simplicity of it all,” Clune says. “If I’d been playing with both hands, I probably would have
destroyed the songs. So that taught me something.”
Jim DeRogatis

Robert Jospé Time To Play DRUM DATES

n basketball, the affectionate term is “gym rat,” landed a position on the performance faculty at the This month’s important events
I referring to a player who’s out on the floor all of the
time. Enrolling at NYU after finishing high school in
University of Virginia. And his own band, Inner
Rhythm, has released three CDs, Inner Rhythm, Blue
in drumming history
Yogi Horton was born on November 25, 1959.
Massachusetts, Robert Jospé became the loft-jazz Blaze, and the latest, Time To Play.
scene’s equivalent of a gym rat. For fifteen years Jospé also developed an educational program Eric Carr passed away on November 24, 1991.
Jospé shadowed, befriended, and drew from the called “The World Beat Workshop,” with percussion-
On November 22, 1968, Ringo Starr makes his first
spirit of such players as Tony Williams, Elvin Jones, ist Kevin Davis. “Kids love drums,” Jospé says. “We
songwriting contribution to The Beatles with “Don’t Pass
and Bob Moses. The fluency and vocabulary he demonstrate what makes a merengue different from Me By,” from The Beatles (a.k.a. The White Album).
developed on the kit is apparent on his latest CD, a mambo, and a calypso from a samba. Kids get very
CBS Records jazz all-stars, featuring Steve Khan,
Time To Play. excited by these rhythms. I’m still fascinated by how
Alphonso Johnson, Tom Scott, and Billy Cobham, record
A fan of The Beatles and funk early on, Jospé one simple idea, the clave, has become the founda- the live album Alivemutherforya, in November of 1977.
eventually was drawn into jazz by The Dave Brubeck tion rhythm for so many kinds of music.”
On November 18, 1993, Nirvana (with Dave Grohl on
Quartet, John Coltrane, and Miles Davis. “I was lucky Jospé plays a Remo Mondo drumkit, with djembe-
drums) record their MTV Unplugged special at Sony
enough to be in New York at the end of the ‘big style drumheads, at times using his hands to vary Studios in New York City.
bang’ of the ’60s,” he says. “I was able to see the textures in the music. “On Time To Play, I moved
greatest players of our time in action.”
Moving to the Charlottesville, Virginia area in the
away from using a lot of hi-hat and cymbal,” he
explains. “I tried to go with an Afro-Cuban or ethnic
Happy Birthday!
Roy Burns (jazz great): November 30, 1935
mid-’80s, Jospé helped invigorate that scene, per- folky sound on the drumkit.” Billy Hart (post-bop master): November 29, 1940
forming with trumpeter John D’Earth and others. He Jospé composed three tunes for the CD. Pete Best (The Beatles): November 21, 1941
According to the drummer, “When I write music, I Floyd Sneed (Three Dog Night): November 22, 1943
Les DeMerle (Transfusion): November 4, 1946
think mostly about the bass feel, drum groove, the David Garibaldi (Tower Of Power): November 4, 1946
melody, and the context that the melody will be fea- Bev Bevan (ELO): November 25, 1946
tured in.” Jospé also has an ear for a good cover. His Alphonse Mouzon (funk/fusion great): November 21, 1948
arrangement of Lee Morgan’s “Party Time” is a high- Tony Thompson (Chic/sessions): November 15, 1954
Clem Burke (Blondie): November 24, 1955
light. Jospé plays cowbell behind the first solo, and Adam Nussbaum (jazz master): November 29, 1955
switches his accompaniment for each of the others. Matt Sorum (Guns N’ Roses): November 19, 1960
“I’m always trying to find different environments for Charlie Benante (Anthrax): November 27, 1962
solos,” Jospé admits, “switching it up so that the lis- Mike Bordin (Ozzy Osbourne): November 27, 1962
Matt Cameron (Pearl Jam): November 28, 1962
tener stays connected and involved.” Rick Allen (Def Leppard): November 1, 1963
For more on Jospé, visit www.robertjospé.com. Travis Barker (Blink-182): November 14, 1975
Robin Tolleson

22 Modern Drummer November 2003

 Chris Culos is on tour with O.A.R. Rob Kurzreiter is on Forty-Foot Echo’s self-titled CD.

Abe Laboriel Jr. is on The reissue of percussion great Victor Feldman’s

drums and percussion on the 1959 album Latinsville! features Stan Levey, Willie
recent Jewel CD, 0304. Bobo, Mongo Santamaria, and Armando Peraza.

James Cruise, Vinnie Colaiuta, and Eddie Tuduri Jeff Hamilton is on From Me To You: A Tribute To
are on drums and Mike Shapiro, Debra Dobkin, and Lionel Hampton by vibes master Terry Gibbs.
One hundred fifty years of groove: “veterans” Billy Lorenzo Martinez are playing percussion on the new
Ward (Joan Osborne), John Gardner (The Dixie
record by Trieana. The record was produced by Tuduri Mike Portnoy is on John Arch’s A Twist Of Fate.
Chicks), and Kenny Aronoff (Michelle Branch)
backstage on the recent Chicks tour. for his Gifted Records, a label dedicated to giving musi-
cal opportunities to people with developmental disabili- Drummers Dennis Elmer and Bruce Robertson
Gregg Bissonette was recently in Japan with Larry ties. Check it out at www.traponline.com. and percussionist Michael Beach fire up Brothers
Carlton, then did a three-week Mapex clinic tour in Of The Baladi’s latest, Hope. Meanwhile, Beach has
Europe, Mexico, and South America. Shawn Pelton, Kenny Aronoff, released a solo album, Hands Of A Thousand
Bashiri Johnson, and Luis Conte are Dances.
Terry Bozzio was back with the original Guitar Shop trio on Yankees outfielder Bernie Williams’
with Jeff Beck and Tony Hymas for a summer tour. Terry debut CD, The Journey Within. Bassist Bruno Råberg has released Ascensio, featur-
will be in Holland shortly performing and recording his ing Marcello Pellitteri.
“Chamberworks” pieces with the Metropole Orchestra. He Scott Reeder, who recently replaced drummer Brant
will also be performing with Outtrio, which features Pat Bjork in Fu Manchu, is featured on their new double Victor Lewis is on a new Stan Getz collection,
O’Hearn and Alex Machcek. disc, Go For It…Live! Bossas & Ballads: The Lost Sessions.

Kahil El’ Zabar recently won a second consecutive Jazz Manas Itiene is on Spearhead’s Everyone Deserves Joe Nixon is on Far From Nowhere by Slick Shoes.
Journalists Association Award for percussionist of the year. Music.
Josh Baruth is on Two Conversations, the new one
Nick Oshiro has replaced Ken Jay in Static-X. Vanderhoof’s A Blur In Time features Kirk Arrington on from The Appleseed Cast.
drums.
Chad Cromwell is on Peter Frampton’s new CD, Now. Zak Starkey is on the new Who CD,
Cromwell will also be touring with Frampton. Dylan Wissing is on the new Johnny Socko CD. (For Live At The Royal Albert Hall.
more info, visit www.johnnysocko.com.)
Chris Adler is on the new Lamb Of God CD, As The Jason Lewis is on Ann Dyer’s When I Close My Eyes.
Palaces Burn. Jerry Marotta, Jeremy Brown, and JJ Johnson are
on Libby Kirkpatrick’s Goodnight Venus. Chris Hornbrook is on Poison The Well’s new disc,
Chris Thomas is on tour with The Elms. You Come Before You.
Jeff “Tain” Watts is on The Lay Of The Land by bassist
Matt Conley is on Die Trying’s self-titled debut. Mike Pope. Phil Collins and Frank Katz appear on Trilogy, a three-
disc Brand X compilation featuring the studio albums
Danny Carey rocks the house on the new Pigmy Love Terri Lyne Carrington is on Purple, a celebration of Manifest Destiny (1996) and X Communication (1992), as
Circus disc, The Power Of Beef. the music of Jimi Hendrix by guitarist Nguyên Lê. well as a live set from 1979.
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 2003
Consumers Poll ResultSby Rick Van Horn

The June 2003 issue of MD, featuring our Product

Extravaganza, also contained the ballot for
our seventh Consumers Poll, which has now become an annual
event. We invited you to list your choices of manufacturers and/or
products in a variety of categories, in recognition of innovation, use-
fulness, and quality.
Today’s percussion industry features more manufacturers of
drums, hardware, percussion, electronics, and accessories than ever
before. And product quality has continued to improve. As a result,
we all have an abundance of excellent equipment to choose from.
Owing to this diversity, almost every category in the poll garnered
votes for many different candidates. (Twenty-eight drum manufac-
turers were nominated for “Most Innovative” alone!)
Each winner’s vote tally is expressed as a percentage of the
total number of votes cast in that category. (Some categories
received greater responses than others did.) We’re also including
tallies and comments for other manufacturers who figured highly
in each category, as a way of recognizing their popularity among
the MD readership.

26 Modern Drummer November 2003

 MOST INNOVATIVE COMPANY
Acoustic Drum Company: Drum Workshop led this field, with 26.9% of the total vote.
DW products noted for their innovation included Exotic wood drums, 9000 Series Pedals,
and Dog Bone hardware adapters.
Also figuring highly in this category were Pearl (19.1%) and Tama (15.3%). Pearl was
cited for their Masters high-end and Export entry-level kits, while Tama’s ever-improving
Rockstar drums were applauded. Both companies received props for their extensive signa-
ture snare drum lines. Musashi snare drums and Flying Dragon pedals drew 9.3% of the
voters to Yamaha, while Orange County Drum & Percussion earned 6.5%
for its distinctive vented snare drums.
Cymbal Company: Zildjian took top honors with 49.6%
of the vote. The company was lauded for the development
of Left Side Rides, ZXT Trashformers, and new models in
the A Custom and K Custom series. Sabian followed with
38% of the vote, and was cited for its AA Metal X and XS20
series. Paiste garnered 9.3%, with the Dimensions and
Innovations series receiving the greatest comment. Meinl,
Wuhan, Istanbul Agop, Istanbul Mehmet, and Turkish
Cymbals rounded out the field.
Percussion Company: The award in this category went to
Latin Percussion, who took 43.7% of the vote. LP was
lauded for constant development of new musical prod-
ucts for pros, amateurs, and students. Toca and Pearl fol-
lowed, tied at 9%. Toca received comments about their
Unplugged percussion series, while Pearl was cited for
ever-improving quality in congas and smaller percussion
instruments.
Electronics Company: This category was dominated by
Roland (68.9%). Voters cited the RPM-1 Rhythm Coach
Pack, PM-1 Personal Monitor System, and TDA-700
V-Drums Amplifier as major achievements.
Other contenders in this category included Yamaha
(17.2%) and ddrum (6.9%). Voters appreciated
Yamaha’s affordable DTXPRESS kits and ddrum’s
efforts to reduce costs on the ddrum 4 SE. Drumkits with unusual finishes and exotic woods,
Accessory Company: Gibraltar was the winner, with 37.1% of the vote. Readers appreci- along with pedal and hardware developments,
earned DW the award for most innovative drum
ated Gibraltar’s Service Center system (offering parts and components for any brand of company. They also got the nod for quality and
drums) and their focus on keeping all of their innovations affordable. Other accessory craftsmanship, and for consumer service.
companies receiving recognition included Evans (11.3%) and LP (8.9%).

BEST QUALITY AND CRAFTSMANSHIP

Acoustic Drum Company: Drum Workshop
took this category with 37.9% of the
vote. Voters commented on DW’s
Zildjian was named most innovative cymbal com-
exotic drum finishes, handcrafted pany for products like the Left Side Ride, ZXT
shells, and durable pedals and Trashformer, and new models in the A Custom and
hardware. K Custom series. The company was also cited for
Other contenders were Tama best quality and craftsmanship, along with con-
(20.4%), Pearl (14.6%), and sumer service.
Yamaha (6.5%). Advocates of
each company cited such fac-
tors as shell construction, hard-
ware durability, quality of finish-
es, and mounting designs.
Cymbal Company: Zildjian won
this category with 51.7% of the vote.
Comments included, “Zildjian has
always set the standard by which all cym-
bals are judged,” “Nothing holds up to my play-
ing like a Zildjian cymbal,” and “Every cymbal reflects
their historic nature.” Sabian and Paiste received 27.9% and
11.1% of the vote, respectively.
Percussion Company: LP dominated this field with 74.7%
of the vote. Voters mentioned the reliability and functional
designs of LP’s blocks, bells, and accessories, along with the
consistency of sound of their congas and other drums. Also
noted for their quality were products from Pearl and Meinl, who
tied at 8.4%.
 Electronics Company: Roland took first
in this category, with 73.5% of the total
vote. Comments cited Roland for the
functionality of their products, and how
easy they were to understand and per-
form with. Other top finishers included
Yamaha (12.2%) and ddrum (9.1%)—both Products like the
cited for ease of use and good sound Giovanni Compact
Conga gained reader
quality.
attention for Latin
Accessory Company: Gibraltar earned Percussion, helping
41.2% of the votes in this category. Their them to sweep all
racks gained the most voter comments, the awards in the
but their Intruder pedal series and vari- percussion category.
ous stand models also earned praise.
Other notable finishers in this category
included LP (15.7%) and Evans (9.8%).

User-friendly products like the RPM-1

Rhythm Coach Pack—along with a habit MOST CONSUMER/SERVICE ORIENTED COMPANY
of “thinking like drummers”—won all
the electronics categories for Roland. Besides standard requests for product information or repairs, other customer-service
activities received mention—and votes. These included good Web sites, useful printed
information, phone calls answered promptly, and reasonable pricing. These criteria for
voting were cited repeatedly in every manufacturer category, so we won’t repeat them.
Here’s our list of winners and runners-up in this important department.
Acoustic Drum Company: DW, with 35.5%, followed by Yamaha (28.9%), and Pearl and
Tama (tied at 13.3%). DW was particularly singled out for their build-your-own-kit feature
on their Web site, along with good response to inquiries and useful product information.
Cymbal Company: Zildjian led this field with 47.7% of the vote. Sabian took 40.5%, while
Paiste received 10.5%. Zildjian was lauded for their responsiveness to individual customer
inquiries and problems.
Percussion Company: LP took top honors here (with 63.9% of the vote). LP’s online infor-
mation and consumer-oriented phone service received praise. Pearl was next with 8.8%,
followed by Meinl (7.4%) and Toca (6.6%).
Electronics Company: Roland was the big winner again (71.4%). Voters mentioned their
warranty service, clear manuals, and customer information hotlines. Other companies
cited for their helpfulness included Yamaha (15.3%) and ddrum (8.8%).
Accessory Company: Evans took top honors here (with 20.5% of the vote), due primarily
to their extensive product-information packaging and excellent phone response. Gibraltar
and Vic Firth followed, tied at 17.8%.

A focus on functionality and affordability

earned Gibraltar their wins in the most
innovative and quality & craftsmanship
categories for accessory manufacturers.

Evans was named most consumer/service oriented accessory company, largely because of their informative packaging.

28 Modern Drummer November 2003

 MOST INTERESTING AD/MARKETING CAMPAIGN
While advertising creativity and originality are always appreciated and recognized in our
polls, the fact is that the leading contenders are invariably printed ads featuring photos of
beautiful drums. And this year was no exception. However, the fact that so many compa-
nies presented such ads made it a close
race. Ultimately, the winner was
Yamaha, with 9.45% of the vote applaud-
ing their two-page spread depicting the
new Absolute Custom Nouveau series in
all its colors and sizes on one immense
fantasy kit. Other standouts in this cate-
gory included perennial contenders
Tama (for their Starclassic Exotix ads)
and Pearl (for their Masters series ads),
who tied at 5.4%.
Props for originality and interest went
to Zildjian (for their K Custom “Darker
Shade Of Fast” series), Remo (for their
Emperor X “How Hard Can You Hit?”
ads), and Paiste (for their ad featuring
John Dolmayan under water in a swim-
ming pool). Each manufacturer earned a
4% share of the vote.

MOST VALUABLE PRODUCT

Because the percussion market features such an abundance of useful and original
products, every year the MVP category receives the greatest number of votes for the
widest variety of contenders. As a result, the ultimate “winner” in the MVP category
always earns that position with a seemingly small percentage of the vote. And in poll after
poll, that winning product is a hardware/accessory item applicable to a variety of musical
styles or situations.
Our winner is: Tama’s Iron Cobra single bass drum pedal, which led the MVP field with
6.6% of the vote. Readers noted the pedal’s adjustability, ruggedness, and speed.
Acoustic drums receiving voter recognition included Pearl Masters, Mapex Orion, and
Tama Starclassic series.
The leading vote-getter for cymbals was Zildjian, with votes for their Left Side Ride, ZXT
Trashformer, and new models in the A Custom and K Custom series. Sabian was noted for
the introduction of their AA Metal X and XS20 lines. Meinl’s Generation X Thomas Lang
Filter China was also singled out.
In the area of electronics, MVP votes went to Roland’s RPM-1 Rhythm Coach Pack and
V-Cymbals, along with Pintech’s line of mesh-head pad kits.
Among drum hardware, DW’s 9000 series pedals (6%) and Yamaha’s Flying Dragon ped-
als (5%) followed the MVP winner as the next-highest vote-getters, once again affirming
the importance of this fundamental piece of hardware. Other accessory items favored
by poll respondents included Evans’ EMAD and Min-EMAD systems, molded trap
cases from SKB, and Remo’s Emperor X drumhead.
We congratulate the winners of MD’s 2003 Consumers Poll, and we thank all
the readers who participated. We’ll give the industry some time to develop yet
more new and exciting products, and then do it again next year!

Tama’s Iron
Cobra single
bass drum
pedal

Modern Drummer November 2003 29

 Today the man behind the skins for Christina Aguilera, Janet
Jackson, Jill Scott, Usher, and Lydia, plays on one of the coolest
set-ups we’ve ever featured in this series on Starclassic
artists. However, Brian Frasier-Moore began building his
impressive chops on something slightly less sophisticated...

“ I didn’t have a kit when I first started playing at age five. I played on
my mother’s telephone books! When I was seven I began playing at
the church where my father ministers. Fortunately, the church had
a drum set. Actually, the first kit I owned was a Tama Rockstar. I was
fourteen and it was humongous —24” bass drum with a rack, and
I think the smallest tom was a 14”! It was cool though.”

“ As soon as I started doing gigs, I started to change drums and con-

figurations. By the time of Christina’s first tour, I was using a 6pc kit
similar to the main part of my kit now. But on Janet Jackson’s tour
I could only use a 5pc plus I dropped the 16” in favor of a 15”—I
find a 16” just gets no sound out of an arena.” After all the incre-
mental changes came one very big change—and today Frasier-
Moore no longer plays on a drum kit. He plays on two drum kits.

“ I always want to be interesting—to be two or three steps ahead. I

was playing a lot of gigs and noticed more people wanting to see
what I was doing. So I decided to stand up and play a few songs
so they could.“To make that possible, Frasier-Moore and his tech
came up with a two kit set-up. “On the main kit I have all the toms
and a 22” kick. On the ‘stand-up’ kit, I have just a 10” snare, the
20” kick and a pair of mini-hi-hats. Below the 10” snare set is
another 10” which I can access when I am sitting down at the main
kit.” Frasier-Moore treats the kits as separate entities, but he “will
play the 20” and 22” together for effects, like a flam-type thing.”

Looking over his kit, Frasier-Moore sounds completely satis-

fied. “Man, this kit is amazing—the way we set it up, the
sound, the finish! I just think my kit is the best kit ever.” Then Hear Brian Frasier-Moore
you realize he’s already thinking two or three steps ahead and his Tama Starclassic
again when he adds,“well, for now.” kit on Christina Aguilera’s
latest release, Stripped.

finish: gold sunburst

stand-up section: 18 x 20 bd,
5.5 x 10 sms1055f maple, 6.5 x 15
pbs265 brass (not shown), 5.5 x 10
pf155h10 steel snare

main section: 18 x 22 bd, 7 x 8 tt,

8 x 10 tt, 8 x 12 tt, 13 x 14 tt, 14 x 15 tt,
5 x 14 sms1455f sd, 5 x 12 tymp tom

hardware: pmd800ss & pmd80ss

power tower racks, mth900am, sna25,
ca45e, csa30, mha623, cba5, rw100
rhythm watch drummer’s metronome

(2) hp900r rolling glide pedals,

hh905 hi-hat (not shown), ht730
throne, rw100 rhythm watch
www.tama.com drummer’s metronome
For the new Tama Drum & Hardware catalog, send $3.00 to: Tama Dept. MD32, P.O. Box 886, Bensalem, PA 19020, or P.O. Box 2009, Idaho Falls, ID 83403
PRODUCT CLOSE-UP

RMV Concept Series Drumset

From South Of The Border…Way South

HITS he subtitle of this review refers to the fact that RMV drums come from Brazil.
excellent quality at
an affordable price
T RMV might be a new name to many of us North Americans, but the company
has been in business since 1975. Their drumshells are made from bapeva, a
native wood also known as Brazilian maple, which the RMV catalog says is harder
20" bass drum has
an especially big sound
than North American maple or birch.
RMV drums are available in two series. For this review, we received a set
of Concept series drums, which are said to produce “a high-energy, explosive
MISSES attack, bright stick definition, and high volume.” The company also makes a
snare release lever can be painful
to operate due to sharp corners Concept Neo series. In both series, the snare drums and bass drums have 9-
ply shells and are 8 mm thick. The difference is in the toms: Concept toms
have 9-ply shells and are 6 mm thick, while Concept Neo toms have 6-ply
shells and are 4 mm thick for “a warmer and more powerful tone than other
by Rick Mattingly
thin-shelled drums.”

Material Differences
One feature that distinguishes RMV drums is the MiniMass lug, which is not
made of metal. Instead, it is made of a composite fiber material with an ABS coat-
ing. The tom clamps are also made of composite fiber, which is said to reduce
stand vibration. Considering that the toms all feature RIMS-style isolation mounts,
stand vibration might not be much of an issue. Still,
the lug casings and clamps are lighter than typi-
cal die-cast zinc-alloy parts, and RMV claims that
they’re also stronger.
The snare drum and toms feature RMV Sturdy
Hoops, which are made of 2.3-mm steel and are a tradi-
tional triple-flange design. The bass drum is fitted
with wood hoops.
The kit we received for review had a Glitter
Black finish, except for the snare drum, which
was natural Bapeva with a medium-gloss oil
finish. All of the drums had black lug cas-
ings and rims. On the snare drum, the logo
badge was a metal plate screwed into the shell. The
logos on the toms and bass drum were painted on
as part of the finish. Air vents on the drums were
protected by thick collars that appeared to be made
from the same material as the lug casings.
RMV also make their own drumheads, which
compare favorably in quality to those of more
familiar major brands. I’ll discuss character-
istics of different models as I discuss
individual drums.

Snare Drum
The 5 1 ⁄ 2 x14 snare drum had a
bright, ringy sound that was more
akin to a typical metal-shell snare drum than to a
wood-shell drum. It did, however, have a bit more
“meat” in its timbre. Rimshots tended to “ping” more than “crack.” The drum
32 Modern Drummer November 2003
 heads for acoustic jazz, the clear Classic Duos for a deep, boomy
rock sound, and the coated Classic Duos for moderate-volume
rock/pop or studio settings.

RMV’s MiniMass lug is made from a composite Bass Drum

fiber material with an ABS coating, said to be I’ve owned and played quite a few 20" bass drums over the
lighter and stronger than other designs.
years, but never one that sounded this deep and big. Of course, I
responded well to delicate, articulate playing, and snare can’t recall any of them being 17" deep either, so I’m sure that’s
response was even all the way out to the very edge of the bat- an important factor. At any rate, this drum had an impressive
ter head. The drum also responded well to aggressive playing, amount of punch and bottom end for its 20" size.
but its cutting power was more a result of its bright sound and The heads were interesting. The front head, which had an RMV
ring than of its volume. A deeper drum would probably be an logo but no model name, was a single-ply, white-coated model
advantage for high-volume settings, but the 51⁄2x14 would serve with a 31⁄2" hole near the bottom. The batter was a clear Classic
as an excellent general-purpose drum that could cover a variety Duo model. Each head also had an added “collar” around the
of styles and situations. inside, but it wasn’t the typical “donut” collar that’s the same
The snare release lever has a couple of problems. First, when width all the way around. Instead of the “open” space being circu-
the snares are on, the lever somewhat blocks the snare-tension lar, these collars created an oval, with the thickest parts of the col-
adjustment knob, making it difficult to operate. Also, on our test lars at the top and bottom centers, and virtually no collar on the
drum the top corners of the lever were very sharp. Reaching sides. The result was a warm, fat sound that had body and reso-
down quickly to flip the snares off with my thumb proved nance beyond the typical muffled “thud” sound. Yet it was con-
painful if I didn’t land in the center of the lever. The folks at trolled enough that no additional muffling would be needed in a lot
RMV tell us that this problem has already been addressed at the of situations.
factory, but it still may exist on drums currently in the stores. The spurs can be adjusted to raise the bass drum a couple of
The snare drum had ten tension rods per head. Although each inches off the floor, if desired. The catalog indicates that 16" and
rod had its own lug casing, each pair of casings was mounted 18" bass drums include an adjustable riser so that the back (pedal)
on a single rubber gasket that isolated the casings from the end can also be lifted up.
drum.
The drum came fitted with an RMV Original white-coat- Pricing
ed batter, along with a clear snare-side head. There was I spent a lot of time checking out these drums
no weight indicated on the batter head, but the sound before I went to the RMV Web site to get the current
and response reminded me of a Remo Ambassador. prices. From the quality and workmanship of the
The snares were generic 20-strand spiral wire drums, I expected the kit I reviewed to list for
models. around $2,000. I was wrong. Priced individu-
ally, the drums reviewed above (less the
Toms 7x8 tom) would be $1,500. However,
Our review kit came with 7x8, 8x10, when purchased as a “package” kit, those
9x12, and 11x14 suspended toms. The sizes drums list for $899. (And the price doesn’t
worked well together, making it easy to get a change if you opt for a 22" bass drum
nice range of pitches and an “ensemble” instead of the 20".)
RMV’s shells are made from Bapeva,
sound. Each drum was fitted with a suspension Note that this is a “drums only” price, which
or Brazilian maple.
mounting system, and mounting brackets were includes no stands or pedals. However, it does
included so that all of the toms could be mounted on floor or cym- include the three clamps you’ll need to mount the toms onto floor
bal stands. There was no mounting hardware on the bass drum, stands. Also be aware that although RMV makes several sizes of
and RMV “floor toms” do not have legs. toms and bass drums, the only “package kits” available are five-
The toms came with RMV clear Classic Duo (2-ply) batter heads piece configurations with a 51⁄2x14 snare drum, 8x10, 9x12, and
and Original Clear (1-ply) resonant heads. All of the toms had 11x14 toms, and either a 17x20 or an 18x22 bass drum. But even
impressive sustain without merely sounding ringy. The bigger the without the special “kit” price, RMV drums are priced very rea-
drum and the lower the pitch, the more I was impressed by the sonably for the quality you get. I’m impressed.
body and tone. The drums were also easy to tune, attesting to the
THE NUMBERS
integrity of the bearing edges and the roundness of the shells.
7x8 tom-tom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$225
We also received white-coated Classic Duo (2-ply) and white- 8x10 tom-tom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$230
coated Original (1-ply) batter heads to try on all the toms. The 9x12 tom-tom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$240
11x14 tom-tom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$260
coated Classic Duo heads produced a drier sound than their clear 17x20 bass drum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$415
counterparts did, with a slightly sharper attack. The Original heads 51⁄2x14 snare drum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$355
Five-piece kit (8x10, 9x12, and 11x14 toms, 17x20 bass drum, 51⁄2x14 snare) . . . .$899
favored higher pitches and were brighter and ringier than either of
(011) 55 11 6406-8548, www.rmvdrums.com.
the Classic Duo models. I would likely choose the coated Original

Modern Drummer November 2003 33

 New Paiste Dimensions Models
A New Look Creates New Sounds

aiste’s Dimensions series has earned a reputation as a “workhorse” line since

HITS P its inception a few years ago. The fact that the cymbals are made from CuSn8
Bronze (“2002 Bronze”) helps keep their costs down. Experience gained from the
Sonic Texture Formula is a
striking new finish manufacture of other Paiste lines make the Dimensions bright, warm, and cutting,
and gives them versatility. The cymbals feature hand hammering and lathing, as
cymbal sounds are complex
well as unique surface treatments and a striking look.
excellent big band possibilities
Sonic Texture Formula
by Chap Ostrander At the 2003 Winter NAMM convention, Paiste introduced seven new models to
the Dimensions line. Among other characteristics, the new models incorporate
Paiste’s “Sonic Texture Formula,” which is a surface treatment said to give the
cymbals a fuller sound by boosting complex harmonics. The treatment involves a
manual lathing process that results in a concentric set of grooves. According to
Paiste, these grooves “widen the tonalities created by the vibration of the cymbal.”
I asked Andrew Shreve of Paiste if the Sonic Texture Formula would be incorpo-
rated into future production of original Dimensions models. He told me that the
treatment will only be applied to the new models. This decision results in a specific
selection of new sounds added to an already popular and musical line of cymbals.
Let’s check them out individually.

20" Medium Crush Ride

This cymbal could easily be taken for a mild-mannered ride that would fit in on
most gigs. But Paiste wanted to produce a ride that was meant more for a rock gig
than for all-around use, so they found a way of injecting attitude into this new
model.
At a moderate impact level, the cymbal offered fine stick response and a full, cut-
ting voice. When I laid into it a bit more, the sound jumped out with even more pen-
etration. The bell could be bright or really piercing, depending on how hard I hit it.
The Sonic Texture treatment appears on the top and bottom.

20" And 22" Deep Full Rides

The Deep Full rides were a pleasure to play. With pitches that dropped lower from
the 20" to the 22", they were even-tempered, rich with tone, and expressive in a subtle,
understated way. I could articulate delicate passages with sticks, brushes, or my fin-

Dimensions Medium Group

Dimensions Heavy Group

34 Modern Drummer November 2003

gers. I felt like I was 18" Medium Raw Crash
painting the sonic landscape The Medium Raw Crash is the epitome of a rock crash. The sound
with a full range of harmonics. The Sonic Texture was applied under- simply exploded off the cymbal as soon as I struck it. The main voice
neath, with lathing and hammering on top. was very high and piercing, with rather complex undertones that
These models really felt like big band rides in the way they blend- stopped just short of being gong-like. The large bell had lots of pene-
ed into the music. I tried combining them with the 15" Medium trating power.
Heavy Crunch hats to see how they would interact. It was a match I found it intriguing that the tonal quality of this crash was the
made in heaven. same at all dynamic levels. This meant that I could count on the
same sound whenever I needed it. The cymbal had spaced lathing
20" Cool Medium Ride on top, with progressive hammering from the edge to just before the
The Cool Medium Ride sounded light and glassy, with lots of bell. The underside featured lathing alone. (This model is also avail-
shimmer. It offered medium stick response and a clear bell sound. able in 19" and 20" sizes.)
Riding near the edge brings out gong-like undertones, but the sound
gets brighter when you move closer to the bell. The finish featured 14" And 15" Medium Heavy Crunch Hats
the Sonic Texture on the top and bottom, with “craters” of unpol- Given their name and weight, I expected the Crunch Hats to
ished areas throughout. sound heavy and thick, but that was not the case. I was pleasantly
surprised by that fact that while their weight gave them a high and
20", 21", And 22" Medium Heavy Wild Rides clear sound, they also had a sweet sibilance, plus great stick
These models proved true to their name and weight. The weight response.
gave solid stick response, allowing me to play complex patterns with The 14" hats had a nice, clear voice, with lots of complexity to the
great clarity. The bells on all three sizes were extremely loud and cut- overtones. The 15" pair had the cut and harmonics of their smaller
ting. I liked the fact that I could drop in accents on the bell that didn’t siblings, but with a difference. The only way I can describe the sound
disturb the ride sound, but rather mixed into it. The pitch of the three is that it was lower and more “mature.” They sounded like big band
rides moved higher from the 20" to the 22". cymbals, inspiring me to play all over their surface. I could happily
On all three sizes, playing a steady ride pattern generated a sound use the 14"s for accents and everyday gigs, but the 15"s gave the hi-
that was big, loud, and full of highs. There was also a full-bodied hat the feeling of being more of a separate instrument that I might
undercurrent of complex tones that bordered on sounding gong-like, want to solo on.
but that stayed under control. This model is lathed on top, with The top cymbal on each pair had the Sonic Texture treatment on
spaced hammering. The Sonic Texture treatment is applied under- both sides. The upper surface was all one texture, while the under-
neath. These are definitely rock cymbals—loud and in your face! side had irregular lines of lathing. The bottom cymbal was the heav-
ier of the two, and had a similar look. The only difference was that it
16", 17", And 18" Medium Thin Full Crashes had very small areas that looked unfinished.
These crashes had clear and cutting voices, with a full set of har-
monics that sprang forth at each shot. The 16" possessed the high- Final Words
est pitch, with the 17" and 18" sounding deeper and fuller. The crash I’m impressed with the work that Paiste has put into this expan-
sound from each of them sion of the Dimensions series. The new models are thoughtful addi-
was very satisfying, and I tions that truly widen the tonal range and versatility of the line. It’s
could easily use them on likely that any or all of them could find a spot on your gig. So check
most applications, from them out!
shows to rock. Each size
has a full-profile bell,
which also sounded very THE NUMBERS
clean. Rides
20" Cool Medium, Deep Full, Medium Heavy Wild,
I found that the 17" and Medium Crush Rides . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$396
could also be used as a 21" Medium Heavy Wild Ride . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$430
crash/ride. The other 22" Deep Full and Medium Heavy Wild Rides . . . . . . . . . . . . . . . . . . . . . . .$462

sizes tended to build up Crashes

while played in a ride for- 16" Medium Thin Full Crash . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$282
17" Medium Thin Full Crash . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$308
mat, but the 17" stayed 18" Medium Thin Full and Medium Raw Crashes . . . . . . . . . . . . . . . . . . . . .$342
under control. The Sonic
Hi-Hats
Texture finish was
14" Medium Heavy Crunch Hats, per pair . . . . . . . . . . . . . . . . . . . . . . . . . . . .$472
applied to these cymbals 15" Medium Heavy Crunch Hats, per pair . . . . . . . . . . . . . . . . . . . . . . . . . . . .$512
on top and underneath. (800) 472-4783, www.paiste.com.

Modern Drummer November 2003 35

 Drum Workshop 9000 Bass Drum Pedals And 9500 Hi-Hat
It Must Be In Their Genes

HITS here is definitely something to be said for heredity—even when it comes to bass
multiple adjustability options T drum pedals.
A couple of years ago, DW introduced a new pedal design called the 9000 Titanium series. It
smooth and fast action
offered quite a few innovations—even by the standards of a company known for innovations.
totally silent The pedal was streamlined, lightweight, and contemporary in appearance. It offered an incredi-
bly smooth action and loads of adjustability. And it was dead silent.
Unfortunately, the 9000 Titanium pedal also cost an arm and a leg. So it’s not surprising that
by Rick Van Horn only a limited edition was produced. But the savvy folks at DW knew that they had a good thing
going. They just had to find a way to make it more affordable.
Enter the new 9000 Series. It incorporates all of the mechanical improvements of its prede-
cessor, but it’s made of less expensive materials and costs less to manufacture. This brings its
price down.
We were sent 9000 single and double bass drum pedals, along with a 9500 hi-hat. Let’s give
’em a look.

The Single Pedal

One of the things I’ve always appreciated about DW’s venerable 5000 series is its simplicity.
Spring tension, beater height, and linkage (chain or strap) length is about it for adjustments. You
select the cam action (Turbo or Accelerator) and the linkage type (chain or strap) when you buy
the pedal. Recent versions have offered beater weights and stackable heel plates as options.
But even without them, it’s always seemed possible to get a good feel from a DW 5000 with-
out a lot of fuss.
So I was a little daunted when I unpacked the DW 9000 and saw how massive and complex
it appeared to be. (The special three-way hex wrench/drumkey was a scary indication in itself.)
But after taking the time to read the supplied instructions—twice—I was able to figure things
out pretty quickly. After that, I began to appreciate all the new adjustment options available to
me.
In addition to beater height (which can be secured with a convenient memory lock), the dis-
tance of beater travel (throw) can be adjusted over a pretty wide range. This does affect the
footboard angle, but that angle also has its own separate adjustment to help you compensate.

36 Modern Drummer November 2003

Between the two adjustments it’s pretty simple to reach a comfort- That’s a minor inconvenience to deal with in exchange
able compromise that provides the desired pedal action. for the stability that the locking system gives to the
DW’s familiar felt-lined spring is still present. But in addition to the stand.
top of the spring being attached to the drive cam via a roller bearing (as The most distinctive feature of the 9500 hi-hat is its
on the DW 5000), the bottom of the spring now also employs a bear- triple-chain linkage. Two chains connect the pedal to
ing linkage where it attaches to the pedal’s yoke. This improves the “Accelerator”-style sprocket cams mounted on an
pedal’s action, reduces wear on the spring, and absolutely eliminates axle. These cams are placed on either side of a third,
any “spring-stretching” noise. slightly offset cam, which is connected by a single chain
Speaking of noise, I never considered a DW 5000 with a chain-and- to the hi-hat’s pull rod. This linkage provides for a very
sprocket drive particularly noisy—until I compared it to the 9000. Since fast, smooth action. There is a bit of noise from the
the new pedal wraps its chain over a felt-lined channel rather than a operation of the linkage, but not enough to be of any
sprocket, there is no metal-to-metal contact involved. The action is concern, unless you had a microphone down by the
totally silent. And considering that virtually all moving parts on the pedal itself.
pedal are fitted with ball bearings, there’s no noise anywhere else. It’s The spring tension adjustment is a large dial
like stepping on air. placed at the base of the stand, just above the toe of
Possibly the most impressive adjustment on the 9000 pedal is the the pedal. A thoughtful decal indicates which way to
chain/strap torque adjustment. A sliding bar beneath the felt-lined drive turn the dial for more or less tension, and a
track allows you to instantly convert the pedal from “Turbo” (circular) drumkey bolt locks that tension in when you’ve
to “Accelerator” (eccentric) drive—or anywhere in between. This established it. A wide range of tension is
means that you no longer have to choose between the two at the time attainable, making it possible to retain your
of purchase. Also, you’re not limited to one or the other feel; you can preferred feel no matter how heavy or
create your own compromise between the two. light your top hi-hat cymbal is.
The 9000’s hoop clamp has two separate adjustments. A knurled The cymbal tilter features a bolt that
knob above the spring-loaded clamp sets the basic opening for any pushes horizontally against the vertical
given bass drum hoop. This knob is then locked with a set screw. leg of an inverted-L-shaped fitting.
From that point on, you operate a convenient, side-mounted wing bolt This raises or lowers the horizon-
to tighten or loosen the clamp and thus secure or remove the pedal tal upper portion of that L, which,
from the drum. I love the spring-loaded clamp; it makes putting the in turn, raises or lowers the large
pedal on the drum much easier. metal and felt washers beneath the bottom cymbal. The
The 9000 pedal comes fitted with the double chain, and is factory- adjusting bolt is resisted by a spring for fine-tuning, and is secured by
adjusted to Accelerator drive. A nylon strap is also supplied, as are a two lock nuts. At first this all seemed a little over-engineered to me.
toe stop and the mounting screws necessary to utilize an optional But after I played for several days without having to re-adjust the tilter,
SM1260 pedal customizing kit (available separately). That kit includes I began to appreciate the design.
Elevator Heel Platforms and Force Maximizer footboard weights. Two nice touches are a toe stop on the pedal and the inclusion of
15" and 203⁄4" upper pull-rods. This gives you a range of hi-hat height
The Double Pedal options—from quite high to quite low, without having to cut off part of
I’ve used a DW 5002 double pedal for several years—mainly for the rod. Another nifty feature is DW’s clutch, which features a cymbal-
effects and “big endings.” I’m nobody’s double-bass monster. But holder knob fitted with a drumkey-operated locking bolt. This system
after switching to the 9002, I’m beginning to think there might be virtually ensures that your top cymbal won’t fall off the clutch at an
hope for me. I’ve never experienced such a dramatic improvement in inopportune moment.
my playing based on a change of equipment. The left pedal felt as
smooth and fast as the right. I confirmed this by playing the left pedal Summing Up
with my right foot as well as with my left. It felt just like the primary DW built their business on bass drum pedals, and in the ensuing
pedal. years they’ve remained a leader in that field. With the 9000 Series,
I couldn’t discern any difference between the construction of the they’ve eclipsed their own record for innovation and performance. The
connecting axle on my 5002 and that of the 9002 (other than a new single and double versions alike are smooth, silent, and eminently
memory lock on the 9002’s axle). The universal joints appear to be the playable, and they offer adjustability that makes them more versatile
same. So I have to attribute this improved feel to the various drive than ever. Meanwhile, the 9500 hi-hat combines durability and func-
and linkage improvements on the pedals themselves. tionality with a quick and fluid action that promotes relaxed, comfort-
Like its single sibling, the double pedal is completely silent. able playing.
Between that and its amazing feel, it was an absolute joy to play. Although significantly less expensive than their Titanium forbears,
the 9000 Series pedals are
THE NUMBERS
The Hi-Hat by no means cheap. Still,
9000 Single Pedal . . . . . . . . . . . . . . . . .$349
The 9500 hi-hat incorporates DW’s rotating twin-leg design, which when “functional” items (price includes heavy-duty Cordura carrying bag)
uses the pedal’s footplate for the third “tripod” support. This makes have the potential to signifi- 9002 Double Pedal . . . . . . . . . . . . . . . .$749
(price includes molded plastic hard-shell case)
fitting it in with other pedals a good deal easier. The footplate itself is cantly improve your playing 9500 Hi-Hat . . . . . . . . . . . . . . . . . . . . . . .$329
secured in playing position by a couple of drumkey-operated bolts, abilities, you just gotta check (805) 485-6999, www.dwdrums.com.
which must be loosened in order for the pedal to fold up for packing.

