jazz • bebop • smoothjazz • bluesfunk • fusion • hip

Transcription

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Volume #3
#1
CONTENTS • Volume #3
ARTICLES
12
Volume#3
www.drumpro.com
The Working Man’s Drummer
Interview with Russ McKinnon
Sr. Editor/Publisher
By Donny Gruendler
24
A Diversified Portfolio
George Shepherd
A lesson in broadening your drumming horizons
By Carlos Hatem
26
The Clinician vs The Musician
32
So You Want To Make Your
Own Drum Video (Part 1)
Thoughts by Robert “Jake” Jacobs
By Wes Crawford
Editor/Content
Donny Gruendler
Contributing Writers
Donny Gruendler
Carlos Hatem
Robert “Jake” Jacobs
Wes Crawford
George Shepherd
Contributing Photographers
Raymie Chapman
Art, Layout & Design
Raymie Chapman
REVIEWS
4
9
39
43
44
Book Reviews
DVD Reviews
Gear Reviews
CD Reviews
Online Drumming School Review
Virtual Drummers School
WORKSHOPS
30
36
Workshop 1: Groovin’ with Flams
By George Shepherd
Workshop 2: Poly-Hypnotic Time
By George Shepherd
DEPARTMENTS
3
10
42
46
Publisher’s Note
The NEWS
DrumPRO Friends
Classified Ads
2 DrumPRO GROOVE
Web Site
Stryder
Xanthus
Publisher
CDI Publications
P. O. Box 11388
Newport Beach, CA 92658
For Advertising Information, please
contact George Shepherd at:
[email protected]
(714) 436-1234
Article submissions to
George Shepherd:
[email protected]
Questions, comments, hatemail
or otherwise, send to:
[email protected]
DrumPro Groove magazine is published
quarterly by CDI Publications.
Unless otherwise indicated, all content © 2003
by CDI Publications. Reproduction in whole or
in part without written permission of the
publisher is prohibited.
VOLUME #3
Publisher’s Note
Share and Share Alike: a thought from the Editor
How many times have you entered your local drum shop to find many student and pro drummers swapping
stories, sharing useful anecdotes, and discussing gear repair? If they were not engaged in one of the previous
activities - they were probably gathering around a single practice pad – demonstrating many rudimental
techniques that elude us all!
This everyday scenario led me to reflect on one very important truth: Drummers are distinctly different than
many other professions and pastimes. What other group of individuals, professionals, or instrumentalists are so
eager to share information and advice freely with one another on a daily basis? The answer: No one! Not only
are drummers willing to pass along “sacred trade secrets” without restraint, BUT we are also the first to help any
drummer – at any level - with any problem – at any time. Thus, we are a brotherhood whose beliefs are based
on the idea that if one of us improves – we all progress and develop.
With these ideologies in mind, your virtual PDF/ Local Drum Shop Gurus at CDI
publications bring you the March 2004 edition of DrumPRO Groove Magazine.
In this issue you will find many Pro drummers gathering here to share their own
insights, experiences and advice on this month’s elusive but rewarding topic:
How to get work?
As always, I hope that this issue will enlighten and enrich all of your musical
endeavors! Enjoy!
Donny Gruendler, Editor
Hello All, As we move into 2004, we hope to develop the “community” of drumming through our new
organization The International Drum Association. The IDA as we call it, is a sounding board for all things
percussion related. We feel as though the drumming community can only evolve through the sharing of
information, which is what DrumPRO is all about! There are many percussion resources on the web and
throughout the world, but never has one organization tried to bring them all together for the common good. We
believe that the drumming community is ready for this new endeavor and DrumPRO is proud to be leading the
way.
The IDA provides its members with Performances, Clinics, Workshops, Events and News. Being a supporting
member will get you discounts on gear, educational materials and reduced rates on sponsored events. The
IDA was formed to support the percussion community. By supporting the IDA, you are, in turn, supporting all
percussion related activities.
“It is only through the love and community that we can truly achieve art!”
George Shepherd, Publisher
Visit this link to sign-up and receive the benefits
of an IDA membership:
www.drumpromagazine.com/article.asp?id=63
www.drumpro.com
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DrumPRO GROOVE
3
Book Reviews
Introducing our new Review Rating System. We rate three areas: Skill Level, Content and Layout.
1 = lowest (Beginner Level or Poor Quality) thru 5 = highest (Advanced Level or Awesome Quality!)
EXAMPLE: Skill Level: 1+ Content: 5 Layout: 3.5
Drumset Workouts
(SL=3, C=4, LO=4)
By Jon Belcher
This 1st book in Jon’s series explores polyrhythms, coordination studies and a number of
useful groove applications. His approach to teaching rhythmic applications of polyrhythms
is so similar to my own, that I made an immediate connection with this material. Drumset
Workouts is a great resource for anyone interested in exploring the many applications of
polyrhythmic phrasing. To learn more, visit www.musicdispatch.com Book retail price:
$9.95
Drumset Workouts Book 2
(SL=4+, C=5, LO=5)
By Jon Belcher
Jon does a tremendous job in writing and explaining advanced polyrhythmic concepts
that are practical. As a continuation of his first book, books 2, contains 13 musical bop
etudes for practice. Very cool stuff! Check out a free lesson from Jon through his website.
www.drumsetworkouts.com This book can be ordered a hard copy for $15.95 or a PDF
download for $4.95 Visit www.drumsetworkouts.com
Drumming For Your Life
(SL=1+, C=5, LO=3.5)
By Steven Angel with Marian Michaels
Oh yea! I almost forgot what drumming is really all about… Drumming began as an
immensely spiritual experience. It has been used to revitalize the inner connectedness of
community and pay tribute to the creator of all things. Regardless of religious affiliation, the
drum and drumming circles have always been a “DSL” connection to spirituality. Drumming
for Your Life is a journey into the history and therapy of drumming. It’s great to see that
community drumming and holistic healing are both becoming more accepted and even a
bit commercial. This book has many great exercises to release stress, become more aware
of living and create the reality that each of us longs for. This transformational workbook is
definitely an experience! To learn more, visit www.stevenangel.com Workbook retail price:
(by Donation)
4 DrumPRO GROOVE
BACK TO CONTENTS
VOLUME #3
Book Reviews
Drumstick Spinology (Book/DVD)
(SL=any, C=5, LO=4)
By Steve Stockmal
Showmanship is not a new topic, but one that seems to be more controversial in recent years.
In this new book, published by SMG Publications, Steve Stockmal demonstrates 100 different
drumstick spins and the practical application of these spin variations. This book includes an
accompanying DVD, for a detailed examination of the mechanics of each spin example.
Lets face it, live performers are just as much “showmen” as they are musicians. The DVD is
definitely done right! To learn more, visit www.drstix.com Book retail price: $29.95
The Music Teacher’s Manual
(SL=5, C=5, LO=4.5)
By Steve Stockmal
Ever thought about teaching? Could you use an extra few hundred dollars per month? I
have seen a couple other books about creating extra income by teaching but they didn’t
answer the real questions like Steve’s book does. Being an instructor through the past 10
years has given me a perspective on what works and what doesn’t. I would recommend this
manual for anyone who would like to get the real scoop on what it takes to be a great private
lesson teacher. Here are many of the topics that are covered in this book; Who Can Teach?,
Teaching Techniques, Memory & Learning, The Psychologist/Teacher, Confidence Builders,
Humor, Personal Program, Monitoring, Prompters & Triggers, Altitude, Voice, Commands,
Control, Running the Class, Where to Teach?, How Much to Charge?, Financial Records,
Advertising Your Lessons, Scheduling, When Prospective Students Call, First Meeting,
Lesson 1, Parent Conference, Anecdotes from Actual Lessons, Donate Lessons, Weekly
Reality Check, Writing Your Own Method Plan, Inspiration and Retirement. To learn more,
visit www.drstix.com Book retail price: $16.95
DRUM-ology Level 1
(SL=1, C=4, LO=5)
By Steve Stockmal
Drumology Level 1 is a good text for the prospective drum student that has little or no
background in reading or playing drums. Steve explains the fundamentals of reading and
demonstrates a few simple drum set grooves in different styles. The accompanying CD
allows the student to listen to examples of the reading and drum set exercises. If studied
diligently, a student could progress through this book in a matter of 1-2 months and will have
a solid understanding of the fundamentals of drumming. To learn more, visit www.drstix.com
Book/CD retail price: $18.95
DRUMology Level 2
(SL=2.5, C=5, LO=4)
By Steve Stockmal
Obviously, Steve gave us his entire published collection to review and here is the last book
volume for review. Drumology Level 2 is a perfect study aid for the intermediate drummer.
The reading section goes into more advanced figures than level 1, as does the drum set
section. One thing that is rarely seen in any drumming method is a theory section that
drummers can understand. Steve does explain various simple music theory topics that every
drummer should be able to grasp. Another great thing about this book is the accompanying
CDs, that’s right, two CDs. The reading exercises are demonstrated on the CDs as well as the
new drum set patterns. Again, Steve offers students another solid and very competent study
method. To learn more, visit www.drstix.com Book/CDs retail price: $24.95
www.drumpro.com
BACK TO CONTENTS
DrumPRO GROOVE
5
Book Reviews
All About Hard Disc Recorders
(SL=2, C=4, LO=4)
By Robby Berman
Hal Leonard releases All About Hard Disc Recorders by Robby Berman. One of the reasons
that a musician seeks a record deal is that the cost of recording can be unbelievably expensive.
