Dendy Jarrett

HC’s Celebrating a Milestone! And we have you to thank… by Dendy Jarrett April 7, 2017, marked a milestone for Harmony Central: it was exactly two years ago that the site was acquired by our parent company, Gibson Brands, Inc. Little did we realize at the time what this would mean, other than that our beloved Harmony Central would still be hanging onto life by a thread. When the last owners of Harmony Central decided to shutter the windows, there were lots of people who wanted to see HC live. Only one person decided take action, believing that HC was an institution with an important task and legacy — the CEO of Gibson Brands, Inc. He believed in our mission of inspiring people to make music as well as to make better music. Not only did he purchase Harmony Central and keep it going with hardly a hiccup, but he also kept the core team of editors in place — which was essential to maintaining our editorial integrity. During our initial meeting with the new owner, we expressed concern regarding the goal to keep Harmony Central editorial neutral. Phil asked, "Well, what do we do about reviewing a Fender guitar?" The answer was simple: "Well, if it's a good guitar, you give it a good review. If it's a bad guitar, you give it a bad review. (pause) Any other questions?” Then he gave us our marching orders: "You need to be neutral, public-facing, and internationally oriented. Be edgy and modern and not afraid to be controversial; however, never be mean-spirited. Give people insider information they can't get anywhere else. And have fun, because if you're not having fun, then you won't be able to convey how much fun music is." We were expecting another shoe to drop...but it never did. We left that meeting feeling cautiously optimistic. We’d heard similar dialog in the past from other owners, yet we still had to take a stand from time to time, fighting to keep HC's neutrality. We had to maintain our position as "the Switzerland of the industry." That was the first, last, and only directive we ever received about Harmony Central's direction. We have 100% editorial control — a degree of freedom that other media, whether print or web, can only dream about. Two years later, we continue on our path. Yes, you’ll see Gibson Brands' presence here and there, but that's our decision — not Gibson's. The question we ask ourselves is simple: "If we weren't owned by Gibson, would we cover this product?" With Gibson's having just become the largest music instrument lifestyle company on the planet, we'd be letting the community down if we didn't cover Gibson Brands' products. Recently, I was speaking with someone who referenced his dog, Fender. I said, "That’s an interesting name; do you play guitar?" He nodded. I told him what I do, and he said: “I not only know about Harmony Central…I’m a member!” And then there was the time Craig went into a convenience store in Utah wearing a Harmony Central logo shirt. The person behind the counter was the stereotypical Middle Eastern immigrant. When he saw Craig, he broke out in a big smile, pointed to the shirt, started miming air guitar, and in broken English said, "Harmony Central! Good site!!" But despite Gibson's incredible support of our mission, it would mean nothing if it weren't for the loyal community that has stuck with us through good times and bad. Lately, in addition to new members discovering HC for the first time, we’ve experienced an influx of returning members. There was a thread recently in our electric guitar forum in which a member reflected on the influence Harmony Central has had on his love for music and the electric guitar (he also blamed us for his guitar hoarding obsession...okay, we’ll own that one). It was a stark reminder of your importance, and the importance of our (now) 23-year-old community. You are the reason we're here. Gibson didn't give up on Harmony Central and didn't want to see it die. You didn't either. Our community members and "Make Better Music" readers are the reason we re-dedicate ourselves every day to improving Harmony Central. Not only are we ambassadors to the next generation of musicians, but also so are you — and we thank you from the bottom of our hearts for making this milestone possible. Join the discussion here! _________________________________________________________________ Dendy Jarrett is the Publisher and Director of Harmony Central. He has been heavily involved at the executive level in many aspects of the drum and percussion industry for over 25 years and has been a professional player since he was 16. His articles and product reviews have been featured in InTune Monthly, Gig Magazine, DRUM! and Modern Drummer Magazines.

Grover Pro Percussion EQlipse “Dual-Apex” Snare Drum You'll flip your bearing edge over this drum by Dendy Jarrett For years, Grover Pro Percussion has reigned as the serious concert percussionists' "go to" for tamborines, woodblocks, triangles, and mallets. Neil Grover, the company's owner, is a perfectionist when it comes to the instruments he produces...and schooled percussionists are very aware of their high quality. Because his original and main focus is that of concert and symphonic percussion, he is not as well known by mainstream contemporary set players; however, this snare drum may change everything. History Grover has produced symphonic snare drums as part of their offering for a while, with the attention being focused on the finer details, primarily sensitivity and tone. They even have a custom snare drum option for people looking for something specific. Why all of a sudden could this EQlipse Dual Apex™ Snare Drum bring Grover snare drums into the minds of set players? One drum = two bearing edges! For years, drums (prior to synthetic drum heads) had rounded bearing edges and produced a beautiful warm tone. They had this rounder bearing edge because calf-skin heads couldn't withstand the edge of a sharper bearing edge without tearing. In the late 1950s with the advent of the synthetic drum head, companies started placing sharper bearing edges on snare drums, which caused them to have a brighter or crisper sound. In most cases, they lost the warmer sound of older snare drums. Manufacturers started compensating by making deeper snare drums (which, in many cases, they'd dub 'stadium' snare drums). Innovation Most drummers have their favorite snare drum. Sound is so subjective. What may be the perfect snare drum sound to me may be the worst sound to another drummer. It's really hard to make a claim that something is 'the' perfect sounding snare drum...but you elevate your chances when you invent something that is new and different. Grover has become the first snare drum maker to include two different bearing edges on the same snare drum. Say what? Yes, it's true (and trademarked and patent pending). Here's how it works. The drum's foundation is a center aluminum hoop that Grover calls the Tone Belt. Their iconic "Bowtie" lug casings are attached to that Tone Belt. But wait ... there's more! Inside this aluminum Tone Belt is a ceramic-coated maple ring. This specially designed ring helps amplify the higher frequencies (think of it like the cone of a speaker). Coup de Grâce What sets this drum apart is what sits above the Tone Belt. The upper ring of the maple shell sports two different bearing edges, with one on each side. One edge is a double 45-degree edge that provides a bright "tighter" sound. This would be great for anyone playing funk or horn music, hip-hop or contemporary top 40. Tuned higher, it provides the "pop" you could expect from a side or popcorn snare. Tuned to a midrange (regular) tuning, it would rival any contemporary snare drum (only a very well built, fine snare drum). (Double 45-degree bearing edge on the EQlipse Dual-Apex™ Snare Drum) Take the top head off and flip that upper shell (referred to as the Dual Apex™) ring over, and the other side gives you an old-school, rounded bearing edge. This edge will produce a much warmer sound and rounder tone. If you're called to do a 40s style big band, jazz gig, or to the opposite extreme, 80s or 90s rock ballad rock gig, you'll love the "stadium" sound of this snare. It almost has the aural illusion of having a delay (or echo) on the drum. (Round bearing edge on the EQlipse Dual-Apex™ Snare Drum) Crème de la Crème Aside from the innovative Dual-Apex™ which certainly sets this snare into a league of its own, this drum is simply stunning and nothing but top drawer. When I pulled it out of the box, it spoke "mercedes" all the way. (I'm talking Mercedes Benz 300 SL Gull Wing!) The workmanship and quality are off the chain. The Shell The wood shell part of this drum is a 10-ply cross-laminated maple shell. There is the top part of the shell (Dual Apex portion) which is maple. Next, the middle section is the Tone Belt portion, which is a ceramic-lined aluminum tone ring. And, finally, the bottom portion with the snare bed is another 10-ply cross-laminated maple shell. These three distinct sections are independent from one another until nestled. Finish The drum features a transparent ebony high-gloss finish over and under the silver aluminum Tone Belt. The Tone Belt has a fine stipple finish that is closer to an argent color than pure silver. The shell's interior features Grover's Pro Sound Mirror™ finish. Casings The finely machined "bow tie" lug casings are so named because, if you turn them sideways, they resemble a bow tie. Throw Off The throw off is a cam-action TRICK throw-off with a milled aluminum housing and chrome (or highly polished aluminum) throw lever. It's been laser etched with the Grover logo. The top of the tension-knurled knob features the Grover Index System, which allows you to gauge tension on the snares more accurately. Snares Grover is also well known for their precision-crafted replacement snares. This snare drum comes equipped with the Pro SX - sliver wire/bronze cable combo snares, which are medium guage orchestral snares. These produce a dry, yet powerful response, which remind me of old "gut" snares. But the "orchesral" part shouldn't put off contemporary set players, as these snares are designed to capture your ghost notes with accuracy and sensitivity. Badge The badge attaches to the aluminum Tone Belt. It appears to be a laser-etched aluminum badge affixed with two chromed screws. The back of the badge has a neoprene vibration isolator. It's very aesthetically pleasing and complements the drum. Heads The drum comes with a Remo Coated Ambassador batter head and a Diplomat Clear Snare side head. Hoops The hoops are 2.3mm power flange hoops. Sizes This snare is available in two configurations: The G1-EQ-5E is a 5 X 14" shell sizes (This is the size I received to review.) and The G1-EQ-6E is a 6X14" shell size The sizes being even (5" versus 5.5" and 6" versus 6.5") sizes, I found it refreshing and easy to tune without overt unwanted overtones. Finale As a snare drum alone and not considering the innovative approach, this drum is a work of art. Because of the gloss transparent black finish and muted aluminum Tone Belt, it would work in any setup without fear of clashing with the other drums' finish. But what makes this drum different is its ability to adapt to your gigging needs. Funk or pop? You're covered. Big band, jazz or stadium rock, you're covered as well. It's important to point out that the drum isn't designed to change "on the fly" — as in, you can't quick change the Apex ring during a set. You'll need to know which sound is going to best serve the gig. This drum is about "made in America" by fine craftsmen and it shows. It's innovative, and the only single drum to offer two bearing edge choices. However, even if you rarely use the Dual Apex mode more than a few times, the snare drum is simply fantastic (and would be, even without the Dual Apex). No matter your musical preference, be it orchestral, funk, jazz, pop, or rock, this drum is a serious contender for the serious drummer. Owning one is on my bucket list. -HC- Resources Get to know Grover Pro Percussion Video - Buy the G1-EQ-5E - 5X14" EQlipse Dual Apex Snare Drum Retail $799.00 Street $599.25 Buy the G1-EQ-6E - 6X14" EQlipse Dual Apex Snare Drum Retail $829.00 Street $629.25 _________________________________________________________________ Dendy Jarrett is the Publisher and Director of Harmony Central. He has been heavily involved at the executive level in many aspects of the drum and percussion industry for over 25 years and has been a professional player since he was 16. His articles and product reviews have been featured in InTune Monthly, Gig Magazine, DRUM! and Modern Drummer Magazines.