Modern Drummer November 2003 37

 Sunlite Studio Drumkit
A Nice Surprise From A “Budget Brand”
HITS unlite is a Taiwanese-made brand that you see frequently in “mom & pop” music
great sound S stores, but only rarely in the chain stores. As a result, the company is often regarded
exclusively as a budget brand, as opposed to a major player within the drum industry. The
attractive appearance
fact is, for over fifteen years Sunlite has been offering quality instruments at affordable
sturdy, well-designed hardware prices to players of all levels.
The Studio model is Sunlite’s latest high-end addition to their catalog. And frankly, it’s a
nice price gem. It offers sound, looks, functionality, and a price that’s just right.

MISSES The Drums

bass drum beater seemed a little light
Straightaway, this kit is an eye-catcher, with a smooth, transparent lacquer finish that
tension on snare allows the wood grain to show through. The well-built shells are made of a 7-mm, 9-ply,
strainer slipped over time maple/basswood combination, with seams so clean I had to look twice to find them.
Besides helping to bring the price down, the company feels that this wood combination is
by Martin Patmos
harmonically fuller, offering more complex overtones than an all-maple kit. The maple
brings warmth and sustain, while the basswood adds clarity and projection. I found the
drums warm and full, with a nice attack. Lugs and hardware are isolated from the shells
throughout, eliminating any acoustic interference.
A standard five-piece configuration includes a matching wood snare drum and natural
wood hoops on the bass drum. The lacquered shells (emphasizing the wood grain), small
oval badges, and simple, teardrop-shaped chrome lugs create a great-looking kit.

Bass Drum
The 16x22 bass drum (outfitted with
Remo heads) offered a deep, round, full, and
warm sound. While it sounded good at differ-
ent tensions, I especially liked the drum when
I tuned it deep and loose, creating a booming
punch. Drumkey-operated tension rods added
to the drum’s clean look, while sturdy,
adjustable legs provided a solid stance.

Toms
The 10x12 and 11x13 rack toms
featured suspension mounts. With their sin-
gle-ply heads, they tuned easily. The
maple/basswood shells produced a warm, full
tone, with an attack that sounded especially
nice when opening up at medium to loud vol-
umes.
The central post coming up from the
bass drum holds two small L-shaped tom
arms, with the capacity to hold a third
item such as a small cymbal boom.
Positioning the toms was easy. Once
set, the memory locks sat snugly
against the hardware to create a
smooth, seamless look.
The 16x16 floor tom continued
the tonal range, sounding deep
and warm. Thanks to its long legs I was
able to position the drum exactly as I
wanted.

38 Modern Drummer November 2003

 Snare Drum
The 10-lug, 61⁄2x14 snare drum is made from the same wood
Quick Looks
combination as is the rest of the set. Its tone blended nicely with
the rest of the drums, sounding especially crisp and clean when
cranked up towards the high end. It had body, but was dry enough
Sonor Sound Wires
not to be unbalanced or overpowering. Rimshots on it made for onor’s new Sound Wires are designed to let drummers improve
nice accents.
The snare featured Sunlite’s S-05 Lateral Throw-Off, which
S the sound of their snare drums by changing the snares. The
series offers a choice of stainless steel, bronze, and brass wires, all
dropped away from the drum smoothly, then easily locked back up wound on precision machines and then hand-soldered to their end
in place. It functioned quite well, though I had to re-adjust the plates. Those end plates have been designed with a special
snare tension every few days. Other than that minor problem, the recessed contour that prevents the holding straps or strings from
snare drum complemented the kit very well. coming into direct contact with the head. And in a nice touch, the
holes in the plates are lined, so there are no sharp edges to cut the
Hardware strings. The rounded corners of the plates have been turned up to
The 1001 series hardware that was included with the kit proved further minimize contact, ensuring that only the snare wires touch
sturdy, functional, and easy to handle. Practically every wingbolt fit the head.
naturally in my fingers, operating smoothly and comfortably. Each set of snares
Double-braced legs with fat rubber feet offered solid support, while comes in an attractive
isolated tubing kept things quiet. Everything positioned very nicely, wood “Safety Case.”
with the ball-and-socket snare basket an especially noteworthy fea- While this may sound a
ture. The oversized knob for adjusting the hi-hat pedal tension was bit like overkill, I found
also a nice touch. it helpful for transport-
The double chain–drive bass drum pedal was mounted on a ing the snares and
heavy footplate for solidity, with a single spring tension adjustment changing them on the
and no-nonsense design. It struck quickly and accurately, producing job. The darkness of
a good punch in mid- to high-volume levels. Although fully function- the stain on the wood
al and capable of producing a good sound, the beater was light for corresponded to the
my taste. I’d have liked something with a little more mass and type of snare wires, so
throw. But with the number of aftermarket beaters available today, it was easy to pick out the one I wanted.
most drummers personalize this aspect of their pedals anyway, so Sonor included a set of woven snare cords with each set of wires.
this is a minor consideration. They proved strong and easy to work with. Anyone who chooses to
use a strap to hold the snares should make sure that it fills the slot in
Looking For More? the end plates, in order to keep the snare wires aligned across the
The Sunlite Studio comes as a standard five-piece set in seven bottom drumhead.
different transparent lacquer finishes. However, Sunlite takes spe- The Stainless Steel wires embody the basic sound that most play-
cial orders, and will produce drums in any color requested, as well ers will go for. They gave me great precision and a wide dynamic
as in specialized finishes like fades and sunbursts. And while they range. I’d recommend these for anything from general use to heavy
don’t stock add-on toms, if you’re looking for something beyond a hitting.
five-piece kit, they’ll custom-make any size drum requested. They The Bronze wires have some elasticity to them, due to the nature
suggest ordering such additional drums at the same time as the of the alloy. They produced a more refined voice with fewer over-
basic five-piece so that the finish comes from the same batch and tones, and could be applied to orchestral applications and situations
all the drums match perfectly. in which your brush sound would be important.
The Brass wires were my overall favorite. They’re stiffer than the
Conclusion bronze but lighter than the steel, so they produce a crisp, clear
I can’t imagine anyone being unhappy with this kit. From the sound with lots of definition.
boom of the bass, to the warm, round sound of the toms, to the Sound Wires are available in 18-strand sets for 10" and 12" drums.
crack of the snare, this is a For 13" and 14" drums there are “standard” 18- or 24-wire sets,
great-sounding drumset. THE NUMBERS along with a set featuring two separated 8-strand strips for a more
Add to that the solid con- Configuration: 16x22 bass drum, 10x12 and controlled sound.
1
struction, nice looks, and 11x13 rack toms, 16x16 floor tom, and 6 ⁄2x14 The great thing about the Sound Wires is that installing them on
snare drum. All shells are 7-mm, 9-ply maple/bass-
excellent hardware package, wood combination. Hardware package includes your drum is like an instant sonic overhaul. My vintage Pearl metal-
and you’ve got a complete 1001 series cymbal stand, cymbal boom stand, shell snare was very happy. The snare sets are priced at $45 for 10"
snare stand, hi-hat stand, and bass drum pedal.
pro-level kit ready to go. Seven transparent lacquer colors standard; custom to 13" sizes, and $50 for 14" models.
Considering all this quality, colors and finishes available at extra cost. (804) 515-1900, www.hohnerusa.com, www.sonor.de.
List price . . . . . . . . . . . . . . . . . . . . . . .$1,375
coupled with a really appeal- Chap Ostrander
(626) 448-8018, www.sunlitedrum.com.
ing price, Sunlite’s Studio is

Modern Drummer November 2003 39

 Silver Fox Drumset Sticks
A Famous Marching Name Hits The Stage
ilver Fox drumsticks have been well known
HITS
superb finish and balance
S among drum corps players for years, dating back
to when marching authority Al Lemert owned the
smaller than those I’m used to.
That said, I was pleasantly impressed with the feel
and performance of each of the Silver Fox sizes. The
company. When Grover Pro Percussion bought the large and the small models alike felt comfortable to
many different sizes and tip
configurations to choose from line a few years ago, the marching sticks remained use, and were easy to play with. A trait that sets
the focus for a while. But eventually the Silver Fox Silver Fox sticks apart from their competition is a
by Paul Bielewicz
technology and tradition were applied to models hand-applied finish. Along with being durable, this fin-
designed for drumset use. Those models are now ish made the sticks comfortable to play with over a
making their bid in the marketplace. long session.
The elliptical tips of the 5A and 7A Hickory sticks
A Quick Overview offered a focused attack, while the oval tip of the 515
Silver Fox drumset sticks are available Maple offered a broad sound suitable to many differ-
in three lines: Classic Hickory, Custom ent playing situations. The J/R Custom Hickory stick
Hickory, and New England Maple. had a ball tip, offering clean, bright articulation on a
Classic Hickory sizes include 7A, 1A, ride cymbal or a closed hi-hat. The 5Bs had an acorn
5A, 5B, and 2B. Custom Hickory mod- tip, producing a big, fat sound appropriate for loud,
els include LR, MR, JR, JX, HR, and forceful playing.
JRX—all similar to their standard coun- The sticks held up quite well over weeks of use.
terparts, but with differing length or As expected, the Hickory sticks tended to wear away
neck dimensions and tip types. a little quicker than the Maple, but still weathered
The New England Maple series is available in 515, quite well. Predictably, the thinner sticks wore away
545, and 585 models. The sticks are made of rock faster, but even under moderate to heavy playing
maple, which is strong and durable, but is less dense they held up better than I expected. I was pleasantly
than hickory. While this makes the sticks more prone surprised with the Maple 515s in particular. They
to breakage under hard use (heavy impact), it actually proved to be very comfortable, and they held up well
helps them last longer than hickory sticks under mod- to a few weeks of steady use.
erate use. They’ll dent and compress, rather than chip
away to the point that they become useless. The Conclusion
lower density of maple sticks also helps them to With a host of sizes, tip configurations, and materi-
transmit less impact shock into the player’s hands. al choices, Grover’s Silver Fox drumsticks are bound
Silver Fox also offers three Concert Maple mod- to have one or more models that will suit your play-
els, as well as a slew of Marching Classic and ing style and model preferences. The line offers rea-
Marching Custom sticks. Also available are sticks sonably priced drumsticks with notable quality, bal-
with Del-tips (made of Delrin, which is similar to
nylon but stronger), and Ultra-tips (which are Delrin THE NUMBERS
tips in unique shapes), along with marching and Classic Hickory
Model Length Butt Neck Tip Shape Taper
concert mallets. 7A 155⁄8" .456" .235" ellipse long
1A 167⁄8" .575" .235" ellipse medium
Our Sample Sticks 5A 16" .575" .248" ellipse long
5B 161⁄8" .585" .280" acorn medium
Our representative review sampling consisted of 2B 161⁄8" .625" .287" oval short
7A, 5A, and 5B Classic Hickory models, a pair of
Custom Hickory
J/R Custom Hickory sticks, and a pair of 515 New Model Length Butt Neck Tip Shape Taper
England Maple sticks. The overall quality of the LR 16" .560" .290" ball medium
sticks was superb. They were all perfectly straight MR 161⁄4" .545" .268" teardrop medium
JR 161⁄8" .565" .298" ball short
and matched to one another, and each pair was JX 161⁄4" .585" .304" teardrop medium
well balanced. HR 161⁄4" .610" .342" olive medium
JRX 161⁄8" .635" .363" ball short
Generally, once drummers find a size of stick that
they’re comfortable with, they stay with it. Even if New England Maple
Model Length Butt Neck Tip Shape Taper
they try others, those others don’t vary much in
515 161⁄4" .515" .236" oval long
length or diameter. I’m no different, and because of 545 161⁄4" .545" .268" teardrop medium
this I found it somewhat challenging to give a com- 585 161⁄4" .585" .304" teardrop medium
pletely objective review of sticks that were larger or List price for all models tested, per pair . . . . . . . . . . . . . . . . .$12.95
(781) 935-6200, www.groverpro.com.

40 Modern Drummer November 2003

 MRP Hardware
Hot Stuff From A Little Guy
RP Custom Drums might not be a major name in the percussion industry. Still,
HITS
light weight
M this little company has introduced a new line of hardware that bears looking into.
The double-braced stands, produced locally in New York, are the results of nearly two
years of work by company owner Mark Ross.
attractive and functional design
Mark’s goal was to provide working drummers with hardware that will stand up to the
optional black chrome finish pressures of daily use, but won’t break their backs at the same time. To
accomplish this, he makes his stands from an alloy that he says makes
by Chap Ostrander them 11% to 19% lighter than the competition, and of equal or greater
strength.

Creative Testing
Since I didn’t have stands from all the other major companies to com-
pare to Mark’s in weight, I created the best alternative test I could come up
with. I used them on a gig in a theater where union regulations prohib-
ited me from moving my own equipment. The stagehand charged
with loading in my gear picked up the stands, and almost immediately
exclaimed, “Whoa, this stuff is light.” Proof enough for me.

Construction And Functionality

When I put the stands to practical use on the gig, I was impressed
too. In terms of construction, they exhibit a theme that’s in keeping
with MRP’s design philosophy, which is “industrial but user-friendly.”
To that end, the knuckles on the height adjustment points are rounded and easy to handle, and the rubber
feet allow you to position the legs at different widths.
The snare stand has a removable basket, so you can keep the setting of the nylon ball tilter, which mounts
at the middle of the assembly. The stand also lets you put the snare as low as 16" off the floor. The hi-hat fea-
tures a rotating leg base, spurs, a memory lock for height, and a knob for adjusting the spring tension.
The straight cymbal stand consists of a base and two upper tubes. (The tubing on the stands looks thick,
but it’s light. The width gives it stability.) The boom cymbal stand is convertible. When fully extended in
straight mode, it can place a cymbal at just over 77" high. While most of us don’t look for that kind of reach,
my percussionist wife put it to use in holding up single chimes in a concert setup. The boom arm is 12" long,
keeping it within the spread of the tripod base. The boom angle adjustment has lots of fine teeth, so you get
many choices for placing the cymbal. The tilters on both cymbal stands utilize a handle that allows you to
secure the setting with one hand and then rotate it out of the way.

Choose Your Look

All of the MRP stands are available in a choice of chrome or black chrome plating. The
black chrome is the same finish featured on MRP’s Stainless Steel snare drum, and though
I was skeptical at first, it blended in well with my drumkit. Anyone going for a dark image
would definitely want to consider it. Both finishes were smooth and beautiful.

Final Thoughts
MRP has definitely done their homework with this new hardware line. It’s thoughtfully
designed with great attention to detail, and it looks super. For the time being it’s only avail-
able directly from the company.

THE NUMBERS
Model Chrome Black Chrome
Straight Cymbal Stand . . . . . . . . . .$ 99 . . . . . . . . . . . .$149
Boom Cymbal Stand . . . . . . . . . . . .$109 . . . . . . . . . . . .$159
Hi-Hat Stand . . . . . . . . . . . . . . . . . . .$129 . . . . . . . . . . . .$179
Snare Drum Stand . . . . . . . . . . . . . .$ 99 . . . . . . . . . . . .$149
Accessory Clamp . . . . . . . . . . . . . . .$ 25 . . . . . . . . . . . .$ 35
L-Type Tom Arm . . . . . . . . . . . . . . . .$ 25 . . . . . . . . . . . .$ 35
(516) 568-2820, www.mrpdrums.com.
Story by William F. Miller
Photos by Paul La Raia

A
ll is right with the world.
Well, if you’re a fan of
inventive funk and soul music,
you probably feel this way.
Why? Because David Garibaldi
is back in Tower Of Power, once
again tantalizing drummers with
some of the most grooving,
twisted, and mind-bending
beats ever to shake a booty.

Modern Drummer November 2003 45

 In the ’70s, Garibaldi’s drumming with Tower was a revelation. Not only did he lay
down some of the baddest beats ever played, the master drummer expanded the
vocabulary of the instrument. Garibaldi created several playing innovations that added a whole
MD: Do you think someone can learn to be
new sophistication to funk drumming. And with Tower’s unrelenting 16th-note approach,
funky, or is it something you have to be
Garibaldi’s precise playing style melded perfectly with the large band—from the stinging horns born with?
right down to the monstrous bass. David: My experience is, whatever you
Go back and give a listen to some of those classic beats, like “Squib Cakes,” “What Is Hip?,” have motivation for, then chances are
“Drop It In The Slot,” “Soul Vaccination,” and the seminal “Oakland Stroke.” Drummers hadn’t you’re going to achieve it. If you love a
heard anything like them before. Garibaldi created a multi-layered effect between the snare, hi- style of music and have a strong desire to
hat, and bass drum that wove together seamlessly. His mastery of ghost notes and beat dis- learn and acquire it, then you can take it as
far as you want to go. I truly believe that.
placement was unparalleled. And his fresh fill concepts added yet another spark to the mix. No
When I was coming up, James Brown
question, Garibaldi was one of the most influential drummers of the ’70s—and remains that
was it for me. And then I also spun off into
way today. David has won Modern Drummer’s Readers Poll in the funk/R&B category a record big band music. I loved Count Basie. But I
six times, most recently this year. knew I wanted to play funk. It just totally
Unfortunately, some good things don’t last. After ten mostly fruitful years with Tower, in moved me. And with funk music, so much
1980 Garibaldi made his exit under strained circumstances. Basically he felt it was time to of it stems from that James Brown–type of
move on. But funk fans were not happy. drumming. If you go back to those record-
Garibaldi left the San Francisco Bay Area and headed for Los Angeles with the hopes of
ings he did in 1962, you’re hearing some of
the first funk beats ever to appear on
building a career in the studios. The following nine years were somewhat successful for the
record. The feel created by his drummers
funk stylist. He played on several recordings by artists such as Gino Vannelli and fusion band on those recordings is the foundation.
Wishful Thinking, wrote books (including the well-received Future Sounds), and became recog- If you want to learn the jazz tradition,
nized as a fine teacher and clinician. you study people like Max Roach, Elvin
By the end of the ’80s, though, Garibaldi was tired of the vibe in L.A. and decided to return to Jones, Roy Haynes, and Tony Williams.
his beloved Bay Area. Back on home turf, things started to mushroom. Garibaldi began explor- For funk music, you need to go back and
ing Afro-Cuban rhythms and formed the innovative Talking Drums percussion trio to present study the forefathers, like Clyde
Stubblefield, Jabo Starks, Melvin Parker,
these concepts. He also recorded a couple of solid educational videos. Eventually Garibaldi
and Clayton Fillyau with James Brown and
joined Mickey Hart’s Planet Drum ensemble, which featured other rhythmic giants such as
Zigaboo Modeliste from The Meters.
Giovanni Hidalgo, Zakir Hussain, and Airto. Garibaldi was on a roll. They’re the players who came up with
And then, in 1998, it happened. Through an interesting turn of events, David Garibaldi was most of the basic funk vocabulary.
invited to re-join Tower Of Power. Today, after five years together, drummer and band are back MD: Besides who to listen to, can you
in top form. They recently released their first new studio album in years. In fact, it’s Garibaldi’s offer some specific tips on how a drummer
first album of new material with the band since 1979. (The blistering concert disc Soul can improve his funk playing?
Vaccination: Live was released in ’99.)
David: The tradition of funk music—par-
ticularly the drumming—is about beats and
Oakland Zone is a killer, combining some of the band’s classic get-down attitude with a con-
learning how to play them with the right
temporary edge. As for the drumming, it’s eerily reminiscent of the past. However, there’s a feel. If you study those James Brown
noticeably increased depth to the drummer’s feel. And added to that is a sense of joy that recordings, practically every song was
jumps off the tracks. Once again, Garibaldi’s brilliance is obvious—innovative, in the pocket, beat-specific. The songs were built on real-
and intense. ly cool grooves, and these are the building
blocks of the music. I feel it’s very impor-
tant for a drummer to go back and master
those basic beats.
When I hear someone play funk today, I
can tell if they have the roots together or if
they’re someone who hasn’t discovered
what that is yet. It doesn’t mean that person
won’t get it, but there’s definitely a differ-
ence.
MD: When you were coming up in the
’60s, drummers focused on feel more than
having “perfect” time.
David: Playing with a click wasn’t done.

46 Modern Drummer November 2003

 Tower Of Power 2003
Grooves From The Oakland Zone
by David Garibaldi

Open
H.H. 1 or 2
R.C. H.H.
1 or 2 Editor’s Note: Drummers have been transcribing
T.T.
S.D.
David Garibaldi’s impressive beats for years. The
T.T.
B.D.
following patterns, transcribed by David himself,
H.H.
w/foot
Add’l
Toms are featured on Tower Of Power’s latest disc,
Oakland Zone.

“Pocketful Of Soul”
This idea is inspired by Afro-Cuban 6/8 grooves. Think of this in the same
way you would play a blues shuffle in 4/4. The dotted quarter note is the
main pulse. (A dotted quarter = three 8th notes.)

“East Side”
In the fourth measure (indicated with an asterisk), I add an “extra” open hi-
hat, which creates a 5/4 phrase. I then repeat this phrase a few times to cre-
ate a 5/4 groove within 4/4. When you play this you can add or subtract the
open hi-hat part. This will create random odd-time phrases within the context

“Page One”

“Could Have Done It Better”—Main Groove

*

This beat was inspired by the “Philly Sound,” where the tom-tom doubles

the snare on 2 and 4.

of 4/4.

“Give Me Your Love”

“This Type Of Funk”—Intro

“Get What You Want”—Intro

“Get What You Want”—Verses

“The Oakland Zone”—Choruses

Modern Drummer November 2003 47

David Garibaldi
You learned how to play time from listening tension in your playing? over the edge, just looking over into the
to drummers, like Sonny Payne with Count David: That’s an interesting point, because abyss. [laughs]
Basie, who had a serious groove. And then you don’t want to have tension in your play- MD: Earlier you mentioned sound levels.
the James Brown drummers had that slight- ing, but this music needs a little bit of ten- Do you have an “internal mix” for how you
ly on-top sort of feel, that relentless sort of sion to convey the right intensity. It’s a con- like to hear a beat you’re playing?
timekeeping. Those are the things I studied trolled sort of intensity. You want the David: Absolutely. When you’re playing
to develop my feel. groove to be strong and in control, but at the funk, the three most important components
That said, practicing with a click is very same time you want it to be oozing with of the drumset are the hi-hat, snare, and bass
helpful because it gives you a much deeper emotion. It’s a challenge, because you’re drum. When I play, the dynamic relation-
awareness of time. Everybody’s time is talking about two extremes. You have to ships between those three elements are criti-
much better today as a result. take it to that place where you’re peering cal. Frankly, I try to have them sound as if
MD: Are there any specific
technical exercises you
could recommend for devel-
oping funk chops?
David: When a lot of drum-
mers think about developing
technique, they think of the
classic books, like Stone’s
Stick Control or Morello’s
Master Studies, which I think
are wonderful. But if you’re
going to study funk and learn
how to play beats, you can
use the actual beats them-
selves as technical exercises.
There are a lot of things
that come into play when
developing those beats.
There’s the timekeeping Drums: Yamaha Recording Custom in 5. 22" Jam Master ride (Garibaldi Ambassadors on tops of toms with clear
aspect, the sound levels, the sunburst blue finish signature model) Diplomats on bottoms, coated Ambassador
A. 4x10 Peter Erskine model snare 6. 12" Jam Master hats (Garibaldi with Falam pad on kick batter with black
accented notes, and the B. 31/2x14 David Garibaldi model snare signature model) Yamaha logo head on front with 12" sound
ghosted strokes. To get the C. 71/2x10 tom 7. 17" HHXtreme crash port in center (two muffle pads inside drum,
right textures between all D. 9x13 tom 22" against batter and 18" against front)
the sound sources and have E. 14x16 tom Percussion: Latin Percussion Sticks: Vic Firth David Garibaldi Jam
F. 14x22 bass drum aa. Mambo (or Songo) bell Master model (hickory with wood tip)
a killer groove at the same Microphones: Audix D6 (kick), D1
time is a challenge. So to me Cymbals: Sabian Hardware: All Yamaha, including an FP- (snares), ADX 20-D Micro-D (toms), SCX-
that’s a really great way to 1. 13" Jam Master hats (Garibaldi 9310 chain drive single pedal (with medi- One (hats), ADX-50 (overheads)
signature model) um spring tension) Electronics: The Buttkicker (low-fre-
think about it, because you
2. 16" HHXtreme crash Heads: Remo coated Ambassadors on quency monitor that attaches to throne)
combine technique with the 3. 18" HHXtreme crash snare batters (Moongel for muffling on main Software: Finale 2003 by Coda Music
musical idea. 4. 14" HH thin crash snare), Diplomats on snare-sides, coated Technology
MD: Speaking of the musi-
cal idea, you get a big sound
when you play, but you
don’t slam the drums.
David: I subscribe to the idea of economy
of motion. I don’t flail around the kit. I try
to get the maximum amount of force out of
the smallest area.
Imagine a stick at a certain height off the
drum—let’s says twelve inches—and then
experiment with how much force you can
generate in that space. That’s how I devel-
oped it. But the basic idea is tension and
release.
MD: Regarding tension, would you say it’s
impossible to really be funky if you have

48 Modern Drummer November 2003

 I
I’m listening to my
favorite records. I want
RECOMMENDED RECORDINGS
the accented snare drum Artist Album
notes to be the loudest David Garibaldi Tower Of Groove, Part 1 (video)
voice, the bass drum to be David Garibaldi Tower Of Groove, Part 2 (video)
the next loudest, and the David Garibaldi Featuring Talking Drums (video)
ghosted notes to be way Tower Of Power Soul Vaccination: Live
Tower Of Power What Is Hip? The Tower Of Power Anthology
below them. I want the Oaktown Irawo Funky Cubonics
ghosted notes on the hi- Francis Rocco Prestia Live At Bass Day ’98 (video)
hat and snare to have tex- Wishful Thinking Train Of Thought—The Best Of Wishful Thinking
ture, almost like percus-
FAVORITES
sion. I try to make them Artist Album Drummer
blend together, to the Maceo & All The King’s Men Doin’ Their Own Thing Melvin Parker
point where the listener Larry Young Unity Elvin Jones
isn’t sure which one I’m Batacumbele Con Un Poco De Songo Ignacio Berroa
playing. Miles Davis The Complete Concert 1964 Tony Williams
Rodney Jones Soul Manifesto Idris Muhammad
MD: Can you offer any Tania Maria Viva Brazil Stéphane Huchard, Luiz Agusto Cavani
pointers on how to devel- Jerry Gonzales & The Fort Apache Band Moliendo Café Steve Berrios
op that? Frank Sinatra Sinatra-Basie Sonny Payne
David: This is where The Brecker Brothers Out Of The Loop Steve Jordan
tension comes in. You Los Van Van Te Pone La Cabeza Mala Samuel Formell
The Meters The Meters Anthology Joseph “Zigaboo” Modeliste
need to eliminate it from Karim Siad Ifrikya Karim Siad
your hands. When you José “El Canario” Alberto Back To The Mambo no drumset player
play with a lot of tension (“Excellent arrangements to play along with!”)
Andrea Bocelli Romanza no drumset player
and you hit a playing sur- (“Very relaxing and inspirational chill music.”)
face, it has a tendency to
deaden the sound. So when you’re play-
ing the snare, especially ghosted notes, you
need to learn how to relax your hands. If
you do that, you’ll have a texture that blends
nicely between the snare and hats. When it’s
done right, you get this shaker-like quality
that adds a lot of depth to the groove.
MD: And when you’re playing the hi-hats,
trying to marry them to the ghost notes on
the snare, are you usually using the tip of
the stick?
David: Not exclusively. When I want to
get a certain thing to happen, I might use
the tip of the stick or play on a different
area of the hi-hat. It’s all about the sound
you’re trying to create.
MD: How did you come up with your
multi-layered approach, where hi-hat, snare
drum, and bass drum parts overlap in some
very complex ways?
David: In my early days with Tower, I used
to study different drummers, including
Bernard Purdie. I’d put on headphones and
listen to his recordings. I’d close my eyes
and try to visualize what he was playing. As
it turns out, what I thought Purdie was play-
ing was something completely different
from what he was doing. Since I didn’t
know, I tried to figure out ways to play
these things I thought I was hearing. That’s
how it started.

Modern Drummer November 2003 49

David Garibaldi

“Creating my own voice on the instrument

was something I always wanted to do.”
As these concepts evolved in my playing, I Every time I get an idea and start working books. This was something I decided to do
started to realize that I was developing my on it, it just snowballs. It goes off in other over thirty years ago, and I’m still doing it.
own way of doing things. That was exciting, directions and keeps morphing. MD: Getting back to your innovations on
because creating my own voice on the instru- MD: With all of your ideas and innovations, the drums, some of these things were fairly
ment was something I always wanted to do. you’ve helped legitimize funk drumming. “out,” especially at the time. What did the
That motivated me to keep pushing forward. David: That was a goal of mine. When I guys in Tower think when they first heard
As for coming up with all of those crazy was coming up, the only way to achieve them?
beats, a lot of that started when I began musical credibility was to be a jazz musi- David: Well, I had an ally in the band-
checking out Latin music and realizing that cian. In the late ’60s and early ’70s, what leader, Emilio Castillo. He loved those
there was a powerful groove going on but I wanted to do was play funk music. But I things. Frankly, for him, the wackier it
there was no 2 and 4 happening. I started also wanted it to be respectable. I wanted was, the better.
experimenting with these types of ideas in it to have some sort of academic credibili- That was an era when rebellion was the
Tower. For instance, instead of playing a beat ty like jazz drumming had. social theme. Tower Of Power was a prod-
with 2 and 4 on the snare drum, in the middle I started writing down the things I was uct of all that. We were trying to break the
of a tune I would turn the beat around and playing. I got into cataloging my ideas, rules and come up with our own way of
play it on 1 and 3—just to piss everybody writing them down as if I was a novelist doing things. So Tower was the perfect
off. [laughs] But you know, in certain songs, developing a story line. Eventually I had place for me to find my voice, because I
it worked really well and created a cool vibe. notebooks filled with stuff, concepts that didn’t have anybody telling me what I
I always have ideas. I guess if there’s a made it into my old Modern Drummer arti- could or couldn’t do.
strength in my playing, that would be it. cles and became source material for my I didn’t have anybody looking over my
shoulder saying the music was rushing, cymbal sounds that I wished I had. Today
dragging, or this or that. And it’s still that manufacturers have gotten to a point where
way today. One discussion we never have they can create those sounds. It’s pretty
in the band is whether the music is rushing amazing.
or dragging. We just play and the music For instance, I wanted to hear more com-
goes where it goes. I think live music is plex sounds coming from my crashes, sort
supposed to be like the human experience. of like a “trashy” sound that I used to get
You know, it’s up, it’s down…. by stacking cymbals together. The new
That said, I have a natural tendency to Sabian stuff, the HHXtreme, has that com-
rush. What I’ve learned is, the more dis- plex sound and something more.
tracted I am, the more the time is going to My signature ride, the Jam Master, is a
fluctuate. So staying focused is key. If you killer. It came about when I was at the
want to play like the big boys, you have to Sabian factory. I was picking out cymbals,
have total focus. and Nort Hargrove and Mark Love were
MD: Another area of your drumming going into the far reaches of their vaults
where you’ve come up with some fresh and bringing out all of this stuff.
ideas is in the fills you play. Eventually there were two 22" cymbals on
David: I never really focused on that very stands next to each other, and for some rea-
much, at least not early on. My first years son I decided to hit them both at the same
with Tower were about playing within the time. That was the sound. Well, Nort and
band. I was content to do that, because all I Mark’s eyeballs bounced around a little bit,
really wanted to do was lay down a wicked and then they said, “We’ll give it a try.”
groove. To me, that was just as cool as And within thirty minutes they created a
playing crazy fills or soloing. prototype that was very close to that sound.
After being in the band for a while, I That’s how amazing those guys are.
started trying to think of ways to add some As for drums, I’m using a set of Yamaha
different types of fills. I really got into Recording Customs that I got in 1993. I
playing odd-note groupings, like fives, sev- used them for a while and liked them, until
ens, nines, and thirteens. I loved the way I got a Birch Absolute kit, which I then
that stuff worked both musically and logi- started using on the road. I put those
cally, so I did it a lot—maybe a little too Recording Customs in my storage locker
much. [laughs] and left them there. Then about six months
I’m doing a lot less of that type of thing ago, I had to do some recording and needed
with Tower today. I’ve been experimenting drums, so I pulled out the Recording
more with masking the 4/4, like phrasing in Customs. I was shocked at how incredible
five over the four. Tower is all about 4/4, they sounded.
but I can alter it in a few ways. Hagi [Takashi Hagiwara, Yamaha drum
MD: Is it just as satisfying for you to lay guru] has been telling me for years that
down a simple groove as it is to play some drums need to sit. You’ve got to let them
of your complex, twisting patterns? cure. They’re not going to sound the same
David: Oh yeah. Tower’s roots are in sim- when you get them from the factory as they
ple music, and I love it. I love the music of will a few years down the road. And these
Motown and Stax. Really simple R&B are now beautiful-sounding drums. The
drumming is a beautiful thing. I grew up toms are so resonant, but with that
listening to that stuff. Recording Custom focus.
At the core of all this, I like playing MD: You also have a recognizable snare
songs. They’re what dictate what’s sup- sound.
posed to be played. Sometimes it’s simple. David: I use my 31/2x14 Yamaha signature
You just play it in a straightforward way drum. I tighten the bottom head, a Remo
that conveys what the song is about. Other Diplomat, as tight as I can to get a clear
times you can take it out. snare response. I have a coated
MD: Let’s switch gears a bit and talk about Ambassador on the top that I tune sort of
your sound. Are there certain drum tunings tight, but then I de-tune one or two of the
and cymbal sounds that you find work best lugs. That drops the pitch just a bit and
for Tower? allows the bottom to become more pro-
David: What’s interesting about that is, for nounced. You still get the crack on top, but
years I could imagine the kind of drum and you also get that thickness.

Modern Drummer November 2003 51

David Garibaldi
MD: With all of the ghost-note work you ’77. It was great to be there. I met a lot of Matthews was the drummer in Tower. But
do, how tight do you like the snares ten- wonderful players and still have a lot of then he decided to leave. So after the good
sioned? friends there. But I was like a fish out of experience with Doc’s solo record, Emilio
David: Not super tight. How I gauge that water. I wanted to be in Tower Of Power. I called and asked if I’d be interested in
is, I play a ghosted note, a real soft note, in wanted to be in that type of musical envi- coming back to the band. And I thought,
the center of the drum. If I can hear tone ronment, not playing jingles and stuff like Wow…maybe. I wasn’t sure, because I
coming off the head, then the snares are too that. I wasn’t interested in that. I had to was finally having a good time playing in
tight. When I just hear the snare sound, learn how to play without Tower, and it all sorts of challenging situations. I was
then it’s the right tension. was a drag. doing a lot of clinics, I was teaching, and
I also use Moongel on the snare for muf- MD: What were the circumstances of your the Planet Drum project wasn’t chopped
fling. That, to me, is an amazing innova- coming back to the band? liver, as they say.
tion. I put a tiny piece of it close to the David: The current guitar player in Tower, Well, the decision was made that I
edge, and it adds just the right amount of Jeff Tamelier, was one of the first people I would do a short tour with Tower to see if
muffling. met when I moved back to San Francisco we still liked each other. [laughs] They had
MD: Getting back to Tower, you quit the in 1989. We became very good friends and a short tour of Japan coming that I was
band in 1980. Why? played together a lot, and he introduced me going to do. I started rehearsing with the
David: Well, at that time some of the to several musicians in the area. Oddly band, but then the tour was postponed. So I
guys were having major troubles with enough, Jeff was asked to join Tower. And just started working with them. And man,
drugs. They stopped caring about living at some point after that he started working do they work. These guys have a hard-
up to their abilities. And it was tough to on a solo project for Doc [Kupka, TOP’s working, blue-collar mentality when it
watch, because these guys were like fami- baritone saxophonist]. Jeff was helping comes to touring.
ly to me. Eventually I couldn’t take it Doc produce the record, and they had the That summer of ’98, Tower went to
anymore. I left with the thought that I idea to have me play on it. The sessions Europe and played a few of the big festi-
might never get to play with these guys went well, everybody got along great, and vals, including the North Sea Jazz Festival.
again, which was sad. there was no self-destructive stuff going That was a major show. It featured The
MD: So then you moved to L.A.? on. It was terrific. Zawinul Syndicate, Buddy Guy, The Phil
David: Actually, I had moved to L.A. in At the time, in early ’98, Herman Collins Big Band, Earth Wind & Fire, and
Tower. There were 12,000 excited people record with the band in years, so it was
in the audience, and they were crazy. really important for me to do a good job. I
The most important thing about that gig, have a history with Tower, and I just want-
though, was how we played. I had been ed to live up to it.
back in the band for about six months at MD: That’s putting a lot of pressure on
that point, and we were sounding good. But yourself.
that night, man, was the first time I thought David: At first I was way over-amped on
we sounded as good as we had in the old the pressure. I was a basket case when lis-
days. It was smokin’. At that point I tening to the first few takes. But then
thought to myself, I’m home. Emilio was listening and said, “I can live
MD: When you re-joined the band, were with that. It’s cool.” I trusted his ears and
you able to step right back in musically? finally started relaxing.
David: I’ll admit, some things were diffi- MD: Are you happy with your overall per-
cult—not just the parts, but the phrasing formance?
and our vibe with the time. The thing that David: I hadn’t listened to the record in a
makes Tower great is when everybody long time. But when we got the finished
moves together as one. copies, I sat down and listened to it. I was
As for revisiting some of the old drum very pleased with the way it turned out. I
parts, well, I needed to work on a few think it stands up to a lot of the records we
things. I changed a few parts, some things I did in the old days.
played the same, and some things I hope I Tower is starting to move into a new era,
never have to play again. [laughs] with great songs and arrangements.
MD: Would you say that some of that stuff Everybody plays well together, like the
is too complicated for the way you’re hear- Tower of old. And the whole team vibe is
ing the music today? really strong.
David: Some of it is. I can get things to MD: So you feel as if the guys are happy
groove a lot better now than I could then, to have you back?
especially doing them in a simpler way. David: I think so. I hope so. [laughs] I
Even though Tower is a ’70s band, so to think the feeling is mutual. They’re great
speak, I don’t want to play ’70s music. I guys. I owe them a lot. Tower is the reason
want to play what I feel today. I want to do I’m the musician I am today.
things that are fresh, and sometimes that’s MD: You mentioned before about the
tough. For a while all we did was play the band’s work ethic. How many gigs does
old songs. We have a new record out now, Tower play?
and it feels so good to be playing new David: We average somewhere between a
music. hundred and a hundred fifty dates a year.
MD: Let’s talk about that new record, MD: Do you like being on the road that
Oakland Zone. It seems like you tried to much?
incorporate the best of the past with some David: Well, I get to do what I love. I
new influences. enjoy everybody I’m working with, I’m
David: Tower Of Power is a technology- getting paid, I get to make recordings, and
free zone, I guess you could say. We just I get to be myself. And even though I’m
played. The rhythm section was recorded away from home a lot, my wife is happy
live. We occasionally recorded with a about it, because she knows I’m finally
click, and we have a loop that we play to back doing what I really love.
on one song. It’s funny, when I wasn’t in Tower, I
One difference with this record, as used to think about the band all the time.
opposed to some of our earlier ones, is that I used to want to be in it, and wished that
I wasn’t going for “perfect” takes. Most of someday I could get back to it. But I
the songs on the album were done in two or never really thought it would happen.
three takes. If the track had a good vibe, Now I’m having the chance to do it again
then we didn’t worry about it. and hopefully take it a few steps further
MD: There’s nothing wrong with a couple before the story is finished. I’m very
of clams in there. That’s music. thankful for that.
David: Yeah, but it was really difficult for
me to let them go. I hadn’t done a studio

Modern Drummer November 2003 53

 Chevelle’s
Sam Loeffler
Kickin’ It In Gear
few days before MD sat down with Sam

A Loeffler, the news came that Chicago

trio Chevelle had been awarded plat-
inum status (sales of one million copies)
for their sophomore effort, Wonder What’s Next.
And that’s exactly the question that’s been on the
minds of Chevelle fans—after an impressively sud-
den surge in popularity, what is next for the heavy
rock outfit that bears the classic Chevrolet
moniker?
In existence since 1995, Chevelle is actually a
family affair. The set of Loeffler brothers—gui-
tarist/vocalist Pete, bassist Joe, and drummer
Sam—virtually had their whole lives to prepare for
the level of success they’ve attained. But even a
lifetime wasn’t enough to cushion the astonish-
ment that they’ve encountered through their recent
success.
Story by Waleed Rashidi Photos by Alex Solca
 ineteen-ninety-nine’s Point #1

N helped introduce the act to the

commercial rock market, but
didn’t exactly make the waves
Wonder What’s Next has. Still, Point #1 ,
which was recorded by veteran Chicago-
based engineer Steve Albini, made for an
incredible breakthrough album for the act. It
also gave Chevelle the rubber it needed for
the road, as the trio found themselves tour-
ing relentlessly.
It wasn’t until the act hooked up with pro-
ducer Garth “Gggarth” Richardson for
Wonder What’s Next that their ideas came to
fruition. And that’s where eldest brother Sam
really began to shine.
Holed up for nine weeks in a Vancouver
studio, Sam and his brothers took the time–
somewhat liberally, he admits—to fine-tune
their tracks for Wonder What’s Next. The
result was eleven cuts of meticulously craft-
ed material, spotlighting Sam’s bombastic
performance, creative use of dynamics, and
discerning selection of fills.
Sam and Chevelle have also been quite
visible on stage lately, particularly as an
OzzFest main-stage act this year. But it
wasn’t too long ago when the band was the
opening act on bills in 200–seat capacity
clubs. Sam and his brothers are now rocking
20,000-plus heads nightly. And as Modern
Drummer discovered, there are numerous
reasons behind Chevelle’s rampant success.