Well, the new movement of hard disc recorders and home studios has opened the door for
great musical and production creativity. This book is a great resource for aspiring engineers
or musicians that want the learn more about home studio production. The All About series
was designed as easily understood reference manuals that are dedicated to one particular
subject. A few of the covered topics include: Set-up, How HD Recordings Work, Principles
of Audio Editing, Nondestructive, Editing, Maintaining a HD Drive and How a Workstation
Operates. To learn more, visit www.musicdispatch.com Book retail price: $19.95
Double Bass Drumming
(SL=3+, C=5, LO=4+)
(The Mirrored Groove System)
By Jeff Bowders
Phenomenal! Contemporary grooves coupled with top-notch technique exercises. If you can’t
tell, I am totally digging this new book. Jeff does a great job of demonstrating the grooves
in the book by playing the examples live on the accompanying 87-track CD. The examples
are cool enough to just put in the CD and enjoy them. Jeff’s book contains over 500 double
bass patterns based on 8ths, 16ths and triplet feels. The Mirrored Groove System is a practice
method developed by Jeff to facilitate left foot lead and general fluidity of musical double
bass phrases. Very Cool! To learn more, visit www.musicdispatch.com Book/CD retail price:
$19.95
6
Book Reviews
Make Money with Your Studio
(SL=1+, C=5, LO=4)
(Setting Up and Operating a Successful Recording Studio)
By Tom Volinchak
As musicians, it is important to make enough money to survive. If you already have a home
studio or have thought about starting one, you might consider the opportunity to supplement
your gigging income by selling your recording services to others. Tom goes through the
many aspects of setting up a small-scale professional studio and actually making money.
Most musicians are not good businessmen, but if guided with texts such as this, you can fall
on your face and still make money! If your aspirations are even higher, there is an in-depth
book by MIX called The Studio Business Book, which is a great reference for putting together
a serious commercial/home studio. All in, Tom’s book is a great and easy to understand
reference. To learn more, visit www.musicdispatch.com Book retail price: $12.95
The Drum Handbook
(SL=1+, C=5, LO=5)
(Buying, Maintaining and Getting the Most from Your Drum Kit )
By Geoff Nicholls
This new book, published by Back Beat Books, is a great reference manual for beginnerintermediate drummers. Geoff really covers all the bases from buying your first kit to getting
an endorsement. Topics include: Buying drums and budget kits, compact kits, vintage kits
and cymbals, drums shells, snare drums, hardware and accessories, cymbals, sticks, drum
heads, practical tips from the pros and drummers reference material such as books/videos,
endorsements, web directory and glossary. Although, I must say that I am bummed not to see
our site listed in their web directory or under magazines. Overall, a very nice work! To learn
more, visit www.backbeatbooks.com Book retail price: $24.95
Turn On Your Mind
(Four Decades of Great Psychedelic Rock)
By Jim DeRogatis
Unfortunately, I didn’t get to read this 600+ page book cover to cover. But, none-the-less,
I wanted to let you all know about it. For the fans of Psychedelic music, this book offers a
unique view into the history of the mind altering musical experience. It’s always a good thing
to know the history of the music of today and where we are headed tomorrow. Groovy Man!!!
To learn more, visit www.musicdispatch.com Book retail price: $18.95
Transcript Reviews
The Red Hot Chili Peppers (By the Way)
Now available from Hal Leonard, the Red Hot Chili Peppers- By the Way features full score
transcription of the songs: By the Way, Universally Speaking, This is the Place, Dosed, Don’t
Forget Me, the Zephyr Song, Can’t Stop, I Could Die for You, Midnight, Throw Away Your
Television, Cabron, Tear, On Mercury, Minor Thing, Warm Tape and Venice Queen. To learn
more, visit www.musicdispatch.com Book retail price: $24.95
www.drumpro.com
BACK TO CONTENTS
DrumPRO GROOVE
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DVD Reviews
Introducing our new Review Rating System. We rate three areas: Skill Level, Content and Layout.
EXAMPLE: Skill Level: 1+ Content: 5 Layout: 3.5
Wes Crawford’s Drumset
Play-Along DVD & CD
(SL=3, C=4, LO=4)
Featuring Gary Grainger, Derek Willie, Alvin White & Stephanie Diamond
Well, I must say that this DVD is definitely unique. Shot from the visual perspective of the
drummer, you are engaged in an interactive study of many musical performance situations. This
program features 10 play-along video examples and an accompanying CD that contains the featured
tunes with and without drums. Sheet music for the featured songs are also available for download
on Wes’s website. The situations that Wes discusses between videos clips are a bit funny, only
because they sometimes are a reality. This is a good DVD for students with little to no performance
experience. DVD retail price: $29.95 For more information, visit www.musicandgames4u.com
Fujiyama DVD
(SL=4+, C=5, LO=5)
(Combining Acoustic & Electric Drums)
Featuring Akira Jimbo
Akira Jimbo has always been one of my favorite drummers. His latest work, Fijiyama, chronicles
his innovative approach in designing drumming artistry. This video shows freely how he triggers
real-time melodies, loops and gives those who are interested in this approach, the benefit of Akira’s
15+ years of refining this concept. His marriage of acoustic and electronic elements is nothing less
than astounding. Fujiyama, is Akira’s self-titled style of playing. Named after the highest mountain
in Japan, Fijiyama, is essentially a panoramic view of the world around us. Akira Jimbo continues
to push the envelope of what is possible for the future of drumming. Domo Arigato Gozaimasu,
Jimbosan! To learn more, visit www.carlfischer.com DVD retail price: $29.95
Sergio Bellotti live at the
Montreal Jazz Festival ’03 DVD
(SL=Performance, C=5, LO=4)
Sergio delivered a stunning performance at the Montreal Jazz Festival this past year of which
this new DVD showcases his entire performance. Sergio is a talented player with slick grooves
and intelligent transitions. He is featured along with bassist Tino D’Agostino. Look for Sergio
in future performances and recordings. Retail price: $29.95 For more information, visit
www.sergiobellotti.com
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DrumPRO GROOVE
9
The NEWS
New TD-20 hits the stores
Roland announces the release of the newest member
of the V-Drum family, the TD-20S. Roland has
captured the best of acoustic drums in its V-Series
Drum and Trigger modules. Although I haven’t yet
tested these new drums, you can check out Roland’s
website for more details. Here’s a bit of what you
can expect in this new product. For more info, visit:
www.rolandus.com
• Flagship V-Drums kit with new TD-20
sound module, improved mesh-head VPads™, highly acclaimed V-Cymbals™
and innovative new V-Hi-Hat for complete
playability
• TD-20 Percussion Sound Module with over
500 new sounds, improved dynamics and
sensitivity, plus CompactFlash storage and VLINK*
• 15 dual-trigger inputs, 10 audio outputs and
digital output, 8 group faders and built-in
sequencer, Mastering Room and more
• All-new V-Editing includes modeled snare
buzz, kick beater selection, and
greater cymbal customizing (i.e.
size, “sizzle,” mic positions)
• New PD-125BK (12”) and
PD-105BK (10”) dual-trigger
V-Pads feature better dynamic
response, more even and
accurate head/rim
triggering and
rim shot
capability
on toms
10 DrumPRO GROOVE
Northwest International
Drum and Music Festival
Look for a new west coast percussion festival
this August. There will be many well-know
artists performing and presenting clinics.
Look for more info in the coming issues of
DrumPRO. Dates: August 13th, 14th and 15th,
2004 Gaston, Oregon. For more information,
Call Rich at 971-570-2522 or check out our
website at: www.irmfest.com
•
•
•
New VH-12 V-Hi-Hat (sold seperately) with
two cymbals for full motion capability and
natural feel
Ergonomically designed MDS-20BK VDrums Stand (also sold separately) with
more durable hardware, sleek raked design,
easier vertical adjustment and ability to hide
cables
Expansion slot for future upgrades and
enhancements
BACK TO CONTENTS
VOLUME #3
The NEWS
UFIP CYMBALS
UFIP introduced three completely newly developed cymbal series at the
2004 Anaheim Winter NAMM. The new Series offer standard cast bronze
that is the standard of the industry.
The new standard bronze casting process at UFIP consist of stamping
the bell/cup of the cymbal that is similar to the American, Canadian,
Turkish and Chinese method but that is where the similarity ends
since all other phases of production at UFIP such as lathing,
hammering and tuning is all done by hand.
NEW PRIMO Series – made of NEW STANDARD
CAST BRONZE this Series formerly made of brass sheet
metal is now upgraded the M8 will now be produced as a
standard cast bronze cymbal and the suggested retail price
will be greatly reduced.
NEW GENIO Series – made of NEW STANDARD CAST
BRONZE has been developed to offer amateur drummers a
cymbal that not only performs well in the rehearsal studios.
NEW RITMO Series – made of NEW STANDARD CAST BRONCE well, as some will remember not
exactly a new series. The RITMO series was the most successful UFIP series in the 60`s and 70`s. It was
designed for the serious and hard working drummer, with the need of a cymbal that will perform well in all
aspects of drumming. . For more information about UFIP cymbals, please visit www.ufip.com.
Keller Vintage Mahogany & Same Species Shells
Keller Products, the worldwide leader in quality drum shells, is launching a new line of Vintage Mahogany
shells. Constructed from African Mahogany and North American Poplar, and enhanced with VSSTM technology
to intensify the classic qualities, these shells enable the industry to achieve that great “aged” sound of yesteryear
with newly-constructed drums. Keller’s Same Species snare shells are built from 10 plies of hand-selected North
American hardwoods – your choice of Curly Maple, Oak or Cherry; include 10 ply reinforcement hoops; and are
constructed using the company’s stateof-the-art stagger seam lamination
process.
About VSS Drum Shells VSS (Vibrating
Sound Source), a patent-pending Keller
Products
innovation,
uses
space-age
technology to condition each shell, resulting
in regenerated vibrations that elevate head
response and increase drum performance. VSS
shells provide manufacturers with cleaner
entry and exit for drilling, more consistent
bearing edges, and improved stability for
finishing. Players can expect drums that
start with VSS shells to deliver a wider
tonal range, more resonant frequencies,
and noticeable volume increases. For more
information about Keller shells, please
visit www.kelleratthecore.com.
www.drumpro.com
BACK TO CONTENTS
DrumPRO GROOVE
11
The Working
Man’s Drummer
An interview with Russ McKinnon
By Donny Gruendler
When most people think of the everyday working
individual, they immediately flash to a dreary
metropolitan factory where the employees are
situated behind infinite arrays of machinery. The
people who perform these “blue collar” jobs (day
in and day out) must lead ordinary, tedious and
non-creative lives. That is the nature of the beast:
Any profession that pays your bills - is not a job
that you enjoy. So, put down those sticks, put away
that practice pad and most of all – sell that shiny
new drum kit to buy a suit and briefcase. Those
items will be more useful when you get a real job.