Harmony Central – Why Forums…Why Now? There are so many other choices … by Dendy Jarrett Harmony Central just wrapped our sixth straight month of upward growth – big upward growth. We have you to thank for that. Our mission is to inspire people to make better music; however, you're also an inspiration to us! Three years ago, Harmony Central returned to our core platform of vBulletin, much to the dismay of many who were concerned that vB had run its course and was done. We fielded hundreds of e-mails from people concerned that we should go with this platform or that platform, yet today many of those platforms are no longer supporting their communities. Meanwhile, vBulletin has continued to make improvements. We hope to be upgrading soon and enjoy some new features like live chat and social media integration. But…why forums and why now? Certainly our communities took a big hit when MySpace came on the scene and was further greatly impacted by Facebook. However, now we’re seeing people coming back in droves. Old-timers are reaching out who haven’t been to Harmony Central since 2010-2013, when some horrible platform changes would have destroyed HC had it not been for the community's loyalty. It’s kind of felt like a Harmony Central homecoming around here. And why are they coming back? We'd like to think of Harmony Central as a large brain trust of music information—a shared knowledge base. If you do any participating on social media platforms, you realize that they are very much “here and now,” but don’t try to find the information in an hour or even tomorrow. With Harmony Central, the information is there and is easy to find later. The technical term is that social media like Facebook is dynamic and ever changing, but Harmony Central is dynamic and static. We make information easier to find, and answers to questions for people experiencing similar challenges or needs are readily available. You benefit from someone else’s experiences. Our content helps you learn how to make the most of the gear you own and make informed buying decisions so you can avoid costly and disappointing mistakes. Everything from "how do I string my guitar" to "how do I use my iPad to connect via MIDI"…we’re here for you. But our core remains the community. Harmony Central is like a virtual city that’s packed with musicians. Everyone has an opinion, and they don’t all resonate with everyone. Like in any big city, you can find just about anything...and in this city, that all relates to your love of making music. If you haven’t visited Harmony Central in a while and are having a challenge finding the door, please know that we’re here for you. Reach out to us here and we can help restore your account. Perhaps you want to change your user name or clean up some post you made in 2007. We’re here for you. Most important, our mission is to help inspire more and more people to make better music. So if you haven’t visited your old stomping grounds in a while, come on by. We’ve left a light on for you - and your very own PA to the world is waiting to hear what you want to say. _________________________________________________________________ Dendy Jarrett is the Publisher and Director of Harmony Central. He has been heavily involved at the executive level in many aspects of the drum and percussion industry for over 25 years and has been a professional player since he was 16. His articles and product reviews have been featured in InTune Monthly, Gig Magazine, DRUM! and Modern Drummer Magazines.

Musicians - Make Your Mistakes Count How to turn epic fails into epic triumphs by Dendy Jarrett Everybody makes mistakes—it’s part of being human. But not everyone reacts to mistakes the same way. Some try to cover up, some pretend it never existed, some double down on being wrong, and some just hope no one notices. What I learned long ago from a tough drum & bugle corps instructor is that if you’re going to make a mistake, make it a big mistake. Crazy talk, right? Not really. His reasoning was that if you’re giving something your all, and putting epic intensity into everything you do, then your fails will have epic intensity too—but that’s better than playing it safe, and never doing anything epic out of fear of having an epic fail. If you caught the recent Grammy Awards, you probably saw Adele as she started performing a tribute to George Michael. She got about 35-40 bars into the song, and most likely due to an in-ear monitor problem, realized she started the song in the wrong key (which became apparent when the orchestra started playing). She abruptly stopped the performance—live on TV, in front of millions and millions of viewers. She apologized profusely and stated: “I’m so sorry, may we start again?” She continued with “I can’t mess this up for him [George Michael].” She then started over and gave a stunning performance. At the end she received a standing ovation for what seemed like forever. My level of respect for Adele increased immeasurably. In the space of a minute, she transformed an epic fail into an epic triumph. Because she wasn’t afraid to own her mistake, she could start again—and she ended up owning the song. And the audience. If you caught the recent Oscars, you have another example that mistakes happen—and people are more accepting of mistakes if you simply keep it real. And why is that? Because we’re human. We all make mistakes. When you own your mistakes, you connect with all the other humans who make mistakes—which, come to think of it, is the entire world. Join the discussion here! _________________________________________________________________ Dendy Jarrett is the Publisher and Director of Harmony Central. He has been heavily involved at the executive level in many aspects of the drum and percussion industry for over 25 years and has been a professional player since he was 16. His articles and product reviews have been featured in InTune Monthly, Gig Magazine, DRUM! and Modern Drummer Magazines.

Mark Schulman's Conquering Life's Stage Fright - Book Review Clarity, Capability, and Confidence ... from a Drummer! by Dendy Jarrett It's said that the #1 fear people have is performing or speaking in public. #2 is death by fire. I'll take my chances on stage! Never has a book so struck me like an axe blow to the forehead. I completely related to this book to the point that it somehow seemed like a spiritual twist of fate that it landed in my hands. I've often said that one of the reasons I'm in the industry side of music instead of a drummer on tour with a major artist was my lack of confidence in...well...me. Although I've toured with several major artists, I was my own worst critic and constantly down on myself. And if you're like me, you may find this can carry over into other aspects of your life. This book is essential reading for those who need to overcome these kinds of issues. The Backstory I first met Mark over 25 years ago. He was a budding young drummer, and I was one of the first people to offer him a major drum company endorsement. Over the years we'd bump into each other and I did keep track of him as he successfully battled cancer and has progressed in his career with groups like Simple Minds and Foreigner, as well as solo artists like Pink, Billy Idol, Stevie Nicks, and Cher. And through my years in the drum industry, the one thing I learned as I grew past being starstruck with artists is that these are real people. They get up, put on their clothes, brush their teeth, and have a day just like the rest of us. Mark Schulman is no exception. and this book drove that point home. What Mark didn't know about me is that I have always suffered with stage fright — so much so that I couldn't finish my degree in music because I couldn't overcome the paralyzing fear of music jury (the private recital you must execute in front of a panel of music professors with any music program to fulfill the requirements to get your music performance degree). The Book So, when Mark offered me an autographed copy at this past NAMM show, he had no idea what an impact he was making on me...and hopefully you. To show just how relevant this book can be for anyone, the book's foreword is written by Leigh Gallagher, Managing Editor for Fortune Magazine and noted TV personality. Although Mark has performed for more than a billion people over his career, he wrote the book to transcend just the stage by explaining how the same steps he used to overcome stage fright apply to everyday life...your career, your relationships, your gigs...everything. Not only does he explain all this with amazing clarity but he also provides action steps that help you gain understanding by providing hard, strong questions to ask yourself, plus a mission statement for each action step along the way. The Conclusion (or Just the Beginning) Don't be fooled that, because this book was written by a drummer, it pertains solely to drummers. You'd be depriving yourself of a book certain to become a mainstay in motivational circles. This book is 158 pages of powerful self-improvement prowess that evokes Mark's true personality. You get the feeling he's sitting with you helping you process the information, and encouraging you along the way. There was never a dry, boring moment in the book. Not only will you feel empowered to take the stage but also your next job interview, your next wedding toast, or in any situation that puts you in the spotlight. Conquering Life's Stage Fright will now remain on my desk at work and my bedside at night. I've found that I keep referring to certain comments and sections over and over. Near the end of the book, Mark says he makes a conscious effort to "leave people better than when I found them. I want to inspire others to inspire others." Well, he certainly does in this book and has inspired me. I think he'll inspire you as well. -HC- Join the discussion here RESOURCES Find Mark's Book on Amazon _________________________________________________________________ Dendy Jarrett is the Publisher and Director of Harmony Central. He has been heavily involved at the executive level in many aspects of the drum and percussion industry for over 25 years and has been a professional player since he was 16. His articles and product reviews have been featured in InTune Monthly, Gig Magazine, DRUM! and Modern Drummer Magazines.

