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Originally Posted by wesg
Originally Posted by wesg
Originally Posted by n9ne
I hate it when there's one song you need to setup one annoying cowbell for that one stupid song and hearing the "more cowbell" phrase the rest of the night.
"When I was young in my time, I had a cymbal for every rhyme.
Now that I'm old and gettin' gray I only pack a 4 piece on any day"
As far as getting your drummer to scale down may want to use a little reverse psycholgy, I know when I was young when they would bitch about all the room I took and the crap I had I went and bought more.
Originally Posted by n9ne
I hate it when there's one song you need to setup one annoying cowbell for that one stupid song and hearing the "more cowbell" phrase the rest of the night.
"When I was young in my time, I had a cymbal for every rhyme.
Now that I'm old and gettin' gray I only pack a 4 piece on any day"
As far as getting your drummer to scale down may want to use a little reverse psycholgy, I know when I was young when they would bitch about all the room I took and the crap I had I went and bought more.
Norman, you've pretty much got it.
The piano goes on top of the organ, with a couple of pieces of 1x4 covered in toolbox tray liner at the back to give it a tiny forward angle. The organ's music rack is removed; the piano has a lip that catches into the lip on the organ that normally catches your music book. So the piano overhangs the organ nicely, and is very sturdy - sturdier than any folding stand I have ever used.
The keyboard amp goes on top of the Leslie when I'm in tight quarters, which is pretty much always. I run it a bit cockeyed to the Leslie so that I don't go deaf with the horn at ear-height.
Which reminds me, in this configuration I have to use a wedge-style damper pedal, I have a hole drilled in the front of the organ near the expression pedal for the cord, so it can go through the organ rather than around it.
Here is a photo I snapped while building the back to give you an idea:
I usually gig with the black Leslie. You can't see my piano amp in this picture. When I have the choice and we are putting everything through the PA, I like to put the Leslie on the organ side nearest the audience and furthest from the band... the idea is to get maximum stage-bleed to the audience without raising stage volume.
As I said before, I stand to play the piano and sit to play the organ. This works well, I'm lucky that I just happen to have the right length legs for this, as I cannot do the "Hammond Hunch" with my back. I would love to use a more traditional L shape and sit for everything, but there is not enough stage space anywhere I play to allow this..... and I am also not able to twist my torso or neck for more than a few seconds at a time, it causes inflammation of the nerves which control my fingers. Not good!
The piano goes on top of the organ, with a couple of pieces of 1x4 covered in toolbox tray liner at the back to give it a tiny forward angle. The organ's music rack is removed; the piano has a lip that catches into the lip on the organ that normally catches your music book. So the piano overhangs the organ nicely, and is very sturdy - sturdier than any folding stand I have ever used.
The keyboard amp goes on top of the Leslie when I'm in tight quarters, which is pretty much always. I run it a bit cockeyed to the Leslie so that I don't go deaf with the horn at ear-height.
Which reminds me, in this configuration I have to use a wedge-style damper pedal, I have a hole drilled in the front of the organ near the expression pedal for the cord, so it can go through the organ rather than around it.
Here is a photo I snapped while building the back to give you an idea:
I usually gig with the black Leslie. You can't see my piano amp in this picture. When I have the choice and we are putting everything through the PA, I like to put the Leslie on the organ side nearest the audience and furthest from the band... the idea is to get maximum stage-bleed to the audience without raising stage volume.
As I said before, I stand to play the piano and sit to play the organ. This works well, I'm lucky that I just happen to have the right length legs for this, as I cannot do the "Hammond Hunch" with my back. I would love to use a more traditional L shape and sit for everything, but there is not enough stage space anywhere I play to allow this..... and I am also not able to twist my torso or neck for more than a few seconds at a time, it causes inflammation of the nerves which control my fingers. Not good!
Norman, you've pretty much got it.
The piano goes on top of the organ, with a couple of pieces of 1x4 covered in toolbox tray liner at the back to give it a tiny forward angle. The organ's music rack is removed; the piano has a lip that catches into the lip on the organ that normally catches your music book. So the piano overhangs the organ nicely, and is very sturdy - sturdier than any folding stand I have ever used.
The keyboard amp goes on top of the Leslie when I'm in tight quarters, which is pretty much always. I run it a bit cockeyed to the Leslie so that I don't go deaf with the horn at ear-height.
Which reminds me, in this configuration I have to use a wedge-style damper pedal, I have a hole drilled in the front of the organ near the expression pedal for the cord, so it can go through the organ rather than around it.
Here is a photo I snapped while building the back to give you an idea:
I usually gig with the black Leslie. You can't see my piano amp in this picture. When I have the choice and we are putting everything through the PA, I like to put the Leslie on the organ side nearest the audience and furthest from the band... the idea is to get maximum stage-bleed to the audience without raising stage volume.
As I said before, I stand to play the piano and sit to play the organ. This works well, I'm lucky that I just happen to have the right length legs for this, as I cannot do the "Hammond Hunch" with my back. I would love to use a more traditional L shape and sit for everything, but there is not enough stage space anywhere I play to allow this..... and I am also not able to twist my torso or neck for more than a few seconds at a time, it causes inflammation of the nerves which control my fingers. Not good!