Ahhhhhh….Thank Goodness that Russ McKinnon
will tell you otherwise:
You can play very simple and make a living doing
it.
Often being championed as the working mans
drummer, McKinnon has literally worked non-stop
for twenty-plus years. A master in diversification,
his career has combined many job paths into a
12 DrumPRO GROOVE
single and cohesive profession. Not only has McKinnon
worked as a band member and professional sideman (in
every situation from local club dates to mega stadium
tours); but he has also worked to educate and enlighten
through his no-nonsense teaching methods, clinics and
journalistic endeavors. Due to his work in all of these
fields, he has been honored numerous times in Modern
Drummer’s prestigious Reader’s Poll as well.
A graduate of The University of Tulsa Business School,
McKinnon’s career actually began as he performed
classical percussion with the Tulsa Philharmonic
Orchestra. As his career advanced, he eventually
won the drum set chair with artists such as: Tower of
Power, Joe Cocker and Barry Manilow, to name a few.
Thus, McKinnon truly has the experience, know how
and first hand knowledge of almost every working
situation imaginable.
I recently sat down with Russ in L.A. to discuss his life
in music, thoughts on business, and most of all – this
month’s topic: How to get Work.
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VOLUME #3
Russ McKinnon
DrumPRO: Where did you grow
up?
RUSS: I grew up in Broken
Arrow, Oklahoma. It is a town
right outside of Tulsa.
DrumPRO: What led to your
interest in music?
RUSS: Well (laughs) there was
not a huge music scene there in
Oklahoma! My early influences
were mainly classical music
through my Mother. She had her
master’s degree in classical piano
performance. I think that even in
the womb, I was listening to Chopin
and Brahms. Therefore, (because
of her musical background) music
was always a large part of our
family.
DrumPRO: Did your mom
perform as a Classical Pianist in
Broken Arrow, Oklahoma?
RUSS: Again, there was not a
huge demand for a classical pianist
in Oklahoma! So my mother taught
vocal music in the public education
system and was also the choir
director and organist at our local
church.
DrumPRO: How did she react
when you discovered the drums
and began to play them, rather
than a classical cello or piano?
RUSS: It is interesting that you
say cello. I was tinkering at the
piano at age four; but my first real
instrument was Violin. My mom
brought me a quarter size violin
www.drumpro.com
(which I absolutely hated) and the
whole experience lasted about a
week. (To get back to the issue of
Drums) Someone had brought me
a gift, a Sears and Roebuck Latin
percussion kit. The kit included
a pair of cheap bongos, a pair of
claves, maracas and drumsticks.
I played with all those percussion
toys for a while and then I had a
great idea. I decided to take my
drumsticks and use them to play
my mother’s beautiful Steinway
Grand Piano in our living room.
Very soon after I started to chip
the ivories on her beautiful Grand
piano (besides getting the beating
of my life), they went out and
brought me a snare drum. I know
it was just to keep me away from
the piano!
DrumPRO: Since you were
raised in a household where
education was held in such high
regard, do you believe that this
is what led you to pursue such a
well-ordered music education?
RUSS: That’s all you could do,
there were no gigs in Broken
Arrow. Early on, all you could
do was study in school, play in
concert band, marching band, jazz
band and percussion ensemble.
I was lucky though, our director
studied at North Texas University,
so he taught us farm boys how to
listen to (and play) jazz.
DrumPRO: In addition to the
Public School Programs, did you
take private lessons as well?
RUSS: Yes. With my background at
home, I already knew how to read
BACK TO CONTENTS
music at a very early age. Before
I even studied drumming, I could
already read and play relatively
complex rhythms at the piano. So
my mother found all these private
teachers in the city that could push
me further.
DrumPRO: What areas did you
work on with these teachers?
RUSS: Mostly technique. Jim
Chapin’s Advanced Technique for
the Modern Drummer was our
Bible. I think that book is still
the standard for working through
those independence issues in your
drum set playing. In addition, we
worked on snare drum solos from
Podemski’s Snare Drum Method
and Wilcoxin’s Military book too.
So, I was doing that sort of thing at
a very young age.
DrumPRO: Since you were so
focused on studying, did you
listed to the radio and pop music
at that time in your life also?
RUSS: Of course. Again, I was
lucky, my band directors hipped
me to all the horn oriented stuff
that was really happening at the
time. Bands such as: Blood Sweat
and Tears, Bill Chase, Tower of
Power, early Chicago and the
Average White Band were all
early influences. Later, I got into
progressive rock bands like Kansas
and Rush. How can I not mention
great bands like Led Zeppelin and
Ted Nugent.
DrumPRO:
Were
these
Contemporary influences all
DrumPRO GROOVE
13
Russ McKinnon
taking place prior to your college
days?
RUSS: I marched with 27th Lancer
Drum and Bugle Corps, which is
RUSS: Yes, all before college. I a HUGE chapter in my life. Even
could distinctly remember in High though it was only four or five
School getting my first Tower of months it was absolutely amazing.
Power Record and going from
there. I wore it out in a matter
of days to playing in that band DrumPRO: For those who have
eventually was pretty wild.
never participated in Drum
Corps, what do you think that
situation taught you?
DrumPRO: So, your private
teachers, Band Directors and RUSS: It taught me teamwork and
Mom were responsible for discipline. It also made me strive
pushing you in this direction constantly to be the best possible.
then?
Those who have been in DCI level
Corps will know what I am talking
RUSS: They were all hipping me about!
to this cool stuff. There was really
nothing else to do, so if you weren’t
into football or Rodeo…. (Laughs) DrumPRO: You eventually
pursued drumming at the
College level too.
DrumPRO: Did you do anything
else between High School RUSS: I was able to secure a
and College that helped your music and scholastic scholarship at
development?
the University of Tulsa. The school
had a good jazz program, which led
to some very valuable experiences.
After I graduated from T.U., I
enrolled at North Texas State
University and studied music there.
What a great school that is!
DrumPRO:
Speaking
experience – what sort
practical info (that you had
college) prepared you for life
the pro world?
of
of
in
in
RUSS: In college, I was music
major in the beginning; but then
early on I realized that music (for
me) was going to be more of a
business endeavor, rather than an
artistic one. So, I switched my
major to Business and eventually
graduated with a Degree in
Marketing. Make no mistake; I
still kept pursuing my education
in music. I was playing in Jazz
bands, Rock bands, Funk bands,
and marching band (of course to
keep my scholarship).
In addition (through my Business
training), I also learned the
importance of marketing myself
in the world of music. I decided to
diversify my playing and I found
that I could work a whole lot more.
Here is an example: Some nights I
would be wearing a tux and playing
with the Symphony in town and
then after hours, I would change
into jeans and a T-shirt to go play
in a rock or R&B band at a bar.
I was hungry!
DrumPRO: Did this lesson
of diversification come from
within? Or was it learned
through a mentor?
14 DrumPRO GROOVE
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Russ McKinnon
RUSS: I think it was from
within. Hunger pains are a great
motivator.
DrumPRO: Therefore, you
realized the difference between
commerce and art. What would
you say to a young collegiate
drummer that is reading this and
their only concern is to produce
pure art on their drum kit?
Could they still make a living at
music?
RUSS: Pure Art on the Drum Set?
Without sounding bitter, I would
say “Good Luck”. Let me clarify.
For some reason, when I think of
pure art coming from the drums, I
think of bizarre experimental music
and mathematically impossible
drum solo compositions that you
need a calculator to figure out.
Having been around a long time
and traveled a lot, I have seen very
few drummers who are pure artists.
A drummer is almost always a
sideman, which is a supportive
role. Drum set is not primarily, a
solo instrument. Today, there are
only a handful of masters (that I
love) that can go out there and play
drum solos for a living. It is a very
tough and somewhat impractical
career goal. It is not the way the
real world works.
DrumPRO: What would you tell
this same young drummer to do,
in order (to turn them around) to
be able to work in a professional
situation?
RUSS: The most important thing
is to have the ability to be a great
timekeeper in ANY style that is
popular and on the radio. Learn all
Genres that are popular – different
kinds of Pop, Rock, Latin, Jazz
funk and any others that I am
leaving out! This is an extremely
simple concept that is very difficult
for most people to grasp. Do not
worry about fills or solos yet. Just
be a great timekeeper and you will
start to work more. Just make sure
you are out pounding the pavement
too!
DrumPRO: Are there any other
tips you can offer, that are
related to this practical working
concept?
RUSS: Be qualified for any gig
and do not let anyone throw you
for a loop. If you have a weakness
in your playing, people will find it.
That weakness will cost you work
at that moment, AND down the
line.
DrumPRO: What exactly do
mean about being qualified?
16 DrumPRO GROOVE
BACK TO CONTENTS
VOLUME #3
Russ McKinnon
RUSS: Play all styles well. Do not
be a specialist in just one genre.
You normally only get one shot at
an audition. Supply and demand is
a heavy concept. Supply of good
drummers is very high and demand
can become very low (especially
in Los Angeles). Therefore, you
cannot afford to be anything less
than professional AND qualified
for all situations that come your
way.
DrumPRO: What advice would
you offer to an experienced pro
that may be in a professional
rut? Let’s say he is working
in a few musical situations
that are becoming stagnant
(yet financially rewarding).
How would you suggest they
further their playing, careers or
attitude?
months down the road. This way
he will be playing with some of the
best salsa musicians and he’ll be
paying them for their time. He will
also know that in two months, his
reputation will be on the line at the
gig. Therefore, in this example, not
RUSS: Often, it is very difficult for making a fool of himself would be
a successful drummer to get back in his motivation.
the practice room. Usually, because
he (or she) is quite comfortable and
financially secure. As a result, DrumPRO: Are there any tunes
the hardest thing to do is find the that you could recommend for
motivation to work on problem young drummers to check out?
area(s). Find the motivation and
the rest will follow.