You’ve heard it before – if you want to stay away from conflict with people, avoid the subjects of sports, religion, and politics. Of course, these days, people everywhere are speaking their minds regarding politics and many should heed the words of Thumper. Yet I digress. There’s been much talk around the Harmony Central offices about how music is a universal language that knows no boundaries. It’s the one method of communication that allows a group of people from anywhere in the world to come together and start "talking the same language." Because of this, it's the tie that binds us together as a people —human to human. And that brings us to the 59th Grammys on February 12th, and Neil Portnow's speech: Music Binds Us. While the Grammys offered subtle hints of political unrest, it remained a night focused primarily on music (which was refreshing). But what resonated with us at Harmony Central were the words of Neil’s speech. Here are some excerpts: “We are constantly reminded about the things that divide us. Race, region, and religion. Gender, sexual orientation, political party. But what we need so desperately are more reminders of all that binds us together — our shared history, our common values, and our dedication to build for ourselves a more perfect union.” He went on to say: “President John F. Kennedy once observed, 'The life of the arts is very close to the center of a nation's purpose, and is a test of the quality of a nation's civilization.' That's so true. And that's why we must be loud and clear in our unwavering support of music and the arts and those who create it. "Behind the extraordinary artists you've seen here on our stage are hundreds and thousands of unsung musicians and songwriters, producers, and engineers — American creators — whose jobs suffer from outdated rules and regulations, some going back 100 years. "So, The Recording Academy, together with America's music makers, call on the President and Congress to help keep the music playing by updating music laws, protecting music education and renewing America's commitment to the arts. It's our collective responsibility to preserve what binds us and to ensure that the whole world continues to benefit from one of our most unique [and] economically and spiritually important assets — and exports. American music.” (see entire speech here) This was the one political statement that we felt was appropriate, and needed, in the world of music. We need to protect music and music education. Most of us who are musicians understand the profound impact it has made on our lives. Harmony Central’s Mission Statement is “to inspire people to make better music.” And we believe that our Harmony Central community can help with the task of inspiring the next generation of musicians as we strive to keep the torch alive. We believe that music education is the key to unlock the door to this tie that binds us. As an MI executive recently said in a speech he gave his employees – “Music may be the only hope we have left.” And we agree that it's what the world needs now. And if you’re a musician, you know exactly what I mean. -HC- Join the discussion here _________________________________________________________________ Dendy Jarrett is the Publisher and Director of Harmony Central. He has been heavily involved at the executive level in many aspects of the drum and percussion industry for over 25 years and has been a professional player since he was 16. His articles and product reviews have been featured in InTune Monthly, Gig Magazine, DRUM! and Modern Drummer Magazines.

Music Gear – Here's How You Can Make a Difference Now you have an opportunity to help shape the future of music by Dendy Jarrett Have you ever successfully modified a piece of music gear because you couldn't believe that the manufacturer hadn't initially designed it that way? Or wondered why no company is making music equipment that you think is necessary? Or seen a device that made you wonder, "What were they thinking?" Companies need real feedback from real musicians. Something that seems like a good idea in the lab may not play out that well in live performance. And when a product is in the planning stages, overlooking one key feature could mean the difference between success and failure. Because Harmony Central is a community full of great musicians who are inspired to make better music, we’ve created the Harmony Central Music Research Panel. Last summer, we sent out a survey to test the concept of creating a panel of musicians that ranged in age, experience level, and represented a wide variety of demographics. We found that people were indeed very interested in having their voices heard. So now we're taking it to the next level: Harmony Central is looking for musicians of all types and talents to participate in upcoming research studies. Best of all, it's easy to help alter the future of music gear. Click the link below to register for the Harmony Central Music Research Panel and answer a couple brief questions in the invite request. We absolutely will not spam you and will contact you only to determine if you qualify for an upcoming study's requirements. Let your voice be heard! Sign up today - it's free. Take Registration Survey Here Note: (IMAGE CREDIT- fastcompany.com)The image above is of the Artiphon Instrument 1. This company used keen market research data to launch the most successful Kickstarter musical instrument campaign ever, having raised $1.3 Million to produce the instrument. The musicians spoke. _________________________________________________________________ Dendy Jarrett is the Publisher and Director of Harmony Central. He has been heavily involved at the executive level in many aspects of the drum and percussion industry for over 25 years and has been a professional player since he was 16. His articles and product reviews have been featured in InTune Monthly, Gig Magazine, DRUM! and Modern Drummer Magazines.

NAMMphoria For musicians, California’s Winter NAMM is the original legalized high by Dendy Jarrett Most NAMM show reports emphasize the gear—not surprising, given that NAMM’s a showcase for the latest and greatest gear from manufacturers all over the world. But that’s just part of the story. No, we’re not talking about something that sounds like thousands of radios, all tuned to different music stations and turned up to maximum volume. Nor are we talking about the after-hours parties, the before-hours (and bleary-eyed) breakfast meetings, or the NAMM exercise program of walking mile after mile—whether in the convention center itself, or from that parking place which you suspect was actually in Bakersfield. We’re talking about something much more important: the human element that reaches into every corner of the Anaheim Convention Center. Sometimes it seems you cross paths with everyone you’ve ever met who was in any way related to music. Maybe it’s just a quick wave and hello as you pass each other on the escalators, or maybe you sit down and spend some quality time with friends you haven’t seen in years. Maybe it’s seeing Talking Heads’ Jerry Harrison having the consideration to hand some earplugs to our own Craig Anderton as they watched Joe Perry, Johnny Depp, and Alice Cooper tearing up the stage (and peaking sound level meters!) at the TEC Awards. Maybe it’s the stars you see who aren’t mobbed but respectfully given their space with just an approving smile or a “thanks.” Then there are those who have new gigs with a new company in a new town, or switched careers entirely, or look so much happier than they did the year before…or are trying to find that new gig with a new company, as they hope to start a new phase of their lives. NAMM isn’t just a trade show: it’s a block party with over 100,000 potential friends of all races, religions, political views, and musical tastes. Fights don’t break out. Security guards look extremely bored. People not only open doors for each other, they queue up politely in lines when the elevators overheat from the traffic. Disneyland may be “the happiest place on earth”…but NAMM is the coolest. And when the show’s finally over, the carpets are rolled up, the gear gets loaded onto pallets, the lights dim, and tens of thousands of people turn into a few stragglers dealing with the last of the booth breakdowns, something from NAMM remains: you’re high on the power of music—a means of communication that transcends barriers and knows no demographic limitations. And if you’re a musician…you know exactly what I mean. _________________________________________________________________ Dendy Jarrett is the Publisher and Director of Harmony Central. He has been heavily involved at the executive level in many aspects of the drum and percussion industry for over 25 years and has been a professional player since he was 16. His articles and product reviews have been featured in InTune Monthly, Gig Magazine, DRUM! and Modern Drummer Magazines.

THE END OF GEAR LUST? Maybe it's about to be replaced by something a whole lot better... by Dendy Jarrett It's hard to believe that we're less than a week away from Winter NAMM 2017. For musicians, the phrase “kid in a candy shop” rings true when you’re introduced to 1.6million square feet packed full of a music-gear-centric event. But is NAMM as relevant to new gear as it once was? We already have pretty much all the gear we need, and the indiscriminate addiction to “gear lust” is becoming a thing of the past. However, what’s replacing it is on the horizon, and it’s pretty interesting. The reality is that musicians have made music for thousands of years with whatever they can find laying around—whether rocks, animal skins, or digital whiz-bangs. And some people are quick to point out that we haven’t had any revolutionary changes for quite a while. In the 80s, we saw sampling, FM synthesis, hard disk recording, MIDI, sampled drum machines, and much more in a massive outpouring of technological innovation. The last gasp of that revolution was the popularization of virtual instruments in the mid-90s. Music got a shot in the arm as a result, and musicians were lusting after gear faster than manufacturers could produce it. But like a lust-based one-night stand where you wake up the next morning and wonder what you were thinking, it became clear that all these new toys made better-sounding music, less expensively and more efficiently than ever before...but they didn’t make you a better musician. Can gear make you a better musician? Probably not if it involves gear lust. But gear love...that’s different. That’s finding gear where you have real chemistry. Gear that inspires you, and where you settle down and have a commitment to exploring your craft. Manufacturers are getting the message: Hardware synthesizers used to be a race to the bottom whose interface was no more appealing than a calculator—but now we have best-selling synths from people like Dave Smith that aren’t inexpensive, but with which you can form a relationship. We have DAWs that make you smile when you boot them up, reverbs that don’t create an algorithm but a virtual world, and research into new materials that affects everything from making guitars more playable to drums that last longer. As for Harmony Central, we’ll be at this year’s show—as we have been for over two decades. And we know you don’t need the kind of show reports web sites used to do: you can follow specific companies on Facebook, check out their web sites and videos (that cost them tens, if not hundreds, of thousands of dollars to produce), and follow links to the “online magazines” that go into paroxysms of joy when company X makes the tiniest of changes in some product that people didn’t care about that much anyway. We never forget that we’re here to inspire you to make better music. It’s up to the manufacturers to sell you gear; it’s up to us to peel away the layers, give more of the NAMM experience, present the human side of our crazy industry, and prioritize quality over quantity. The NAMM show is about a lot more than new products—it’s an assessment of the past, an evaluation of today, a look into the future, and a celebration of the industry of human happiness. Come with us...and enjoy the ride. Join the 2017 Winter NAMM Discussion! _________________________________________________________________ Dendy Jarrett is the Publisher and Director of Harmony Central. He has been heavily involved at the executive level in many aspects of the drum and percussion industry for over 25 years and has been a professional player since he was 16. His articles and product reviews have been featured in InTune Monthly, Gig Magazine, DRUM! and Modern Drummer Magazines.