58 Modern Drummer November 2003

MD: Congratulations on the announcement double kick. I really like that kind of stuff, where’s this newfound interest in double
of your platinum record. so we’re trying to write some songs around kick patterns coming from?
Sam: Oh man, things are at the top of what those concepts. When we actually get the Sam: I have a friend who I run everything
they’ve ever been for us. This week “Send chance to sit down and jam, things are just by. His name is Dean Bernardini, and he
The Pain Below” went to number-1 on both flowing, because we’ve been on the road for plays in a band in Chicago called Liftpoint. I
the active rock and modern rock charts. I so long. met up with him when I was eighteen, and
mean, I can’t believe how many people like MD: You’ve barely had a chance to sit he’s like the big brother I never had, since
the record. It’s just rad, mainly because, in down and breathe. I’m the oldest boy in our family. But Dean
the long run, this kind of success will allow Sam: It’s been seventeen months straight. taught me what it means to have technique.
me to play music constantly. I’ll get to per- That’s a good amount of time. But when a He literally taught me what it was to have
fect these songs and go make another band really wants to push a record, it takes style. Dean’s a great drummer, and he was
record. That’s so exciting. that kind of commitment. able to spot problems in my playing early
MD: Are you already envisioning the next MD: What things did you do differently this on.
album? time around for Wonder What’s Next? MD: Like what?
Sam: Oh yeah! We’re excited about follow- Sam: I think when you’re a new band going Sam: There were some small things I did
ing it up, but we’re just thinking about what into the studio, you try to put the “impor- about ten years ago, like I’d leave the kick
we’re going to do differently, things we tant” things into a song—or at least things drum beater planted on the head, which
didn’t get to do on the last one. that are important to you at the time, like would make it take longer to get to the next
MD: So what are some of those differ- fun fills or guitar tricks. Luckily we got hit—little things like that. But also watching
ences? through that with our first record. When we Dean, I learned about the importance of the
Sam: Well, we want to stay with the melod- went in with Garth Richardson for Wonder left hand. Working on leading with your left
ic heaviness, which is something we’ve What’s Next, we were able to narrow down will do so much to help your overall drum-
always been about. We’ve been talking the parts to the ones that were most interest- ming, even if you don’t plan to do it all of
about making our sound a little bit heavier. ing. We were able to cut down the six- the time.
As for the drumming, I’d like to do a lot minute songs to four minutes. Garth taught Early on, my technique was so poor. I had
more double bass stuff. us how to not clutter up the music, which is to relearn how to play. I’d reached a point
I’ve been working on a lot of double bass huge. where I couldn’t get any faster because my
fills and beats, where it’s not just constant MD: Getting back to your drumming, technique was wrong. I literally had to
relearn how to play, and Dean was the guy
who helped me do that. He’s super-diligent,
and would make me run through rudiments
and things like that. At the time I had to
force myself to work on that stuff.
MD: Why do you think you didn’t have the
drive at that point?
Sam: I think that when you’re young, you
want to do all sorts of different things.
Besides, I didn’t think this was going to be a
career for me. It wasn’t until I was twenty-
three years old that I realized I’d be doing
this professionally.
MD: Switching gears, you use a more
straightforward setup than most drummers
playing in this style.
Sam’s New Kit
Sam: Something I learned early on was the Drums: Pearl MMX Masters 5. 21" Signature heavy ride Heads: Remo coated
Series in black mist finish 6. 18" Signature crash PowerStroke 3 (with dot) on
importance of proper positioning of all your
A. 61/2x14 brass free-floating 7. 20" 2002 crash snare batter (tuned tight),
drums and cymbals. You have to think snare 8. 18" Signature China Diplomat on snare-side, clear
about how far you have to raise your hands, B. 9x10 tom Pinstripes on tops of toms with
and the placement of your gear in relation to C. 9x12 tom Electronics: Roland V-Drums, clear Ambassadors on bot-
D. 14x16 tom Akai S 5000, Boss SP505, toms, clear PowerStroke 3 on
microphone placement. There has to be a E. 18x22 bass drum ddrum Kicktrigger kick batter with Ebony
happy medium for everything to work right. aa. Roland pad Ambassador logo head on front
I’ve gotten to the point now where I’m Cymbals: Paiste (tuned very loose with EQ Pad
playing a standard five-piece kit with a cou- 1. 16" 2002 crash Hardware: All Pearl, including inside for muffling)
2. 10" Signature splash a DR503 ICON rack and a
ple of extra electronic pieces because it 3. 13" Signature heavy hi-hats P2002C Eliminator double pedal Sticks: Vater Chad Smith Funk
seems to be the most accessible. It’s been 4. 18" Signature crash (fairly loose spring tension) Blaster model, Splashstick
the most efficient setup for me.

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Sam Loeffler
MD: I’ve seen you perform a couple times, takes. Use one take, and if there are a cou- you should just do it. If you’re burnt out,
and you seem to have a very efficient drum- ple of pushes or whatever in there, fix those take a break. But if you’re not, push through
ming style. few spots. it. I think we could’ve done this record in
Sam: When I rehearse or practice, I tend to I don’t like records that sound pieced four or five weeks, and it would’ve still
play lighter than I do at shows. been the same record, but we ended
That can cause me to run into prob- “I don’t like records that up taking nine.
lems with being able to play the MD: Are you picky in the studio?
parts live. You have to discipline sound pieced together. Sam: Not overly. I like things to be
yourself to know when to back off. Use one take, and if what they are. I don’t want the
An hour-and-a-half set for some parts to be wrong, but sometimes
people is no big deal. But our songs there are a couple things will come up that are differ-
are constantly slamming away, and of pushes or whatever in ent, and that’s cool. Something I
it really does wear you out. You am picky about is the sound of my
have to know how to pace yourself. there, fix those spots.” drums.
Otherwise the cramping begins, MD: Do you have any tricks for
and that’s the worst feeling in the world. together. We really wanted to avoid that. dialing in your drum sounds?
Every drummer feels that at some point. We wanted the record to sound almost live, Sam: I find that every drum benefits from
MD: While recording the songs for Wonder with that kind of energy. So we didn’t do having the “right” head. There’s not one
What’s Next, what steps did you take to seventeen guitar tracks. We only used two, kind of head that works for every drum, so
ensure that you were retaining a live feel on right and left. If there was a solo part, then you have to experiment. It takes a lot of
record? we did it over the top and that was it. time, but it’s worth it.
Sam: We did a couple of things. When we MD: So was Wonder What’s Next a pretty MD: Did you use a different kit for each
did the drum tracks, I told Garth and [edit- quick tracking session? song on Wonder What’s Next, or did you
ing engineer] Ben Kaplan that I didn’t want Sam: It could’ve gone a lot faster. I recom- just piece together a mutant kit?
the tracks to be digitally edited to death. I mend that musicians shouldn’t take huge Sam: I pieced together a bunch of stuff. I
wanted to use a single take of the drums. I breaks when working on a record, because used one of Garth’s drumsets, an Ayotte.
didn’t want them to piece together different when you’re in the zone of making a record, But I also used a couple of different snare

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drums, including one from Bison. a lot. Doing our first record
MD: What type of snare is it? with him really helped us to
Sam: It’s a 6" maple with reinforced hoops shape what we want to do in
and cast aluminum rims. It’s a really cool our career.
drum that sounds a bit different, with a great MD: What were some of the
tone and a heavy snap. details of the session?
Last year at OzzFest I used a Bison kit Sam: That record was very
that had a heavy maple sound. Then I used a much a first-take affair. We did
DW kit on the Music As A Weapon tour. But it fast, completing the whole
now I’m using a Pearl Masters Series kit, thing in eleven days.
which has a rich, bright tone. It’s a totally MD: Why did you select
cool drumkit that I like a lot. Albini? Were you fans of his
MD: You guys had the opportunity to work work?
with Steve Albini on Point #1, who’s Sam: Oh yeah. He has a good
known for being sort of a purist when it résumé, and that was important.
comes to sounds, tones, and audio equip- Plus Albini did the title track to
ment. What kind of experience did you have Helmet’s Meantime record, and
with him? Helmet’s a huge inspiration to
Sam: Albini has an interesting concept us—always has been.
when it comes to drums. He wants them to MD: You’re in a band with
sound almost like they do when you’re your brothers. But do you come
standing ten feet away in a big room. He can from a musical family?
make almost any drumkit have a big tone, Sam: Not necessarily a big musical family, a remodeling carpenter and builds cars from
and that definitely works for some bands. but I come from a family where art is cer- scratch, so he has his own art. So having
I like Albini’s philosophies and his work tainly emphasized. My parents have always that in our family made it easy for us to
ethic. He’s also one of the smartest guys been supportive in that they didn’t care take something artistic and run with it.
I’ve ever met in my life. New bands can what we wanted to do as long as we did That’s really how we look at it, that this
learn so much from him. I know we learned something. My father’s an artist in that he’s music is completely our art.

Modern Drummer November 2003 63

 Welcome to MD ’s tribute to the drum universally acknowledged as “the main
voice in the choir.”
This special feature begins with an extensive pictorial depicting the cream of today’s
snare-drum market, along with information about literally dozens of manufacturers,
large and small.
We go on to examine the nature of this most important percussion instrument,
including the elements that create a great snare-drum sound. We also take a fond
look at the most popular snares in drumming history, and we analyze how some of
the great drummers of the past and present created their classic sounds.
Everybody ready? Then let’s get started!

66 Modern Drummer November 2003

 Let’s face it: There’s nothing quite like the feeling we drummers their top-of-the-line “ultimate” snare drum model. That group

Gallery get when ogling an absolutely fabulous-looking and great-sound-

ing snare drum. Whether or not actually owning that drum is with-
in the realm of reality really doesn’t matter. One can always
included most of the familiar brand names, along with a couple of
up-and-comers who’ve been making quite a splash in the drum
market recently.

Of dream. With that in mind, we thought it would be fun to put

together a “Gallery Of Greats” featuring drums that represent the
Each manufacturer sent us their selection. Then we gathered
the drums together and photographed them for inclusion in our

Greats ultimate in their respective manufacturers’ creative capabilities.

Of course, deciding on an “ultimate” anything is always tricky.
So we invited a group of manufacturers to submit their choice as
gallery. That part was easy. The hard part was sending them back.

Gallery of Greats photos by Jim Esposito

Ayotte
6x14 Steamworks 32 Fathoms
Ayotte’s Steamworks is a new series of drums con-
structed from a solid one-piece wood plank that is steam
bent and scarf-jointed to form the drumshell. This line
has a unique bearing edge that’s different from all other
Ayotte snare edges.
The 32 Fathoms model is the first of the Steamworks
series. The name comes from the depth of the lake in
northeastern Canada from which the bird’s-eye sugar
maple logs were retrieved. (32 fathoms is 192 feet.) The
extreme pressure and cold temperature of the water at
this depth has preserved the logs for over 150 years.
Ayotte fits the drums with 14-ply maple WoodHoops to
create a sonic quality the company describes as “dark,
full, vintage, and articulate.”
The 32 Fathoms drum shown here is finished in
Natural Maple Satin and is available on a limited-edition
basis. Only fifty will be produced.
List price: $2,460.
(877) 736-5111, www.ayottedrums.com.

Black Panther
51⁄2x14 Hammered Phosphor Bronze
This classically sized drum is unique in the Black Panther line owing to its hammered finish. The hammer-
ing mellows the tone of the drum by altering the reflective surface of the acoustic chamber, increasing
overall surface area, and dramatically softening harmonics. In
addition, phosphor bronze is said to possess a natural
musical quality especially suited to snare
drums, providing “a robust quality
without the excessive
ringing/harmonics of brass,
and a softer attack than
steel.” The 51⁄2x14 configura-
tion provides a tuning range
that doesn’t relegate the
drum to one musical style
over another.
List price: $615.
(615) 793-2050,
www.mapexdrums.com.

Modern Drummer November 2003 67

 Drum
Workshop
5x14 Edge Brass/Maple
DW’s patented “Edge” drum design incorporates the tonal
characteristics of two popular and proven drumshell materials
into one drum. The heavy-gauge metal top and bottom rings
provide the projection and brightness of brass, while the 10-
ply maple center adds the body and warmth of wood. The
drum shown here features chromed metal parts and a curly
maple inner shell finished in satin oil.
List price: $1,535.
(805) 485-6999, www.dwdrums.com.

GMS
61⁄2x14 Grand Master Series Hand Hammered Copper
This GMS model features a hand-hammered 1⁄16"-thick copper shell with solid
brass reinforcement hoops. It’s fitted with ten Grand Master Series brass lugs,
chrome-plated GMS hand-tooled solid brass throw-off and butt, die-cast hoops,
and Evans drumheads.
The thin copper shell is said to produce warm, metallic tones unlike those of
other metal snare drums. The solid brass reinforcement rings are designed not
only to keep the drum structurally stable, but also to add focus and sensitivity.
GMS claims that their Grand Master Series lugs contribute “tone-enhancing,
stress-relieving properties,” helping to make the drum “warm, bright, articulate,
sensitive, loud, soft—everything you could want in a snare drum.”
List price: $1,750.
(631) 293-4235, www.gmsdrums.com.

Gretsch
5x14 Vinnie Colaiuta Signature
Custom Plus
This drum features a maple shell in a satin natural
lacquer finish. It’s fitted with eight double lugs, die-
cast hoops, and the Lightning throw-off.
Vinnie’s maple shell is 25% thicker than the
standard Gretsch shell, creating a wider tuning
range and more focused attack. Since the drum was
developed for Colaiuta in 2001, it has become his
first choice for the majority of his recording require-
ments.
List price: $700.
(860) 509-8888, www.kamanmusic.com.

68 Modern Drummer November 2003

Ludwig
61⁄2x14 Millennium
Brass On Brass
The Millennium model is a limited-edition
series. Each drum features a seamless brass
shell with matching brass tube lugs, die-cast
hoops, and snare butt. The P-86 Millennium
drop-away throw-off is engraved with the
Ludwig script logo and a scrollwork design.
The drums are fitted with Ludwig Weather
Master heads and standard wire snares.
Only a hundred drums in each available
size were made. Every one comes with a
nameplate featuring the signature of
William F. Ludwig II, along with that drum’s
production number. Each drum is provided
with a fleece-lined suitcase-style case for
additional protection.
List price: $1,070.
(574) 522-1675,
www.ludwig-drums.com.

Noble & Cooley

Classic SS
The Classic SS model is created from a single piece with 10-lug die-cast rims and solid brass lugs and
of 1⁄4" maple in a 120-year-old steam-driven pres- throw-off. With this drum, N&C aims to combine
sure oven. The shell is reinforced with single-ply the best qualities of the past with the accuracy and
counterhoops, and it receives its lacquer finish in a stability of today’s manufacturing techniques.
state-of-the-art UV process. The drum is then given List price: $1,250.
hand-shaped bearing edges, after which it’s fitted (413) 357-6321, www.noblecooley.com.

Modern Drummer November 2003 69

 Peace
51⁄2x14 Custom Cast Bronze
This drum features a seamless custom-cast
shell that varies in thickness from 5 mm at the
top and bottom edges (to provide extra
strength) to 3 mm in the center (to maximize
resonance and projection). This “built-in rein-
forcing ring” concept helps give the drum what
Peace describes as “a huge tuning range, with
the snap of metal but the warmth of a wood
shell. The cast bronze has a sonic character
said to be almost bell-like, but mellower
than many other metal snare drums. The
drum features black die-cast hoops and tube-
style lugs, and comes fitted with Remo
Ambassador heads.
List price: $1,299.
(877) 999-4327, www.peacedrum.com.

Pearl
61⁄2x14 Masterworks
This drum epitomizes Pearl’s Masterworks
concept of totally custom drum creation.
The 6-ply shell features two outer plies of
maple, two middle plies of cross-laminat-
ed maple, and two inner plies of birch. The
result is a sound that combines the
acoustic characteristics of both wood
types.
The drum is fitted with gold-plated die-
cast hoops and tube lugs, along with
Pearl’s SR020 strainer and S022N snares.
It’s finished in a handcrafted Brilliant
Flame Red lacquer finish.
List price: $1,080.
(615) 833-4477,
www.pearldrum.com.

70 Modern Drummer November 2003

Premier
51⁄2x14 Modern Classic Maple
The design of Premier’s Modern Classic series was influenced by the legacy of
classic American snare drums such as the Rogers Powertone and the Ludwig
Pioneer. Premier took this tried and tested history and combined it with their own
craftsmanship, experience, and skill to create a recipe for today’s player.
The hand-made shell and Nickel Drumworks strainer puts the Modern Classics
in the same league as some of the most expensive snare drums on the market, yet
the drums are available at a price that many drummers can afford. Birch, steel, and
brass versions are also available.
List price: $515.
(800) 486-4424, www.premier-percussion.com.

Remo
51⁄2x14 Gold Crown Special Edition
Remo’s Gold Crown snare drums feature 5⁄16"-thick seamless
Advanced Acousticon composite shells, said to offer “incredible
consistency, with unparalleled pitch, timbre, and projection.”
The shells feature 45° bearing edges for greater tuning range,
along with brass and nickel-silver metalized finishes for unique
style and durability. Fitted with chrome-plated die-cast hoops,
Renaissance top heads, and Ambassador snare-side heads, the
drums are said to offer “great sound with focus and articulation
that’s ideal for critical situations such as jazz.”
List price: $449.
(661) 294-5600, www.remo.com.

Sonor
61⁄2x14 Bronze Artist Series
Sonor’s Artist Series was developed in cooperation with the
company’s endorsers to meet various individual preferences.
The resulting series contains seven unique models with com-
pletely different specifications. Our Gallery model features a
3-mm heavy bronze shell, black nickel chrome fittings, die-cast
hoops, Tune-Safe locking mechanisms, and a specially
designed throw-off strainer.
List price: $1,995.
(804) 515-1900, www.hohnerusa.com, www.sonor.de.

Modern Drummer November 2003 71

 Tama
6x14 Starclassic G Maple
Tama’s Starclassic G Maple snare drums feature 13-ply, 10 mm-thick
shells in 6" and 8" depths. The sound is described as “tight and solid
with an emphasized high-end crack.” According to Tama, “Artists who
lean towards metal shells have found that these thicker G shells have
the crack and power they want, but with the warmth of a wood shell.”
Hardware features include die-cast hoops, Starclassic lugs, Tama’s
MU80AG/MUS80BH snare/butt system, and Snappy Snares. Drums
are available in Cherry Black (shown here), Gold Sunburst, and Super
Maple finishes, and each drum’s abalone center inlay is set by hand.
List price: $649.99.
(215) 638-8670, www.tama.com.

These Are A Few Of Our Favorite Snare Sounds

For some of us, the dream snare sound is a ghost from the past that’s hovered touch that betrayed his love for jazz and a firmness that owed to rock. His
over us for months, maybe years. With each turn of the drumkey, we’re chas- dancing snare work with Jimi was chock full of triplets.
ing that phantom—sometimes unconsciously. For others, our ideal snare
sound changes from week to week, roughly proportionate to our discovery of Al Jackson Jr.
new music. Spending most of his career in a studio fashioned from a movie theater, Al hit
In any event, chances are we’re going for a sound that we’ve heard from an immaculately consistent rimshot. Although with Al Green he might loosen
one of the following drummers. These are players whose unique snare sound the batter head a little, on his work with Booker T. & The MG’s, Al would crank
resides in their touch, their tuning, and the special way they strike the drum. up his Rogers Powertone and place his stick in such a way that it drew out the
right blend of rim, head, and sustain.
Papa Jo Jones
He could make a snare drum breathe just by the way he stroked it. With brush- Charlie Watts
es and with snares off, Papa Jo could bring to life the sound of the tap You watch Charlie and it seems so effortless. You ask him and he says it’s
dancers he worked with as a youth. nothing. You pump him and he’ll talk about the traditional left-hand grip and
the feel of the head under the stick. Charlie was one of the first to refrain from
Art Blakey playing the hi-hat while hitting a backbeat. It’s not only a feel thing—the snare
Jones made it breathe. Blakey took your breath sounds fuller for it.
away with his stunning press-roll crescendos.
In that respect, few have successfully replicat- John Bonham
ed Art’s power. The recent live Led Zeppelin releases testify to the truth of this pioneer heavy
hitter. Bonham wasn’t really smacking that rimshot as hard as you’d think.
Buddy Rich (Not that you’d want to get between his stick
Maybe it was his love for concert drummer Billy Gladstone, but Rich could and the drum!) His was the art of controlling
execute the quietest buzz roll in existence. And his left-hand snare work was attack and sustain live off the floor.
wicked.
Bill Bruford
Roy Haynes For as long as MD has been publishing, read-
Give me a break. Roy is over seventy, and his snare still has that snap, crackle, ers have been writing letters asking about Bill’s
and pop. distinctive high-pitched snare sound, evident
as far back as the first Yes album. How do you
Ringo Starr get that sound? Plant a backbeat near the rim
Three words: “In My Life.” On that Beatles ballad, most drummers would have and get the stick out of the way to allow an
gone to a cross-stick or, at the very least, to a more subdued, damped tone. unmuffled, moderately tensioned drum to ring out.
Ringo, on the other hand, lands a joyous rimshot—an elegant clang.
Don Henley
Billy Higgins When we think of the archetypical “fat” snare sound, Don and The Eagles
Often playing jazz on supplied “kits du jour,” Higgins would get his sound with come to mind. In the ’70s, his sprawling snare was the sound everyone aspired
light, fluttering handwork. Once I caught him at a sound check and asked to. If you were doing studio work in that era, engineers would tell you to get an
about how he’d tuned up the borrowed snare drum he was using. “I didn’t “Eagles snare sound.”
tune it at all!” he responded.
Jim Keltner
Mitch Mitchell Keltner once told MD there was no “Jim Keltner drum sound.” But just in case,
The perfect foil for Jimi Hendrix, Mitch played with a scampering, sprightly check out Steely Dan’s “Josie.” He’s just catching the rim of the drum, result-
Yamaha
61⁄2x14 Bamboo
This drum features an 6-ply, 6-mm all-bamboo shell fit-
ted with ten lugs and 2.3-mm Dynahoops. Yamaha
stresses the versatility of this model. It can be tuned
down, with the snares loosened, for a fat, funky sound.
Or it can be cranked up to get a powerful crack that still
has a lot of body, without the sound getting thin. Thus
the drum has enough high end to cut through the band
for a rock gig, but is warm and sensitive enough for
low-volume jazz gigs.
List price: $650.
(714) 522-9011, www.yamahadrums.com.

ing in a sound that’s right out of R&B—a brilliant “pop.”

Steve Gadd Alan White
Once he was God to drummers worldwide. Recently with Chick Corea at The After White recorded Yes’s “Owner Of A Lonely Heart,” legend has it that
Blue Note in New York City, he was still working in the realm of the sacred. record company execs were frantically phoning in the middle of the night
Often termed the creator of the muffled ’70s studio sound, Steve has “opened begging for the single to be remixed. (They thought the sound was too high
up” his sound of late. One thing’s for certain: When he plays a backbeat on and radical.) Fortunately, they lost. White’s
anything, the guessing is over. The time is locked into something universal. backbeat became one of the most influential
sounds of the 1980s.
David Garibaldi
I saw him recently in concert and he was getting the same sharp, open Alex Van Halen
rimshot he was getting in 1974 with Tower Of Power. And that’s a good thing, One of the most identifiable sounds ever.
as per the T.O.P. line, “Don’t change horses in the middle of the stream.” Alex has a way of making a snare drum
sound at once snarey and hollow, maybe
Bernard Purdie because he’s slugging so hard.
The famous “Purdie Shuffle”—a half-time shuffle heavily woven with ghost
notes—wouldn’t sound the same without Bernard’s bright snare sound, clean Steve Jordan
articulation, and alert time feel. Hail the king of the high, ringy snare! Of course, once Jordan had influ-
enced every drummer within earshot to emulate his blistering rimshot, he
Jeff Porcaro took a left turn and explored de-tuned batters.
Sometimes cited for his Purdie-influenced shuffle, the late session drummer
and member of Toto had an irrepressible backbeat, easily as powerful as any Kenny Aronoff
on our list. From Cougar to Cocker and The Pumpkins to Melissa, Aronoff’s macho
snare delivery has been the center of his sound. In the ’80s, Kenny’s ring-
Rick Marotta ing, powerful slam with Mellencamp was particularly influential.
Few can strike a snare so thoroughly that it splats, yet can articulate ghost
notes clearly. Some of Rick’s snare/hat fills are damn near inimitable. Vinnie Colaiuta
It’s a sound with a point, a sound that’s made its impression on the fusion,
Phil Collins singer-songwriter, and most recently country genres. Acclaimed for his
With Genesis on Selling England By The Pound, or his Brand X albums, nimble stuff, Vinnie also knows how to plant a simple backbeat. His left-
Phil’s snare sound was exquisitely focused. With John Martyn on Grace hand traditional grip is a study in itself.
And Danger, it retained the sizzle but gained a more ambient quality. And
later in his career, Phil’s snare sound became even more crisp and huge. Carter Beauford
Is it the way Beauford plays thumbs-up and the amount of “meat” he puts
Neil Peart on the stick? Or is it the relative placement of bead and shank against the
One of the most influential drummers of the last twenty years, Neil’s foun- rim? Whatever the case, it comes off as a highly tensioned snare, but it’s
dation is his snare, for the longest time a modest Slingerland woodshell looser than you’d think.
model. How to describe Peart’s sound? It’s got a crunching bite that will
cut through any old Chevy’s radio. Danny Carey
Carey’s snare sound is crisp and upper-register, as opposed to mid-rangy
Stewart Copeland and throaty. Danny creates a conversation on the snare drum that ven-
There are many Copeland snare sounds with The Police, Animal Logic, and tures beyond his chosen style.
his current projects. But we remember him for the high, sharp attack he’d
get from the rim of the drum and his incredible placement of backbeats, Dennis Chambers
which derived from an obvious close study of Island music—and Sting’s It’s a get-out-of-my-way sound that defined John Scofield Loud Jazz .
pocket on bass. by T. Bruce Wittet
Chambers’ snare work rivals Buddy Rich’s in sheer audacity.
 Best As ravishing as top-of-the-line snare drums are to look at,
the fact is that they’re generally not the best-selling
drums in a manufacturer’s line. Factors like versatility and
lead the field, either.
Some snares enjoy high sales due to special sonic char-
acters or functional features. With that in mind, we asked

Sellers affordability have an undeniable impact on the popularity

of a given model. Still, the cheapest drums don’t always
the manufacturers of our Gallery drums to give us the low-
down on their best-selling models.

Ayotte
6x14 18-ply WoodHoop
This has been Ayotte’s most popular model during the past year. The warmth of the
WoodHoops, combined with the extra punch of the 18-ply shell, offers a wide spec-
trum of snare sound variations for rock, funk and jazz players. Ayotte describes it as
“a punchy drum with a sharp attack, yet also with great resonance and sensitivity.”
As with all Ayotte Custom snares, this model features the company’s unique Rack
& Pinion snare release, as well as the TuneLock tension system. The drum shown
here is finished in Cabernet Fade Gloss.
List price: $1,800.

Jim Esposito
Drum Workshop
5x14 Collector’s Series 10+6 All-Maple
DW’s “workhorse” drum is a top seller with their own drumsets and as a primary and
secondary snare for other kits. The combination of a 10-ply maple shell with 6-ply rein-
forcing hoops gives the drum an excellent balance of attack and tone, and the 5x14 size
gives it a wide range of tuning flexibility. This makes it an ideal all-around drum for a
Black Panther
ML0550 51⁄2x10 Maple
variety of players from students to professionals. The 10" snare is the most popular accessory drum size since the rise of the pic-
List price: $700 to $900, depending on finish. colo. The Black Panther 51⁄2x10 is said to offer the crisp, dry attack of maple in a
size that generates a relatively high pitch without the adversely high head ten-
sion common among piccolo drums. Its small diameter and moderate depth are
designed to provide a balance of attack, tuning range, and volume that will sep-
arate it from the rest of the kit in live and studio environments. It’s available in
Flat Black finish only.
List price: $380.

GMS
61⁄2x13 Special Edition Series Maple
GMS’s best-seller features an 8-ply maple shell with a natural satin finish. It’s
fitted with sixteen Special Edition Series lugs, chrome-plated GMS hand-tooled
solid-brass throw-off and butt, 2.3-mm hoops, and Evans drumheads. The
reduced diameter and added depth combine to give this drum penetrating highs
and meaty lows, while the maple shell adds warmth and resonance.
List price: $670.

74 Modern Drummer November 2003

Gretsch
5x14 Black Chrome Steel Snare
This drum features ten double lugs, die-cast hoops, and a drop
throw-off design. The shell is 1.2-mm thick and is finished in a bril-
liant black chrome. The combination of its steel shell and die-cast
hoops is said to promote a dark sound with plenty of crack through-
out the drum’s wide tuning range. Gretsch calls this drum “a great
all-around metal snare to be used as a primary drum or as an ideal
second snare on any kit.”
List price: $380.

Ludwig
5x14 Supra-Phonic
Ludwig’s LM400 Supra-Phonic snare drum has been the workhorse for millions of
drummers in all musical styles for generations. Its single greatest appeal is its versatili-
ty; it can be—and has been—used in virtually every style of musical performance
imaginable. The 5x14 chrome-plated aluminum shell is fitted with ten Imperial lugs,
triple-flange hoops, a P85 snare strainer, and 20-strand wire snares. It comes standard
with Ludwig’s medium-weight coated Weather Master drumheads.
List price: $535.

Noble & Cooley

Alloy Classic
Noble & Cooley’s Alloy Classic is available in 43⁄4x14 and 61⁄4x14
sizes. It features a cast-aluminum shell, solid brass lugs and
throw-off, and die-cast rims. According to N&C, the drum’s pop-
ularity lies in its ability to pop like a metal drum but have the
depth and warmth of a wood drum. This is due to the nature of
the cast shell, which is said to be “dense but musically reso-
nant.” The drum is also priced at a point designed not to scare
drummers away from the idea of buying a “boutique” drum.
List price: $850.

Peace
51⁄2x14 Batterie Hand-Hammered Copper
According to Peace, the dark nature of this drum’s hammered
copper shell delivers “controlled, sparkling attack, but with a
low-end wallop previously unattainable in a metal drum.” Sonic
subtleties from every end of the musical spectrum are said to
make it excellent for any type of gig or playing situation, from
Jim Esposito

Broadway to heavy rock.

List price: $639.

Modern Drummer November 2003 75

 Pearl
5x14 Chad Smith Signature Snare
The 5x14 black nickel-plated steel shell and gleaming chrome hardware of
the Chad Smith drum just scream rock ’n’ roll. Pearl’s SuperHoop ll rims,
SR-015 strainer, and stainless-steel tension rods add the crack and power
needed for rock. The Chad Smith model is also Pearl’s most affordable
signature snare, which makes it attractive to drummers who want to
experiment with different snare drums and effects.
List price: $339.

Premier
51⁄2x14 Modern Classic Maple
Premier’s current “absolute top-of-the-line super-drum” is, in fact, also their best seller. The
Modern Classic series features hand-made snare drums designed to compare with the best
and most expensive boutique drums—yet be within reach financially of the regular player.
List price: $515.

Remo
5 1 ⁄ 2 x14 Gold
Crown Special Edition
Remo has recently restructured their drum offerings. Currently, the only snare drum
Jim Esposito

models available are the Gold Crown Special Edition models listed within the Gallery
Of Greats.
List price: $449.

Selecting A Snare Drum by Michael Bettine

There was a time not too long ago when your choice for cost $3 last for years, and some of these fancy $30 ones that you hate the sound of, clean it, lubricate it, put new
a snare drum was limited to a basic wood or metal last three weeks. The biggest difference is when you go heads and snares on it, and you’ll have a Ferrari.
model. Now we have brass, steel, aluminum, copper, from a traditional coiled wire to a cable-type. You don’t need special lugs, as they have very little
maple, birch, beech, poplar, bamboo, fiberglass, plexi- There’s not any one snare drum that covers every sit- affect on the sound. Minimal contact is only important if
glass, and many other choices, all with a variety of lugs uation. But you can do the most with a 6x14. A 14" diam- you believe the shell is vibrating. I’m not from that
and snare mechanisms—not to mention 2 1 ⁄ 2 " to 8" eter has the most versatility, and a 6"-deep shell can be school. The lugs and strainer are purely functional. You
depths and 10" to 14" diameters. There’s a world of tuned up for more “crack” or detuned for a fatter sound. don’t necessarily have to spend a lot of money to get a
choices out there, but how do you choose? We asked A thinner drum locks you into one sound. great-sounding drum.
some of the people who specialize in building snare The important thing about the hoops is that they be
drums for their tips on what to look for in a drum. Neil Grover flat and won’t bend. Die-cast hoops don’t flex, but they
Grover Percussion do affect the sound.
Michael Dorfman What’s important is the reflectivity of the inner shell. The bearing edge is also very important. It has to be
Trick Percussion Typically metal shells are much thinner than wood, but both perfectly flat and round so that you can tension the
The thickness of the shell affects the tone, the funda- more dense. Wood is an organic, porous material that head evenly. The sharper the edge, the more high-fre-
mental note. A thinner shell is warmer. The bearing edge breathes, so it absorbs some of the high-frequency vibra- quency response you get.
makes a big difference in sound. A sharp edge is more tions. A metal shell will sound more ringy, not because People think that the old snare drums sound great
sensitive with a lot of attack. The smaller the diameter, the metal is ringing, but because it’s reflective and the today because of the aged wood. But a lot of the old
the tighter and faster the sound is. Shell depth affects sound waves bounce around inside. The reflective prop- drums have a very round edge, which gives them a
the body and the resonance. Deeper drums will sound erties of the shell are more important than the pitch of warmer sound. Back then a sharp edge would have cut
deeper because the vibrations have a longer time to the shell. We’re not hearing the shell vibrating, but through a calf head.
travel through the drum. They won’t have the “snap” or rather how it affects and transmits the sound waves.
sensitivity of a shallower drum. Even more important to the overall sound of a snare Bob Gatzen
I think that the less hardware touching the drum the drum are the snares and heads it’s equipped with. I see Formerly With Noble & Cooley
better. You’ll get more shell sound, which is what you’re a lot of manufacturers putting out $900 snare drums The main thing to do when looking for a snare drum is to
paying for. I’ve tried different snare wires, and I think the with cheap snares. The wire is what creates the distinc- check for roundness and lug alignment. Take the top
differences are subtle. I’ve seen “snappy” snares that tive sound of the snare drum. You can take an old drum head off and see if the shell is round. You can’t fix that if

76 Modern Drummer November 2003

Sonor
5x14 Designer Series Maple Light
Sonor’s Designer Series Maple Light snare drum
is the company’s best seller largely because it is
sold with virtually all Designer Series drumkits.
It’s also one of Sonor’s most popular
after-market sellers. The drum features 9-
ply, 6.7 mm–thick shells, die-cast hoops, and
Sonor’s self-locking tuning system. Thirty-one
stain finishes and four natural finishes are avail-
able, as well as a virtually unlimited selection of
solid color lacquers.
List price: $1,020.

Tama
4x13 Hammered Steel Shell Soprano
Tama's soprano drums feature hammered steel shells for a sound that’s
slightly darker than a standard steel shell, yet still crisp and sensitive.
Equally applicable as an auxiliary snare or as a main snare, Tama’s
Sopranos are said to offer “expensive looks and sounds—at a price that’s
not.” Drums feature eight lugs, Tama’s MPS30A/MUS30B snare system,
and Snappy Snares.
List price: $199.99. (A 12" version lists for $198.99.)

Yamaha
61⁄2x13 Musashi
Yamaha’s best-selling snare features a 7-ply oak shell, eight
lugs, 1.6-mm triple-flange hoops, and 20-strand snares.
Yamaha is the only major drum manufacturer offering oak-
shelled drums, making the Musashi unique among major
brands. The drum offers versatile acoustic performance, a
striking gloss-black finish, and an affordable price.
List price: $399.

it’s not. Also look at the lugs and make sure they’re 6x14 drum with 1⁄8"-thick shell, it will have a very low material. Aluminum is pretty springy, so shells made
straight. One test is to loosen all the tension rods and tone and want to be tuned low. If you have a 1⁄4"-thick from it tend to stay round. But if you drop a brass or
see if you can move the head at least 1⁄8". If you can’t, shell, the tone will be higher and it will want to be tuned steel shell, you now have a straightening project. You
they’re out of alignment. Tuning is all about evenness in higher. can check for roundness by seeing how even the gap
pressure. Also, don’t be put off by 8-lug drums versus The actual shell affects the sound quite a bit and will between the head and the hoop is.
10-lug. That said, if you go for high tunings, go with determine what the drum sounds like. I don’t think the On a wood drum, it isn’t the thickness of the shell
more lugs. hardware affects the drum adversely one way or anoth- that affects the sound, it’s the strength and mass of the
As for hoops, die-cast dry out and focus the sound. er. It will make a difference if you have a ton of big, wood. Mass and strength resistance affect volume,
But still, whether you like the sound is subjective. And bulky hardware on it, because that could choke the response, and resonance. You need a certain mass to
there’s nothing wrong with using $10 snares. The main sound. But I don’t think there are too many people out get volume. Those lightweight mahogany shells on inex-
concern is that they’re even and that they lie flat when there who can tell the difference between tube lugs or pensive drums just don’t do it. In strength-to-weight
you lay them on a table. Also, those polyester straps cast lugs on identical shells. terms, a cross-laminated shell is pretty well-reinforced.
they often use to attach the snares are too stiff. I use You get a totally different tone between a shallow, Basically, you have to decide what you can hear, what
nylon webbing from a sewing store, or you can even wide drum (3x13 or 3x14) versus a deeper, small-diame- your sensitivity of sound is.
use reinforced tape. It makes a big difference in ter drum (5x10 or 6x10), mainly because you have less
sound. head area on the small-diameter drum. When you lessen All Things Being Equal
the diameter, the note gets higher. I like a 6x13 drum It would be easy to write an entire book about the ins
Brian Spaun because you get the crack of a smaller diameter with the and outs of snare drums, especially considering the
Spaun Drums fullness of a deep drum. When you choose a snare drum, varied opinions and ideas different drum makers and
With wood shells, the note of the shell is determined by you have to choose a range that you want it to work in. players have regarding what makes for an optimal
diameter, height, and thickness. You can have 50 plies sound. With all those opinions—and so many models
that are as thin as paper, maybe an eighth of an inch Mitch Greenburg to choose from these days—buying a snare drum is not
thick. Or you can have 3 plies that are 1⁄2" thick. When Bison Drum Company a simple task. Ultimately, you have to rely on your ears,
you have a thinner shell, say 9 or 11 plies that are 1⁄8" If you’re looking at metal-shell drums, you should make and choose what sounds right for you. After all, it’s
thick, you get an overall shell note that is very low, sure they are round. Wood, once it’s round, tends to stay your gig.
because there’s not a lot of mass there. So if you have a round. Now, brass is a perfectly bendable, dentable •

Modern Drummer November 2003 77

Other Players The snare drum market is full of manufacturers of
every description. Some offer snares as part of a
complete drumkit line, others specialize in snare
strictly custom craftsmen. But all of them have
their own distinctive approaches to the creation
of this most important instrument. Here’s a sam-

In The Game drums alone. Some offer stock drums, others are pling for your perusal.