RUSS: First narrow it down to the
gigs that you would like to pursue
and then go hear these bands.
DrumPRO: Is there any other Then, sit there with a pen and paper
more obvious and/or specific and write down the tunes that are
ideas that you could share?
played night after night. Also, you
could buy a real book and learn all
RUSS: Well, let’s say that this the standards that are played in that
particular professional’s weakness genre. Those are great places to
is Salsa drumming. First, find the start and they are fairly inexpensive
best Latin Drum Set teacher you ways to study too.
can and work hard for a while.
Next, find some good Salsa players
in town, pay them to rehearse DrumPRO: What about other
once a week and book a gig two types of work? What tunes
www.drumpro.com
BACK TO CONTENTS
would you suggest to a person
who wants to play a Wedding?
RUSS: Find a male vocalist that
performs at a lot of weddings and
ask him if you can copy his song
list. Then find a female singer and
do the same.
DrumPRO: Now that we have
covered quite a few of Uncle
Russ’s Playing tips, do you have
any personal business tips to
offer as well?
RUSS: You are referring to the
MD article that I wrote a few years
back. There was this thing that I
came up with called Uncle Russ’s
survival tips. It is essentially a
list of do’s and don’ts for aspiring
professional musicians. To sum it
up, (and without sounding like a
crusty non-artistic type of guy),
it teaches you to treat this music
profession as a serious business.
Learn the importance of marketing.
You (and your playing) are the
PRODUCT, which you have to get
to market. Be a good negotiator,
DrumPRO GROOVE
17
Russ McKinnon
organized and reliable. Have your
gear in tip-top shape. Do not
show up to the gig with a kit that
is falling apart or show up with
one of those small practice kits.
Always sound great! Do whatever
the gig requires you to do! Whether
it is wearing a cowboy hat, using
tons of electronic sequencers and
samplers or reading charts. Do
anything to get and/or keep the
work coming in!
Also, always be nice to people and
look the part. Be early too! It is
very easy to become complacent.
Don’t do it! Especially when that
account could be paying your
mortgage for the year!
DrumPRO: Following your
work ethic through - How does
a drummer then make the
transition from the working level
into the big leagues of national
record dates and touring?
RUSS: Well, from accomplishing
all the tasks that we have been
discussing. Usually, when you
succeed at that level of work, you
have a pretty good shot at moving
on to the next level as well. Also,
keep in mind the reality of the
situation. Usually, your career as a
professional drummer will consist
of a steady diet of blue collar work
which is everyday drumming for
sessions, parties, corporate events
etc. Only after mastering that for
a great while do the other big
opportunities start coming in.
in all, I cannot say enough, what
an incredible experience it was
to play with Tower, AND be part
of that lineage. It is so great to
see David back with the band, he
sounds wonderful. That’s where he
belongs!
DrumPRO: Is this how the
Tower of Power gig came about
for you?
RUSS: One in particular was Joe
Cocker. We toured constantly and
even stayed in Europe for eleven
months straight! It was great. We
even got to perform inside the
Kremlin in Moscow!
RUSS: Had it not been for all
those club gigs, wedding gigs and
other “Blue Collar” work in L.A.,
I would NOT have played a note
with Tower of Power.
I met a couple of the guys in the
band individually at some very
humble gigs here in Los Angeles.
Then, when they were looking for
a new drummer, my name came
up on a few occasions. Therefore,
when three or four guys in the band
all mentioned my name to Emilio
Castillo as a possible replacement,
it secured me an audition. They
auditioned fifty drummers then,
narrowed it down to twenty, two
and then one!
DrumPRO: You played with
them for quite a while. How
many records and tours did you
do with the band?
RUSS: I was in the band a little over
six years, recorded two records and
performed over a thousand shows.
Next to David Garibaldi, I held the
drum chair longer than others. All
18 DrumPRO GROOVE
BACK TO CONTENTS
DrumPRO: After Tower of
Power, what are some of your
favorite gigs and experiences
over the years?
DrumPRO: So when you are
working at that level of notoriety,
how did you progress upward
from there?
RUSS: Well, it is basically just
networking, but at a different
level. All the same strategies apply.
This can lead you to other notable
gigs, like my Pop gig with Barry
Manilow, which by the way, is such
a fabulous situation to be involved
with….What a talented musician!
DrumPRO: How did the gig with
Barry happen?
RUSS: I was working with
Melissa Manchester at the time
and the Barry’s Musical Director
was on the gig too. He and I hit it
off really well. So, when the drum
chair with Barry suddenly opened
up, he offered it to me (without an
audition). I was very happy!
VOLUME #3
DrumPRO: When working with
Barry, what aspects do you find
most challenging?
RUSS: He plays so many different
styles and you never know what he
is going to throw at you next. You
are always on your toes, he has
hundreds of charts that you have to
be able to play!
DrumPRO: You play to some
backing tracks in that band too.
What demands does this job
requirement place on you?
RUSS: Yep – I play to some tracks
with Barry. On his pop gigs, I use
a laptop computer that is running
Digital Performer (Digital Audio/
MIDI Software.) A lot of the time
I am playing drums with my feet
and right hand and controlling the
laptop with my left hand! Many
of the bands on this level have a
specific person that handles all the
tech duties; but I run the computer
tracks myself (in addition to
drumming). My batting average is
good so far, no errors this season!
It just forces me to be in the game
at all times.
DrumPRO: So should drummers
become familiar with these new
hi-tech working methods that
you just mentioned?
RUSS: This was something (early
on) that I was not too familiar with
at all. So, I found a great Digital
Performer tutor in L.A. and I
paid him to teach me! I went into
Barry’s gig and they asked do you
know Digital Performer? I said
YEP! AND I got the money back
www.drumpro.com
BACK TO CONTENTS
DrumPRO GROOVE
19
Russ McKinnon
(that I paid the tutor) many times
over. This is an area of your job
requirement where you cannot fool
your way out of knowing it.
DrumPRO: If you did not
know this material, Would you
consider that a weakness in
you’re playing?
RUSS: Yes, it could cost you work.
Remember to be qualified for ALL
situations! There is nothing like
necessity to make you learn this
material. If you get offered a gig
that requires this sort of thing,
YOU WILL get up in the morning,
put on some coffee and learn this
stuff.
DrumPRO: Let’s get back to
your professional performing
background for a moment.
Are there any other gigs that
you have done that most of our
readers might not be aware of?
RUSS: Most people do not realize
that in addition to performing,
Barry Manilow also produces
many projects each year. He was
gracious enough to bring me in
on a couple of projects that were
a lot of fun. This last year I was
able to play with Bette Midler
and the Jazz singer Diane Schurr.
In addition, (also because of my
affiliation with Barry) I was able
to play with Sir Elton John and
Donna Summer (for the Elton John
Aids foundation Benefit.) It was
held at Sir Elton’s house last June
in Windsor England. After that, I
subbed on Kenny G’s gig for a few
dates.
www.drumpro.com
DrumPRO: Wow! What fun
opportunities!
RUSS: Yeah, I had a lot of fun last
year!
DrumPRO: This brings up
an interesting point: because
of your wide range of musical
experiences, vast education and
blue collar work ethic, you have
also become quite in demand as a
clinician. Do you talk about these
topics that we have dealt with
today in your clinics?
RUSS: Yes, of course. It still all
goes back to one thing…not having
any weaknesses in your playing. I
just keep stressing that everyone
attending the clinic should strive
to be well rounded and well versed
in all things musical and business
related. AGAIN, if you have an
Achilles heal, I swear that your
employer will find it! Here is
the thing, because there are so
many competent and wonderful
drummers out there, “getting the
gig is easy - Keeping the gig is
much more difficult.”
DrumPRO: It is my impression
that most clinicians never discuss
the problems or concerns of the
practical working drummer.
How did this idea come about?
RUSS: I had been to so many
clinics and traveled all over the
world doing them myself, I noticed
that many student drummers were
getting frustrated with the typical
clinic format.
DrumPRO: How so?
RUSS: Although many drummers
were blown away with the
“virtuosic” abilities and technical
displays of the various clinicians, I
also saw a lot of young drummers
give up drumming entirely. They
seem to feel like, “I’ll never play
like that, so I’ll go play Soccer”.
Therefore, I wanted to prove to
those types that you CAN do it.
You can play very simple and you
can make a living doing it. If some
young kid from Broken Arrow
Oklahoma can have a twentysome year career doing it (and
be here today participating in an
interview), so can you!
DrumPRO: Being that this type
of clinic is not based on chops
or flash, how do most people
respond to this advice?
RUSS: Well, this type of clinic
happened after I was out of Tower
of Power. When I did clinics back
then, all most people wanted to
know was, “How do you play
What is Hip?” or Funk Drumming
concepts in general. Once I as
out of Tower, I did not want to
be talking about those concepts
or tunes as much. I wanted to do
something different, like sharing
as much useful and practical
information with as many people
as possible.
DrumPRO: Do you think
that these audiences found it
refreshing and different?
RUSS: I always had great response
from the clinic attendees, but I also
BACK TO CONTENTS
DrumPRO GROOVE
21
Russ McKinnon
found that the individuals who
promoted these events wanted
the flashy technical displays too.
They, (in a sense) would suggest,
“Shut up and play!” I tried to
teach by example though, not by
disillusioning them with chops!
I eventually found the balance.
I would start the clinic showing
them that the old man (me) can still
play and then ease them into all
these practical and useful ideas.
DrumPRO: Did you have a lot
of support from companies to do
these unorthodox clinics?
RUSS: Yes, percussion industry
companies are the ones who
fund all these great events. As
a clinician, you are pretty much
like a traveling salesperson, who
spreads the gospel of drumming.
In this process, you represent
the instrument manufacturer in
a positive light by playing their
instruments, wearing their t-shirts
and speaking well about their great
products. Ultimately, helping them
to sell product.
DrumPRO: Who are your clinic
sponsors?
these wonderful companies have
supported me for many years and
I am very grateful for our fantastic
relationships.
RUSS: I want to learn Spanish.