New Year, New You You say you want a "resolution"...it's not that hard! by Dendy Jarrett It’s a new year already, and hopefully you’re recovering well from a night of much music. I’ve played my fair share of New Year’s gigs over the years, but one in Columbia, S.C. sometime around 1984 sticks out in my mind. We'd been booked through our agency and assumed everything was well vetted. What could go wrong? The gig was on the fifth floor and there was...no elevator! At the time, I played drums on a really heavy, well-built, 6' by 8' riser that folded in half. Of course it could have been considered a non-crucial part of the show, but when folded, the underside contained much of our sound gear - and this venue had no stage, so the riser was indeed crucial. And did I mention it was real heavy? Getting it up five flights of stairs was as much fun as getting our rack with six Yamaha 1000 watt power amps up there too. But we succeeded...so now it's smooth sailing ahead, right? Right?!? Once we were headed to the stage, the party planner started listing songs she wanted played. Ooops. We were a top 40 band and booked as such, but none of the songs she wanted were top 40 - the crowd (which was starting to look more like a mob) wanted 50s beach music, and what we knew how to play was not what they wanted to hear. We were ridiculed, cat-called, and constantly stopped. We started to have visions of the Blues Brothers movie, and expected the bottles to start flying at any minute... But, we were determined to deliver a great show. After the first set, we found the party planner, and explained that someone didn’t hire the right group but that we were who they had. They could make the best of it, or we’d gladly bow out and start the arduous task of taking gear (did I mention it was real heavy?) back down the five flights of stairs. The host made her way to the mic, and explained what happened. We were encouraged to come back on and play a second set. Sometimes a little explaining can calm rough waters, and while we still had to schlep that gear down five flights of stairs, it was after our fifth set - with a lot of help, great spirits, and even some kudos. That new year's gig could have been a disaster, but it taught me a very, very valuable lesson: sometimes just a little bit of a course correction can go a long way. All it took was a few setnences from the party planner, and the evening changed completely. And a little bit of course correction can change your musical life as well. People often make overly ambitious resolutions that they'll never attain, but a simple resolution can make a big difference. Don't resolve to practice 2 hours a day - resolve to practice 5 minutes a day. Not only will you be able to do it, but the odds are better that those 5 minutes will turn into something longer. "Practice makes perfect" is not an arbitrary saying, and even a few minutes a day devoted to your instrument can make a tremendous difference in your playing, muscle memory, and proficiency. Finally, don’t just make a resolution in your head. Write it (or them!) down where you can see it daily. Set reminders on your smart phone, and hold true to your commitment. A note on the fridge saying "Don't forget to practice for five minutes today" will keep you focused. Music has been proven to make people smarter, take away stress, develop your human relations skills, and help your right and left brains communicate with each other. A new year awaits you, and it's a blank slate: make this the year to take your music to the next level. You won't regret it. (Oh, and you might want to learn a few 50s beach music songs...you never know when that knowledge could come in handy.) _________________________________________________________________ Dendy Jarrett is the Publisher and Director of Harmony Central. He has been heavily involved at the executive level in many aspects of the drum and percussion industry for over 25 years and has been a professional player since he was 16. His articles and product reviews have been featured in InTune Monthly, Gig Magazine, DRUM! and Modern Drummer Magazines.

2016: Coda Thanks to those who gave us such great music by Dendy Jarrett Music can represent so much: sadness, joy, confusion, elation. Consider the guitar pictured above: some might see a gift designed to bring joy. Others might see it as cold and abandoned, a ghost of Christmas Past. Some will want to pick that guitar up, dust off the snow, and start making music…while others will think of “While My Guitar Gently Weeps.” As we prepare for the end of the year and give the gift of music, I hope, as a musician, you’ll take time to reflect on how music impacted your year. Did it keep you sane? Did it remind you of a love one lost? Keep you grounded? Help heal a hurt? Or maybe it kept you fed and sheltered? Let’s take a moment to pay homage to the musicians we lost this year who contributed so much, but let’s also remember that, in a way, these people have become immortal. They may not climb onto any more stages, but their music will live on in CDs, vinyl, the cloud, and cover versions by bands that will inject new life into their work. It’s inevitable that musicians will die, but it’s also inevitable that music won’t. As long as we have ears to hear, music will be a vital part of living. Look up the Boudleaux Bryant song “Let’s Think About Living” that rockabilly artist Bob Luman recorded back in 1960…those words are as valid, and humorous, as ever. Happy holidays! January – - Craig Strickland, the 29-year-old country singer was found dead in early January after going missing during a duck hunting trip. - Jason Mackenroth pounded the skins with the Henry Rollins-led Rollins Band and Mother Superior. He passed away on Jan. 3 from prostate cancer. - Rock icon David Bowie quietly battled liver cancer for 18 months, ultimately succumbing to the disease on Jan. 10 at the age of 69. He released his last album, 'Blackstar' on his birthday just two days earlier. - Original Mott the Hoople drummer Dale 'Buffin' Griffin died on Jan. 18 at age 67. Griffin, who played on all seven of the rock outfit's records and enjoyed a successful career as a producer, had been suffering from Alzheimer's. - Eagles founder and singer-guitarist Glenn Frey passed away at age 67 on Jan. 18. The rocker battled a myriad ailments with rheumatoid arthritis, acute ulcerative colitis and pneumonia all being contributing factors. - Rapidfire were a little known band from Hollywood who once counted Guns N' Roses legend Axl Rose in their ranks. Lead guitarist Kevin Lawrence performed alongside Rose and died on January 20th at just 51 after suffering from two heart attacks and slipping into a coma. - Legendary bassist Jimmy Bain, who had performed with Rainbow, Dio and, most recently, Last in Line, died suddenly on Jan. 23 at age 68. The loss came aboard Def Leppard's 'Hysteria on the High Seas' cruise, where Bain lost a battle with lung cancer. - Jefferson Airplane / Jefferson Starship founding guitarist Paul Kantner died on Jan. 28 at age 74. The influential icon suffered from multiple organ failure and septic shock shortly after having a heart attack earlier in the week February – - Singer Jon Bunch made his name with alt rock band Sense Field, cutting five albums with the band before their breakup. He then took over as frontman for Further Seems Forever before reuniting with Sense Field in 2012. He passed away at age 45 on Feb. 1. - Former Black Witchery guitarist Steve Childers recorded two of the most violent war metal albums in the genre's canon. He tragically lost his life in a car accident on Feb. 2 at age 49. - Big Kap, the DJ, and a longtime staple of New York hip-hop culture, died on February 3 at age 45. - Maurice White, A founding member of the legendary group Earth, Wind & Fire, passed away peacefully in his sleep on February 3 at age 74. - Valleys co-vocalist Mikey Clement died on February 5th at just 23 years old in a tragic car accident. The loss hit especially heard as Valleys were just one week away from releasing their debut album, 'Experiment One: Asylum.' - Denise "Vanity" Matthews, who fronted the group Vanity 6 but was best known for her collaboration with Prince, died February 15th at a hospital in Fremont, California. She was 57. - Riverside guitarist Piotr Grudzinski passed away on Feb. 21 following a show with the Winery Dogs. The death was sudden and ultimately due to cardiac arrest. Grudzinski was just 40 years old. - Singer Sonny James, who ruled the country music charts for nearly 20 years, died February 22 at age 87. - Hammerbox bassist James Atkins died Feb. 29 at age 49. The cause of death was esophageal cancer, and the rocker was surrounded by loved ones at the time of his passing. March – - Former Budgie guitarist John Thomas passed away at age 63 on March 3. He played on three of the band's albums, 'Power Supply,' 'Nightflight' and 'Deliver Us From Evil.' - Swedish drummer Oscar Karlsson died at the young age of 39 on March 3. He played on 13 studio albums during his career, most notably cutting records with melodic death metal outfit Gates of Ishtar and the Duskfall. - Joey Feek, the country star and one half of the Joey + Rory duo, died of cervical cancer on March 4 at age 40. - Harvey Danger bassist and founder Aaron Huffman died on March 6 due to respiratory failure stemming from a long illness. His bass playing took the form of a lead role, which was crucial to the alt rock band's sound. - Sir George Martin, often regarded as the "fifth member" of the Beatles, passed away at age 90 on March 8. The legendary producer signed the Beatles to their first record deal and worked together with the band to craft several of their hits. - Emerson, Lake and Palmer keyboardist Keith Emerson tragically committed suicide on March 10. The icon suffered from nerve damage in his hand, leading to depression about whether he would be able to perform at an optimal level. - Blue Murder keyboardist Nik Green passed away on March 13 after a battle with cancer. The news was reported by former bandmate Tony Franklin, who called Green "a gentle soul and huge talent." - Frank Sinatra Jr., the singer and son of Frank Sinatra died unexpectedly of cardiac arrest on March 16 while on tour in Daytona Beach, Fla. He was 72. - Malik Taylor, better known to fans as Phife Dawg of the rap group A Tribe Called Quest, died March 23 at age 45. He’d long suffered from complications of Type 1 diabetes. - Alabama death metal up and comers Ectovoid were dealt a tragic blow when guitarist Michael Stewart passed away on March 23 at age 23. The cause of death was listed as epilepsy induced asphyxiation. - Former Sunny Day Real Estate and Posies bassist Joe Skyward died on March 26. The four-stringer spent two years battling cancer before passing away at age 57. April – - Merle Haggard, one of the most celebrated country music artists of all time died at age 79 on April 6 after battling pneumonia. - Former King Conquer guitarist John Byrd passed away on April 6. Having spent time in and out of the band, he notably battled substance abuse and his former bandmates released a statement urging those who are doing the same to seek help. - News that Injected guitarist Jade Lemons had died came late on April 7. The producer behind the band's standout 'Burn it Black' album released a statement implying a drug overdose was the cause of death. - On April 21, it was announced that the legendary Prince had suddenly passed away. The musician died at age 57 at his Paisley Park home in Minnesota. He left a legacy of 39 studio albums, though most of his work still lies in the vaults of his estate. - Papa Wemba, one of Africa’s most flamboyant and popular musicians, died after collapsing on stage at a music festival in Abidjan, Ivory Coast on April 23. He was 66. May – - Texas Native and Grammy-winning songwriter Guy Clark died May 17 at age 74. - Original Beastie Boys guitarist John Berry passed away on May 19 at age 52. Credited with giving the Beastie Boys their name, Berry was under hospice care when he succumbed to frontal lobe dementia which had gotten worse in recent months. - Former Megadeth drummer Nick Menza tragically died onstage on May 21 at 51 years old. Menza was performing with his band OHM when he collapsed. He played on four Megadeth albums, including the classics 'Rust in Peace' and 'Countdown to Extinction.' - The Surfer Blood guitarist, Thomas Fekete passed on May 30 after battling a rare form of cancer for a year. He had left the band the previous year to focus on his health. - Former Municipal Waste drummer Brandon Ferrell passed away on May 31. No Cause of death was listed when the news was reported. Ferrell played on Municipal Waste's debut record, 'Waste 'Em All' and was most recently involved with Obsessor and Sarcoma. June – - Adam Young, one half of the father/daughter grindcore duo. His fiancé discovered his body on June 9 after he hung himself in his basement. The band released an EP and one record after going viral with the song "I Want Pancakes." - Christina Grimmie, the singer-songwriter and finalist on The Voice was shot while signing autographs following a concert in Orlando on June 11; the shooter killed himself after the attack. - Singer Alttrell Courdes, known as Prince Be of the music duo P.M. Dawn, died June 17 after suffering from diabetes and renal kidney disease. He was 46 - Bluegrass music pioneer Ralph Stanley died June 23 at age 89. Already famous in bluegrass and roots music circles, the 2000 hit movie “O Brother, Where Art Thou?” catapulted him into the mainstream, winning him a Grammy. - Scotty Moore, legendary guitarist credited with helping to launch Elvis Presley’s career, died at age 84 on June 28. Moore is a member of the Rock and Roll Hall of Fame, and was ranked No. 29 of Roling Stone’s list of the 100 greatest guitarists. July – - Legendary rock producer Sandy Pearlman passed away on July 26. He suffered a cerebral hemorrhage in December 2015 that left him unable to walk or talk. Having received 17 Platinum and Gold records, he produced classics from Blue Oyster Cult, the Clash, and more. August - - Famous New Orleans Jazz Clarinetist Pete Fountain died of heart failure on August 6. He was 86. - Emperors and Elephants guitarist Jeff Windisch tragically passed away after his band opened for Lynch Mob. In the crowd during the headlining set, Windisch collapsed and entered cardiac arrest on Aug. 13 - Jerry 'Cool Clyde' Pradis passed away "suddenly and peacefully" on Aug. 13. The drummer performed on the Gates of Slumber's final record, 'Wretch,' as well as two Sourvein EPs (playing guitar on one). He was most recently a member of the long-running New Orleans outfit, Graveyard Rodeo. - Former Nine Inch Nails keyboardist James Woolley passed away on Aug. 14 at age 49. The musician suffered from neck and spine injuries, though no cause of death was provided. He also toured with Judas Priest front-man Rob Halford's 2wo outfit in 1998. - After a three-year battle with cancer, Architects guitarist Tom Searle passed away on Aug. 20. He had valiantly fought the disease, playing as many shows with the band as possible between hospital stays and general feelings of being unwell. Searle performed on all seven of the band's releases. - Former Threat Signal drummer Norman Killeen passed away on Aug. 25 at age 38. He performed on their second album, 'Vigilance' and was a member of the Canadian metalcore outfit from 2007 to 2010. - Mexican music icon and Latin American music legend, Juan Gabriel died at age 66 on August 28. - Gene Wilder, while an actor, did a great deal of singing in the movie Willy Wonka & the Chocolate Factory. He died August 29 at age 83. September – - Fred Hellerman, a singer and composer who was the last surviving member of the iconic and influential folk music quartet the Weavers, died Sept 1 at age 89. - Original Y&T drummer Leonard Haze passed away Sept. 11 at the age of 61. He had been suffering from chronic obstructive pulmonory disease. - Charmian Carr, best known for her role as Liesl in “The Sound of Music” died Sept 17 at age 73. She died from complications from a rare form of dementia. - Buckwheat Zydeco (Stanley Dural Jr.) a well-loved Grammy and Emmy award-winning artist from Louisiana died on September 24 at age 68. October – - Phil Chess, the co-founder of the iconic rock-and-roll and blues label Chess Records, died Oct 18. He was 95. He and his brother Leonard founded Chess Records in the late 1940s and helped spawn the careers of many popular musicians in the 1950s - Former 3 Doors Down guitarist and founder Matt Roberts died of a possible prescription pill overdose on Aug. 20. Roberts spent 16 years in the group, leaving in 2012 citing circulation problems. - Pete Burns, The Dead or Alive singer died on Sunday, Oct. 23, due to a "massive cardiac arrest," according to a statement. The "You Spin Me Round (Like a Record)" singer was 57. - Bobby Vee, the pop singer famous for hits like "Take Good Care of My Baby" and "Rubber Ball" and boasting 25 albums to his name, died "peacefully" on Oct. 24. The singer retired in 2011 after being diagnosed with early-onset Alzheimer's disease. He was 73. November – - Leonard Cohen, the prolific singer-songwriter had passed on Facebook on Nov. 10. After his funeral, it was revealed he had died in his sleep after a fall. He was 82. - Leon Russell, who emerged as a rock ‘n’ roll star in the 1970s after working behind the scenes as a session pianist for other musicians, died November 13. He was 74. - Sharon Jones, the powerhouse soul and Dap-Kings singer, passed on Nov. 18 due to pancreatic cancer. The funk performer died at Bassett Medical Center in Cooperstown, N.Y., and was surrounded by members of her band and other loved ones. She was 60. December – - Alan Thicke was pronounced dead on December 13th after a game of hockey with his son where he suffered a heart attack. He was a Canadian born actor, singer and songwriter and also the father of pop sensation Robert Thicke. He was 69 years old. -- - Greg Lake of Emerson, Lake & Palmer. The musician, who fronted both King Crimson and Emerson Lake and Palmer, is best known for songs such as "In the Court of the Crimson King" and "21st Century Schizoid Man." - Status Quo's Rick Parfitt passed away on December 24th at the age of 68. - George Michael, English singer/songwriter who sold tens of millions of albums as a member of the duo Wham! and on his own, was found dead on Sunday, December 25th at his home in Goring in Oxfordshire, England. He was 53. - Drummer, musician, composer, arranger, producer and actor Alphonse Mouzon has passed away on December 26, 2016. _________________________________________________________________ Dendy Jarrett is the Publisher and Director of Harmony Central. He has been heavily involved at the executive level in many aspects of the drum and percussion industry for over 25 years and has been a professional player since he was 16. His articles and product reviews have been featured in InTune Monthly, Gig Magazine, DRUM! and Modern Drummer Magazines.