AFRICAN AMERICAN DRUM CO. (not cross-laminat-

AADC snare drums are made of the finest ed), giving the drum
maple shells and come in any ply configuration a solid-wood sound
the customer wishes. AADC lugs are hand-cast previously unknown
in bronze. Lion, wolf, and bear sculpted lugs in a ply shell. Block drums produce a thicker
are available in addition to the standard AADC tone and quicker decay than ply drums do.
bronze lug. Customers can also design their Jarrah has a prominent low-end note, sheoak
own custom bronze has a prominent mid frequency, and wandoo,
lug. Cast-bronze gimlet, and Goldfields blackbutt all have promi-
lion-design throw- provide. Rock-model drums are made from 10- nent high-end cut and attack.
offs are standard; ply maple and are available in a variety of sizes. Solid wood drums are crafted in a limited
Nickel Drumworks Shells can be finished in any custom stain for an number from jarrah and wandoo. Each shell is
throw-offs are option- additional charge. literally a solid section of tree hollowed out
al. Drums feature 2.3- Bison also offers their premier Volcano using an axe, a chainsaw, a chisel, and finally a
mm steel, 2-mm snare, which features a conical, stave-con- lathe, then drilled and fitted with hardware. All
brass, or die-cast hoops (in black or chrome), structed shell. The Volcano’s 1"-thick shell is snare drums come with a clear version of the
plus a choice of virtually any stained and lac- said to create “an astounding harmonic spread Nickel Drumworks strainer, Remo drumheads,
quered finishes. Drum sizes range from 31⁄2x13 and unusually loud, sharp crack.” The 7"-deep and 2.3-mm triple-flange steel super-hoops.
($640) to 8x14 ($745). drum is available in maple and black walnut. (Die-cast hoops are not recommended, for
(707) 445-9029, www.aadc.com. (847) 459-1255, www.bisondrums.com. acoustical performance reasons.)
(011) 618-94972212, www.bradydrums.com.au.
ARBITER BLACK SWAMP PERCUSSION
Arbiter makes two distinct Flats snare drums, Black Swamp Percussion is a “custom produc- CADESON
both of which use the patented Arbiter AT tion” shop focusing on the concert and orches- Cadeson offers
(Advanced Tuning) single-screw tuning system. tral market. They typically build to order, but twenty-five
The Lite version is only available with the com- also offer popular configurations as fixed different snare
plete Flats outfit, while the models. Ten-ply maple, carbon fiber, brass, drums within six
Pro version can be pur- and solid maple, cherry, and walnut shells are different series: Bird’s-
chased separately. Both available in a variety of stains and exotic eye/SBE (bird’s-eye maple),
share the same black wood veneers with gloss and satin finishes. Chinese Water Color (maple with
molded ABS shells with pre- Drums feature die-cast or triple-flange hoops. custom art graphics), Maple, Bronze (hand-ham-
formed bearing edges and snare beds, as well Black Swamp’s Precision Glide Duo and Trio mered, shown here), Aluminum, and Practice
as steel counterhoops. All Flats snare shells are strainers have two or three independently (maple, basswood, and iron alloy shells).
2" deep. Lite models are available in a 12" adjustable snare systems, enabling the player Features (which vary between the series)
diameter, while Pro drums come in 10", 12", 13", to adjust the snares for maximum response include gold-plated and die-cast hoops, solid
and 14" diameters. throughout the entire dynamic range. Multisonic brass Diamond Bridge or chrome-plated Modern
The Lite snare uses glass-filled nylon V- strainers expand on Style lugs, and lacquer-finished wood shells.
clamps to tune the drum. It’s designed with an this idea by allow- Sizes range from 5x12 to 61⁄2x14.
easily adjustable snare strainer rather than a ing the player to (626) 369-0253, www.cadesonworld.com,
throw-off, and is fitted with generic Taiwanese- engage or disen- www.cadesonmusic.com.
made drumheads. The Pro’s V-clamps are made gage any combina-
from steel. It has a no-nonsense on/off snare tion of five snare CAKE DRUMS
switch made from glass-filled nylon, and is fit- systems. The drum shown here has a standard Cake offers a variety of custom-made snare
ted with Remo Ambassador heads. hardware configuration (die-cast hoops with the drums. Their “BQE” drum (named for the notori-
(877) 553-5596, www.arbiterdrums.com. Multisonic Snare System), but a custom curly ously clogged Brooklyn/Queens Expressway
quilted solid maple shell. near the Cake factory in Brooklyn) is a 6x13 with
BISON DRUMS (616) 738-3190, www.blackswamp.com. a 4-ply beech shell.
All Bison snare drums are custom-made, one at The drum features a
a time. Drums are available with steel hoops or BRADY Nickel Drumworks
Bison’s N.G.U. (New Guaranteed Unbreakable) Brady creates ply, block, and solid-wood snare Piston snare strain-
hoops, which are made of magnesium alloy and drums using woods indigenous to Western er and a sleek off-
are claimed to be the strongest rims on the mar- Australia. Ply shells are made in a dry-mold sys- set lug design.
ket. These hoops are said to help the drum pro- tem using individual plies of jarrah, which is Retail price is $299.
ject a brighter sound and to provide a finer tun- much harder than rock maple. All grain runs in MTC Drumshop, (718) 963-2777,
ing than die-cast and pressed steel rims can the same horizontal direction around the shell www.cakedrums.com.

78 Modern Drummer November 2003

CANOPUS CLE’s solid machined-aluminum lugs are brass tube lugs
Canopus offers a variety of distinctive snare designed to vibrate sympathetically with the and the new D-
drum models, featuring shells of solid maple, shell. Every CLE snare drum comes standard 180 throw off.
maple plies, aluminum, steel, hammered with the Nickel Drumworks strainer. High- Triple-flange
brass, and hammered bronze. The 6 1 ⁄ 2 x14 gloss lacquer and satin oil varnish finishes are hoops are stan-
One-Piece Maple drum ($1,499) features offered, along with custom fades and dard; die-cast,
shells aged for ten years. The 5 1⁄2x14 and sparkles. The pictured snare is a 6x14 10-ply, single-flange,
61⁄2x14 MFP maple models (both $650) feature 20-lug model, finished in blueberry toast to and R-class
an oiled coating applied under their covered golden sunset stripe/fade. hoops of steel,
finish to control unwanted high-pitched over- (410) 876-3471, www.cledrums.com. brass, or titani-
tones and produce a deep, wet sound. The um are also available. Drums feature ultra-
51⁄2x14 Brass model ($650) features a thin (1 CRAVIOTTO PERCUSSION PRODUCTS thin, undersized shells, Dunnett’s uniquely
mm) shell combined with minimal-contact Craviotto Percussion designed snare beds, 42-strand snare wires,
brass tube lugs for a tight, warm sound. focuses on producing and stainless-steel fasteners throughout.
high-quality shells Stainless-steel snare drums start at $480; tita-
for other drum-mak- nium drums start at $815.
ers. However, they (604) 643-9939, www.dunnett.com.
are currently offering
Lake Superior Birch DRUM SOLO
The flagship model for Canopus is the snare drums. The Drum Solo is known
Zelkova snare drum, whose hollowed-out one- drums feature 600- for their use of cer-
piece shell is said to produce “a powerful yet year-old solid birch Timeless Timber shells tified, salvaged, and
warm wooden sound with sharp response and with nickel-plated tube lugs and engraved reclaimed woods in
fat, low resonance.” It’s available in 5x14, brass counterhoops. The original run of 100 the construction of
61⁄2x13, and 61⁄2x14 sizes at $1,599. drums made in 2002 sold for between $2,000 segment snare drums. Diameters range from
(888) 860-1668, www.sound-brands.com, and $2,500 each, but have been appraised by 6" to 15". Also offered are 1-ply steam-bent
www.canopusdrums.com. collectors at well over $3,000. snare drums, as well as maple or birch ply
(831) 763-0855, www.craviottopercussion.com. drums. Lugs are machined from solid brass,
C&C CUSTOM DRUMS and any 14" Drum Solo snare drum shell can
Although C&C makes snare drums in brass D’AMICO be fitted with the Lang/Gladstone 3-way tun-
and aluminum, their wood-shelled drums are D’Amico’s snare ing system upon request. Custom drum
the most popular. The company cuts their drum line includes designs and graphics (such as on the drum
edges to produce the attack of brass while handcrafted Solid pictured here) are available after consultation.
retaining some of the warmth of wood. Drums series steam-bent, (415) 898-2647, www.drumsolo.cc.
are available in all sizes and ply configura- solid-shell snare
tions, as well as with solid and stave-ply drums, featuring FIBES
shells. Currently the most popular model is an shells of birch, Fibes offers snare drums in maple, fiber-
8x14 10-ply maple, with and without 6-ply maple, oak, ash, and cocobolo. Also available glass, and acrylic Crystalite. All drums have
reinforcement hoops. Virtually any custom are Solid Carbon Steel and Cast Bronze hand-finished bearing edges. Maple and
paint job or finish is available, including drums drums. Standard features include die-cast Crystalite drums are available in 12" to 14"
covered in real hoops (14" only), a 10-lug tension system, a diameters; fiberglass drums are available in
abalone shell, solid aluminum machined throw-off, a a 14" diameter. All three can be ordered in a
such as the 4x14 Precision Profile snare bed for enhanced variety of depths. Remo heads are standard;
drum shown here. response, high-gloss clear lacquer finish on Aquarian heads may be substituted.
(816) 468-1121, candccustomdrums.com. all wood drums, wood-matched reinforce- The drums are available with a choice of
ment hoops, and a patented lug design with snare strainers.
CLE DRUMS built-in lug locks. Sizes range from 4x14 The AFT is a tradi-
CLE is dedicated to bringing a customer’s per- through 7x14, at prices between $1,250 and tional piston-drive
fect snare sound to realization. They begin the $1,875, depending on shell material and size. strainer with a
process with 100% North American maple (510) 226-8700, www.damicodrums.com. side arm release.
shells from Keller in either 8-ply with reinforce- The SFT features
ment rings or 10-ply without reinforcement DUNNETT CLASSIC SNARE DRUMS machined metal parts, with no internal
rings. Unlimited options in shell depth and Dunnett specializes in hand-built snare drums springs or cams. The snares are kept under
width are available, all featuring CLE’s unique made from titanium, stainless steel, brass, constant tension, providing the sensitivity of
bearing edge and radical snare bed design. bronze, copper, aluminum, iron, and mild a parallel-action strainer. A bar inside the
This design is steel. They also offer steam-bent, thin-wall, butt plate allows vertical adjustment of the
said to create solid-shell snare drums made from maple, snares for proper on/off snare sound. The
“an unsurpassed cherry, walnut, mahogany, koa, and other SFT is crisper and more articulate than the
level of warmth woods. Drums are built to order in diameters AFT, and is recommended for drummers
and sustain ranging from 6" to 16", in almost any depth. A playing jazz or symphonic music.
without sacrific- wide variety of finish options are available. (512) 416-9955, www.fibes.com.
ing volume or attack.” All Dunnett drums are fitted with R6 solid-

Modern Drummer November 2003 79

 FORTUNE DRUMS here), Gabon ebony, and macassar ebony. shown here. The
Fortune custom snare drums are available in More traditional woods, such as maple and thicker shell is
diameters from 10" to 15" and in standard birch, are also available. The 14" drums are said to produce
and custom depths. Shells are 5-, 6-, 7-, 8-, constructed with 1⁄4"-thick stave shells of any “extra deep bass
and 10-ply maple, with or without reinforcing depth, with either eight or ten lugs. Standard sound, with punch
rings. Fortune also offers lathe-turned stave- hardware includes vintage tube lugs, 2.3-mm and great reso-
construction shells flange hoops, Nickel Drumworks strainers, and nance.” The drum also features titanium
in domestic and 16-strand wires. Prices range from $495 to hoops, tension rods, and washers. The rods
exotic woods. A $795, not including custom options. are said to be stronger than steel and capable
variety of inside fin- (303) 986-5207, www.headdrums.com. of precise tuning. (Aluminum drums feature
ishes, edge profiles, brass tension rods and titanium washers.)
and snare-bed contours yield personalized HEAVENLY DRUMS Nickel Drumworks strainers are fitted to all
snare-drum voices. Heavenly specializes drums.
Drum finishes can be anything from lami- in the design and fab- Fax (011) 81-6862-5249,
nates, natural waxes, and oils to catalyzed ure- rication of custom www.kitanodrums.com.
thane enamel finishes. Custom graphics and spe- snares. Maple ply
cial-effect finishes are also offered. Hardware models are available with 6-, 8-, 10-, 20-, and MAGSTAR
options include tube lugs, low-mass bridge-type 30-ply Keller shells. Segmented shells and Magstar offers
lugs, various strainers, and triple-flange or die- 5 ⁄ "-thick solid steam-bent wood shells in snare drums from
16
cast hoops. Powder coating and anodizing of over 50 exotic woods are offered, along with 10" to 14" in
hardware components are also available. black-anodized or brass-plated steel shells. diameter, with
(330) 656-4744, www.fortunedrums.com. The customer can choose from a wide range shells ranging
of hardware with chrome, brass, or black from 6- to 20-ply
GROVER PRO PERCUSSION anodized finishes. Hoop choices include wood maple. Prices for
Grover offers Projection-Plus, SV, and models, along with triple-flange, die-cast, or “standard” maple-shell snares range from
Performance series snare drums, with 8- or 10- vintage metal models in chrome, brass, or $299 (4x13, with one of sixty coverings) to
ply maple shells. All shells are precision- black-anodized. Available finishes include $389 (8x14 polyurethane, oil, or shellac fin-
machined by CNC technology and feature 2.3- hand-polished wax, custom satin oil, clear lac- ish). Solid steam-bent drums range from $449
mm Super Hoops. Solid steam-bent maple shells quer, polyurethane, special auto finishes, and a to $519. Also available are 8-ply combination
with die-cast hoops and natural skin heads are large selection of wood coverings. wood shells including mahogany/birch, cher-
also available in the Projection-Plus series. (787) 769-9789, www.heavenlydrums.com. ry/ birch, and walnut/birch. These drums
Projection-Plus models are primarily orches- come in most depths and diameters.
tral drums. They feature tube lugs, Grover’s JOYOUS LAKE DRUMS Bearing-edge cuts, finishes, hardware, head
Piston Strainer and Snare Joyous Lake Exotic Hardwood Drums builds types, throw-offs, hoops, and snares are all
Outrigger System, nodal vent- snare drums that feature solid steam-bent wood determined by the player’s individual needs and
ing, and Grover’s silver wire shells, seamless reinforcement rings, and sin- preferences. Pricing for even further customized
bronze cable snares. SV drums gle- or double-tension drums is available through consultation.
are similar, but feature Grover’s lugs and clamshell (508) 747-3493, www.magstardrums.com.
Performance Snare System, die- cam-action throw-
cast lugs, and Gladstone-style throw-off. Both offs lathed from exot- MARYLAND DRUM COMPANY
come in a variety of natural wood finishes. ic woods. Each drum The Maryland Drum Company builds custom
Performance Series drums feature the is an individual work drums, as well as several of their own series.
Performance Snare System, die-cast lugs, with the option of Each reflects a different approach to the inte-
standard throw-off, and designer Italian Ligna vertical- or horizontal- grated elements of design and performance.
wood finishes in a variety of colors. Drums grain shells. Virtually The series are: Timepiece (vintage-style),
range in size and price from the 5x10 any wood can be used in production. Since Machined Aluminum Chrome (MAC) and
Performance Power Picc ($520) to the 61⁄2x14 each drum is unique, there are no stock models Machined Aluminum Anodized (MAA), Die-
Projection-Plus Symphonic ($810) and 61⁄2x14 or sizes. Cast Chrome (DC), 20 Ply (maple), Single Lug
Projection-Plus Solid ($1,170). Pictured are three variations of the designs (SL and SL II), Black Brass, and SL II Black
(617) 935-6200, www.grover.com. and wood combinations available from Joyous Brass. Features found on the various models
Lake. From top center: a 7x14 African ebony include maple shells with hand-finished interi-
HEAD DRUMS shell with ebony lugs, a 51⁄2x14 African padauk ors, edges, and snare beds, stainless-steel fas-
Head specializes with floating bloodwood lugs, and an 8x14 pur- teners, Nickel
in drums built of pleheart with Madagascar rosewood lugs. Drumworks
woods that are not (206) 633-1774, www.joyous-lake.com. strainers, 2.3-
commonly used for mm triple-flange
drum construction, KITANO hoops, solid alu-
along with woods deemed to be “exotic.” Kitano offers aluminum and titanium snare minum lugs, and
These include spruce, douglas fir, Australian drums. Their original titanium design, intro- a choice of four-
lacewood, anegre (African birch), yellowheart, duced in 1989, featured a 3 mm–thick shell. teen woodgrain colors on wood-shell drums.
zebrawood, padouk, white oak, Brazilian rose- They have recently introduced a 4 mm–thick (410) 472-3306, www.marylanddrum.com.
wood, purpleheart, wenge, tulipwood (shown shell, like the one featured on the 7x13 drum

80 Modern Drummer November 2003

MASTRO and 14" only) are available at extra cost. Brass order to produce a low, fat
Mastro offers a lugs are also available. Price for maple snares sound with more volume.
complete line of range from $390 (4x13) to $610 (8x14). Acrylic Snare drums can be cus-
handcrafted snare snares are priced at $325 (13") and $350 (14"). tomized with a suspension
drums. All compo- (740) 754-2843, www.medicinemandrums.com. mounting system, thereby
nents—including eliminating a snare stand.
hoops, strainers, butts, claws, lugs, rods, and MRP DRUMS Drums are equipped with the
snare wires—are manufactured by the compa- MRP offers an extensive selection of custom- company’s own hardware, including lugs, a
ny. Each drum is hand-finished and polished to a crafted snare floating suspension system, and aluminum and
deep, mirror-like gloss. drums. Included wood hoops. Finishes include wood laminates
Mastro’s 5x14 Copper snare drum (shown are drums of vir- such as radica, fassino, bird’s-eye maple, and
here) has a 3-mm shell, ten lugs, gold chrome tually any depth Brazilian mahogany, a wide range of Formica
hardware including die-cast hoops, and an or diameter, coverings, and virtually unlimited lacquer col-
adjustable strainer and butt. A 7x14 Orchestral with shells of ors.
snare features a 2 mm–thick polished bronze 10- and 20-ply maple, stave-shell maple and (011) 55 19 3277.0306, www.odery.com.br.
shell, with 8 or 10 lugs, gold chrome hard- maple/birch, solid 1-ply exotic woods, stainless
ware, a double strainer, a fully adjustable steel, phosphor bronze, and aluminum (shown ORANGE COUNTY DRUM & PERCUSSION
butt, a customized snare bed, and specially here). All drums feature solid machined-brass OCDP is a custom manufac-
shaped steel hoops to allow the snare wires hexagonal lugs standard, with machined tube turer offering a wide variety
to tension properly. lugs available on drums up to 51⁄2" deep. The of maple snare drums in
(808) 323-3315, www.jagsentertainment.com, buyer’s name is stamped inside every drum, and standard to extra-thick mul-
www.mastrosnaredrums.com. engraved nameplate badges for the outside are tiple-ply models, along with
available. The selection of painted and wrapped brass, aluminum, steel, acrylic,
MAYER BROS. DRUMS finishes, including sparkles, pearls, glosses, nat- stave, and hybrid shells. The company special-
Mayer Bros. snare drums are offered in maple ural satins, and high-pressure laminates, is vir- izes in vented snare drums, whose shells have
and birch ply, as well as steam-bent one-piece tually unlimited. large openings cut into them. These vents are
maple, cherry, and walnut. Domestic and exotic (516) 568-2820, www.mrpdrums.com. said to dramatically increase the volume and
wood segment shells are also available, as are sensitivity of the drum while decreasing the shell
brass and aluminum models. Sizes range from MYMI resonance. The lack of shell resonance produces
10" to 15" in diameter, with a variety of depths. MyMi’s 4-D a very “dry” (fast decay) snare, while the unob-
Drums come design offers structed air column increases sensitivity. Vented
standard with buyers the abil- snares can be made in any diameter and depth.
2.3-mm triple- ity to custom- (714) 564-0667, www.ocdrum.com.
flange hoops; order a drum with their own unique look and
single-flange sound. Shell options include 100% maple shells OREGON DRUMS
and die-cast in a choice of sizes and plies, along with stave- Oregon offers two
hoops are optional. Solid machined MBD lugs shell construction in maple, birch, walnut, rose- snare drum lines.
or tube lugs are fitted per the buyer’s request. wood, oak, and many other woods and mixed- The Myrtlewood
Standard features are Puresound Wires, GS007 wood patterns. MyMi’s free-floating design is series features snare
strainers, and Aquarian drumheads. Finish said to eliminate hardware attached to the drums with solid and
options include a wide range of lacquers and shell, while retaining the ability to vary the stave shells of locally grown myrtlewood. The
wraps. The 51⁄2x14 birch ply snare shown here tension between the heads independently. drums are uniquely vented and incorporate tech-
is finished in silver sparkle lacquer, and is fitted Finishes range from a simple wax to hand- niques for isolating the low-mass hardware from
with the MBD lug and GS007 strainer. Prices rubbed lacquer in virtually any color, as well the shell. Sizes range from a 31⁄2x10 solid-
start at $375, based on options and features. as over fifty exotic wood veneers. Hardware is shelled sopranino to the 7x12 solid-shelled, slot-
(310) 649-5271, www.mbdrums.com. offered in chrome, black chrome, brass, and vented model shown here. Prices range from
any combination thereof. Wood hoops are also approximately $700 to $1,200. Each model is
MEDICINE MAN CUSTOM DRUM available. In addition, the company offers their signed and numbered, and a maximum of twen-
Medicine Man is a manufacturer and refinish- own snare strainers, snare butts, and snare ty-five are built per year.
er whose spe- wires. All drums are individually built, serial The Virtual To Reality Series is built around
cialty is creat- numbered, and registered to the owner. Oregon’s proprietary on-line database system,
ing drums with (845) 266-8993, mymi.drums@att.net. which enables customers to design, preview,
unique finishes price, and order their custom drum. The line
and color-coor- ODERY includes countless possible stave-shelled models
dinated hardware. They offer snare drums in Odery drums are offered in a variety of wood built from combinations of twenty-six different
6-, 8-, or 10-ply maple with optional reinforc- and metal shell materials. Sizes include 10", hardwoods. Sizes range from 4x12 to 61⁄2x14,
ing rings. Sizes of 13" and 14" are standard; 12", 13", and 14" diameters in any specified each available with various hardware platings.
12" drums are available. Also available are 10- depth. Shell thickness will vary according to the Prices range from about $300 to over $800.
and 20-ply vented snares, as well as clear, desired drum depth. Piccolo snares feature A Nickel Drumworks strainer is standard on
tinted, pearl, and sparkle acrylic models. Pitch- shells as thick as 16 mm (18-ply) to provide a all complete snare drums. Pricing includes a
matched 2-mm or 2.3-mm hoops are standard; high, dry pop with a lot of compression and a padded case and ground shipping.
color-coated, brass, and die-cast hoops (13" lively, full sound. Deeper snares are thinner in (541) 269-0383, www.oregondrum.com.

Modern Drummer November 2003 81

 ORLICH PERCUSSION SYSTEMS PORK PIE PERCUSSION shells are offered in 5-, 6-, 8-, and 10-ply ver-
Orlich snare drums fea- Pork Pie’s 8-ply all- sions, and in any combined thickness up to 40
ture shells constructed maple series offers plies. Reinforcing rings and vent holes are also
with twenty-seven indi- 10" to 15" drums in available, as is the customer’s choice of bearing-
vidual pieces of 11⁄2"- virtually any depth, edge styles.
wide, 3⁄16"-thick glass, with 45° inside bear- A large selection of lugs, throw-offs, and
sealed and cemented ing edges and a round-over countercut on the other hardware is available, or customers may
into a superstructure of channeled brass. Brass outside. Ten-ply 13" and 14" maple drums with provide their own hardware for custom shell
cylindrical tuning lugs are attached to the 6-ply reinforcing rings come with a 60° bear- drilling. Over forty-five plastic wrap finishes
underside of the shell rims. There is no through- ing edge to fatten up the sound. including many vintage designs are available,
the-shell hardware. Standard models include Solid-shell 13" and 14" snare drums come as are stains and low-gloss natural finishes.
7x14 ($975) and 9x14 ($1,110), each with clear with shells of maple with maple reinforcing (914) 962-4985, www.precisiondrum.com.
beveled glass, 10 lugs, and die-cast hoops. rings, mahogany with maple rings, and red oak
Fused and dichroic colored glass and special with red oak rings. They feature 60° edges. RMV
patinas and transparent colored coatings on the Pork Pie also offers 1⁄8"-thick brass drums RMV snare drums
brass hardware are available at additional cost. (with either an “aged” patina or a high-gloss feature 9-ply,
(252) 441-9233, www.orlichpercussion.com. lacquer finish) and a 61⁄2x14 thin-walled brass 8-mm shells
drum in black chrome with tube lugs. made of bape-
PACIFIC DRUMS AND PERCUSSION All snare drums come with hourglass- va (also known
Pacific’s all-maple SX series offers snare drums shaped heavy-duty cast lugs, 2.3-mm steel as Brazilian maple), which RMV says is denser
from 4x10 to 8x14. The hoops, Remo heads, a cast throw-off, and an than North American maple or birch. Drums are
6x10 (shown here), 6x12, hourglass-shaped butt plate. Machined-brass available in Concept and Concept Neo models,
5x13, 5x14, and 6x14 tube lugs, Nickel Drumworks throw-offs, and in 10" through 14" diameters and 51⁄2" and 61⁄2"
are the most popular Puresound snares are available at extra cost. depths. They are fitted with RMV’s own drum-
models. They feature a The company specializes in sparkle and stain heads and 2.3-mm steel Sturdy hoops. They
natural lacquer finish lacquers, as well as “slop,” candy, and metal- also feature MiniMass lugs, which are made of
and chrome hardware, and range in price from lic finishes. Wrap finishes in pearls, glass a composite fiber material with an ABS coating
$238 to $294. A 5x14 drum with tube lugs and sparkles, regular sparkles, and satin flames and are said to be lighter and stronger than typ-
wood hoops is also available for $359. Chrome- are also available. ical die-cast zinc-alloy lugs. Finishes available
over-steel models in 4x14, 5x14, and 61⁄2x14 (818) 992-0783, www.porkpiedrums.com. include natural wood and WrapArt colors,
sizes are also offered. fades, and sparkles.
(805) 485-6999, www.pacificdrums.com. POTYONDI CUSTOM DRUMS (011) 55 11 6404-8548, www.rmvdrums.com.
Potyondi manufactures snare drum shells in alu-
PAISTE minum, brass, bell brass, bronze, bearing ROCKET SHELLS
Paiste offers two snare drums hand-crafted by bronze, cast iron, steel, and stainless steel. Each Rocket Shells produces carbon fiber drums.
drum builder Jeff Ocheltree. The Spirit Of 2002 shell is individually machined from solid materi- Within the numerous layers of carbon fiber
series features 3⁄16"-thick shells made from recy- al, not rolled and welded, spun, or formed. Shell lies a synthetic high-density core. This
cled Paiste 2002 cymbals with a baked enamel thickness is 10 mm (.375") to create a sensitive “sandwich construction” stiffens the shell
finish. Lathing on the shells is similar to that on drum with lots of crack and volume. Diameters and helps maintain a balance between
the original range from 10" to 15". warmth, resonance, and projection. The
cymbals. Each Depths are unlimited. hardness and reflectivity of carbon fiber pro-
drum features Custom snare drums vides a high penetrating “crack” similar to
45° bearing are created to cus- that of metal and thick, dense wood shells.
e d g e s . tomers’ specs, with The company’s manufacturing system is said
Hardware their choice of shell to balance that high end with “a warm and
includes machined brass hexagonal lugs with a material and finish, and the installation of their deep low end.”
tumbled and peened finish, gold-plated zinc die- choice of lugs, hoops, strainer, and heads. Snare drums
cast hoops, Puresound hand-coiled steel alloy Custom venting is also available. are available
wire, and Nickel Drumworks strainers. Sizes are Prices start at $950 (Canadian dollars, plus from 8" to 14" in
51⁄2x13 ($2,100), 5x14 ($2,250), and 61⁄2x14 tax) and vary depending on shell and hardware diameter and in
($2,400). choices. The photo shows a 4 1⁄2x13 Junior depths from 4"
The S-Bronze series is made from recycled snare, with custom aluminum lugs also made by to 12". All
Paiste Signature cymbals, with lathing similar Potyondi. drums are outfitted with Nickel Drumworks
to that of Innovations cymbals using Paiste’s (519) 756-7706, www.potyondi.com. throw-offs, Puresound snare wires, Remo
Sonic Formula Texture. Fittings and finish are drumheads, and either 2.3-mm triple-flange or
similar to those of the Spirit Of 2002 series, but PRECISION DRUM COMPANY die-cast hoops. Lugs are made of a composite
the lugs are each engraved with the Paiste Precision provides a variety of completed snare material similar to the drumshells. Hoops are
“script P” logo. Sizes are 4x13 ($2,150) and drums, as well as available in chrome, black chrome, brass, or
51⁄2x14 ($2,350). Each Paiste drum is numbered all components for powder-coated finishes.
and signed, and comes with a certificate of do-it-yourself In addition to the Natural Black finish of
authenticity. builders. Keller the carbon fiber itself, Rocket Shells drums
(800) 472-4783, www.paiste.com. 100%-maple come in a wide array of opaque and trans-
continued on page 86

82 Modern Drummer November 2003

A line-up of some of the world’s top musicians recently gath-
ered in New York City to celebrate the Drummers Collective’s
25th Anniversary. The result was a once-in-a-lifetime event
that honored the past while setting new standards for the
future. Recorded in state-of-the-art digital audio and video,
produced by Hudson Music and now available on a 2-disc set
with nearly 5 1/2 hours of coverage, the Drummers Collective
25th Anniversary Concert Double-DVD features:
• Spectacular on-stage performances.
• Back-stage interviews.
• Optional 5.1 Surround Sound mixes.
• Alternate edits with “FootCam”.
• Bonus footage of rehearsals and sound checks.
• Web links and a photo gallery.

Pick up a copy at your favorite music retailer today

or, for more information:
Call toll-free: (888) 796-2992
E-Mail: Hudsoninfo@aol.com • Internet: www.hudsonmusic.com
In Europe E-Mail: hudsoneuro@aol.com
Dealer Inquiries: Hal Leonard Corp. (414) 774-3630
The Top-10 Greatest Snare Drums by Harry Cangany
My assignment for this issue was to select the top-10 greatest snare drums of the valuable snares. Rather, it was to determine those that earned their greatness by
past hundred years or so. The idea wasn’t to identify the most collectible or most being the most practical, popular, and widely used. So let’s count ’em down.

#10) Rogers Powertone #3) Ludwig Black Beauty

This drum was #2 in price—but #1 in popularity—during the While it’s virtually a household name among drumming enthu-
period when Rogers drums were made in Ohio. It was available siasts today, the fact is that the Ludwig Black Beauty stole
in brass or maple, with eight lugs and a slightly different Swiv-O- that name. When the original Ludwig & Ludwig Company first
Matic strainer from the one used on the top-of-the-line Dyna- made it in the 1920s, it was called the Deluxe. Arch-rival
Sonic snare. Many Rogers Holiday sets include a 5x14 metal Powertone. Also made in a 61⁄2x14 Slingerland created its own version and dubbed it “The Black
size, the Powertone is less finicky—and almost as beautiful—as the Dyna-Sonic, at a fraction of Beauty,” probably after the famous horse story.
the price. Ludwig’s original drums were two-piece shells welded together at the center bead. Imitation
gold plating was painted on all the metal fittings. Around 1930, the gold was replaced by chrome
#9) Slingerland Gene Krupa Sound King plating. When Ludwig reintroduced the model in the 1970s, it became known as the Black
This signature model was first introduced in the early 1960s as a com- Beauty. Drummers have accepted that name as if it had always been.
petitor to Ludwig’s Supraphonic. I’ve seen clips of Gene Krupa playing A Black Beauty has a brass shell with black nickel plating, and is typically fitted with tube
it, although he generally used either a Radio King or an Artist model. lugs. An engraver cuts through the black plating to create a design that allows the brass to shine
The 14” brass drum was available in 5" or 61⁄2" depths, with eight or through. The design is usually flowers or waves. The drums are prized not only for their appear-
ten lugs. During the drum’s heyday, it was fitted with the Zoomatic strainer. Later models used ance, but also for the acoustic effect of the plating on the brass shell, giving the drum warmth
the Spitfire strainer. and bite at the same time.
Slingerland advertising copy made fun of Ludwig’s center-bead look. Slingerland used a “non- The modern Black Beauty has been around for almost thirty years. But the design—and the
sound-disturbing” shell with engraved lines. The strategy worked, because Slingerland sold a lot legendary sound—has been with us for almost eighty.
of these drums.
#2) Slingerland Radio King
#8) Ludwig Super Classic In the 1920s, Slingerland offered solid-shell snare drums
The Super Classic was a Ludwig mainstay for over thirty years— called Artist or Professional models (depending on features).
including the period when the company was known as WFL. These In 1935 the design was given new-style lugs and double-
drums have a 3-ply African mahogany shell with maple reinforcing flanged hoops, and was re-launched as the Broadcaster. But
hoops, eight Classic (“bow tie”) lugs, the Classic strainer (with its Slingerland immediately got a complaint from Gretsch, who
long throw arm), and extended snares on one or both sides. already offered their Broadkaster line. A new name was
The Super Classic was WFL/Ludwig’s answer to the Slingerland needed, and the name selected was Radio King.
Radio King and Leedy Broadway models, and was the company’s Radio King shells were 1-ply when every other manufacturer had switched to multi-plied
most expensive drum. Most of the 1940s/’50s endorsers used this snare, including Buddy Rich. shells and bragged about it. They took the world by storm, helping Slingerland (a relative upstart
There are lots of Super Classics out there, sporting white marine pearl or black diamond finishes. at the time) to trump veterans Leedy, Ludwig & Ludwig, and Gretsch.
Slingerland made Radio Kings in six sizes for over forty years. Over that period the drums
#7) Ludwig Jazz Festival were fitted with two different strainers and three different lug styles. Some had bridges, most
Lots of drummers have owned Jazz Festival snare drums. But the had engraved hoops—all had magic. Long after television had surpassed the popularity of radio,
world remembers just one: the oyster black drum played by Ringo the Radio King was still a favorite.
Starr. The Radio King has been brought back into production at least three times, and has inspired a
The Jazz Festival was an 8-lug, 5x14 wood-shell drum that used world of admirers and sincere copiers. It was once the drum to have, which is why I rank it num-
the all-metal P83 strainer (predecessor of the ubiquitous P85). Each ber two in all-time popularity.
P83 features the Ludwig script logo. The Jazz Festival also used ordinary snares, rather than the
impossible-to-find extended snares required for the Super Classic. #1) Ludwig Supraphonic 400
As popular as Ringo was, and as visible as he made the Jazz Festival, the fact is that most So, did you flip ahead, or did you see this one com-
rock drummers purchased metal-shelled snares. So there are few Jazz Festivals around now. ing? Who hasn’t owned a Supraphonic? In my youth
it was common to see drummers playing Slingerland
#6) Gretsch Progressive Jazz or Gretsch sets but Supraphonic snare drums.
This was the quintessential jazz/bebop snare. Its popularity Substitute the contemporary drumkit brand of your
caused WFL, George Way, Leedy & Ludwig, and Premier to build choice, and the same thing is common today.
their own versions. When originally introduced as the 4x14 Ludwig has been making metal-shelled snare
Broadkaster Max Roach model, it used Gladstone-style tube lugs. drums since 1909. But the Supraphonic’s late-1950s design really hearkens back to the
Later, a smaller Broadkaster lug was created. World’s Fair of 1939 and the introduction of the Ludwig Silver Anniversary snare. It had a
The Progressive Jazz version uses the signature Gretsch die-cast hoops, along with the beaded shell, newly designed lugs (Imperials without the swivel nuts), and a choice of
“sometimes it works, sometimes it breaks” Micro-Sensitive strainer. With its wood shell and 35° three throw-offs.
bearing edges providing a warm, woody sound, it really is a beautiful little drum. No one knows how many Supraphonics have been made, but it’s been in production
continuously for more than half a century. We do know that over the years the shells have
#5) Rogers Dyna-Sonic been made of brass, steel, and aluminum. The ten-lug design first featured the simple P83
From 1962 through 1982, the top endorsers of Rogers drums strainer, and later the P85.
(along with an awful lot of other drummers) swung and/or rocked The Supraphonic has been called the most recorded snare drum in history. It may also
on a brass or wood Dyna-Sonic. It was designed specifically for be the most copied drum. Virtually every major drum manufacturer has shown their
Buddy Rich following his 1960 move from Ludwig to Rogers. The respect and admiration by creating versions of their own. But there’s something about the
idea was to equip a drum that had a very slight bearing edge venerable, versatile, and very special Ludwig Supraphonic that has helped it maintain its
with a snare-wire frame that could be raised or lowered while holding the snares continually status as the most popular snare drum in history.
taut. The “Dyna-Sonic” name stood for “dynamic sound.”
Chrome-over-brass, ten-lug Dyna-Sonics proved popular with the rock drummers of the ’60s, Honorable Mention
and sold in the greatest number. Drummers like Buddy Rich and Louie Bellson used the rarer 5- I kept fighting with myself about one other snare drum.
ply wood-shell models. Both versions listed for $150 in their heyday. Today a brass Dyna-Sonic Should I include it or not? Was it legitimately a top-10 model,
fetches about $350, while a wood-shell one is worth ten times that amount. or just a sentimental favorite? I can’t dispute its popularity or
value—there are a million of them out there. Finally, I decid-
#4) Leedy Broadway ed that it would have been my choice for #11: The Ludwig
This model name stretches from 1930 to about 1955. Leedy sales Acrolite.
manager George Way loved New York City, so he christened the This eight-lugged smaller brother of the Supraphonic has a practical aluminum shell.
company’s flagship drum for The Great White Way. From 1930 There have been at least four finishes, from a rather dull gray to a sort of black sparkle.
through 1938 the Broadways were solid-shell drums built in a It’s a great little drum that has met the acoustic—and economic—requirements of gener-
number of sizes, with two choices of strainers. (A few metal ations of drummers.
Broadways were made, but most were wood.) By 1938, as the beavertail lug replaced the X-lug, I hope you’ve had fun reminiscing with me. Let us know if you have other choices.
most Broadways featured 3-ply shells. These were mine, and I definitely stewed over them for a long time. Now I think we
At one time, Broadway Parallel, Dual, and Standard models were available, named for their should line up all of these drums for a little woodshedding!
snare strainer types. Eventually only the Broadway Standard survived. Later it became the Leedy
& Ludwig Broadway. Still later, after Slingerland bought Leedy, one could argue that the MD drum historian Harry Cangany is the owner of the Drum Center Of Indianapolis and is an
Broadway became the Shelly Manne snare. In any event, every Leedy endorser used a Broadway. acknowledged expert on vintage drums.
They are wonderful drums. •
 continued from page 82

parent colors, sparkles, and special custom Shells are 3⁄8", 1⁄2", or 5⁄8" in thickness, from 4" to 10-ply (7-mm)
patterns that reside below the surface of the 7" in depth and from 12" to 14" in diameter. shells for a
finish. The drum shown here is an 8x14 in Spaun also offers 5x14 and 61⁄2x14 brass- bright, cutting
Natural Black finish with black chrome die- shell snare drums plated in black chrome. In sound with a
cast hoops. It lists at $1,022 ($875 with 2.3- addition, they produce carbon-fiber drums warm bottom
mm hoops). with 5.5 mm–thick shells, from 4" to 7" in end. TourPro all-
(877) 774-3557, www.rocketshells.com. depth, and from 12" to 14" in diameter. basswood snare
All Spaun snares feature the company’s drums are said to deliver a rich, classic, round
LE SOPRANO DRUMS solid-brass lug design (with the exception of sound. Both series offer drums in 5x13, 5x14,
Le Soprano offers four brass snare drums, which feature vintage- 6x14, and 7x14 sizes, with 2.3-mm triple-
lines of handcrafted style tube lugs). Nickel Drumworks strainers flange steel hoops. The 14" sizes are also
snare drums. Their high- and 2.3-mm triple-flange hoops are standard; available with die-cast hoops.
end Prima Originale die-cast hoops are optional. Virtually any fin- ProX and RockPro drums are offered in 5x13
shells are made of ish is available. and 51⁄2x14 sizes and feature 1.6-mm medium-
twenty-four 6-mm solid- (909) 971-7761, www.spaundrums.com. weight steel counterhoops. The Spotlight drum
wood vertical staves. Maple is standard; teak, is available in 5x13 only. The company has
walnut, bubinga, and oak are available. The SUNLITE recently introduced a Stainless Steel series
drums feature die-cast bronze hoops, brass Sunlite offers twenty-seven snare drum models, offering seven drum sizes. Three sizes can be
lugs, claws, and tension rods, a snare strainer from student through pro level. Shells are made fitted with optional die-cast hoops.
attached to the hoop to avoid shell contact, from chromed steel, brass, copper, maple, and (909) 628-9589, www.taye.com.
and custom-made steel snare wires. The basswood, in sizes ranging from 31⁄2x14 to
drums are painted with a special paint that 8x14. Three 31⁄2x13 piccolo snares are offered THE BEARING EDGE
penetrates the wood, then are given a final in a choice of maple, brass, or copper. The line The Bearing Edge specializes in custom-created
beeswax coating. Sizes range from 51⁄2x10 offers seven lug styles, six lug configurations, drums featuring inner and outer plies of exotic
($1,276) to 61⁄2x14 ($1,668). three strainer designs, fifteen transparent lac- woods. Their drums also are noted for brass
Other lines include Bionic and New Vintage quer finishes, and six wrap finishes. hardware and
maple-ply drums, as well as Pro-Birch ply All but the student level models come fitted wood hoops.
drums. Unique features and finishes are with 2.3-mm triple-flange hoops. Die-cast The company’s
offered within all three lines. hoops are a special-order option, as are cus- mission is to
(617) 713-4997, www.adrums.com, tom shell sizes and finishes. Prices range from offer custom
www.lesoprano.it. $95 to $295. quality and
(626) 448-8018, www.sunlitedrum.com. options to drum-
SMITH CUSTOM DRUMS mers while keeping the drums affordable—a
Smith offers nearly TAMBURO goal they feel they can achieve by keeping their
limitless combinations Tamburo offers a operation small.
of shell materials, variety of stave-con- (770) 967-9213, www.bearingedge.com.
sizes, weights, and struction snare drums.
finishes to make each Representative is their THUMPER CUSTOM DRUMS
drum they hand-make a truly custom instru- latest model, the Opera Thumper’s motto is: “High-quality, low-cost
ment. Wood models feature select North Custom XXth Anniversary drum. The 61⁄2x14 custom drums for the working drummer.”
American maple and birch shells and 27-step drum is built with .64"-thick, 5-ply birch staves. They offer a wide variety of snare drum mod-
finishes. It is equipped with Tamburo’s ABS inner rim, els, including standard-ply, multi-ply, and
Smith believes that by combining just the said to strengthen the shell construction and segment-shell wood drums. Finishes are
right mix of precision design and manufactur- contribute to the overall sound by providing a available in over five hundred satin, stain,
ing with careful hand-artisanship, the final more sensitive bearing edge and mating per- and lacquer colors, along with an extensive
result is a drum that reflects the sound of the fectly with a drumhead. variety of wraps. Multiple choices for all
drummer, and not the other way around. The drum also features 10-lug die-cast hardware elements are also offered. Drums
(203) 696-1290, www.smithdrums.com. hoops. Tamburo’s lugs are made of ABS com- ship with Aquarian heads.
posite to absorb and eliminate metallic vibra- “Standard” snare drums feature 8-ply,
SPAUN DRUMS tions. A spacer in the lug fits into a recess cut 100%-maple shells with a hand-rubbed nat-
Spaun Drums offers maple or birch drums with into the drumshell to eliminate movement and ural satin oil finish, 2.3-mm rims, a rack &
8-, 16-, or 24-ply shells, from 4" to 7" in depth, improve lug stability. pinion throw-off, a die-cast butt plate, and
and from 8" to 14" in diameter. (This range The Tamburo Opera Custom XXth tube lugs. Hardware is available with
includes Split Snares, with upper and lower shell Anniversary snare drum is available in Silver chrome, black, or brass finish. Bearing edges
sections divided horizontally by an open space.) Powder, Yellow, Red, Violet, and Blue Color can be specified
Solid Stave drums in maple, birch, walnut, cher- Drops lacquer finishes. Tamburo/Proel USA Inc., as dual 45° or
ry, oak, bird’s-eye maple, (915) 591-5848, www.proelgroup.com. Thumper’s own
and curly maple are “30.06” edge.
also available, with TAYE Sizes range from
or without contrast- The snare drums featured in Taye’s five drum- 5" to 7" in depth
ing wood stripes. set lines are available separately in all the and 13" or 14" in diameter, all priced at $550.
same finishes. StudioMaple snare drums have (530) 336-6555, www.thumpercustomdrums.com.