Someday, I would love to go back
to school and finish my Masters
Degree in Business too.
DrumPRO: I know that you
have accomplished so many
things in your career. Is there
anything that you want to
accomplish professionally in the
near future?
DrumPRO: What about fun
stuff? Is there anything off the
wall that you would like to try?
RUSS: I just brought a bass guitar
and want to learn how to play it.
With all the incredible bass players
that I know, I would love to get one
lesson with each and every one of
them. Then, I’d be on my way! I
also have to keep networking all
the time. MUST WORK!
DrumPRO: Do you have any
personal goals that you would
like to accomplish in the
upcoming year?
RUSS: In the near future, I am
planning a motorcycle road
trip from Anchorage Alaska to
Baja Mexico with some music
motorcycle
buddies.
We’ll
probably take a month to do the
trip. It would be a long ride; but
well worth it!
DrumPRO: Any last bits of
advice before we call it a day?
RUSS: Overall, try to find a
healthy balance in your life. Work
hard so that you can play hard! Oh
yeah………. Slow down. Don’t
drive so fast!
RUSS: Drum Workshop Drums
and Hardware, Sabian Cymbals,
Remo Drum heads, Vic Firth Sticks
and Gibraltar Rack Systems.
DrumPRO:
What
other
companies do you endorse?
RUSS: Rhythm Tech Percussion,
the May Internal Microphone
System, XL Specialty Cases
and HQ practice pads. All of
22 DrumPRO GROOVE
BACK TO CONTENTS
VOLUME #3
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A Diversified
Portfolio
A lesson
in broadening
your drumming
horizons
By Carlos Hatem
PHOTO BY RAYMIE CHAPMAN
One hundred years ago, the drum
section had 3 musicians: the snare
drummer, the bass drummer and
the
multi-percussionist.
Soon
thereafter, with the invention of the
bass drum pedal - one person could
now handle the entire workload.
Thus, two musicians (almost
immediately) were without work.
Fast-forward eighty years to the
year 2004 - where drum machines,
drum loops, DJ’s, karaoke, and
free music on the internet run
rampant in the new musical
landscape. Ultimately, they have all
contributed to the reduction of gigs
24 DrumPRO GROOVE
for drummers (and all musicians).
So with this new absence of
employment, how do we survive
in this new entertainment climate?
One answer: Diversification.
However, in my estimation it is
not enough in this day and age to
play just one instrument. Whether
it is drum set, hand percussion or
MIDI programming. This alone
will not keep you working or
All music has the pulse of a drum sustain your financial obligations.
somewhere (or sometime). This You must master all three!
means that of any instrumentalist, Now, I will tell you my story.
drummers have the unique ability
to work in the widest variety of Years ago, I was rolling along just
musical situations. This also brings fine, only playing one instrument,
up another interesting scenario, that the drum set. As the industry began
with a little practice (and the right to change, I thought, “Well, if music
equipment), drummers can also stay machines are here to stay, someone
working when other performers has to program them, so it might
cannot.
as well be me”. I then purchased
BACK TO CONTENTS
VOLUME #3
A Diversified Portfolio
a multitude of electronic pads, a
sound module and a sequencer.
After many weeks of yelling at the
electronic gear, I finally learned
how to program, sample and edit!
After some initial homework, I
now had another skill to add to my
resume (and bag of employment
chops.)
As my career began to progress
further, I was also offered other types
of work that required traditional
hand percussion. Did I turn down
this work and simply state “I do not
play that stuff”. NO WAY!! I took
the gig and began studying! I soon
learned that every instrument has
its own traditional technique and
purpose in music. Once I learned the
proper way to play each instrument,
I was free to experiment and most
importantly, accept paying work!
This experience not only broadened
my musical repertoire, but it also
gave me additional tools, skills and
options to bring to the gig.
Today, I now have the skills,
knowledge and experience working
with electronics, hand percussion
and the drum set, to help me
secure employment. I’m not going
down without a fight! I now know
that diversification is my key to
success.
You still don’t believe that these
bits of advice can help you get work
too? Are you still not convinced
that being a diversified commodity
is a necessity in this brave new
world? Here is a real world,
working job scenario: I received a
call one morning that I truly was
not expecting. The man at the other
end of the line stated: “We’re doing
a Latin jazz thing with a little hipwww.drumpro.com
hop, some theater pieces and we
are also syncing tracks with video
too`”. “Oh yeah, we also need you
to sing”. “Can you do it?” I reply:
YES!
tour, you must give yourself as
many options as possible, to attain
any goal. Become as diverse as
possible in hopes of securing ANY
KIND of paying work. Bear in mind
that playing music for a living is a
Is this your typical call for a gig? real privilege. It will take constant
I suspect not! So, how did I fulfill work, attention and dedication.
this job request? After an hour of
freaking out, I soon realized that
I was diverse enough to handle Below are three helpful reminders
the gig. I could do all these jobs for you to consider. Please read
and really well too! The only them prior to entering the practice
problem now seemed to be how to room:
accomplish these tasks (not could I
accomplish them?)
1. Drum
Machines
and
computers are here to stay.
So, here was my solution: I got my
You must learn to work them
basic drum set and switched out
and play with them.
my 5x14 snare for a 3x13 piccolo 2. Learn to play many different
snare drum. When the snares are off
types of music behind the
it makes a great timbale (the Latin
kit, so that you can perform
part of the gig). With the snares on,
in a multitude of situations,
it’s a great tight snare sound (the
therefore, work as much as
Hip Hop requirement). I then stood
humanly possible.
a conga drum next to the hi-hat, so 3. Become a skilled artisan
I could play traditional Latin tones
by playing many different
with one hand too. Additionally,
percussion instruments. Do
I placed my electronic trigger
not only play the drum kit.
pad above my Hi-Hat, that was
It will severely limit your
connected to a sequencer/drum
workload.
machine, so I could trigger the
sounds, loops, tracks and click that Next, I’m going to work on
were to be synced to video. Problem trombone skills. Does it ever end?
solved!
REMEMBER, this was one gig!
Had I not been able to fulfill these
job requests, my employer would
have called another (more qualified)
individual. I would have sat at home
alone and without work!
The overall lesson is that you must
do your homework and become
a truly well rounded musician. In
order to go out and land that gig, buy
that new car and do that European
BACK TO CONTENTS
Carlos Hatem is a professional
drummer,
programmer
and
percussionist in the Los Angeles
area. Not only was he a member of
Paul Rodriguez Show Band for two
seasons, he has also been featured
in many National Commercials,
performed on many tours, and
composed full scores for NFL
Films. He can be contacted at
[email protected]
DrumPRO GROOVE
25
The Clinician vs The Musician
Thoughts by Robert “Jake” Jacobs
I can remember when I was
growing up that I always looked
at the stage with admiration and
respect. I always wanted to become
a professional musician and I was
looking for ways to get motivated.
Everyday my parents would tell
me to practice and practice a lot.
As every young person growing
up – the last thing I wanted to
do during a hot muggy day was
to stay inside and practice my
paradiddles. I wanted to go out
and play football, meet girls, drive
around and be cool and think that
naturally everything was going to
come to me.
professional music career going
to pass you by, but you’re also
going to get discouraged because
no one is calling you. It’s a hard
lesson but no matter how easy you
think something comes to you,
you still have to find something
else to polish up on. There isn’t
a musician in the world that will
make the statement”…I can play
anything…” We’re all obsessed
with being the best…but are we
being the best musicians?
Looking for answers I decided to
attend a clinic.
I noticed in the paper, that the
Now that I look back at my career, local music store decided to invite
this was a mistake.
Joe Drummer to do a clinic. Joe
Drummer proceeded to impress
No matter how natural a musician and astonish the audience with his
you are, you have to practice technique, double bass drum rolls
and you have to stay sharp. If and flourishes across the drums
you don’t then not only is your that made everyone in the room
26 DrumPRO GROOVE
BACK TO CONTENTS
stand up and provide a standing
ovation. The drummer stood up
and bowed and thanked all of us
for coming. He then proceeded
to talk about how to do ll of the
rudiments and how fast he could
play them. He talked about how
many hours he practiced rudiments
and how important it was to use
a metronome. He talked about
his constant sacrifice to practice
everyday and to this day continues
to practice everyday without fail.
He talked about how he constantly
stayed home and when asked to
play with a band, he declined as
he felt it would take way from
his practicing. We were all in
amazement that he could play so
fast, so relaxed and so confident.
He didn’t worry about making
a mistake because most of us
wouldn’t have even noticed. After
he completed a 45 minute drum
solo, everyone sat there in disbelief
and wondered how they could
become that good.
Then the questions started and this
is where it all became very clear.
Person after person stood up and
asked how to play this or how to
play that, what kind of heads, what
kind of bass drum pedal, what kind
of drums, etc. But then from the
VOLUME #3
Clinician vs Musician
back of the room the turning point
of the clinic emerged… “Who are
you playing with now? Are you
recording with anyone famous?
Are you on the radio? Are you
on any records? Can we see you
perform with a band in concert?”
There was silence in the room
in astonishment. Joe Drummer
hadn’t played with another
musician for over a year. The room
went silent. …
What’s my point?
There is no question that practicing
will make you better. There’s no
question that having excellent
technique will give you the
flexibility to perform at your
highest peak but, you have to
put into perspective what will be
necessary for you to succeed as
a professional musician. What’s
important is that you are able to
perform with musicality, dynamics,
control, feel and admirable time.
Your time is the most important
element of being a successful
drummer.
There are 1000’s of incredible
drummers out there that can play
solo’s that will make you quit,
but there are only a select few
that are hired to do recording
sessions, record dates, tours,
jingles, film scores, independent
records, TV and your everyday
club. Time and groove are the most
important responsibilities of being
a successful drummer.
Without a doubt there are occasions
that your technique will be utilized
to its fullest and challenged, but
most of the time what is required
www.drumpro.com
is your ability to perform, keep
impressive time, groove and control
the dynamics. Our responsibility as
drummers is to be the timekeeper
and foundation. We create the
feel, groove, time, dynamics, as
well as, maintain the tempo of the
song. Without all of these elements
the music will have a tendency to
suffer. It is our responsibility to
provide everything we can to the
performance.