Back in the 60s, the National Association of Recording Merchandisers launched the first industry-wide campaign to promote music. Featuring a ribboned gift box that said “Give the Gift of Music,” record companies pitched in a half-cent for every album sold to put that message in front of the public. The campaign is long gone, a product of a time when the record industry was smaller, and labels were often owned by something closer to a mom and pop store than a multinational conglomerate. These days, companies say we “consume” music…I guess it’s not corporate enough to use the term “listen to” music. At Harmony Central, our mantra is “make better music.” But now we’re in the throes of the holidays, and many of us have music gear on either our “wish list” or our “to give” list. But the gift of music is about so much more than giving a…thing. I have a close friend who as he cycles through music gear, gifts the items he no longer needs. He views it as the gift that keeps on giving, and something to inspire the next generation. Reflecting back, most of my early music gear came through gifts. I have vivid and pleasant memories of getting my first pair of hihat cymbals one year. A crash cymbal and boom arm another year. My first kit came that way, and although she was used, she was the best thing I’d ever laid my eyes on. As musicians, though, we need to remember that the gift of music is not just about gear. When I was growing up, few gifts were better to find under the tree than a new LP (and with the revised interest in vinyl, maybe LPs will start showing up under my tree again!). These days, we have hundreds of opportunities to give the gift of music—a concert ticket, iTunes gift card, premium subscription to a streaming service, a fun piece of music-making software, a smartphone app, and much more. Some argue that music is in decline. Others say the same about music gear. But let’s look at the facts: we have more opportunity than at any other time in history to share, listen to (I refuse to use the word “consume”), appreciate, and create music. It’s also never been easier for people to participate in making music. Inexpensive apps and software programs bring not just the “gift of music,” but the gift of music making. That’s huge. We’ve explored how music can change lives, we’ve discussed how thankful we are for music and we’ve speculated on how more people joining together to make music might help foster better human relations. So, if you’re still pondering what to get that special someone…”give the gift of music.” Not only may you leave a great memory, you may change a life forever. -HC- Join the discussion about this article over on the Harmony Central Forums _________________________________________________________________ Dendy Jarrett is the Publisher and Director of Harmony Central. He has been heavily involved at the executive level in many aspects of the drum and percussion industry for over 25 years and has been a professional player since he was 16. His articles and product reviews have been featured in InTune Monthly, Gig Magazine, DRUM! and Modern Drummer Magazines.