The piano goes on top of the organ, with a couple of pieces of 1x4 covered in toolbox tray liner at the back to give it a tiny forward angle. The organ's music rack is removed; the piano has a lip that catches into the lip on the organ that normally catches your music book. So the piano overhangs the organ nicely, and is very sturdy - sturdier than any folding stand I have ever used.
The keyboard amp goes on top of the Leslie when I'm in tight quarters, which is pretty much always. I run it a bit cockeyed to the Leslie so that I don't go deaf with the horn at ear-height.
Which reminds me, in this configuration I have to use a wedge-style damper pedal, I have a hole drilled in the front of the organ near the expression pedal for the cord, so it can go through the organ rather than around it.
Here is a photo I snapped while building the back to give you an idea:
I usually gig with the black Leslie. You can't see my piano amp in this picture. When I have the choice and we are putting everything through the PA, I like to put the Leslie on the organ side nearest the audience and furthest from the band... the idea is to get maximum stage-bleed to the audience without raising stage volume.
As I said before, I stand to play the piano and sit to play the organ. This works well, I'm lucky that I just happen to have the right length legs for this, as I cannot do the "Hammond Hunch" with my back. I would love to use a more traditional L shape and sit for everything, but there is not enough stage space anywhere I play to allow this..... and I am also not able to twist my torso or neck for more than a few seconds at a time, it causes inflammation of the nerves which control my fingers. Not good!
As a guitarist, I would've probably had an initial problem with someone telling me that I needed to bring fewer guitars and/or pedals. Back in the day I had wah/volume, distortion, octaver, harmonizer, Mu-Tron, phaser, flanger, chorus, reverb and delay pedals. I would've eventually had to admit that overall, distortion, chorus, and delay were all I really needed. Just 6 months ago I had 28 guitars. Now I have 8 because I got a JTV-59 modeling guitar for my 50th. It doesn't have a trem so I have to either fake it or forget it. Some songs I can fake it well enough with my Pod HD500's model of the DigiTech Whammy Pedal being controlled by the board's expression pedal or I can program the HD500's patch to control the JTV-59 and use the volume or tone control knob to do a dive or trem effect. Some songs, like the solo for Crazy train, have a quick tap or two on the bar and that's just way too fast to use the pedal or knob so I have to skip it. If it's not an integral part of the song that the audience (not other musician's!) will miss, then why should I worry about it? I'd rather be able to do it but at some point I'd have to ask myself "Does it really matter?" to the point that I need to bring an extra guitar with a trem just for that. Because the next thing that would happen is that I'd start bringing extra gear for songs that I really only needed for playing a short, maybe seconds long, passage.
So I guess the question is, does he really need all of it or just need to show off?
So I guess the question is, does he really need all of it or just need to show off?
As a guitarist, I would've probably had an initial problem with someone telling me that I needed to bring fewer guitars and/or pedals. Back in the day I had wah/volume, distortion, octaver, harmonizer, Mu-Tron, phaser, flanger, chorus, reverb and delay pedals. I would've eventually had to admit that overall, distortion, chorus, and delay were all I really needed. Just 6 months ago I had 28 guitars. Now I have 8 because I got a JTV-59 modeling guitar for my 50th. It doesn't have a trem so I have to either fake it or forget it. Some songs I can fake it well enough with my Pod HD500's model of the DigiTech Whammy Pedal being controlled by the board's expression pedal or I can program the HD500's patch to control the JTV-59 and use the volume or tone control knob to do a dive or trem effect. Some songs, like the solo for Crazy train, have a quick tap or two on the bar and that's just way too fast to use the pedal or knob so I have to skip it. If it's not an integral part of the song that the audience (not other musician's!) will miss, then why should I worry about it? I'd rather be able to do it but at some point I'd have to ask myself "Does it really matter?" to the point that I need to bring an extra guitar with a trem just for that. Because the next thing that would happen is that I'd start bringing extra gear for songs that I really only needed for playing a short, maybe seconds long, passage.
So I guess the question is, does he really need all of it or just need to show off?
So I guess the question is, does he really need all of it or just need to show off?
Originally Posted by n9ne
1.) Groove and dynamics is important, not big fills and six chinas
2.) 95% of popular cover songs can be played on a four piece kit
3.) Cover bands are to make money; hauling tons of gear costs time and money
This isn't the case for EVERY cover drummer, of course, but yeah, if I walk into a small venue or a place with a small stage for a cover show and see a huge drum set, I immediately expect to see a weak performance.
Originally Posted by n9ne
1.) Groove and dynamics is important, not big fills and six chinas
2.) 95% of popular cover songs can be played on a four piece kit
3.) Cover bands are to make money; hauling tons of gear costs time and money
This isn't the case for EVERY cover drummer, of course, but yeah, if I walk into a small venue or a place with a small stage for a cover show and see a huge drum set, I immediately expect to see a weak performance.
Originally Posted by dparr
According to wiki Purdie just drummed on some of the Tony Sheridan recordings to give it a "punchier sound". That's it.
Another person sucked up into a silly rumor.
Another person sucked up into a silly rumor.
Punchier sound is what I mean when I say weak. Weak tone and attack. I love the Beatles by the way but I agree with Lennon when he said "Best drummer in the world? He(Ringo) isn't even the best drummer in the Beatles."
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