There’s no doubt that all of us
would love to have that extra bit of
natural technical ability, but a lot of
us don’t. So you better be honest
with yourself and find alternatives
and focus on your strengths, talent
and ability. It’s up to us (since WE
are the backbone of any band) to
cultivate and strengthen your time,
feel and groove.
Since drummers are the heartbeat
of the music, there’s another thing
that you should keep in mind
about becoming a better musician.
Even though the music that you’re
performing /recording does not
require you to use your chops, you
should not use this as an excuse not
to practice (and more importantly
…not to use a metronome).
I can guarantee you that the
“paradiddle-triple-reverse diddle”
will not get you the next gig.
What will get you the next gig is
your professionalism, being on
time, knowing the music, having
excellent time, groove and feel.
Another thing that I have not really
mentioned, but just as important, is
your attitude. Be positive and do
not dwell on what’s wrong with the
music or a certain musician, but
concentrate and bring attention to
improving the music and groove.
Everyone has something to bring
to the table and you should always
concentrate on the positives rather
than looking for excuses to cover
up problem areas. Always try your
hardest to bring some positive
energy into the situation.
It’s one thing knowing the
and then there’s having the ability
and “music integrity” to place it
into the music at the right time. If
you are successful in doing this,
then most likely you will get you
There are 1000’s of incredible
drummers out there that can play
solo’s that will make you quit, but
there are only a select few that
are hired to do recording sessions,
record dates, tours, jingles, film
scores, independent records, TV
and your everyday club.
BACK TO CONTENTS
DrumPRO GROOVE
27
noticed. However, if you can’t
execute the “paradiddle-triplereverse diddle” correctly, try to
place it into a space and it does not
happen, then most likely you won’t
be asked back for that particular
gig. There’s nothing worse than
a drummer trying to perform a
technical drum groove or fill and
then “dropping the ball.”
There’s no question that clinicians
are the best role models when it
comes to inspiration, discipline,
28 DrumPRO GROOVE
practice, dedication, respect of the
instrument and internal confidence.
Their abilities can demonstrate
to you how they achieved their
goals and what it took to achieve
their goals but the important thing
to think about is that it doesn’t
have to be your goal. Grab what
you can from a clinician and use
into your advantage. There might
be something during that clinic
that you feel you can execute, so
go home and try it over and over
again until you master that idea.
BACK TO CONTENTS
No one ever walks away from
a clinic empty handed. There is
always something to learn from the
clinician and you have to be open
to their approach and see how it
applies to your own playing and
talent. One thing you should be
aware of and that’s being realistic
with yourself and making sure
that you are aware of your talent,
capability, skill, natural gifts and
abilities. But you should also know
what your limitations are. Think
about the music you want to play,
VOLUME #3
It’s one thing knowing the
and then there’s having the ability
and “music integrity” to place it into
the music at the right time.
the music you are being asked to
play and the music you are capable
of playing. This most important
reason is to find your groove in
music.
You have to earn your seat in the
clinic world and there are only a few
privileged vacancies. Remember,
there are only a handful of
successful clinicians that have the
background to go out on their own
and make a living doing clinics. If
this is what you want – then you
better dedicate yourself 100% of
your time because it will take that
type of dedication, perseverance,
and thick skin to make it to the top.
But if you find yourself thinking…
maybe there is an alternative after
all…then go with your gut and be
honest with yourself. Please know
that there are so many drummers
out there that are making a living
as professional musicians who may
not have all of the chops, but are
making their living by supplying
the right groove for the song. There
are numerous ways of succeeding
in the music business without
having the ability to play the
fastest singles stroke roll known
to mankind. Follow your dream
but don’t let the “paradiddle-triplereverse diddle” stop you from
accomplishing your goal. Music is
a beautiful art and there are plenty
opportunities for great drummers
who aren’t the fastest, but they
create great music.
Don’t get hung up on how fast to
play, but rather how do you play.
Practice hard, use a metronome,
work on your groove and one more
thing to always remember….have
fun!
“Jake” is a professional musician
in the Los Angeles Area. He is
currently
producing
several
artists and is available for band
consultations and arrangements.
In addition, Jacobs is also teaching
private lessons throughout Los
Angeles County.
You can reach him by email at:
[email protected]
or by calling him at
(310) 798-3414.
Website address:
www.spankyourdrum.com.
www.drumpro.com
BACK TO CONTENTS
DrumPRO GROOVE
29
Workshop 1
Groovin’ with Flams
By George Shepherd
“Grooves a little stale?” “Put some funk in your Pocket!” Flams can
spice up any groove and make you sound better that you may truly
be. The flam patterns below, are meant to be played with a bass drum
pattern underneath. First, try playing them the hand patterns as written.
Second split the right and left hands by placing the right on the Hi-Hat
and the Left on the Snare Drum. You can also play the right hand on the
Ride cymbal. After that, add the funky bass drum patterns to the hand
> to create>some spicy grooves. You
> must play
> the flam patterns
patterns
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30 DrumPRO GROOVE
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Workshop 1
Bass Drum Patterns
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DrumPRO GROOVE
31
So You Want To
Make Your Own
Drum Video
(Part 1)
By Wes Crawford
Never mind a featured role opposite
Jennifer Lopez in her next film,
how many of you reading this
article feel that the epitome of an
appearance on the big (or small)
screen involves you starring in your
own drum video? If you believed
the chances for either of the above
scenarios are next to impossible,
let me tell you how I succeeded
in creating my own commercially
available instructional drum set
DVD. Of course, any commercial
product development takes the
chance of never recouping its
costs, but let me assure you that
the artistic benefits and the musical,
organizational and technical skills
learned via the process of creating
your drum video, will be well worth
your efforts and may lead to new
musical opportunities as well as a
modicum of financial success.
32 DrumPRO GROOVE
The Digital Age has revolutionized
the video industry similarly to the
audio recording industry such that
less than $10,000 worth of gear
can often accomplish today what
$100,000+ accomplished only
a few short years ago. Without
listing all of the camera and editing
possibilities currently available
(which may be obsolete by the
time you read this article and are
better covered by the numerous
trade magazines available), I
would like to recount my adventure
concocting, planning, scripting,
gathering resources for, filming,
editing, authoring, and marketing
my own commercial DVD.
videos available:
1. Historical/retrospective -videos
about famous drummers or musical
periods,
2. “Star” -videos featuring
drummers who tend to “WOW!”
the viewer with awesome displays
of technique, and
3. “Training” or “instructional”
-videos by both popular and lesserknown drummers, who explain
drumming concepts in a logically
sequenced manner and then visually
demonstrate them.
Many videos contain elements
of more than one category, but
most feel like they belong to one
more than another. Hence, the first
question an aspiring drum video
THE IDEA
When I looked at the state of the producer should ask is, “Which
drum video market (about 200 titles category is best for me?” If you
offered), I saw three categories of are interested in documentaries,
BACK TO CONTENTS
VOLUME #3
Drum Video: Part 1
music history, biographies and the
like, then the first category might
be a good fit. If you are at least
regionally known and believe you
have some drumming techniques
that are unique or at least of
Olympic quality, then the second
category might be logical. Finally,
if you have teaching experience and
believe you have a clear manner
of explaining an interesting drum
subject, then you should consider
the third category.
Once you have decided upon a type
of drum video, it is important to
formalize an idea for subject and
content. The important thing is
that the idea must be original, or
at least expand upon prior topics.
It is also important to consider the
characteristics of your target market
as these may affect the feasibility of
your idea.
It may be instructive to explain
my video category, idea, and
target market. First, I chose
the instructional/training video
category. Since I do not have a
national reputation nor any truly
exceptional expertise in music
history or drumming technique, I
do teach drum set along with my
active performance schedule. My
next challenge was finding my
subject idea.
for students to perform with, thus
combining the decades-old, triedand-true audio play-along concept
with the power and realism of
contemporary video, the next step
was to research my potential target
market. I learned that the largest
demographic of drum set players
are kids and teenagers and that
the fastest growing demographic
of drum set buyers is adults,
established in their careers, desiring
to begin or rekindle a drumming
hobby.
These
demographics,
respectively, represent drummers
who may not be old enough to
perform in nightclubs as well as
those who may not wish to perform
late nights due to occupational and
family demands. Since these sizable
groups could reasonably enjoy and
learn from an on-demand virtual
band, I feel that my idea gels with
its target market.
RESOURCES
editing packages now available
to consumers, but expect a steep
learning curve.
So, how does one approach
professional quality while living on
a musician’s budget? If borrowing
from a bank is not an option, then
perhaps my solution will work for
you -- look for partners. You will
need a business plan detailing the
general drum video market, your
idea, your target market, your
production needs with estimated
costs, your projected reproduction
costs, your marketing plans, and
your best and worst case sales
scenarios. The good news is
that there are lots of people with
professional or semi-professional
video and editing gear out there
looking for experience or with extra
time. Ask around and network to
find people with the requisite skills
to fulfill your project needs. Then
present your plan and see who might
be interested in working within
your budget, through bartering
services, and/or partnering with you
on financial speculation. Using this
method, I found that I unexpectedly
knew the creative director at a
video production facility who was
willing to help on “spec,” as was
one of my favorite audio engineers
and a fellow drummer/songwriter.
I then bartered some musical
services with a cameraman for
some location filming. A written
agreement outlining responsibilities,
expectations, and profit sharing was
agreed upon. In this manner I feel
that we created the best possible
quality video while staying within
a reasonable personal budget. Still,
expect cost over-runs!