Music undoubtedly is part of my DNA. I am unsure if it is from the Scottish part of my heritage or the Native American (Cherokee) side. I suspect a little of both. My grandmother could wear out a Hammond B3 and did so at church every Sunday for 38 years. My mom did the same for years as well. Growing up there were two Hammond B3’s in my home with two Leslies! And what did I gravitate to? Drums! Don't ask. I was that kid who argued with my friend’s parents when they tried to make a case that rock music was from the devil. I argued how asinine this notion was because the same notes that were in the hymns they sang on Sunday were the same notes in AC/DC’s "Highway to Hell." You can argue with the message if you want, but you can't argue with the music. I walk around to this day with a cadence playing in my head . I get songs stuck in my head and must seek out the song to hear it just to satisfy that inner calling. I turn to music in my spiritual life, my daily drive, my shower, while working in the yard, when trying to convey message or meaning to something—come to think of it…in everything I do. As I grow older, I measure time and life events by music. There's actually a scientific basis for this; studies are unravelling the intriguing connection between music and memory. It seems that somehow music is able to access your memory's database in ways that other stimuli can't. Think of how often a song will bring up a memory associated with that song...anything from a first kiss to when you heard some life-changing news. When people talk about "my music," they're talking about something that has entered their lives and become part of them. And musicians have an even deeper-rooted connection. I can hear a drum beat and many times, I'm reminded of a song (and in many cases, other songs too). A chord progression in one song can take my mind to a similar song. As I’ve said before, music is a language unto itself. These last two weeks saw the passing of two hugely influential musicians, Leonard Cohen and Leon Russell. Every musician has influence, but some become iconically influential. Leonard Cohen once said, “Music is the emotional life of most people.” I couldn’t have said it better. Whether you are a music lover or a musician who loves making music, music is like water and it will find its level. It will keep you grounded. It can sooth your soul. Or as Quincy Jones once said in an interview with our own Craig Anderton, "Music is food for the soul." Leon Russell summed up the influence of music in this excerpt of a verse in “A Song For You” — “And when my life is over Remember we were together We were alone and I was singing this song for you” I often take music for granted, much like I do oxygen. But maybe music is actually more like water: it can soothe you in a warm bath, jolt you awake with a cold shower, mix with other elements, put out (emotional) fires, and provide something essential to your body. You can live for up to three weeks without food...but you won't make it much past three days without water. Every living cell in your body needs water to keep functioning, and sometimes I think every one of my cells needs music, too. Like many other Americans, I'll be having a Thanksgiving dinner with my friends and family. And when I think of everything for which I'm thankful, music will occupy a very prominent position...and most likely does in your life, as well. -HC- (The image is the author on a Curb Record's video shoot a few years ago for Steve Holy's Brand New Girlfriend.) _________________________________________________________________ Dendy Jarrett is the Publisher and Director of Harmony Central. He has been heavily involved at the executive level in many aspects of the drum and percussion industry for over 25 years and has been a professional player since he was 16. His articles and product reviews have been featured in InTune Monthly, Gig Magazine, DRUM! and Modern Drummer Magazines.

The Switzerland of the Music Instrument Industry How do we do it? We just do … by Dendy Jarrett It’s in our DNA, and it’s what we're charged to do. neu·tral n(y)o͞otrəl noun: an impartial or unbiased country or person. Keeping our reviews neutral has always been our goal because it's one of the most important factors in differentiating Harmony Central from many other online or print review sources. Sites these days are trending to “pay to play,” which means a manufacturer pays (in one way or another) for a review to appear. Now, this may come as a surprise and I’ll probably take some industry heat for making this known, but it's reality. This point was driven home to us when we had a hard time getting products for review from a particular manufacturer. When we cornered them at a trade show, the response was, "Well, it's not in our budget." When we explained that we reviewed products based on whether we thought the community would be interested, not whether a company advertised or paid for placement, they just about fell over. Of course, neutrality is also about how we review gear. Our philosophy is that you don't really care whether we like something or not because "good" is so subjective. Our goal is to describe a product so accurately - covering both strengths and limitations - that you can make a decision about whether a piece of gear might be suitable for you. Neutrality is also why we created the Pro Review format, essentially an "open source" format in which everyone is free to express opinions and ask questions about gear - we even encourage manufacturer participation to address comments and concerns (as well as enjoy some of the kudos that head their way). Another factor is that the review ecosystem has changed since the days when print was king; now you can go to online shopping sites and find tons of user reviews. But, paradoxically, even though there are more reviews than ever, they're not vetted. It's common for someone to give a bad review because they didn't bother to read the documentation so they weren't aware of how a product works, while others give a good review because they want to justify their purchase to themselves. Another issue is that reviews of a flawed version 1.0 remain immortal, long after a version 2.0 may have fixed those problems. This is why we take reviews seriously. All of our editors are professionals with over a decade's experience of writing reviews, and our freelance reviewers are screened to make sure they have the same kind of expertise. We also fact-check our reviews with manufacturers, not so they can try to influence the review, but to make sure that everything we run is accurate. For example, we don't want to run a review of a product if a new version is coming out next week. Perhaps best of all, our user reviews from the community have no equivalent on the web. The Harmony Central community knows its stuff, and that knowledge carries through to the thousands and thousands of user reviews we post each year. A bonus is that because we remain the Switzerland of the music industry, we have respect not only from musicians but also from manufacturers. Many times we've reported on the limitations of a piece of gear that led to revisions in a subsequent update. We feel this kind of consumer advocacy is part of our mission as well. So the logical question is, "How is it that Harmony Central gets to avoid the pay-to-play trap?" There are three main reasons. First, when we were acquired by Gibson, Henry Juszkiewicz's primary directive was to retain our neutrality, He realized that was the engine behind Harmony Central's success and to interfere with it would be insane. Second, we have media partners who support us not because we do reviews, but because they're in complete alignment with our mission to bring excitement to the industry and help people make better music. Third...and perhaps most important - - it's what we do. If we had to be more concerned with what companies think of us than the community, we'd be looking for a different gig. So, we’ll keep bringing you the best reporting we can, and hope that we can be a helpful guide as you continue to grow in your passion to make better music. And you can help: Please tell your musician friends about Harmony Central, and let them know how easy it is to subscribe to the Make Better Music newsletter. We're all in this together - let's make the most of it. (Got comments? Want to review our reviews? Join the discussion on Harmony Central and our mission to be the Switzerland of the musical instrument industry.) _________________________________________________________________ Dendy Jarrett is the Publisher and Director of Harmony Central. He has been heavily involved at the executive level in many aspects of the drum and percussion industry for over 25 years and has been a professional player since he was 16. His articles and product reviews have been featured in InTune Monthly, Gig Magazine, DRUM! and Modern Drummer Magazines.

Music Revival Could making better music make a change? by Dendy Jarrett We’ll I don’t know about you, but the political banter (and assured ensuing fallout) has me relying heavily on my music lately. Music is a way of expression for me (and many of my peers), but it’s also a means of escape. I can get lost in making music. Time seems to lose meaning and relevance. In recent issues of Make Better Music’s Dear Musician, we’ve discussed music as a means to reconnect with family and friends. We’ve also discussed using music as a way to make changes happen in your life. So what about making a change to the world? Is that too big an elephant to eat? I don’t think so. I believe this country and the world needs a music revival. Don’t get me started on the budget cuts that are slowly eroding music education from our schools…okay, that got me started. It's proven that music changes the human mind relative to math and science. But more importantly, it changes the way the mind relates to other people. Music teaches you to read body language, develops communication skills, and is truly the only language that transcends all barriers. A music revival could be the very thing that brings people of different religions, races, and nationalities together during these fractious times. Now you may say – wait a moment—some of the most egotistical people you know are musicians! Yes, but I find they're in the minority and generally, musicians are among the most helpful, team-centric people I know. If you’ve ever participated or watched a drum circle start with just a dozen people and grow to hundreds, you’ll understand what I mean about how music can be one of the most peaceful means of gathering you’ll ever attend. Bluegrass festivals, Bonnaroo-type events, or any of the thousands of local music festival gatherings that happen around the country every year—go and support music, or better yet…be a part of the event! Cities are starting to recognize the importance of these types of events and how they can draw people together. Every month, the city of Asheville, N.C. has a drum circle gathering that has grown to a respectable size. These types of events are changing cities for the better. They bring people together in a peaceful way to bring about positive change. Hopelessly idealistic? Stupidly simplistic? Maybe - but more importantly, maybe not. We have nothing to lose by giving music a higher priority in our lives, so why not do something that has the potential to make a positive difference? Join the discussion here. _________________________________________________________________ Dendy Jarrett is the Publisher and Director of Harmony Central. He has been heavily involved at the executive level in many aspects of the drum and percussion industry for over 25 years and has been a professional player since he was 16. His articles and product reviews have been featured in InTune Monthly, Gig Magazine, DRUM! and Modern Drummer Magazines.