86 Modern Drummer November 2003

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 TRIBES CUSTOM DRUMS WHITNEY Zildjian’s Cymbal Alloy snare drum is designed
Tribes is a small custom shop in which every- Whitney handmade snares are available in by Bob Gatzen and manufactured in conjunc-
thing is done by hand. Snares are offered in a diameters tion with Noble & Cooley. The 43⁄4x14 8-lug
choice of 6-, 8-, or 10-ply maple, without rein- from 8" to 14" drums feature an exclusive “Groove Tone”
forcement hoops. Die-cast hoops are standard and in virtual- process that is applied to the shell for durabil-
on 13" and 14" sizes; 2.3-mm steel hoops are ly any depth ity and unique acoustic characteristics. The
used on other sizes. from 4" up. drums also include a “minimal mass/stag-
Four series are available. Natural offers a They feature gered” nodal-mounted lug system said to
clear gloss or satin finish. Natural Custom lightweight “decrease and equalize pressure placed
combines wood stains birch con-
or dyed colors with a struction and
natural satin sheen. produce a warm, resonant tone. Popular And There’s More
Kandy Color offers vir- options include wood hoops and mounting Here’s a list of even more companies to
tually any color, com- bracket. contact for information on their snare
bined with high-gloss (805) 452-4163, www.WhitneyDrums.com. drum offerings.
top coats. Veneer finishes can include custom
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woods such as burled and bird’s-eye maple. Worldmax offers the Black Dawg series of vin- (619) 444-4627
Custom finishes include graphics, sparkles, tage-style
fades, pearlescents, flip-flop colors, and vin- snare drums. Clevelander Drum Company
tage or contemporary wraps. The drums (216) 391-1234,
(303) 402-0122, www.tribesdrums.com. feature black gtmuscco@aol.com.
nickel-plated
TRICK DRUMS brass shells fit- Eames Drum Co.
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alloy snare drums tube lugs with rim clips. The line includes the
are offered in 6 1 ⁄ 2 x14 Black Hawg and 5x14 Black Dawg Innovation Drum Co.
12", 13", and 14" (both $501), 4x14 Black Puppy ($452), and (248) 737-0251,
diameters and in 31⁄2x14 Black Guppy (price unavailable at press www.innovationdrums.com.
4" to 7" depths. time).
Designs included laser-machined Nitro Fish, (615) 365-3965, worldmaxusa@aol.com. Kansas City Drum Co.
Flame, or Skull vents, as well as Trick’s Radial (816) 471-3786,
Pressure Management porting system. All ZICKOS DRUM CO. drumbuilder@netzero.net.
snare drums feature 1⁄8"-thick alloy shells with Zickos drums
Lang Percussion
machined 45° bearing edges and machined feature 1 ⁄ 4 "-
(718) 624-1825,
snare beds. Drums come standard with Trick’s thick, top-
mlang@prodigy.net.
solid machined-aluminum tuning lugs, 2.3-mm grade acrylic
steel hoops, and their newly introduced all- shells with
Monolith Composites
metal, all-machined GS007 cam-operated polished,
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throw-off. Prices range from $600 to $700. rounded bear-
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(847) 519-9911, www.trickdrums.com. ing edges on the outside. Clear acrylic is stan-
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Obelisk Drums
WAHAN DRUM TECHNOLOGY tures insulators, gaskets, and other small parts (403) 236-9169,
Wahan Drum Technology offers wood, metal, specifically designed to maximize drum reso- www.obeliskdrums.com.
and seamless acrylic snare drums (shown nance.
here). All shells are custom-manufactured in Zickos lugs are fitted with a threaded rotor Truth Drums
Germany to precise specifications. One new that accepts the tension rod, eliminating the (909) 989-7467,
effect specially designed for snare drums is need for internal springs. Artistry series lugs www.truthdrums.com.
called the Vario Lifter. An assembly on the feature the company’s original teardrop
outside of the shell provides the drummer with design. Mach 5 lugs are tubular stainless
immediate access to the various tones created steel. The Stealth series features slotted air- against the shell structure.”
between snare and tom or timbales effects by craft-grade aluminum lugs that allow for fast (781) 871-2200, www.zildjian.com.
momentarily adjusting the snares. The Vario head changes. Drums are available in 5x14
Lifter is also and 6x14 sizes at $490
said to pre- to $603, depending
vent unnec- on series, size, and
essary muf- color.
fling of the (816) 474-7474,
drumshell www.zickos-
and thus improve its resonating properties. drums.com.
(310) 451-5530, www.wahan.de.
ZILDJIAN

88 Modern Drummer November 2003

 ROCK CHARTS

To t o ’s
Simon Phillips
“Caught In The Balance”
Transcribed by Joe Bergamini

imon Phillips is a major influence on many of today’s top pro drum-

Open
H.H.
T.T.
C.C.
R.C.
splash
S
mers, and for good reason. On recordings and tours with Toto, The
Who, Jeff Beck, Pete Townshend, Judas Priest, Asia, and his own bands,
S.D. ( )
T.T.
B.D.
H.H. Add’l 2nd Ghost
Simon has set a new standard of excellence as an all-around player. His
w/foot Toms B.D. Note
sound is one of the most copied aspects of his approach, and it is on great
display on this track, “Caught In The Balance,” from Toto’s 1999 disc, Mindfields.
The recording on this album is crisp and clear, with a resonant and full drum sound. Simon
uses all the various parts of his large kit to color this driving, straight-ahead rock tune. Listen
carefully through headphones, and you’ll hear where he switches to the remote hi-hat for the
pre-chorus of the song. Simon also incorporates his piccolo snare, splash and Chinese cym-
bals, and famous tom sounds perfectly into the arrangement. Simon’s use of a gong bass drum
for percussive effect (as opposed to just another big tom) is shown here in the way he chooses

Alex Solca
to incorporate its monstrous sound only for key accents, once in the breakdown before the gui-
tar solos, and then as a recurring theme in the tribal-sounding outtro on the toms.

90 Modern Drummer November 2003

Modern Drummer November 2003 91
Simon Phillips

92 Modern Drummer November 2003

Modern Drummer November 2003 93
Simon Phillips

94 Modern Drummer November 2003

 CLUB SCENE

Spicing Up The Club Date Gig

S u p e r c h a r g e Yo u r D a n c e B e a t s
by Steve DeLuca
n my two-part series Next let’s take a look at what we can do
I “The Inside Skinny On
Club Dates” (April and
with the bass drum. It’s important with this
style of dance music to keep a strong,
May 2003), I mentioned definitive pulse, and as we have seen with
that the club date gig can the previous examples, a lot of times this Another sure bet when playing these
make you feel artistically stunted. means the old “four on the floor.” But we kinds of gigs is performing some of the
Performing a plethora of dance hits and can add to that. Example 5 is a two-mea- standards of rock ’n’ roll. By this I don’t
power ballads can be uninspiring and sure example with a bit of samba and mean Led Zeppelin or Black Sabbath. I’m
make you feel like you’re not growing “house” feel combined. talking Little Richard, Jerry Lee Lewis,
and not playing anything of interest musi- and Elvis Presley, among others.
cally. In this installment I’d like to illus- Although a lot of these tunes have a
trate how you can add interest, helping straight-8th feel, they are clearly rooted
you to keep a positive attitude and be cre- in their predecessor, swing.
ative on these gigs. Example 8 shows a typical rock beat
Example 1 is a typical groove that you played with half-open hi-hat. Example 9
might play on a disco or techno dance tune. is an idea that I got from Steve Smith and
is similar to what John Bonham put to
legendary use with his intro to “Rock
You can substitute the bell of your ride And Roll.” The snare plays all of the
cymbal for the hi-hat as well, playing the ghosted 8th notes, while still accenting
Now let’s take a look at how we can ghost notes slightly off it. And don’t forget the 2 and 4. This early rock ’n’ roll had a
subtly alter this beat without disrupting the to combine the above examples for even lighter feel, so you want to play the open
essence of the groove. Example 2 simply more interest. However, remember to use hi-hat on top with the tip of your stick.
adds the 1 and 3 on the hi-hat played as this material sparingly, and pick your This beat, then, is a straight-8th version
ghost notes while taking away the hi-hat moments. Above all, be tasteful. of its cousin, the two-handed or “Texas”
openings on the “&”s of 2 and 4. The ghost Another way to get creative is to alter shuffle.
notes can be accomplished by lightly play- your hi-hat pattern while keeping all four
ing the top of the hi-hat with the tip of your beats on your bass drum and 2 and 4 on the
stick. These will not necessarily be heard, snare. Example 6 shows a cascara pattern
but will make the groove feel more played on the hi-hat, ride cymbal, cowbell,
grounded. or shell of a floor tom. This is an excellent
way to play some of the current Latin
dance tunes.

I hope these ideas help you generate

Example 3 adds some ghost notes on some ideas of your own. There are lots of
the snare to the pattern. Be careful not to options to getting more creative on a club
play these too loudly, as that can make Example 7 is a way to use the metric date gig. Try using brushes on those
the pattern sound hokey as opposed to modulation idea (yes, even on a club date Sinatra tunes. Or how about hot rods on
funky. Example 4 changes up the hi-hat gig) that’s currently all the rave in the country tunes? You can turn your snares
as well by adding the “ah” after beat 4 on drumming community. There is a four- off and have an instant timbale for Latin
the snare, giving the beat some forward over-three feel in the hi-hat that can work or reggae tunes. You can be musical,
momentum. on a dance tune because of the strong pulse slick, and have flair on these gigs without
provided in the bass and snare part. This playing some huge fill that may make you
pattern would naturally resolve over three feel good but makes the bandleader turn
bars, so there is an open hi-hat on the “&” around and give you a look that says,
of 4 to make it an even two-bar pattern. “What was that?”

98 Modern Drummer November 2003

 OFF THE RECORD

L e d Z e p p e l i n ’s
John Bonham
How The West Was Won, Part 1
by Ed Breckenfeld
he new three-CD live set from Led
Open
R.C.
Bell
T Zeppelin is one of the most important
“lost tape” discoveries of all time, docu-
H.H.
T.T.
S.D.
F.T.
menting an incredible performance by a
B.D.
H.H. Add’l
beloved band at the absolute height of its
w/foot F.T.
powers. All four members shine here, but
John Bonham is especially impressive, with his powerful
drumming mixed right out front. You can feel the impact of his
attack as he improvises on his well-known drum parts, playing
off of Jimmy Page’s guitar riffs. We’ll be taking a look at those
improvisations, as well as many of Bonzo’s classic patterns, in
this special two-part Off The Record.

“Immigrant Song”
The first drum fill on the album comes early in the opening verse of this track, and lets you
know that you’re in for a great Bonham performance.

In the song’s bridge, Bonham switches to a splashy ride cymbal groove, playing around with
his normal pattern in the second and third measure of this sequence.

“Heartbreaker”
The album abounds with classic Bonham-isms, sometimes in unexpected places. The follow-
ing fill is similar to the famous one from the guitar solo in “Whole Lotta Love,” only here it
leads into the second verse of this Zeppelin favorite.

100 Modern Drummer November 2003

“Black Dog”
An often overlooked aspect of John Bonham’s drumming is his sensitivity to the playing
of Jimmy Page and John Paul Jones. This unusual groove, from the first bridge of the tune,
locks completely to Page’s guitar riff.

Here’s another famous Bonham lick, a 16th-note-triplet bass drum flourish, this time

landing in the song’s guitar solo section.

“Since I’ve Been Loving You”
Bonham could play a slow 12/8 blues like no one else. Check out the syncopation in this
fill from early in the song. His ever-present left foot hi-hat would pop up to keep him on

track in rambling fills like this one.

“Stairway To Heaven”
Zeppelin’s most famous song contains some inspired drumming as well. This fill, which

leads into the ending guitar solo, is simply explosive.

Check out the way Bonham turns the beat around just before the song’s final verse.
Next month we’ll examine more from How The West Was Won, including “Whole Lotta
Love,” “Dazed And Confused,” and “Moby Dick.”

You can contact Ed Breckenfeld through his Web site, www.edbreckenfeld.com.

Modern Drummer November 2003 101

SPOTLIGHT

by Rick Van Horn

I f you’re a high school drummer who’s consider-

ing your future educational options, the choices
can be daunting. On the one hand, hundreds of
traditional colleges and universities offer majors in
music. But their programs can sometimes be conser-
And what a choice it is. The school is located on
downtown Philadelphia’s Avenue Of The Arts, in the
heart of one of the most active performing-arts
scenes in the country. Along the street are the
Pennsylvania Ballet, the Philadelphia Orchestra,
vative when it comes to drumset study. On the other The Academy Of Music, the Wilma Theater, and
hand, there are several fine conservatories and the new Kimmel Performing Arts Center. Zanzibar
“vocational” music schools. But by their very nature Blue, one of the city’s leading jazz clubs, is a neigh-
they focus on music alone, and as such don’t offer a bor, as are dozens of smaller pop and jazz clubs.
broad educational experience. The University itself owns the classic Merriam
The fact is, if you’re looking for a full-scale universi- Theater, a hub of this artistic community. The the-
ty education that still allows you total dedication to ater presents performances by university stu-
drumming as your chosen field, there’s just one dents and professional touring companies alike—
choice: The University Of The Arts (hereafter referred and also houses the School Of Music. High-rise
to as UTA). It’s the only university in the nation dedi- dorms and student apartments are within a few
cated exclusively to the study of the performing arts, blocks, helping to give a “campus” character to
fine art & design, and media & communication. this downtown district.

102 Modern Drummer November 2003

The School Of Music The Drumset Major
The UTA School Of For drummers, the most important
Music is dedicated to the aspect of UTA’s music department is the
preparation of musicians for fact that, unlike many other university
a career in performance, com- music programs, it offers a drumset
position, and education. The major. “The drumset is a separate,
program’s emphasis is on legitimate instrument,” says
American music idioms including School Of Music director Marc
jazz and contemporary music, as well Dicciani. “There’s over a
as European and world traditions. hundred years of drumset
Bachelor of music degrees are offered in literature, and there’s a lineage of
jazz studies in instrumental performance, important players that is every bit as valu-
vocal performance, and composition. able as that of any other instrument.
Graduate programs offer a master of music “Many music programs require drum-
degree in jazz studies and a master of arts mers to be ‘percussion majors,’” Marc
in teaching (MAT) in music education. continues, “studying mallets and orches-
The intense undergraduate program In order to broaden each student’s over- tral percussion in addition to drumset.
includes private lessons, a comprehensive all education, undergraduate students are Our philosophy is: What difference does
study curriculum, and ensembles. In addi- required to complete about a third of their it make what instrument someone is play-
tion, course work includes jazz improvi- studies in the liberal arts, outside their ing? Let them be creative. Steve Gadd
sation, theory and ear training, arranging, major field. These studies provide a com- doesn’t do mallets. Elvin Jones doesn’t
orchestration, traditional and jazz piano, mon ground for students from all the spe- play vibes. If you want to study mallet
transcription and analysis, music and cific arts areas to meet and interact. A percussion as well as drumset, you can do
computer technology, recording, music wide variety of courses are offered, that in our program. If you just want to do
business, and music history. Average including classes in writing and literature, mallets, you can do that, too. But you can
class size is eleven, giving about a 6-to-1 history, social science, science/math, and also just study drumset.”
student-teacher ratio. humanities. Those who do study drumset will do so

Modern Drummer November 2003 103

School Of Music
with a faculty of working professionals. Facilities And Equipment
Marc Dicciani is himself a talented and The School Of Music’s facilities
accomplished jazz drummer with extensive include fully equipped percussion studios,
touring and recording credits. (It never a 32-channel recording studio, and MIDI
hurts to have one of your own at the top.) and computer labs. The music library
The chairman of the percussion/drumset contains books, manuscripts, journals,
department is Joe Nero, a multi-percussion- scores, records, tapes, CDs and DVDs, as
ist who’s performed with Bette Midler, well as listening and viewing facilities
Eddie Gomez, and the Philly Pops. He also and a music-education information center.
plays in the pit for many of the Broadway Two drumset teaching rooms are outfitted
musicals that come to Philadelphia. Other with dual kits, along with stereo/CD sys-
members of the drum/percussion faculty tems and a collection of more than one
include Carl Allen, Bob Brosh, Orlando hundred drum study texts and CDs. The The Merriam Theater houses the University’s School
Haddad, Jimmy Paxson, and Marlon school provides forty-six practice rooms, Of Music.
Simon—all highly credited professionals with over 4,600 hours of practice time
who offer an extensive range of playing available each week.
styles and experience. The drumset program provides over
The regular faculty is augmented by twenty drumkits for student use.
visiting artists who perform sixty clinics Drumheads are changed at least twice a
and classes per year. A partial list of semester, to keep the kits sounding good
those who’ve appeared recently includes despite the amount of play they endure. A
Dave Weckl, Max Roach, David variety of drumhead models are used, in
Garibaldi, Jack DeJohnette, Marvin order to give students the opportunity to
“Smitty” Smith, Ignacio Berroa, Dennis hear how those heads sound on different
Chambers, Peter Erskine, Gregg Field, types and sizes of drums. The study of
Giovanni Hidalgo, Bill Stewart, and mallets, orchestral percussion, and Latin Drumset majors periodically record their playing for
Gerry Brown (who is himself a graduate and world percussion is likewise support- evaluation by teachers and other students.
of the school). ed with high-quality equipment.
 Getting In
Getting into the UTA music program is
a challenge. “We accept about one out of
five applicants,” says Marc Dicciani.
“First, we look at academics. The average
SAT score is about 1,000, so we generally
get applicants from the top 15–20% of a
graduating class. Then we consider musi-
cal skills. This involves more than just
technical ability. We try to assess passion.
In some cases, an applicant will have had
ten years of private lessons. If our first
impression is that he’s not at a very high
level for ten years of study, we’ll ask him
who he listens to, and what he’s doing
with his drumming now. We’ll also ask
him to demonstrate certain things. If we
still feel that he’s marginal, we may not
accept him.
“On the other hand, some of our appli-
cants come from places where school
music programs have been eliminated,
and from families that can’t afford private
lessons. They can’t read. They don’t
know what a bebop swing pattern is. If
we ask them to play a samba, they play a
songo, because they don’t know the dif-
ference. But they have a passion, a love,
and an innate skill. We can put such a stu-
dent with a tutor to provide the knowl-
edge that he or she lacks. We would
rather err on the side of accepting some-
one like that, knowing that they’re going
to be coached, nurtured, and directed—all
in a supportive environment with other
students who are enthusiastic about what
they’re doing. As a university, we have a
social responsibility to provide education-
al opportunities. If a student can demon-
strate that he or she has potential and is
deserving of that opportunity, we’ll pro-
vide the chance.”

The Course Of Study

At the beginning of each school year,
each drumset major receives a book of
study materials created by the faculty.
Topics covered include technique, inde-
pendence, improvisation development,
musicianship, and sight reading. Each
student also receives play-along CDs con-
taining over sixty recordings in a wide
range of styles, including jazz, Brazilian,
Afro-Cuban, funk, and big band. These
CDs serve as practice aids to help the stu-
dents develop their musical awareness
and technical skills.

Modern Drummer November 2003 105

School Of Music
Drumset students take weekly private les- ory, improvisation, and music history accepted and believed would flourish ulti-
sons with faculty members for all four classes that all other instrumental and mately doesn’t. As a result, about 10% of
years in which they’re enrolled. Students vocal majors must. It’s a lot of work, and each freshman class gets dismissed.
are encouraged to study Latin percussion, students are challenged each year to That’s the most compassionate thing for
mallets, and timpani, but are not required prove that they’re up to the task. That us to do. Tuition here is $20,000 a year,
to do so. Freshman students also attend determination is made each May, when with another $5,000 for housing. So we
one year of drum class, which covers students perform in a series of evaluations don’t want to string anybody along.
styles and improvisations. called juries. It’s a tough process that Sometimes the students apply for re-
But remember, this is a music school, takes a hard look at each student’s devel- admittance after a year or so. Some will
whose aim is to produce complete, opment. have taken private lessons or attended
knowledgeable musicians. So drumset “Sometimes,” Marc admits, “we find community college. Others will have
majors will also take the same piano, the- we’ve made a mistake. Someone we’ve spent that year doing professional gigs.
“At that point,” says Marc, “we’ll give
them another chance. In the final analy-
sis, our program is selective, but not
exclusive. We’re not elitist. We’re drum-
mers ourselves, playing gigs in bars or
playing in shows. We’re just trying to
make sure that we’re honest with stu-
dents.”
At the time this story was written, the
UTA program had twenty-eight drumset
majors. But that number is flexible. As
Marc explains, “Some music schools
limit or boost acceptance of various
instrumental majors in order to balance
out their ensemble classes. But I’d rather
have sixty great drummers than a more
‘balanced’ student body where the top ten
on any instrument are actually mediocre.
If you put ten students of equal ability in
an ensemble with an eleventh who’s very
much behind—but happens to play the
right instrument—that student is going to
hold everybody else back. I’d rather cre-
ate an equally matched ensemble with six
saxophones, two drummers, and two gui-
tars. Let’s do something creative and
musical.”
Doing things that are creative includes
providing additional opportunities for stu-
dents. To that end, the UTA School Of
Music has established an exchange pro-
gram with the Liverpool School Of
Performing Arts in England. Says Marc,
“Their students learn a little more about
jazz and American music, and our stu-
dents get more of a European jazz and
British rock feel going.”

The Spice Of Life

In addition to the “tracked” courses
that students are required to study every
year, they also take elective courses, like
world music, careers in music, studio
engineering, and MIDI. And while week-

106 Modern Drummer November 2003

School Of Music
ly ensemble classes are mandatory, the Workshops
choice of ensembles is largely elective. In addition to all other classes and
And there are lots of choices—forty-two, activities, the school holds once-a-month
to be exact, ranging from ethnic styles workshops for all the players in a given
like Afro-Cuban and Brazilian, to groups major. These cover topics best done in a
playing the music of specific artists like group setting—like tuning and instrument
Charles Mingus, Miles Davis, and The maintenance. Students might also listen
Yellowjackets, to ensembles based on to recordings within a specific style, or to
famous record labels like Blue Note and a guest lecturer.
GRP. Once each year, all the drummers go
Even private study stresses variety. into the studio to record with a live bass School Of Music director Marc Dicciani (left) and drum/
Marc explains, “We have roughly eighty player or a play-along CD. “They listen percussion department chairman Joe Nero (center)
observe a student’s recording session from the booth.
faculty members in the music program. to the playbacks together,” says Marc.
Each has a different focus, methodology, “Then a teacher will critique
and approach to playing. We think it’s each student in front of the oth-
important that everybody gets a sampling ers. The student who did the
of that. So we have a policy that says you playing gets good feedback, and
can’t study with any major teacher for the others can relate that feed-
more than two years. A lot of our stu- back to their own playing. That
dents will teach privately after they grad- way, students can get an idea of
uate—if they’re not already doing it. And where they stand amid their peer
like any teacher, they’re going to teach group. Generally, students all
largely by passing on what they were support each other, and they’re
taught. We want to give them a varied not afraid to perform in front of
background by having them study with on another. There’s a group
different teachers.” dynamic here.” Students support each other in classes and practice sessions to
develop their skills.

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108 Modern Drummer November 2003

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“The Drummer’s Choice”® • www.dwdrums.com
CLOCKWISE FROM TOP LEFT: GERALD HEYWARD (MARY J. BLIGE), TONY ROYSTER, JR. (3LW), FISH (JUSTIN TIMBERLAKE), NISAN STEWART (MISSY ELLIOTT)
KERRY GRIFFIN (AVANT), OMAR PHILLIPS (ARRESTED DEVELOPMENT), VICTOR ALEXANDER (OUTKAST), PAUL JOHNS (ALICIA KEYS), GG GONAWAY (MARIAH CAREY)
School Of Music
Maintaining Perspective The Local Music Scene the level some of them have achieved.”
That group dynamic extends beyond the With the exception of big band ensem- Of course, gigging success can create a
music building. “One of the neat things bles, which rehearse in an acoustically problem when it comes to schoolwork.
about this university,” says Marc, “is that wonderful auditorium down the street a “Our program is very demanding,” says
we don’t have a marching band, we don’t few blocks, all music classes, lessons, and Marc. “Freshmen can have a problem if
have a football team—we don’t have any- practice sessions take place in the they’ve come from a high-school envi-
thing other than arts. Our music students Merriam Theater building. This creates a ronment where they played their instru-
basically go through the day with other sense of community among the student ment only when they wanted to. Here
music students, except for when they go body. But eventually, they do leave the they have to play three or four hours a
to liberal arts classes. And even in those building. “And when they do,” says Marc, day, just in their major. And they have to
liberal arts classes, they talk about the “there are over twenty-five professional play piano, and they have to do a lot of
nature of creativity. Putting drummers in performance halls within three blocks of work for their classes in music history,
that kind of a class is different from put- the school, along with several jazz and theory, and so forth. It’s a time-manage-
ting them in Accounting 101. pop clubs. There’s a tremendous amount ment challenge. But most of them get
“We think the liberal arts component of of musical performance for students to through it just fine.”
what the students are doing here informs see and hear.”
and enhances their art,” Marc continues. Students do more than see and hear the The Library
“But it’s not geared exclusively towards performances. In many instances, they Speaking of time management, students
becoming an artist. Students have to learn take part. Bands made up of student can expect to spend a good deal of time in
basic literacy, which can’t be compro- musicians frequently play local clubs, the school’s library. Several different
mised simply because they’re a drummer while individual students take advantage music history classes draw heavily on the
or because it’s an art school. It must be of other opportunities. Says Marc, “Joe printed resources available there.
taught at the same level you’d find in any Nero brings his advanced students into Drumset majors have to do a research
other top university liberal arts program. the pit with him to watch a couple of paper every year, and must also transcribe
It’s just that the focus of what’s being dis- shows—and then has them sub for a material from the library’s extensive body
cussed in class is a little different.” night. Other students are playing on of recorded material for their private les-
recording sessions and jazz gigs. That’s sons. Says Marc, “We have two semesters

110 Modern Drummer November 2003

School Of Music

Drummers and percussionists participate in a variety

of ensembles, including a big band, a Freddie
Hubbard small group (left), and a world beat ensem-
ble (top right).

of transcription classes, in which students

are required to view videos and listen to
CDs and then transcribe from them. In
addition, my music business class
requires students to research copyrights
and contracts. So we try to incorporate
the incredible assets that the library offers
into every single component of the cur-
riculum.”

A Singular Approach
The University Of The Arts is different
from any other university in the country
simply by virtue of its arts focus. But the
School Of Music goes even farther
toward uniqueness. Marc Dicciani sums
up the school’s philosophy by saying,
“We do everything with a little different
mindset. We don’t think about how
things have traditionally been done. We
try to think about the right way or the
best way to do it. We ask ourselves what
we owe to our students, to the music
community, and to our art form. Another
school might do things differently, for
their reasons. But we don’t want to just
follow in somebody else’s footsteps. We
have eighty great artists on this faculty
who can put their heads together and fig-
ure something else out. So that’s how we
do things.”

Further information may be obtained from

the University Of The Arts School Of
Music, 250 South Broad Street,
Philadelphia, PA 19102, (215) 717-6342,
www.uarts.edu.

112 Modern Drummer November 2003

THROUGH THE YEARS

Monster Kits!
by Adam Budofsky

ew images suggest the grandeur of rock

F more powerfully than the monster
drumkit. Set up a couple of bass drums,
Duke Ellington drummer SONNY GREER was perhaps the best-known of the early
monster-kit drummers. In this shot even Duke seems impressed by Sonny’s “contraption,”
and it sure was a thing of beauty.
multiple rack toms, a slew of crash cym-
bals, and of course that greatest symbol of
rock excess, the gong, and your fans will
know exactly what to expect. That’s right,
say it with me now: ROCK ’N’ ROLL!!!
Of course, if you don’t have the chops,
stamina, and ideas to fulfill those expecta-
tions…. Well, now you’re running the risk of
other drummers thinking that you lug
around that beast just to cover up an inabili-
ty to groove. Or worse, some sort of (ahem)
physical deficiency.
And rightly so. For the monster kit is not a
concept to be taken lightly. It’s not simply a
gnarly stage prop. Or an indication of per-
sonal wealth. Or merely a way to fill a cor-
ner of your finished basement. No, my
friends. A monster drumkit is a temple from
Another Duke alumnus, LOUIE BELLSON, clearly has an active imagination
which the holiest of polyrhythmic sermons when it comes to designing monster kits. Dig the unusual tom order on his
are delivered. A bottomless well of Gretsch setup here, years before Billy Cobham, Jimmy Chamberlin, and Kenny
Aronoff’s experiments in that area.
descending 32nd-note runs. Yeah, the mon-
ster kit is a way of life. Say amen.
Some readers might be surprised to learn
that the monster drumkit is not a product of
the rock revolution, but rather of the jazz
era. The very first drumkits were ingenious
combinations of percussion instruments
previously played by separate musicians.
So it’s no surprise that, from very early on,
drummers took pride and pleasure in their
ability to create—and play—increasingly
complex sets. In drumming, “size” has
always mattered.
Today you can find drummers in just The Who’s KEITH MOON, pic-
tured here in a rare moment of
about every musical style employing mon- relaxation with his mates,
ster kits. Building upon the gongs and tem- expanded his already large
Premier kit with a row of single-
ple blocks of old, contemporary drummers headed toms placed in front of his
add all manner of electronics, world per- standard toms. And you better
cussion, and special effects to their setups, believe that the greatest show-
man in rock history used every
taking the modern drumset in directions our one of those drums to full effect.
forefathers couldn’t have dreamed of.
So come with us on a brief tour through
drumming history, as we honor some of
the great players who not only had the
imagination but the ability to bring monster
kits to life. HAL BLAINE is recognized as the originator of the multi-tom
setup, which he used to record more tracks than any other drummer
of the ’60s/’70s era. This shot was taken at The Record Plant in
Sausalito, California.
114 Modern Drummer November 2003
 Brian Killigrew
Keith Emerson, Greg Lake, and CARL PALMER never did anything on a small scale. The
ED CASSIDY of the psychedelic rock band Spirit (“I Got A Line On You,” ’70s’ most notorious classical rock band got an extra visual punch from this stainless-steel
“Nature’s Way”) took the monster kit concept in a crazy direction in the late drumkit Carl had made for him by The British Steel Corporation. If you look real carefully, you
’60s/early ’70s. This shot shows Ed and his Rogers kit. Think they made cases can see hunting scenes hand-engraved into the shells. Hey, how else do you compete with a
for those mounted concert bass drums back then? keyboardist who’s willing to stab his organ with a knife to get attention?

Tama/Hoshino Gakki
Perhaps the most imitated drummer of modern
Fusion star BILLY COBHAM wasn’t only responsible times, NEIL PEART is revered for his highly The very definition of drumset control, SIMON
for numerous playing innovations; he took drum architec- technical playing on Rush’s demanding composi- PHILLIPS has used monster kits for years to maximum
ture to outer space as well. Here Billy’s seen in the late tions. Neil’s drumkit has always been a work in effect with Jeff Beck, The Who, and Toto, among dozens
’70s wailing away at his Tama triple-bass drum setup, progress; here we see him in 1980, his Slingerland of other top acts. In this shot from the mid-’80s, Simon
complete with Octobans and yet two more bass drums, kit outfitted with orchestral bells, several wind mesmerizes a crowd of young onlookers with his pin-
mounted on stands. chimes, cowbells, and, of course, a gong. point definition and unhinged creativity.

Monster kits aren’t purely the

domain of rock drummers. Here
Swiss avant-garde drummer
PIERRE FAVRE takes a
bow to one of his many pieces
of musical metal.

ALEX VAN HALEN

seems to enjoy creating
over-the-top monster kits
more than any other modern-
Center Stage R. F.

day drummer. With Van

Halen in the ’80s, Alex kept
fans guessing about how
wild his kit for each new tour
Jörg Becker

would be. Check out this

humongous setup from 1982.
Nicholas Burnham
Dionne Lewis
Robert W. Fritsch

In recent times, TERRY BOZZIO’s kits have In the ’90s, the very existence of monster kits was threatened
grown so large, they often don’t fit in the whole by the rise of grunge, shoe-gazer rock, and (yet again) punk
Anyone who came to the 2003 Modern Drummer Festival shot! Terry, who made his name with Frank rock. Dave Matthews drummer CARTER BEAUFORD
knows Dream Theater’s MIKE PORTNOY has a taste for Zappa, Missing Persons, Jeff Beck, and U.K., wanted nothing to do with the trend, incorporating all manner
big…uh…better make that BIG kits. This shot from a few among many others, writes long, highly struc- of percussion plus a few extra toms and cymbals
years ago shows how Mike cleverly integrated his drum tured ostinato-based drum compositions that into his setup. Big and busy were definitely back.
company of choice into the artwork of his double bass drums. can only be played on his one-of-a-kind setups.
 ON THE MOVE

Michael Schack Joe Hughes

Belgian drummer Michael Forty-nine-year-old Joe
Schack began drumming at Hughes was born in
the age of eleven. From there it Coldwater, Michigan,
was gigging with local bands into a musical family.
until he joined a Belgian/ Joe’s mother played in
American R&B recording act her own jump/boogie/
called Blue Blot. The group swing band, and all of
recorded three albums and his brothers currently
toured Europe, and Michael have their own bands.
suddenly found himself a rec- He played his first gig in
ognized professional, with 1969, and recorded his
endorsements from Sabian first album at the age of
and Vic Firth. sixteen.
An accomplished acoustic Influenced by Buddy
drummer, Michael neverthe- Rich, John Bonham, and
less gravitated toward many other great drummers, Joe found a home in blues and R&B
electronic percussion. He drumming. He’s backed up blues artists like Tinis Tasby and
became so adept in this field that in 1993 Roland signed him up as a Deacon Jones (both longtime John Lee Hooker sidemen), as well
clinician—a position he’s held ever since. But Schack never ceased as R&B greats like Bobby Blue Bland, The Platters, The Drifters,
being a working drummer. In 1996 his Dutch-language video De 7 and The Coasters. He’s played in a variety of bands, in such venues
Drumzonden was released in Holland and Belgium, and was named as The Original Crazy Horse Saloon, BB King’s, and Irvine
best drum video of the year by Dutch drum magazine Slagwerkkrant. In Meadows, as well as on numerous TV appearances.
the ensuing years Michael did several recording projects with noted Joe’s current gig is with Blues Bar BQ, an Orange County,
Belgian artists. And in 2001 he opened his own drum school, called California group named “best blues band” at the 2003 Orange
DrumBuro. County Music Awards. On their most recent self-produced CD,
Since 2001 Michael has toured the world doing demos and clinics for Back For Seconds (www.bluesbarbq.com), Joe’s mean shuffles,
Roland while juggling gigs as a session drummer and a teacher. He also joyful swing, and fat backbeat complement the energetic and
appears on Roland’s instructional videos, and as part of the video and authentic playing of his fellow musicians. He performs on a black
live conceptual productions of Roland Rocks, the company’s interna- diamond pearl 1970 Premier kit or a red 1978 Ludwig Vistalite set,
tional touring demo band. with Zildjian cymbals.

John Popp
Power and performance mark the drum- If you’d like to appear in On The Move, send
ming approach of Warren, Ohio’s John us an audio or video cassette of your best
work (preferably both solo and with a band)
Popp. The thirty-seven-year-old drummer
on three or four songs, along with a brief bio
notes his playing styles as nü-metal, hard sketch and a high-quality color or black &
rock, alternative, and jazz, and cites Neil white close-up photo. (Polaroids are not
Peart, Mike Portnoy, and John Bonham acceptable. Photos will not be paid for or
among his influences. credited.) The bio sketch should include your
full name and age, along with your playing
Small wonder, then, that John would
style(s), influences, current playing situation
bring his hard-hitting, creative double bass (band, recording project, freelance artist,
skills to Smack Alice, a Godsmack/Alice In etc.), how often and where you are playing,
Chains tribute band currently enjoying suc- and what your goals are (recording artist,
cess in the clubs of Ohio and Pennsylvania. session player, local career player, etc.).
Include any special items of interest pertain-
The band is also in the studio working on
ing to what you do and how you do it, and a
their own upcoming project. For more information, go to www.smackalice.com. list of the equipment you use regularly. Send
John’s demo CD and video display his aggressive yet musical style, with plenty of technique and a your material to On The Move, Modern
grasp of how to create a groove, even in odd times and power situations. He plays primarily on a vin- Drummer Publications, 12 Old Bridge Road,
tage Rogers double bass kit with Paiste cymbals (and a gong) and Tama Iron Cobra pedals. He Cedar Grove, NJ 07009. Material cannot be
returned, so please do not send original
describes his goals as “furthering the success of my current band, obtaining a national recording con-
tapes or photos.
tract, and playing the music that I love.”