A professional video might cost
from $10,000-50,000 or even
higher. The more you accomplish
on your own will save money down
the line if you have competence in
each task. For instance, if you rent
several video cameras and take
care to set up complimentary shots,
then you may not need to hire a
film crew. However, you may end
up with bad lighting, unmatched
cameras, focus problems and such,
As I began contemplating my if you are inexperienced.
students’ needs, I recognized
that many of them performed Similarly, don’t borrow a couple
wonderfully in their lessons and of camcorders from your friends
with play-along audio recordings, and expect your results to look like
but they experienced a great lack one of your favorite movies, unless
of confidence in their abilities that happens to be Blair Witch
when jamming with their friends Project! You may also save money
in the early stages. Realizing that I and work “off the clock” by buying Another resource possibly available
could create a virtual band on video one of the high quality computer- in your area is Public Access TV.
www.drumpro.com
BACK TO CONTENTS
DrumPRO GROOVE
33
Inquire about taking inexpensive (often under $100)
classes there, enabling you to use the equipment and
facilities, or simply propose your project to a producer
and they may help with your project for free. I filmed
my narration scenes through Public Access TV,
but they did not have the necessary special effects
technology to shoot my music scenes.
THE SCRIPT
A script is absolutely necessary for smooth filming
and editing. The script may be little more than
an outline with lots of narrative and musical
improvisation or it may be finely detailed. Consider
it to be a work-in-progress up to the minute you finish
the video, as circumstances may force changes and
newer ideas may develop. Remember to entertain!
My guiding principle was to try and create a script
that was serious in instructional content but also
lighthearted and fun.
FILMING
Plan your shots with a storyboard in advance. You
do not need to be an artist…my stick figures worked
well enough to show the camera operators the vision
inside my head. Don’t assume others see your vision
with only your verbal explanation. Make sure you
create a checklist of items and responsibilities ahead
of time consisting of everything necessary at the
shoot. Don’t forget to discuss wardrobe and lighting
(which may affect each other), makeup as necessary,
and most importantly, audio considerations with
the appropriate experts involved. Wouldn’t it be
ridiculous to get great film footage and lousy audio
for a drum video? Oh, and don’t forget a hairbrushI’ll probably never live down the messed up hair in
my narration footage!
EDITING
You have just completed filming. You’re almost
finished, right? Wrong! Editing can be the most timeconsuming (and expensive) task pertaining to a video
project. Some say a useful rule is to allow one hour
of editing for every minute of final film, although this
may vary depending upon your project’s complexity.
It may be helpful to study your favorite drum videos
for their editing style. Don’t be tempted to go too
“MTV” and try relentless, quick, zany shots if your
intent is to showcase your visual content!
BACK TO CONTENTS
VOLUME #3
Drum Video: Part 1
AUTHORING TO DVD
Drum videos seem to
be mimicking the larger
movie video market in
that virtually all new
releases are in the DVD
format
and
popular
past titles are quickly
being converted as well.
Authoring a DVD refers
to the process of mastering
the edited film to the DVD
format and setting up a menu
system to navigate throughout the
sections of the video. Depending
upon the length of the edited film,
the number of audio tracks, the
extent of the graphic arts work,
the number of video options, any
Special Features, and the number of
“chapters” necessary, this process
may be quick and cheap or time
consuming and costly. I was told
that my DVD menu was the most
complex the company had ever
developed. It contains over twenty
chapters comprised of musical and
narrative sections for ten play-along
songs. I also required three different
audio options for each song: with
drumset, without drumset for the
true play-along version, and without
drumset but with a click track and
my coaching/commentary for the
“training wheels” version.
Make sure you test the authored
DVD thoroughly, trying out all
of the menu functions and their
interactions, before committing to
reproducing discs. Now that you’ve
created a master copy of your
project you’ll want to rightfully
celebrate, but hold on! In the next
issue we’ll discuss options for
reproducing multiple copies of your
master and getting them into the
hands of eager drummers.
www.drumpro.com
Wes Crawford teaches privately and
at Goucher College and performs
throughout the Washington, DC/
Baltimore region with a variety of
artists, as well as tours and records
with Higher Octave artists Shahin
& Sepehr. For further information
on Wes or his “Wes Crawford’s
Drumset Play-Along DVD,” go to
www.WesCrawford.com.
CALL RICK STEEL
(310) 392-7499
or email: [email protected]
BACK TO CONTENTS
DrumPRO GROOVE 35
Workshop 2
Poly-Hypnotic Time
By George Shepherd
This exercise should really test your ability to center time and groove.
Polyrhythm can exist in many different forms. The way that this passage
is phrased should turn time, or your perception of time on its head. Try
playing the passage with hands only, then, try adding the feet on all
four beats. Once you’ve completed this, flam the transitions from left to
right hands. This will be harder than it may seem. The ultimate goal is
to be able to flow over the top of any time pulse with an alternate pulse
within a third pulse. Say that 4 times, fast!
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36 DrumPRO GROOVE
BACK TO CONTENTS
VOLUME #3
Workshop 2
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www.drumpro.com
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DrumPRO GROOVE
37
DX-MIDI PRO
Pacific Digital Corporation has introduced the most
innovative low-cost complete digital drum control set
available today. The DX-MIDI-PRO comes with two
control consoles: a stand-alone MIDI console and also
a USB console to enable use with a PC.
 7.5” rubber pads with analog pressure sensor
for the drum “touch”
 Full size stand with drum pads
 Advanced sampling technology
 Adjustable percussion sensitivity
 Easy to assemble and store
Features when using the MIDI Console:
DX-MIDI Pro
 Drum Pad Support: Supports up to 7 drum
pads (Hi-Hat, Snare, Tom1, Tom2, Tom3, Ride,
Crash) and 2 pedals (Bass Drum & Hi-Hat control)
 Voices: 389 voice
 # of Drum Kits in Software: 20 preset kits, 10
user defined kits
 Songs: 50 preset, 4 user songs
 One Demo Song
 Controls: Power switch, song, voice, utility, kits, pad
assign, drum off, tempo, tap, master volume, aux
volume, Page, save/enter, select, click, record, demo
 Display: LCD display
 Connect CD players: using the Aux In port to play
along with a favorite song
 Connect an Amplifier: When you want to hear the
Voices with an amp, connect to the Line-out jack
 Song Recording: Lets you record your drum music
to the sequencer in real-time (one track at a time).
All MIDI channels are recorded simultaneously
DX-MIDI Pro
Features when using the USB Console:
 110 selectable combinations of backing
sounds
 Drumbeat game with 4 levels of difficulty for
easy learning
 PC based learning software makes drumming
easy and fun
 Tutorial and practice game on CD
Includes
Complete DX-MIDI Pro kit includes:
• DX-MIDI Pro Percussion sound module
• 6x DX-5 percussion pads (single trigger)
• 2x DX-6 foot pedals
• 1x DX-USB audio host
• Stand
• One pair drumsticks
• Cables and documentation
DX-MIDI Pro Kit
PDC Part #:
UPC #:
MIDI Percussion
Sound Module
U-30221
644405302217
DX-MIDI Pro Module
PDC Part #:
UPC #:
U-30220
644405302200
Specifications and items shown may vary without notice. All trademarks are the property of their respective owners. Copyright Pacific Digital 2004
Pacific Digital Corp.
2052 Alton Pkwy, Irvine, CA 92606. Tel: 949-252-1111, Fax: 949-252-9397 www.pacificdigital.com
Gear Reviews
DrumXtreme
by Pacific
Digital
Pacific Digital Corporation has
successfully released a new LowCost electronic drum kit that can
actually “hang” with the big boys.
Many of you have seen electronic
set-ups by Roland, Yamaha, Ddrum
and others that have truly amazing
features. Although the price may be
deceiving, the DrumXtreme is no
child’s drum set.
There are 3 design choices available
depending on your needs. The DX100 is priced at $149.00 and features:
7.5” pads with sensitivity adjustment for true drum feeling and
response
5 pads included, up to 6 pads supported
1 foot pedal included, up to 3 pedals supported
Advanced sampling technology for high quality audio
Easy USB installation. USB connection provides power (no wall
outlets required).
PC-based software provides easy to follow video tutorials (drum
tutorial system uses identifiable colors on the pads and on your
computer monitor to guide you through lessons. Ideal for quick
learning and skill development)
Pads have ‘choke’ capability while playing crash or ride
Seamless operation with your PC audio system
Includes PC drumming “game” with three levels of difficulty
Includes 110 sound combinations from 10 varying sound collections
- user configurable
www.drumpro.com
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DrumPRO GROOVE
39
Gear Reviews
The DX-150 is priced at $199.00 and features all the same functions as the DX-100 with the addition of 1
more trigger pad & 1 more foot switch.
The DX-Midi Pro (stand alone unit) (7 pads + 3 pedals) is priced at $399.00 and has features such as:
110 selectable combinations of backing sounds
Drumbeat game with 4 levels of difficulty for easy learning
PC based learning software makes drumming easy and fun
Tutorial and practice game on CD
389 Voice, 20 preset kits, 10 user defined kits, 50 preset songs, 4 user songs
LCD display
Connect CD players using the Aux In port to play
along with a favorite song
Connect an Amplifier when you want to hear the
voices with an amp
Song Recording, lets you record your drum music to
the sequencer in real-time (one track at a time).
All MIDI channels are recorded simultaneously
The Midi Pro module functions similar to the Roland
V-series. The sounds are very realistic and have
some nice effects. However, there are not multiple
velocity samples for ghost notes and dynamics. The
bass drum pedal that comes with the unit is more
like a piano footswitch, but can be made to feel more
realistic by turning one of the drum pads on it’s side
to be used in conjunction with your own pedal. The
feel of this bass drum set-up is even more realistic
than the mesh pad that Roland now uses for its kick
trigger. Note: They may be including an additional
pad to remedy this issue and eliminate the current
foot switch. Very cool guys to work with!
For only $399, this set is a great alternative to acoustic, which as you know, can cause problems
with the neighbors. It’s also a great tool for younger players that are learning the drums.