Planned Gear Obsolescence — or Progress? Afraid to buy new gear? by Dendy Jarrett All the recent hubbub about Apple removing the 3.5 mm earbud jack pin receiver from the new iPhone 7 got me to thinking about my music gear, and technology in the music world. Think about this…the 3.5mm headphone jack is essentially a 19th Century bit of technology as it’s the miniature version of the classic quarter-inch jack (6.35mm), which reaches back as far as 1878. And this means the minijack has been around for a very long time. There are people who complained when the automobile was invented because the horse and wagon did just what they needed. I’m certain that there were people listening to and recording in mono and threw fits when stereo appeared, or multitrack recordings were developed. After all, how many of you are watching tube TVs anymore? There are companies developing technologies that are fantastic inventions on their own, but when they pair that invention with a tried-and-true design, some people push back (e.g., Gibson’s G-FORCE.) So, are we living in an age of planned gear obsolescence, or in an age of incredible progress? While most technologies are reaching the market far faster than even as little as five years ago, it still takes a lot of planning, tooling and marketing to bring new technology to the marketplace. Some of the technology we embrace and love. Others we are forced to embrace and love (like when Apple said "no more floppy drives"), and some we simply reject. When electronic drums arrived, I thought that having drums with direct in and direct out would revolutionize playing live and in the studio for everyone. The first electronic drum I remember was the Pollard Syndrum (released in 1976), my next exposure was Electro-Harmonix's SpaceDrum, and then of course, Simmons. Even with my love of their simplicity, I never “embraced” the technology to the point of giving up my acoustic drums. I did however, embrace synthetic drumheads over calfskin. So what’s the industry to do? They keep trying for innovations. Electronic accordion? Roland’s done that. Electronic trumpet—try Yamaha. Electronic Kazoo? Kazooka did that. Synthesizers were invented and perfected over time, but they didn’t kill the acoustic piano (completely). Some of this new gear sticks and some doesn’t. While the music industry generally lags behind technology like consumer electronics or the computer marketplace, some aspects have become incredible…like DAWs, for instance. What you can do with this technology has grown by leaps and bounds. Yes, there is a learning curve, but once you start mastering the back end, you really can achieve amazing results. But look at what happens when these companies release new updates, or the computer industry upgrades the OS. Sometimes this "progress" is actually a speed bump at first, although most people do acclimate eventually (possibly grudgingly, but they get where they need to go). While I don’t see guitar companies doing away with the 3/4” jack anytime soon, stranger things have happened. You may see a guitar with a Bluetooth transmitter if the latency can be brought down to acceptable amounts, but would that keep you from playing guitar? "If you tried to please everyone" - source: Joy of Technology Planned obsolescence definitely existed at one time, but I believe we’ve entered into an era where technology is changing so fast, that it’s hardly possible to plan for something to go obsolete. A company may already have an idea about what the third and forth generation of a product is planned to have by the time the first generation hits the market, but should they hold up release until they have integrated those 3rd and 4th generation features? Let's call this Planned Progress. I believe we're in an era when things are moving so fast that we forget to look back over time at how long it took to create a piece of music and get it recorded. Now we can do entire albums with our phones! Just like skinny ties and wide ties, that which goes out of style and becomes obsolete may eventually come back in favor. So, if you're one of those people who was lucky enough to have hung on to every piece of analog equipment you ever owned and took care of it…you’re in luck, and you may be in for a huge payday if you decide to sell it. But don’t be afraid of new gear: After all, it's tomorrow's vintage gear. _________________________________________________________________ Dendy Jarrett is the Publisher and Director of Harmony Central. He has been heavily involved at the executive level in many aspects of the drum and percussion industry for over 25 years and has been a professional player since he was 16. His articles and product reviews have been featured in InTune Monthly, Gig Magazine, DRUM! and Modern Drummer Magazines.

IK Multimedia iKlip A/V Smartphone Broadcast Mount It's like they read our minds... by Dendy Jarrett I'm a solutions-oriented person...so I love it when a piece of gear crosses my path that really provides a solution to a problem. IK Multimedia's iKlip A/V Smartphone Broadcast Mount does just that. Most of us have great cameras in our smartphones - and we love to use them to take videos for blogs, facebook, forums, family memories, and/or our jobs. In the case of Harmony Central, we've come from carrying shoulder-mounted cameras with lights and cables running everywhere (while covering trade shows), to now...being able to use our smart phone to shoot, produce, edit, and broadcast while on the go. The sheer weight savings alone cannot be emphasized enough, but now, we can shoot the show, and have videos up virtually the same day (something that once took weeks). But until this device, we had very little quality control over audio, and our options for mounting the camera (iPhone) were limited and expensive. The iKlip lets you mount a 3.5" to 6" phone on this broadcast mount. It also works with digital cameras, field recorders, or any video device with a standard UNC 1/4" - 20 thread mount, but we're going to focus on the phone use only. The device is so straightforward: It uses an expansion clip on the thread mount that accepts you phone. The thing I like about it versus some other available solutions is that I can keep my phone in the protective case and still use this expansion clip. It takes about 4 seconds to mount the phone. So simple. For Audio, the handle grip has an balanced (mono) XLR cable input for a wireless mic receiver (which fits on a supplied clip mount). The handle also has a high quality microphone preamp with volume control and phantom power. Also, there's a supplied TRRS cable that sends the audio directly into the pin port on the iPhone or Android device. Ther monitor port for headphones is very convenient so you can ensure the quality of the sound coming into the video. The unit becomes a fully self-contained broadcast filming device. You can use this for home, filming your own band videos, interviewing people, capturing UFO fly-bys, covering trade shows, and much more. If I had one wish, it would be for IK Multimedia to fill the bottom rail (now empty) with a battery backup for your device with a USB to Lightning charger - this way you wouldn't run out of juice in the middle of a shoot. But other than that one wish, this fully meets our needs for filming trade shows and the like. Furthermore if you watch much news, more and more news broadcast segments are being shot with iPhones, Androids, or tablets. So, this device has far-reaching benefits for both home and professional use. Here are the specifics on the iKlip A/V - Professional audio and video broadcast recording system for smartphones XLR mic preamp with phantom power and gain Integrated wireless receiver support 1/8” TRRS analog audio output Headphone output for real-time monitoring Standard UNC 1/4”-20 tripod and camera mount threads Powered by two standard AA batteries If you're looking for an easy solution for shooting video or even pictures with a great grip, and sophisticated audio control capabilities...the IK Multimedia iKlip A/V is a fantastic and simple solution. There are other mounts available, but few options at this price point. And with the expandable iKlip mount, this device can grow as phone sizes grow and since the iKlip portion can be removed, future clips for larger devices could be offered as accesories. For Team HC, this will likely be our broadcast tool of choice for the upcoming trade shows because it's lightweight, easy to use, and compact. And best of all, comes in under budget! As I mentioned in the opening of this review, I'm a solutions guy and the iKlip A/V was built with that in mind. It's like they read our minds as to what we needed to cover trade shows...and more. Resources IK Multimedia Website To buy iKlip A/V - Average Price $179.99 B & H Pro Audio Sweetwater Amazon Ebay _________________________________________________________________ Dendy Jarrett is the Publisher and Director of Harmony Central. He has been heavily involved at the executive level in many aspects of the drum and percussion industry for over 25 years and has been a professional player since he was 16. His articles and product reviews have been featured in InTune Monthly, Gig Magazine, DRUM! and Modern Drummer Magazines.

(Edited 9.16.2019) Fall represents a time of change, and, at least in the northern hemisphere, cool change. Despite its being the opposite of spring in terms of “renewal,” I often view fall as a time of renewal as well as reflection. But what do leaves dying with the nip in the air have to do with music? More than you might think... Lately, I’ve been on a 70s kick. I keep my Sirius XM tuned to 70s on 7. For me, the station represents my youth and the teen years when music influenced me the most. I remember hanging in the parking lot at high school prior to marching band practice, and someone always had their car stereo cranked on FM 105 with REO Speedwagon or the Little River Band blasting. The nip of fall would be in the air, so flannel shirts were the rule. And if I close my eyes and go there, I experience all the sights, smells, and sounds associated with those times. Fall is the time when the days grow shorter, so for many of us that means more available time because there's less need for yard work or outdoor-related chores - which means there's more time for playing music. And while it's great to use music as "comfort food for the soul" and play the music you've always enjoyed or that was important in your youth, think about those leaves for a second: you can consider them as dying, but you can also consider them as getting out of the way so that new, young leaves can take their place in the spring. So as you play music, consider renewing your love of music the way that trees renew their ability to do photosynthesis: they keep their roots but get rid of the old surface stuff to make way for the new. Listen to music you've never paid attention to before. Practice learning a new instrument - it will make you better at your primary instrument. Get out of melodic, rhythmic, or chordal ruts...and try new ways to record. For example, if you alway start with a chord progression, start with a melody line. If you play drums, use congas. Go ahead, dare to try playing with some loops. If you're a DJ, check out a folksinger at a coffeehouse; and if you're a folksinger, go to a club. If you always play for paying customers, build a campfire and play for your family. I recently challenged myself as I accepted a new position with our parent company (Gibson) and felt I should know something about ... um, guitars! So, I purchased both an acoustic guitar and a mandolin. Mandolin is considered a very rhythmic instrument, so as a drummer - it seemed a good starting place. Challenge accepted! If you challenge yourself to some of these expanded horizons, when spring comes, not only will nature be renewed but you will be also. If you haven't been too excited about playing music lately, maybe it's for the same reason you can lose your interest in food if you keep eating the same food over and over again. Watch those leaves fall, and remember it's all part of a cool change...and that some cool changes in your music will make it new and exciting again by the time spring rolls around. -HC- _________________________________________________________________ Dendy Jarrett is the Publisher and Executive Director of Harmony Central. He has been heavily involved at the executive level in many aspects of the drum and percussion industry for over 25 years and has been a professional player since he was 16. His articles and product reviews have been featured in InTune Monthly, Gig Magazine, DRUM! and Modern Drummer Magazines.