116 Modern Drummer November 2003

 TAKING CARE OF BUSINESS

Insurance “In The Pocket”

P a r t 2 : R e d u c i n g Yo u r R i s k
by Bruce Hicks

ast month we discussed the nature of to the part of last month’s article that
L insurance coverage and how it relates to
protection for your drums and equipment.
talks about how “business” is defined.)
When a drumming activity is business-
But what about coverage for you, in rela- related, you’re going to have problems.
tion to your activities as a drummer? If you Your liability coverage will handle some-
don’t think drumming is all that risky, one suing you for accidentally hitting
think again. Drummers don’t live in a vac- them while swinging a baseball bat. But
uum. What you or I do while drumming if you accidentally hit a patron with a
has consequences that can lead to lawsuits. double-braced cymbal stand while setting
And that’s where liability and medical- up for a paid gig at a local bar, you may
payments coverage comes in. be on your own. Even if the size of the
lawsuit is small, the legal costs to handle
the matter could be huge.
The same situation applies to medical-
Drummers don’t live in a vacuum. What payments coverage. This coverage is
intended to provide for the minor medical

you or I do while drumming has costs of someone you accidentally injure,

or who is otherwise accidentally injured
at your home. If a neighborhood kid trips
consequences that can lead to lawsuits. while playing basketball in your driveway
and smashes his new braces—no prob-
lem. But if a girl drum student trips on
your driveway on her way to a lesson and
Liability Issues smashes her braces—no coverage.
As a rule of thumb, your homeowner’s Worse, her parents might get angry while
(HO) policy will handle most losses that sitting in a nearby emergency room and
are related to your activities as a drum- decide to sue you.
mer—with two major exceptions. One Further examples? How about the fol-
exception is when the loss is intentional. lowing:
Imagine that you and your band are play- 1. The neighbor’s adorable twin toddlers
ing for free at a block party. A neighbor are playing with your children in your rec
with whom you’ve often feuded is drunk, room, and they can’t keep their hands off
and he’s been bugging you all afternoon your set. Suddenly, each twin pulls a
to let him play on your brand-new kit. boom stand (mounting a tom and large
During a break, the jerky neighbor jumps cymbal) on top of herself.
on your set and starts banging around. 2. You’re playing at your church. A stick
You rush over and punch him out. breaks, and a sharp piece flies off and
Justified? Maybe. Insured? No. embeds itself in a member of the congrega-
The other exception to HO liability tion.
coverage is when you get paid for play- 3. You set up your electronic drumset in a
ing. If you’re receiving income, your lodge for a wedding gig. A couple of
activities become professional instead of hours before the reception, the set’s
recreational. (You might want to go back wiring shorts out and starts a fire. Heat

118 Modern Drummer November 2003

and smoke damage the lodge and ruin the quality of a snare or an argument over a Bottom line: You need to take steps to
wedding gifts. transaction that went bad? Even if a law- help yourself out before a loss occurs.
4. While packing your set into your SUV, suit is ridiculous, the money that has to
you drop a snare case. It rolls out into the be spent on a frivolous suit is just as real Documentation
street and slams into the side of a passing as the dollars chewed up by serious cases. A good first step is creating a simple
Cadillac. The startled driver loses control inventory. Keep a current list of what you
and smashes into a parked Mercedes. What’s A Drummer To Do? have, who made it, when you got it, how
5. You end a solo with a fierce cymbal Few people think about what they have much it cost, and how much it’s worth at
crash. The stand tips and falls off the or what they’ve done until they experi- the time the list is made. Make a photo or
riser, striking your band’s backup vocal- ence a loss. An insurance policy actually video record of everything to provide evi-
ist. (Whoa, who knew a cymbal edge was requires you to do a lot of work after you dence of the drums and their condition.
that sharp?) file a claim. To learn how much work, To help establish value, keep supporting
6. A fellow drum collector, alleging that read through the section of your policy information such as receipts or catalog
you misled him about an expensive vin- called “Loss Duties” or “What You Must information with prices. Copies of
tage set he purchased from you via your Do After A Loss.” reviews and ads in Modern Drummer that
Web site, sues you. The situation is made more difficult by mention stuff you own are also terrific
All of these examples represent losses the fact that after a loss, you’re bound to documentation. The Internet also has
that you may have to handle on your own be upset, and you’ll probably be angry— many sources of information to support
if any significant level of business activi- especially if your gear has been stolen. the value of your drums and equipment.
ty is involved. This is not a good time to be faced with Keep a list of Web sites that have infor-
demands from the insurance company to mation on drum manufacturers, whole-
More Than Just Accidents produce the information needed to itemize salers, and retailers.
There’s another area of liability that what you had and prove its value. When it Appraisals are very useful, especially
many drummers may overlook. What are comes to a lawsuit, it’s tough after the for vintage equipment. Many reputable
you doing with your PC and the Internet? fact to remember the circumstances that dealers offer either informal or formal
If you have a drum Web site, ask yourself led up to it. opinions on the value of collectible
the following questions:
1. Does it include a forum where insults
might get hurled?
2. Do you include a disclaimer stating
that you’re not responsible for topics or
individual opinions on that forum?
3. How adequate are the forum rules and
user agreement?
4. Do participants have to agree to abide
by rules and the agreement?
5. How active is the host as participant or
moderator?
6. What sort of postings does the host
make?
7. Does the site solicit gigs or other busi-
ness activity for a band?
8. Are sales and advertising allowed on
the site?
9. Does the site allow links?
10. Is there a disclaimer regarding the
nature of the links?
It may not have occurred to you that
you could be sued for your email and
Internet activity. But any activity that can
create hard feelings has the potential for
ending up in court. Drum forums are very
popular, and drummers are passionate
people. Suppose one person makes alle-
gations about another’s business reputa-
tion? How about an insult involving the

Modern Drummer November 2003 119

Insurance
drums, parts, and equipment. There may erage, get in touch with your insurance on more valuable drums and equipment,
be a small charge for such an appraisal. company or agent. If you don’t have any including collectible and vintage proper-
However, having your property appraised business-related activity, obtaining addi- ty. Besides agents, other possible sources
at least once every couple of years can tional coverage under your homeowners for drum coverage information are other
prevent a lot of heartache. policy is a good bet. Many companies can drummers, drummer associations, drum
Drum forums can be quite valuable as offer additions (often called “personal instructors, band directors, music schools,
documentation too. There are often article floaters”) that can increase the and instrument retailers.
threads that legitimately discuss drum and amount of coverage available for your
equipment values. Don’t forget auction drums and equipment, often at a reason- Managing Your Risk
pages. Copies of completed eBay auc- able cost. Beyond the risks involved with drum-
tions involving property similar to yours If you have a light business exposure, ming itself, you need to be careful with
can be useful documentation, since they such as teaching drums in your home, drum-related activities. If you host a Web
represent opinions from disinterested par- there’s a good chance that your company site, review its content and what you do with
ties concerning the market value of prop- can add special coverage that handles the it. Add disclaimers if needed, and reconsider
erty similar to what you own. liability, such as one used for an in-home whether you should allow links. It may be
If your property is stolen or destroyed, office or studio. worthwhile to archive threads that involve
you must be prepared to present informa- If you have a lot of valuable property disputes, especially when they lead to some-
tion that will support a fair recovery from and/or a more serious business exposure, one losing their forum use privileges.
your insurer. When your insurer does not you need to consider special coverage. A healthy respect for the “golden rule” is
specialize in drum coverage, your exper- Again, contact an insurance agent about the best way to minimize the chance that
tise must make up for their lack of experi- available specialty carriers. Some compa- any drum activity will result in legal action.
ence in adjusting drum claims. nies specialize in covering instruments Extending respect to others includes your
and musicians. Generally they will have Internet activity. You’d be wise to make
Securing Additional products and prices that fit the exposure, more use of your PC’s delete key and less
Or Different Coverage such as rates scaled to fit everything from use of an email’s “send reply” option. It
If you’re concerned about having occasional gigging to full-time bands. may be worthwhile to get professional
enough coverage or the right kind of cov- Many companies will also offer coverage insurance and/or legal advice if you have
any substantial Internet activity. Otherwise,
(4''#WFKQ%CUUGVVG4GXGCNU you might never know if you’re flirting with
loss risks that have been faced by profes-
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Other actions you can take to reduce your
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RTQŏUKPUKFGUGETGVU VQRNC[KPI[QWTHGGV':#%6.;NKMG[QWTJCPFUCVCP[URGGFQTVKOGUKIPCVWTG[QWFGUKTG #VſTUV
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aware and in control. That’s as true about
+9CU$NQYP#YC[9JGP+&KUEQXGTGF your drum ownership and activities as it is
ŖőGCU[VQNGCTPŒ[GVXKEKQWUGZGTEKUGUVJCVECPFQWDNG[QWTURGGFEQQTFKPCVKQPCPFGPFWTCPEGKPFC[U about your playing.
Ŗ#őNGIKVKOCVGŒUKORNGCPFGCU[YC[VQFQOKPCVG[QWTDCUUFTWORNC[KPI9+6*176DNQYKPIOQPG[QPUQOGWNVTCGZRGPUKXG
RGFCNQTIK\OQ,¶PÀ\LQJRQP\*LEUDOWDU,QWUXGHUSHGDOV
Ŗ&Q[QWYCPV[QWTRGFCNUVQ5/1-'! 6JGPEJGEMQWVVJGUGőMG[ŒCFLWUVOGPVUVQ[QWTRGFCNVJCVCTGETWEKCNDWV Bruce Hicks has worked in the insurance
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Ŗ6JGTGCNKPUKFGUGETGVUVQOKPFPWODKPIURGGFEQQTFKPCVKQPVJCVRTQUMGGRJKFFGPHTQO[QW#0&OQTG
writer on consumer and technical insur-
(KPCNN[[QWECPSWKEMN[DGEQOGVJGMKPFQHOGICUMKNNGFFTWOOGTVJCVIKIIKPIDCPFUEQORGVGVQJKTGCPFETQYFU ance issues. He has also been a drummer
UETGCOHQTŗ*QYFQ+MPQY! +ŏOPQYVCUVKPIVJGUYGGVNKHGD[OCMKPIETC\[COQWPVUQHOQPG[RNC[KPIQWV
PKIJVUCYGGM#0&+YCULWUVHGCVWTGFCVVJGTGEGPV$CNNKUVKE&TWOOKPIs(GUVKXCNKP2CUCFGPC%# since the age of eleven. Bruce currently
(4''/KPWVG6CRG%CP%JCPIG;QWT&QWDNG$CUU2NC[KPI(QTGXGT accompanies his church choir, plays at
%CNNHQTVJKU(4''CWFKQECUUGVVGYJKNGKVŏUHTGUJKP[QWTOKPF+VŏUPQTOCNN[DWVHTGGHQTCXGT[NKOKVGFVKOGVQ community events, and instructs several
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students.

120 Modern Drummer November 2003

 JAZZ DRUMMERS’ WORKSHOP

Questions And Possibilities

G e t t i n g M o r e F r o m T h e M u s i c Yo u H e a r
by Skip Hadden
believe that the best listeners have the potential to be the best 4. Where do you feel the music? In your head...your
I players. In my classes at Berklee, I stress how important it is to
spend time listening to the music you want to play. When I ask stu-
chest...your feet...your heart?
5. How does it make you feel? Sad? Anxious? Impressed?
dents how they learned to play what they already know, many Bored? Fearful? Relaxed? Enlightened?
respond with, “I listened to the music I liked.” I try to help them 6. Does it create any images? For example, are you reminded
learn more by helping them to hear and perceive more when they of an experience in the past? Do you see scenes from home or that
listen. place you visited one summer? What about visions of a loved one?
As players, we can train ourselves to respond better to what’s 7. Can you pick out individual sounds? Can you discern a
going on around us by becoming more familiar with where we are crash, a ride, hi-hats, or an effects cymbal? Is there more than one
in the music. I liken it to how we learn our way around a new snare, bass drum, or hi-hat? How many toms are there? Are there
neighborhood. We learn where the important places to our ways of any auxiliary percussion instruments, and are they Afro-Cuban,
life are. Where is the food or beverage of choice? Where is that Brazilian, or something else? What about stick sound? The attack?
first left turn I need to make? Who is that good-looking...? Well, The decay?
you get the idea. 8. Which limbs? Which arm, hand, leg, or foot is making each
sound? What combination of limbs produces the total sound?
9. What about the timbre of each sound? In this article, tim-
bre refers to the particular element of sound one listens for in an
As players, we can train ourselves to individual drum or instrument. For example, each drum has its
own pitch, which is determined when it is constructed by basic ele-
ments such as the wood and its density, and the drum’s dimen-
respond better to what’s going on sions.
10. What about the tone of each sound? In this article, tone
refers to alterations of the timbre, caused by such factors as hard-
around us by becoming more familiar ware, mounts, rims, heads, and tuning. What’s the harmonic rela-
tionship of the drums to the music? Of each drum to another?

with where we are in the music. Applying The Checklist

You can use these questions to examine the playing of certain
drummers. For example, listen to a particular song, such as
A Musical Checklist “Megalopolis,” from Chris Potter’s CD Traveling Mercies, featur-
The following is a list of questions to be considered when listen- ing Bill Stewart on drums. The listening questions could be used to
ing to a piece of music. These questions can be used as a checklist explore the odd time signature of the song. The focus would be on
to unlock the treasures contained within the performances. questions 1–3, followed by a later focus on questions 4–6.
1. What’s the flow? What’s the subdivision of the quarter note? What about checking out the opening fill, where Bill plays the
Is it 8th notes, 8th-note triplets, 16th notes, or something else? groups of five on his entrance? Find the downbeat for the phrases
What’s the tempo? Can it be quantified by a metronome? of 8 and 7, which make up the time signature. Are there any other
2. What’s the time signature? Does it stay constant in that odd meter measures or phrasings? And how many measures are
meter, or are there measures of different lengths within the piece? there in the melody?
What’s the subdivision of those time signatures? Are they divided Another example would be the title track from Danilo Perez’s
into groups of twos and threes? How so? For example, if the time The Journey, featuring Ignacio Berroa on drums and Giovanni
is 5/4, is it being divided “one-two, one-two-three” or “one-two- Hidalgo on congas. This is an excellent example of how the transi-
three, one-two”? Are there any metric modulations? tion is made from a 6/8 bembé (Cuban) feel to a jazz swing feel.
3. What’s the form? Is it twelve bars...sixteen...thirty-two? Is Again, listening questions 1–3 are examined, reviewing the phras-
the structure AABA, or something else? How long are the sections ing of the groups of three in the 6/8 and the 4/4 bars, and exploring
that make up the form? a different perspective by relating to the groups of two and the

122 Modern Drummer November 2003

 Questions And Possibilities
four-note phrasing ideas demonstrated by the soloists.
A final example involves exploring the possibilities of how to
play colors and feelings on the drumset. That process could begin
by listening to a recording made by Seiji Ozawa and the Boston
Symphony Orchestra performing Charles Ives’ “Central Park In
The Dark.” After listening, think about the music and your experi-
ence of it. Focus on questions 4–6. You could then translate your
responses to the listening questions to the drumset, transposing the
work of the entire orchestra to your instrument. The goal here is
not one of facility or technique, but rather concentration on your
intention to communicate what you experienced.
In developing these listening questions, my goal is to get you to
explore music thoroughly in order to unlock a world of infinite
possibilities. I hope that they assist you to respond confidently to
the world of music around you, to be mindful of your responsibili-
ties to that world, your fellow musicians, and your listening audi-
ence, and to have fun doing it.

Skip Hadden is a professor at Berklee College Of Music in Boston.

He has performed and/or recorded with many artists, including
Weather Report on Mysterious Traveler. He has also published
several drum books, the latest of which is World Fusion
Drumming (Warner Bros.). Check out his Web site at
www.skiphadden.com.

124 Modern Drummer November 2003

 SHOP TALK

Building A Creative Environment

A Perfect Practice Space Makes For Perfect Practice
by Bob Gatzen
aving one’s own creative environment The “Ahhhh” Factor
H is an age-old concept. Maybe it was a
treehouse when we were kids, a cabin in
Relax. Breathe in, breathe out, and say,
“Ahhhh.” Feels good, huh? The “ahhhh
the woods or a basement workshop when factor” is very simple. If, at each step of
we got older—even those solo hours spent our process, you can stand back, look at
traveling in a car. It’s all about having a your work, and say, “ahhhh,” then you
private space where we can get out of the know you’re going in the right direction.
everyday humdrum and into our own little On the other hand, there is the “ughhhh”
world. Set up a drumset in such a creative factor. If you experience that, then you may
environment, and you’re well on your way want to rip down what you’ve done and go
to becoming a better drummer. back to the drawing board.

The Drums
Think of the drumset as the centerpiece
of your practice room. It should be central-
ly located. I back my drums up to the mix-
ing console in my studio, positioned in a
way that allows me to flip around on my
seat and listen to a playback right from the
set itself. I’ve also rigged up a mounting
system for my laptop so that I can practice
or record with music generated from the
computer, without ever leaving my drum
seat. The drums are the command module
of my studio. If you’re not using such addi-
tional equipment, you should still make
sure the kit is placed in a comfortable, con-
venient location that allows for any other
activities that might coincide with your
practicing.

The Space
Generally, practice spaces are located in
the garage or basement of the home.
Basement studios are the most popular, for
good reason. Cement foundations are
extremely effective for sound dampening,
and heating and cooling systems are often
A few years ago, Will Kennedy and I already built in. I’m going to focus on
produced a video for Warner Bros. called basement spaces, but keep in mind that the
Be A DrumHead. In it, we came up with ideas presented can be adapted to a garage
the term “spaceology,” which is the idea space.
that a creative space can have a positive
effect on everything we do. So the goal of Positioning
this article is to help you create a space that You might want to select an area in the
is personalized, inspiring, and above all, basement that isolates the utilities (furnace
compelling. and water heater) from your drum space.

126 Modern Drummer November 2003

This will eliminate the noise generated next best solution is to build an inexpen- sound dampening, especially when it
from these devices. On the other hand, sive isolation booth for the drums. comes to low-frequency sounds like a bass
there is an advantage to having the utilities However, I must warn you, iso booths drum. However, the wall surfaces must be
near your room. The furnace generates don’t lend themselves to a compelling treated to eliminate stray sound reflections
radiant heat, so you won’t have to install environment. Here again, a compromise within the practice space itself.
vents in the basement air ducts. Radiant may be in order. Perhaps a partial iso To begin, cut additional pieces of fiber-
heat also decreases humidity in the sur- booth, combined with a practice schedule glass insulation to cover the basement win-
rounding area. However, if you plan on that accommodates the rest of the family? dows. (Secure it in place by simply placing
doing some recording, be prepared to Walls pressure up against the glass.) Also, it’s a
inconvenience everyone upstairs by turning Basement foundations provide excellent good idea to insulate the upstairs door with
down the heating/cooling sys-
tem while tracking.
The Next Level
The tips presented in the main article will serve any drummer wishing to practice in a space that’s
inviting and conducive to creativity. Drummers interested in practicing with recorded music or
Floors doing their own recording can benefit from the following additional information.
A cold, bare cement floor just
Monitoring ed earpieces can range from
won’t do, unless you’re a glut-
It’s absolutely necessary to protect your hearing. $100 to as much as $600. I
ton for punishment. At mini- Unfortunately, earplugs distance you from the drums, when found that the lower-cost soft
mum, purchase a finished-edge the objective is to connect with the instrument. Earplugs also plastic versions work fine.
throw rug large enough for your cause you to set playback levels of the music extremely high
drumset. Better yet, consider in order to be heard over the drums. I’m convinced that the Microphones
installing some commercial-type key to maximizing your stick-to-it factor (and keeping the It doesn’t make much
carpeting. I suggest visiting the police from shutting you down on a regular basis) involves sense to improve how you
hearing the music and the drums comfortably. And that starts hear your practice music if
carpet outlets for cut-off’s and
with a good pair of headphones. you can’t hear the drums any-
remnants. It’s great to score a There are three things to consider when purchasing a set more as a result. You need to
bargain, but don’t cheat yourself of headphones. The first is proper fit. Headphones that place have them in the same “mix”
by settling for a carpet that you too much or too little pressure against the ears will wear you as the music. This means miking your drums. Obviously, mic’s
really don’t care for. Be prudent, out in no time. Make certain that the headband adjustment will also be essential if you plan to do any recording. Start by
but be picky. Keep in mind that opens or closes enough to fit your head shape. The real test purchasing two identical microphones to place over the kit.
the color scheme of the carpet is, will they stay on your head while playing drums? This will provide the minimum adequate reproduction of the
Next comes isolation. Headphones should have about the drums. The next purchase would be mic’s for the snare and
and walls will dominate the look
same amount of isolation (that is, blocking sound from the bass drum. Some of the best drum recordings ever made were
and feel of the space. outside) as earplugs do. It’s best to shop at pro stereo shops done with only four microphones.
or music stores that allow testing of headphones. (The bigger We won’t be able to get into detail here about microphone
Ceilings retail stores usually don’t.) To test for isolation, pop your selection, so I suggest visiting a music store for advice. You
Basement ceilings are gener- earplugs in and listen to the surrounding noise levels. Then can also check out Andy James’ series on drum miking, which
ally unfinished. This is a good take your plugs out, place the headphones on, and compare. just ran in the July, August, and September issues of MD.
thing. I’ve found that stapling Stay away from headphones that offer claims like
“improved bass performance,” “optimized for bass,” “Mega- Mixers
fiberglass insulation between the
Bass,” etc. While such headphones work great for CD or MP3 If you’re using microphones, you need to control them.
beams (with the backing paper playback devices, they’re not as efficient for live drum moni- Fortunately, we are in an era of mini-mixers, and there are
facing downward) provides mar- toring. many choices. I suggest a minimum of twelve channels. If you
ginal sound isolation from the Proper isolation for drumming usually requires a rather can afford it, sixteen would be better. “But I only have four
upstairs living area, while also large padded earmuff. My faves are the Sennheiser HD 250 mic’s,” you say. Believe me, once you get started, you can’t
controlling sound reflection Linear IIs. They’re pricey, but they’re great drum phones. If ever have enough channel inputs. A dedicated mixer can be
(slapback) in the practice space. you’re on a budget, an inexpensive “Walkman”-type head- purchased for about the same price as a quality ride cymbal.
phone can be reworked with a little ingenuity. For instance, Another option is a digital hard-disc recording system, often
Dropped ceilings don’t work as
Sony MDR-A-30 or MDR-W20-Gs only cost around $20 and referred to as a DAW (Digital Audio Workstation). In this case,
well, because lowering the ceil- sound fantastic—but they offer very little isolation. So slip a the mixer, hard-disc recorder, and computer are integrated into
ing height is detrimental to cotton sweatband around your head and over the phones, and a single system. You’ll be surprised at how little they cost, rela-
developing a good room sound. voila. For a couple more bucks you have an inexpensive solu- tively speaking. A few popular brands to consider include
It’s a balancing act between tion to sound isolation. Mackie, Yamaha, Roland, Tascam, Allen-Heath, and Shure.
developing a good room sound Finally, you might consider the option of “in-ear” moni-
and sound isolation. tors, There are many to choose from; my favorites are the Virtual Studio
Shure “E”-Series. In-ear monitors provide virtually total isola- My strongest recommendation is to get computer savvy as
It’s relatively easy to prevent
tion from the sound source, because in essence they serve as soon as possible. Laptop or desktop computers with “virtual
sound from getting out of the earplugs and headphones combined. But they don’t come studio” software are replacing the racks of gear typically seen
house, but much more difficult cheap, so be prepared to spend a few bucks. in project studios. There are tons of MIDI sequencing, music
to isolate it from the upstairs If you decide to use in-ear monitors, you can improve fideli- transcription, composition, digital editing, and recording pro-
living space. Full-on, studio- ty and isolation by going to an audiologist to have a set of grams to choose from. Talk about creative freedom! When it
type “room within a room” personal earpieces made. These substitute for the earphone comes to creativity, a virtual studio is the bomb.
construction is very costly. The or bud that comes with the in-ear system. The price for mold- •

Modern Drummer November 2003 127

 The final test is, do you love
this space so much that you’ll
go to it every day of the week?
weatherstripping around the then connected them with small chains,
edges, and acoustical foam allowing the carpet to hang down to the
adhered to the back of the door floor from the 2x4s. This provided a
itself. This will decrease sound “floating” wall that looks great and con-
leakage to the upper area of the trols room sound beautifully.
house.
A simple way to control A Good Idea!
sound reflection in the prac- When I was producing the Inspiring
tice space is to hang carpet Drummers Series for Warner Bros., I had
from the ceiling beams, a few to come up with an idea to create multiple
inches away from the concrete scenes from a single shooting location. I
walls. I purchased 12'x10', had a carpenter build a bunch of acoustic
18'x10', and 10'x10' pieces of panels out of 4'x8'x1/4" plywood sheets,
carpeting and secured one frame them, and attach legs with casters.
long side of each to a 2"x4" This allows the units to roll around and be
beam. (2x4s can be purchased positioned in just about any configuration.
in just about any length). I We attached acoustic foam to one surface
placed “J” hooks into the ceil- of the panels and left the opposite side
ing beams and into the 2x4s, (wood) exposed.

128 Modern Drummer November 2003

Creative Environment
But you can do a search Subdued lighting is best for concentra-
online for “acoustical con- tion. Lower light levels create a feeling of
trol products” for other relaxation, which allows the mind to
suppliers. focus more clearly. It’s sort of like clos-
ing your eyes while playing.
Adjustable Lighting Specific lighting is a great way to
Lighting has such a change the feeling of the room, by elimi-
tremendous affect on the nating visual distractions. I find that this
human psyche that its use is particularly good for computer work or
has become a science, writing out music charts.
which is applied to archi-
tecture, theater, and Light Fixtures
industry. Okay, time to hit the local building
Caution! Never use flu- supply store and check out lighting fix-
orescent lighting in a stu- tures. Small clip-on spots or hanging
dio setting. Not only does shaded lights are usually available at low
This setup worked beautifully in two it suck the life out of you, it’s also noisy. prices. I use industrial aluminum-shade
ways. We could create any size and shape Incandescent lights (traditional light lights over my keyboard area and in the
space we desired, and could provide bulbs) are best, because they’re totally middle of the room for my “bright” light-
sound control for recording. We were controllable in regards to positioning and ing mode. Small clip-on spots accentuate
amazed at how much sound was con- intensity. I suggest developing three the walls for the “subdued” lighting
tained. modes of lighting, which can be varied mode. Finally, a small, high-intensity
If you’re handy, the panels described can depending on what appeals to you. lamp near the computer workstation cre-
be constructed at a very low cost. And Bright lighting is great for intense, ates the “specific” lighting mode.
acoustic foam can be purchased from many active work and practicing. Illuminating Small desk lamps (a ceramic base and a
different sources. For instance, I purchased the entire room helps to raise and main- shade) or even a floor pole-type lamp can
mine from www.acousticalsolutions.com. tain energy levels and awareness. add character when placed next to the
drums or in the corner of the room. Track

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130 Modern Drummer November 2003

 Creative Environment
lighting is relatively inexpensive, but you ing long hours of “on” time. Finally, I use
must have proper surfaces to mount them a 10" fan near my drumset to keep me
to. Personally, I prefer clip-on and hang- cool when I’m playing.
ing lamps because they allow on/off Permanently installed ceiling fans are
switching variation that can be difficult to quiet and efficient. But I wouldn’t sug-
obtain with track lighting. gest installing one of those whirlybirds
I constantly vary the lighting in my unless your ceiling is at least nine feet
space. It makes life more interesting. Use high—or you’re willing to nickname your
your imagination. Change is good. 6'2" guitarist “The Headless Horseman.”

Bulbs Signage And Decor

Believe it or not, bulb wattage is a big This is a last, small detail that can make
deal. I recommend using 40- to 60-watt a big difference. Posters, inspirational
bulbs in the fixtures that are positioned quotes, reminders, practice routines, and
facing downward for maximum spread. musical charts can be used to adorn the
When it comes to specific lighting areas, walls of a studio. Aside from adding visual
I prefer 25- to 30-watters for a warmer variety to the environment, they can be
feel. I use these over my mixing console motivational, helping to keep you focused,
and MIDI keyboard. or stirring thoughts into ideas. I also use
Experiment with different types of bulbs, the walls to pin up the kinds of little things
such as floods, spots, and vanity shapes. Of that one generally puts in a special place so
course, if you want to really pretty up your they won’t be forgotten—and always are.
room, install a disco ball. It’s guaranteed to But be careful to avoid clutter. A junky
make you feel like a star. look that makes your creative space less
inviting defeats our original purpose.
Climate Control
Okay, you’ve got the colors working The Final Test
and the lights shining. Your drumkit Let’s review. You have your beautiful
looks amazing, and you’re still saying drumset glistening in the lights of the
“ahhhh.” Now we need to set the auto- coolest space you’ve ever been in. You
matic climate control. walk into your room and do a 360° eye
scan—and then it happens: “Ahhhh.” It
Humidity feels good. The concentration and hard
If you’re setting up a basement space, work have paid off.
it will probably be necessary to use a The final test is, do you love this space
dehumidifier. Basements can feel cold so much that you’ll go to it every day of
and clammy if you don’t. Also, drums the week? It doesn’t matter if it’s for a
don’t like dampness. It’s not good for the moment or for several hours. All that mat-
wood or the finish, and it even affects ters is that you use it wisely and often.
tuning.
When it comes to electronic gear, Drummer/inventor/producer Bob Gatzen
dampness is downright dangerous. But designs products for Evans, Noble &
keep in mind that dryness is also an Cooley, Zildjian, Drum Workshop, Regal
enemy. Overly dry air generates static Tip, and DrumFrame. He is also a video
electricity that can wreak havoc with cir- artist and produc-
cuit boards and IC chips. The key is to er for Warner
keep the room set at a consistent, comfort- Bros., as well as a
able level of temperature and humidity. highly regarded
author and educa-
Ventilation tor. Bob’s most
Proper ventilation makes your space recent solo CD is
feel comfortable. Purchase a few small, called Prior Art.
inexpensive fans and place them strategi- His current passion is an inspiration pro-
cally around the room. I have a 14" oscil- gram for children called START. Bob can
lating fan placed off the floor to gently be contacted at www.creativespecialpro-
circulate the room air. I have a second fan jects.com.
behind my equipment to keep it cool dur-

132 Modern Drummer November 2003

More bang for the buck.

Q Snare Q Tom Q Kick C02 Pencil Condenser

And bang is just the beginning.

Samson’s new drum microphones are voiced specifically for the drum they are meant to mic.
Snares sound crisp and full, toms tight and rich, kick drums clean and gigantic. They have rugged
exteriors, rim clips and shock mounts for the abuse they are sure to take. Best of all, they sound
better than mics priced hundreds of dollars more. You see, at Samson we figure that if your gonna
spend that proverbial buck, you deserve more than just bang.

For a good time and to find out more about Samson drum mics visit us at samsontech.com.

©2003 Samson
NEW AND NOTABLE

The Only Constant

Is Change
New Zildjian K Constantinople Rides
Zildjian’s K Constantinople series has been augmented with
six new ride models. The cymbals are available in Medium-
Thin High, Medium-Thin Low, and Thin High models, each in
20" and 22" sizes. The designations of High and Low refer
to the profile of the cymbal, and ultimately to the pitch,
providing even more tonal options from which to choose.
The new rides are said to have “plenty of give
and texture, and a remarkably soft, buttery
feel.” They’re designed to provide “a nice
Avoid That
spread and a clear, articulate stick sound.” Sinking
The 20" rides are priced at $550 each; the
22" models list for $650.
Feeling
(781) 871-2200, www.zildjian.com. Ludwig
Pro-Float Hi-Hat
Ludwig’s Pro-Float Hi-Hat is
designed to meet professional
feel, adjustability, and accuracy
New Members Of The Class requirements. It features a
New Premier Modern Classic Snare Drum Models floating-action pedal mecha-
Premier’s Modern Classic snare drum range now includes new sizes and premium finishes. The nism, six adjustment positions,
4x14, 51⁄2x14, and 7x14 drums feature shells in Finnish birch and Gen-X (an exclusive maple/birch and a cam-lever system rather
hybrid) to complement the existing range of American maple, brass, and steel shells. than a spring action. The stand
The new models feature a distinct snare bed profile that works in harmony with Premier’s unique features two adjustable double-
bearing edge to create increased sensitivity, a more versatile tuning range, and reduced snare rattle. braced legs, along with an
Drums are fitted with Nickel Drumworks throw-offs, hand-pol- optional spur leg that can be
ished tubular lugs, and an antique-style badge. In addition to the positioned on either side of the
classic natural finish, Premier has introduced twenty-nine new pedal for stability (or removed
wrap, lacquer, satin, and sparkle finishes, color-matched to completely). The “lean” of the
complement its new Premier Series range. Prices range from stand is also adjustable to suit
$475 to $609, depending on size and finish. the player. Retail price is $199.
(800) 486-4424, (574) 522-1675,
www.premier-percussion.com. www.ludwig-drums.com.

Get To The Bottom Of Things

Yamaha Subkick
Yamaha’s Subkick is a sub-frequency (below
100 Hz) capture device designed for use with
kick drums and floor toms as an alternative or
supplement to a traditional microphone.
Designed by studio/touring drummer Russ
Miller, the Subkick features a 10" woofer (fre-
quency response 20 Hz – 8 kHz) that’s shock-
mounted inside a 7-ply maple drumshell and
covered with black mesh heads.
The drumshell focuses sound waves in a
strong, directional pattern through the speak-
er. The speaker acts as an ultra-large thickness, and with-
diaphragm microphone, capturing more low- out the phasing prob-
end frequencies than a microphone alone lems often associat-
can. The mesh heads add a small amount of ed with low-end
sustain to the sound, while protecting the reproduction.” The
speaker. In combination with the resonance Subkick includes a
of the drumshell, the speaker produces what standard XLR for easy connection, and does
Yamaha calls “an incredible sub-frequency not require +48V Phantom power to operate.
sound, with plenty of punch and controlled (714) 522-9011, www.yamahadrums.com.

134 Modern Drummer November 2003

Want To Build On The Latin Side...
A Groove? Latin Percussion Aspire Bongo Kit,
Remo Rhythm Tools Matador Custom Congas, Futurelite Conga Stand,
Remo’s Rhythm Tools are unique instru-
And Palladium Conga Bag
ments said to be lightweight, portable, and LP’s Aspire Bongo Kit features 63⁄4" and 8" Finally, LP’s Palladium Bag is construct-
easy to play. The Spring Shape ($20.25) has Aspire bongos. Constructed of premium ed of durable, heavy-duty black padded
a spring attached to a Renaissance drum- Siam oak, the drums are fitted with EZ nylon and is fitted with ample woven
head and can be used as a rhythm instru- Curve rims and are finished in attractive straps. It’s designed to hold large con-
ment or a sound effect. Click Clacks ($10.25) natural or red lacquers. Included in the kit gas—including LP’s new Giovanni
have two Brazilian jingles. Timpanos ($15.25) are a Bongo Cowbell with beater, and the Palladium Series
are shaped like (and sound like) cowbells. LP Aspire Bongo Bag, a black nylon enclo- Congas—with-
Cuicas ($9.99) are modeled after the sure with soft lining that provides opti- out adding bulk,
Brazilian cuica and include a quick lesson by mum protection. The entire kit comes while affording
Chalo Eduardo. And 12" ($8.25) and 16" packed in a full-color special gift box with maximum pro-
($25.50) Bendirs have single adjustable a carrying handle, at a price of $185.50. tection. The bag
snares. All models are made with Remo’s LP has given the hardware on its features casters
patented Acousticon material, and Matador Custom congas a slick, durable, for easy move-
come in either Metalized or powder black finish that enhances the ment, and lists for
high-gloss Purple Sparkle contrast between the distinctive side $169.
painted finishes. plates, rounded Matador Soft-Strike rims, (888) LP-MUSIC,
(661) 294-5600, www.remo.com. and shell. The congas are available in www.lpmusic.com.
Satin Blonde luster, Chili Pepper Red high
gloss, and Latin Blue high gloss.
Prices range from $339 to
$369, depending on size. A
double set with stand lists
for $749.
The new FutureLite
Conga Stand (designed and
produced by Randy May)
achieves stability by focusing
engineering principles and
innovative technology on the
purpose and load of the stand.
Manufactured from aircraft-
Singing quality aluminum alloys, the
stand promotes easier player
Soprano mobility with durability and light-
S-Class Soprano Snare ness. List price is $299.
Drum And New Finishes
Sonor’s mid-priced S-Class series now
includes a 5x13 Soprano snare drum avail-
able in Grained Maple finish and featuring a
Mallets On The March
prism clamp for convenient integration into Vic Firth Ensemble Series Keyboard Mallets
any setup. The drum is fitted with Sonor’s
Vic Firth’s new Ensemble Series mallets were developed with marching
Sound Wires snares and is priced at $420.
authority Thom Hannum for marimba ensemble playing. The mallets are craft-
Also new to the S-Class drumkit series
ed with thermal plastic cores and latex coverings for a full-bodied sound and a
are three new finishes: Grained Maple,
rich fundamental. Each model has its own recipe of latex specifications for a
Aqua Green, and Misty Rose.
true graduation of timbre and tone pro-
(804) 515-1900,
duction. Large birch dowels increase the
www.hohnerusa.com, www.sonor.de.
mass of the entire mallet. The mallets
are said to also produce excellent sound
on the vibraphone, and are suitable for
solo playing as well as for marching
band, drum corps, and WGI-type indoor
concert and marching percussion
ensembles. Five models ranging from
soft to hard are available, all at 161⁄2" in
length. Retail prices range from $31 to
$35, depending on model.
(781) 326-3455, www.vicfirth.com.

136 Modern Drummer November 2003

 Traditional Cymbals
Wuhan® “Western-sstyle” splashes, crashes,
hi-h
hats, and ride cymbals have an innovative design.
With input from Universal’s product specialists
Wuhan’s cymbal craftsmen have created a line of
totally contemporary instruments backed by an
unrivaled history. Owing to their unique method of
manufacture, Wuhan® cymbals have a distinct and
unmistakable character. Generally thinner than
corresponding models from other manufacturers,
Wuhan® splashes, crashes, and hi-h hats produce a
breathy wash of overtones, creating a comfortable
cushion of sound. Ride cymbals offer intensely
complex musical tones and generous projection. Best
of all, this unique line of cymbals (and its equally
unique guarantee) is available at prices that are much
lower than those of any professional cymbal brand on
the market.
Go to www.universalpercussion.com
®
for more Wuhan Cymbals & Gongs and other
professional percussion products.
®
Universal Percussion, Inc.
1431 Heck Road Columbiana, Ohio 44408 330.482.5750
sales@universalpercussion.com

TM

Three Unique Heads From ATTACK Drumheads

TM

• The Charlie Adams Signature Series produces a big band extra dry sound. Featuring a clear bottom dot to increase durability
and dampen overtones. If you play fusion or jazz you have got to try these heads!!

• Calling ALL “Heavy Hitters” we have the perfect head for you. Perhaps the thickest and most durable head ever made . The
ATTACKTM BlastBeatTM snare head is a blend of medium and heavy weight plys with an extra thick spray of our industrial “Dura
Coat” coating.

• Jingle Head is a unique head that has jingles riveted to the skin! Produces a great snare drum sound with a
tambourine-like accompaniment. This head is a coated single ply.

Charlie Adams
On Tour With Yanni

Charlie Adams 14” Signature Heads BlastBeat Heads Jingle Head

CAB14C White Coated Top Dot DHA12BB 12” DHJH12C 12”
CAB14CL Calf-like w/ Bottom Dot DHA13BB 13” DHJH13C 13”
CAB14CLB Calf-like Super Brush DHA14BB 14” DHJH14C 14”
Some ATTACKTM drum heads are made under patent, serial or trademark numbers2,670.498,...29,143,922,...75,858,554. ATTACKTM is a trade mark of Universal Percussion, Inc.®
Affordable Sounds And Goodies
Camber Rock Cymbal Performance Set And Cymbal Accessories
For entry-level rock drummers, Camber’s for solid stick response and a loud, penetrat- cymbal stands. When installed on a cym-
Rock Performance Set combines 14" hi-hats, ing sound. The 16" crash is thin, fast, and bal tilter, the T-Top enables a drummer to
a 16" crash, and a 20" ride, all precision craft- punchy. The ride offers solid sticking and a add or remove a cymbal without having
ed from high-quality brass. bell that is great for playing hard-hit- to unscrew a wingnut. The cymbal is pre-
The hats feature a heavy bot- ting rock grooves. List price is $163. vented from coming off by the oblong
tom/heavy top combination Camber’s C-Saver provides pro- design of the “T.” T-Tops are available in 6-
tection against cymbal stands with mm and 8-mm sizes, and are sold in pairs
broken, worn, or missing cymbal at $5.
sleeves. A grooved rubber grommet Finally, Camber has added three differ-
fits snugly into any cymbal mount- ent-sounding Jingle Hats to its lineup of
ing hole to prevent the harmful percussion accessories. These mountable
“keyhole” effect of metal-on-metal friction, “tambourine-like” all-metal instruments are
while letting the cymbal vibrate freely. This of a semi-circular design that enables them
protective insert is available for the tilter to be positioned anywhere within a setup.
sizes of 6 mm and 8 mm, packaged in four- Available in brass ($29), B8 bronze ($34),
piece sets at $5. and B20 bronze ($38), each model has its
Camber also offers the return of the own unique sound.
classic T-Top wingnut replacement for (207) 532-3152, buzk@camberpercussion.com.

A Light In The Darkness

Evans Compact LED Key And Smooth
Smaller White Resonant Bass Drum Head
Evans’ Compact LED Key is perfect the entire EQ bass head line, along
And Lighter for drum tuning in dark areas, or for with the 5" offset port of the EQ3
MRP Aluminum Snare finding a dropped wingnut on a dark Resonant head. But its white sur-
drum riser. A high-powered LED light face provides a more “retro” look.
Drums And Short Stack Pack cartridge is built into the body of the Heads are priced at $62.50 to $83,
The latest addition to MRP’s Special Edition Snare key, providing a helpful beam of light depending on size.
drum collection is a series of aluminum snares said when it’s most needed. The tuning (631) 439-3300,
to offer a warm, open sound with plenty of cutting shaft folds into the key’s body for www.evansdrumheads.com.
ability throughout all tuning ranges. They feature compact storage, while a quick-
2.3-mm counterhoops and the company’s single- release clasp allows the LED key to
edge bearing edge technology (as opposed to a be used as a key ring. The key is
typical bent-over flange). The drums weigh up to priced at $39.99.
76% less than MRP’s Stainless Steel models of The EQ3 Smooth White Resonant
similar sizes. They’re currently finished in natural bass drum head is said to produce a
clearcoat, with a Black Stealth finish to be available warmer tone than other Evans EQ
shortly. Sizes and prices are: 5x12—$396; 3x13— heads. It features the internal over-
$425; 5x14—$475; 61⁄2x14—$495. tone control ring found throughout
MRP’s Short Stack Pack consists of 6x10, 7x12,
and 8x14 toms, a 15x20 bass drum, and a 4x14
snare. The kit is designed to combine compact
portability with a professional sound. Kits are avail- Those Fabulous ’40s
able in any MRP Laminate, Fade, Candy, or Solid Gretsch DUCO Finish Kits
Paint finish, at $3,025. An MRP hardware package
including a hi-hat, a snare stand, straight and boom Gretsch Custom Series kits are now
cymbal stands, and three tom mounts with clamps offered in classic DUCO painted finishes
is available at extra cost. popular in the 1940s, offering the “vibe” of
(516) 568-2820, www.mrpdrums.com. yesterday with today’s modern enhance-
ments. Each drum is finished in high-gloss
black/silver or blue/silver, using the original
spraying technique. A GTS suspension sys-
tem for the mounted tom, fold-down spurs,
and a modern-day rail-mount holder is stan-
dard on each configuration. Two four-piece
shell packs are available, with a choice of
an 18" ($4,959) or 20" ($5,007) bass
drum and with center mounted lugs or
separate lugs.
(860) 509-8888, www.kamanmusic.com.