I was impressed even with the DX-100 that uses your own computer as module. The interface and drumming
game was very cool and lends its self to numerous upgrades and additions. There has to be a certain level of
system requirements to run the module and software at optimum performance. At $149, this product is perfect
for the beginner with a basic knowledge of computers. All DrumXtreme models carry a 1-year warranty with
one year of free support. Visit www.pacificdigital.com for more information or call 949-252-9397
ID
Pr
40 DrumPRO GROOVE
BACK TO CONTENTS
VOLUME #3
Gear Reviews
Ahead Grip Tape
In an effort to save embarrassing and potentially hazardous
drumstick slippage, many of us have tried grip tapes and
resins to give a firmer grip. After trying the Ahead Grip
Tape, I am convinced that this is the best grip product on the
market. This tape was designed to be used in conjunction
with Ahead’s shock reducing stick technology, however,
after wrapping by favorite jazz sticks, I found that they
greatly reduce shock and give added support for intricate
sticking patterns. Retail price: $4.30 For more information,
visit www.bigbangdist.com
Rattle Sticks
Designed by Tyler Joseph, the Rattle Sticks are a great addition to
every drummers stick bag. This innovative new stick is designed
with a metal center shaft that houses beads, which give off a shaker
type sound when played. The metal is strong enough that I did not
experience chipping or denting of the sleeve. These sticks are a bit
heavier that normal wooden sticks, but the wooden grip and wooden
upper portion give this hybrid a natural feel. Probably, not a good
choice for swing, but nice for latin and funk. Very cool concept! For
more information, visit www.rattlesticks.com
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DrumPRO GROOVE
41
Gear Reviews
Direct Sound
“Extreme
Isolation
Headphones”
These things are great! They enhance
the tone of acoustic drums and really
accentuate the sound modeling of
electronics. I am very impressed
with this product. The speakers are
very high quality and perfect for
studio use. Retail price: $139.00 For
more information, visit www.extrem
eheadphones.com How much is your
hearing worth?
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Info on Majors, Independents
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42 DrumPRO GROOVE
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VOLUME #3
CD Reviews
CD Review Rating System. We rate three areas: Performance, Musicality, Recording Quality.
EXAMPLE: Performance: 1+ Musicality: 5 Recording Quality: 3.5
Untune The Sky – Trey Gunn
(P=5, M=5, RQ=5)
Inside Out – www.insideout.com
Featuring – Bob Muller (drums & percussion)
Holy Cow! What a great CD! I found myself halfway through the disc before I realized that
I hadn’t taken notes or anything. I must say that this recording is a beautiful blend of tasteful
writing, dynamic melodic colors and hypnotic percussive genius. Bob Muller does a great
job fusing traditional “fusion” drumset playing with brilliant ethnic percussion lines. This
release is supposed to have a bonus CD/DVD feature, but unfortunately, the advance copy
that I received was CD only. But none –the-less, a great work! For more information, visit
www.insideout.com
Sensei – Jim Payne
(P=4, M=4, RQ=3+)
SCD 2053 – Savant Records www.jazzdepot.com
“Hey guys, Give the drummer some!” And I’m glad they did. Sensei is a great B3 “old
school” funk record. It’s nice to really feel the soul in this album. Not over produced and raw
enough to hear the little inconsistencies that make the funk sing. Jim is the author of Warner
Bros. book “Give the Drummer Some”. Jim really knows his stuff and you can hear it! For
more information, visit www.jazzdepot.com
Up All Night – John Scofield
(P=5, M=5, RQ=5)
VERF 01244-2 – Verve
Adam Deitch plays very nicely in this advance release from Verve. John Scofield has very
unique style and a nack for selecting musicians that compliment this style. Up All Night
merges some very unique sampling technology with the fusion/funk that has made “Sco”
famous. Very nicely done!
Migrations – Francesco DiLenge
(P=5, M=5, RQ=5)
Independent – www.francescodilenge.com
There are many great drummers out there, many of which you will never hear of. Fortunately,
I do know of a great drummer from Italy that I will now tell you about. Migrations is
Francesco’s first solo release. Francesco is an alumnus of Berklee College of Music with
a promising future ahead of him. You can download audio clips of the latest release at his
website. Great CD Frank!
Dig Trio – Dig Trio
(P=5, M=5, RQ=5)
DTCD 0001 – Independent
www.digtrio.hpg.com.br
Mauricio Zotterelli is a machine! I was very impressed with this album. This CD has a great
mix of tunes from Fusion to Brazilian Latin to tasty brush playing. The sound recording was
also very nicely produced. Very cool CD! Keep your eyes on Mauricio.
www.drumpro.com
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DrumPRO GROOVE
43
WEBSITE REVIEW:
www.virtualdrummerschool.com
Earlier this summer we published an interview with
Salvador Niebla of the Virtual Drummer School (VDS)
in our first issues of DrumPRO CORPS and DrumPRO
GROOVE. The VDS is now offering students the
opportunity to sign up to receive ALL the features that
the school has to offer for only $10/month. Salvador
graciously allowed me to go inside the Virtual
Drummer School and experience this new and exciting
system. Here’s what I found:
GENERAL
CONSTRUCTION:
The VDS design is very
hip and easy to navigate.
The choice to proceed in
either English or Spanish
is a great feature for
drummers around the
globe. There are still a few
features that are currently
“under construction”.
CONTENT:
Lessons:
The VDS features multiple lessons from artists: Alex Acuna, Gregg
Bissonette, Ignacio Berroa, Bill Bruford, Horacio “el Negro” Hernandez
and founder Salvador Niebla. Slated as “Coming Soon” are lessons from
artists: Angel Celada, Luis Conte, Angel Crespo, Peter Erskine, Walfedo
Reyes Jr, Jorge Rossy, Joaquin Sole, Giovanni Hidalgo and Dave Weckl.
PRICING:
$20 for 1 Month
$90 for 6 Months
($15/mo)
$120 for 12 Months
($10/mo)
Study Guide:
This is a very cool feature that catalogues the lessons from
each teacher by difficulty level. Broken into 3 levels, this
system gives students the ability to structure their own study
program by evaluating their current playing level.
44 DrumPRO GROOVE
BACK TO CONTENTS
VOLUME #3
My Classroom:
A digital checklist of lessons
learned and completed by each
student. This is a great resource
for students to keep track of their
progress through the many lessons
contained on the site.
Percussion FAQ’s:
(Frequently Asked Questions)
This section is a good resource
for all the questions that routinely
come up in clinics and private
lessons. In-depth answers and
sometimes graphic diagrams are
offered as the answer to questions:
What cymbals to use?; What drum
kit to buy?; What hardware to
choose?; What drumsticks to use?;
What drum heads to buy?; and
How to tune?
Jukebox:
Various styles of music are
assembled for listening. 25 tracks
in all.
Forum:
The VDS forum is mainly written
in Spanish with the occasional post
in English. Navigating through the
many topics is a bit cumbersome
and I think could be improved
upon in a future upgrade.
CLOSING COMMENTS:
The Virtual Drummer School is a great resource for beginningintermediate drummers. Many of the lessons focus on great fundamental
techniques and answer many the questions of new drummers. Obviously,
a lot of thought went into the design of this site and study program.
In my opinion, the registration fee of $20 is well worth the amount of
information you can access within the first month. After that, you may
want to enroll for an extended term at the discounted rates.
www.drumpro.com
Dictionary:
A brief explanation of the many
terms used in drumming and music
theory.
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DrumPRO GROOVE
45
CLASSIFIED ADS
Writers and Authors!
LA & Orange County
Do you have a unique drum book, story
idea or philosophy that could change
life as we know it? CDI Publications
and DrumPRO Magazines are looking
for the best in modern drumming
publications. We help artists and authors
get their works our to the public. CDI’s
authors are published and promoted
around the world!
Study drums with Berklee Alumnus and
DrumPRO’s own George Shepherd.
Don’t wait any longer.
Send manuscripts and press info to: CDI
Publications, Attn: Publishing, P.O. Box
11388, Newport Beach, CA 92658-1388
or call us at: (714) 436-1234
HEY! Drummers & Manufactures
Got a service or a HOT product to sell?
DrumPRO’s Display and Classified ads
are read by drummers around the world.
Get yourself into today’s HOTTEST
drum publication!
Don’t miss out! If you’re not advertising
with us, your competitors are!
Call CDI Publications & DrumPRO
advertising at (714) 436-1234. Also,
email to [email protected]
The Ultimate
Marching Percussion
Sample Library.
The Digital Drum Tech Sample
library is the most natural
marching percussion sample
library on the market.
Find out what the hype is all
about! www.digitaldrumtech.com
46 DrumPRO GROOVE
Increase speed, creativity, chops, and
more…
Learn how to become a professional
drummer!
For more info, call (310) 908-6961 or
email [email protected]
DONNY GRUENDLER
Drum Set Teacher in
Los Angeles area
Author of this monthʼs article:
“Modern Textures: Part I”
A guide to successfully integrating loops,
samples, and its various hardware into your
live drumming arsenal.
Specialities include:
Programming, performing
and recording with loops and
samples.
Playing a wide variety of styles
Chart Reading
Find a drum
teacher with
MusicStaff.com!
Simply type in your zip code find
drum teachers in your area. Free
service for students. Teachers
can register for free or get a
premium profile for $25/year.
For more information, visit
www.musicstaff.com
Got Chops?!
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increase speed with the Digital
Drum Tech study method.
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mind!!!
Check out samples
and Order Online at
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Three INTERNSHIPS
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Get hooked-in to the music industry!
• Masters of Music Degree
Wayne State University
Detroit, MI
• Bachelors of Music Degree
Berklee College of Music
Boston, MA
• Vic Firth Inc. Endorser and
Education Team Member
Please Contact by phone
(818) 613-4315 or E-mail:
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DrumPRO Magazine and CDI
Publications are accepting applications
for 3 internship positions.
These
positions
require
good
organizational skills and a desire to
get to know everything about the drum
scene. Applicants will be interviewed
by phone or in person.
Please contact:
George Shepherd at (310) 908-6961
(You may not be required to reside in the
Los Angeles area).
VOLUME #3
CLASSIFIED ADS
In L.A. Rick Steel
Author, Clinician, Player.
Accepting students. Call: 310-392-7499
[email protected] or www.drum-tv.com
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DrumPRO GROOVE
47

jazz • bebop • smoothjazz • bluesfunk • fusion • hip

Transcription

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