The Beatles: Eight Days A Week—The Touring Years Still Exciting After All these Years by Dendy Jarrett You'd have to be an extraterrestrial not to be aware of the Beatles (and even that may be an incorrect assumption). When they landed on these shores, they created an earthquake in the world of music whose aftershocks are still being felt today. There's hardly a musician from that era who doesn't acknowledge some level of influence from the Beatles, whether it was the decision to pick up an instrument, join a band, move from acoustic guitar to electric, or experiment with new musical styles. And to think that Sir Paul McCartney and Ringo Starr are still touring and performing today (some 50 years later) is mind-boggling. Here's a short list of some influences the Beatles' music put into motion... Overnight, music instrument purchases went through the roof. Manufactuers like Ludwig had to buy up the city block next door so they could expand, and were running 24/7 shifts just to keep up with the demand. Record sales exploded not just for the Beatles, but for the myriad similar bands that started popping up all over the world. At no other time in history did more garage bands form than after the Beatles made their musical mark. The Beatles caused an immediate shift from soft acoustic folk music and disposable pop to loud, amplified, high-energy rock music. The political undercurrent in much folk music became as amplified as rock music itself. Fans haven't been quite as frenzied since. The Beatles bridged many cultural gaps by becoming a shared experience, and incorporating influences from different races and cultures. Musical innovation made huge headway in terms of instruments, technology, marketing, listening, and entertainment value. Their wildly successful appearance on the Ed Sullivan show catapulted TV into an even more relevant entertainment medium. Those who were around to witness this won't forget it and still see the influences today. This past week, we were contacted by White Horse Pictures about an upcoming film release produced by Imagine Entertainment, White Horse Pictures and Apple Corps Ltd. The Beatles: Eight Days A Week — The Touring Years, directed by Ron Howard, will hit the theatres on September 16th and follow on Hulu shortly thereafter. The theatrical presentation of the film will also include the exclusive opportunity to see The Beatles landmark Shea Stadium concert, remastered in its entirety (and restored so you can hear the music above the screaming). The Shea Stadium concert will only be available to screen in theatres and will immediately play after Ron Howard’s film. The Beatles: Eight Days A Week – The Touring Years is produced by Nigel Sinclair, Scott Pascucci, Brian Grazer and Ron Howard. Apple Corps’ Jeff Jones and JonathanClyde are serving as executive producers, along with Imagine’s Michael Rosenberg and White Horse’s Guy East and Nicholas Ferrall. Award-winning editor Paul Crowder edits the film. Crowder’s long-time collaborator, the award winning writer Mark Monroe, wrote the film. Marc Ambrose is the supervising producer. If you've already experienced the Beatles, here's your chance to relive those days. And if you haven't, you'll get a unique window into a unique musical era...one whose popularity some say could never happen again. But we know it will - we just don't know when, or the form it will take. Meanwhile, you can see the seismic significance four boys from Liverpool had on the world - a world that they changed forever. To learn more about the movie, please visit the official website, The Beatles Eight Days A Week. And for a little bit of a taste, watch the movie's trailer: Resources: Check out Craig Anderton's Interview with Chris Jenkin's: Sound For The Beatles Movie Additional Harmony Central Beatles related publishings - Ringos Drums The Beatles Gear (Book): The Ultimate Edition by Andy Babiuk _________________________________________________________________ Dendy Jarrett is the Publisher and Director of Harmony Central. He has been heavily involved at the executive level in many aspects of the drum and percussion industry for over 25 years and has been a professional player since he was 16. His articles and product reviews have been featured in InTune Monthly, Gig Magazine, DRUM! and Modern Drummer Magazines.

Will Music Lose Its Soul? If it does, don't expect technology to be the culprit by Dendy Jarrett There's a quote attributed to Freddie Mercury: "We are in a golden age of music. There will be a time when technology becomes so advanced that we'll rely on it to make music rather than raw talent...and music will lose its soul." Granted, he’s not around to verify whether he said that. But while it’s true that technology has come a long, long way since the glory days of Queen’s Mercury era, people have been talking about "music losing its soul to technology" ever since we stopped using bones to hit things...so do they actually have a point? Of course not, and here's why. Back in the 50s, singers started using—horrors!--reverb and EQ, which some felt was simply a crutch for teen idols who were chosen primarily for their looks. Multitrack recording and punching are no longer considered evil, nor are samplers, yet they were originally thought of as "cheating." Reality check #1: Music technology is like anything else—powerful in the right hands and horrible in the wrong ones. Reality check #2: Queen could not have released Bohemian Rhapsody without the cutting-edge technology that existed at the time. All of the layering, delay, and chorus effects were so crucial to the song that, in concert, they had to rely on backing tracks (while using video as a distraction from the fact that it couldn’t be performed live with the same sound). So how many people have argued that technology stole the soul from Bohemian Rhapsody? Show of hands... Anyone...anyone? Yeah, that's what I thought. Anyway, it’s true that many of today's stars are the result of a management company that sees "talent" as a commodity (that is, money to be made) and thanks to technology, raw talent is optional. I’ve been backstage at some major concerts (I won’t name names) and saw the pitch correction processors getting an exhaustive workout to keep up with the artist being so horribly out of tune. I’ve participated in radio shows in which artists were asked to sing a few bars of a hit, and I had to leave the listening room out of embarrassment for the artist. And yes, in many cases, over the course of a few years and with vocal coaching raw talent may catch up with perceived talent. But sadly, it often doesn't. Certainly today, we’ve seen the trend come and go (I hope) of the effects-drenched over-the-top vocals that make everyone sound like they stepped out of the movie Tron. While pitch correction wasn’t really necessary for someone with Cher's talent and simply added a fun gimmick, it was necessary for someone like Kanye. So really, if there's any soul being stolen, look for humans to show up in the security cameras. If you’ve ever recorded in the studio and liked the raw mix much better than the "polished" version...then you've witnessed human-based soul stealing at work. We all know technology can never replace raw talent, but we have to be aware that misused technology can neuter that raw talent. Perhaps Freddie Mercury was looking much farther ahead than our generation when he supposedly made this statement...maybe to a time when we travel between planets, and forget what it feels like to throw a towel down by a lake, put some tunes on, and feel the sun warm us. Or to spend an afternoon at the park, pull out a guitar, and sing (with raw talent) with some friends. Technology will never kill that—or steal its soul. -HC- What do you think? Will technology suck the soul out of music? Join the Discussion here ... _________________________________________________________________ Dendy Jarrett is the Publisher and Director of Harmony Central. He has been heavily involved at the executive level in many aspects of the drum and percussion industry for over 25 years and has been a professional player since he was 16. His articles and product reviews have been featured in InTune Monthly, Gig Magazine, DRUM! and Modern Drummer Magazines.

Sabian HH Vanguard Anyone for Hand-Hammered Butter? by Dendy Jarrett When Sabian asked if I wanted to do a review on the new HH Vanguard cymbals, I thought, “What could be so different? I already have an entire set of Sabian Hand-Hammered (HH) cymbals that I've used for years." But being addicted to cymbals, I figured I might as well check them out. After I unboxed them, I was was struck at how smooth they looked. The lathing is very tight (pin-point) in application and the hand-hammering isn’t aggressive, but rather very subtle. I’d best describe them as shimmery in appearance. Then I played them. The Sound Butter. Who doesn’t like butter? I love it on waffles or pancakes, corn on the cob, and even enjoy a good dob of it on my steak—Hot, runny, yummy, high-cholesterol-causing goodness. To me, the way butter tastes on these favorites, justifies and outweighs any negative implications of consuming butter. And why do I bring up butter? Because that is the way these cymbals sounded to me. Like soft, warm smooth, creamy butter—let's just say they were indulgent. The Specifics Sabian's package included the following: 14” Hi-hats pair 16” HH Vanguard Crash 18” HH Vanguard Crash 20” HH Vanguard Ride 21” HH Vanguard Ride 22” HH Vanguard Ride Note that the HH Vanguard line is not assigned the names "crash" and "ride," instead they're simply called (for example) HH Vanguard 16". The hi-hats are my new favorites. Although they're smooth, they have a defined “chick” but remain “phat” when played. They also produced a masterful half-open “slushy wash.” These hi-hats have a lathe pattern that's "raw" in appearance and begins about an inch off the outer edge. It is distinctive and only on the hi-hats. This raw lathing allows for great stick definition. The crashes were the “butteriest” of the bunch - brilliant sounding, yet “soft.” Even playing them felt like the stick was playing through them like soft butter. Both the 16” and 18” were only distinguishably different in tone. The other characteristics were matched in timbre. 16" HH Vanguard - 18" Vanguard - The 20” and 21” were also very "soft" (not necessarily in volume, but in personality). They had small bells, but were able to produce a gratifying bell sound; they could have been more appropriately labeled as “Crash/Ride.” I felt very comfortable playing a ride pattern, and then crashing the edge of these two cymbals. Either one could serve as both. 20" Vanguard- 21" Vanguard- The 22” Vanguard was a little “large,” seemingly to serve double duty. It could, but just didn’t lend itself for both uses to my ears. If you do use it for a crash, it's huge! While it still features a very small bell, it did produce a solid ping when played on the bell. When used for a ride pattern there's plenty of definition, but it also develops a nice controlled wash; again, while you can (of course) crash this 22”, it yields quite a large crash which I found “larger” than what's ideal for my particular application. 22" Vanguard - Conclusion Sabian’s marketing refers to these as “darker” cymbals that produce quick response. “Dark” seems too negative a term for these cymbals. Smooth “butter” hits the mark. They're a thinner cymbal so if you're a heavy hitter, these aren’t for you. I found these cymbals very defined considering their thinness, but they really spoke to me. I loved the sound of the crashes and hi-hats best. And while they are within Sabians “Vintage Dark” line, I found them vintage with a modern trend. In the end, these cymbals are a new favorite. Then again, I’m a sucker for butter (who isn’t) and these cymbals left my mouth watering for more. Please join the discussion about the Sabian HH Vanguards in the Drum Forum at Harmony Central Resources Sabians Official Website To purchase Sabian's HH Vanguard Sweetwater Amazon Music Musician's Friend Guitar Center _________________________________________________________________ Dendy Jarrett is the Publisher and Director of Harmony Central. He has been heavily involved at the executive level in many aspects of the drum and percussion industry for over 25 years and has been a professional player since he was 16. His articles and product reviews have been featured in InTune Monthly, Gig Magazine, DRUM! and Modern Drummer Magazines.