138 Modern Drummer November 2003

Flat, Fun, And Carmel And Carmine
Functional Mapex Limited Edition Carmel Fade Drumsets
Gibraltar 8600 And Carmine Appice Signature Kits
Flat Base Hardware Mapex is offering just 300 M- Edition kits sell for $1,399.
Series and Pro M Edition In an even more limited
And New Service drumkits with a one-time-only edition, Mapex’s Carmine
Center Parts Carmel Fade special finish. Appice Signature series offers
The kits have been described fifty classic black V-Series kits,
Gibraltar has re-engineered the traditional
by Rusted Root drummer Jim available as a five-piece single-
flat-base design of yesteryear, adding a few
Donovan as “visually breath- bass ($839) or six-piece dou-
modern features for
taking and sonically arousing.” ble-bass ($1,299) configura-
today’s drummer. Each
The shells are made from tion. Each kit will include its
stand includes a com-
North American maple and own serialized hand-signed
pact tri-leg flat base with
basswood, offering a wide certificate of authenticity,
Gibraltar’s key-lock mecha-
tuning range and enhanced along with Carmine’s hand-
nism. The base locks into
depth, attack, and projection. signed signature within the
position with no slippage,
The Carmel Fade is an eight- 11x13 tom shells. Each set
making multi-stand place-
coat translucent polyurethane will also include an offer for
ment virtually effortless. All
finish that’s applied to the over $100 worth of Carmine
stands feature die-cast parts
outer maple veneer. A final Appice promotional items
without metal-to-metal con-
protective hand-coat shields when registering the kit with
tact height adjustments. A
against unexpected scratch- Mapex.
“brake-style” gearless tilter
es. The M-Series versions (615) 793-2050, www.mapex-
with key lock adjustment
are priced at $1,099; Pro M drums.com.
secures cymbal place-
ment. Snare stands also
feature a gearless basket
adjustment, while hi-hat
stands offer adjustable
Out Of Africa
tension with a clean Toca African-Style Djembes
design and vintage look. Toca Percussion’s line of African-styled djembes features
Models and prices include: 8606 snare drums with lathed, top-grade plantation mahogany
st and—$89.95; 8607 hi-hat st and— shells. The shells are kiln-dried, and receive up
$119.95; 8609 cymbal boom st and— to twenty coats of teak oil to protect and pre-
$89.95; 8610 straight cymbal stand— serve the wood. The drums also feature “low
$69.95. stretch” Alpine rope runners with braided
Gibraltar’s Service Center (SC) spare cores. Authentic goatskin heads with hair pro-
parts are designed to work with most vide a greater tone range. Drums are available
major brands with head diameters from 7" to 13", in Teak Oil
of drums and Satin and Dark Rough Cut finishes. Retail prices
percussion. The range from $95 to $325, depending on size.
series now (860) 509-8888, www.kamanmusic.com.
includes
a full assort-
ment of mic’
boom arms, goose-
necks, and acces-
New Designs, New Sounds
sories, including the Tama MonoPly And G-Series Snare Drums
new SC-GMQC mic’ Tama’s limited-edition MonoPly snares are and die-cast hoops, and a 5x14 Artwood G-
quick clamp with crafted of one long, continuous, 3-mm-thick Maple that features a 10-mm maple shell and
shock mount ($36.95). This sheet of walnut or oak, rolled into a resonant steel hoops. The new
m i c ’ a r m w i t h quick 9-mm shell, and then fitted with 10-lug cherry models are said to offer
clamp attaches to any stand wood hoops. According to Tama, “The tonal “the incredible crack of
or rack bar in seconds and characters of oak and walnut are very differ- G - f o r c e .” Fo r e x t r a
comes outfitted with a mic’ shock mount. ent from those of standard wood and metal “buzz” and volume, the
Also new to the SC Spare Parts line is snares. The additional factors of the MonoPly Art wood G-Maple
the Ultra Adjust Tom Mounting System construction and cherry wood hoops produce comes equipped with
MonoPly
($49.95). This new series of tom arms fea- a sound that’s very ‘woody’ yet completely an extra-wide 42-strand
ture Gibraltar’s “Ultra Adjust” gearless T- unique.” Both drums feature 51⁄2x14 shells. set of snappy snares.
adjustment, giving the player infinite tom The walnut drum is priced at $529.99; the The Starclassic G-Brass
placement options. Available in hex, 10.5- oak drum sells for $499.99. Cherry wood lists for $499; the 5x14
mm, and 12.7-mm L-rod sizes, Ultra Adjust hoops are also available separately for $60. Artwood G-Maple is
Tom Mounts fit most major brands. New to Tama’s thick-shelled “G” snare priced at $359.99.
(860) 509-8888, www.kamanmusic.com. series are a 51⁄2x14 Starclassic G-Brass drum (215) 638-8670,
with thicker-than-standard 1.5-mm brass shell www.tama.com. Artwood G-Maple

140 Modern Drummer November 2003

“That
“That perfect
perfect sound”
sound”
Worth the trip “The drum simply satisfies that perfect
sound that I have always had in my
head, but have never been able to
achieve with just one drum. It practically
sounded like it was pre eq’ed.”
Robert Dotto
Drummer & Studio Owner

The Zelkova Snare -

featuring the world’s
first hollowed one-piece
shell. It’s a remarkable
blend of engineering and
art setting a new standard
for musicality in drum
products.
Suggested List $1,599.99

Canopus Drums are not sold at every corner drum shop. You buy them from the kind of people you
would hope to meet when investing in heirloom-quality drums. See the Zelkova or any of the other
Canopus snare drums and kits at the best percussion retailers in America. You'll be glad you did.

Hollywood, CA Plainview, NY Concord, CA

CALIFORNIA NEW YORK

Gelb Music, Redwood City Drummer's World, New York
Professional Drumshop, Hollywood Long Island Drum Ctr., Plainview
Spitzer’s Music, Concord
IOWA
Robert Dotto, Bettendorf
NORTH CAROLINA
Music Barn, Greensboro
SOUTH CAROLINA
Custom Drum Products
ILLINOIS Eastside Guitar & Drums, Greenville Exclusively from
The Drum Pad, Palatine TENNESSEE
MASSACHUSETTES Fork's Drum Closet, Nashville SoundBrands LLC
Joe's Drum Shop, Beverly WISCONSIN
Music Major, Mashpee Toll Free 888-860-1668 • Toll Free Fax 888-863-0763
Drums N' Moore, Madison
MAINE Rockhaus, Milwaukee P. O. Box 2632 • Mount Pleasant, SC 29465 • www.sound-brands.com • ©2003
Perkins Music House, East Winthrop For information outside North America go to: www.canopusdrums.com
From The NAMM Show Here’s a quick look at some late-breaking products displayed on the floor
of the Nashville Summer NAMM Show, held this past July 18 through 20.

1. Newly redesigned and reissued Gold Series cymbals 6. Ludwig has reissued their legendary Mod Orange fin- 11. Taye now offers the RockPro Classic 24 DoubleRock
for the pop/rock market were displayed by Bosphorus. ish. The covering is not a limited edition; it’s available on kit, featuring 6", 8", 10", 12", 13", and 14" rack toms, 16"
(770) 205-0552, www.bosphoruscymbal.com. any drumkit in Ludwig’s Classic Maple series. and 18" floor toms, two 24" bass drums, a 14" wood
(574) 522-1675, www.ludwig-drums.com. snare, and a 10" stainless-steel auxiliary snare—with
2. Custom drum maker Bill Cardwell displayed his C&C hardware, at $2,195 list. The company also introduced
Drums, including this snare drum in black/teal/silver sparkle. 7. Rikki Rockett has become a Vater drumstick endorser. seven new stainless-steel specialty snare drums.
(816) 468-1121, www.candccustomdrums.com. His Bottle Rockett signature stick was introduced at the show. (909) 628-9589, www.taye.com.
(781) 767-1877, www.vater.com.
3. Mountain Rythym has expanded its product line to 12. Impact’s Case Caddy combines the sturdiness and dura-
include custom percussion “drumkits,” wood-topped 8. Humes & Berg’s Galaxy bag series includes a 22" bility of a traditional hand truck with the portability of a col-
bongos and djembes, and a full line of Canadian-made backpack-style cymbal bag that also features a luggage lapsible luggage carrier. When fully extended, it can securely
and imported wood-shell congas and bongos. roller and a built-in stick bag. The bag comes with padded hold and transport the cases for a five-piece kit. It lists for $160.
(705) 657-7089, www.mountainrythym.com. dividers and a protective pad that covers the wheels (715) 842-1651, www.impactind.com.
when the case is “worn” as a backpack. Also new is a
4. Hot Sticks are offering new Glow FX glow-in-the-dark djembe bag that fits 10" to 16" drums and features large 13. New from the Nino entry-level percussion line are
models, which feature the company’s unique Macrolus hot- outer pockets and hard inserts top and bottom. 9" and 10" entry-level all-wood congas with professional-
stamp foil wrap rather than a painted finish. The sticks are (219) 397-1980, www.humes-berg.com. design features, listing for $319 per pair with stand.
“re-chargeable” under bright light for repeated use. (615) 227-5090, www.meinl.de.
(228) 467-0762. 9. Cadeson was showing their Studio Wizard model,
featuring compact sizes and their Studio series shells. 14. Pintech’s Visual Custom series of mesh-head
5. Keller Wood Products is working with well-known (626) 369-0253, www.cadesonworld.com, electronic trigger kits are now available with acrylic
drum builder Joe Montineri to create a new line of shells www.cadesonmusic.com. shells in clear, purple, blue, smoky, and walnut wood-grain.
for do-it-yourself drum builders and small manufacturers. (864) 288-1500, www.edrums.com.
Oak, cherry, walnut, and curly maple ply shells are offered, 10. Meinl’s MCS cymbals were originally offered only as a pre-
along with vintage-style ’40s-era 3-ply mahogany shells pack. Now they’re available individually, and the line has been 15. Spaun’s custom kits include sets with unique
with reinforcing hoops, and ’60s-era non-reinforced shells. augmented with an 18" crash, a 16" China, and a 10" splash. finishes like this Sunset Sparkle Flames design.
(603) 627-7887, www.kellerproducts.com. (615) 227-5090, www.meinl.de. (909) 971-7761, www.spaundrums.com.

1. 4.
9.

5.

10.

6.

11.
2.

3. 7.

12.

8.
142 Modern Drummer November 2003
16. This Paragon Stage II kit from Peace Drums 21. Big Bang distribution is now offering the Xymox 25. Canopus has added a solid bronze snare to its line
lists for $2,500. The company will shortly release the snare-sound practice pad and Pocket Pad, along with of steel, brass, and aluminum metal drums. The drums
DNA series, with 9-ply all-maple shells. A five-piece Crazy John’s Brilliant Cymbal Polish. Big Bang is also dis- are now distributed in the US by Soundbrands.
kit w i t h h a r d w a r e will list for around $2,000. tributing HQ Percussion’s Daniel De Los Reyes Mucho Pad (888) 860-1668, www.soundbrands.com.
(877) 999-4327, www.peacedrum.com. (for timbale players), the Flix Classic brush (with a long han-
dle, thin plastic “wires,” and a wide fan shape), and 26. Mapex debuted their Chopper budget kit. It fea-
17. Sonor has redesigned the cam assembly on their Protection Racket’s new Single- and Double-Kick drum mats. tures mini lugs and comes as a shell kit or complete with
Giant Step pedal series, for smoother action. (800) 547-6401, www.bigbangdist.com. hardware. A cymbal package featuring Chin-Del cast
(804) 515-1900, www.hoherusa.com, www.sonor.de. cymbals (made in China) is also available with the kit.
22. Unigrip 2000’s various rubber-gripped stick models (615) 793-2050, www.mapexdrums.com.
18. Pearl’s 20th Anniversary Export ELX kit offers black hard- have been popular enough to generate demand for the
ware, a special logo, and a choice of new Amber Fade and grips alone as add-on items. Round, Hexagrip, and Octagrip 27. Yamaha’s Daxdad is a 12x22 special-effects bass
Cobalt Fade finishes. (615) 833-4477, www.pearldrum.com. slip-on versions are available to fit sticks from 7A to 2B. drum with a birch/mahogany shell with four air-
(800) 474-7068, www.unigrip2000.com. holes. It’s mounted on a “lifter” unit for pedal
19. Gibson has once again introduced a high-end, all- playing, and is designed for auxiliary duties on a
maple, American-made Slingerland kit to the market. The 23. Leedy snare drums are back in a big way. They’re drumkit or percussion setup. It comes in Yamaha’s
kit shown here features custom airbrush graphics. Radio being made by drum builder Sam Bacco, and are distrib- V i n t a g e f i n i s h o n l y, a n d includes a soft case.
King and Studio King snare drums will also be offered. The uted by Gretsch. (912) 748-7070, www.leedydrum.com. (714) 522-9011, www.yamahadrums.com.
drums will be made in the company’s new Conway,
Arkansas factory. (615) 277-2190, www.musicyo.com. 24. Pro-Mark was showing Matt Savage XB1 and XB2 28. Vic Firth has introduced new signature stick mod-
rubber-tipped practice sticks, the new Johnny Rabb signature els from Thomas Lang and Scott Phillips of Creed.
20. Istanbul Agop is offering the new Agop Signature stick, the Pocket Pad, and the Kick-Rod bass drum beater. (781) 326-3455, www.vicfirth.com.
China and crash cymbals shown here. Drummer/percussion- (877) 776-6275, www.promarkdrumsticks.com.
ist/author Mickey Hart has become the company’s newest
endorser. (201) 599-0100, www.istanbulcymbals.com. 19.
24.
16.

13.
20.
17. 25.

21.

26.

14.
15.
18.

22.

23.
27.

28.
 And What’s More
Handcrafted into dome-like shapes from thick brass, SABIAN’s Ice Bells provide cool, cutting sounds that can
add a colorful effect. Their solid weight enables them to be played with single strikes or hand-to-hand patterns,
for isolated highlights or continuous rhythms. They can be mounted on a holder or stand, added upside down
atop a crash, or suspended, and carry a one-year warranty against defects in material and craftsmanship. The 7"
bell is priced at $97; the 9" bell lists for $116. (506) 272-2019, www.sabian.com.

HQ PERCUSSION PRODUCTS’ new RealFeel Tenor Practice Pads offer true-to-size playing surfaces that allow the
drummer to practice on a device that replicates the position of the drums on a tenor set. The RF-TP-5SS (8", 10", 12",
and 13", with one 6" shot drum) and RF-TP-6LS (10", 12", 13", and 14", with two 6" shot drums) have playing zones
mapped out for each drum. Each surface has Mylar laminated onto red RealFeel gum rubber to allow the sweeping
movements utilized by tenor players. Retail price for both models is $155. (314) 647-9009, www.HQpercussion.com.

Steve Jordan’s DVD The Groove Is Here (Rittor Music) is available from HUDSON MUSIC. Steve is one of
the ultimate pocket/groove drummers, having played and recorded with everyone from James Taylor and
The Rolling Stones to Sonny Rollins and David Sanborn. (914) 762-5663, www.hudsonmusic.com.

DIXON offers a series of thrones that can fit any player’s budget and needs. These new thrones boast features
such as heavy double-braced tripods with cast collars, spindle or hinged height adjustments, and thick, fully
padded seats. Prices range from $45 to $125, depending on model. (860) 509-8888, www.kamanmusic.com.

SENNHEISER’s new MZH 604 drum-mounting microphone clamp has been designed in consultation with a
number of drummers for use with the Evolution 604 drum microphone. It will replace the older MZH 504.
The redesign features a new upright bracket that prevents the microphone from projecting too
far into the center of the head. Retail price is $29. (860) 434-9190, www.sennheiserusa.com.

AVIOM’s A-16R rack-mounted Personal Mixer retains all the features of the A-16 Personal Mixer, and adds
many new connectivity options. Also new is the ability to store and recall User Presets via MIDI. The A-16CS
allows users to keep the audio output section of their personal monitor rigs in a rack with other audio
devices, while retaining personal control at their stage locations. The front panel layout of the A-
16CS is the same as that of the stand-mounted A-16 Personal Mixer. The A-16R sells for
$799.95; the A-16CS is priced at $399.95. (610) 738-9005, www.aviominc.com.

A wide array of new online features have recently been added to MEINL’s Web site. Included is a “Tips & Tricks”
section designed to offer valuable information for drummers, percussionists, teachers, and students. An “Events
& Specials” section provides information about the latest Meinl events, such as clinic dates, drum events,
special consumer promotions, and more. The site also features new artist information. Www.meinl.de.

Seven of LATIN PERCUSSION’s classic instructional VHS videos have undergone digital re-mastering, and are
now offered in DVD format. Titles include Construction Of A Salsa Tune, Introduction To Hand Percussion
Volume One, Adventures In Rhythm Volume One: Close-Up On Congas, Adventures In Rhythm Volume Two:
Close-Up On Bongos And Timbales, Adventures In Rhythm From Afro-Cuban To Rock, Studio Percussion
Volume One, and Community Drumming For Health And Happiness. (888) LP-MUSIC, www.lpmusic.com.

XL SPECIALTY PERCUSSION’s new adjustable OmniVest functions like the company’s

Aluminum Vest series, but with added adjustability at key points in the shoulder and back
area for a perfect fit. Adjustment is as easy as loosening the bolts, placing the carrier on the
player, allowing the OmniVest to conform to the player, and securing the bolts. The OmniVest
is available for snares, bass drums, and multi-tenor systems, utilizing the OmniRail and
OmniRail Lite mounting systems. Prices range from $265 to $370. (260) 637-5684, www.xlspec.com.

UNIVERSAL PERCUSSION’s new Drummer’s Rug is made of a thin but rip-resistant gray fabric that
provides a secure, non-slip base for stand legs, yet can be folded easily for pack-up. Hardware can
also be rolled up in the rug for convenient carrying. The rug measures 5'x5' and features a bass drum
barrier built into the front. Retail price is $69. (800) 282-0110, www.universalpercussion.com.
 Jim Rupp

by Robyn Flans

t twenty-seven years old, Derico Franklin, Cornell Burton, Marvin Sapp, Beverly
Watson has already made some serious Crawford, Jeff Coffin, and Steve Bailey.
noise in the drum community. Earlier this year For Derico, there’s never been a question
he wowed the crowd at Columbus Percussion’s about what he wanted to do with his life. Music
Drum Daze event. But that was just an indication has not only been his passion, but as a Christian,
of the work he’d already done with top artists his ministry . This is a drummer committed to
like bassist-extraordinaire Victor Wooten, Kirk using his considerable talents to their fullest.

146 Modern Drummer November 2003

Derico Watson
Jim Rupp

MD: You’ve lived in

Nashville since 2002. Has mov-
ing there from your home state of
Michigan been as fruitful as you
had hoped?
Derico: I’m definitely blessed. It’s
going well. It can always be better,
but I’m getting my share of work,
and I’m able to make a living playing drums. fun. Let’s get the ball rolling.” Well,
MD: You spent some time teaching in Victor came in to teach and play a con-
Michigan. cert that night. He and I rehearsed for
Derico: I taught percussion at Mona about an hour in the afternoon, and we
Shores High School in Muskegon for just clicked. I had a gut feeling it would
about six years. It was very hard to leave blossom. Then Victor said, “I’d like to
there. I love teaching. But I had really stay in touch with you.”
done as much as I could do as a musician Over the past four years, Victor has used
in that area. Also, a few years before that, me on various gigs when his regular drum-
I met Victor Wooten through the high mer, J.D. Blair, couldn’t make it. I did
school I was teaching at. Victor’s last West Coast tour earlier this
MD: How did that come about? year. It looks like I’m going to take over
Derico: I was sitting in the band office the drum chair permanently, because J.D.
with the band director one day, and he is so busy with Shania Twain. So this has
said, “I want to have a guest artist play turned into a full-time position for me.
with the jazz band. Who do you think I I recorded a CD with Victor that he
should get?” I said, “You really should try plans to call W3W. Hopefully it will be
to go after Victor Wooten. He’s a great coming out soon. It features me on
artist, and I get the feeling he’d be the kind drums, Victor on bass, and his brothers
of guy who would be willing to come and Joe on keyboards and Regi on guitar.
spend some time with the kids.” MD: What do you like about your perfor-
I made contact with Victor via email mances on the CD?
and explained what we wanted to do. He Derico: The biggest thing for me is that it
got right back to me and said, “Sounds was the first time I went into a studio

Modern Drummer November 2003 149

Derico Watson
without any kind of charts or music. We the same thing on bass. So as his drum-
created it on the spot. Somebody would mer, I don’t have to prove that I have
toss out an idea, and we’d be tracking it chops. My job is to hold down the foun-
five minutes later. That’s how seventy- dation. It’s like a conversation. If the two
five percent of the record was done. Of of us are talking at the same time, it’s
all the things I’ve done, this is the CD going to sound like gibberish. One has to
that best represents my playing. keep the pocket while the other cat takes
MD: What does Victor need from a it out.
drummer? The biggest thing I’ve learned that
Derico: Pocket—just nail the groove. I Victor needs from me is for me to be
came to the realization after playing with myself. He doesn’t tell me what or how to
Victor about five times that no matter play. That’s been the greatest experi-
how complicated I played, he could do ence—to be myself and to go for it.

Modern Drummer November 2003 151

Derico Watson
MD: What in your years of training pre- helped me with reading and understand-
pared you for this moment? ing the different styles. I also played with
Derico: For me, it was having a strong a group called The Rick Hicks Band. I
faith, for one thing, and just knowing I have started with them when I was sixteen, and
a place. I had to figure out where that place working with them helped me with the
was and what I could bring to the music. I aspect of playing with a band and being
really had to figure out what direction I responsible when playing in nightclubs.
wanted to take. I love all styles of music. MD: What other drummers inspired you?
What really prepared me for the work Derico: Dennis Chambers was a big
I’m doing today is playing in church. influence. I went to see him perform a lot.
That prepared me in the area of spontane- I never got a chance to talk to him, but I
ity and the spiritual aspect of playing. took some of the things he played and
Playing in the school music program incorporated them into my playing.

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Modern Drummer November 2003 153

Derico Watson
Things that come to mind that I got from
Dennis include cross-sticking patterns
and beat displacement ideas.
The other thing that was very influen-
tial to me was Gospel drumming, listen-
Drums: Premier
ing to cats like Joel Smith. What was
Genista (birch)
really cool about Joel was that he was A. snare drum
also the bass player on the projects he (various models)
played drums on. That helped me as far B. 8x8 tom
as what I’m doing today with Victor. I go C. 9x10 tom
back to a person like Joel to see how he D. 10x12 tom
E. 14x14 floor tom Percussion: Rhythm Tech
was playing drums and bass on the same F. 16x16 floor tom Studio Cowbells, Drumset
record, checking out how he was coordi- G. 16x22 bass drum Tambourines, Moon Blocks, and
nating between the two. LapTop
MD: Did you have any formal training on Cymbals: Paiste Heads: Aquarian Texture Coated
the instrument? 1. 14" Innovations heavy hi-hats with Power Dot on snare batter with
2. 17" Dimensions medium-thin Classic Clear on snare-side, clear
Derico: I got into percussion in seventh
Full crash Response 2 on tops of toms with
grade. I learned how to read and play 3. 14" Signature Full crash with Classic Clears on bottoms, Force 1 on
mallets, timpani, and all that stuff. I stuck 8" Dimensions splash inverted on top kick batter
with the school program from seventh 4. 10" Signature splash Sticks: Vic Firth American Jazz
grade through twelfth. I then did one 5. 20" Dimensions Deep Full ride AJ3 model, Heritage brushes, Rutes, and
semester at college, but by that point I 6. 13" Signature Dark Crisp hats mallets
7. 18" Signature crash Microphones: Audix
wanted to be out playing.
As for the drumset, I pretty much
learned on my own. It’s a gift from God. were also musicians and singers, and they His name was Kevin Cornelius, and he
My first learning and playing experience used to rehearse in my grandmother’s was my first major influence. He gave me
was in the church. At home, my mother basement. After their rehearsals, I would my first drum pad. One of my uncles was
was always playing records. My uncles sneak down and play the drummer’s kit. a drummer, too, and I used to go to his
house and practice to records on his playing clubs in eleventh grade. most are the following: trying to sound
Ludwig kit. That was a lot of fun. That MD: Let’s talk about technique. People authentic playing different styles, playing
kit was big, with a huge 26" bass drum. are talking about your blazing right foot. more relaxed, double bass drumming, and
I knew I wanted to play drums from Derico: I basically just practiced it for New Orleans second-line patterns.
early on. My grandmother started taking hours. My greatest experience to date—and
me to church when I was five, and I start- MD: Tell us about your practice routine the one that has really helped me develop
ed sitting next to the drums. I always and how it’s changed over the years. as a player—is working with Victor. He’s
wanted to get up there and play. My Derico: My practice routine growing up helped me in playing solid time, leaving
mother couldn’t afford to buy me a drum- was interesting, because like a lot of kids, space, and remembering to have fun. And
set, so all I could do was imagine what I I didn’t have a drumset at home. The only I’ve become a much better team player
wanted to play and what I wanted to “kit time” I got was at church. I would because of this gig.
sound like. I carried that into junior high listen to music at home, play my pad, and MD: When young musicians who play so
school and then into high school. imagine myself on the drums. I did a lot well are coming up, there’s a tendency
When I got to tenth grade, the high of air drumming. for them to have a bit of an ego.
school band didn’t own a drumset. When Today I keep a practice journal and Derico: What keeps me humble is think-
there was a jazz band concert, one of the often videotape my sessions. When drum- ing about all of the people who deserve
drummers brought in a drumset for the mers practice, we start out good, but then the attention but who have never gotten
performance. I played in jazz band class we wind up practicing things we already it. I’m so thrilled to have things starting
with a folding chair, a snare drum, and know how to play. The journal comes in to happen for me. I’m doing what I can to
one cymbal, and I played that like the handy because it gives me a plan of make an impact on the drumming com-
world was coming to an end. attack before I even sit down. The video munity. That’s my goal. But I’m in it
Finally, my band director said, “I’ve is good to review so I can check out because I love to play.
got to get this kid a drumset.” He sur- things like my posture.
prised me with a Yamaha Power V five- MD: What would you say are some of the For more on Derico, please visit his Web site
piece set. I lit up. This was my first strengths and weaknesses in your playing? at www.dericowatson.com.
chance to really play a drumset. He Derico: My strengths as a player are
allowed me to take it home during the playing solid time and being able to make
summer, and I used it on gigs. I started the music feel good. Things I work on the

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Modern Drummer November 2003 155

 CRITIQUE
RECORDINGS
The Mars Volta De-Loused In The Comatorium (Strummer/Universal) Alessandra Belloni Tarantelle & Canti d’Amore (naxos)
Progression and punk rock haven’t been synonymous lately. In terms of sheer musi-
Tambourine virtuoso and singer Alessandra
cal headway, the last significant punk release was Refused’s 1998 finale, The Shape
Belloni plays her exciting arrangements of
Of Punk To Come. However, ’03 marks another milestone in punk’s evolution, with the
traditional songs and chants from southern
debut album from The Mars Volta. Featuring jazz/rock drummer JON THEODORE,
Italy here. Historically the tarantella, which
De-Loused In The Comatorium
has a fast 6/8 rhythm, is a healing trance
pays homage to rock’s past as
dance used to cure a mythical tarantula bite.
much as it is forward-thinking.
Belloni recreates these origins, occasionally
Theodore’s attention to the song
mixing in some non-traditional instruments for
is absolutely unsurpassed,
color, and creates stirring music in the process. There are also more
grooving in the vein of Michael
reflective songs where she uses percussion for color, such as the ocean
Shrieve, Dennis Chambers, and
drum on “Jesce Sole.” If you’re in the mood for something new, check
John Bonham. From his blazing
out this exciting and beautiful recording. Martin Patmos
accents to his impenetrable
beats, Theodore’s performance
helps make De-Loused as perfect
Rayford Griffin Rebirth Of The Cool (RazorEdge)
Drummer Rayford Griffin picked the perfect
a punk album as we’ve heard in
name for this recording. Griffin’s playing is not
quite a while. Waleed Rashidi
only cool, it’s smooth, with just enough chops
to remind us what a powerful player he is—
Gene Krupa The Forman School Concert (Jazz Legends) when he needs to be. Besides drumming, writ-
Released by Krupa supa-fan Bruce Klauber, The Forman ing, and producing, Ray handles lead vocals
School Concert captures the legendary drummer three years on the title track and on “All That” (featuring Stanley Clarke on
before his passing. Although in the autumn of his years, Gene bass). Other guests who stop by include Gerald Albright, Brandon
certainly still swings, delivers tasty solos, and radiates joy. This Fields, Walt Fowler, George Duke, MUNYUNGO JACKSON, and
“newly discovered” performance is a rarity originally pressed as Branford Marsalis. If smooth jazz with killer drumming is your bag,
a benefit souvenir LP of a concert featuring Krupa aided by able regional sidemen. It’s Rebirth Of The Cool is an uplifting musical experience by one very
less than prime stuff for Krupa, and the recording quality is amateur, so casual fans cool drummer. (www.rayfordgriffin.com) Billy Amendola
should bypass this one. But diehard disciples will want to leap and log on to
www.jazzlegends.com. Jeff Potter Mike Gordon Inside In (Ropeadope)
Bassist Mike Gordon, Phish’s resident
Mondo Generator A Drug Problem That Never eccentric, has crafted a delightfully odd
debut record that casts its spell slowly,
Existed (Ipecac) as laid-back funk oozes into Martian
Fronted by Queens Of The Stone Age bassist Nick Oliveri, A country music. RUSS LAWTON, with his
Drug Problem That Never Existed sounds like what you’d strong, confident touch, makes a per-
probably expect—a collection of cuts that weren’t quite fect partner for Gordon on the groovers,
good enough for Queens’ 2002 hit album Songs For The Deaf. while GABE JARRETT and Mike’s old
Still, there are plenty of gems here. Drummer BRANT BJORK pal JON FISHMAN contribute more ethereal beats on a few tracks
(with additional slamming by JOSH FREESE) is left with the siz- each. Gordon’s vocals are too cute at times, and his guitar playing
able task of sorting everything out. Fortunately, versatility is one of Bjork’s strong suits, is hit-or-miss. But his low-end interaction with his drummers is
as the smooth ride glide of “Jr. High Love” and the double-timed “Like You Want” right on. Michael Parillo
attest. It’s a must-have for any Queens fan, or for anyone who simply appreciates

KICKIN’ OUT THE NEW Live, Eels, The Thorns

On Live’s sixth studio album, Birds Of Pray , sounds. Sometimes it’s an old-school drum The Thorns, featuring notable singer-song-
drummer CHAD GRACEY proves he’s still got it. machine, sometimes it’s a simple kit, and some- writers Matthew Sweet, Shawn Mullins, and
Gracey’s time is impeccable, he never tires, and times it’s just a tambourine and various sounds. Pete Droge, didn’t get just any drummer to hit
his sound is a pure joy to hear. Whether the Every time, Butch plays to the song. This is drum- the skins on their self-titled debut. That’s right,
song is a slow ballad or uptempo and full of ming at its most basic—but don’t think it’s easy. they got the great JIM KELTNER. Keltner’s kit
crashes, big toms, and monster fills, each tune Butch has to listen sounds wonderfully natural, and his perfect fill
has its own unique feel and sound. This guy is hard, and that in placement, straightforward grooves, and even
the life force behind Live. (MCA) itself is a challenge some nifty compressed sounds provide the
Eels are another band who’ve been around that every drummer album with a common thread. In fact, each
the block. On their fifth studio release, must face. Butch is track is a lesson on how to play rock drums.
Shootenanny!, drummer BUTCH sets the mood clearly up to the (Aware/Columbia)
for each tune with many different toys and challenge. (Dreamworks) Fran Azzarto

ratingscale
classic
poor

156 Modern Drummer November 2003

 FUSION WATERS Lomo, Scott Amendola, Metalwood, Happy Apple

Painkiller is a crisp jazz-fusion outing from the yet flexible. Elsewhere he sounds like a fran- Emotional and
British band Lomo. On tracks too adventurous tic Gregg Bendian as “Whisper Scream” raw in a charming
to be considered “smooth,” SIMON reaches the six-minute mark, slaps mostly all way, the sax-bass-
PEARSON’s drumming is supportive and toms on “My Son The Wanderer,” and dives drums trio Happy
expressive. Witness his impressive, melodic wholly into the free-form post bop of Apple scores a
cymbal work on “Present Climate,” his naviga- “Streetbeat.” (Cryptogramophone) hit with Youth
tion of the funky opus “Serpent Handling,” and Metalwood sounds good on The Recline , Oriented. Drummer DAVID KING lays down a
his attention to the pocket and textures on though a bit too often they leave the impres- tasty 5/4 groove over Erik Fratzke’s repetitive
“Faultlines.” (Hammerhead) sion they’re “doing” somebody, using a proven bass line on “Green Grass Stains On Wrangler
SCOTT AMENDOLA shows he’s been influ- Chick Corea or David Sanborn formula. Still, Jeans.” On “Drama Section,” the group launches
enced by everyone from Max Roach to Billy drummer IAN FROMAN makes a strong pres- into a beautiful free-form progression that shakes
Cobham to Ronald Shannon Jackson on Cry. ence, lifting “Steeplejack” with a bright, crisp all the cobwebs loose. And King proves he can
Whether leading listeners through beat—though on “U.B. The Monster” the use the whole kit, including the rims, on “Creme
Mahavishnu-esque terrain or an uncannily groove sounds a bit rushed and out of the De Menthe Quasar.” Good fun. (Sunnyside)
free 6/8 on “Bantu,” the drummer is strong pocket. (Telarc) Robin Tolleson

Martone A Demons Dream (Lion Music) Tom Teasley Global Groovilization (T&T Music)
Multi-instrumentalist Dave Martone produces, engi- This is one very groovy percussion album indeed,
neers, mixes, programs, and plays guitar and bass on loaded with neat beats. Percussionist and drummer
this outstanding collection of instrumental rock Tom Teasley successfully fuses various rhythmic
fusion pieces. Drummer DANIEL ADAIR (of 3 Doors ideas from around the world, emphasizing the uni-
Down fame) interprets Martone’s compositions with versal concept of groove. Multi-layered melodic and
a playful energy and highly developed chops. rhythmic percussion join to create a fun and inspir-
Intricate double bass work and soulful rock grooves ing listen that will quickly have you tapping along.
draw attention to Adair’s drumming, in addition to his Check out the opener, “Dirt Road Dancin,” or the laid-back odd-meter of
skills in making odd-time grooves feel good. A great drum mix along with “Seven Candlesticks,” with its mix of drums, vibes, and hand drums.
interesting material and tasteful musicianship make this a standout in an This hip West African/Indian/Middle Eastern–influenced stew will soon
over-saturated instrumental market. (www.lionmusic.com) Mike Haid have you hooked. Martin Patmos

LIVE GROOVE B-3 Bombers, Marcus Miller, Ulu, Jeff Sipe’s Apartment Projects

The B-3 Bombers, led by organist Dan Trudell, are one of Chicago’s best R&B time-teasing groove on “Cousin John.” This band is top-notch, and they wring
units. The band features classic James Brown drummer CLYDE every ounce of emotion they can out of each tune. (Telarc)
STUBBLEFIELD on Live! At The Green Mill, a kicking set that includes some of Ulu’s growing powers as a jam circuit attraction are clearly displayed on
the exuberant misplays that come with a live show—but more than its share of What’s The Deal; it’s obvious these players are listening to each other.
inspired funk. Clyde fits in splendidly with this unit, kicking the energy up a Drummer DAVID HOFFMAN brings the action down in between solos, pausing
notch under a trombone solo or breaking it down old-school as only he can. to recharge the batteries before liftoff. On “Scab” he uses a phase shifter on
(Alltribe, www.alltribe.com) the kit for interesting effect. Ulu is not changing the musical landscape, but
Marcus Miller’s Ozell Tapes is a great fea- they are keeping alive the tradition of bubbly ’70s Herbie-ish funk. (Catapult)
ture for POOGIE BELL. The drummer grooves JEFF SIPE’s Apartment Projects can be heard in and around Atlanta on
heavily over Miller compositions like “Scoop” occasion, and now on Live, Volume 1. It’s greasier funk than Ulu, with more
and “Panther,” as well as funky covers of chops from the drum section and a saxman, Bryan Lopes, who plays texturally
Miles, Coltrane, Talking Heads, and others. and melodically. Add more than a hint of Zambi from COUNT MBUTU’s rich
Elsewhere, he uses a soulful and fat cross- percussion and Ricky Keller’s thick, driving bass. Sipe is astounding in every
stick on “Lonnie’s Lament” and throws down a genre—truly one of the jam scene’s brightest drumming lights. (www.jeffsipe.org)
Robin Tolleson

158 Modern Drummer November 2003

 Tuesday, October 28
Drum Shop • Portland, ME • 207.874.6630
Featuring top drum artist/educators Johnny Wednesday, October 29
Rabb and Mike Snyder, these exclusive semi- Advance Music • Burlington, VT • 802.863.8652
nars offer drummers a unique opportunity to Thursday, October 30
see, hear and learn about the latest advances Long Island Drum Center • Long Island, NY • 516.694.5432
from the leaders in acoustic and electronic per-
Saturday, November 1
cussion. Topics to include:
Johnny Rabb Zampino’s Drum Shop • North Canton, OH • 888.837.4321
• DW Drums, Pedals & Hardware
• Pacific Drums and Percussion Monday, November 3
• Roland’s new V-Drums®, Columbus Pro Percussion • Columbus, OH • 614.885.7372
RT-Series Acoustic Drum Triggers Tuesday, November 4
and SPD-S Sampling Pad Memphis Drum Shop • Memphis, TN • 901.276.2328
Wednesday, November 5
For more information log on to:
Mike Snyder Fork’s Drum Closet • Nashville, TN • 615.383.8343
www.dwdrums.com or www.rolandus.com
 Hot Potty One Step Closer To Broadway Deanna Witkowski Wide Open Window (Khaeon)
(Tigerbutt) A sparkling sophomore outing from an engaging new-
Leave it to a bunch of drummers to make an album comer. Witkowski’s acoustic jazz piano mixes straight-
so rhythmically deranged. Led by Bad ahead, Afro-Cuban rhythms, and subtle classical color-
Religion/Vandals/Suicidal Tendencies drummer ings. Adventurous harmonies and strong chops buoy
BROOKS WACKERMAN and featuring guest spots elegant touch and lyricism. And her inventiveness
by JOSH FREESE, STEVEN PERKINS, and JOHN makes the well-worn standards sound even fresher than
WACKERMAN, Hot Potty is all over the map. the disc’s originals. Ace drummer TOM HIPSKIND and
Switching from metal to punk to blues to soft rock, often in the same bassist Jonathan Paul offer strong accompaniment, and saxman Donny
song, Hot Potty’s manic diversity and sophomoric lyrics mesh to create McCaslin adds breadth. Big-eared Hipskind pulls off a wonderful perfor-
great ADD rock. Standing out amid the crazy joyride is the album’s mance. He’s one mind with Witkowski, executing nimble cymbal drive, crisp
highlight, the sax-driven “Mr. Bojangles.” On it, the interplay between punctuation, and seamless shifts between loose openness and edgy drive.
Brooks’ drumkit and Perkins’ timbales is thrilling. (www.hotpotty.net) Mike The tunes are embraced, not exploited. Jeff Potter

Melvins 26 Songs (Ipecac) Bobby Previte & Bump Counterclockwise

Largely recorded live to two-track, 26 Songs is a reis- (Palmetto)
sue of the original 1986 Melvins full-length 10 Songs, Surrounding himself with such A-list players as
plus a bunch of demo bonus tracks. Although this is bassist Steve Swallow and trombonist Curtis
one of drummer DALE CROVER’s earliest recordings, Fowlkes, drummer BOBBY PREVITE lays down res-
it’s rather respectable, showing he was already well onant, New Orleans–feeling grooves while the
on his way, despite the occasional sloppy fill (to be band buzzes and boils like some midnight mariachi
expected). The liner notes mention that Crover’s combo. Swing, flapping funk, trashy Latin, cubist
“100-year-old mismatched drumset with 200-year-old heads” was used avant-garde—it’s all fodder for Previte and crew, as the drummer
during the session, and the lack of sonic acuity is readily apparent. Still, shouts exhortations and stomps his kit with glee. “614-Soul” pairs
26 Songs makes for a great look back at how one of rock’s most under- eerie piano chords with wailing horns over pointed snare drum pops;
rated drummers got his start—and for the rabid Melvins fan, it’s a “111-Soul” matches dueling horns with Previte’s gutbucket, rolling
must-buy. Waleed Rashidi sticking. It’s like slopping the hogs with a band of musical comedians.
Ken Micallef

DVDS
Drummers Collective: Legendary Drum Licks: Metallica 1983-1988 (Cherry Lane Music)
level: all, $24.95
25th Anniversary Celebration & Bass Day 2002 (Hudson Music) Lars Ulrich is well known as the outspoken and powerful
level: all, $49.95 (2 DVDs)
drummer driving one of the world’s most popular metal bands.
NYC’s Drummers Collective drum
This DVD presents a good introduction to his style, as drum-
school celebrated its 25th
mer Nathan Kilen explores Lars’ style of playing, covering
Anniversary (along with Bass Day
eight Metallica songs from the albums Kill ’Em All, Ride The
2002) with inspiring performances
Lightning, ...And Justice For All, and Master Of Puppets. The
from an all-star lineup of players. The
use of offbeats, double-bass triplets, and other techniques
DAVE WECKL Band opens disc 1 with
characteristic of Lars’ playing are demonstrated, broken
a high-energy set of Latin/jazz/funk
down, and explained. There’s some good commentary along the way regarding
including Weckl’s lengthy yet musical
the evolution of Lars’ style and setup as well. Anyone interested in Lars or music
drum solo. HORACIO “EL NEGRO”
in this vein should find something here. A second DVD covering Metallica songs
HERNANDEZ and bassist John
from 1988 to 1997 is also available, as well as a book with all the music written
Patitucci perform complex Latin com-
out. (www.cherrylane.com) Martin Patmos
positions with keyboardist Oriente
Lopez. STEVE SMITH puts on a solo
drum clinic in subdividing rhythms Play Drums Today! (Hal Leonard)
and gets the audience involved in a level: beginner, $14.95
counting frenzy. Then Smith and electric bass master Victor Wooten This DVD offers a good introduction to the drumset, covering
exchange blows in an improvisational fusion jam. Disc 1 closes with the basics with enough information to get novices started.
the master of the golden groove, STEVE GADD, performing (in excel- Host Scott Schroedl opens with a discussion on the instru-
lent form) with keyboardist Larry Goldings and The Gadd Gang. Disc 2 ment and issues like holding the sticks. He then progresses
highlights performances from The Collective faculty along with numer- through the components of the kit and how to strike them.
ous interviews, bonus footage, 5.1 surround mixes, and many other fea- Independence and coordination are discussed in one section, with another
tures. Sonically and visually, this is the best live production Hudson devoted to techniques like accents, rimshots, and flams. Rhythmically, the
Music has delivered. With over five hours of outstanding performances, lessons build up to introduce 16th-note beats and triplets. An informative seg-
this package is a worthwhile investment for anyone interested in artistic ment on song structure and how the drums fit in closes the series of lessons.
and innovative world-class drumming. (Hudson Music will be releasing While the delivery is bland at times, the information contained here is perfect for
a music CD highlighting selected performances from the 25th the beginner who knows nothing. A booklet containing notated examples of the
Anniversary Celebration & Bass Day 2002.) (www.hudsonmusic.com) Mike Haid discussions is included. (www.halleonard.com) Martin Patmos

160 Modern Drummer November 2003

BACKBEATS

The 2003 Montreal Jazz Festival

Jean-François LeBlanc/Montreal International Jazz Festival

Festival Invitation Series artist Jack DeJohnette duets with Gambian kora master Foday Musa Suso: hypnotic, pulsing mantras of sound.

ou’d be hard-pressed to name a them. On one particularly dense already on the road back south as
Y better destination for jazz fans
than the Montreal Jazz Festival. With
Hancock number, my colleague and I
turned to each other in amazement—
that last show began, but later
reports suggested it was another
more than five hundred individual just how do these guys play with magical paring.
performances on ten outdoor and such freedom, yet move in and out of Somehow we managed to squeeze
several theater and club stages, atten- the composition so seamlessly? We in at least part of several other the-
dees are literally bathed in the figured it had to be concentration, ater shows, notably the brilliant
sounds of top-flight jazz. communication—and some freaky Charlie Haden long-form composition
This year marked the Festival’s kind of sixth sense. “American Dreams,” featuring saxist
twenty-fourth anniversary, and drum- The following night Jack switched Michael Brecker, pianist Kenny Baron,
mers were especially well served by gears in a major way, as he and and drummer Rodney Jones. An
the eleven-day event. In addition to Gambian kora master Foday Musa astoundingly calm and collected
top acts like Wayne Shorter, Al Suso wove hypnotic, pulsing mantras rhythmatist, Jones provided a high-
DiMeola, Arturo Sandoval, Medeski of sound—as far from bebop as you light of the Festival for this writer, as
Martin & Wood, Ray Charles, Charlie could imagine, but inarguably still he brilliantly “dueted” with Haden’s
Hunter, Norah Jones, Lee Konitz, jazz. Foday took his heavenly sounds substantial string section, weaving a
Steve Coleman, and vibist Gary (imagine a cross between nylon- pattern of ideas among their swells,
Burton, jazz legend Jack string guitar and harp) a step further and then slowly bringing the dynam-
DeJohnette was featured in the by employing what sounded like a ics down to a whisper.
Festival’s fantastic Invitation Series. phrase-looping device with a bit of Montreal itself is a major “player”
On four consecutive evenings, the reverb/delay. It resulted in a medita- in every one of its numerous
master skinsman shared the stage tional backdrop that DeJohnette slith- summer festivals. Cosmopolitan,
with a different set of top collabora- ered in and out of, one second tweak- picturesque—clean—the city clearly
tors. Jack is the perfect candidate for ing our ears, the next lulling them enjoys its guests, and treats them
this kind of setup, as his incredibly into a trance. It was magnificent. well. One can’t help but wonder how
deep résumé describes an artist at On the following two nights, Jack so many people could gather for an
once fluent in jazz history and dedi- surrounded himself with clarinetist outdoor event and act so darned civil
cated to pursuing its future. Don Byron, keyboardist Edsel Gomez, to one another. Is it the wine…the
On opening night, Jack played in a guitarist Jerome Harris, and percus- women…the song? A perfect combi-
trio setting with two literal gods of sionists Luisito Quintero and nation of the above, no doubt.
modern music, bassist Dave Holland Giovanni Hidalgo on some scream- Whatever—get yourself up there
and keyboardist Herbie Hancock. The ing contempo-Latin jazz, and then in a sometime soon, because it’s a musi-
expectations in the room were tangi- duet with world-renowned vocalist cian’s paradise.
bly high, and the trio swiftly scaled Bobby McFerrin. My party and I were Adam Budofsky

162 Modern Drummer November 2003

 Rock ’N’ Roll Fantasy Camp ’03
ot even record-breaking cold and musicians included
N rain in New York City could damp-
en the spirits of the Fantasy Campers
some certifiable
rock gods, there
who came from as far as Japan to was no rock-star
become “rock stars” for the week of attitude in the
June 18–22. house; these guys
Participants in the third annual Rock worked their butts
’N’ Roll Fantasy Camp arrived on off. Said twenty-
Wednesday at Manhattan’s Manny’s/ one-year-old
Sam Ash music store, where each Danny Wright from
received a goodie bag filled with some Phoenix, Arizona,
very cool gifts. “The stars who Campers and Bad Company drummer
Soon they met their were at the camp Simon Kirke (third from right)
“camp counselors,” were generous and willing to help out
the Fantasy Camp’s in any way possible, whether by
Liberty
super-group house answering questions or showing us DeVitto
band: drummer new licks. I had the honor of playing
Liberty DeVitto alongside Simon Kirke and hanging
(Billy Joel), multi- out with Marky Ramone. For the final
instrumentalists concert at the Bottom Line, I got to
Mark Rivera (Billy Joel, Ringo Starr), play ‘Won’t Get Fooled Again’ with
Bobby Mayo (Peter Frampton), Derek Roger Daltrey. How many peo-
Marky Ramone
St. Holmes (Ted Nugent), and Jerry ple get to do that? The knowl-
Renino (The Monkees), singer/guitarist edge I gained from this experi-
Ricky Byrd (Joan Jett), bassist/singer ence will last a lifetime.”
Jack Blades (Night Ranger), and The Susan Reintjes, who plays
Bad Boy Brass. drums in Ramones tribute band
Campers were grouped into bands The Ramonas, got the thrill of a
and escorted to either SIR, CMS, or lifetime when Marky Ramone
StudioMax rehearsal studios, where brought her on stage to play
they began working with their drums with him on “Sheena Is
assigned counselor. Each group A Punk Rocker” and “Teenage
learned three songs over four days, Lobotomy.” “Rock ’N’ Roll
before playing the finale show at the Fantasy Camp truly brings a
prestigious Bottom Line nightclub on fantasy to life,” Susan
Sunday. It was exciting to witness the said with obvious
transformation that took place each excitement. “After the
day as the bands got tighter. first full day, I’d
Special guest drummers included already gotten my
Sandy Gennaro (Joan Jett, Pat money’s worth.”
Travers), Simon Kirke (Bad Camp producers
Company), Marky Ramone (The David Fishof and
Ramones), and Levon Helm (The Harry Javer not only
Police Drum Corps
Band). Along with singer/guitarists came up with a bril-
Leslie West (Mountain), Mark Farner liant idea, they and their staff exe-
(Grand Funk Railroad), Joe Lynn cuted that idea beautifully. Besides
Turner (Deep Purple), and Rod Price non-stop fun, the camp was educa-
(Foghat), guitarist Jim Weider (The tional, inspirational, and first-class
Band), agent Johnny Podell, and the all the way. For more on the Rock
host of Sunday’s show, Who singer ’ N ’ R o l l Fantasy Camp, visit
Roger Daltrey, they’d drop by the stu- www.rockandrollfantasycamp.com.
dios to jam, give advice, and tell some Story by Billy Amendola
amazing stories. Photos by Sandy Feder
And though the list of professional Susan Reintjes, living the fantasy

164 Modern Drummer November 2003

 Seventh Annual Heat Strokes Drum Contest
he seventh annual Heat Strokes mers in the advanced category.
T Drum Contest was held on
Saturday, June 14, as part of the
Next came the rudimental snare styl-
ists—drummers who specialize in drum
Oswego Prairie Fest, in Oswego, corps-style playing. When the blazing
Illinois. The contest, organized by notes had subsided, twenty-three-year-
FagianoDrums.com/Centrifugal Force, old Ray Mietus of Warrenville, Illinois,
offers beginner, intermediate, and representing the Chicago Royal-Airs,
advanced categories, and the focus is took the trophy.
on education. In the advanced drumset category,
At 11:30 A.M., master of ceremonies twenty-one-year-old Anthony Capers
Jeff Helgeson of Roosevelt University took charge—and third place—with funk
Intermediate winner Mike Summaria
announced, “Drummers...start your grooves that haven’t been seen or heard
engines,” to open the beginner com- since Buddy Miles. Joe Babiak, also
petition. Beginners played a combina- twenty-one, played heavy fusion and
tion of exercises rather than a solo, very intricate parts, pleasing the crowd
owing to their lack of soloing experi- and the judges alike. Still, he came in a
ence. The goal was to play cleanly and few tenths of a point behind the winner.
with confidence. Ultimately, sixteen- Ray Mietus turned his corps training
year-old Kyle Tarpinian of McHenry, loose on the kit, demonstrating that
Illinois was judged the winner. Kyle’s knowledge of rudiments and how to
performance belied the fact that he’s apply them on the drumset is the key.
only been playing for a little over a Sponsors for the event included Advanced drumset and rudimental winner Ray Mietus
year. Yamaha, Evans, Modern Drummer , (right) took home a Yamaha Maple Custom drumkit.
The intermediate category was taken Gibraltar, Toca, Zildjian, The Contest coordinator Steve Fagiano is on the left.
by fourteen-year-old Mike Summaria Percussive Arts Society, The
of Algonquin, Illinois. Playing jazz, Drum Pad, Warner Bros., Paiste, and the USMC Drum & Bugle Alumni
funk, and fusion with a lot of class, P r o - M a r k , Percussionmusic.com, of the District Of Columbia.
Mike scored higher than many drum- Chicago RoyalAirs, Drum Corps World,

2003 International Vintage & Custom Drum Show

he thirteenth annual International Snare drums pro-
T Vintage & Custom Drum Show
(“The Chicago Show”) was held this
vided by Jo h n n y
Craviotto and John
past May 17 and 18 at the Kane Hayes (Acoustic
County Fairgrounds in St. Charles, Woods) were raffled
Illinois. Fifty-four exhibitors from eigh- off, with proceeds on
teen states, two Canadian provinces, the latter drum going
and two European countries displayed to the Multiple
a dazzling array of drum and percus- Sclerosis Society.
sion gear to nearly six hundred drum Greg Gaylord (Drum
enthusiasts. Special guests in atten- Solo) presented a From left: Not So Modern Drummer’s John Aldridge, 61⁄ x14 Craviotto snare
2
dance included such top Chicago per- bubinga drum to drum winner Joe Marquardt, Chicago Show organizer Rob Cook of Rebeats,
John Hayes of Acoustic Woods, and Mary Anne Jeansonne, winner of the
cussion figures as William F. Ludwig Winnie Mensink , Acoustic Woods raffle snare.
Jr. and Bill Ludwig III, Gilberto organizer of the first
Serna, Don Knapp, Jake Jerger, Amsterdam Vintage & Custom
and Gregg Potter. Drum Show (to be held
Donnie Osborne presented a clinic October 25). The drum will be
sponsored by DW, Zildjian, and raffled there to support Dutch
Rebeats. The son of one-time charities. For more information
Slingerland president Don Osborne, on The Chicago Show, go to
Donnie was a child prodigy who grew www.rebeats.com.
up to fill the drum chair for Mel Tormé The exhibit area
for more than twenty years.

166 Modern Drummer November 2003

 Jen
Lowe
2003 Summer NAMM Activities
Percussionist (and Mike Mangini in sixty seconds. The “Fastest Feet”
new Meinl endorser) honor went to Kermit “Thumper”
Jen Lowe and drum- Tarver of Goodlettsville, Tennessee, with
mer Art Thompson, 768 single strokes.
Art playing with Atlanta- Three additional world records
Thompson based band Acres, were set during the Summer Session.
opened a NAMM Current Battle Of The Hands world
after-show event held record-holder Jotan Afanador topped
at the 3rd & Lindsley his existing record of 1,152 matched
nightclub in Nashville grip single strokes with a new record
Johnny this past July 18. The of 1,165 strokes. Mike Mangini
Rabb event, co-sponsored topped Art Verdi’s existing record of
by Meinl cymbals and NAMM’s second International Fastest 1,116 traditional-grip single strokes
Modern Drummer , Drummer Contest (sponsored by with a new record of 1,126. Finally,
was headlined by NAMM’s teen initiative, The Music Seth Davis set a new Battle Of The
techno-music master Edge) was open to everyone attend- Hands double-strokes record with a
Chris Johnny Rabb and his ing the Summer Session. Contestants score of 1,021.
Patterson band, Super Action were scored on playing single strokes Over $10,000 in prizes were provid-
Heroes. The group for sixty seconds as measured by a ed by Mapex, Meinl, Pro-Mark, Axis
also features percus- Drumometer. The event included pedals, Remo, Thumpers bass drum
sionist Chris appearances by WFD champions pillows, and laser engraver Tim
Patterson. Mike Mangini, Johnny Rabb, B y r d . For more information visit
Jotan Afanador, www.ExtremeSportDrumming.com.
Also on July 18, Pearl Percussion Tim Waterson,
sponsored an all-star Latin jam at and Art Verdi. Nashville drummer
Nashville’s Club Caliente. Anchored After two days of (and MD writer)
by timbalero Lalo Davila’s crack preliminary heats, Jennie Hoeft enter-
Latin band Orkesta Eme Pe, on Sunday, July 20 tained NAMM-goers
g u e s t performers included Marc the title of “Fastest with funky grooves
Quiñones, Bobby Allende, Ettiene Hands” went to at Nashville
Fuentes, and Pearl’s own Glen Eric Okamoto nightspot Atlantis,
Caruba on percussion, and Mike o f Clayton, North performing with Girl
Mangini on drumset. Carolina, who played 1,018 single strokes Talk.

Indy Quickies
The 2003 Havana Drum Festival This past June 13 saw the celebration in Hartford, Connecticut. Fred and
will take place November 1-15, in of the Gretsch Drum Company’s 120th Dinah Gretsch welcomed family,
Havana, Santiago de Cuba, and anniversary, held at the Hartford Club friends, and industry colleagues, citing
Matanzas, Cuba. Artists appearing their contributions to the
will include Richie “Gajate” company’s history and cur-
Garcia, David Garibaldi, Luis rent status. The party was
Conte, Dom Famularo, Ron held in Hartford to under-
Powell, Aldo Mazza, and many score the success of Gretsch’s
top Cuban musicians. Costs range three-year association with
from $1,599 to $3,099, depending Connecticut-based Kaman
on dates and length of stay. For Music Corporation. Kaman
further information and bookings, presented special plaques
contact Chuck Silverman at (made from sections of drum
chuck@chucksilverman.com, or at Fred and Dinah Gretsch, surrounded by the Kaman/
shells) to Fred and Dinah to
www.chucksilverman.com. Gretsch marketing team commemorate the occasion.

168 Modern Drummer November 2003

 "Best kick drum mic I've ever
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George Strait
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Don 'Turk' Schell, Front of House for Lucinda Williams, Ryan Adams
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Martin Ostrowski
Gig Magazine
"The D6 was designed with just
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mic... If you want a painless effort so I don’t need to spend
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'click" on the top, then this is
the stuff." "The first time I put the D6 in
Mark Parsons, Modern our drummer’s (Rickie Fataar)
Drummer kick drum was in sound check
at one of our gigs. We didn’t
"Every day in sound-check we even get through the first 8
wrestle with that first channel. bars when he asked what I did
We know the ideal mic for any to the kick drum sound. He
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Mark Frink, Monitor Engineer Paul Middleton,
k.d. lang Front of House, Bonnie Raitt

"The introduction of the D6 "Love the D6-sounds so natural

from Audix has made an and does not color the sound
impressive impact. We've had at all. It literally took me 2
many requests from high minutes on the first day of tour
profile drummers to install to get Matt Cameron’s kick
them in their custom kick drum sound and I have not
drums using our May messed with it since.
Miking System..." Karrie Keyes, Monitor Engineer
Randall May Pearl Jam

"Audix continues to impress us "In my 18 years of doing this,

with its latest kick drum mic." I have never received more
2003 PAR Excellence Award compliments on my kick drum
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travel with three things;
"I am extremely happy with the two pieces of fussy English
D6 as I have been looking for a outboard gear and an
excellent sounding Kick mic. It Audix D6!"
is great to finally find a dynamic Chris "Sully" Sullivan,
kick mic that has clean clear Front of House, Jaci Velasquez
low end without that "un-
natural resonant low boost" "I like the fact that the D6 has
that so many so-called all the lows and can handle the
'Kick Mics' have." SPL of large, low frequency
Dave Rat, Front of House, drums, but still allows the
Red Hot Chili Peppers drum to sound the same as
"Forget EQ. You don’t need it. Outside, six inches from it does acoustically.
"The D6 was awesome right the double-headed jazz drums, the sound was rounded, At Blue Man Group, we use
out of the box. In a recent TV many drums with frequency
performance with Lucinda full, and woolly... Inside a 22-inch rock kick, the ranges that go even lower than
Williams, the D6 shook the result was punchy and tight, with soul-shaking lows. average kick drums…the D6
ground to the point where the The D6 was consistent nearly anywhere within the kick, does a great job of reproducing
high definition camera men them accurately."
asked me if I could please with a solid, no-hassle sound…. Ross Humphrey,
high pass the bass!" On stage or in session, the D6 rocks – literally!" Sound Supervisor,
Don "Turk" Schell, Blue Man Productions
Front of House
Lucinda Williams, Ryan Adams
George Petersen, Mix Magazine

....right out of the box!"

Audix Corporation, PO Box 4010, Wilsonville, OR 97070
FOR A DEALER NEAR YOU CALL: 800-966-8261 In Canada, C-Tec, Tel 604-942-1001, Fax 604-942-1010
TEL: 503-682-6933 FAX: 503-682-7114 www.audixusa.com
®Audix Corp 2003. All rights reserved. Audix and the Audix logo are trademarks of Audix Corporation.
The pair reciprocated with awards to field. Congas, cajons, dumbeks, and a variety of other instru-
Kaman’s marketing team for Gretsch ments will be incorporated into the corps’ program.
drums: Kim Graham, Tim O’Neal, (For more information on the Jersey Surf, visit
and Ken Fredenberg. www.jerseysurf.org.)
Modern Drummer senior editor Rick Following The Surf’s performance, Toca’s leading percus-
Van Horn presented an award of sion clinician, Kalani, led a drum circle that combined Surf
appreciation to Gretsch from Modern members with dozens of Kaman employees and staff.
Drummer and its readers. In addition to celebrating the his- Everyone had fun playing LP and Toca products, both of
toric nature of Gretsch drums, the award recognizes the which are distributed by Kaman.
company’s support of MD virtually since the inception of the
magazine. The party concluded with music provided by Mapex Drums recently sponsored the
drum star and Gretsch endorser Vinnie Colaiuta, with Seventh Annual Minnesota Drum Set
pianist Randy Waldman and bassist Larry Cohat. The group Camps. The two-week camps were
played jazz arrangements of classical music and show tunes. held this past July in Eden Prairie and
Eagan, Minnesota. They presented an
environment in which every student, from beginner to
advanced, learned and played behind his or her own
drumset. All of the faculty members at the camp were full-
time performers/educators. Mapex donated a black
V-Series kit, as well as T-shirts and hats for the campers.
For more information, contact Mapex at (615) 793-2050, or
go to www.mapexdrums.com.

DRUM KICKS
On Monday, June 30, The Jersey Surf Drum & Bugle
Corps made a stop at Kaman Music Corporation’s
Bloomfield, Connecticut head-
quarters for a performance that
incorporated Toca percussion
instruments into their marching
performance. Kaman’s Toca per-
cussion specialists have been
working on a project with The
Surf that brings hand percussion instruments that are nor-
mally relegated to the “pit area” to a featured position on the

QUICK BEATS
TRAVIS BARKER
(BLINK-182, BOXCAR RACER, TRANSPLANTS)
What are some of your favorite
Erik Stein

grooves?
Stewart Copeland on “So Lonely”
(The Police), Dave Lombardo on
“Raining Blood” (Slayer), and Clyde
Stubblefield on “Funky Drummer”
(James Brown).
What’s your favorite TV theme
music?
The Flintstones.
If you could put together an imagi-
nary superband, who would be in it?
Prince and me.
What song makes you say, “I wish I
played on that one”?
“Like I Love You” by Justin

170 Modern Drummer November 2003

SPECIALTY PRODUCTS SHOWCASE

172 Modern Drummer November 2003

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174 Modern Drummer November 2003

Modern Drummer November 2003 175
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176 Modern Drummer November 2003

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For Sale NYC Drummers: Study with John Sarracco, one
Vintage Photo Catalog! Download from our Web site. Ludwig, Slingerland, and more. Money- of the most knowledgeable pros in the NY area.
back guarantee. Always buying and trading. Visa/MC. Vintage Drum Center, 2243 Ivory Drive, Accepting only the serious-minded for drum
Libertyville, IA 52567, tel: (800) 729-3111 or (641) 693-3611. Www.vintagedrum.com. instruction the professional way. Manhattan and
Staten Island studio locations. (718) 351-4031.
A Drummer’s Tradition features an incredible collection of vintage drums for sale. Visit our shop in
San Rafael, California, or check our Web site at www.adrummerstradition.com for weekly updates.
We are always buying! Call 10–6 PST, Mon–Sat, tel: (415) 458-1688, fax: (415) 458-1689. Wanted
Vintage Drums—Immediate cash for Gretsch,
BackBeat Drums Vintage & Restored drums, cymbals, stands, and parts. Tel: (208) 265-4336, K Zildjian, Ludwig, Rogers, Slingerland, Leedy,
www.backbeatdrums.com. Te l : ( 8 0 0 ) 7 2 9 - 3 111 o r ( 6 4 1 ) 6 9 3 - 3 6 11 ,
vintagedrum@lisco.com.
For the finest in vintage drums/cymbals, it’s Blair N Drums! Since 1987. We feature: K Zildjian
(Istanbul) and Paiste formula 602 cymbals. Also, drums by Gretsch, Rogers, Ludwig, Leedy, etc. Any K Zildjian (Istanbul) cymbals and Paiste for-
Layaways available! Please call only to buy, sell, trade. Tel: (800) 733-8164, (616) 364-0604, mula 602 cymbals. Gretsch, Rogers, Ludwig,
fax: (616) 363-2495. Email: blairndrum@aol.com. Leedy drums, etc. also wanted. Sets or singles!
Tel: (80 0) 733-8164, (616) 364-0604.
Vintage: Snares, sets, singles, cymbals, hardware, logos, and trades. Look/see, Fax: (616) 363-2495. Email: blairndrum@aol.com.
www.drumatix.com.
Pre-1999 Modern Drummer back issues. NYC tri-
Www.drumschool.com: 300 sets, 600 snares. (800) 810-DRUM. state area. (212) 438-7234.
The Ludwig Book! by Rob Cook. Business history and dating guide, 300 pages (64 color), Wm. F.
Ludwig II autobiography, books on Rogers, Leedy, Slingerland, calfskin heads, gut snares, and
more. Contact Rebeats, tel: (989) 463-4757, Rob@rebeats.com, Web site: www.rebeats.com.
Miscellaneous
New! Video clips, free drum lessons, drum
videos, monthly giveaways at Dave Bedrock’s
americandrumschool.com.
Wanted
Any K Zildjian (Istanbul) cymbals and Paiste formula 602 cymbals. Gretsch, Rogers, Ludwig, Leedy Electrocute your kit! Www.DrumTriggers.com.
drums, etc. also wanted. Sets or singles! Tel: (800) 733-8164, (616) 364-0604. Fax: (616) 363-2495.
Email: blairndrum@aol.com. DVD from Bill Bruford’s Earthworks–
www.escapetv.tv to view three clips, listen to
Unusual-finish drums: swirls, stars, top hats, engraved, etc. Also Camco, George Way, Gladstone, audio, direct link to DGM for purchase.
and Ringo drums. (800) 839-6634.
Make money teaching drums!
Immediate cash—Gretsch, K Zildjians, Ludwig, Rogers, Slingerland, Leedy. Vintage Drum Center. Www.brookemccloud.com/productsbooks.htm.
Tel: (800) 729-3111, or (641) 693-3611, vintagedrum@lisco.com.
Www.MusiciansContact.com. Need work?
Paying jobs and résumés online.
Miscellaneous Thousands of satisfied members since 1969,
Www.vintagelogos.com. Vintage-style logos for kick drums. tel: (818) 888-7879.

M u s i c i a n s N a t i o n a l R e fe rra l : W h e r e p r o
Baltimore-Washington: Grant Menefee’s studio Www.Drummersonly.net—Stix Nickson is musicians and bands connect. World’s largest,
of drumming. B.M. Berklee College of Music. All accepting a limited number of drumset and m o s t p r e fe r r e d r e fe r r a l . A s k a b o u t o u r
styles and levels. Tel: (410) 747-STIX. percussion students, Port St. Lucie, West l i fe t i m e m e m b e r ship. Tel: (800) 366-4447.
Palm Beach, Florida. Tel: (772) 337-40 02. Www.musicianreferral.com.
Drumset and Brazilian percussion. Pandeiro. Digital recording facilities and sound
M a ri o M o n a c o , t e l : ( 7 18 ) 2 74 - 9 8 0 9 , fa x : reinforcement available. D r u m B u m : T- S h i r t s and gifts.
(917) 757-9225. Www.drumbum.com.
 ADVERTISER INDEX

Ahead Drumsticks . . . . . . . . . . . .www.bigbangdist.com . . . . . . . .139 LA Music Academy . . . . . . . . . . .www.lamusicacademy.com . . . .119

AJ’s Pro Percussion . . . . . . . . . . .www.ajpropercussion.com . . . . . .63 LaFayette Music . . . . . . . . . . . . . .www.lafmusic.com . . . . . . . . . . .174
American Music Drum Parts . . . .www.amdrumparts.com . . . . . . .175 Latin Percussion . . . . . . . . . . . . .www.lpmusic.com . . . . . . . . . . . .99
Aquarian Drumheads . . . . . . . . . .www.aquariandrumheads.com . .161 Ludwig (div. of Conn-Selmer, Inc.) . .www.ludwig-drums.com . . . . . .CV2
Atlanta Pro Percussion . . . . . . . .www.atlantapropercussion.com 155 Magstar Drums . . . . . . . . . . . . . .www.magstardrums.com . . . . . .173
Attack Drumheads . . . . . . . . . . . .www.universalpercussion.com .137 Mapex . . . . . . . . . . . . . . . . . . . . .www.mapexdrums.com . . . . . . .131
Audix . . . . . . . . . . . . . . . . . . . . . .www.audixusa.com . . . . . . . . . .169 Meinl . . . . . . . . . . . . . . . . . . . . . .www.meinl.de . . . . . . . . . . . . . . . .9
Auralex Acoustics . . . . . . . . . . . .www.auralex.com . . . . . . . . . . . .173 Memphis Drum Shop . . . . . . . . . .www.memphisdrumshop.com . .174
Axis Percussion . . . . . . . . . . . . . .www.axispercussion.com . . . . . .63 MetroPad . . . . . . . . . . . . . . . . . . . . . . . . . . . . .www.educationalmusicaccessories.com . .173
C&C Custom Drums . . . . . . . . . . .www.candccustomdrums.com . .172 Mikedolbear.com . . . . . . . . . . . . .www.mikedolbear.com . . . . . . .174
Cadeson Drums . . . . . . . . . . . . . .www.cadesonmusic.com . . . . . .124
Montreal Drum Fest . . . . . . . . . . .www.montrealdrumfest.com . . .153
Canopus Co. . . . . . . . . . . . . . . . . .www.canopusdrums.com . . . . . .141
Musician’s Friend . . . . . . . . . . . . .www.musiciansfriend.com . . . . .150
Cappella . . . . . . . . . . . . . . . . . . . .www.cappelladrumsticks.com . .173
Noble & Cooley . . . . . . . . . . . . . .www.noblecooley.com . . . . . . . .103
Carbostick . . . . . . . . . . . . . . . . . .www.hohnerusa.com . . . . . . . . .101
Pacific Drums . . . . . . . . . . . . . . .www.pacificdrums.com . . . . . . . .87
CLE Drums . . . . . . . . . . . . . . . . . .www.cledrums.com . . . . . . . . . .172
Paiste America . . . . . . . . . . . . . . .www.paiste.com . . . . . . . . . . . . . . .3
Clear Products . . . . . . . . . . . . . . .www.clearear.com . . . . . . . . . . .132
Peace Drums . . . . . . . . . . . . . . . .www.peacedrum.com . . . . . . . .157
ClearSonic . . . . . . . . . . . . . . . . . .www.clearsonic.com . . . . . . . . .172
Pearl . . . . . . . . . . . . . . . . . . . . . .www.pearldrum.com . . . . . .6/7,113
Contemporary Ideas & Phrasing .www.collectiveproshop.com . . .130
Pork Pie . . . . . . . . . . . . . . . . . . .www.porkpiedrums.com . . . . . .128
Craviotto Percussion . . . . . . . . . .www.craviottopercussion.com . .59
Power Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120
Cymbal Crown Cymbal Holders . .www.bigbangdist.com . . . . . . . .173
D.B. Musical-Instrument Co. . . . .www.db-musical.com . . . . . . . . .152 Precision Drums . . . . . . . . . . . . . .www.precisiondrum.com . . . . . .174
D’Amico Drums . . . . . . . . . . . . . .www.damicodrums.com . . . . . .174 Premier . . . . . . . . . . . . . . . . . . . . . . .www.premier-percussion.com . . .95,167
Dimmu Borgir . . . . . . . . . . . . . . . .www.nuclearblastusa.com . . . . .110 Pro•Mark . . . . . . . . . . . . . . . . . . .www.promarkdrumsticks.com . .121
Doug Tann . . . . . . . . . . . . . . . . . .www.dreamwater.net/dougtann . .175 Professional Music Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .173
Drum Center of Lexington . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .174 Puresound . . . . . . . . . . . . . . . . . .www.puresoundpercussion.com .50
Drum Doctors . . . . . . . . . . . . . . .www.drumdoctors.com . . . . . . .173 Remo . . . . . . . . . . . . . . . . . . . . . .www.remo.com . . . . . . . . . . . . .117
Drum Solo . . . . . . . . . . . . . . . . . .www.drumsolo.cc . . . . . . . . . . .174 RMV Drums . . . . . . . . . . . . . . . . .www.rmvdrums.com . . . . . . . . .104
Drum Supply House . . . . . . . . . . .www.drummaker.com . . . . . . . .174 RTOM/Moongel . . . . . . . . . . . . . . .www.rtom.com . . . . . . . . . . . . . .174
Drum Workshop (DW) . . . . . . . . . .www.dwdrums.com . . . . .13,15,109 Rupp’s Drums . . . . . . . . . . . . . . . .www.ruppsdrums.com . . . . . . . .174
Drum Workshop (DW) . . . . . . . . . .www.dwdrums.com . . .145,159,183 Sabian . . . . . . . . . . . . . . . . . . . . .www.sabian.com . . . . . . . . . .61,111
Drum World . . . . . . . . . . . . . . . . .www.drumworld.com . . . . . . . . .128 Sam Ash Music . . . . . . . . . . . . . .www.samash.com . . . . . . . . . .42/43
Drumbalaya . . . . . . . . . . . . . . . . .www.drumbalaya.com . . . . . . . .172 Sam Barnard’s Drum Wrap . . . . . .www.sambarnard.net . . . . . . . . .173
Drumfun . . . . . . . . . . . . . . . . . . .www.drumfun.com . . . . . . . . . .155 Samson . . . . . . . . . . . . . . . . . . . .www.samsontech.com . . . . . . . .133
Drums, Etc. . . . . . . . . . . . . . . . . .www.drumsetc.com . . . . . . . . . .174 Shure . . . . . . . . . . . . . . . . . . . . . .www.shure.com . . . . . . . . . . . . . .89
Drums On Sale . . . . . . . . . . . . . .www.drumsonsale.com . . . . . . .174 Slug Percussion . . . . . . . . . . . . . .www.slugdrums.com . . . . . . . . .174
DrumTuner . . . . . . . . . . . . . . . . . .www.drumtuner.com . . . . . . . . .175 Sonor Drums . . . . . . . . . . . . . . . .www.hohnerusa.com . . . . . . . . .135
Evans . . . . . . . . . . . . . . . . . . . . . .www.evansdrumheads.com . . . . . .1 Stagg Cymbals . . . . . . . . . . . . . . .www.staggmusic.com . . . . . . . . .19
Feelgood Innovation . . . . . . . . . .www.feelgoodpedalplates.com . . .172 Talent 2000 . . . . . . . . . . . . . . . . .www.talent2k.com/ . . . . . . . . . .174
Five-Star Professional Drum Shops .www.fivestardrumshops.com . .105 Tama . . . . . . . . . . . . . . . . . . . . . .www.tama.com . . . . . . .30/31,60,62
Vic Firth . . . . . . . . . . . . . . . . . . . .www.vicfirth.com . . . .149,151,153 Taye Drums . . . . . . . . . . . . . . . . .www.taye.com . . . . . . . . . . . .2,174
Fork’s Drum Closet . . . . . . . . . . .www.forksdrumcloset.com . . . .173
The Collective . . . . . . . . . . . . . . .www.thecollectivenyc.com . . . . .23
Full Sail Real World Education . . .www.fullsail.com . . . . . . . . . . . .151
The Drum Pad . . . . . . . . . . . . . . .www.thedrumpad.com . . . . . . . .174
Gibraltar . . . . . . . . . . . . . . . . . . . .www.gibraltarhardware.com . . .147
Thompson Vocal Eliminator . . . . .www.vocaleliminator.com/g.o/md . .174
GMS Drums . . . . . . . . . . . . . . . . .www.gmsdrums.com . . . . . . . . . .49
Toca . . . . . . . . . . . . . . . . . . . . . . .www.tocapercussion.com . . . . .125
Gretsch . . . . . . . . . . . . . . . . . . . .www.gretsch.com . . . . . . .154,CV3
Treeworks . . . . . . . . . . . . . . . . . .www.treeworkschimes.com . . . . .52
Griffco . . . . . . . . . . . . . . . . . . . . .www.rayfordgriffin.com . . . . . .172
Turkish Cymbals . . . . . . . . . . . . .www.turkishcymbals.com . . . . .124
Handmade Rhythm . . . . . . . . . . . .www.handmaderhythm.com . . .175
UFIP America . . . . . . . . . . . . . . . .www.ufip.com . . . . . . . . . . . . . .108
Hardcase . . . . . . . . . . . . . . . . . . .www.hardcase.com . . . . . . . . . .129
Vater Percussion . . . . . . . . . . . . .www.vater.com . . . . . . . . . .107,174
Hart Dynamics . . . . . . . . . . . . . . .www.hartdynamics.com . . . . . .106
VeriSonic . . . . . . . . . . . . . . . . . . .www.4ddai.com/vs . . . . . . . . . . .130
Head First . . . . . . . . . . . . . . . . . . .www.headfirst-online.com . . . . .108
Hollywood Custom & Vintage Show . .www.vintagedrumshow.com . . .171 Vintage Logos . . . . . . . . . . . . . . .www.vintagelogos.com . . . . . . .173
House Ear Institute . . . . . . . . . . .www.hei.org . . . . . . . . . . . . . . . .175 Virtual Drummer School . . . . . . . . . .www.virtualdrummerschool.com . .181
HQ Percussion . . . . . . . . . . . . . . .www.HQpercussion.com . . . . . .177 Warner Bros. Publications . . . . . . . . .www.warnerbrospublications.com . .123
Hudson Music . . . . . . . . . . . . . . .www.hudsonmusic.com . . . . .83,85 West L.A. Music . . . . . . . . . . . . . .www.westlamusic.com . . . . . . .112
Humes & Berg . . . . . . . . . . . . . . .www.humes-berg.com . . . . . . . .148 Wuhan . . . . . . . . . . . . . . . . . . . . .www.universalpercussion.com .137
Interstate Music . . . . . . . . . . . . . .www.interstatemusic.com . . . . .165 XL Specialty . . . . . . . . . . . . . . . .www.xlspec.com . . . . . . . . . . . .103
Istanbul Mehmet Cymbals . . . . . .www.istanbulmehmet.com . . . . .11 Yamaha . . . . . . . . . . . . . . . . . . . . . . . .www.yamahadrums.com . .51,53,54/55,163
Jim Payne . . . . . . . . . . . . . . . . . .www.funkydrummer.com . . . . .174 Zildjian . . . . . . . . . . . . . . . . . . . . .www.zildjian.com . . . . . .14,17,CV4
Joe Morello . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .175 Zoro . . . . . . . . . . . . . . . . . . . . . . .www.zorothedrummer.com . . . .173
KoSA . . . . . . . . . . . . . . . . . . . . . .www.kosamusic.com . . . . . . . . .174

180 Modern Drummer November 2003

 COMING IN DECEMBER

MORGAN ROSE
KICKIN’ UP DUST

E D TOT H
O F V E RT I CA L H O R I Z O N
SHERRIE MARICLE
D R U M M I N G D I VA

CLASSIC ART BLAKEY SOLO

PLUS…
Paul La Raia

THE PHILLY SOUND REVISITED:

CHARLES COLLINS AND EARL YOUNG
NOW FEATURED AT MD ONLINE
KEEP UP— Check out MD Online for the latest information and hottest news.
CLICK TO WIN! MD Online’s Exclusive Giveaways
Violent Femmes’ VICTOR DELORENZO Caught In The Web
CLICK ON MD RADIO– Hear rare tracks with Steve Gadd and
MD John “JR” Robinson, along with new tracks by
Radio Matchbox Twenty, The Crusaders, Wayne Shorter,
Ringo Starr, Led Zeppelin, and more…

www.moderndrummer.com
182 Modern Drummer November 2003
$RUM 7ORKSHOP 0RESENTS

s ,IVE PERFORMANCES BY

"RAIN
WITH 'IANT 2OBOT
'OOSE 'UNS @N 2OSES
/LD 3CHOOL 0UNK 4RIBUTE
$( 0ELIGRO

!NDY 'RANELLI 4HE $ISTILLERS

PLUS SURPRISE GUESTS

!DDITIONAL PERFORMANCES BY

-ARCO -INNEMANN
4ONY 2OYSTER *R
s (OSTED BY

s 3PECIAL HANDS ON DRUMMING AREA

COURTESY OF 2OLAND %LECTRONIC
0ERCUSSION

s 0ROCEEDS TO BENEFIT THE

)NTERNATIONAL (OUSE OF "LUES
&OUNDATION

/CTOBER  
(OUSE OF "LUES
!NAHEIM s #ALIFORNIA

&OR TICKETS CONTACT THESE PARTICIPATING 3OUTHERN #ALIFORNIA $7 $RUM DEALERS

s 'UITAR #ENTER s 3AM !SH s "ENTLEYS $RUM 3HOP &RESNO
s $RUMWORKS ,AS 6EGAS s $RUM #IRCUIT 3AN ,UIS /BISPO s /NTARIO -USIC /NTARIO
s -IKES $RUM 3HOP 3ANTA "ARBARA s 0RO $RUM (OLLYWOOD s 7EST #OAST $RUM 3ANTA !NA
s 3AN $IEGO $RUM 3AN $IEGO
4ICKETS ALSO AVAILABLE THROUGH 4ICKETMASTER AND THE (OUSE OF "LUES BOX OFFICE
0LEASE NOTE ARTIST APPEARANCES ARE SUBJECT TO AVAILABILITY
 DRUMKIT OF THE MONTH

Seeing Spots?
lizabeth Cabraser of California commissioned Drum Solo’s
E Greg Gaylord to create this unique kit for use in her...what
else…polka band!
The drums feature a white abalone flake base, with yellow,
orange, red, green, and purple polka dots of random sizes. Some
of the dots bleed from the bass drum onto the hoops, and from
the hoops onto the bass drum head. The kit is completed by
polka dot top heads and a matching throne and stick bag.
Elizabeth says that the kit is a real attention-getter for the band,
and keeps things “lighthearted.”

Special thanks to Bill Detamore at Pork Pie for allowing Drum

Solo to “borrow” and expand on his polka dot concept from the
January 2003 NAMM show.

PHOTO REQUIREMENTS
1. Photos must be high-quality and in color. 35mm slides are preferred; color prints will be considered; Polaroids not accepted. 2. You may send more than one view of the kit. 3. Only show drums, no people. 4. Shoot drums against a neu-
tral background. Avoid “busy” backgrounds. 5. Clearly highlight special attributes of your kit. Send photo(s) to: Drumkit Of The Month, Modern Drummer, 12 Old Bridge Road, Cedar Grove, NJ 07009-1288. Photos cannot be returned.

184 Modern Drummer November 2003